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__label__cc	0.63228	0.36772	Dirty Horror’s Rapid Reviews: ‘The Ritual’ & ‘Verónica’ Posted on March 4, 2018 by Dirty Horror What do a best friend hiking trip in Sweden and a bad Ouija board experience during a solar eclipse have in common? Well, nothing actually – but they are both the premises of two recent horror movies that hit the wonderful world of Netflix. Let’s start with these poor bastards that did some hiking in Sweden: The Ritual (2018) This one took me by surprise. A British horror film (directed by David Bruckner) set in Sweden that follows four friends who keep a pact to go on a hiking expedition after another one of their friends was killed six months prior. Now of course, when you have people hiking in some creepy woods in a horror movie then bad shit’s going to happen. The rub with The Ritual is that it’s pretty unpredictable. A hybrid of The Blair Witch Project and The Wicker Man with a little monster action thrown in, this movie is beautifully shot and packs the emotional punch lacking in a lot of horror movies. It also packs a pretty great literal punch towards the climax. And The Ritual is creepy. Did I mention it’s creepy? Yeah. Go watch it. Verónica (2018) There have been some decent Ouija board related horror movies throughout the years (Witchboard, Ouija: Origin Of Evil), but none that have really hit me where it hurts like this new offering titled Verónica. A spanish horror film directed by Paco Plaza (who gave us the impressive Rec franchise) that manages to take the somewhat tired ‘possession’ storyline to new creepy and emotional levels. The plot is fairly standard (a girl and her friends attempt to use a Ouija board to speak to her dead father during a solar eclipse), but manages to still be riveting. The acting is superb (especially Sandra Escacena playing Verónica) and Paco Plaza has a knack for utilizing the camera so well, especially during those ‘wait, did I just see something in the background?‘ shots. I felt it could have been trimmed by about 10 minutes or so, but that’s a minor complaint for a movie like Verónica. Go watch it! This entry was posted in Review and tagged 2018 horror movies, David Bruckner, David Bruckner The Ritual, dirty horror, netflix, paco plaza, paco plaza rec, paco plaza veronica, possession movies, sandra escacena, sandra escacena veronica, the ritual, the ritual netflix, the ritual review, veronica netflix, veronica netflix review, veronica review by Dirty Horror. Bookmark the permalink. 2 thoughts on “Dirty Horror’s Rapid Reviews: ‘The Ritual’ & ‘Verónica’” karma credit login on March 9, 2018 at 6:25 am said: This has made me realise how much i’ve fallen behind with recent horror movies. Still to see The Ritual, The Void, Devil’s Candy and Raw! How have i not seen Raw yet?? Dirty Horror on March 10, 2018 at 10:00 am said: Raw was one of my favorites from last year. All of those that you mentioned I really liked!	cc/2023-06/en_middle_0048.json.gz/line14
__label__wiki	0.772692	0.772692	Jump to navigation.Jump to content.Number of Signers: 7844 \| Sitemap \| Imprint Sign Now! Texts, Audio, Video Germany-Iran Choose a language Choose a language Deutsch English STOP THE BOMB presents "Iran Zendan" by Daryush Shokof STOP THE BOMB is now presenting Iran Zendan, the latest film of the recently kidnapped exiled Iranian filmmaker Daryush Shokof on its website. Daryush Shokof and his films made headlines when Shokof was kidnapped in Cologne/Germany on May 24, 2010 and was kept imprisoned for 13 days. The kidnappers accused Shokof of insulting "Islam, the Islamic Republic and Khomeini" in his films. Before being released on June 6, Shokof was threatened with death if he showed these films anywhere in the world. Daryush Shokof declared: „This abduction only made me stronger and more committed to fight the inhumane regime of the Islamic Republic of Iran. These two films are dedicated to the peace loving Iranians and their struggle for freedom.“ The premiere of Daryush Shokof's two latest films Iran Zendan ("Prison Iran“) and Hitler’s Grave took place in Berlin, Germany this year on May 9th. Iran Zendan shows torture, rape and execution in Iranian prisons. The film relentlessly reveals the brutal character of the thirty-one year old Iranian regime. Shokof's films contain both fictional and non-fictional sequences. Iran Zendan also shows images of last year's revolt and its repression. The initiative STOP THE BOMB supports Daryush Shokof with Iran Zendan's internet premiere. "To censor films with threats and force is not acceptable. Since Khomeini's fatwa against Salman Rushdie on February 14, 1989, the Iranian regime has been threatening free speech and the arts worldwide with murder and threats of murder. One has to firmly counter the Islamists' intimidation attempts - in this case by showing and spreading Shokof's films“, Jonathan Weckerle said, speaking for STOP THE BOMB. You can watch Iran Zendan in full length at de.stopthebomb.net/en/start/germany/shokof.html. This film can be embedded into other websites. STOP THE BOMB calls on the international community to spread this film, which is an accusation against the Iranian regime which has turned into a living hell for anybody who opposes it. Spreading the film is an act of solidarity with the Iranian opposition. Click in the film below to see the options for embedding and sharing Iran Zendan. You will find more information about Iran Zendan and on the kidnapping of Daryush Shokof on this page (de.stopthebomb.net/en/start/germany/shokof.html). Movie Poster Iran Zendan Daryush Shokof: Press statement (German) and interview (Persian) (17.6.2010) Press statement by Daryush Shokof Held on June 17, 2010 in the Arsenal Theatre 1, Berlin Dear friends and respectable press representatives, Thank you for being here today. It is my assumption that my kidnapping has been arranged and well prepared months ago. In support of such speculation I address the fact that there have been some strange occurrences in the last few months in my life: There was a robbery at the apartment of a close film director friend of mine who left Iran for security reasons following his latest movie. We lived in the same building. Shortly after that incident my passport was stolen and even though I reported the loss and the suspect to the police in Kreuzberg it was never found. I was repeatedly warned by many that I should be seriously careful about my well being and my life while I was shooting the two films “Iran Zendan and “Hitler`s Grave”. “Iran Zendan” is a 70 minutes movie about the horrible situations of political prisoners in Iran during the Islamic Republic Regime. The main concept of the film “Hitler`s Grave” evolves around serious issues dealing with anti-Semitism and taboos regarding both religions Islam and Judaism and how the main characters of the film bring about peace to the believers of both these religions. The 9 minutes trailer of “Iran Zendan” was placed on YouTube and obtained an astonishing attention from the global view on the video-sharing website where over 35000 clicks were registered in less than 48 hours. YouTube instantly closed the open viewing of the film. Many other servers started showing the same trailer worldwide and with the same resounding effect including YouTube itself. It is up to this date a question why YouTube places restrictions on one account and leaves it open for a free usage under other registrations? Let me please, show you the trailer. We had a plan to show the film “Iran Zendan” in 3 cities in Sweden and 27 more cities around the world. We have just now decided to place the film “Iran Zendan” on the web for global view and almost free of charge. I would like to emphasize the fact that the two films “Iran Zendan” and “Hitler`s Grave” were the reasons for my kidnapping. Right before my kidnapping I drove to Cologne with my lead actress of the film “Hitler`s Grave”, Taies Farzan and her mother. On the day of the kidnapping, I was sitting on a bench at Friesenplatz in Cologne at around 7 or 8 p.m. A man of Middle Eastern complexion talked Arabic on his cell phone in a few feet away from me. He then, came and sat next to me on the bench and continued speaking Arabic. Soon a black Audi drove by and stopped at the light where two men exited the car. The man next to me held a solid object to my ribs and asked me to comply with. The other young man was soon at the side, picked up my small suitcase and they led me towards the car. Soon I was inside the car with the first man entering the car next to me and the young man closed the door to the car and sat on my other side. Now in a very speedy action they blindfolded with a wrap and placed a tape over my mouth. Immediately after the car started driving off the man next to me yelled “Finished, drive!” We stopped somewhere after 40 plus minutes of driving and they took me down the steps into a house and then inside an apartment. I remember these movements as I was not yet drugged up by my captors. The men started talking in panic with one another and I had a feeling they were arguing amongst themselves until the first man with the gun finally started talking to me. They spoke both in Arabic and in German. He started off by saying that I had insulted Islam, Khomeini and the Islamic Republic of Iran with my movies and that I would be killed. I tried my best to convince the man to give me a chance so that I could prove to him that I was not anti-Islam, that I was born into an Islamic family under the name of Alireza and have the highest respect for such great men in the Islamic world as Sohraverdi, Mansour Hallaj, Attar, Hafiz, Khayaam and Molavi. The man was quiet for a while and listened to me all throughout my monologue. Finally, he told me that if I would not be killed it is only because I am the only person who could and should stop the films to be released. Thereafter they gave me Pizza to eat and then a terribly bittersweet water fluid that caused me fall into deep asleep every time I drank that substance. I remained in a delirium even after I came back to myself after the effect of the drug was reduced. After a certain time my captors acted more aggressive both with one another and with me. It was as if there was a huge chaos around them. I even heard at a certain point that one of them mentioned I would be a “big shot” now and they could get a ransom for having me. The idea was rejected by the first man with the gun as he told them in German that they were not programmed for such a plan. I was only aware of what has been going on on the internet about my missing after I was free. The world was alarmed about my situation through a committee established in Berlin under the name of “Protection for Daryush Shokof” who stood strong on the side to seek any news to solve the mystery behind my missing. In many news outlets I read that there was no evidence of me having been kidnapped. Some had suggested that it was all about a personal matter or fabricated by myself. Much wrong information was there to read in all papers: For example, it was written almost in all papers that Taies Farzan was my wife. This is not true. Then, almost in all papers I could read that I was last seen at the Cologne train station which was completely wrong. I have not been at the Cologne train station where I was allegedly seen shortly before my disappearance. All this wrong information seemed to me as if someone wanted to downplay the whole situation right from the start. I have to stress the fact that there was never any proof that I was not kidnapped. That is why I hope that the police continues to do all their investigations in the right directions. I suggest that Germany continues to strongly and seriously stand for the rights and the protection of all Iranian Opposition groups who are politically active as well as of the exile-Iranians who live in Germany. Ladies and gentlemen, I strongly believe that my kidnappers wanted to either take me out of Germany or kill me and let my body disappear somewhere. I strongly believe that they only let me go for two main reasons: One was for not releasing both films and more it was due to amazing efforts and support from a global attention to my missing from great names such as Ms. Shirin Ebadi the Iranian Nobel Prize winner, the efforts of the Protection Committee for Daryush Shokof, the Stop The Bomb coalition , the Iranian PEN Club in Exile, the National Council of Resistance, the Green Party of Iran, the Club of Free Iranian Filmmakers, Anjoman Ara Iran, Radio Farda, CNN, FOX News, Associated Press and all the other NGOs and Media that reported on my situation. I truly thank each and all of them. Ladies and Gentlemen, I would never bow to the Mullah Regime in Iran. Not only I am not scared or tired from the effects of the horrible events I had to deal with but more than ever would I continue to fight against the barbaric Islamic Republic Regime in Iran until my last breath. I have dedicated both my films “Iran Zendan” and “Hitler`s Grave” to the cause of the Iranians and their struggle for freedom and peace. That is why I would place the film “Iran Zendan” on the webpage of the Committee for Protection for Daryush Shokof. Any and all incomes from the viewing of the film will go to help the families of all those who lost their loved ones in Iran prisons as political prisoners and those whose loved ones are still in those horrific prisons awaiting unclear destinies. Die Welt - Iranischer Regisseur spurlos verschwunden (29.5.2010) (English translation) "National Council of Resistance" - Dissident Iranian film maker Dariush Shokouf disappeared in Germany (30.5.2010) Iran Press News - Persian article with statement by Shirin Ebadi (31.5.2010) (English translation) FAZ - Verbot für Kiarostamis „Copie Conforme“ (1.6.2010) Radio Lora - Oppositioneller Filmemacher Aus Iran: Im Zug Nach Paris Verschleppt?!? (German radio interview with Dr. Kazem Moussavi) (4.6.2010) The L-Magazine - Another Dissenting Iranian Artist and Filmmaker, Daryush Shokof, Missing Since May 24 (4.6.2010) Associated Press - Iranian artist and filmmaker has been missing for 11 days (4.6.2010) ABC - Misteriosa desaparición de un cineasta iraní en un tren (5.6.2010) Kölner Stadtanzeiger - Vermisster iranischer Filmregisseur Shokof nach zwölf Tagen in Köln aufgetaucht (6.6.2010) Der Standard - Iranischer Filmemacher Shokof wieder aufgetaucht (7.6.2010) Jungle World - "I'm kidnapped!" (10.6.2010) Associated Press - Interview with Daryush Shokof (11.6.2010) Frankfurter Neue Presse - «Ich werde mich dem Mullah-Regime nicht beugen. Ich mache weiter!» (17.6.2010) Spiegel - Exil-Iraner Shokof veröffentlicht Film im Internet (17.6.2010) Berliner Umschau - Der mysteriöse Fall des Daryush Shokof (17.6.2010) Earth Times - Iranian filmmaker demands inquiry into alleged kidnapping(17.6.2010) WELT - "Wenn du deinen Film zeigst, bist du tot" (18.6.2010) Morgenpost - Iranischer Regisseur schildert Verschleppung (18.6.2010) taz - Ein Verschwundener meldet sich (18.6.2010) Radio Hamseda - Interview Daryush Shokof (27.6.2010) (Persian video) STOP THE BOMB press release: Iranian attack feared on disappeared Daryush Shokof STOP THE BOMB is deeply concerned about the whereabouts and well-being of the for 11 days missing exile-Iranian artist and filmmaker Daryush Shokof. STOP THE BOMB calls on the responsible official bodies in Germany to investigate the disappearance of Shokof, and to especially consider the possibility of a politically motivated act by Iranian or Islamic forces. STOP THE BOMB demands that the German government issues a public statement on the case of Shokof, and that it ensures with all available political means and security forces the safety and the possibility of free political and artistic activites for everyone who fleed from the Iranian terror regime. „The Iranian agencies control a network of agents and institutions loyal to the regime, who can still act undisturbed in Germany. For example, the Iranian ambassador to Germany Ali Reza Sheikh Attar belongs to the terrorist Iranian Revolutionary Guards“, says Jonathan Weckerle, speaker of STOP THE BOMB. Thus, the Iranian Nobel laureate Shirin Ebadi is absolutely right when she holds the German government responsible for Shokof’s security.[1] On Monday, May 24, 2010 Shokof was seen for the last time at the main train station in Cologne, where he wanted to board a train to Paris. Apart from this it is only known that he didn’t keep any of his appointments in Paris. Shokof is known as one of the harshest critics of the Islamic Republic among the Iranian artists in exile. In his latest two movies, „Iran-Zendan“ (Iran-Prison) and „Hitler’s Grave“, which had their premiere on May 9, 2010 in Berlin, Shokof sharply criticizes the regime’s crimes and it’s ideology. „In Shokof’s movies many tabooed topics are adressed, tortuture and rape in the prisons are shown as well as a woman from a islamic family, who throws away her headscarf and marries a Jewish man. Shokofs work attacks the ideological foundations of the Islamic Republic and thus is a threat to the rulers in Iran. Especially because of the upcoming anniversary of the election fraud it is possible that the regime tries to intimidate the opposition in Iran and exile with an action against one of the regime’s critics“, says Weckerle. At least 162 assassinations of oppositional Iranians in exile have been ordered by the rulers in Tehran since 1979.[2] Since the start of the massive protest movement last year the exile Iranian opposition has been threatened increasingly and persecuted, especially in Germany.[3] Massoud Jazayeri, deputy commander of Iranian armed forces threatened in November 2009 that many protesters inside and outside Iran had been identified and will be dealt with at the right time. As targets he lists “enlightened secularists, journalists, student activists and artists outside the country”.[4] STOP THE BOMB, June 6, 2010 More information about Daryush Shokof as well as any news can be found on this special page: de.stopthebomb.net/en/start/germany/shokof.html [1] de.stopthebomb.net/en/start/germany/shokof.html [2] www.iranhrdc.org/httpdocs/English/pdfs/Reports/No-Safe-Haven_May08.pdf [3] Das Regime verfolgt seine Kritiker, WDR Panorama, 15.10.2009, daserste.ndr.de/panorama/media/panorama358.html [4] englishtogerman.wordpress.com/2009/11/08/drohungen-gegen-unterstutzer-der-grunen-bewegung-auserhalb-irans/ Shirin Ebadi holds German government responsible for Shokof's security Translated article from Iran Press News: (English translation will follow) Shirin Ebadi, Juristin und Nobelpreisträgerin, sagt, dass sie „das Verschwinden Shokofs“ an die politischen Serienmorde an den Gegnern der Islamischen Republik der 90-er Jahre erinnert. An eine Zeit, in der Oppositionelle wie Mokhtari und Pujandeh verschwanden. Ein bekannter Filmemacher steigt in einen Zug, verschwindet spurlos und kann nicht wieder aufgefunden werden. Dafür zeichnet die deutsche Bundesregierung Verantwortung. Sie sei schon in der Lage, diesen Filmemacher, einen Oppositionellen der Islamischen Republik Iran, zu finden, vorausgesetzt, dass sie es wolle. Ich gebe hiermit bekannt, dass die Verantwortung für das Verschwinden eines iranischen Künstlers bei der deutschen Bundesregierung liegt. Die Nobelpreisträgerin betont, dass sie nicht die Absicht habe, irgendwelche politischen oder juristischen Personen zu beschuldigen. Dennoch könne die deutsche Bundesregierung mit entsprechenden Maßnahmen ungesetzliche Aktivitäten stoppen. Shirin Ebadi sagt: „Wir haben des Öfteren darauf gepocht, dass die europäischen Staaten, statt den jungen Menschen und Studenten das Einreisevisum zu verweigern, die Einreise der Delegationen einschränken, die scharenweise Europa bereisen!“ Shirin Ebadi hofft, dass die deutsche Bundesregierung die entsprechenden Maßnahmen ergreifen wird, und zwar bevor alles zu spät ist. Sie sagt: „Bei Bakhtiars Ermordung waren wir Zeuge der Leichtfertigkeit der französischen Polizei. Der Mörder konnte erst durch die Schweizer Polizei gefasst werden. Wir waren Zeuge, wie die europäischen Staaten nach dem Mykonosattentat aus Protest ihre Botschafter abberufen hatten. So möchte ich, ohne eine Person, eine Instanz oder einen Staat anzuprangern, sagen, dass solche Reaktionen geeignet sind, solche illegalen Taten zu unterbinden“. Speech by Dr. Kazem Moussavi at the premiere of the movie “Iran Zendan” Kino Babylon Mitte, Berlin, 9.5.2010 I am very pleased to welcome you tonight to the world premiere of the film “Iran Zendan” by the famous Iranian director Mr. Daryush Shokof. I would also like to give you kind regards in the name of Daryush Shokof, the producer Ms. Eliv Sevim Akdogan, the co-producer Ms. Mahnaz Talebtari as well as Ms. Taies Farzan and all actors, actresses and the whole cast. Furthermore I would like to express our gratitude to the responsible people of the Babylon cinema for offering us the opportunity to sample the premiere of “Hitler`grave” by Daryush Shokof. “Iran Zendan” is a pioneer work of Mr. Shokof in the international cinema. This film is originated in a special historical situation in which Iran and it`s people are under religious dictatorship. Daryush dedicated the film to the Iranian people who want freedom and are against the Islamist regime. The actors in the film have often themselves been former political prisoners who show their own experience with the brutal violation of human rights by the mullah regime in Iranian prisons. This protest film turns out against the dominance of the 31 year old Islamist regime which commits crimes against humanity since more than three decades. The crude violence and arbitrariness which is used in the fight against peaceful protests on the streets, the politically motivated “show trials” of the arrested people and the executions of dissidents since the fake elections in June last year correspond with the inhuman character of the regime and its practice since 1979. The latest report of Amnesty International shows that the mullah regime is - related to area and population - a worldwide record holder of executions of dissidents as well as of children and teenagers below 18 years. This morning five prisoners have been executed by the killers of the Islamic republic in Iran. This is really terrifying! The Islamic republic of Iran is the most atrocious prison for women and homosexual people. According to known information there are more than 180 ways of torture in the mullah prisons, among them whipping, stoning and extremity amputation. According to state information there are more than seven million detentions up to now, among them a lot of homosexual men and women, bi- and transsexual people as well as women who did not accept forced veiling. According to official statements the arrested dissidents and protestors, men and women, are raped in the torture cellars of the regime by the revolutionary guards and Basiji units. The dead bodies of the victims are often not handed over to the families but burnt with acid and hastily buried. It is also known that religious minorities like Christians, Baha’i and Jews as well as ethnical minorities like the Kurds are persecuted and murdered. The dramatic situation of the workers became recently clear again when the regime fought back brutally the protests on May 1st. Up to now the regime has carried out 450 terrorist actions abroad. With an aching heart I remind here for example Mr. Dr. Schapour Bakhtiar in Paris, the cabaret artist Mr. Feridoun Faroukhzad in Bonn, Dr. Scharafkandi and his political friends in the Berlin restaurant “Mykonos” as well as Abdolrahman Ghasemlou in Vienna, Alireza Broumand in Paris, Dr. Kazem Radjawi in Geneva and Mohammad Reza Naghdi in Rome, who were murdered by killer commands of the Iranian secret services and the Lebanese Hezbollah. Finally, the backers of the so called dialogue and cultural exchange policy with the mullahs must understand: The regime tries to force back and annihilate all non-Islamic elements of the human Persian culture and civilization as well as other existing languages, traditions and religions. During the dirty appeasement policy of Germany and Europe the regime has arrested hundreds of dissenting artists, theater and film directors, poets, actors, writers cultural activists, etc., made them disappear or forced them into exile. Here, among us are a lot of filmmakers and cultural activists who have fled Iran due to the censorship policy and the suppression of the Islamic republic. Daryush is one of them. Moreover, under the rule of the clergy the Iranian society is massively confronted with a rising exploitation of the country`s resources, a serious environmental pollution and destruction, an extreme poverty, unemployment, drug addiction, prostitution – while, besides, predominantly the young people are affected –, an ailing militarized and nuclear economy in the hands of the revolutionary guards, corruption and many things more. These are also results of the longstanding excellent economic ties of Germany and Europe with the Islamic regime in Iran! I do not know with which kind of feeling you now await the film “Iran Zendan”. By this film one can learn to how important it is to advocate for humanity, freedom, happiness and the enduring development of the Iranian people who are in a struggle of existence against the atomic mullahs. I say this to the address of politics, economy and media in Germany and also in other western countries: The religious mullah regime is not reformable and it, meanwhile, threatens the whole world. Position yourselves in your own interest on the side of the Iranian people, the democratic secular protest groups and the cultural activists like Mr. Daryush Shokof, who espouse a free Iran. Dear Daryush Shokof, my last word also to you: Thank you for your valuable efforts! You are truly an asset for art, film and culture in Iran! Dr. Kazem Moussavi Associated Press about Daryush Shokof BERLIN (AP) An exiled Iranian artist and filmmaker has been missing for 11 days and German authorities are trying to determine his whereabouts, police said Friday. Daryush Shokof, a 55-year-old Berlin resident, was last seen on May 24 in Cologne, where he planned to board a train to Paris. "As of now we have no information about his whereabouts and we don't have any evidence that a crime took place," Berlin police spokesman Guido Busch said. "However, we're investigating in all directions and are in contact with various exile groups from Iran that are based in Germany." Kazem Moussavi, a friend of Shokof's and self-described regime critic, told The Associated Press that Shokof was "a harsh critic of the Iranian government and constantly received threatening phone calls." Last month, two new Shokof films critical of the Iranian government were shown in Berlin. In those two movies, "Iran Zendan" and "Hitler's Grave," Shokof sharply criticizes the regime's ideology and shows scenes of torture and rape at an Iranian prison. Moussavi said that he had not been able to reach Shokof by e-mail or on his cell phone since he disappeared. "We fear that the Iranian regime is responsible for his disappearance," Moussavi said. Javad Asadian, another friend and writer from Berlin, also said Shokof had received threatening phone calls. "He especially received these threatening phone calls after parts of his film 'Iran Zendan' were published on YouTube," Asadian told the AP. Asadian said he also had been trying to reach Shokof on his cell phone for the past 11 days and left many messages asking him to call back, but neither he nor other friends had heard anything from Shokof. "He was planning to visit Paris for about a week, but he never showed up at his friends' place there," he added. "I talked to them, they also haven't heard a word from him." The Berlin-based group Stop The Bomb, which is critical of the current Iranian government, also said in a statement that it is "concerned for the health and life of Shokof." Iranian Nobel laureate Shirin Ebadi told the Persian Service of German broadcaster Deutsche Welle that the fact "that a famous filmmaker gets on the train and then it's not known what happened to him is the responsibility of the German government," according to Iran Press News, an Iranian opposition Web site. "I hold the German state responsible for the disappearance of the Iranian artist," Ebadi was quoted as saying. The Nobel laureate could not immediately be reached by phone. Scheherezade Faramarzi contributed reporting from Beirut, Lebanon. Video with Daryush Shokof (Feb. 2010) Movie Iran Zedan Statement Daryush Shokof STB press release Statement Shirin Ebadi Speech about Iran Zendan Video Shokof (2/2010) Please support STOP THE BOMB! You can sign our petition, join our Facebook-Group or help us with a donation!	cc/2023-06/en_middle_0048.json.gz/line27
__label__cc	0.723279	0.276721	2022 Ford Mustang CONVERTIBLE+ECOBOOST ... Model: Mustang CONVERTIBLE+ECOBOOST PREMIUM + CUIR + CAMERA RECUL Stock no.: H4122 PERFORMNCE AND POWER+COLLISION ALERT+19'' MAGS This vehicle is eligible for the certified program. This certified program offers you : 1- A 3 month or 5000km manufacturers warranty and a possibility of extending that protection. 2- A 30 day or 2500km exchange privilage. 3- A 150 point certified inspection. 4- 24 hour roadside assistance. Vehicle is sold with a certified inspection report, CARFAX report, complete wash including carpet shampoo and paint decontamination. Vehicle with no lien at Registration in the Register and Movable Real Rights. Plate registration service (SAAQ), another detailed wash when vehicle is sold. Financing rebate included in advertised price upon credit approval from one of our bank partners. We do on the spot financing for 1st, 2ed and 3rd chance credit. NO CREDIT REFUSED! 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The 2015 Ford Mustang won't even be available to us mere mortals until fall, but they are pouncing on marketing initiatives that will expand their reach to markets both traditional and not so traditional. The company's iconic muscle car is simply everywhere. Last week the new Ford Mustang made a splash at the New York International Auto Show, where the world's eyes were focused on the 50th anniversary edition, rendering rivals nearly invisible. Ford recreated it's 1965 stunt, where they somehow managed to display the Mustang from great heights- the 86th floor observation deck of the Empire State Building. More Cars That Tried To Replicate The Mustang's Success The Mustang's wild success and popularity fifty years ago was almost unbelievable. Certainly, it was enough to create a great deal of envy among Ford's rivals. This of course spurred them to try and match the Mustang's success, each of course failing to do so. Other companies tried to develop their own version of the pony car, and within three years there were several competitors to the Mustang, but no other even came close to matching the Mustang's sales in the 1960s. The Mustang had a formula, one that was pretty straightforward. It came in three body styles- a coupe, a convertible and a fastback. It had a variety of engine choices and a low starting price. It also came with a wide list of options that allowed buyers to personalize their Mustang. Fifty years later one would think that it shouldn't have been too hard to replicate the formula, but it seems that manufacturers back then just couldn't make it work. Chrysler actually hit the market two weeks earlier than Ford with it's compact Barracuda. As the Mustang was derived from the Falcon, the Barracuda shared DNA with the Plymouth Valiant economy car. More 2015 Ford Mustang Convertible Revealed While the 2015 Ford Mustang has not yet arrived at dealerships, information about the convertible model has begun to appear. First of all, if you were hoping for a hard top convertible, forget about it! The 2015 Ford Mustang Convertible has a fabric roof and it comes in one colour, black. The three-ply roof has a softer appearance through the addition of a fourth and reinforcing foam insulation between the reinforcement and the top layer. The opening mechanism, developed in collaboration with Webasto, is now fully electric. It is quieter, more compact, and simpler than the electric-hydraulic mechanism it replaces. In addition, it is twice as fast, taking between 7 and 10 seconds to open, and 9 to 12 seconds to close. Unfortunately, it only works when the car is moving slower than 5 km/h. This means you'll need to pull over to the side of the road to close it in the event of a sudden downpour. More 2015 Ford Mustang Already Available Yes, believe it or not the 2015 Ford Mustang is already available... if you play the video game Need For Speed Rivals. Ford worked closely with Electronic Arts (EA) to provide all of the technical details of the new car. All this took place several months before the Mustang was unveiled to fans around the world, under tight secrecy. More	cc/2023-06/en_middle_0048.json.gz/line35
__label__cc	0.521808	0.478192	Signs of Sound +359 Gallery (Water Tower, Lozenets), Sofia Artist: Stela Vasileva Curated by Irina Batkova The project of Stela Vasileva, Signs of Sound is a multimedia installation that functions in-line with the architectural environment where it is exhibited. The first part of the project was created for the concert Stone Hall in the Balchik Palace for the Music Campus Balchik event. The installation consists of nine mirror double-sided panels, bent in the form of various sound waves. Besides being a plastic object, when placed near the musicians, they capture and reflect the vibrations of their instruments, and the mirror panels materialize not only the sound but also the play of light in the architectural environment of display. The second part of Signs of Sound will be developed for the space of the Water Tower in Lozenets (+359 Gallery). Music specially created for the site will sound within this project and the three-dimensional ‘sound waves’ will be displayed and illuminated in a new way corresponding to the cylindrical spiral movement of spectators in the tower. The possibility of encoding the features of today's world in sound and producing unknown harmony was one of the highlights of Dokumenta 14. They varied from an attempt to recreate the modern technocratic development of the socium in a musical work by reading drawings and other visual data with electromagnetic pen, creating musical instruments or sound devices from discarded objects that had sealed in sounds the stories of the objects to analysis of the noise in its multitude of forms destroying established codes, discourses, habits, aesthetics and morality. Projects that had made their mark on modern art history could also be seen in the Athens Conservatoire. One such project was that of Pauline Oliveros who in the 1970s explored the essence of hardware and software related to musical technology in order to address the nature of the time factor in a musical work through the natural characteristics of the technical equipment and its configuration. In Signs of Sound, the visual artist Stela Vasileva in collaboration with Stefan Hadjiev /violoncello/, Milen Apostolov /composer, conductor, musician/, Dobrin Petkov /architect, dj/, Elena Ganova /viola/, Ivan Staykov /violin/, Atanas Iliev /clarinet/, Svetlin Kratchev /violin/,Youliana Voikova-Najman /set designer, lighting / and Jiri Najman /lighting/ work with three-dimensional mirror sculptures, music and light on the idea of wave as an information medium. The basic physical property of the various types of waves is that they most often transfer energy, but there are occasions when the wave itself is the transfer of matter through a perfect vacuum. The elegant philosophy of this scientific definition is at the heart of the aesthetics of the Signs of Sound project. Its essence is not merely to present visually a reflection of a chart from physics accompanied by music and light, which in itself is a simple description of different types of waves, but to reason on the hidden connection of the elements of the world, on how they can become one sculptural object, light and music installed within a particular architectural environment. In Philosophy of New Music, published in 1949, Theodor Adorno connects music and painting marking the continuity between Debussy and Stravinsky: “the separate colourful complexes of Debussy are still connected to each other ... the sound is not interrupted but continues to vibrate beyond its boundary. Through such infusion, something like tangible infinity is formed …” Likewise, in impressionistic paintings, whose technique music has adopted dynamic impact and light effects are achieved through collocated patches of colour. “… Stravinsky embraced Debussy's concept of spatial two-dimensional music, and "giving space to music is more of a testimony to a pseudomorphosis of music with painting in the deepest essence of its abdication.” “Stravinsky sharply juxtaposes the spatial complexes of the individual parts, and the final product of the dynamics is layered like marble blocks.” These are just some of the characteristics of Stravinsky's revolutionary contribution to music, which is comparable to the transition from impressionism to cubism in painting. The concept of the Signs of Sound team in the Water Tower in Lozenets is every musician to play their part at a different level in the building. This separation of performers who have no visual contact with each other corresponds to the division and presentation of the sculpted ‘wave’ as individual segments that will not be conceivable as a whole, as the human eye cannot penetrate the architectural barriers, but will be united by the sounds of the individual instruments and the play of light. The ultimate result is an integrated multimedia installation that follows its own rhythm, evolving in time and space without a beginning and an end encoded in the harmony of music.	cc/2023-06/en_middle_0048.json.gz/line36
__label__wiki	0.550764	0.550764	Home / Tapestry Tag: Tapestry Artist Focus: Carolina Yrarrázaval June 2, 2021 arttextstyle0 Comment Carolina Yrarrázaval portrait by Tom Grotta Strength and refinement are words used by those who review or just experience Carolina Yrarrázaval’s elegant tapestries. For a 2003 solo exhibition at the Chilean Museum of Fine Art in Santiago, Sheila Hicks wrote of her works: “Somber steps/weaving dignity/without digression/relentless ascent/rigorous denial/without shame.” Yrarrázaval’s work features a formal and chromatic purity, achieved through the use of colors achieved through a personal dyeing process. Tapestries by Carolina Yrarrázaval. Photo by Tom Grotta There are multiple influences reflected in Yrarrázaval’s work. A solo exhibition, Capas de Recuerdos, at the Centro Cultural Las Condes in 2019, was entitled Layer of Memories, reflecting the layers of weaving, years of research and volumes of textures that feature in her work. Yrarrázaval draws on different manifestations and cultures, from pre-Hispanic geometry to the subtlety and mystery of Japanese textiles. Detail of Memoria Andina, Carolina Yrarrázaval, linen and cotton, 54.25″ x 25.25″, 2019. Photo by Tom Grotta For example, she lives on the Chilean coast and that environment infuses her work, which features blue greens, wavy lines and iridescent threads that reflect the colors of the beach and lines of the ocean and the horizon. She has traveled to India and Japan and cites costumes she saw there as another influence, evident in deep reds and indigos. She works in linen, jute, cotton, silk, raffia and hemp. 17jy Amazonas, Carolina Yrarrázaval, yute, jute, raffia and silk, 35.5” x 39.25”, 2017. Photo by Tom Grotta Traditional textiles are still another source of influence for Yrarrázaval. “Throughout my entire artistic career I have devoted myself to investigating traditional textile techniques from diverse cultures, especially Pre-Columbian techniques, trying to adapt them to my creative needs. Abstraction has always been present as an aesthetic aim, informing my choice of materials, forms, textures and colors. The simple proportions are guided by an intuitive sense that avoids the use of mathematical formulas.” Artist Focus: Blair Tate April 8, 2021 arttextstyle0 Comment Blair Tate self portrait, 2021 Blair Tate has explored flat woven grids in her work since the 70s. Her work evidences an “austere elegance,” Jack Lenor Larsen and Mildred Constantine observed in the seminal The Art Fabric: Mainstream in 1985. “I began weaving in the early 70s, under the influence of 60s Minimalism and modernist architecture,” she wrote in 1986. “I believed that form should follow function and accordingly I sought an objective basis for my work. In this, I was reacting against the majority of the weavnig I saw at the time: weaving that seemed either unfocused and overwhelmed by an eruption of materials, or myopically and exclusively concerned with complex technique …. I determined that my work in fiber should come from fiber and celebrate the medium.” Rift, Blair Tate, linen, cotton rope and aluminum, 96″ x 65″, 1991. Photo by Tom Grotta To compose her works, Tate creates modular units of woven linen strips tied together with cotton cords. The knots that result create an additional pattern — what Tate considers a scaffold for the tapestry, producing a second complicating scrim. She sees an analogy between textile and text. The strips are like sentences that can be edited, “rearranged to re-contextualize, to forge relationships, to develop meaning.” Her influences are diverse, African kente cloths “for their beauty and directness,” Baroque architecture, Berber carpets, Italo Calvino’s, If on a Winter’s Night a Traveler, and an appreciation for Japanese order and symmetry, broken by natural variations. In addition to her weavings, she has worked as a commercial textile designer, authored The Warp: A Weaving Resource (New York: Van Nostrand Reinhold, 1984) which analyzes the elements of weaving, and in the past year, she has made masks for neighbors, friends and a local care center. Pangaea, linen, cotton rope and aluminum, 46″ x 29″ x 1.5″, 2021 2021 Small Gemelli, woven linen, spago (hemp). loosely constructed plaid. It exposes and clarifies each element of weaving – counted wefts follow a small doubling sequence within parallel warps which leave all weft ends exposed, 24.75” x 18.75” x 3.25”, 1977 In Adaptation: Artists Respond to Change this spring at browngrotta arts (May 8 -16), Tate will exhibit two works that explore her ideas about the warp. Small Gemelli (1977) was one of her earliest pieces to focus on the elements of weaving. It is a simple plaid – one of the most fundamental woven configurations – but opened to keep both warp and weft distinct. In Panagea, created this year, Tate consciously wove to the very limits of her warp to minimize loom waste. In the past, she says, “I might have incorporated interruptions in the strips while weaving, thereby wasting the unwoven warp; in Pangaea, the gaps emerge only in the rearranging.” Detail of Jaiselmer by Blair Tate, linen, cotton rope and aluminum, 73″ x 39″, 1999. Photo by Tom Grotta Process Notes: Aleksandra Stoyanov September 18, 2019 arttextstyle0 Comment Aleksandra Stoyanov, 9as Reflection wool, plexiglas, 8” x 8.125” x 3.375, 2004 photo by Tom Grotta We recently corresponded with Aleksandra Stoyanov, known as Sasha, about her practice and influences. Here is what we learned: On Influences Sasha began drawing in childhood. She was not very healthy as a child. She spent a lot of time in the hospital and this influenced her further understanding of people and life itself. Aleksandra Stoyanov, 5as JUDGES wool, sisal, 91” x 60”, 1998. Photo by Tom Grotta Her mother sent Sasha to a Art School in Odessa to study drawing. Afterschool she attended Odessa Theater Art College where she studied stenography, graphic arts, painting and theater. Her first great art inspiration in college was her teacher Leon Alshits. He gave her an understanding of composition and the understanding that objects can speak with the same significance as a man and that objects have their own biographies. Studying in Theatrical college altered Sasha’s vision of the world she lived in. Among other things, Sasha was inspired by both Medieval Art and especially taken with black-and-white photography. Aleksandra Stoyanov, Personal space wool, linen, silk tapestry, 63” x 208.7” 2004 After college Sasha worked in theater production but was disappointed. She left the theater and began experimenting with threads. Sasha loved playing with threads. Feeling a thread for Sasha was feeling a living material. The feeling of thread as a live material and a desire to draw with it brought Sasha to develop her own technique. She began working on a small, simple frame loom working in bright colors. Aleksandra Stoyanov, 2as From Chaos to Reality, 103″ x 101″, 2003 In the 90s, Sasha and her husband Yan Belinky, packed up and left Odessa to get away from the anti-semitism there that was growing worse. They chose Israel as a better environment to bring up their daughter and give her a motherland. They had no idea what to expect since there was no internet. They just picked up and flew to Israel. Detail of Aleksandra Stoyanov tapestry, From the First Person I, wool, sisal, silk, cotton threads, 49.25” x 55.6”, 1999 From the First Person II is in the permanent collection of the Metropolitan Museum of Art. Photo by Tom Grotta In Israel, Sasha learned from Zilli Landman how to work on large looms for her tapestry. Landman helped her refine her technique for weaving on these large looms. 4as FORWORD, Aleksandra Stoyanov, brown paper and thread, , 106.5″ x 45.5″ Sasha began making her own handmade threads from the wool of the Avassi sheep. Sasha makes all of her threads from their wool, which she says are the only sheep whose wool has the texture she prefers. She dyes the wool in large batches to create the palette for her works. Sasha’s color palette has completely changed since moving to Israel. She fell in love with the colors of the burnt summer dessert. Sasha has found that grey-brown hues can suggest more colors and be more expressive than bright colors. Burnt trees, grass and rocks have been the main colors of her palette ever since. ART ASSEMBLED FEATURED IN JUNE June 30, 2017 arttextstyle0 Comment The start to summer has been quite busy for browngrotta arts. At the beginning of June browngrotta arts’ opened Plunge: explorations from above and below in collaboration with the New Bedford Art Museum in New Bedford, Massachusetts. Soon after came the launch of Cross Currents: Art Inspired by Water, an online companion exhibition to Plunge. We’ve featured four works on our website as New This Week—three sculptures and a tapestry. Reaching Out by Karyl Sisson, vintage zipper tape and thread, 8″ x 56″ x 45″, 2013 Made with vintage zipper tape and thread, Karyl Sisson’s Reaching Out cloaks the floor in a deep red. Many of Karyl’s sculptures resemble sea creatures, Reaching Out, which can be viewed in Plunge, resembles an octopus lingering along the seafloor. Rather than starting with a set idea of what she wants to create, Sisson lets the materials and processes dictate the form of her pieces. On the Dock by Helena Hernmarck, wool, 43″ x 57″, 2009 Helena Hernmarcks’ tapestry On the Dock depicts two women enjoying the sunshine. Hernmarck. On the Dock can also be viewed with other water-influenced works in Cross Currents, at browngrotta.com. Peninsula by Mary Merkel-Hess, paper, paper cord 22” x 22” x 44”, 2016 Peninsula, a sculpture made with paper and paper cord, reflects Mary Merkel-Hess’ study of the natural world. Using a technique of her own creation, Merkel-Hess builds each piece using a combination of collage and paper mâché with inclusions of materials such as reed, paper cord, wood, and drawings. Intrusion by Dail Behennah, scorched and waxed white willow; silver black patinated and plated pins, 2″ x 22″ x 22″; 2014 Intrusion, a white willow basket made by Dail Behennah draws in the eye with its grid-like basket architecture. Dail drew inspiration for this piece from igneous intrusions into landscapes. As the softer rocks are worn away the peaks and tors remain hard-edged outcrops on the surface. Art Assembled: Featured in December December 27, 2016 arttextstyle0 Comment Dona Look 10dl #10-1, white birch bark and waxed silk thread, sewn with wrapped edge 12.6” x 10” x 10”, 2010 10dl #13-2, woven white birch bark, sewn and wrapped with waxed silk thread 13.75” x 8.5” x 8.5”, 2013 9dl #15-2, white birch bark and waxed silk thread sewn exterior, woven interior and wrapped edge 11.75” x 11.75” x 11.75”, 2015. Each week of the year at browngrotta.com, we draw attention to a work, a book or a project by one of the artists we represent. Beginning this December, we’ll be providing a monthly round up of these works here on arttextstyle.com. This month on browngrotta.com we featured four very disparate works. First, baskets of white birch by Dona Look, who harvests the bark herself in Wisconsin where she lives. “Look carefully selects bark from large, healthy trees that will soon be logged—evaluating the diameter of each tree and the bark’s thickness, for its unique markings and flexibility,” explains Jane Milosch in “The Entanglement of Nature and Man,” Green from the Get Go: Contemporary International Basketmakers (browngrotta arts, Wilton, CT 2016). “Collecting and preparing the bark is painstaking and must be done in the spring when the sap is running. Unfortunately, her work has become increasingly difficult of late as not all of the trees are in a natural cycle, and some are dying due to climate change, such as white birch trees, once prevalent in northern Wisconsin forests.” The simple geometric patterns of some of her works, writes Milosch, “recall the patterns of Native American parfleche pouches, which were a kind of geographical depictions of the surrounding land, at the same time her basket preserves the radiant splendor of birch.” 31kk Kyoko Kumai, Sen Man Na Yu Ta, stainless steel filaments, 44″ x 38″ x 7.75″, 2016. Photo by Tom Grotta A strikingly different sensibility is evident in Sen Man Na Yu Ta, Kyoko Kumai’s wall sculpture of stainless steel. The steel filaments, mass-produced in a factory, are inorganic and monotonous by themselves, but when they are woven, twisted or bundled together they take on an organic appearance that serves to express various aspects of wind, air and light. 32jb Glass Boat, Jane Balsgaard, plantpaper, twigs and glass, 14″ x 13″ x 1.5″ 2015. Photo by Tom Grotta Our third choice, Jane Balsgaard’s Glass Boat, deftly blends a sail of lightly processed handmade paper and a hull of glossy glass. Finally, in Process Piece, Ed Rossbach takes on construction, deconstruction and reconstruction in one work. First, he printed an image onto fabric, then he unraveled the fabric and finally re-constructed it into a new version. “I thought he was crazy,” his wife, artist Katherine Westphal told us. The four works create a fine sentiment for 2017: Seek the splendid, airy, shiny and light; be willing to re-envision and remake. 159r Process Piece, Ed Rossbach, 15″ x 15″ x 2.5″, 1981. Photo by Tom Grotta Influence and Evolution Introduction: Federica Luzzi April 10, 2015 arttextstyle0 Comment Frederica Luzzi Black and Red Shell Installation, Influence and Evolution: Fiber Art…then and now. Photo by Tom Grotta A series of Federica Luzzi’s intricate sculptures of linen rope will be featured in Influence and Evolution: Fiber Art…then and now. The Italian artist’s 2014 work, White Earth Shell, won the prestigious Montrouge Prize at the 10th annual Miniartetextil á Montrouge, produced by Arte&Arte in France and was acquired by the city, becoming part of the 10th annual Miniartetextil á Montrouge poster. photo by Federica Luzzi collections of the town hall, and, in 2015, gracing the invitations and posters for the 11th annual contemporary textile art event. Her work has also been exhibited at the Central Museum of Textiles, Lodz, Poland, the Jean Lurçat Museum of Contemporary Tapestry, Angers, France (comparing her work with that of Jagoda Buic), the Alvar Aalto Museum in Finland and the Royal Museums of Art and History, Brussels, Belgium. “My artistic research deals with nature,” the artist explains, “in particular leaves, barks, but above all seeds of plants, pods that give me great fascination and the reason I entitle my works Shell, the English equivalent for the Italian “conchiglia”, conch. The term “shell” is based on the linguistic valence of covering, when shapes shut themselves up: Frederica Luzzi Black Shell Detail, photo by Tom Grotta carapace, cuirass, frame, carcass, skeleton, projectile, appearance, scale.” She uses a vertical loom which allows her to work thefibers from their frame to three-dimensions. She presents her works in a dimensional installation, “as if they were fragments of a galaxy: macrocosm and microcosm together; disseminations, sowing of fragile bodies aggregated magnetically and arranged in constellations or in an unknown writing.” A “constellation” of Luzzi’s black knot-like pieces is among the works by this artist that will be on display at Influence and Evolution, which opens at 3pm on April 24th. The Artists Reception and Opening is on Saturday April 25th, 12pm to 6pm. The hours for Sunday April 26th through May 3rd are 10am to 5pm. To make an appointment earlier or later, call: 203-834-0623. 25 at 25 at SOFA NY Countdown: Carolina Yrarrazaval Silk, Carolina Yrarrazaval, Photo by Tom Grotta Chilean artist Carolina Yrarrázaval is one of the 25 artists whose work browngrotta arts will feature at SOFA NY. Throughout her career, Yrarrázaval has investigated and adapted traditional textile techniques from diverse cultures, especially Pre-Columbian techniques. Matrix II-201011 by Chang Yeonsoon, indigo dyed abaca fiber26.75” x 26.5 “x 10”, 2010 “Abstraction has always been present as an aesthetic aim,” she says, “informing my choice of materials, forms, textures and colors.” She works with simple proportions, guided by an intuitive sense and avoiding the use of mathematical formulas. This simplification and freedom from conceptual constraints combine says the artist, “to reveal a language that conjures up other impressions, such as emptiness and the need for austerity and sensuality, silence and aloneness.”Yrazzával’s work has ben exhibited in the National Museum of Fine Arts, Santiago Chile; Interamerican Bank Gallery, Washington, D.C.; Pre-Columbian Arts Museum, Santiago, Chile; Le Recoleta Cultural Center, Buenos Aires, Argentina; Central Museum of Textiles, Lodz, Poland (International Triennial of Tapestry); Graz, Austria (International Textile Symposium); Goethe Institute, Santiago, Chile; Montevideo, Uruguay (Latin American Mini-Textile Exhibition); Valparaiso, Chile (Concurso de Arte Joven); Havana, Cuba (IIIrd Havana Biennial) and the Chilean Consulate Gallery, New York, New York. 25 at 25 at SOFA NY Countdown: Lija Rage Animal, Lija Rage, photo by Tom Grotta At SOFA NY this April, browngrotta arts will introduce the work of Latvian artist Lija Rage. Rage’s work is influenced by different cultures that she plunges into with the help of literature. Rage says she is particularly interested in drawings of ancient cultures on the walls of caves in different parts of world; Eastern culture with its mysterious magic, drawings of runes in Scandinavia, Tibet and the mandala, Egyptian pyramid drawings. “World culture,”she says, “seems close and colorful to me due to its diversity.” For Rage’s work Animal, one of two that browngrotta arts will display at SOFA NY, Rage was inspired by prehistoric cave drawings. These drawings illustrate myths, Rage explains, “not only about our past, but about masculine and feminine, about pagans and Christians, about God and good and evil and about the eternal meaning of human existence.” Rage used silk and copper threads in Animal, to illustrate the mystical effect that cave drawings have on her. Animal, Lija Rage, silk, metallic thread, flax, 46″ x 65″, 2006 photo by Tom Grotta Rage’s work has been exhibited in numerous venues including the Decorative + Applied Art Museum, Riga, Latvia; Contemporary Art Museum, Liege, Belgium; Cheongju, Korea; Artist Union of Latvia Art Collection, Riga; Art Museum of Oulu, Finland; Whitworth Art Gallery, University of Manchester, England; Exhibition Hall Arsenals, State Museum of Art, Riga, Latvia; Beauvais, France; Artist Union Gallery Riga Latvia ; Estonian Museum of Applied Art and Design, Tallinn, Estonia; Riga Gallery, Latvia; Kaunas, Lithuania; UNESCO Exhibition Hall, Paris, France. Rage received the Special Prize in the 5th Cheongju International Craft Biennial and the Grand Prix, at the Baltic Applied Art Triennial. 25 at 25 at SOFA NY Countdown: Susie Gillespie March 30, 2012 arttextstyle0 Comment SETTLEMENT detail by Susie Gillespie, photo by Tom Grotta Susie Gillespie’s weavings contain many influences besides those of ancient textiles that have survived the millennia. The artist writes that she finds “beauty in the ruins of what once must have been new: the patterns in damp and crumbling plaster; the remains of paint on decayed wood; rotting bark; broken carvings; fallen monoliths. Some of these I express in broken borders, insets and slits; twining and wrapping; weaves of herringbone and twill; mends, darns, fraying; drawn threads and slits.” She seeks to reinvent the past to some extent, “Despite my weaving having roots in the past, I look forward to a future where we do not discard things because they are worn out or outmoded. Out of decay and disintegration I wish to express a sense of renewal.” Settlement by Susie Gillespie, antique handspun linen & Nepalese nettle yarn, modern linen, cotton, natural pigments from caves. gesso, hand-made paper, 45.5″ x 48″ x 1″, 2010, photo by Tom Grotta At SOFA NY 2012, browngrotta arts will exhibit Gillespie’s 2012 work, Settlement, in which the artist has combined antique handspun linen yarn, handspun Nepalese nettle yarn, modern linen, cotton, natural pigments from caves, gesso and handmade paper to create a contemporary haptic artifact. Gillespie’s work has been exhibited at the Coombe Gallery, Dartmouth, UK; Somerset House, London, UK (Origin); Torre Abbey, Torquay, UK; Brewery Arts Centre. She is a recipient of the Theo Moorman Trust Weaving Award. Art into Text: Naomi Kobayashi’s Work Inspires a Plot Twist KAKU 2000/106 & 104 Naomi Kobayashi, paper and thread, 17” x 13.5” x 2” William Bayer, author of The Dream of the Broken Horses, Switch, Peregrine and Punish Me With Kisses, among other titles, has woven Naomi Kobayashi’s art into his upcoming novel – working title, In the Weave. Bayer is a collector of Kobayashi’s art work — weavings of thread and strips of washi paper on which she has written calligraphy. For his new book, Bayer envisioned a character with a secret recorded on paper that she protects by cutting the pages into strips and incorporating it into a weaving, which is then unraveled so the paper strips can be steamed and pieced back together to reveal the secret. When contacted for her advice, Kobayashi agreed that a weaving of paper strips and thread could be de-constructed and de-coded as Bayer planned; the paper strips would survive steaming and unraveling, she wrote, because handmade washi paper is strong. She worried, however, that the ink might blur during steaming and suggested that Bayer’s character use oil-based ink. We’ll let you know when the book is ready to hit bookstore shelves. In the meantime. We’ve gotten Bayer’s permission to share a snippet of what’s to come: From In the Weave, by William Bayer: Kate and I are up in the A.I.R. loft. Liv’s weaving is spread out before us, reminding me of that T. S. Eliot line “like a patient etherised upon a table.” In fact, we have set TPR on the apartment dining table, and beside it have set out our instruments: scissors, needles, tweezers. Surgery is about to commence. Kate smiles. “Nervous?” “How can I not be?” “I think you should make the first cut,” she says. I nod, gaze down at the weaving, so beautifully finely made. And then I take the scissors in hand, and begin. We’ve discussed this deconstruction process at great length, and though we’re not certain if we’re right, we’ve decided to start by scissoring off the top selvage, snip the cotton warp in numerous places to try and loosen the weave, then pluck out the first several washi paper wefts. It’s our hope that if we steam these wefts, they’ll open up and flatten out. Then and only then will we be able to determine if there’s writing on them. If there is, we’ll repeat the process hundreds of times until we’ve removed and steamed open all the strips, and then try, as puzzle solvers, to reassemble these strips until we’ve reconstructed the original sheet of paper. Only then will we be able to read whatever Liv may have written on it. We know this process will be laborious, will take us many hours, and may, in the end, come to nothing. In which case we will have destroyed her amazing work of art. But what choice do we have? If Liv did in fact “conceal my pain in the weave,” we must uncover it. And if she didn’t, we’ll be left with nothing but a heap of cotton thread and marked up paper strips, and a tremendous amount of remorse.	cc/2023-06/en_middle_0048.json.gz/line37
__label__wiki	0.907677	0.907677	Tag Archives: Ametek Bakken Crude, Crude By Rail, Derailment, Explosion, Federal Regulation (U.S.), Fire, Light ends, North Dakota, Oil conditioning, State regulation, Volatile gases New vapor pressure rule in North Dakota fails to account for additional explosion risks Repost from Reuters [Editor: Reference below is to an important new Energy Department study on the volatility of Bakken crude. – RS] North Dakota’s new oil train safety checks seen missing risks By Patrick Rucker, Mar 31, 2015 4:14pm EDT WASHINGTON, March 31 (Reuters) – New regulations to cap vapor pressure of North Dakota crude fail to account for how it behaves in transit, according to industry experts, raising doubts about whether the state’s much-anticipated rules will make oil train shipments safer. High vapor pressure has been identified as a possible factor in the fireball explosions witnessed after oil train derailments in Illinois and West Virginia in recent weeks. For over a year, federal officials have warned that crude from North Dakota’s Bakken shale oilfields contains a cocktail of explosive gas – known in the industry as ‘light ends.’ The new rules, which take effect on April 1, aim to contain dangers by spot-checking the vapor pressure of crude before loading and capping it at 13.7 pounds per square inch (psi) – about normal atmospheric conditions. The plan relies on a widely-used test for measuring pressure at the wellhead, but safety experts say gas levels can climb inside the nearly-full tankers, so the checks are a poor indicator of explosion risks for rail shipments. It is “well-understood, basic physics” that crude oil will exert more pressure in a full container than in the test conditions North Dakota will use, said Dennis Sutton, executive director of the Crude Oil Quality Association, which studies how to safely handle fossil fuels. Ametek Inc, a leading manufacturer of testing equipment, has detected vapor pressure climbing from about 9 psi to over 30 psi – more than twice the new limit – while an oil tank is filled to near-capacity. About 70 percent of the roughly 1.2 million barrels of oil produced in North Dakota every day moves by rail to distant refineries and passes through hundreds of cities and towns along the way. The state controls matter to those communities because there is no federal standard to curb explosive gases in oil trains. North Dakota officials point out that the pressure limit is more stringent than the industry-accepted definition of “stable” crude oil. They also say that they lack jurisdiction over tank cars leaving the state and that the pressure tests are just one of the measures to make oil trains safer. “We’re trying to achieve a set of operating practices that generates a safe, reliable crude oil,” Lynn Helms, director of the North Dakota Department of Mineral Resources, has said. Helms has also said that test readings for near-full containers were less reliable. However, given different testing and transport conditions, industry officials say the pressure threshold may need to be lowered to reduce the risks. Limiting vapor pressure to 13.7 psi in transit would require an operator to bring it to “something well below that” at the loading point, Sutton said. The uncertainty about regulatory reach and safety has spurred calls for the White House to develop national standards to control explosive gas pressure. “Let me be really clear,” Democratic Senator Maria Cantwell of Washington state told reporters last week. “They should set a standard on volatility.” The National Transportation Safety Board, an independent safety agency, has already encouraged a federal standard for “setting vapor pressure thresholds” for oil trains citing Canadian findings linking such pressure and the size of explosions in train accidents. Meanwhile, a leading voice for the oil industry is lobbying Congress to resist federal vapor pressure benchmarks. Last week, the American Petroleum Institute urged lawmakers to oppose “a national volatility standard” and pointed to an Energy Department study that the severity of an oil train mishap may have more to do with the circumstances of the crash than the volatility of the cargo. That same report said much more study was needed to understand volatility of crude oil from the Bakken. (For a link to the study: tinyurl.com/nvjqmxt) The oil industry has said that wringing ‘light ends’ out of Bakken crude may keep a share of valuable fuel from reaching refineries. Reuters reported early this month that Transportation Secretary Anthony Foxx took his concerns about Bakken oil volatility to the White House last summer and sought advice on what to do about the danger of explosive gases. The administration decided that rather than assert federal authority it would allow the North Dakota rules to take root, according to sources familiar with the meeting. (Reporting By Patrick Rucker; Additional reporting by Ernest Scheyder in North Dakota; Editing by Tomasz Janowski, Bernard Orr) American Petroleum InstituteAmetekBakken crudeCrude by RailCrude Oil Quality AssociationDerailmentexplosionFederal Regulation (U.S.)FireLight endsNorth DakotaNorth Dakota Department of Mineral ResourcesOil conditioningSenator Maria CantwellState regulationTransportation Secretary Anthony FoxxU.S. National Transportation Safety Board (NTSB)Volatile gases Bakken Crude, Explosion, Hazardous cargo transparency, Hazmat notification, Rail accidents, Risk Assessment Setting the record straight on the oil industry studies of Bakken crude by rail June 2, 2014 Roger Straw Industry tests of oil train dangers need scrutiny, U.S. officials say By Patrick Rucker \| WASHINGTON, June 2, 2014 (Reuters) – Oil industry studies concluding that Bakken crude oil is safe to move by rail under existing standards may underestimate the dangers of the fuel and should not be the last word, U.S. lawmakers and industry officials said on Monday. In the past year, several doomed oil trains originated from North Dakota’s Bakken region, including a shipment that jumped the tracks and burst into flames in Lynchburg, Virginia, on April 30. Last July, a fiery derailment destroyed the center of the village of Lac-Megantic, Quebec, killing 47 people. Two industry-funded studies conclude Bakken fuel is rightly classed as a flammable liquid that can safely move in standard tank cars. The cargo is nothing akin to flammable gasses like propane that must move in costlier, heavier vessels, the oil industry has said. But the industry findings hinge on incomplete and out-of-date methods for determining vapor pressure, an important indicator of volatility, that may miss the true dangers of Bakken fuel, according to several industry officials. Lawmakers say they expect regulators to scrutinize the industry’s findings. “These studies should be taken with a grain of salt,” said Senator Charles Schumer, Democrat of New York, a state that is a major pass-through point for Bakken fuel. One study released May 20 by the North Dakota Petroleum Council (NDPC) collected samples with open bottles rather than a precision instrument, known as a floating piston cylinder, that is being adopted by the industry. Gas can escape with bottle sampling and such tests are unreliable, said the Canadian Crude Quality Technical Association, a trade group. “We would consider the data suspect,” the group said. ASTM, an international standard-setting body, last month deemed the floating piston cylinder the right tool for Bakken fuel samples. Open bottle samples can skew vapor pressure nearly 10 percent lower, according to research from Ametek, which manufactures testing equipment. Industry officials say that any underestimation of vapor pressure would be negligible. Vapor pressure results did not exceed 15 pounds per square inch (psi) in the NDPC report. A separate study by the American Fuel and Petrochemical Manufacturers (AFPM) returned readings below 17 psi. The threshold pressure for flammable gas is 43 psi under those same conditions. Rich Moskowitz, general counsel for the AFPM, the refining industry trade group, said its report “clearly found that Bakken crude oil is properly transported as a flammable liquid. That’s the bottom line.” Industry officials note that the U.S. Department of Transportation has not issued any of its own findings on Bakken fuel despite collecting samples since the summer. The issue will likely be raised on Tuesday at a panel of the Senate Commerce Committee which will feature testimony from railroad regulators, among others. “It is my hope that any private data collection and studies on this issue will be highly scrutinized,” said Senator Cory Booker, Democrat of New Jersey, who sits on the panel. (Reporting by Patrick Rucker; Editing by Grant McCool) American Fuel and Petrochemical Manufacturers (AFPM)AmetekASTMBakkenCanadian Crude Quality Technical AssociationLac-Megantic QuebecLynchburg VirginiaNorth Dakota Petroleum Council (NDPC)U.S. Department of TransportationU.S. Senate Commerce Committee	cc/2023-06/en_middle_0048.json.gz/line40
__label__cc	0.573523	0.426477	From Media to Metaphor: Art About AIDS in Publications Can art save lives? Not directly. But it can help the rest of us live. From Media to Metaphor: Art About Aids chronicles the visual conversation in which artists reflected on the AIDS epidemic in 1993 during the height of the deepening and ongoing catastrophe. Bound by a green and copper prismatic cover, the exhibition catalogue includes a dialogue between Robert Atkins and Thomas W. Sokolowski on the art world’s role in invoking the American psyche of the time, a pop-out timeline of the AIDS crisis, and full-page renditions and descriptions of works by dozens of artists from the groundbreaking exhibition. Atkins, Robert and Sokolowski, Tom, From Media to Metaphor: Art About Aids, Independent Curators International (ICI), New York, 1992. 72 Pages, 11.7 x 7 inches, softcover. ISBN: 0916365344. $20.00	cc/2023-06/en_middle_0048.json.gz/line42
__label__wiki	0.983332	0.983332	Microsoft ‘Suspends’ New Sales of Products, Services in Russia Microsoft is halting new sales of its products and services in Russia, the tech giant announced Friday, in the latest fallout over Moscow’s invasion of Ukraine. Western governments, sporting organizations and big companies have cut Russia off or dealt it punishing sanctions over the internationally condemned attack on its neighbor. The US-based company behind software that runs on over one billion devices, said it would “suspend all new sales of Microsoft products and services” in Russia, but declined to elaborate on how the policy would be applied. “Like the rest of the world, we are horrified, angered and saddened by the images and news coming from the war in Ukraine and condemn this unjustified, unprovoked and unlawful invasion by Russia,” Microsoft president Brad Smith said in a blog post. Apple has already moved to halt sales of its products in Russia, while US-based social media platforms like Facebook and Twitter have taken steps against the spread of Russian state-linked media in response to the invasion. Microsoft said it has also taken action over harmful cyberattacks against the Ukrainian state. “Since the war began, we have acted against Russian positioning, destructive or disruptive measures against more than 20 Ukrainian government, IT and financial sector organizations,” Smith’s blog said. Condemnation of invasion – “We have also acted against cyberattacks targeting several additional civilian sites,” he added. Ukraine’s government has been seeking help from all quarters and has taken to Twitter to individually name companies that it wants to cut off business with Russia. “You are definitely aware of what is happening in Ukraine right now… If you support human values, you should (leave) the Russian market!” Ukraine vice prime minister Mykhailo Fedorov tweeted to Microsoft-owned Xbox and Sony’s PlayStation. The news comes after Intel and Airbnb announced they were pausing business in Russia and Belarus on Thursday, joining the tech freeze-out of Moscow. Airbnb’s co-founder and CEO Brian Chesky, who has added a Ukrainian flag to his Twitter profile, tweeted that the company “is suspending all operations in Russia and Belarus,” without giving further details. The vacation rentals platform also announced on Monday that it would offer free short-term stays for up to 100,000 people fleeing fighting in Ukraine. Chipmaker Intel said it “condemns the invasion of Ukraine by Russia and we have suspended all shipments to customers in both Russia and Belarus.” Companies have also taken action regarding ad revenue and monetization, with Google announcing Thursday it had suspended advertising in Russia. “In light of the extraordinary circumstances, we’re pausing Google ads in Russia. The situation is evolving quickly, and we will continue to share updates when appropriate,” Google said in a statement. The Silicon Valley giant had already barred Russian state-linked media like RT and Sputnik from YouTube in Europe, while also restricting the outlets’ content on Google News. © 2022 Bloomberg LP For details of the latest Nokia, Samsung, Lenovo, and other product launches from the Mobile World Congress in Barcelona, visit our MWC 2022 hub. How to watch The Batman (2022): Can you stream it yet? Apple Investors Urge Company to Undergo Civil Rights Audit	cc/2023-06/en_middle_0048.json.gz/line45
__label__wiki	0.847189	0.847189	Iowa Dems See Upset in Pennsylvania As Sign of Steve King’s Vulnerability Democrat Conor Lamb narrowly defeated his Republican rival Tuesday in a congressional district as conservative as Iowa’s 4th — but there are a couple key differences between the two races In a huge upset Tuesday in Pennsylvania’s 18th Congressional District, Democrat Conor Lamb defeated Republican rival Rick Saccone by just over 600 votes. The deeply conservative district, which was given an R+11 rating by the nonpartisan Cook Political Report’s Partisan Voting Index, was heavily gerrymandered and won by Donald Trump in 2016 by 20 points. Lamb’s victory has translated to a bit of newfound optimism for Democrats in Iowa who wonder if 2018 could be the year that Iowa’s 4th District Congressman Steve King is finally defeated after easily knocking off all of his previous general election rivals. Last night on Twitter, J.D. Scholten — the Democrat currently best positioned to win the four-way Democratic primary to face King in November — pointed out that the Cook Political Report’s PVI for the district is also R+11. Later that night, fellow contender Leann Jacobsen made the same point. If there was any doubt that Steve King was vulnerable this year, #PA18‘s PVI is R+11, the same as #IA04. We can #DethroneTheKing with your help! https://t.co/MEtJjUrdZ7 — J.D. Scholten (@Scholten4Iowa) March 14, 2018 #PA18 is the same index as #IA04 (R +11). I know we can win here in Iowa if we stick to the values that make this district so special. Win or lose for @ConorLambPA, we can keep the #BlueWave2018 going! https://t.co/h6K4O0e4ve — Leann Jacobsen (@LeannForIowa) March 14, 2018 Indeed, the race appears that it’s shaping up to be King’s toughest challenge since at least 2012, when former Iowa first lady Christie Vilsack moved to Ames to take him on. She ended up losing the election by 8 points, although it was a presidential cycle and not a midterm election like 2018, where historically the party out of power has made significant gains. This year, Iowa Democrats seem especially energized; a potentially competitive primary to take on King is out of the ordinary, and there is palpable anger about the actions of both the Trump administration and Statehouse Republicans. In a Des Moines Register poll from last December, 39 percent of 4th District respondents said they would vote Republican in the congressional election compared to 36 percent who said they’d vote Democratic and 14 percent who said they weren’t sure. Still, there are at least a couple key differences between Tuesday’s election in Pennsylvania and the election this November for Iowa’s 4th District that may be worth considering to temper expectations. First, Pennsylvania’s 18th District was an open seat; the special election was called after the resignation of anti-abortion Republican Tim Murphy, a married father who was having an affair with a younger woman he impregnated and asked to have an abortion. King, on the other hand, is an eight-term incumbent, giving him inherent advantages from the start including name recognition (the Register poll showing a close race used a generic ballot question rather than naming candidates). Second, whereas Trump won Pennsylvania’s 18th by 20 points, he ran away with Iowa’s 4th by 27 points (PDF). So far, King hasn’t appeared to be taking any of his potential Democratic rivals seriously — or even acknowledging them at all. While Scholten, Jacobsen, and John Paschen have all been actively campaigning on social media, for instance, King’s recently been spending his time on Twitter endorsing anti-Islam protests in Europe, calling for the arrest of Oakland, California, Mayor Libby Schaaf for “protect[ing] criminal aliens,” and arguing that “Americans need to have a lot of babies and raise them right” in order to restore western civilization. On Facebook, a King campaign staffer has been preoccupied for the past month with posting memes that mock gun control advocates and the survivors of last month’s high school massacre in Parkland, Florida. Steve King	cc/2023-06/en_middle_0048.json.gz/line47
__label__wiki	0.908562	0.908562	Giants on re-signing Sandoval: 'We'll do the best we can' Thursday, October 30, 2014 - 12:45am Follow @csnbaggs Programming note: For complete World Series Victory Parade coverage on Friday, tune in to Comcast SportsNet Bay Area at 11:30 a.m. KANSAS CITY – Once again, Pablo Sandoval proved that he is a big money player in October. Now the bill comes due. After a record-setting postseason in which he collected 26 hits, including three in Wednesday night’s 3-2, World Series clinching Game 7 victory at Kauffman Stadium, and then splashed flat on his back in the grass in blissful repose after catching the final out in foul territory, Sandoval will become a free agent. The Giants want him back. They know that desire guarantees nothing, though. “Look, we’ll do the best we can,” Giants CEO Larry Baer said. “And up till now, the best we can has been to secure our guys.” [INSTANT REPLAY: Giants win third World Series in five years] The Giants were due to land back in San Francisco after 4 a.m. Thursday. GM Brian Sabean will meet with ownership and members of his baseball staff that afternoon. There’s no luxury to rest when you win Game 7 of the World Series. The offseason begins before you pop the first cork. “Pablo’s at the top of that list. We all know it,” Sabean said. “Every negotiation is different. Every intention on the part of the player is different. I know we love Pablo and he loves the Giants and we’ll see what happens.” For all the consternation regarding his conditioning, Sandoval made himself into a Gold Glove finalist at third base this season and he continued to come up big when it mattered most. He has a .344 batting average in the postseason and hit .366 this October with six doubles, five RBIs and 12 runs scored in 17 games. His 26 hits this month established a major league record for one postseason, passing up the previous record of 25 held by Marquis Grissom and Darin Erstad. In 12 career World Series games, Sandoval is batting .426 with four doubles, three home runs, eight RBIs and nine runs scored. He didn’t crush three home runs this time, like he did in Game 1 of the 2012 World Series on the way to MVP honors, but he reached safely in all four plate appearances Wednesday – including three times when leading off an inning -- and scored two of the Giants’ three runs. “I just love being under pressure and trying to doing my job,” said Sandoval whose final out pose will be replayed for years and years. “I just try to do the best I can. I do love (San Francisco). I love my teammates and the fans. They deserve this. This opportunity the Giants organization gave to me to be here, to learn the game, it’s so exciting.” Asked about his free agency, he said, “I’m just going to celebrate.” The buzz will wear off soon enough. The Giants offered Sandoval a three-year, $40 million contract in the spring that was rejected by his camp, who hoped to start negotiations nearer to the five-year, $90 million deal that Hunter Pence received after last season. It’s clear the Giants will increase their offer now. It’s less clear how far Sandoval’s expectations will go up. The Boston Red Sox, especially, are keen on improving at third base and have money to spend. They also have a DH spot that they could use at some point in the future, allowing them to guarantee more years to Sandoval than an NL club might be comfortable offering. [RELATED: Eight World Series items headed to Cooperstown] But there is a downside to signing with the Red Sox, particularly for players who don’t get off to a good start. Adrian Gonzalez and Carl Crawford know something about that. Sandoval is beloved in San Francisco, which club officials hope will count for something. “Pablo’s an amazing baseball player,” Baer said. “He’s a sweet guy. He plays the game like a kid but he’s a man’s man. We all know he’s got a lot of talent and we all know you go through highs and lows with a player. In the end, he’s a heck of a baseball player and he fits in this crazy quilt framework of ours really well. Having said that, you can’t predict free agency, and other teams, and agents and everything. So we’ll see.” Giants manager Bruce Bochy made it clear what his preference would be. “Great players, they have a way of rising to the occasion. He did that,” Bochy said. “You could see a difference in Pablo once the postseason started. His focus, his third base play was as good as I’ve seen from any third baseman. That’s what I’m proud of about him, is how he made himself such a good defender. “As for what happens, I don’t know. It’s obvious I love this kid, too. I’ve had him since he came up, and hopefully something gets done, but these are things that take care of themselves in the winter.” Jake Peavy, Ryan Vogelsong and Sergio Romo also are expected to file for free agency; the Giants have had preliminary discussions with Peavy about coming back, but have not discussed parameters of a deal. Shot of the Game: Thornton converts in two-on-one situation McLellan: 'We showed signs of fatigue a little bit' Highlights: Sharks take Wild to shootout in Minnesota Pavelski: 'We're going to handle it next time' Bonds celebrates Giants' World Series victory with fans Why the Giants can thank Dan Uggla for World Series victory World Series celebration results in 40 arrests Police, SF beef up staff for parade, Halloween Melvin: Hitting 'always been a passion' for Bush A's announce changes to staff, new hitting coach Rewind: Sharks flounder late, waste strong start from Niemi Instant Replay: Sharks blow lead, fall to Wild in shootout Sharks will have their hands full on Wild's home ice Ellington excited to see old friend Lattimore back on field Ex-49er Tukuafu to take FB job for Seahawks Saints top Panthers 28-10 to take NFC South lead Rams-49ers Matchup No. 3: Davis vs. Reid Raiders injury update: Rogers' absence cause for concern Raiders-Seahawks matchup No. 3: Rivera vs. Chancellor Mayowa poised to make an impact against former team Warriors exercise contract options on Barnes, Ezeli Rewind: Speights steps up, Warriors win in ugly fashion NCAA denies Georgia's appeal of Gurley suspension Bumgarner, Seahawks' Wilson were once roommates Greg Roman salutes Giants Rewind: Bumgarner lights cauldron, Giants win another title Old shortstop, fireman help Giants get critical out in Game 7 Affeldt tearful upon being named winning pitcher in Game 7 In the Crease: Sharks aim for perfect road trip in Minnesota Championship theme more sizzle than steak in Sacramento Rewind: Turnovers, poor shooting doom Kings vs. Warriors 49ers injury report: Ward back to practice, set to regain role 49ers Quick Hits: Ellington picking up the pace Do Raiders even stand a chance vs. Seahawks? Championships often a freebie for knucklehead brigade	cc/2023-06/en_middle_0048.json.gz/line60
__label__wiki	0.953463	0.953463	Issa Rae talks life after ‘Insecure’ December 8th, 2022 by KRNB Presley Ann/The Hollywood Reporter via Getty Images Issa Rae‘s breakthrough series Insecure came to an end nearly a year ago, but she’s still hard at work, breaking barriers along the way. As The Hollywood Reporter‘s Equity in Entertainment honoree, she sat down with the publication to share some details about her life after the HBO show. After six successful seasons, Issa says she “took time to decompress” — the whole month of January to be exact. She launched her Rap Sh!t this year, but with no role in the show, she says 2022 “has probably been the most relaxing — relaxing for my standards — year I’ve had in, like, 10 years.” Rap Sh!t, she adds, allowed her the opportunity to sit in her behind-the-scenes role as creator and writer, which sees her “just sitting on my ass and watching people be great while eating all day.” Still, she felt the pressure to make sure that it was likable and completely different than Insecure. Overall, the break post Insecure has given Issa the time to figure out “what I want my next three shows to be.” “I realized that maybe I’m not that great at multitasking and I need to carve out time to be able to continue to create, because that’s what makes me the happiest,” she explains. “That’s what makes me the most excited.” She’s also happy to see how far her Insecure cast has come in their individual careers. “It really does feel like, ‘Oh, we’re really out here winning,'” she says. “I’m just really proud to see what everybody else is gravitating toward and to see them killing it. After landing roles on the upcoming films Barbie and Vengeance, Issa is looking for more ensemble work. She is also working toward getting a studio in South LA. after Insecure talks Drake wins roughly $2 million after betting on the Kansas City Chiefs Read More Kanye West Reportedly Under Investigation for Battery Read More	cc/2023-06/en_middle_0048.json.gz/line64
__label__wiki	0.922893	0.922893	Ranch & Coast Magazine Read Ranch & Coast Virtually Anywhere Issue link: http://ranchandcoast.uberflip.com/i/1474523 Contents of this Issue coverprevious page73next pageback cover NANCY WARWICK: PHOTO BY VINCENT KNAKAL Writing the Book(s) Local wordsmiths find community and support in a vibrant literary network W HEN ANASTASIA Zadeik steps up to the microphone at Warwick's bookstore in La Jolla this month, she will not only be reading from her just- released debut novel Blurred Fates — a gripping psychological thriller about love, loss, betrayal, and more — she will be joining a long list of writers who have come before her, from established literary lions to newer, best-selling authors. Zadeik (AKA Stacy Hipkins) says launching at the premier bookstore is like having a "stamp of authenticity," and indeed many local writers have ascended into the national spotlight after readings there. Warwick's has a storied reputation not only in La Jolla but far beyond as the oldest continuously owned and operated family bookstore in the country, now with Nancy Warwick, a fourth-generation bookseller, at the helm. e bookstore is so beloved that when it was about to lose its lease and its longtime home on Girard Avenue last year, a group of loyal friends and supporters bought the building and saved the store. Warwick's does much more than sell books, it helps to support writers, both nationally known and those just starting out. e bookstore has hosted thousands of authors over the years, often partnering with literary organizations to raise funds. "Community is very important!" exclaims Julie Slavinsky, Warwick's Director of Events. Warwick's provides "a venue for local authors to highlight their work," she says, especially through a program called "Weekends with Locals," two-hour table signings at the store as well as readings. Rancho Santa Fe author, essayist, and poet Sarah Sleeper launched her debut novel, Gaijin, two years ago with a virtual Q&A sponsored by Warwick's. "ey are an invaluable community resource," she recalls. She has since been invited back to interview other authors about their work. "I love doing it," she says. "It combines my journalism skills with my literary passion. It is so rewarding, and I love my advance research — reading great books!" 858.454.0347, warwicks.com Warwick's will also present e San Diego Writers Festival (SDWF) on October 8 in partnership with the Coronado Public Library and Performing Arts Complex and e San Diego Memoir Writers Association. Marni Freedman and Jeniffer ompson founded the free festival four years ago to showcase the work of talented writers, foster collaboration, and highlight diversity. is year's festival, titled "What Unites Us," is special, says Freedman, because it will be the first time the writing community has gathered in person for more than two years. e festival will feature dozes of live presentations from New York Times bestselling authors, experts in writing and publishing, performances, and "an agent pitch fest," says Freedman. e event also honors Renee Taylor, an actress and Academy Award-nominated screenwriter, and David Smith, BY ANDREA NAVERSEN Detour culture Nancy Warwick @ranchandcoast ranchandcoast.com 74 AUGUST 2022 RANCH & COAST MAGAZINE Links on this page http://warwicks.com http://ranchandcoast.com Archives of this issue view archives of Ranch & Coast Magazine - August 2022	cc/2023-06/en_middle_0048.json.gz/line68
__label__cc	0.744141	0.255859	Holiday Minisode: Gifts of the Magi December 24, 2018 Minisodes and SpecialsAsia, Christmas, holiday, Jesus, Middle East, ReligiousMaxwell A little Christmas stocking stuffer of an episode! The Three Wise Men are common fixtures of most Nativity scenes, but the The Bible actually offers very little information on who they were and where they came from… Episode 17 – The Italians Who Stole Christmas December 23, 2017 EpisodesAsia, Christmas, Europe, Greece, heists, holiday, Italy, Middle East, mummies, Religion, TurkeyMaxwell The second holiday special! Saint Nicholas is one of Catholicism’s most honored Saints, a figure who would go on to inspire the folkloric character known as Santa Claus. But this Saint did not enjoy a peaceful rest in death. In 1087, an ambitious cabal of Italian sailors decided to rob his tomb in a get-rich-quick controversy that, 1,000 years later, remains unresolved. Merry Christmas! Music by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License Episode 16 – A Light in the Temple; or Menorah, Menorah, I’m Lookin’ For Ya December 11, 2017 EpisodesEurope, Hanukkah, holiday, Israel, Italy, Jerusalem, Middle East, Religion, Rome, special, The BibleMaxwell The first of Relic’s two holiday specials! The menorah is a nine-pronged candle holder, ceremonially lit during the Jewish celebration of Hanukkah. It is modeled after a human-sized, gilded lamp that once sat in the sacred Temple of Jerusalem. Created after a brutal rebellion to take back the city, the original menorah remained in the temple for hundreds of years, until it was stolen by the Romans. Do their successors still have it? Theme music by Devin. Music by Kevin MacLeod and Derek Fiechter.	cc/2023-06/en_middle_0048.json.gz/line69
__label__cc	0.588132	0.411868	OurStory is not yet available for the phone. Please use a tablet or a computer. Thank you. © WNDB \| WENEEDDIVERSEBOOKS.ORG Please Log In To Proceed... Trial Expired! Thanks for being our guest and trying out OurStory. We hope you will consider becoming a subscriber and supporting We Need Diverse Books! Featured Content #1 This is featured content. In this space we will display the most recent featured content, allowing you to see the latest advertorial. Find the perfect diverse book for your library! WNDB Presents Curated collections and reader guides Read Our Recommendations Exclusive content from your friends at We Need Diverse Books Get Your Perks Featured Book: Flying Lessons & Other Stories Whether it is basketball dreams, family fiascos, first crushes, or new neighborhoods, this bold anthology – written by the best children's authors – embraces the uniqueness and universality in all of us. A story for every child. A reflection of every community. OurStory is a discovery tool for librarians, schools, and families to further expand the diversity of their reading lists and book collections. Dhonielle Clayton is COO of We Need Diverse Books, a former middle school librarian, a former secondary teacher, and an all around children’s literature nerd with two masters degrees in the field. She is the co-author of the Tiny Pretty Things series, and the forthcoming author of The Belles series. She's got a serious travel bug and loves spending time outside of the USA, but makes her home in New York City, where she can most likely be found hunting for the best slice of pizza. Bryce Leung & Kristy Shen Bryce and Kristy are engineers, world travellers, bloggers, and an all-around awesome tag-team duo. Their debut novel LITTLE MISS EVIL was released by Spencer Hill Middle Grade/Scholastic, and they built this cool App you're using! Alec Chunn Alec Chunn is a librarian in Eugene, Oregon. He holds a MA in children's literature and a MS in library and information science from Simmons College. He will be serving on the 2017-2018 Rainbow Book List Committee. Faythe Arredondo Faythe Arredondo is a collection development and technical services manager and librarian in the middle of agricultural California. She loves working with teens, stats, and spreadsheets, watching hockey, Star Wars movies (4-7 of course), and Captain America movies. She’s always trying to find more books that reflect the experiences of low-income teens and Latinx teens. Hannah Gomez Sarah Hannah Gómez is a writer, fitness instructor, and former librarian. She has an MA in children's literature and an MS in library science from Simmons College. She is currently working on a PhD in children's and young adult literature at the University of Arizona. Jennifer Delmar-Rollings Jennifer Delmar-Rollings is a native Philadelphian now working as a teen librarian in Texas. Her teens (coming from the second most diverse city in North Texas) are a huge motivator for becoming involved in WNDB. She is in constant danger of being crushed by her to-read stack of books and is currently on the Mavericks Graphic Novel committee which excuses her graphic novel obsession. When not reading or being a nerd, she can be found hanging out with her husband Andrew and their four cats, Mika, Nammi, Willow, and Miss Scarlett O'Hairball. Kate Goka Kate Goka writes young adult fiction and graphic novels for and about queer youth of color. An alum of the VONA/Voices and Lambda Literary Emerging Writers workshops, Kate knows there is power in telling our stories in our own voices. As a former high school teacher and a queer Asian mom living in the suburbs of San Francisco with her wife and three kids, she is proud of the myriad stories gathered here waiting to be gobbled up by a reader like you. Katrina Nye Katrina Nye is a children’s librarian who has worked in both public and private schools. She is also an active member of Asian Pacific American Librarian Association (APALA) and has served on their Literature Award Committee for both children’s fiction and picture book categories. In addition to reading, Katrina’s hobbies include cooking, exploring new places, and spending time with her husband and two boys in Seattle, Washington. Kazia Berkley-Cramer Kazia Berkley-Cramer is a children's librarian at a public library outside of Boston. She received her MA in children's literature and her MS in library and information science at Simmons College. She reviews for both The Horn Book and Kirkus. Mindy Rhiger Mindy Rhiger has been a staff librarian for Mackin Educational Resources since 2009. After completing her MLS in 2001, she worked as a young adult librarian in a Chicago-area public library for a few years before moving to Minnesota, where she now lives with her husband and daughter. She has reviewed for Library Journal, contributed to Disability in Kidlit, and served as a judge for the 2016 Walter Award. Mindy is a congenital amputee and uses a prosthetic arm in her daily life. Sarah Hamburg Sarah Hamburg lives in the Boston area and holds an MFA in writing for children and young adults from Vermont College of Fine Arts. She served as children's writer-in-residence at the Boston Public Library and has been a team member of We Need Diverse Books since 2015. Amitha Knight Amitha Jagannath Knight writes for children of all ages. She is a graduate of MIT and Tufts University, where she earned her medical degree. In 2012, she received the PEN New England Children’s Book Discovery Award. While her parents were originally from South India, Dr. Knight was born and raised in the United States. She has lived in Texas and Arkansas and now lives in the Boston area with her one husband, two children, and two cats. Alex Gino Alex Gino loves glitter, ice cream, gardening, awe-ful puns, and stories that reflect the diversity and complexity of being alive. They would take a quiet coffee date with a friend over a loud and crowded party any day. Born and raised on Staten Island, NY, Alex has lived in Philadelphia, PA; Brooklyn, NY; Astoria (Queens), NY; Northampton, MA; and Oakland, CA. In April 2016, they put their books and furniture in storage and have been driving around the country in a motorhome. Alexandria Abenshon Alexandria Abenshon is both a children's librarian at the New York Public Library and a dabbler in short stories. She graduated from New York University with a BA in Concepts of Ancestry in Literature and from the University of Kentucky with a MSLS. She loves all varieties of candy, books, animals, and crafts. A native of Pennsylvania, Alexandria currently lives in Queens, New York, with her husband and two dogs. Kara Stewart Kara Stewart is an enrolled member of the Sappony tribe. She is a presenter and educator, serving as a reading specialist and literacy coach in public schools for the past twenty years. She currently serves on the North Carolina State Advisory Council on Indian Education. Her work around equity in education, with emphasis on Native people, has spanned over twenty years. She was the 2015 Community Member Recipient of the University of North Carolina's Diversity Award and the 2014 Lee & Low New Voices Honor Award Winner. In addition to teaching, she is currently working on picture books and a middle grade novel. We couldn't find you any books :( Curated by WNDB Your Bundle Check Out With: Your order contains items that are not available from this retailer. 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__label__cc	0.585599	0.414401	Tag Archives: atlanta braves atlanta braves, georgia, major league, national league SunTrust Park June 9, 2019 Paul Comment SunTrust Park, Cobb County, Georgia First game: August 17, 2018 (Rockies 11, Braves 5) After driving in from Greenville and picking up Rob at the airport, we still had a ways to go to get to SunTrust Park. That’s because the Braves no longer play in Atlanta. They fled the city for the suburbs, leaving perfectly-serviceable Turner Field behind, in 2017. It seems the half-life of a ballpark might now be only 20 years, which bugs me. I also thought about how many Braves fans it must have bugged that the team moved 10 miles–10 miles of freeway in endlessly-terrible Atlanta traffic–outside of town. Seriously: if I lived in Forest Park or Fairburn or some other southern suburb, the move would have made it really undesirable to stay a regular customer. If I worked downtown and lived in any county besides Cobb, it would add hours to my day to enjoy a team that is a deep part of the fabric of the city (and of many individuals who were removed from reasonably backing the team). I have heard this move associated with other kinds of White Flight from the city to the suburbs. While I won’t make any attempt to get inside the brains of those who are making these decisions, the pattern sure looks iffy. I have no real issues with suburbs. I was raised in one. I live in one (no matter how much the good people of Vancouver, Washington might fight that they aren’t). And what I kept coming back to in my experience with SunTrust Park was all of the positives and negatives of suburban life were on display. First, the area where SunTrust sits is one of those manufactured sorts of areas. It’s a created space rather than one that sprung up organically, or even one that sprung up organically around a ballpark. I’m a fan of sports bars and nightlife popping up like they did around LoDo for Coors Field or SoDo for T-Mobile Park. But it feels like here they are attempting to manufacture what happens elsewhere organically. I am in no way an expert in agriculture or city planning, but I can sort of smell that difference. Sure, it was a pretty wonderful area. Rob, Matt and I played Quickword across the street from the ballpark while watching baseball. And I could see this creating a destination. Outside the ballpark, the Braves had tons of cool statues and exhibits like they had outside of Turner Field (indeed, many of them were simply moved north). There’s Bobby Cox! There’s Phil Neikro throwing a knuckler! The ballpark starts to develop a little bit of a destination feel, and I bet for big games and playoffs, it’s a heck of a spot. Hawkers along the way, also, including the aptly-named Big Ass Fans, which offered free cooling of fans on this hot August evening. But, for a destination, this felt the nowhereness of the suburbs. The view past the outfield is lovely: lots of skyscrapers and some neon. But where was I? Those suburban office edifices could have been anywhere at all in the US, or possibly other countries. I like my CN Tower in Toronto and my Gateway Arch in St. Louis. I like my prairies in Kansas City and my mountains in Colorado, my rivers in Pittsburgh and Cincinnati and my bay in San Francisco. Here–what was that, exactly? Inside, the Braves did one fantastic thing right. The Braves’ Hall of Fame along the concourse was everything it should be. It was set up in a space everyone could go to, and had both cool stuff to look at and even places to stop and go a little deep into an exhibit. I have made fun of the silliness of Sparky Anderson’s shoes in the past, but I spent a good deal of time looking at the knee brace Sid Bream wore when he scored the winning run in the 1992 NLCS. That was presented lovingly and appropriately as a part of that iconic moment. In short, the photos and celebrations were right on target. That was a key point where I knew where I was. So was the Waffle House concession. The place was gleaming and new, and that’s always fun. But it also suffered from some overkill. SunTrust Park is, to my knowledge, the only ballpark in America with a zip line. A: why? B: if you’re going to have a zip line at a ballpark, why have it tucked back behind the center field batters’ eye? Why not set it up really high, in a spot where one could watch the game while you gained velocity? I would do that. In fact, I’d try to score the game while zip lining. That might be a first, in fact. Matt and Rob and I had a fine time at a good game: the Rockies and Braves were deep into a pennant race, and had hot young stars on the mound (Kyle Freeland and Sean Newcomb). Fellow Coloradan Matt has held onto his Rockies’ allegiance where I have not, so he cheered hard. It seemed to work, as the Rockies hit the Braves so hard that they wound up using a position player to pitch the ninth–a first for me (but one that was duplicated a few months later by both teams in a Mariners/Angels blowout). This is a reason to stick around in a blowout by the way. Fans went kind of bonkers rooting for the position player, Charlie Culberson, to get three outs. He did, only giving up one run. It’s a little like batting practice, except it counts. So some mixed feelings about this one. Turner Field wasn’t perfect, but at least it was somewhere. This felt like a lovely spot, but it also felt like nowhere. Kyle Freeland pitches beautifully for the Rockies, giving up only one run and striking out 9 in 6 innings. Ian Desmond does most of the damage for Colorado, with 5 RBIs that include a bases-loadedd triple to give them a 3-1 lead in the third. Charlie Culberson gets two outs, but then gives up a double to Charlie Blackmon and a single to D.J. LaMahieu to give up a run and go down 11-2. The Braves plate three meaningless runs in the ninth with four singles and a walk. atlanta braves, georgia ballparks, major league ballparks, national league ballparks atlanta braves, georgia, national league, no longer in use Turner Field July 1, 2009 Paul 1 Comment Turner Field, Atlanta, GA First game: April 12, 2005 (Nationals 4, Braves 3) Most recent game: April 13, 2005 (Nationals 11, Braves 4) The Braves left Turner Field for the 2017 season. The park was reconfigured and now hosts Georgia State football. (Click on any image to view a larger version.) FUN THING TO DO: Go up to a concession stand at Turner Field, preferably with someone else. Order lots of salty food–popcorn, nachos, french fries, hot dogs, etc. When the concessionaire asks you what you’d like to drink, say: “How about a Pepsi?” See what reaction you get. My guy, fortunately, laughed. Turner Field came to us at the tail end of the new-retro stadium craze of the 1990s, so we can count on its quality. It has a lot of the positive attributes of ballparks of its era, including charm in its architecture and a sense of history integrated into it. The folks at Turner Field also make a good night’s entertainment out of the game. Combine that with quality baseball the Braves traditionally give, and you have a fine Georgia night. I made it all the way up from a game at Sarasota, Florida the night before, listening to sports talk radio and Les Miserables for most of the trip. The plan was to take it easy and only attend the Wednesday afternoon game that my kid sister was flying down for, but the drive wasn’t as difficult as I thought it would be. I was up in time for a Tuesday night game, and decided to get a cheap single ticket. The ticket woman offered me a front row seat in center field, “right behind Andruw.” I took it. And I enjoyed a load of pre-game hype. The Braves have one of the best drum/dance troupes out there. As they did their big drumming and dancing routine on the center field pavilion before the game–awesome rhythmic dancing by the drummers, gyrations by the cute young women in pink–I thought they were the entertainment recruited for just the one game. I was wrong. They’ve hired some excellent drummers to bang away both before and during every game, while the scantily-clad pink ladies dance around, periodically appearing on the giant scoreboard for promotions. And oh, that scoreboard! It is the largest LED screen in the United States. I don’t care how much of a traditionalist you are…you’ve got to admit that’s kind of cool. There’s enough room that the bottom 20% or so of the board can be devoted to full lineups AND statistics AND the linescore of the game, still leaving a breathtakingly large expanse for pictures and replays. I certainly hope that the Braves have a charity auction where they team up with Xbox or Playstation or someone to sell the right to sit in center field and play video games on the big screen. I’m not a big video game guy myself, but I would pay big bucks to do that. The stadium itself is designed well, albeit not quite as well as others of its generation. I’d like to be able to see the field from the concourse (like in Coors Field or Safeco Field, to name two). I’d also like to have a view of the outside world from the upper-level concourses, like at Jacobs Field. It’s a hell of a long trip to the top of the left-field stands by the foul pole, which is the only place where spectators can get a look at the downtown skyline. Plus, the overwhelming Coke advertising is oppressive. Still, there were many positives. Most notable was the wonderful concourse. There is a nice party atmosphere to be had there, and you don’t need a ticket to be there. Of course, you do need a ticket to get in with the drummers! Anyone can walk in and see statues of Warren Spahn, Phil Niekro (with a perfect knuckleballers grip), Ty Cobb, and Hank Aaron (twice). There are 6-foot-in-dia meter baseballs representing each of the Major League clubs and several other notable baseball events. Quite beautiful. Also, I appreciated how the Braves did such a thorough job documenting their history. I didn’t have a chance to visit the Braves Museum, but that’s very much the kind of thing I like in my stadiums. I also like the Braves’ history in the concourse. They had every single team photo since the Braves moved to Atlanta on display. The 1995 World Champions are honored with a large mural, but even the lamentable teams in history like the 1 985 Braves have their team photos present. There is something slightly amiss in my eyes about Braves fans. Hard to pinpoint it exactly, to be honest, but there’s just a hair of smugness about them. Make no mistake–I enjoyed the company of a very nice man from Knoxville and his sweet daughter on the first night, and a guy who didn’t mind my sister rooting for the Nationals on the second night. Still, it seems strange. When I attended this ballgame in 2005, the Braves were on a string of 12 consecutive division titles, and were favored to win a 13th…but each game featured only about 20,000 fans. What’s the deal? Of course, the Braves suffer from a certain self-obsession that probably comes from their field’s namesake. My kid sister Kathleen flew in from DC to join me for a Nationals/Braves game; this, the day before the Nationals’ first home game after moving from Montreal. She brought me a baseball cap that said “Washington DC” on it, just to force me to display allegiance to her new team. She was very excited to pick up a Nationals hat, since Nationals Fever was so pronounced in DC at that time that she couldn’t find one there. We wandered around the ballpark looking in the shops. Braves hats. Braves hats. More Braves hats. Come ON! I can’t remember ever being in a ballpark that didn’t sell caps for any other MLB teams. What’s more, I would think selling others’ caps would be good business…there are surely a few people per night who want to buy that night’s opponent’s hat, or some other rival’s hat. So we asked a cashier: “Where can we find hats for teams other than the Braves?” Her answer, I swear to God, was this: “At the other teams’ stadiums.” Yes, she really was that snide. Whatever…that’s $25 Ted Turner won’t be getting. If memory serves, this is the fourth ballpark I’ve been to with Kathleen. I casually–half-jokingly, actually–mentioned to her that I was going to go to a game in Atlanta, and that if she wanted to, she could swing by. Much to my surprise, she obliged. She’s a very busy first-year lawyer who is, of course, slammed with first-year lawyer work which had included flying back from observing the Djiboutian elections just a few days before taking a day off to fly to Atlanta. (For those of you scoring at home, Ismael Omar Guelleh ran unopposed and won.) She told some fine stories about the Djibouti City Sheraton, which, apparently, is not at all like a Sheraton. Anyway, between her cool jet-setter stories and a big Nats win, we had loads of fun. In fact, we had every bit as wacky a time as I do with my brother or with my buddy Rob. Case in point: When the Nationals got on a couple of runners, Kath and I started shouting: “C’mon Nats! Bring him home! Bring him home!” Now, when you were raised in the house Kathleen and I were raised in, what follows will seem like normal behavior, but I recognize that it might feel downright bizarre to others. But whenever any bit of dialogue happens to distantly remind any Hamann of any song, it instantly becomes a moral imperative to sing that song, ideally with great gusto, and with harmony if at all possible. So I’m not sure who started it–I’m probably the guilty one–but it didn’t take long before we were singing the chorus to “Bring Him Home,” the show-stopping heart-rending climax of Les Miserables. “Bring hiiiim hoooooooooooooome…bring him hooooooome…” High notes, schmigh notes. Colm Wilkinson had nothing on us. Of course, when we got to the bridge (“He’s like the son I might have known/If God had granted me a son”), it was important for me to make up wacky baseball-appropriate lyrics. Alas, the exact lyrics are lost to time, but they probably went something like this: “It surely would be very fun/If Jose Vidro scored a run…” Laughing. High notes. We had about a three- or four-row buffer zone between us and the next fan (remember, only 20,000 were in attendance). It wasn’t enough. The Atlantan a few rows ahead of us turned 180 degrees around to check out the freaks. I had on my Washington DC hat. He probably figured I was a government weirdo. There were a surprising number of Nationals fans at the game who, like my sister, were getting a jump, seeing their home team before they had a home game. After enduring a ninth-inning rain delay, during which most of the crowd went home, the few fans who remained came up behind the dugouts to cheer. That’s how I found myself behind the Nats’ dugout, surrounded by Nats fans, watching Nats’ pitching coach Randy St. Claire converse with umpire-in-chief Randy Marsh, watching Carlos Baerga warming up, and watching legendary Frank Robinson, who, immediately after this photo, gave a friendly wave to the guy next to me who shouted “DC loves you guys!” So, quite a fun pair of nights. The ballpark had positives (fun atmosphere, good sense of history) that outweighed its provincialist negatives, and I got to do it all with my kid sister who very kindly took a day off to fly down. Thumbs up for both the park and the experience. Two Nationals wins, the first one quite dramatic. The Braves led 3-1 going into the ninth inning. Danny Kolb came on to close it out, but failed. A walk, a hit, and a walk, and the bases were loaded with nobody out. Kolb got a fielders’ choice and a sacrifice. Two out, 3-2, tying run on second. Brian Schneider up…and he spanks a double to right-center. The Nationals lead. The skies open up…it’s a big downpour. Rain delay for 31 minutes. The suddenly cold, wet night sees Chad Cordero nail down a save. Jose Guillen homers twice in one game. Jose Vidro and Chipper Jones also homer. atlanta braves, ballparks no longer in use, georgia ballparks, major league ballparks, national league ballparks	cc/2023-06/en_middle_0048.json.gz/line72
__label__wiki	0.538135	0.538135	How Does Modafinil Feel Modafinilo nombres comerciales Modafinil na co dziala Modalwert rstudio In fact, modafinil can help people kick addictions Here are some provigil side effects to watch out for: Nausea; Headache; Jitteriness; Anxiety; Most of these side effects can be avoided if you simply don’t take too much modafinil.It has also been found to help people with how does modafinil feel shift work sleep disorders and excessive daytime sleepiness as a result of sleep apnea Modafinil acts sort of like a stimulant, but it’s actually a eugeroic – a wakefulness-promoting agent.Modafinil is a wakefulness-promoting stimulant medication that is most commonly used to treat the symptoms of sleep/wakefulness disorders.Modafinil also doesn’t have a crash or withdrawal, the way many smart drugs do.However, to its credit, modafinil does make it easier to work while you’re sleepy.Get medical help immediately if you begin to feel chest pain after taking Modafinil.It was originally proved by the FDA to help treat wakefulness disorders and is commonly used in patients with narcolepsy.But again, definitely don’t feel addicted.With repeated use, the brain becomes accustomed to the constant presence of modafinil, and cells become optimized for that presence.It was originally proved by the FDA to help treat wakefulness disorders and is commonly used in patients with narcolepsy.So we put me on 50mg twice a day for 3days and then back 100mg twice a day..I take mine with a cup of green tea or decaf coffee (total 30-50mg caffeine) Here are some provigil side effects to watch out for: Nausea; Headache; Jitteriness; Anxiety; Most of these side effects can be avoided if you simply don’t take too much modafinil.If it’s your first time, take half a pill.You’ll feel its full effects for about 6-8 hours, followed by an offset and an afterglow that can last about 4-6 hours How do you feel after the Modafinil effect wears off?If it’s your first time, take half a pill.Which means you can feel tired and sluggish in the afternoon while on modafinil, but not be able to take a nap.Modafinil also affects the neurotransmitters: Glutamate and GABA.The sensitivity of glutamate is increased, and in turn leads to greater excitability in neurons What does modafinil feel like.Provigil (Modafinil) is a drug that promotes vigilance and how does modafinil feel is considered a “eugeroic” medication.I had headache, nausea, vomiting, and dizziness. Feel modafinil does how I often say these things too – they are accurate and true – but they’re also kind of vague Modafinil blocks the re-uptake of dopamine, which is responsible for regulating our mood.My doctor tried 100mg the first day and it made it feel like my brain was going to explode.For example, modafinil has been FDA-approved for the treatment of chronic fatigue, excessive daytime sleepiness (narcolepsy), obstructive sleep apnea, and shift-work sleep disorder Provigil (Modafinil) is a drug that promotes vigilance and is considered a “eugeroic” medication.For Armodafinil, that would be 75 mg.The great thing about this combo is that caffeine seems to kick in earlier (like 10-15 min after drinking coffee), whereas Modafinil needs about an hour.This way, by the time you would typically feel sleepy, Modafinil will counter that already, and you will feel prolonged wakefulness.To a point where you know that something is definitely going on.Over the next 3 years (2010 to 2012) he started to use modafinil whenever he used to feel low and escalated the dose to 400–600 mg/day.If the drug is abruptly removed from the body and the brain has no access to it, significant symptoms can appear relatively quickly We love drinking coffee, which always boosts our performance.Provigil is used to treat excessive sleepiness caused by sleep apnea, narcolepsy, or shift work sleep disorder.It is thought to work by altering the natural chemicals (neurotransmitters) in the brain.Whenever I take Modafinil it gives me 6-8 hours of tunnel vision and focus What does Modafinil Feel like?It doesn't really feel like that you're 'on something' when you take it.However, to its credit, modafinil does make it easier to work while you’re sleepy.However, taking the Modafinil for a very long term can cause high tolerance levels to the drug Again stimulated but with headache.If you've ever taken an anti-histamine like Benedryl, you know how drowsy antihistamines can make you.But again, definitely don’t feel addicted.Sort by: best How do you feel after the Modafinil effect wears off?This is a common question and even some people who have tried Modafinil may find it difficult to explain.There are still some common short-term side effects that are mild and disappear within how does modafinil feel a day or two.Follow your doctor's advice about good sleep habits Modafinil may cause some people to feel dizzy, drowsy, have trouble thinking or controlling movements, or trouble seeing clearly.Make sure you know how you react to this medicine before you drive, use machines, or do other jobs that require you to be alert, well-coordinated, or able to think or see well What Does Drug Withdrawal Feel Like?So, always do a thorough research to find a reliable and reputable Modafinil vendor before purchasing the drug.You can do some tasks while waiting for it to kick in.Adderall is considered to be a much more serious potential drug of abuse than modafinil.Though many patients do not experience serious Modafinil side effects, it is important to tell your doctor right away if you begin to experience the aforementioned symptoms.Make sure you know how you react to this medicine before you drive, use machines, or do other jobs that require you to be alert, well-coordinated, or able to think or see well We love drinking coffee, which always boosts our performance.Keeping this in view, how does Provigil make you feel?) In discussing the effects of modafinil, you often hear things like “increased focus and concentration” “better productivity” or “increased mental alertness and wakefulness”.I get in a horrible mood after ~6 hours of taking it, when the effect wears off.So we put me on 50mg twice a day for 3days and then back 100mg twice a day..If you have used Modafinil in the past and it worked for you, it means you are responsive to the drug.Like I said, start off with 100 mg and see how you feel.Initially a wakefulness prescription pill, it now lies somewhere between a productivity booster and a nootropic for most.(more recommendations for Modafinil dosage here ).It can promote cognition, mental sharpness, alertness, motivation, and response time-solving problems Modafinil Effects (What does it actually feel like?When we combine it with Modafinil, we feel unstoppable.Whenever he would not take, he had strong craving for the same, felt low, lethargic, tired, aches and pains in body. Provigil high blood pressure Modafinil uses in hindi Médicament modiodal Modalert sun pharma reddit	cc/2023-06/en_middle_0048.json.gz/line75
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__label__wiki	0.940533	0.940533	Eric Friedman of Friedman Group is quoted in the "Rise of the Creative Class" article from St. Louis Magazine - May 2006 "We cannot afford to drive out the very people who build our neighborhoods." says Eric Friedman, of the Friedman Group REALTOR® in the Central West End. "The right public policy could ensure diversity of income levels in any community, but I'm not seeing it." If you would like to see the article with photos click here - PDF File - LONG LOAD by Linda Greene Staid St. Louis is turning into SoHo, as artists and musicians discover our raw spaces, storied past and cheap rent. Will they save the city? By Lynnda Greene Imagine a bustling metropolis perfectly situated on the plangent confluence of two magnificent rivers smack in the center of the American Heartland. Now, remove half a million residents. Drop its national ranking forty places -- from 8th to 48th -- in forty years. Sever commercial arteries; bleed out scores of blue chip companies. Tear down significant historic architectural infrastructure, and allow what remains to rot. Erect uninspired office towers in haphazard fashion. Neglect schools, public services and mass transit. Invest billions in office, sports and convention complexes, and luxury housing development. Ensure a deficit of affordable, mixed-income housing. Add dodgy politics and atrophic leadership. Mix in terminal low civic self-esteem and you've got ... a post-industrial has-been, right? Actually, such a city -- our city -- is ripe for the picking of a whole new educated and innovative demographic economic guru Richard Florida delineated in his landmark tome The Rise of the Creative Class. You know -- the artists, writers, filmmakers, scientists, designers, architects, engineers, educators, IT eggheads, entrepreneurs, nerds, and bohemians whose economic function, he says, is to think up cool ideas, attract business and initiate social change. In fact, that Florida didn't rank St. Louis on his top-ten Creative Cities list in his landmark book -- we've been making the "worst ten cities" lists lately -- may explain why a whole new "Creative Class" of our own has been migrating here over the last few years, and jump-starting our city on the road to economic and spiritual renaissance. While most of us have bewailed our losses, legions of educated, imaginative, enterprising people of all ages and persuasions have been migrating here over the last decade to join an already vibrant, if largely subterranean creative ecosystem. Here, amidst an abundance of authentic historic architecture, grungy buildings, scruffy street life, dense neighborhoods, diverse ethnic populations, parks, cultural amenities, and a pervading aura of decay, even despair -- they relish a certain creative freedom they can find nowhere else. Unlike the über-cool crowd thronging to those tony top ten cities, our Creative Class come to St. Louis less for what they can get from it than for what they can do in it -- and for it. Fueled by a jerry-rigged spirit of optimism and ingenuity, they're determined to build St. Louis. And if we're careful, they just might do it. There is no listing for Creative Class in the Yellow Pages. They're too absorbed in whatever makes them cool and a class in the first place to dwell on what might define them -- so you have to sleuth them out, in their habitats. You'll find them in warehouses, basements, garages and attics, in bistros, bars, bookstores and park benches, in schools and storefronts -- the artists, designers, actors, dancers, musicians, writers, poets, chefs, filmmakers, architects, teachers, rehabbers, techies, innovators and entrepreneurs across a broad socio-economic spectrum who live in and enliven our city. From Seattle, Washington, San Francisco, Denver, Los Angeles, New York, Detroit, Chicago, and Austin theyÕve come, out-state, down-state and sometimes across the county line to settle like hermit crabs into neighborhoods throughout the city proper, or city-by-association communities like Maplewood and University City and Overland. Together they comprise a unique, integrated eco-system wherein all forms of creativity -- artistic and cultural, technological and commercial -- take root and flourish. Think: urban stem cells. By their ingenuity and resourcefulness they've utilized their moxie and means, their brains and brawn, to open a glass studio, a microbrewery, a museum; theater companies, art compounds, music performance groups, design and advertising agencies, restaurants, bistros, bars, gyms, gallery/event/community spaces and all manner of shops: coffee, bike, books and records, clothing and jewelry, specialty foods and spirits, flowers and gifts, antiques and vintage gear. By their immense energy they fix up storefronts, rehab houses, restore architectural treasures, build neighborhoods, foster partnerships, plant gardens, teach children, rescue strays, look out for the homeless, destitute and addicted, and otherwise volunteer in dozens of community endeavors. By their passion they fight - at neglected parks, threatened landmarks, abandoned blocks and vacant lots - to preserve our city's historical and cultural heritage. Intensely committed, they forge something our major sport teams, entertainment venues and business enterprises cannot: an urban identity unique in al the world. Above all, they love this city shamelessly. Many, having come here from elsewhere for work or school, decided to stay. Some take creative jobs in the private or not-for-profit sector (museums, arts and public service organizations, design and media firms) because they simply like the lifestyle the city affords. Natives typically have gone to school elsewhere, looked around the country for some place to live out their dreams, and then come back. Amanda Doyle, co-founder of The Commonspace and Mephis native, fell in love the city. "I think a lot of the negative impressions come from people who left the city long ago for what they perceived to be 'nicer' suburbs," she says. "They're remembering old images." A surprising number are older. Approaching or well into mid-life, they've been living here for years, plying their enthusiasm and talent to build businesses, and sometimes entire neighborhoods and districts. Natives Joe Edwards, entrepreneur and Delmar Loop developer, and Bob Cassilly, founder of City Museum stand out, but scores of others, having moved here years ago, found St. Louis a good place to settle in for the long haul both personally and professionally. "It wasn't a conscious decision," says architect Stan McKay, a San Francisco native. "I came here to go to school, met good people, stayed. I left, but came back because I can afford to do what I want here. I don't make a lot of money, but I do make a good life." While some have always managed to follow their creative hearts and arts, however jagged the trajectory, others found their passion only after trying something else first. Jim McKelvey worked in software before launching the Third Degree Glass Studio, Jeff Orbin ran an advertising firm before opening the Monarch Restaurant with a partner in Maplewood, Robert Powell worked in business before opening Portfolio Gallery, and Catherine Neville and Allyson Mase had worked jobs in web design and food service before launching Sauce Magazine. Some have achieved considerable success and visibility through their ventures Ð certainly Tom Schlafly, Bob Cassilly, Joe Edwards, Kiku Obata, Jack Thorwegan, and Nina Ganci have achieved regional if not national and international recognition and client bases with the Taproom and Bottleworks, the City Museum, the Delmar Loop, Decorative Lighting and Design, Zipitoni, and Skif International respectively. More typically, most succeed handily in their enterprises, largely because the city's low cost of living, affordable housing in neighborhoods tailor-made to their needs make just about anything possible. And "anything" includes everything -- from bistros to boutiques to book stores to bike shops to belly dancing studios to boxing clubs. More importantly, such enterprises (Fort Gondo, Panda Athletic Club, Hartford Coffee, Mad Art Gallery, Left Bank Books, The Taproom make the short list) serve as community forums and action centers, as means to engage denizens and visitors alike in a unique, if often unorthodox, new paradigm for urban development. All loved the idea of what they could become because they live in St. Louis. "I was a bit reluctant, after I got a master's in Creative Writing at NYU, to move back to St. Louis," says poet Aaron Belz. "I feared I would be putting myself in relative obscurity, but my work has really benefited from the low-key, eclectic intellectuals and artists I've met here. There is no fake hipsterism here because there's no social reward for that, only marginalization. If you're an artist or a city arts patron, it's because you're devoted to a cause. St. Louis is becoming a significant poetry center; we're part of the big picture in a vital, younger sense." St. Louis' central location and low cost of living likewise make it a great place from which a performing artist, particularly, can work. "Quite a few of our 'Artist in Training' program graduates make their homes here," says Maria Schlafly, a company administrator for Opera Theatre of St. Louis, "even though they travel elsewhere to take work with other theater companies around the country." That said, while most achieve a viable life, they accept certain tradeoffs. The "plankton," as one South City denizen dubbed the younger creatives newly out of school, barely make it. Many do not have health insurance. A fair number work day jobs; many more wait tables, free lance or teach in local schools and universities. But no matter how many hats they don and doff to make it all work, they sink deep roots into their place. Most become community activists almost by default, organizing neighborhood associations to promote awareness, cooperation and not infrequently, political and social action. Many volunteer or donate services to those in need: an art studio networks with a women's shelter; a restaurant sponsors a stray rescue; a group of artists works with disadvantaged kids in any number of the not-for-profit education programs that bless our city. Wherever they go, they give back. And help each other. Communicating largely by weblogs, list serves and word of mouth, they mentor and support via artistic, technical, professional and entrepreneurial consortiums they organize to stimulate business, percolate creative juices - and brew understanding. "Independent artists and entrepreneurs create spaces for new kinds of unique business development," says Mike Levinson, founder of BUILD St. Louis, a network of small business owners. "These new businesses, always unique and reflective of their neighborhoods, attract people. Get people to mix and you can change old stereotypes." Some complain of the clique-ish nature of the arts community here; newcomers express some frustration at breaking in. "At first I thought St. Louis was culturally barren," says Nico Leone, who moved here from Austin two years ago to work with KDHX FM. "In time, I found much to love and enjoy, but you really have to seek it out. Everything depends upon word of mouth, as opposed to Austin, where the art and music permeate every aspect of daily life." But once they lock in, all report a high level of peer support amidst what they term a stimulating, if fragmented, creative climate. "I was a novelty when I came here and in some ways I'm still an outsider," says Jeigh Singleton, who teaches fashion design at Washington University. "But most creative people don't belong anyway, not in the old social networks; they create their own, which they can do here easily. It's easy to star in St. Louis; you can find whatever you want here. I've always been happy." Like most creatives, he has found St. Louis' famed conservativism greatly overstated. "They always say, if you can make it in New York you can make it anywhere -- but it's just the opposite," he insists. "In New York they'll put crap on the sidewalk and people step all around it and call it art. Here, you put crap on the sidewalk and people will call it crap. St. Louisans know quality; they wonÕt let you get away with anything!" Designer and entrepreneur Carol Crudden, whose Ziezo dress shop has been a mainstay on the Delmar Loop since she opened in 1982, agrees. "You can rise to the top here because there's been so little competition. You can be yourself, and grow." Mostly, though, creatives tend to craft new concepts for living and working. Think of Kurt Vonnegut's mythical karass, which he described as a "spontaneously forming group joined by unpredictable links that actually get stuff done," without ever discovering how they do it, or even why. "The standard means of motivation don't apply," says McKelvey of his Third Degree Glass Studio and of creative ventures in general. "Of course we need to make enough money -- and we do, by all kinds of ways. But more often we'll barter, trade, share, negotiate, swap or, in a pinch, bargain. We work for different reasons." Most agree that to some extent, regardless of their success, they remain strugglers. Many try traditional professional paths, and some even succeed there, only to grow tired of it, go out on their own and create something entirely new and vibrant. "They tend to not want the house in the burbs, the subzero fridge, the granite counters," says Singleton of some of his own design students once they leave school. "They'll tolerate a less than nice habitat for the chance to work alone. In some ways, they're a ghost class. They like being invisible." Why They're Here "Because......where else can you do all this stuff?" Where indeed. Blessed in dozens of distinct old neighborhoods and scores of neglected, aging-beauty buildings, St. Louis, to the creative mind, gleams like luscious fruit low-hung on the bow. "The architecture is sublime, the arch peerless in the world, the arts scene rich and vibrant, and the quality of the yard and garage sales is unparalleled in the universe," says Illinois native, Galen Gondolfi, founder of Fort Gondo, Radio Cherokee, and Typo Café in South City, who came to St. Louis some years ago by way of Boston and New York. "It's green: trees and grass everywhere. I love the post-industrial malaise, and the density. You can be anywhere in about 20 minutes." Unlike the rest of us, creatives love what we tend to bemoan. They look at liabilities, see improbable possibilities -- and turn them into successful realities unthinkable anywhere else. An abandoned shoe factory becomes the region's leading tourist head-trip. A condemned garage becomes an exciting glass studio. A drug store becomes a restaurant. A furniture store becomes a clothing manufacturing site. An old jail becomes an art gallery and event space. A stable becomes a studio. A bank becomes a coffee house, a restaurant, even a bottle works. "I tried to do this twice in other cities and it never worked out," says Jim McKelvey, of his glass studio, which he opened with Doug Auer three years ago. "So I came home to St. Louis where I've had nothing like that. If DC had what St. Louis has, this would be there and not here. So it comes down to this: same person, same plan, different place - it failed twice. Here, it happened in no time at all. But we couldnÕt afford to be anywhere else." Affordability rates high on any creative want-list. In fact, most say, St. Louis may be one of the very few cities where they can own a car, buy or rent a decent place, work part-time -- and still do their thing. Artists especially love the city's abundance of mixed-use spaces in our seemingly limitless supply of old, underused buildings, whose low rents encourage the chancier, more unorthodox enterprises that generate buzz and street life. Many found that, having shopped other cities for a place to settle, none could offer them as much in suitable housing for so little money. And to the creative mind, St. Louis' abundance of well-built, architecturally handsome, often historic older homes of varying sizes, prices and rents, represents an aesthetic treasure trove unrivaled anywhere else in the country. Powerful demographic shifts over the last thirty years have enhanced the city in ways few could have foreseen twenty years ago. "The traditional two-parent family now represents only 20 percent of American households," says Andrew Hurley, professor of Urban Studies at the University of Missouri in St. Louis. "That means more empty nesters, singles, and single-parents need new housing options. The smaller, well-built houses you see around the city are often perfect for people on one income, be they these artistic types or new immigrants who are just getting started." And though South City home prices have doubled and more in some neighborhoods, prices nonetheless remain reasonable for what buyers get: solid construction and architectural character in vibrant urban neighborhoods on the make. Every creative speaks of a love for a cultural personality they found unique in the country. "It takes fresh eyes to see what this city has," says Singleton, who hails from Louisiana. "St. Louis is an authentic city and that's so rare now. I looked at LA, and decided I didn't like my car that much. New York is too dense, and lacks our alleys and architecture. Where else can you live in the presence of such a mythic thing as the arch? And touch it! From my own neighborhood I can walk to the Basilica and the Great Basin in Forest Park in just minutes. Here you live close to beauty and history all the time." Realtor Steve Patterson, a native of Oklahoma City, was on his way to Washington, D.C. with a friend. They they rounded the city's southern edge along I-44. "We saw these beautiful old buildings and thought, this is it: we're stopping here," he recalls. "Now I've got other friends looking to buy here too." And these days, thanks to Missouri's legislated tax incentives for rehabilitating historic structures (piggybacked with federal tax credits), it's never been easier or more cost effective to restore a building, rehab a house, or revitalize an entire block to new life and purpose. The absence of big box retailers and chains is also a plus. "I don't think most of us realize what we have here," says Schlafly, who pronounces his feelings about St. Louis "not rational." "I recently drove some out-of-town friends around town. They gazed at our old historic neighborhoods and said, "Oh, it's like Disneyland!" What a statement -- that the real thing is so good it looks like the fake -- which is all most Americans know. We live in the real thing here." Neighborhoods are the linchpin in the creative equation. And we've got 'em -- seventy-nine, in fact, each offering a distinctive blend of convenience and character creatives crave in a habitat. Most love their particular enclave, and report that, able to walk or bike anywhere they need to go - grocery and pharmacy, cleaners, laundries, and often school and employment - they can modulate their daily experiences rather than merely consume them. "The diversity of communities here really nurtures the artist's internal creative machine," says Brad Fuller, a creative director at Zipatoni, a downtown advertising company. "The city's patchwork of neighborhoods populated by families from many other countries offers a wonderful array of music, languages, food and culture to keep a creative person's engines fueled." Best of all though, are the abundance of what Florida calls the "third places" and "green spaces" such tight neighborhoods afford. Since most creatives work alone, often at home, they value easy access to third places -- the cafe, the coffee shop, the bistro -- and green spaces -- the park, the bike path -- where people of different backgrounds and disciplines can meet and exchange ideas. "Creative people respond to the insider experience of being in a city like St. Louis," says Fuller. "Strolling down Delmar, listening to jazz in Dogtown really ignite the creative imagination. Prowl the side streets of St. Louis, and you'll find the hidden antique store, the corner café or the out-of-the-way park that make you want to linger. No wonder visitors say, 'Wow, that's in St. Louis? I didn't expect to find something like that here!'" Likewise, they praise the city's surfeit of green spaces, those 106 parks laid out so exquisitely over our 61 squares miles by forward-thinking city planners generations ago. "We're sitting in one of the best locations in the country,' says Minneapolis native David Fisher, who moved here to become executive director of the Great Rivers Greenway District. "Our natural river setting, with all its attendant connective patterns, are ideal for social cohesion. We don't have to invent anything -- it's all here. All we have to do is enhance what we have and build our communities within it." These third places -- the coffee shop, the bar, the gallery -- are particularly important because they spawn an indigenous street culture that becomes its own complex microcosm of multiple "scenes." Naturally occurring of serendipitous, spontaneous combustion, often in the most unlikely places (typically basements, attics, warehouses, garages, kitchens, bars and bookstores), these scenes, whether music, theater, poetry, film, food or technology, not only attract talent but incubate, gestate and propagate an energy that can ultimately drive a cultural/economic engine - and power an entire region. "I detect a new energy in St. Louis," says Catherine Neville, co-founder and editor of Sauce Magazine. It's been building for about nine years, but has really taken off in the last five as so many new people settle in, do new things and pump new life into these wonderful old neighborhoods. Food is an integral part of any city's identity, but it's especially important here." In fact, our long tradition of great restaurants, always the city's best-kept-secret-sauce, is steaming up the entire kitchen these days. Vietnamese, Bosnian, Greek, French, German, Italian, Soul, Lebanese, Chinese, Japanese, Caribbean, Cajun and Thai eateries bubble up all over, as do dozens of coffee houses, bars, bistros and bagel shops - and tattoo parlors, antique shops and art galleries, clothing boutiques, exotic food, wine and floral markets. Many offer live music, poetry, theater, comedy, dance performances in such hybrid spaces as Mad Art Gallery, which can accommodate art shows, film showings, studio workshops and events, or Left Bank Books and Duff's Pub, which serve as public forums for readings, spoken word and music events. That St. Louis has always supported a diverse arts community -- everything from the high art institutions older creatives crave and younger ones age into on down to the urban grunge scene -- draws an unusually wide variety of imaginative people who tend to stay here rather than migrate to the next trendy locale. All rhapsodize about a level of cultural awareness rare they find rare in the country. "This city renders exceptional support to local arts, thanks to corporate and not-for-profit sponsors," notes Terry Jones, professor of political science at UMSL. "We spend more money on the arts than most cities of our size." The tax supported Zoo-Museum District, a national model of public cultural funding, allows free or low cost admission to five major cultural venues, and most major arts organizations engage in extensive, often free outreach, and do a lot to nurture local talent. "I never watched so much TV in my life as when I lived in New York because I could never afford to do anything," says Gondolfi. "Here, you can do so many things free, or for very little cost." Florida stipulates that an indigenous music scene - think New Orleans jazz, Chicago blues, Seattle grunge - makes for an audio imprint essential to the kind of "conversation" creatives crave. That our city lacks a distinctive "St. Louis sound" these days doesn't particularly worry the locals though. In fact, its absence explains why younger musicians have begun to settle here in ever-increasing numbers, and thrive. "Since you're in no danger of 'making it' here, at least in rock and roll, you're freer to develop into something real," says musician and photographer Bob Reuter. "When nothing's going on, you can do anything. Music can't be laid in; it's got to rise from within, and it does here, because it's happening slowly, as it should." Certainly Nelly, Chingy, Erin Bode, Story of the Year, and Lapush have circled St. Louis as a significant talent incubator. Jim Dunn, who with Laura Hamlett founded Playback:STL several years ago, praises enlightened local presenters and a supportive musical community. "I see local talent taking root and gaining a following," he says. "We haven't achieved anything like Gaslight Square yet, but musically, we're getting there." Socially too, thanks to creative neighborhoods that by their very nature invite and sustain a certain tolerance inversion: tolerance for difference in races, ages, sexual orientations and alternative appearances; intolerance for mediocrity and consistency. Case in point the Delmar Loop, brainchild of Joe Edwards, whose Blueberry Hill bar and restaurant generated what would become an urban socio/economic miracle over a period of 20 years. "We proved it's okay to have a smoke shop and a tattoo parlor on the same block as a Dairy Queen," he says. "There's more diversity along this ten block stretch than anywhere in the city, maybe the Midwest. Here you can encounter all sorts of people, food, shopping, music, art and experience. Diversity is its strength." Architecture, housing, neighborhoods, affordability, culture -- all great draws. But in the end few can explain their feelings for a city that inhabits them as much as they it. Their connection is less aesthetic as spiritual, they say. "I think it's the arch... this great curved arm, enfolding us all." "There's this profound sense of place in the look and the feel of this city that artists respond to." "There's something comfortable, even comforting about the layout. It's a city you can get your arms around." "The river is big part of it because that's how the groove of the place works. It flows through you." It's got a vibe, a pulse, so the city's in you, even if you leave." "I love that it's old and tired...you want to take care of it." "What would happen if we left?" The good news then: St. Louis now attracts legions of creative, gifted, dedicated, passionate people of all ages and persuasions whose impact on our city is undeniable. Thanks to their enthusiasm and enterprise, our city now shows signs of the same uncanny transformative capability that enabled us to segue from the agricultural to the industrial to the technological ages over the last century. But this time we face a transition far grander in scope because it will trade not in resources and labor, but in human intelligence, knowledge and creativity. And because creativity does not enact or sustain itself, St. Louis must find ways to nurture a vital but ephemeral quality that cannot be handed down. Some creatives worry that we could lose what we have. Designer Kiku Obata, while celebrating St. Louis' potential, decries a certain lack of vision in the local establishment business community. "We have everything a city needs to become a great creative and economic center," she says. "Everything but belief that it can happen. This should be one of the great creative centers of the country, but there's no dialogue here. We've got some world class creative people working here but local companies would never think to enable this talent. They don't think lyrically." Creatives themselves, though, have thought deeply about the problems this city must solve if it is to survive -- and they can remain. Support communities Most agree with Florida's premise that communities, rather than traditional means of personal attachment (via careers, companies, and families), have become crucial constants in 21st century America's social equation. "Neighborhoods are the families of the future," says Bill Byrd, vice president of Benton Park Neighborhood Association and graduate of the University of Missouri in St. Louis' Neighborhood Leadership Academy. "Since we all live in one, it's imperative that we make it as strong and cohesive as we can." Like many others, he praised the city's Weed and Seed Program, which has helped his racially diverse neighbors find common ground. "Get people outside and talking and they learn their differences are more matters of perception than reality." But many wonder if civic leaders possess enough vision to really deliver on the promise this city holds for all its citizens: architecturally rewarding, comfortably secure, and socially, civically and economically integrated communities. "They're going to have to decide if we really need another megaplex on the riverfront, or neighborhoods people will want to live, work, play and send their children to school in," says Joe Jackson, a South City piano restorer and entrepreneur. "The schools are a major problem." Embrace diversity, facilitate equality Despite significant civic and cultural efforts to reach across racial and ethnic divides, every creative agreed -- and grieved -- that St. Louis remains a de facto segregated city. "Racism is particularly potent and offensive here because it comes from the top," says Matt Ghio, attorney and urban activist. "Our politicians still preach from an outdated playbook to a choir that doesn't even exist anymore because we're all living together anyway, black, white, Asian and Hispanic, trying to make this work." Certainly our major art institutions' extensive outreach efforts have helped, says Kansas City native Robert Powell, founder of Portfolio, an African-American art gallery in Grand Center. "But beyond these noble programs, the two cultural worlds remain separate," he says. "Few talented blacks feel comfortable enough to stay here." Transplants say they simply live over it. Natives, unsure how to redress old wrongs they barely understand, tend to live around it. All, deeply aware that racial barriers are not only morally problematic but economically counterproductive, say they're frustrated. "Creative people do not want to live in a segregated city," says Davide Weaver, of Art Dimensions. "But the wounds are so deep it's very difficult to establish common ground." History may work against us, says Joseph Heathcott, professor of American Studies at St. Louis University. "White St. Louis just wants to forget about the past and move on - and that's never going to happen. Individual efforts are great as far as they can go, but they can't offset entrenched attitudes and interests." All agreed that breaking the city's painful legacy of discrimination may be the creative class' greatest challenge -- and responsibility. "But commitment to diversity has to mean more than a token call to multiculturalism," says Kris Kleindienst, co-owner of Left Bank Books. "They have to understand that it's not about reaching out, it's about sharing economic resources fully. Nothing will change until North City enjoys the same thriving economy we see in South City." That said, some creatives are actively embracing the challenge: confronting race, forging trans-cultural bonds, and spawning whole new artistic and entrepreneurial enterprises. All prove that diversity not only generates money, it builds friendships, partnerships and neighborhoods. "Creativity by its very nature challenges the nonsense of racism," says African-American writer/poet K. Curtis Lyle, a Los Angeles native. "I hang out with creative people here so I don't feel prejudice like some do. In fact, I'm seeing whole communities develop here, of people for whom race isn't a filter. Creativity is the great leveler. Creative people don't know some things are supposed to be impossible." Support affordable housing rehabilitation Certainly our fine old architectural infrastructure affords both developers and creatives nearly limitless possibilities for both commercial and artistic gain. But with success comes gentrification, higher rents, and troubling social changes. Some South City and Downtown housing has appreciated so rapidly that the more eccentric artists and entrepreneurs, whose very presence pushes up the value of the spaces they occupy, have had to migrate elsewhere. That's a shame -- and unnecessary. "The right public policy could ensure diversity of income levels in any community, but I'm not seeing it," says Eric Friedman, of the Friedman Group in the Central West End. "We cannot afford to drive out the very people who build our neighborhoods." Many worry that the city, eager for revenues, lacks a consistent plan for what St. Louis can be for all its citizens. "I see good things going on in some areas, where pure greed determines development," says Steve Smith, founder/owner of the Panda Athletic Club and the Royale Cafe. "I see others where prejudice prevents development. Focused on bringing in big and upscale businesses, city hall doesn't recognize the value of what the less well-heeled people do for this city." Our priorities are skewed, says Hurley. "We've got to ask ourselves why the housing in North City, which is every bit as beautiful and historic as anywhere here, is left to rot, while developers happily dump money into South City which, by the way, is now one of the most racially diverse areas in the Midwest." Others decry what they see as short-term thinking. "Politics here are a sickness," says Heathcott. "I see no political culture for stewardship, of responsibility to the past and the future. Instead, it's all about quick revenues from poorly thought, short-term development. The city has shift from a real estate model of city planning to a neighborhood building model." Support progressive policy-making Most creatives give city hall mixed reviews. While some praise certain officials who eased the way for what became successful enterprises, more express frustration with what they regard as atrophic leadership and a profound lack of progressive thinking. "I think when the charter amendment went down," says writer Thomas Crone, "many of us lost hope of accomplishing anything here. We need to run and elect aldermen of vision, who are willing to break with an old power structure." Unnecessary bureaucracy particularly rankled. "The city seems intent on making it difficult to do anything," says Smith. "I spend an inordinate amount of time just dealing with bureaucracy." Fisher calls it an insiders' ballgame. "You work around it, but it's a beat-down mentality." Tom Schlafly, who opened his brewery's bottle works in Maplewood, rather than the city, is coy: "Let's just say the city is not well served by the tradition of aldermanic courtesy." Others cities support their entrepreneurs better, they say. "City Hall gives the big developers and chains breaks little guys don't get," observes Levinson. "They don't see that we're about the long term; we generate the commerce that builds neighborhoods, not just tax bases." Many worry that the city is morbidly bankrupt of ideas. "Provincial thinking isn't necessarily bad," says Gondolfi, "but here it just spins out in power plays that negate growth. The city ends up victimized by its own people." Creative communities, they point out, must be nurtured and renewed lest they slip away. Unless civic and political leaders can find ways to encourage broad support for diverse creative activities, and establish colorblind policies to bring all our citizens into the creative sector, St. Louis may fall behind. "So much is possible here, but we don't work together," says André Holman, general manager of City 10 TV. "If this city is going to be great again, we've got to work for some greater common goal that benefits all city residents, not just some." To their credit, many creatives know they need to collaborate better, perhaps even form a New Guard by which they can address the panoply of deeply entrenched attitudes endemic to any city, but particularly daunting here. "The cultural communities don't work very well together," says Maria Schlafly, "so it's hard to build audiences and effective networks." To the city's credit, some government officials likewise worry about our precarious creative potential. "We cannot afford to be perceived as a closed-minded or intolerant city, nor do we want to be that in reality," says Alderman Jim Shrewsbury. "Making our city a lively, exciting and diverse place to live with services and amenities that appeal to "creatives" are things we need to keep fostering." But all agree the city, ripe for change, can fulfill its promise. "Things can happen here," says McKelvey. "Nothing is holding us back. The barrier isn't there; it's imaginary." St. Louis, then, may need to decide what kind of Gateway City it will be. A gateway, the dictionary reminds us, is "an arch or frame over a gate that can open -- or close." Legions strong now, our Creative Class stands at that gate, eager to push through it to a whole new future. "There's no need to engineer anything, only enable the creativity at hand," says South City artist Anna Hancock. "Just let us do it." St. Louis Magazine - May 2006	cc/2023-06/en_middle_0048.json.gz/line81
__label__wiki	0.572824	0.572824	Grill Room Shag Bag The Worst Golf Movies, Not In Any Particular Order January 21, 2021 / currin290 / 0 Comments The Judge is waiting for a better golf movie. As a rule I don’t watch Inaugurations even though I’ve lived in the DC area for a while. Usually I’m working, and in 2001 (Inauguration fell on a Saturday that year) I was on a flight to the west coast when George W. Bush was sworn in (I was trying to avoid bad weather). It’s nothing political, it’s just not my bag. I’ll probably watch some of the Inaugural address when I have the time to pay attention. So on this Inauguration Day, since the departing and newly-sworn in POTUS both play (one a lot more than the other), I thought I’d do a deep dive of the worst golf movies. Everyone has their top-5 or top-10. This is a top-7 list. Some of them you’ll recall instantly, and others you’ll have forgotten (or tried to forget) they existed. Before I jump into the list, I thought it would be helpful if I provided my methodology in how I reviewed these films. Story. Does the plot make sense? Does the script follow a progression? Acting. How good are the actors? Golf. Do the golf scenes look realistic? Do the actors/actresses who are playing golf appear to know what they’re doing (if they’re playing characters who are pros/elite amateurs)? Much like hockey films, this is an area that gets overlooked (I’m looking at you, Mighty Ducks trilogy). The better option is to do what the producers did for the hockey film “Miracle” which is find guys who can play hockey and teach them acting (the hockey scenes are VERY good). Directing. How are the golf scenes shot? Are there obvious continuity errors? Do the scenes ‘look’ genuine? Re-watch factor. The best golf films can be re-watched. Would you want to re-watch? Again, this list is not in any particular order. I took notes, watched films, and that’s it. These films are all uniquely bad for reasons I’ll get into. Caddyshack II (released 1988). This falls into how I feel about the sequels to Slap Shot (hockey people feel about Slap Shot what golfers feel about Caddyshack; notably the sequel(s) were terrible ideas). They’re terrible, poorly conceived, horribly written and to borrow a phrase, the audience is the worse for having watched it. Much of the original cast is gone and replaced with people who should know better. Robert Stack as the Judge Smails and Jackie Mason as the Al Czervik is all you need to know. Beyond terrible and not even in a “so bad it’s good” way. Insipid. Awful. The best thing I can say about these films is that Rodney Dangerfield, Bill Murray and Ted Knight had the decency to run away from this flaming turd of a film. The people who made this film should apologize to anyone who’s had to sit through it. Happy Gilmore (released 1996). I know there are people who like this film as it’s an Adam Sandler film and he has his fans. This ain’t it, chief. Sandler has “one” character he plays with very few exceptions (the odd drama film). He’s playing Adam Sandler Comedic Goof. The golf plotline is terrible and completely divorced from reality. The continuity errors are in the dozens (obviously shot at multiple locations at different times of the year and changing for no reason). Christopher McDonald’s ‘Shooter McGavin’ character is the only thing decent. Again- touring pros AND a then-nascent Golf Channel bought onto this. A poster child for failing to get the details right. Greatest Game Ever Played (released 2005). A good book does not always make for a good movie. The problems start with Shia Lebeouf, who is awful as the film’s lead Francis Ouimet. His golf swing is god-awful. It’s worse than Matt Damon’s in ‘Bagger Vance’ which is saying something. At no point do you think he’s playing that role. He’s just Shia Lebeouf looking like a 30-handicap chopper in period dress. I wanted to like this film (seriously- the book is good). It’s awful. Shia should apologize to Stephen Dillane who is actually good. The film makes several factual errors that go against what actually happened. The Tiger Woods Story (released 1998). The Hallmark Channel Christmas Movie enema of golf films. Undoubtedly some smooth-brained troglodyte wearing white shoes and a nose ring thought to greenlight this dumpster fire after his Masters win. The lead (whose name bears not repeating) didn’t really look like Woods, and the golf scenes are awful. It’s consistently awful. No thought was put into this film. It jumps around without ever actually making a point. I had forgotten it existed until I started researching this. I feel gross. The script (assuming there was one) has all the emotion of a manila envelope. Who’s Your Caddy (released 2007). If you don’t understand golf, don’t do golf films. Not authentic. More of a comedic vehicle. It’s as if they thought “we have this dumpster fire of a script with comedic actors, let’s spin the wheel and find out some details….and hey let’s have them be caddies!” or something. At some point someone is going to make a great film about caddies (Tin Cup does the role ‘some’ justice). This…is not that film. It’s not to say that every golf scene has to involve professionals, but if the actors are playing pros/elite amateurs they should look the part. A good example of not good players in a great scene? The golf scene in ‘Sideways’. Two guys who aren’t any good but who make bad swings and look the part. Anyone who’s played a lot of public golf can relate to Paul Giamatti and Thomas Haden Church being in front of them and the reactions from everyone. A Gentleman’s Game (released 2002). A 90-minute slog about adolescence and being honest. Less a golf movie and more of an After-School Special (kids, ask your parents) with Gary Sinise. Instead of “Timmy discovers marijuana!?!” it’s “Timmy sees the mean old man cheating and being a racist.” Which is bad. So don’t cheat. Don’t be racist. Be honest. Don’t cheat. Eat your vegetables and bathe daily. Thank you for coming to my Ted Talk. The Squeeze (released 2015). Directed by former ABC golf producer Terry Jastrow who is well connected in Hollywood and golf circles. Anne Archer was part of the production. Christopher McDonald and Jeremy Sumpter are in it. And yet, it’s not any good. A good third of the film has zero relevancy to the plot (none of it remaining part of answering the basic “What’s the Story?” question). The plot gets in its own way. The golf scenes in the main match are well done, but the rest of the film jumps around. When I heard about it I really thought it would be better. It’s not. Luckily it’s confined to Golf Channel. So that’s it. Seven golf films not worth your time. Hopefully ‘someone’ can write a script for a golf movie that gets the golf parts correct and can couple that with a good story. Movies, at their best, tell great stories. Let’s hope so. Golfgolf moviesmovies Yes, This Is A List Of 2022 PGA Championship Replacement Options Who Runs What; Explained Making The Tour Championship Great. Again. September 4, 2022 Fixing The Olympic Golf Format (You’re Welcome) July 28, 2021 Public Golf Done Exceptionally Well July 9, 2021 We’re Dealing With a Lot of Shit June 27, 2021 2021 Masters Picks April 8, 2021 Who Runs What; Explained April 7, 2021 The Worst Golf Movies, Not In Any Particular Order January 21, 2021 Tweets by @1golferincart Making The Tour Championship Great. Again. Fixing The Olympic Golf Format (You’re Welcome) Public Golf Done Exceptionally Well We’re Dealing With a Lot of Shit 2021 Masters Picks © 2023 Single Golfer in Cart	cc/2023-06/en_middle_0048.json.gz/line84
__label__wiki	0.912732	0.912732	Bar » Glove winner at the hot corner, gobbled up a hot gro Spiegelwelt » Lobby » Bar » Glove winner at the hot corner, gobbled up a hot gro #1 \| Glove winner at the hot corner, gobbled up a hot gro 05.10.2019 08:24 LAWRENCE, Kan. -- There were moments of frustration for Kansas coach Bill Self, moments where hed angrily call a timeout or attend a post-game news conference and glumly bemoan another uneven performance. There never was a moment where he lost faith in his team. Now, after enduring the nations most brutal non-conference schedule, the sixth-ranked Jayhawks are proving to be exactly what the pundits thought theyd be: The Big 12s premier team, one that already has a substantial lead in the conference as the race nears its midway point. "We have grown, but were just now to the middle of the season. Thats whats so strange," Self said. "The big thing is that were playing with more energy and were starting to understand how were going to score -- not just running an offence to run an offence. Were not a tough team by any stretch, but are playing tougher than we did earlier in the season." Thats certainly been evident in the results. After a loss to fifth-ranked San Diego State ended the Jayhawks 68-game non-conference winning streak at Allen Fieldhouse, Kansas has ripped off seven straight wins through arguably the toughest part of its league schedule. It began with a win at No. 23 Oklahoma, and continued with wins over four straight teams that were ranked in the Top 25 -- Kansas State, Iowa State, Oklahoma State and Baylor. After a blowout win at TCU, the Jayhawks beat the No. 16 Cyclones for a second time on Wednesday night. Now, theyll head to No. 25 Texas with essentially a two-game lead in the Big 12. You catch the game on TSN2 on Saturday at 12am et/9pm pt. "Im not surprised at all," junior guard Naadir Tharpe said. "I knew it was going to be a matter of time until everybody just let water run off their back and start going out there and just playing. That is what I feel like dudes are doing right now." The most important of them may be Andrew Wiggins, the highly touted freshman. After fits and starts to begin his college career, the 6-foot-8 swingman and projected lottery pick in the June draft has gone on a tear. Wiggins scored a career-high 27 points in the win over the Horned Frogs, and then bested it with 29 points against the Cyclones earlier this week. Hes averaging more than 24 points over his past three games. "I would say I feel more comfortable on the court," Wiggins said this week. "A lot of things are slowing down for me and my teammates are looking for me." Hes also starting to create his own shot, something that he was reticent to do early in the season, prompting Iowa State coach Fred Hoiberg to say hes "oozing with confidence. "Thats scary," Hoiberg said. "With that athleticism, that length and that speed, the kids got it all. When hes knocking down shots, not too many better." There arent many teams better than the Jayhawks right now. Since the start of league play, the nine-time defending champions are putting up a Big 12-leading 84 points per game. Theyre just a half-point out of second place in scoring defence, and their scoring margin of 12 points per game is seven better than second-place Oklahoma State. The Jayhawks (16-4, 7-0 Big 12) also lead the league in field-goal and 3-point percentage, rebounding defence and margin, blocked shots, assists and, well, you get the idea. "They have a special group," TCU coach Trent Johnson said. "At every position, they have somebody who can score. They can attack you, so you really have to be on your toes." After the Jayhawks, Texas may be the next hottest team in the Big 12 heading into Saturdays game. The Longhorns (16-4, 5-2) have rattled off five straight wins, the last three coming against ranked teams in Iowa State, Kansas State and Baylor. The Jayhawks will represent the first time in school history that Texas will have played four consecutive Top 25 opponents. "Theyre young. Theyre not quite as young as we are, but theyre young and fast, probably as fast as any team well play," Self said. "Theyre obviously playing their tails off." Black Friday Nike Air Max 97 . Donald Young lost in straight sets to Israels Dudi Sela 6-3, 6-0. Querrey, ranked No. 61, is the second-highest ranked American, ahead of Johnson (64). Cheap Nike Air Max 97 . Cellino was ordered by a judge to pay a 600,000 euro ($800,000) fine for evading import taxes on a yacht he purchased in the United States and brought to Italy, the ANSA news agency reported. https://www.fakeairmax97wholesale.com/ .com) - The fading Ottawa Senators have a chance to make up some ground in the playoff race on Tuesday night as they play host to the New York Rangers. Cyber Monday Nike Air Max 97 . Ryu (8-3) allowed a run and three hits in six innings and struck out six in his 13th start. In his first 13 starts last season -- his first in the major leagues -- the left-hander was 8-5 with a 2.85 ERA. This was the ninth time this year that Ryu has allowed fewer than three earned runs, and he is 7-0 in those games. Wholesale Nike Air Max 97 . He still wanted out. "It just seemed like the direction they were going didnt fit what I thought my career was going to be," Kesler said. "At the end of the day I want to win a championship and I want to win it now, and four years is a little too long for me. Finally, in his last at bat -- and with the game long decided -- Arenado laced a double that landed squarely on the white left-field line. Thats the way its been going lately for one of the Colorado Rockies hottest hitters. Arenado ran his hitting streak to 26 games and Carlos Gonzalez had five of Colorados season-high 21 hits as the Rockies routed the Texas Rangers 12-1 on Tuesday night. "Just nice to get that," Arenado said of his RBI double in the seventh. His streak is one away from tying the team record of 27 set by Michael Cuddyer last season. Its also the longest for anyone 23 years or younger since Albert Pujols hit in 30 straight games in 2003. "It was a little dramatic, but he finally did it," Gonzalez said. "It was a great night for him -- a very important night for him." For Gonzalez, too. Hes been struggling all season with finger and knee ailments that have hampered his swing. And yet the Rockies still lead the majors in most offensive categories. "Just imagine when Cargo starts swinging it the way he should," Arenado said. The first four hitters in Colorados lineup -- Charlie Blackmon, Drew Stubbs, Troy Tulowitzki and Gonzalez -- went a combined 13-for-20 with two homers and seven RBIs to help the Rockies take two games from Texas at Coors Field. Colorado now travels to Arlington, Texas, for two more in a home-and-home situation. Blackmon led off with a homer. Stubbs added another in the seventh. "We got guys up and down the order and on the bench that can really swing it," Arenado said. Juan Nicasio (4-1) got through five innings without his best command, giving up two hits and one run. He also walked a season-high five. Robbie Ross Jr. (1-3) had a rough outing as he allowed six runs and 12 hits in 5 1-3 innings. The Rangers most effective pitcher on this night was actually an outfielder. Given the lopsided score, and to save his bullpen, manager Ron Washington sent Mitch Moreland to the mound for the eighth. He set the Rockies down in order as he became only the sixth position player to pitch in Rangers history. Its the first time hes pitched since 2008 and that was in a minor league game. Morelandd was hitting around 94 mph, too.dddddddddddd "I tried to let a couple go, especially early in the count, just to have some fun," Moreland said. "Its tough in a game like that to have some fun, but its always been a dream of mine." Leading 4-1, the Rockies broke open the game with a six-run sixth in which they sent 12 batters to the plate. Pinch hitter Brandon Barnes even got up twice, hitting singles both times. "They put the ball in play and found holes. There was nothing we could do about it," Washington said. Arenados glove set the stage for the run eruption. He robbed Adrian Beltre of two hits and, along with it, potentially big innings for the Rangers. He felt a little bad, too. "Beltres my favourite player," Arenado said. "Hes one of the last players Id want to rob." In the third, Arenado, the reigning Gold Glove winner at the hot corner, gobbled up a hot grounder from Beltre and threw him out at first. Beltre playfully looked at Arenado and raised hands as if to say, "Did that just happen?" Arenado has been stealing hits all season. So much so that before the game Washington said of Arenado: "That kid over there is a highlight reel." In the fifth, Arenado got Beltre again as he snared a two-out slow roller with his bare hand and made a strong throw that barely beat Beltre. "Ive got to do what Ive got to do," Arenado said. Nicasio struggled to find the strike zone, with catcher Jordan Pacheco and pitching coach Jim Wright making frequent visits to settle him down. It worked as Nicasio improved to 3-0 at home this season. Ross nearly had his first major league hit as he beat out a grounder to second. But Rockies manager Walt Weiss challenged the play and it was reversed upon review. "I think hell get another one," Weiss said, laughing. "I think he will." NOTES: Beltre hit his first homer of the season, a solo shot in the first. ... RHP Colby Lewis (2-1) will pitch Wednesday as the Rangers return from a five-game road swing. The Rockies counter with LHP Jorge De La Rosa (3-3). ... Tulowitzki is hitting .608 with six homers and 22 RBIs at home this season. ' ' ' anding in my way of what I want to achieve, and Ive got » « under from Beltre and threw him out at first. Beltre	cc/2023-06/en_middle_0048.json.gz/line85
__label__cc	0.707337	0.292663	Seattle 0 0 0 0 0 0 0 1 0 1 5 0 LA Angels 1 0 0 1 0 0 0 0 x 2 4 0 W: S. Ohtani (13-8) L: G. Kirby (7-4) S: A. Loup (1) 6:07 PM PT7:07 PM MT8:07 PM CT9:07 PM ET21:07 ET1:07 GMT9:07 6:07 PM MST8:07 PM EST8:37 PM VEN5:07 UAE (+1)7:07 PM CT, September 17, 2022 Angel Stadium of Anaheim, Anaheim, California Attendance: 35,538 J. Crawford, SS 3 0 1 0 1 1 1 .251 .336 .348 T. France, 1B 4 0 0 0 0 0 1 .272 .336 .437 C. Santana, DH 4 0 0 0 0 0 1 .197 .317 .375 J. Winker, LF 4 0 0 0 0 0 1 .218 .338 .342 C. Raleigh, C 3 0 1 0 1 1 2 .205 .279 .470 A. Frazier, 2B 3 0 1 0 1 0 0 .238 .304 .311 S. Haggerty, RF 3 0 0 0 0 0 1 .281 .342 .452 T. Trammell, CF 3 1 1 1 4 0 1 .208 .294 .427 A. Toro, 3B 3 0 1 0 2 0 2 .182 .239 .326 Totals 30 1 5 1 9 2 10 - - - L. Rengifo, SS-2B 3 0 0 0 0 0 1 .273 .305 .440 M. Ford, 1B 3 0 0 0 0 0 1 .200 .314 .333 M. Duffy, 3B 3 0 0 1 0 0 1 .245 .298 .293 M. Moniak, LF 3 0 0 0 0 0 2 .231 .250 .564 M. Stefanic, 2B 2 0 1 0 1 0 0 .191 .283 .213 L. Soto, PR-SS 1 0 0 0 0 0 0 .000 .000 .000 2B: Sea 1, A. Toro (12). LAA 1, S. Ohtani (26). HR: Sea 1, T. Trammell (4). HR Detail: Sea, T. Trammell (Inning: 8 , 1 Out, 0 on) off J. Barria. Scoring Position: Sea - 0 for 1.LAA - 0 for 5. G. Kirby, (L 7-4) 6.0 4 2 2 1 8 0 22 84 29 - 55 2.98 .255 E. Swanson 1.0 0 0 0 0 2 0 3 9 2 - 7 1.12 .186 M. Brash 1.0 0 0 0 0 2 0 4 20 9 - 11 4.20 .255 S. Ohtani, (W 13-8) 7.0 3 0 0 1 8 0 24 107 34 - 73 2.43 .213 J. Barria, (Hld 3) 1.0 2 1 1 1 1 1 5 20 10 - 10 2.69 .211 A. Loup, (S 1) 1.0 0 0 0 0 1 0 3 12 5 - 7 3.96 .231 Double Plays: Sea 1, (Crawford to Toro to France). LAA 2, (Rengifo to Soto to Ford; Barria to Rengifo to Ford). Wild Pitches: Sea 1, G. Kirby. Hit by Pitch: LAA, L. Rengifo by M. Brash. Umpires: HP--Miller, 1B--Visconti, 2B--Carapazza, 3B--Meals.	cc/2023-06/en_middle_0048.json.gz/line86
__label__cc	0.740545	0.259455	Nobu Hotel at Caesars Palace Sure this intimate boutique property has a celebrity pedigree. It’s co-owned by celebrity chef Nobu Matsuhisa and partners include actor Robert De Niro. But it’s not for its celebrity status that you’ll be checking in to Nobu Hotel at Caesars Palace. You’ll check in for all the little extras. This hotel is known for providing the utmost in service and a sense of exclusivity to its guests. At Nobu you’ll find elegant, unusual touches like Italian sheets on the beds (molto bella!), feng shui rooms and bath amenities with a rosemary and white tea scent. Guests are welcomed to their room with a gift of hot green tea and the in-room mini-bar is stocked with snacks you won’t find at the mini mart like blood orange chili juice, sake and Japanese beer. During the nightly turndown service, robes are placed on the bed with an exclusive pillow and bath menu, and an evening tea with macaroons is served. Yes, the details are impeccable — right down to the do not disturb sign, which is a dramatic red tassel instead of the usual plastic placard. Nobu Hotel even found a way to make their elevators out of the ordinary. Those who like a little extra security will appreciate the optical scanners that read your key before letting you call for an elevator. You select your floor before you get in and once inside, the elevators have no buttons other than to open and close the doors. That means there’s no way to get to a floor without a key. The luxury doesn’t end there. Since the hotel’s namesake is a world-renowned chef, it’s only fitting that his restaurant is located on the ground floor. And talk about one humungous space, Nobu restaurant. In addition to the main dining room, there’s a sushi bar and several private tables — including teppanyaki tables. Guests can indulge in Chef Nobu’s signature items: yellowtail sashimi with jalapeño, sashimi salad and vanilla miso tart. A bar and adjacent lounge with semi-enclosed pods is the perfect place to sip a drink before or after you dine. Guests at Nobu Hotel at Caesars Palace are also lucky to have access to Nobu’s cuisine 24 hours a day through a special in-room dining menu you can’t find anywhere else, which includes sushi and a selection of bento boxes for a customary Japanese breakfast. Nobu Hotel’s location within Caesars Palace means there’s a wide range of amenities at that hotel available to guests as well, including The Forum Shops, entertainment at The Colosseum, Omnia Nightclub, Qua Baths & Spa and the pools. It’s the best of both worlds. Book Your Nobu Hotel at Caesars Palace Room « If You’re addicted to Las Vegas then this livestream is for you ❤️ Polo Towers by Diamond Resorts »	cc/2023-06/en_middle_0048.json.gz/line98

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