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Error code:   DatasetGenerationError
Exception:    ArrowInvalid
Message:      JSON parse error: Missing a closing quotation mark in string. in row 0
Traceback:    Traceback (most recent call last):
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 153, in _generate_tables
                  df = pd.read_json(f, dtype_backend="pyarrow")
                File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 815, in read_json
                  return json_reader.read()
                File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1025, in read
                  obj = self._get_object_parser(self.data)
                File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1051, in _get_object_parser
                  obj = FrameParser(json, **kwargs).parse()
                File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1187, in parse
                  self._parse()
                File "/src/services/worker/.venv/lib/python3.9/site-packages/pandas/io/json/_json.py", line 1403, in _parse
                  ujson_loads(json, precise_float=self.precise_float), dtype=None
              ValueError: Trailing data
              
              During handling of the above exception, another exception occurred:
              
              Traceback (most recent call last):
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1997, in _prepare_split_single
                  for _, table in generator:
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 156, in _generate_tables
                  raise e
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/packaged_modules/json/json.py", line 130, in _generate_tables
                  pa_table = paj.read_json(
                File "pyarrow/_json.pyx", line 308, in pyarrow._json.read_json
                File "pyarrow/error.pxi", line 154, in pyarrow.lib.pyarrow_internal_check_status
                File "pyarrow/error.pxi", line 91, in pyarrow.lib.check_status
              pyarrow.lib.ArrowInvalid: JSON parse error: Missing a closing quotation mark in string. in row 0
              
              The above exception was the direct cause of the following exception:
              
              Traceback (most recent call last):
                File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1529, in compute_config_parquet_and_info_response
                  parquet_operations = convert_to_parquet(builder)
                File "/src/services/worker/src/worker/job_runners/config/parquet_and_info.py", line 1154, in convert_to_parquet
                  builder.download_and_prepare(
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1029, in download_and_prepare
                  self._download_and_prepare(
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1124, in _download_and_prepare
                  self._prepare_split(split_generator, **prepare_split_kwargs)
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 1884, in _prepare_split
                  for job_id, done, content in self._prepare_split_single(
                File "/src/services/worker/.venv/lib/python3.9/site-packages/datasets/builder.py", line 2040, in _prepare_split_single
                  raise DatasetGenerationError("An error occurred while generating the dataset") from e
              datasets.exceptions.DatasetGenerationError: An error occurred while generating the dataset

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pred_label string	pred_label_prob float64	wiki_prob float64	text string	source string
__label__cc	0.63227	0.36773	Tag Archives: 24H-architecture Dragspelhuset by 24H-architecture By : Dennis Franklin \| 2 Jun 2015 5:24 pm \| Homes The Dragspelhuset is an extension to the original cabin that dated from the late 1800s sitting on the shore of the Ovre Gla Lake in the reserve of Glaskogen, Sweden and it is a project created by 24H-architecture built in 2004. Due to the building regulations building is not allowed near the shore but this building was already there so this was an exception. The architecture firm created an extension that is able to adjust according to the climate surrounding… White Rose Tower by 24H Architecture By : Dennis Franklin \| 14 Mar 2014 8:22 am \| Other The Portaal and Talis housing corporations commissioned the 24H Architecture practice to renovate several of the housing units located in the Hatert area at the edge of Nijmegen, The Netherlands, and bring them to contemporary standards. The masterplan for the project was created by the Khandekar office in collaboration with the city of Nijmegen focusing on the upgrade of the residences as well as on the addition of new units with a high tower in the center that will add… Marecollege by 24H Architecture By : Dennis Franklin \| 29 Jun 2013 11:33 am \| Education The 24H Architecture practice designed the Marecollege in 2013 which had to move to a new location because of the urban developments which took place in the city of Leiden, The Netherlands. The location chosen was on the Sumatrastraat where there was an abandoned school building which was transformed into the new Marecollege, a secondary Waldorf school with 450 students. The building has a surface of 3800 square meters and the clients wanted the design to partially use the existing…	cc/2023-06/en_middle_0099.json.gz/line4
__label__cc	0.51504	0.48496	Mun Mun, by Jesse Andrews In this most striking science fiction novel of 2018 that you've never heard of, Mun Mun describes a world where your net worth defines your physical size. Based on the amount of "mun mun" (money) you have, you can be anywhere from the "littlepoor" (about the size of a squirrel) to "bigrich" (where the sky's the limit on size and height). Being as small as a rodent has some significant disadvantages, ranging from having trouble working at a normal job to simply not being eaten as a snack by a free-range kitty. Littlepoors Warner and his sister Prayer have dreams of making some mun mun of their own and maybe becoming middlepoor some day, but their plans run astray and Warner ends up in jail. But then a well-meaning family of middleriches rescues him, trying to prove that, with a little mun mun, anyone can pull themselves out of poverty and littleness. But as the author grindingly makes clear, mun mun by itself can't change the legacy of who you are and where you came from. With a wit that owes much more to Jonathan Swift's satire than any modern day dystopian novel, Andrews says a lot about class, privilege, and the inherent flaw in so many well-intended attempts to "fix" these social evils. The result can be depressing at points, but just as Gulliver's Travels was able to say so much of contemporary relevance in its day through fantasy, Andrews knows that the message is so much clearer when you are not expecting it. It's unwillingness to embrace either Left or Right will probably upset some folks, but there's little to argue with here. The ending grows a bit weird as Warner becomes unhinged from his suffering and his character transforms to a dark anti-hero with whom it becomes hard to identify and sympathize, but the originality and biting observations of this allegory make this novel a stand-out work. It's a largely neglected book that deserves a wider audience. Highly recommended. A Kind of Paradise, by Amy Rebecca Tan Hope and Other Punch Lines, by Julie Buxbaum How It Feels to Float, by Helena Fox Goodnight, Anne, by Kallie George The Raven's Tale, by Cat Winters Astrid the Unstoppable, by Maria Parr Running through Sprinklers, by Michelle Kim Eventown, by Corey Ann Haydu Are You Ready to Hatch an Unusual Chicken? by Kell... The Surface Breaks, by Louise O'Neill Not If I Can Help It, by Carolyn Mackler A Week of Mondays, by Jessica Brody	cc/2023-06/en_middle_0099.json.gz/line20
__label__wiki	0.74226	0.74226	Center for the Arts Evergreen Arts/Artists Kids & Seniors Brochure 31880 Rocky Village Drive Open and free to the public Monday-Friday 10 a.m.-5 p.m., Saturday 10 a.m.-4 p.m.; closed Sundays. The center supports Evergreen and its surrounding communities in the visual and performing arts, bringing the arts and community together. CAE hosts classes, workshops, exhibitions and cultural events All Access: The Lived Experience of Disability Through Art - Opening Reception All Access: The Lived Experience of Disability Through Art exhibition open February 23 - April 1 at Center for the Arts Evergreen. ...read more CAE's DEIA Speaker Series - Accessibility and Art Wednesday Mar 1, 2023 CAE's DEIA Speaker Series - Accessibility and Art on Wednesday, March 1 from 5:30 to 7 pm at Center for the Arts Evergreen. ...read more Lisa Nierenberg Phone: (303) 674-0056x1 The Center for the Arts Evergreen is located at 31880 Rocky Village Drive, just 2 miles off of I-70 at Evergreen Parkway (Hwy 74).	cc/2023-06/en_middle_0099.json.gz/line24
__label__wiki	0.603814	0.603814	Independent Pop & Rock Typ: LP A lot of post-rock and instrumental electronic music can be boring. Musicians compose enormous musical structures with thunderous percussion, larger than life chords, and layers and layers of keyboards but the content rarely seems to live up to the context. Sure, there are your Godspeed You! Black Emperors, Mogwais, and M83s, but they are the exception to the rule, not the rule. Take into consideration that even these exceptions can be lackluster—M83’s over-reliance on constructed drama, for instance—and the genre seems particularly troubled. And maybe that’s why Lymbyc Systym’s Love Your Abuser comes across as fresh, and inspired as it does. On one hand, it’s a pretty straightforward electronic record, while on the other, the duo from Tempe, Arizona exhibit a penchant for post-rock’s enormity. By foregrounding the details—all the music box electronics and lap top flourishes—and relegating their post-rock ambitions as secondary, Lymbyc Systym have achieved, for the most part, a delicate balance that allows them to inject drama and feeling into sterile electronic arrangements, while not getting bogged down in pretense. That’s not to say that record doesn’t sometimes trip itself up with sentimentality. “Birds,” for example, finds the band mixing precious keys with their most oppressive post-rock wall-of-chords. Other songs are more consistent, but occasionally misfire in brief, awkward moments—the distorted guitars entry in “Love Your Abuser,” for instance, or the predictable ‘drop out’ at the end of “Pittsburgh Left.” While these are enough to cause brief trepidation, they aren’t enough to mar an altogether enjoyable listening experience. The most striking thing about Lymbyc Systym is, despite their occasional missteps, the duo has an interesting and fresh approach. They bring a rare humanism that is missing—perhaps appropriately so—from a lot of post-rock and electronic music that ultimately makes the album easy to get lost in. And that’s the charm of Love Your Abuser, it lulls us in with delicate attention to details then devours us with its gigantic, sonic undertow. - "Rest Easy/Age Kindly" - "Love Your Abuser" - "Astrology Days" - "Idle Wires" - "Fall Bicycle" - "Birds" - "A Day At The Beach" - "Truth Skull" - "Pittsburgh Left" - "... So We Can Sleep" Mehr von Lymbyc Systym Mehr von Style Independent Pop & Rock Sika Lobi Causers Of This Amiina Underneath The Pine Londinium Let England Shake Western Swingin 85 Tracks From Three Gold Stone Julia The Memory Machine Queens Of The Stone Age ( Smoke Ring For My Halo Masters Of Reality Pine / Cross Dover White Blood Cells	cc/2023-06/en_middle_0099.json.gz/line30
__label__cc	0.748947	0.251053	Courage Worldwide > COURAGE COFFEE Courage Coffee... Buy Now! Click Here to Buy Courage Coffee! Why Coffee? 15 years ago, I learned I lived in a world where children are sold for sex. I vowed to do something—I just had no idea what. I learned later from the FBI there were little to no services for these children once they were rescued. They needed a home—so we built them one (rather two—one in California and one in Moshi, Tanzania) and are determined to build a Courage House in every city that needs one around the world. How would this enormous vision be funded? I had no idea. So I prayed. In my spirit, I sensed I was to study coffee sales and café revenues in the U.S. and around the world. I was stunned at the enormous amount of money we spend on coffee—good coffee! From that prayer, Courage Cafés and Courage Coffee became a part of the funding vision for Courage Worldwide. I am so excited to announce, though it has taken 15 years, that prayer and dream has become a reality—thanks to the help of some amazing strategic partners listed below. Drink up! Every cup matters! The Kilimanjaro Region of Tanzania has an extra special place in our hearts. At the base of majestic Mount Kilimanjaro is the quaint town of Moshi where our first international Courage House has been open for over ten years, along with Courage House Too (our transition program) and the flagship Courage Café. This is the region where Courage Coffee is grown and harvested. (Pictured left to right: Courage House, Courage House Too, Courage Café) As an organization, it is our mission to support survivors of trafficking in their journey to healing and restoration. We do this through Courage Houses. Courage House is a safe home, loving family, and the fulfillment of all basic needs, trauma-informed counseling and care, specialized education on campus, and continued support through college education until each resident can stand on her own as an independent, young woman. Our Supplier Kilimanjaro Plantation Ltd. The slopes of Mt. Kilimanjaro are the origin of some of the world’s best Arabica coffee. Originally introduced by missionaries in the late 1800s, the tropical climate and geography of the mountain are perfectly suited for this crop and it has become a staple in this region. With soil rich in nutrients and an optimal altitude, plantations and small “shambas” (farms) alike cultivate world-class coffee beans to be roasted and enjoyed all over the world. While the history of coffee production in the Kilimanjaro region began with plantations, it was then privatized by the government in the 1970s. As a period of unproductiveness followed, the private sector and village leadership were brought back in to revitalize the coffee industry. From 1999 to 2003, Kilimanjaro Plantation merged eight adjoining estates to create the current property area through lease agreements with four village cooperatives. The nearby communities used this income to maintain and expand their schools, hospitals, water supply, and overall social support. Kilimanjaro Plantation is a provider for hundreds (even thousands at certain times of year) of jobs in this rural community, creating economic opportunities and growth in the community. Currently, there are 1.2 million coffee trees across Kilimanjaro Plantation. KPL’s environmental and labor codes meet international standards. As our neighbors in the Moshi region, we have witnessed the incredible coffee production process and seen the smiling faces working hard to provide us with the highest quality coffee beans that make their way to your morning cup of joe. If you would like to read more about the stages of coffee cultivation at Kilimanjaro Plantation Ltd., click here. Our Green Coffee Broker & Roaster TK Coffee & Commodities + Clayton Coffee & Tea 15 years ago, the CEO of TK Coffee & Commodities, Tom Kilty, was the neighbor of Courage Worldwide’s Founder. Jenny shared the dream of Courage Coffee and Courage Café with Tom. He offered his advice and expertise in bringing the green coffee to the U.S. for roasting as well as referring us to Gretchen Peek, CEO of Clayton Coffee & Tea, who is one of few women roasters in the U.S. Gretchen and her team have created a unique blend—The Hope Blend—for Courage Worldwide. 15 years ago, these two coffee professionals generously agreed to assist in bringing Courage Coffee to market. When you drink a cup of coffee, remember it is proof that dreams do come true! For more information on our partners click here: TK Coffee & Commodities Clayton Coffee & Tea ePac Flexible Packaging ePac’s founders began with a mission to provide locally-based consumer packaged goods companies the ability to compete with large brands with great packaging. Our customers are predominantly locally-based small and medium-sized CPGs, many of whom are focused on creating natural and innovative products for their consumers. Since opening our first manufacturing facility in 2016, our mission has been clear—to help small brands obtain big brand presence, give back to the communities we serve, and contribute to the creation of a more sustainable, circular economy. Read our feature on ePac’s blog – how we’re fighting human trafficking with connected coffee packaging. Read more about ePac Flexible Packaging here!	cc/2023-06/en_middle_0099.json.gz/line35
__label__wiki	0.630851	0.630851	Tag: Alain Resnais Inventory: Alain Resnais February 15, 2020 by Brandon·Comments Off on Inventory: Alain Resnais After watching all the Chris Marker movies I could get my hands on, I commemorated with an inventory post – then did the same with Jacques Rivette. I meant to follow with Alain Resnais, who I’ve been writing about since the early months of the blog, but was never sure when I was done. By the time of his great You Ain’t Seen Nothin’ Yet I had only one feature left to watch, then I caught up with the Visits and Portraits, saw his final film Life of Riley soon after he died, and finally finished watching his features a year later with the great Same Old Song. But then I held off until I could find L’an 01, then I was looking for subtitles for Le mystère de l’atelier quinze, and there are multiple new documentaries on Marienbad, and I need to rewatch Muriel sometime, etc. So, here are a couple new things I found to watch, and a Resnais Roundup: Le Mystere de l’atelier quinze (1957, Resnais & Heinrich) Those subtitles finally appeared! Factory worker Renard feels weak and has a noise in his head, so the occupational doctor springs into action, coordinates with medical professionals, government committees, the factory foreman, coworkers and Renard’s family, and gets to the bottom of the issue, improving factory safety so Renard and others can stay healthy and happy. It’s all depressingly utopian after seeing the modern reality in American Factory. More of an industrial film than the Resnais factory and library shorts – again, voiceover with no direct sound. Some long Night & Fog camera tracking. Factory Man (cropped): Codirected by Alain Resnais. Credited director André Heinrich wasn’t prolific – looks like he was assistant to Resnais on Night & Fog, then vice versa here. He later worked on Chronicle of a Summer and appeared in La Jetée. The whole early new-wave gang is here. Cinematographers Ghislain Cloquet (Night & Fog) and Sacha Vierny (Hiroshima Mon Amour), music by Pierre Barbaud (La Pointe Courte) conducted by Georges Delerue (Jules and Jim), Written by Chris Marker with Rémo Forlani (Toute la mémoire du monde). Also credited is “Fearless Fosdick,” who is impossible to google since the name is stolen from a Li’l Abner character. Last Year at Marienbad, A to Z (2019, James Quandt) An hour-long exploration of things within and around the Resnais/Robbe-Grillet feature, and a good opportunity to revisit scenes, since I haven’t watched the film since the SD-DVD days. Resnais “insisted from the very beginning of the project that he wanted a foreign accent for the film’s narrator, to ensure that his voiceover would not be misinterpreted as merely internal monologue.” Surprisingly, it ends on the director of La Flor, which I was just about to start watching. Major Resnais Films: 1953 – Statues Also Die 1955 – Night and Fog 1959 – Hiroshima Mon Amour 1961 – Last Year at Marienbad 1963 – Muriel 1966 – The War Is Over 1968 – Je t’aime, je t’aime 1974 – Stavisky 1977 – Providence 1980 – Mon Oncle d’Amerique 1983 – La Vie est un roman 1984 – Love Unto Death 1986 – Melo 1993 – Smoking / No Smoking 1997 – Same Old Song 2003 – Not on the Lips 2006 – Coeurs 2009 – Wild Grass 2012 – You Ain’t Seen Nothin’ Yet 2014 – Life of Riley Additional Features and Shorts: 1947 – Visits & Portraits 1948 – Van Gogh 1950 – Gauguin 1951 – Guernica 1956 – Toute la Memoire du Monde 1957 – Le Mystere de l’atelier quinze (above) 1958 – Le Chante du Styrene 1967 – Far From Vietnam 1968 – Cinetracts 1973 – L’An 01 1989 – I Want To Go Home (sorry) 1991 – Against Oblivion 1993 – Gershwin Jonathan Rosenbaum, 1988: Resnais is … quite possibly the French director who has been most frequently and unjustly maligned in this country. Despite the fact that he has substantially revised his form and style for each of his eleven features to date, working with a total of eight separate writers, his films share an emotional purity, a visual elegance, and a rhythmic grace that together constitute a recognizable signature. And his central preoccupations — memory, loss, love, death, and desire — have remained more or less constant. The problems he has posed for American aesthetes appear to have been equally constant. Resnais, 2009: “I want to make films that describe the imaginary.” L’An 01 (1973, Jacques Doillon) July 23, 2017 by Brandon·Comments Off on L’An 01 (1973, Jacques Doillon) “Let’s quit everything” Made around the time of Tout va Bien and We Maintain It Is Possible, a few years after La Chinoise, which also takes anti-capitalism to bizarre, somewhat comic extremes. This imagines the “Year 01” in which everyone decides to quit their corporate jobs and disband capitalist society and live as people did before machines, growing crops with their bare hands, which doesn’t sound like fun to me, but I’ve been corrupted by capitalist propaganda I suppose. “Now I take care of the cows. Milking isn’t much nicer than typing, but it’s direct work … if I want to eat, I have to do it.” “98% vote to abolish property” – it’s convenient for the plot that everyone living in France is a good-natured, 28-year-old communist. They rebuild society in a pointedly uneducated way, going on instict and vague desire, which sounds like how the U.S. government is operating today. Neighbors and strangers open up to each other, jewel thievery becomes a respectable hobby, and everyone acts like they’re going on a huge vacation. Mouseover to see this hippie get an idea: Another great idea: Watched this as part of my quest to see everything Alain Resnais made – he did a few-minute episode set in New York, where bankers leap from Wall Street buildings en masse as the people on the streets excitedly read the Euro news in the papers. The dialogue acting here isn’t great, but it opens with a cool series of quick zoom-outs on imposing buildings. Jean Rouch also contributes a Niger scene, which was short and forgettable but featured a reference to “Petit à petit, Inc.” Closes with the title “Fin du premier film de reportage sur L’AN 01,” but after 85 long minutes, there was no more to say. I don’t know much about Doillon, but this came near the start of a long, still-ongoing career. Writer Gébé was editing a satirical magazine at the time, which would later transform into Charlie Hebdo. Same Old Song (1997, Alain Resnais) January 19, 2017 by Brandon·Comments Off on Same Old Song (1997, Alain Resnais) I probably say this about every Resnais film, but this has got to be the most wonderful Resnais film. One of his late-period intersecting-lives ensemble pieces, it’s a tribute to Dennis Potter, so the characters lipsync classic pop songs – but despite the fun tunes it’s ultimately a downbeat drama about depression. Written by two of its lead actors: Jean-Pierre Bacri (balding Nicolas, back in Paris after years away and looking for the perfect apartment) and Agnès Jaoui (Camille, a tour guide who reminds me of Anna Kendrick). Resnais faves Sabine Azéma (Camille’s sister Odile) and Pierre Arditi play husband and wife – though he’s cheating, and is trying to tell her that he’s leaving. Odile with her husband: Odile with her sister: André Dussollier is a realtor showing flats to Nicolas, stalking Camille on her city tours, and working for Marc (Lambert Wilson), who begins dating André’s beloved Camille while showing larger flats to her and Odile. Camille and Marc: Camille and André: Ultimately at least Camille, Nicolas, André and Pierre are somewhere between generally unhappy and clinically depressed. Odile buys a place from Marc and at the housewarming party Arditi plans to walk out (after closing on a new house?) and André turns on his boss. When things start to go bad at the party, sea creatures appear over the picture: Favorite tunes included Marc’s confident women-chasing theme song “J’aime Les Filles” by Jacques Dutronc and Nicolas’s whiny hypochondriac theme song “Je ne suis pas bien portant” by Gaston Ouvrard. A hit in France, it won seven César awards, though Resnais lost the director award to Luc Besson of all the damn things. Played in Berlin with Jackie Brown and The Big Lebowski. Nicolas with his estranged wife Jane Birkin: Marc all alone: Resnais in the NY Times: Potter was extremely pessimistic. His are films of a man who has suffered a great deal, who creates characters who are paranoid. The songs are in total contrast with the situations in the film. We tried to have the song always come from inside the head of the character, to reflect the moment. Life of Riley (2014, Alain Resnais) January 27, 2016 by Brandon·Comments Off on Life of Riley (2014, Alain Resnais) Resnais’s second movie in a row about a group of actors rallying around a dying friend. You Ain’t Seen Nothin’ Yet was a perfect final film, but Resnais was still alive and working, so he made another one. It’s just as playful, but more in the story than the filmmaking – this time the never-seen dying friend uses his situation to steal all the women. Actually called Aimer, Boire et Chanter (google: Loving, Drinking and Singing), which is a wonderful title for the final film of one of our greatest directors – but Life of Riley was the title of the Alan Ayckbourn play it adapts. Resnais’s third Alan Ayckbourn adaptation, fourth if you consider Smoking/No Smoking two movies, fourth-and-a-half if you consider the play-within-the-film here is Ayckbourn’s Relatively Speaking. The players: Kathryn (the great Sabine Azéma) and her balding clock-watcher husband Colin (Hippolyte Girardot, Anne Consigny’s husband in A Christmas Tale, ensemble in You Ain’t Seen Nothin’ Yet) live in a comfy row house. The dying man’s wealthy best friend Jack (sideburnsed Michel Vuillermoz of the last two Resnais films) and wife Tamara (Caroline Silhol, young rich guy’s mom in A Girl Cut In Two) live in a nice, big house. The dying man’s ex-wife Monica (Sandrine Kiberlain of Benoît Jacquot’s Seventh Heaven) and her new man, the much older Simeon (André Dussollier in his eighth Resnais film) live at Simeon’s place in the country. Tamara, Monica, Kathryn: Colin, Jack, Simeon: George Riley, afflicted with cancer, is never seen or heard, nor is the amateur theater director who casts a few of our characters in Relatively Speaking, which they’re rehearsing throughout the film. Kathryn and Tamara convince a reluctant Monica to move back in with Riley for a few weeks, but all three women start spending too much time at his house, and each is personally invited to go on a final vacation with him after the play closes. Each is tempted: Tamara’s upset that her husband is cheating, Monica was Riley’s wife for years, and Kathryn almost married Riley before meeting Colin. Ultimately Colin and Kathryn’s daughter Tilly sneaks away and joins Riley on the trip, during which he passes away. Almost all the action is set on backyard patios – blatantly artificial, stagey sets (house walls are represented with hanging strips of cloth). Establishing shots are drawings. Closeups are always set against a b/w crosshatch pattern. And there are a couple of appearances by an angry-looking puppet groundhog. Lovely, light music by Mark Snow. Won prizes at Berlin, playing with Boyhood, Beloved Sisters and winner Black Coal, Thin Ice. M. D’Angelo: “In years to come I’m probably just gonna mentally reverse the order of these last two films, so as to let him go out on a high note,” and D. Ehrlich calls it “Alain Resnais’ YOU AIN’T SEEN AN INFINITELY MORE INTERESTING VERSION OF THIS LAST YEAR?” V. Rizov: “It may be impossible (for me, anyway) to understand what repeatedly drew Resnais to these rather mediocre Alan Ayckbourn plays, but his commitment to rendering them nearly impossible to understand intent-wise is a beguiling final spectacle of its own.” Tilly at the funeral: Max Nelson for Reverse Shot: Colin and Kathryn’s beautiful teenage daughter, who comes to the old seducer’s funeral, is the film’s trump card; her serene indifference to the event is a kind of mirror image to the equally serene god’s-eye perspective with which the movie treats its heroes … The couple’s daughter, on the other hand, speaks the unflappably confident language of a person just starting to live. To say that the movie lacks the terms to interpret this language is only to say that it’s a film made in the spirit of old age rather than that of youth — but few swan songs cede the floor to a younger generation this graciously, or with such mischievous parting words. Fascinating, mostly unrelated, from Cinema Scope: After meeting in the late ’60’s, Resnais and [Marvel Comics visionary Stan] Lee first worked together in 1971 on a screenplay called The Monster Maker, about a schlock-horror filmmaker who attempts to go legit by making a prestige picture about imminent ecological disaster. Though the pair managed to sell the script, the project failed to find financing when producers balked at the cost of creating a climactic deluge of rubbish that would choke the streets of New York. (A later project called The Inmates, a romantic comedy that revealed how humans were exiled to Earth long ago as punishment for extraterrestrial wrongdoing, never made it past the treatment stage, while Lee’s proposal for Resnais to direct Spider-Man – with Henry Winkler in the lead – may not have even made it that far.) So, it’s far from the best Resnais film, as most of the reviews I’ve read agree, but as F. Nehme said, “it’s still an affectionate coda for a master,” and that’s nothing to sneeze at. After all, the death of Riley didn’t move me, but the phrase in Richard Brody’s review, “Sabine Azéma — Resnais’s wife, now his widow,” is the saddest I’ve read all month. Far From Vietnam (1967) December 1, 2015 by Brandon·Comments Off on Far From Vietnam (1967) Piecemeal protest doc with surprisingly great location footage and interesting scenes, each one a bit too loud and going on for too long. The pieces are mostly unsigned, but I believe Chris Marker put the project together, and some segments are either identified online, or just very easily guessed (ahem, Resnais). They mention that Joris Ivens shot on location – most everyone else stayed home and used stock footage or filmed protest marches. “It is in Vietnam that the main question of our time arises: the right of the poor to establish societies based on something else than the interests of the rich.” Cluster-bomb: Supposed to be President Johnson: The Resnais segment is interesting before it wears out its welcome. Bernard Fresson (of a few Resnais films, including a small part in Je t’aime, je t’aime) is playing “writer Claude Ridder” (name of the lead character in Je t’aime, je t’aime played by Claude Rich) while a woman Karen Blanguernon (Rene Clement’s The Deadly Trap) glares from the corner of his office. This segment was written by Jacques Sternberg (Je t’aime, je t’aime, of course), so perhaps Claude Ridder was his standard lead character name, since this Ridder seems too impassioned to be the heartbroken dead soul from the feature. “Ridder” monologues on the war, politics, and his own inability to make change. “A spineless French intellectual articulating excuses for his class’s political apathy,” per the NY Times. Next, a history lesson using stock footage, photographs and comics, drawing connections to the Spanish Civil War (the Resnais had mentioned Algeria). Then Godard, who monologues in front of a giant film camera, talking about the distance, his inability to connect with the war itself, or even the French working class, the focus of so many of his films. Since he can’t film on-location, he inserts Vietnam into his feature films. “I make films. That’s the best I can do for Vietnam. Instead of invading Vietnam with a kind of generosity that makes things unnatural, we let Vietnam invade us.” After a jaunty music video to a protest song by Tom Paxton, a longer somber voiceover reading the words of Michele Ray who spent three weeks with the Viet Cong, showing her footage before it goes crazy at the end. “Why We Fight,” in which General Westmoreland explains the official U.S. position on the war, filmed off a TV while someone zooms around and twiddles knobs. Title must be referencing the 1940’s U.S. propaganda film series Why We Fight, which Joris Ivens contributed to. Anti-napalm rabbi: Monologue by Fidel Castro, who gives his theories on guerrilla warfare and how this applies to Vietnam. The new wavers seemed to have easy access to Fidel back then. Ann Uyen, a Vietnamese woman living in Paris discusses Norman Morrison’s setting himself on fire outside the pentagon, and what that meant to her people. “We think that in America there is another war, a people’s war against everything that’s unfair.” Then an interview with Norman’s widow, who seems in sync with Norman’s politics. This was by William Klein. War protest zombie walk, probably shot by Klein: Marker’s outro: In facing this defiance [of the Vietnamese], the choice of rich society is easy: either this society must destroy everything resisting it – but the task may be bigger than its means of destruction – or it will have to transform itself completely – but maybe it’s too much for a society at the peak of its power. If it refuses that option, it will have to sacrifice its reassuring illusions, to accept this war between the poor and the rich as inevitable, and to lose it. Cinétracts and other Chris Marker shorts September 18, 2015 by Brandon·Comments Off on Cinétracts and other Chris Marker shorts Cinétracts (1968) I watched a collection containing roughly half of the Cinetracts, an anonymously-directed series of two-to-five-minute shorts. The first few seemed to be protest-photo montages, and I thought watching a bunch of these in a row would be tiresome so I spaced it out over a few weeks. Some are very different though, telling stories/poems with intertitles or scrawling words directly onto the photos, using different forms of movement and speeds of editing. Some use zooms and dissolves, bringing the photos to life, others are simply long takes of photos interspersed with titles, wordplay, pages from books. Contributors supposedly included Godard, Marker, Resnais, Gorin, Philippe Garrel (same year he made Le Révélateur), Jackie Raynal (editor on half the Six Moral Tales), Jean-Denis Bonan (Jean Rollin’s editor at the time), Gerard Fromanger and Jacques Loiseleux (later cinematographer for Ivens, Pialat and Yves Boisset). Marker was busy – this project overlapped his SLON collective and Groupe Medvedkine. Gary Elshaw has by far the most useful work on the Cinetracts online, even if it’s only about Godard’s contributions. The purpose of the Ciné-Tracts, as with most of Godard’s 1968 film projects, was to offer a critically alternative source of ‘news’ or information in contrast to the commercially offered mediums available. … The state censorship of the media throughout the events of May necessitated communication along different lines than had existed before. Other online writing on these tends to focus on determining which ones Godard made (and they can’t seem to agree). Casque Bleu (1995) Info dump by a cynical Frenchman who acted as a UN peacekeeper during one of the Yugoslav wars. He speaks rapidly in close-up, with occasional title cards for different topics and cutaways to a photo album. “When you’re in a country at war, armed, and you have orders not to use weapons, in actual fact you are on the side of the aggressor, the one who’s trying to conquer the land.” Description of a Struggle (1960) Watched this again with much improved picture quality and English voiceover. Had been burning to see it again since watching Dan Geva’s Description of a Memory. Still great, but I think I prefer Sunday in Peking. Noticed this time when the voiceover said “bar kokhba,” which is apparently not only the name of a John Zorn music project. Visits and Portraits (1947, Alain Resnais) September 4, 2015 by Brandon·Comments Off on Visits and Portraits (1947, Alain Resnais) Some of the earliest-listed Resnais shorts, a series of short portraits of different artists from the year before his Van Gogh, and three years before Gauguin and Guernica. I was surprised to come across these online. Not sure if they were released with no sound, but the copies I found were completely silent, with no music, no clever Marker or Cayrol or Queneau commentary, so I looked up info on each artist online. (Mis)information: NY Times bio gets the dates wrong but claims these were indeed silent, Films de France says the 16 minute Hartung film is in color and runs 90 minutes (and is “passable entertainment”). Richard Neupert’s French New Wave book says these were made after Resnais dropped out of film school in 1945 and did his military service in 1946. “Resnais credited these shorts about painting as valuable testing ground for making still images come alive through editing and camera movement.” Visite a Óscar Domínguez Some time-lapse painting, and did I see a stop-motion statue? Mid-Centuria: “Óscar Domínguez (1906-1957) was a Spanish Surrealist painter … During the 1940’s, his paintings were strongly influenced by Picasso with whom he had become friends while living in Paris.” Visite A Hans Hartung Groovy looking dissolves in this one. Wiki: “Hans Hartung (1904-1989) was a German-French painter, known for his gestural abstract style.” The nazis tried to arrest him for being too cubist. The artist (smoking, of course) scratching out a spiral: Visite a Cesar Domela Aha, an opening credit for commentary by A.F. Delmarle – so these were not originally silent. This one’s in rougher shape. Shows him using cutouts and tapping a paintbrush to get texture, sanding objects which will be affixed to the canvas, then last couple minutes is a showcase of finished(?) works. Wiki: “César Domela (1900-1992) was a Dutch sculptor, painter, photographer, and typographer, and a key member of the De Stijl movement.” Visite a Felix Labisse No commentary credit here, just an opening Hegel quote then a long pan down two mighty collages. Works shown focus on naked women and birds, two of my favorite things, and are super awesome and disturbing, reminding me of Dali-meets-Woodring. Wiki: “Félix Labisse (1905-1982) was a French Surrealist painter, illustrator, and designer.” IMDB says he has cinema experience, appearing in Zero for Conduct and a couple Henri Storck films. Visite a Lucien Coutaud Sci-fi landscapes, nudes and angular craziness. M. Adair: “Lucien Coutaud (1905-1977) was a French surrealist painter and engraver … He had 40+ years success with his artwork which has varied widely from painting, drawing, print-making, costume designing and illustrating … Coutaud has also designed opera, theater and ballet sets.” Portrait de Christine Boomeester With piano music. Nice bit at the end showing her beginning a painting, lighting a candle, then a title card says “at dawn,” the candle has burned down and painting is complete. Askart: “Christine Boomeester (1904-1971) was active/lived in Italy, Netherlands, France, Indonesia … known for abstract paintings.” She was also married to Henri Goetz. Portrait de Henri Goetz The big one, twice as long as the others. The usual slow zooms and pans across the paintings (even a spiraling zoom into one), but also more process exploration, showing progression of the artist over a few years, a series of drawings with each one inspired by details in the previous, and the month-long process of creating a new painting – which is burned at the end (can’t tell if it was a reproduction). Wiki: “Henri Bernard Goetz (1909-1989) was a French American Surrealist painter and engraver. He is known for his artwork, as well as for inventing the carborundum printmaking process … Goetz showed the film to Gaston Diehl, leading Diehl to commission Resnais to create the film Van Gogh in the following year. Resnais went on to win an Academy Award in 1950 for the Best Short Subject, Two-reel film for Van Gogh.” Mouseover to fill in the shapes: All these were “presented by Andre Bazin,” co-founder of Cahiers du Cinema and mentor of the French New Wave, who rarely appeared in any film credits himself. Can’t find evidence that Henri-Georges Clouzot knew Resnais, or saw his art documentaries before making The Mystery of Picasso. Chris Marker shorts 2015 June 3, 2015 by Brandon·Comments Off on Chris Marker shorts 2015 Watched a couple new Marker-related shorts, and rewatched some older ones in shiny new copies. Sunday in Peking (1956) in lovely high definition Letter from Siberia (1957) Forgot how amazing this one is. Songs and animation and opera, owl-led advertisements and imaginary newsreels. “Since you can never tell how a bear will react to a camera, we were offered the protection of an armed policeman. But since we’re much more frightened of policemen than we are of bears, we politely declined.” The Irkutsk Dam, “sitting on its own reflection like a station in outer space”: Le Chant du Styrene (1958, Alain Resnais) Mostly shots of the factory, with few humans. Forgot about the rhyming voiceover. Broadway By Light (1958, William Klein) From Marker’s intro: “Each evening, in the centre of New York, an artificial day rises. Its purpose is to announce spectacles, sell products, and the producers of these adverts would be amazed to know that the most fascinating spectacle, the most precious product made by them, is the very street transformed by their signs.” Klein shoots the lights of Broadway, scored by cartoon-jazz music that matches the editing and light movement. Wonderful, would like to put this and some Joris Ivens and Bert Haanstra shorts on an infinite loop in my office. Klein’s first film (I only knew his Mr. Freedom before), edited by Alain Resnais. A Valparaiso (1963, Joris Ivens) from the 2008 restoration Junkopia (1981) Uses the sort of electronically-processed sound he’d be featuring in his next full-length film, Sans Soleil. Eclipse (1999) On a day when everyone is looking at a solar eclipse through special glasses, Marker watches the watchers instead. First half has live sound at a hippo sculpture park, then he switches to slow motion and electronic music and goes elsewhere (the zoo? there are owls). Description of a Memory (2007, Dan Geva) I didn’t rewatch my terrible-quality copy of Marker’s Description of a Struggle, but instead tried this doc, the second feature-length film I’ve seen this year made in response to a Chris Marker-related film. Geva shows the Marker film and stills to locals, asks about the people who appeared in the original. Reminds me of Marker’s friend Agnes Varda, her periodic returns to previous films through documentaries and shorts and DVD extras. Geva is investigating images and memories a la Marker and Varda, turning out a worthy follow-up to the original feature. Of the happy kid riding a cart down a hilly street: “British policeman bashed his head with an iron rod. Gone a bit mad since. “Noah Rosenfeld, who fulfilled his dream to become a chess champion.” More Marker: Far From Vietnam is out in HD. The Confession is also out, and includes the Arthur London short. Mémoires pour Simone still lacks subtitles, as do most of the 1969-1970 shorts. Oh, and it looks like new copies of Description of a Struggle and Blue Helmet just came out – will save those for another day. You Ain’t Seen Nothin’ Yet (2012, Alain Resnais) December 6, 2013 by Brandon·Comments Off on You Ain’t Seen Nothin’ Yet (2012, Alain Resnais) A slow-unfolding (but always formally exciting) Resnais movie gathering most of his favorite actors in a room for a contrived reason (a just-deceased writer/director wants his favorite actors to evaluate film of a modern performance of his Orpheus/Eurydice play). As the film goes on, the actors in the audience interact with it, reciting lines to the screen and to each other, standing up to perform entire scenes. The movie has a crisp, digital look and Resnais makes walls fall away smoothly, transporting the actors seamlessly into scenes from the play, using split-screens to show simultaneous performances of the same scene. It often seems like the ultimate movie of theater and performance, the work he’s been leading towards at least since the early 80’s (if not earlier, the location-jumping and memory-morphing hearkening back to his famed earliest features). Fortunately, it seems he’s still going strong and will have another movie out next year. In the crowd: the Smoking/No Smoking team of Sabine Azeme and Pierre Artiti, Mathieu Amalric and Anne Consigny from Wild Grass, Michel Piccoli and Gerard Lartigau from way back in The War Is Over, Lambert Wilson (Not on the Lips), Anny Duperey (Stavisky), and more (can’t expect to know ’em all on a first viewing). Actor Denis Podalyes plays the director, who addresses the group by video at the beginning and appears in person at the end, and his brother Bruno Podalyes actually directed the video within the movie. The reference point in the Resnais canon is 1986’s Mélo, which similarly foregrounded and made a virtue of its theatrical source while doubling and tripling the layers of irony, though nowhere near the extreme degree that the director pursues in his latest. .. Resnais suggests that the proper relation between the cinema and the theater is to throw it all together, take the best of both worlds and present it as pure showmanship. Mubi: A collective hallucination of people who think they’re talking to each other but are only talking to a screen: it’s the duly-noted theme of Vous n’avez encore rien vu, as the backgrounds dissolve from the screening room into a train station, café, and hotel, while the characters remain seated in place, stuck in some cinematheque of their imagination, foreshortened by Ruizian compositions a plane apart from their own space.	cc/2023-06/en_middle_0099.json.gz/line38
__label__wiki	0.850517	0.850517	Montego Bay set to earn billions from Reggae Sumfest Festival launched in the second city Published:Sunday \| May 22, 2022 \| 12:08 AMJanet Silvera - Senior Gleaner Writer Ashley Anguin From left: Danya Waul-Hoskins, Nicola Thomas, Donald Martin, and Jullian Henry at the Reggae Sumfest Media Launch at Iberostar Hotel on Thursday May 19. From left: Robert Russell, Reggae Sumfest director and deputy chairman, shares lens with Minister of Culture, Gender, Entertainment and Sport, Olivia ‘Babsy’ Grange; Minister of Tourism, Edmund Bartlett; and CEO of Downsound Records and chairman of Reggae Sumfest Joe Bogdanovich at the Reggae Sumfest Media Launch at Iberostar Hotel. Brian ‘Big Head’ Martin (left) shares lens with Cordel ‘Skatta’ Burrell. From left: JTB’s Ricardo Henry, Sedrecia Francis, Christopher Burke, and Maureen Smith. WESTERN BUREAU: Jamaica’s Minister of Tourism Edmund Bartlett is forecasting that the city of Montego Bay will earn between $5 billion and $6 billion from the staging of Reggae Sumfest 2022. The festival, which took a two-year hiatus from the tourism capital owing to the COVID-19 pandemic, returns on July 18, closing its curtains on July 23 at the Catherine Hall Entertainment Complex. Last Thursday, the world was given a sneak preview into the 28th staging of the event during its local launch at the Iberostar Suites in Rose Hall. Hours later, the launch was being described as “a mini Reggae Sumfest, indicative of what is to be expected in July”. Bartlett, who spoke at the launch party, described the Joe Bagdonovich Downsound Entertainment-produced event as a signature statement of the recovery of tourism in general but more importantly, the recovery of the entertainment offerings of the destination. Dubbed the greatest reggae show on Earth, the tourism minister said no other destination in the world can possibly offer such an experience but Jamaica. “It is inviting people back to Jamaica, the way we were and that’s exciting.” The economic impact of the festival, he said, measuring how it has been in the past and the kind of spend that has been associated with it, and the number of patrons that are expected to come to Jamaica in 2022, will result in the city earning “somewhere in the region of five to six billion Jamaican dollars”. This impact, Bartlett added, covers a wide range of economic interests in the Montego Bay area: the hotels, the taxi drivers, the vendors, restaurants, craft merchants, and all other interests that benefit throughout the event. Employment of scores of young people in the city are among the positive impact that the festival has had. His comments were bolstered by Bogdanovich, who told The Gleaner that the 2019 statistics saw the festival bringing US$10 million into the city of Montego Bay. “From the top to the bottom, everybody was benefiting. The employment was high, the hotels were sold out from Ocho Rios all the way to Negril, and we couldn’t even get Airbnb,” Bogdanovich said. He said it was the kind of money that came into the country in seven days and the forecast for 2022 looks like it will be on par with 2019. “It 2019 it was Buju Banton getting out of prison and all that kind of thing, and it was a big, big deal. And this year, I think it’s the getting through the COVID-19 mystery and now it’s not a foreign deal. It’s understandable that now it’s reduced in significance from variation to variation.” He is hoping the current wave of the virus will peak in another couple of weeks and downtrend shortly after, which is what has been happening. “So, I’m feeling very optimistic that the enthusiasm, to get out your house, out of confinement and be able to enjoy one another and the camaraderie, and we saw it at the launch. We really people were happy to be out and Reggae Sumfest coming back.” Philipp Hofer, managing director, Iberostar Jamaica, shared that the relationship between his company and Reggae Sumfest has been successful “due to the collaborative support, trust, loyalty and optimism that we share”. He added, “Over the past 10 years our partnership has been quite rewarding as we have had the opportunity to host some of the most epic performers and influential persons in the industry and we have been duly recognised for this. We have worked quite well together and as we gear up for this year’s event we are excited to continue the journey. Reggae Sumfest undoubtedly plays an immense role in tourism as there is an influx of visitors who crave to experience the Jamaican culture. The exposure the destination receives from the overall festival experience is a driving force in culture-based tourism. For the Sumfest period, we have very limited availability, we knew this would have been the case as within minutes of the announcement we had patrons reaching out to secure their accommodation. We are confident that this year will be immensely successful and we anticipate the Return of Sumfest.” MASK-WEARING MANDATE While the Downsound team puts plans into gear, Prime Minister Andrew Holness has signalled plans to reinstate the mask-wearing mandate throughout the island. On Friday during a handover ceremony in Lathium, St James, Holness noted that with a fifth wave of the virus now in the island, this would be a requirement shortly. His comments came hours after Minister of Entertainment and Culture Olivia Grange warned entertainers, promoters and Jamaicans in general that “COVID still a keep”. “I want you all to realise that we are all at risk, so we should be monitoring the news of the fifth wave, because the situation has implications, that could affect our industry and our plans,” Grange told the gathering at the launch. She said, however, that she is confident in the protocols that were developed over the last two years to deal with the pandemic. Those protocols, she said, helped the industry to ride out the pandemic and keep the wider entertainment sector open. She called on event organisers to review their operations to ensure that they are sticking to the protocols and make adjustments where there are gaps. “News of the fifth wave should encourage all of us as citizens to be even more vigilant about observing the protocols,” she stated. Grange said she looks forward to the return of Reggae Sumfest, and anticipates the great performances and great moments that the festival will offer. “Reggae Sumfest will allow us to see our superstars live while providing that platform for sound systems, emerging bands and rising artistes.” janet.silvera@gleanerjm.com «Singer Indie Allen anticipates ‘new growth’ The right time for Bring Back the Love – Patron PJ Patterson »	cc/2023-06/en_middle_0099.json.gz/line43
__label__cc	0.738166	0.261834	(Formerly Human Rights Violations Canada) is site for targeted individuals of organized stalking and electronic harassments "Anyone who nonconsensually violates your brain/mind/mentation using Mengele-like methods is a Nazi pig. You do not care what a Nazi pig thinks. You do not care about a Nazi pig's opinions. You do not respond to a Nazi pig ridiculing you, threatening you, trying to distract you, or otherwise trying to manipulate you. You work to get a Nazi pig hanged." - Allen Barker, NPT Theorem US Electromagnetic Weapons and Human Rights 6/6 A Study of the History of US Intelligence Community Human Rights Violations and Continuing Research in Electromagnetic Weapons Dr. Ewen Cameron 71 Once the details of MKULTRA came to light, the focus in the media and in the Senate, was on the use of drugs, especially LSD. While the researchers within the project did indeed concentrate on developing a variety of hallucinogenic concoctions, they did so with an end in mind. The goal was to devise means and methods of enabling undercover operatives, soldiers, contractors or anyone who was involved in secret projects, to be able to keep those secrets if they were captured or interrogated. Hypnosis, combined with drugs, sensory deprivation and systematic abuse were seen as a means to that end. The leader in this pharmaceutical and psychological research was Dr. Ewen Cameron. Cameron was at the time, one of the most esteemed psychiatrists in the world. As president of the American Psychiatric Association, Canadian Psychiatric Association, and one of the founders of the World Psychiatric Association, Dr. Cameron began experimenting on brainwashing techniques as early as the 1930s with schizophrenic patients. At this time lobotomies were not yet in common use, though the procedure would begin to be implemented in 1936 on a wide scale. Electroshock therapy was some years from being accepted as a primary means of changing behavior.72 71 This section about Dr. Cameron is based on Orlikow Vs. United States, CIA Settlement of Some Complaints. Ewen Cameron and the Allan Memorial Institute - Subproject 68 funded by CIA from March 18, 1957 to June 30, 1960 Without conceding liability, in 1988 the CIA agreed to pay $750,000 to settle a case brought on behalf of nine plaintiffs who were subjected to federally funded mind control experiments sponsored by the CIA and conducted by prominent psychiatrist Ewen Cameron, M.D. The experiments included heavy doses of LSD, electroshock and psychic driving. 72 See “CIA Brainwashing Experiments”, MacLean’s; January 28, 1985, Vol. 98 Issue 6, p46, 1/3p and “A cold-war horror show’s last act”, US News & World Report; October 17, 88, Vol. 105 Issue 15, p13, 1/3p. Cameron relied on torturous and highly stressful techniques for breaking down the personality of his patients. Schizophrenics would be stripped down naked beneath red lights for eight hours a day, sometimes for up to eight months with repeated messages inundating their senses. In other experiments Cameron would attempt to induce the delirium associated with a high fever by cooking his patients in an electric cage until their body temperature reached 102 degrees. From January of 1957 until September of 1960 Cameron became one of the promising researchers the CIA turned to in order to develop means and methods of “brainwashing” and programming human beings to do the will of the agency. Cameron received $64,242.44 73 from the CIA. to develop a combination of techniques that would destroy an individual’s memory of an event and enable the programmer to control their behavior through post-hypnotic commands. Cameron used a variety of drug combinations coupled with prolonged sleep deprivation, isolation, hypnosis, and electro convulsive therapy in order to “wipe” an individual’s memory. His techniques worked, to a certain extent, but ethical considerations led the CIA to cut Cameron’s funding in the US, prompting Cameron to move to Canada to continue his work with funding channeled through the Canadian Government. He continued his work, officially, from 1961 until 1964 in Montreal where he received an additional $57,750.74 During this time Cameron combined his techniques (in a “therapy” he called de-patterning) with electroconvulsive therapy in which the voltage introduced into one subjects brain, Linda Macdonald, exceeded the APA’s guidelines by 76.5 times. He succeeded in wiping her memory and to this day, she cannot remember anything prior to 1963. In a January 17, 1984 broadcast of the Canadian Broadcasting System, a program called “The Fifth Estate” detailed the experiments of Cameron, prompting a burst of investigative journalism culminating in a class-action suit brought against the CIA by former subjects. In 1988, the case was settled out of court for $750,000, divided between 8 plaintiffs. Linda Macdonald received $100,000 and legal fees from the Canadian government, but Cameron himself, faced no punishment.75 Dr. Jose Delgado Whereas Cameron focused on creating traumatized individuals through intense psychological pressure, Dr. Jose Delgado was investigating the direct route to control of “human subjects.” Delgado physically invaded the brains of subjects with electrodes in order to create emotions and control actions with the push of a button. As he stated himself, “We need a program of psychosurgery for political control of our society. The purpose is physical control of the mind. Everyone who deviates from the given norm can be surgically mutilated. The individual may think that the most important reality is his own existence, but this is only his personal point of view. This lacks historical perspective. Man does not have the right to develop his own mind. This kind of liberal orientation has great appeal. We must electrically control the brain. Someday armies and generals will be controlled by electric stimulation of the brain.” 76 In his paper “Intracerebral Radio Stimulation and Recording in Completely Free Patients,” Delgado observed that: “Radio Stimulation on different points in the amygdala and hippocampus in the four patients produced a variety of effect, including pleasant sensations, elation, deep thoughtful concentration, odd feelings, super relaxation (an essential precursor for deep hypnosis) colored visions, and other responses.” 77 73 CIA MORI ID 17468: www.wanttoknow.info/mindcontrol 74 Collins, Anne. In the Sleep Room. The Story of CIA Brainwashing in Canada. Ken Porter Books, 1988 75 Tyner, Arlene. Mind-Control Part 1: Canadian and US Survivors Seek Justice, PROBE Magazine, March-April, 2000 76 Dr. Jose M.R. Delgado Director of Neuropsychiatry, Yale University Medical School. Congressional Record, No. 26, Vol. 118 February 24, 1974. Delgado, to his credit, did make great strides toward a better understanding the physiology of brain structures and their attendant behavioral and emotional correlates, strides that did not go unnoticed by the intelligence community and the military. While Delgado worked in an area of specific interest, the direct stimulation of brain structures through implanted electronics, other researchers explored means of creating multiple personalities and programming the alternate personalities that emerged to do a variety of intelligence related work as operatives, still others explored the effects of various drug combinations and other “programming” and interrogation techniques aimed at creating super spies and breaking down enemy agents. - Source: Peter Phillips, Lew Brown and Bridget Thornton, December 2006, Sonoma State University, Project Censored, Media Freedom Foundation, ProjectCensored Website, (READ MORE) #US Electromagnetic Weapons and Human Rights, #electromagneticweapons, #HumanRights, #OSEH, #MindControl, #DEW Labels: #DEW, #electromagneticweapons, #HumanRights, #MindControl, #OSEH, #US Electromagnetic Weapons and Human Rights Watch live streaming video from targetedindividualscanada at livestream.com Latest tracks by HR_Canada TI - Targeted Individual - is a person being targeted with OSEH by a group of individuals called "perps" for the purpose of human experimentations. OSEH - Organized Stalking Electronic Harassment - are methods use by perps in targeting a specific person for the purpose of inducing harm and possibly death. DEW - Direct Energy Weapon - are device used for OSEH purposes, weapons can be microwave with pulp frequencies, v2k or other electronic and hearing devices. V2K - voice to skull device - is a weapon use for transmitting voices with low or high frequencies. Voices can be for commands or harassments attacks that may look like the TI's own voice. V2K can also use to induce or manipulate dreams or to deprived TI sleeps. PERP(s) - short for Perpetrator(s), term used for harasser or group of harasser. TIS CANADA This blog site is for activists and supporter of the protection of human righs for every individuals. ▼ Aug (1) Docs @ Scribd HRC @ fb HRC @ Soundcloud HRC @ twitter HRC @ youtube HRV @ blogspot OSEH @ Vimeo STOP Bullying! Canada! Targeted Individuals Canada Targeted Individuals Canada @ Livestream Targeted Individuals Canada @ Vimeo TIs and The World End Homophobia FFCHS Mind Justice National Whistleblowers Center The Hidden Evil Whats Happening in Nanaimo? Subscribe To TIS Canada @ Blogspot Human Rights Canada Tweets by @HumanRightsCAN $0.00 Donation since 2010! FAIR USE NOTICE: This site contains copyrighted materials the use of which has not always been specifically authorized by the copyright owner. We are making such material available in our efforts to advance understanding of criminal justice, political, human rights, economic, democracy, scientific, and social justice issues, etc. We believe this is not an infringement of any such copyrighted materials in accordance to the the fair dealing clauses of the Canadian Copyright Act that allow users to engage in certain activities relating to research, private study, criticism, review, or news reporting. Also we are making an exerted effort to mention the source of the material, along with the name of the author, performer, maker, or broadcaster for the dealing to be fair and accordance to the allowable clause. For information about the Fair Dealing Clause of the Canadian Copyright Law, visit: Fair dealing in Canadian copyright law Contact: videososeh@gmail.com. Awesome Inc. theme. Theme images by fpm. Powered by Blogger.	cc/2023-06/en_middle_0099.json.gz/line50
__label__cc	0.62072	0.37928	Falcon Supply - OH Allen, Cairo 45820 in United States in Ohio in Cairo, OH in 45820 Cairo, OH All businesses in Ohio StateAll businesses in Cairo, OHAll businesses in 45820 Cairo, OH Falcon Supply entered the industry of in 0 and has grown to employ 1 to 4 people, generating an annual revenue of $100.000 to $499.999. The NAICS classifies this business under the code 4529900, which describes it as a . For further clarification, the SIC classifies this business under the code 5399 and described it as a . The business provides service to the B2C market. To acquire more information, please contact Nick Recker, Owner Full Name Report by calling (419) 641-1031 Full Phone Report during business hours. You can also write to the business’ Single Location at 126 Perrysburg Road, Cairo, Ohio OH 45820. You can also visit the company’s website at . View this business’ social media profiles on Twitter or on Facebbok . Company: Falcon Supply Representative: Nick Recker, Owner Full Name Report Place of Business: 126 Perrysburg Road, Cairo, OH 45820 Market Type: B2C (Business to Consumer) Falcon Supply is a company operating from Allen, Ohio providing professional and relevant B2C variables. It was founded in 0 and registered with the SIC code 5399 as , and with the NAICS code 4529900 as . With a current employee count of 1 to 4, Falcon Supply has gone to report making $100.000 to $499.999 per annum on its journey towards growth. This company invites you to contact its representative Nick Recker, Owner Full Name Report at (419) 641-1031 Full Phone Report for related queries, or to locate its Single Location using the coordinates 40.83092,-84.08484. The Single Location can also be found at the street address 126 Perrysburg Road in Cairo, Ohio 45820 and can be engaged online through the company website at , the company Twitter , and Facebook page .	cc/2023-06/en_middle_0099.json.gz/line62
__label__cc	0.55042	0.44958	EU Targets Big Plastic With Rules to Cut Packaging Waste John Ainger, Bloomberg News LONDON - MARCH 25: An employee of the 'Closed Loop Recycling' plant walks past stacks of plastic bottles at their plant in Dagenham on March 25, 2010 in London, United Kingdom. The state of the art plant is the first in the UK to produce food grade recycled plastic from bottle waste. Over 35,00 tonnes of plastic bottles are recycled at the plant annually, representing almost 20% of the plastic bottles currently collected for recycling in the UK, and saving approximately 52,500 tonnes of carbon dioxide per year. (Photo by Dan Kitwood/Getty Images) , Photographer: Dan Kitwood/Getty Images Europe (Bloomberg) -- The European Union is targeting coffee pods, hotel toiletries and throwaway water bottles with a set of proposals meaning to save space at landfills and reduce carbon-dioxide emissions. The measures released Wednesday by the European Commission seek to decrease packaging waste 5% from 2018 levels by the end of this decade and 15% by the end of next. All packaging products would have to be recyclable, and items such as teabags and apple stickers would have to be compostable. “If we don’t change current trends, the volume of plastic waste could increase by 46% by 2030,” said Virginijus Sinkevicius, EU environment commissioner. Five percent may seem small, but the amount of waste -- and corresponding emissions -- is surging as e-commerce becomes more prevalent and companies search for innovative ways to sell their products. The effort could have knock-on effects globally, given the EU is the largest single market. “It’s world-leading,” said Piotr Barczak, senior policy officer for circular economy and waste at the European Environmental Bureau, a coalition of citizens’ organizations. “The fastest-increasing stream of waste is packaging waste.” The rules would have ramifications for industries ranging from food production to consumer electronics to chemical manufacturing. In the EU, about 40% of plastic and half of paper is used in packaging, and the design often makes reuse or recycling difficult. Certain sectors -- such as the beer industry -- will face targets for reusing packaging, according to the regulations. That could lead to bottle shapes being more uniform. Companies from Nestle SA to Carlsberg AS broadly welcomed the proposals and said that they were already undertaking efforts to reduce waste. Brewers of Europe, a trade body for the beer industry, said that they wanted to see proportionate regulation and one that isn’t discriminatory to a particular sector. The proposals likely will face some opposition from the packaging industry and its customers, who may have to pay more to set up recycling systems or find alternative materials. The European Organisation for Packaging and the Environment said any mandates must include incentives for investing in the required infrastructure. Under the measures, countries would have to set up systems for recycling bottles and cans in which consumers pay extra for the item upfront and then get that money back when it’s returned. The goal is for a 90% collection rate. If states can prove they’ve hit that goal through other means, they could be exempted from the new measures. (Adds company responses in eighth paragraph.)	cc/2023-06/en_middle_0099.json.gz/line65
__label__wiki	0.988084	0.988084	Bariacoal tunnel near Jamalpur. Another tunnel beside the country’s oldest railway tunnel ! Good news for the railway commuters on Kiul-Sabhebganj loop section of Eastern railways! Running late trains on one of this oldest section in the country now could be controlled with new action plan by the railways which was on pipeline but yet not executed mainly due to some official formalities. Opening of another tunnel at Kali Pahari, the extension of Kharaghpur hill range, railway is all set to set aside all the hurdles in maintaining smooth traffic on of the century old Kiul-Sahebganj loop section. With no objection certificate (NOC) from the union ministry of environment and forest, railway has managed green signal for the work of second tunnel in the picturesque site located besides the existing Bariakol tunnel near Jamalpur railway station falling under Munger district. According to railway sources, the work which was in the pipeline, now expected to start soon as the union ministry of environment and forest has given clearance of the project. The project with estimated cost of Rs 35 crore would be completed within two months. The sources said that the tender for the construction has been completed and Dhanbad (Jharkhand) based CNFR company has been awarded with the tender for blasting in Kalipahari hills for making the tunnel. The same company recently demolished one old rail over bridge No 127 near Kahalgaon railway station on this section on December 3. Memorable journey amid the sylvan clam. The sources further said that through the formalities of the tender has been completed but work order which yet not be given, expected soon. Earlier in 1850 the than East India railway company had constructed the existing Bariacoal tunnel in another part of Kali Pahari through which Kiul-Sahabganj loop section has been operating. The tunnel was constructed under the supervision of Robert Stiffens, the MD of the company, who happened to be the son of George Stiffens, who invaded steam engine. F W Simence was chief engineer of the project and it was first among the 4 oldest railway tunnels in the country constructed by the British. Bariacoal tunnel located in between Jamalpur and Ratanpur stations on this section, has been functining for the last 165 years but due to increase of traffic on this section, railway has been trying for expend works like double tracks. “From Kiul to Bhagalpur double tracks had started functioned in nineties whereas double tracks recently started from Pirpainty to Sahebganj. Works has started on the remaining parts, ie from Pirpainty to Bhagalpur. But due to single track passing through Bariacoal tunnel, movements of trains on this section get effected. We have to stop trains either at Ratnapur or Jamalpur station for passing a train through this tunnel. So option of another tunnel is very essential but due to delay in obtaining NOC from forest department, this projects was laying idle for the last 3-4 years,” said a top ranking sources from Eastern railways under which jurisdiction the areas are falling. Sources from CNFR company said that the location of the second new tunnel would be some 25 meter south of present Bariacoal tunnel towards diesel shade of Jamlapur railway workshop. It would be 275 meter length having 7 meter height and diameter of 8 meter approximately. It will be done with latest technology. “We have to be very careful during explosion for caving the new tunnel in the hills while keeping in view that there should not be any effect on the existing tunnel” the sources pointed out. It further said that all the ground works related to extensive survey of the existing tunnel, the possible impact of caving of another tunnel in the hills on it and other technical aspects have been completed with railways’ technical team. Site for the proposed second tunnel at the lap of Kali Pahari of Kharaghpur hill ranges. “We managed to obtain NOC from forest department which was one of the main hurdle in the project. Tender process also already completed now after work order, work would be started,” said Jitendra Kumar, deputy chief engineer, Jamlapur. Chief public relation officer (CPRO), Eastern railway, Ravi Mahapatra said that with opening of the new tunnel on this section, many problems will automatically come to an end. According to him the proposed electrification of tracks would completed smoothly on this section resulting more options of running more trains and maintenances of schedules would be on cards with the new tunnel. “Due to caution in between Jamalpur and Ratanpur stations, maintaining of the time schedule for the trains on this section is a herculean task. Besides, a single error of signaling could result to a major mishap always. The proposed tunnel would automatically counter all such problems and would smooth the running of trains on this section,” said a top ranking railway officer.	cc/2023-06/en_middle_0099.json.gz/line75
__label__wiki	0.953391	0.953391	Congress will put all it's might behind restoring statehood to J&K: Rahul Gandhi Jammu, Jan 23 : Congress leader Rahul Gandhi on Monday said the party will put all it's might behind restoring statehood to Jammu and Kashmir. Addressing a gathering in Jammu, Rahul said the Congress party will give full support and will put all its might behind restoring statehood to J&K. “There’s no bigger issue than your (JKs) statehood. They (Centre) have snatched away your right," he said. Rahul said he spoke to a cross-section of people from J&K during his yatra who raised their issues. He said they (people) told him that their voices are not being heard by the administration. "The entire trade is being run by outsiders and people of J&K watch them sitting haplessly," he said. He said J&K has the highest level of unemployment in the country. The youngsters aspire to become engineers, doctors and lawyers but they do not find the way to make their dreams true, he said. "There was another way (to get employment) earlier. It was with the Army. It has also been closed now by a new scheme, called Agniveer, introduced by BJP. That path is also now closed," he said. Meanwhile, a Kashmiri migrant pandit delegation met Congress leader Rahul Gandhi on Monday during his Bharat Jodo Yatra in Samba district and briefed him about their various issues including targeted killings, protest of migrant employees employed under a Prime Minister’s package etc. The delegation said they have invited Gandhi to their Jagti township along the Jammu-Srinagar National Highway and the Congress leader is likely to visit the community on his way to Kashmir. After addressing the gathering, Rahul Gandhi paid obesciance at Raghunath Temple in the interior of Jammu City where he offered prayers. As already reported by media, the closing of the yatra, which started from Kanyakumari in Tamil Nadu on September 7, would culminate in Srinagar on January 30. From January 27, the yatra will travel to different parts enroute to Srinagar. A mega rally will be held at Sheri Kashmir Cricket Stadium in Srinagar on January 30.	cc/2023-06/en_middle_0099.json.gz/line76
__label__wiki	0.718452	0.718452	F. P. Journe Watches at European Watch Co. Below is our current in stock inventory of F. P. Journe watches. If you have a F. P. Journe watch you are interested in selling or trading please contact us. F. P. Journe Octa Lune Automatic BLACK LABEL Platinum 40MM (41385) F.P. Journe Octa Lune Automatic, platinum case on a strap with a platinum tang buckle, automatic FP Journe caliber 1300 movement, 120-hour power reserve, black dial with off-center hour and minute dial with white gold hands and Arabic numeral hour markers, big date at 11 o'clock, moon phase at 7 o'clock, small seconds hand, display back, sapphire crystal, water resistant to 3atm, size 40mm, thickness 10.5mm. Like New with F... F. P. Journe Octa Reserve De Marche Platinum BRASS MOVEMENT 38MM 2003 FULL SET (41025) F.P. Journe Octa Reserve de Marche Brass Movement, 950 platinum on a strap with a matching platinum tang buckle, the case appears to be in excellent original condition, automatic F.P. Journe caliber 1300 movement made out of brass, original 18k yellow gold dial with off-centered guilloche dial is incredibly crisp and clean, big date at 11 o'clock, power reserve indicator at 9 o'clock, running small seconds between 4 and 5 o... F. P. Journe Octa Automatique Lune Platinum HAVANA DIAL 2020 (41276) FP Journe Octa Automatique Lune Havana, Platinum case on a strap with a matching Platinum tang buckle, automatic FP Journe caliber 1300.3 movement, 120 hour power reserve, brown guilloche dial with white Arabic numerals, big date, moon phase display, sapphire crystal, display back, size 40mm, thickness 10.5mm, Like New with F.P. Journe box and papers dated August of 2020. F. P. Journe Tourbillon Souverain TN Remontoir "BLACK LABEL" Platinum 40MM (41254) F.P Journe Tourbillon Souverain BLACK LABEL Remontoir d'Egalite "Dead Beat Seconds" Black Label, the Black Label watches were produced in very limited quantities and were only available to select clients via the FP Journe Boutiques, platinum on a leather strap with a platinum tang buckle, manual wind Caliber 1403 movement, power reserve indicator at 12 o'clock, black dial with exposed tourbillon at 9 o'clock, hours and minu... F. P. Journe Octa Calendrier Perpetual Platinum / Ruthenium Dial LIMITED to 99 PIECES (41256) FP Journe Octa Calendrier Perpetual Ruthenium, Limited to 99 Total Pieces, platinum on an alligator strap with an 18k white gold folding deployant buckle (this is typical for Journe deployant buckles), automatic gun metal-colored ruthenium FPJ Octa calibre 1300.3 movement, perpetual calendar, 120-hour power reserve, ruthenium coated 18k gold dial, off center hour and minutes at 3 o'clock with guilloche and black Arabic nume... F. P. Journe Chronometre Resonance "Parking Meter" Platinum BLACK LABEL 40MM LOW SN (41243) F.P Journe Chronometre Resonance BLACK LABEL, very limited production of this resonance variant and even more rare to be found with the "Black Label" black dial, extremely low serial number!!!!, platinum case on a strap with a platinum tang buckle, manual wind movement F.P. Journe Caliber 1499-2 with a unique movement concept featuring two escapements that influence and stabilize each other, two completely independent time ... F. P. Journe Octa Chronograph Platinum 38MM BRASS MOVEMENT 2003 SERVICED (40926) F.P Journe Octa Chronograph with early brass movement, platinum case on a strap with a matching platinum tang buckle, automatic brass FP Journe caliber 1300 movement, 60-minute chronograph, 120-hour power reserve, white gold dial with off center guilloche hour and minutes, minute totalizer for the chronograph at 9 o'clock, small seconds at 6 o'clock, sapphire crystal, display back, size 38mm, thickness 10mm, serial 08X - 03... F. P. Journe Chronometre Souverain Red Gold / Silver Dial 40MM (40774) F.P Journe Chronometre Souverain 40MM, 18k red gold on a strap with an 18k red gold tang buckle, manual wind FP Journe Calibre 1304, 56-hour power reserve, COSC, small seconds, power reserve indicator, silver guilloche dial with Arabic numerals, sapphire crystal, display back, water resistant to 30 meters, diameter: 40mm, thickness: 8.8mm. Like New with box and papers dated November of 2009. F. P. Journe Chronometre Souverain 18k Rose Gold Black Dial BOUTIQUE (40381) F.P Journe Chronometre Souverain Boutique Edition, 18k red gold on a strap with an 18k red gold tang buckle, manual wind FP Journe Calibre 1304, 56-hour power reserve, black guilloche dial with rose gold toned Arabic numeral hour markers, power reserve indicator at 3 o'clock, small seconds in between 7 and 8 o'clock, sapphire crystal, display back, water resistant to 30 meters, diameter: 40mm, thickness: 8.8mm. Like new wi... F. P. Journe Octa Automatique Reserve 18K Rose Gold (41151) FP Journe Octa Automatic Reserve, 18k rose gold on a strap with a matching 18k rose gold tang buckle, automatic F.P. Journe caliber 1300.3 movement, 120-hour power reserve with indicator at 9 o'clock, big date at 11:30, offset small seconds at 4 o'clock, white dial with rose gold Arabic numeral hour markers, rose gold hands, sapphire crystal, display back, diameter: 40mm, thickness: 10.5mm Like New with F.P. Journe box and ... F. P. Journe Chronometre Resonance Platinum 38MM SALMON DIAL 1 of 3 WOW (41023) F.P Journe Chronometre Resonance Dual Time, it is believed that only 3 pieces were made in platinum with a salmon dial, 950 platinum on a strap with a platinum tang buckle, manual wind rose gold F.P. Journe caliber 1499.2 movement, two escapements that influence and stabilize each other allowing for two independent time zones, combined power reserve at 12 o'clock, crown at 12 o'clock winds the movement and sets the hours an... (41122) F.P. Journe Octa Reserve de Marche Brass Movement, 950 platinum on a strap with a matching platinum tang buckle, the case appears to be in excellent original condition, automatic F.P. Journe caliber 1300 movement made out of brass, original 18k white gold dial with off-centered guilloche dial is incredibly crisp and clean, big date at 11 o'clock, power reserve indicator at 9 o'clock, running small seconds between 4 and 5 o'... F. P. Journe Chronometre Resonance Platinum BRASS MOVEMENT 38MM FULL SET 2002 (41123) F.P Journe Chronometre Resonance with Brass Movement, this example is from 2002 and is arguably one of the most coveted and iconic of the FP Journe collection with a platinum case and yellow gold dial, platinum on a strap with a platinum tang buckle, the platinum case is in incredible original condition, manual wind rhodium plated F.P. Journe caliber 1499-2 movement, two escapements that influence and stabilize each other a... F. P. Journe Octa Reserve De Marche Platinum BRASS MOVEMENT 38MM (39977) F.P. Journe Octa Reserve de Marche Brass Movement, manufactured in 2002, one of the most iconic FP Journe watches ever made, 950 platinum on a strap with a matching platinum tang buckle, the case appears to be in excellent original condition, automatic F.P. Journe caliber 1300 movement made out of brass, original 18k yellow gold dial with off-centered guilloche dial is incredibly crisp and clean, big date at 11 o'clock, pow... F. P. Journe Chronometre Resonance Platinum 38MM BRASS 2003 FULL SET (40581) F.P Journe Chronometre Resonance with Brass Movememnt, platinum on a strap with a platinum tang buckle, the platinum case is in excellent condition with little signs of restoration, manual wind rhodium plated brass F.P. Journe caliber 1499 movement, two escapements that influence and stabilize each other allowing for two independent time zones, combined power reserve at 12 o'clock, crown at 12 o'clock winds the movement and... Octa Lune Automatic BLACK LABEL Platinum 40MM Octa Reserve De Marche Platinum BRASS MOVEMENT 38MM 2003 FULL SET Octa Automatique Lune Platinum HAVANA DIAL 2020 Tourbillon Souverain TN Remontoir "BLACK LABEL" Platinum 40MM Chronometre Resonance "Parking Meter" Platinum BLACK LABEL 40MM LOW SN Octa Chronograph Platinum 38MM BRASS MOVEMENT 2003 SERVICED Chronometre Souverain 18k Rose Gold Black Dial BOUTIQUE Octa Automatique Reserve 18K Rose Gold Chronometre Resonance Platinum 38MM SALMON DIAL 1 of 3 WOW Chronometre Resonance Platinum BRASS MOVEMENT 38MM FULL SET 2002 Octa Reserve De Marche Platinum BRASS MOVEMENT 38MM Chronometre Resonance Platinum 38MM BRASS 2003 FULL SET Guide to F.P. Journe Watches How many watches does F.P. Journe produce each year? It is estimated that F.P. Journe produces just 700 to 900 watches annually. The brand’s most in-demand model, the Chronometre Bleu, accounts for about 100 pieces of that output every year. F.P. Journe has also been known to produce some extremely desirable limited editions, including the Boutique and Black Label series. Other extremely sought after pieces, like the Jade Tourbillon Souverain, are limited because of the incredible difficulty of the manufacturing process. Who owns F.P. Journe? Francois Paul Journe owns a majority stake in the company that produces his watches: Montres Journes SA. In 2018, in an effort to ensure the longevity and future of his brand, 20% of Montres Journes SA was sold to the French luxury fashion house Chanel. Francois Paul said that the investment would allow him “to pursue his horological creative work in complete serenity with the same passion” and to know that the brand would carry on after he was gone. Montres Journes SA also owns dial specialist Les Cadraniers de Geneve, and casemaker Les Boitiers de Geneve, which are both involved in the production of F.P. Journe watches. When was F.P. Journe founded? In 1999, F.P. Journe founded his company, Montres Journes SA, and presented the first collection of 20 pieces, called the "Souscription" collection. In order to finance the company, Francois Paul took inspiration from Abraham Louis Breguet and requested that his buyers for these watches pay 50% up-front before production. Poetically, these 20 watches also featured a signature Breguet complication: the tourbillon. The original Souscription Tourbillon had many of the features that are still present on the Tourbillon Souverain today: a bi-compax layout, marine chronometer style power reserve, and an exposed constant force mechanism. In November 2021, Phillips sold number 1 of 20 at auction for around $3,870,000. What is the Black Label collection? The Black Label collection is an exclusive series of black dial, platinum-cased F.P. Journe watches available to existing customers of the brand only and for sale only through company-owned boutiques. The Black Label collection currently includes versions of F.P. Journe's range of watches, including the Chronometre Souverain, Chronometre a Resonance, and Tourbillon Souverain. Each boutique is allowed to request a maximum of 12 Black Label pieces annually meaning that no more than 120 pieces total can be delivered to the brand’s ten boutiques each year. Why are F.P. Journe watches so valuable? There are three main reasons why F.P. Journe watches are so valuable. First is rarity. F.P. Journe currently produces just 700-900 watches per year. This is a small fraction of the annual output of larger brands and it is estimated that since 1999, F.P. Journe has only sold about 10,000 watches total. The second reason is the unparalleled quality of the watches. F.P. Journe makes among the most distinctive, finely finished, and strikingly accurate watches on the market. Remarkably, F.P. Journe fashions its movements out of 18k rose gold and is among the few watchmakers who manufacture entire movements in precious metals. Third is its independence. F.P. Journe has quickly become one of the most prominent independent watchmakers in the industry and the brand’s spirit and unique point of view continues to attract many. History of F. P. Journe F. P. Journe (Montres Journe S.A.) "I do what I do without compromise . . ." - Francois-Paul Journe When watch connoisseurs ponder where the next Abraham-Louis Breguet could be coming from, the most logical candidate is Francois-Paul Journe. The history of his small, very high quality F.P. Journe watchmaking concern can be summed up by his Latin motto: "Invenit et Fecit:" He invented it and made it. It is inscribed along with his name on many of his watch dials. Journe is an international phenomenon. He's as much an avant-garde artist as he is a horologist, approaching his first creations as individual, extremely high-tech sculptures. His talent and knowledge of historical watchmaking as well as contemporary design have produced some remarkable masterpieces that are fabulous, quirky departures from the other largely conventional Swiss watchmakers. But a great watchmaker he is, in the very deepest sense; his small workshop produces in-house components, movements, and complications for high horologic watches one at a time. They're built in the 18th century tradition of exploration and craftsmanship of Journe's hero Abraham-Louis Breguet. Journe has made an enormous impact on the industry since the company's founding in 1999, winning prestigious awards year after year for his technologically sophisticated and distinctively designed watches. A History of F. P. Journe Francois-Paul Journe was born in Marseille on March 22, 1957. He entered the watch making school at 14, accepting his path and profession without ever wavering. Like the lives of many of the earliest Swiss watch making pioneers, Journe's artistic and technological calling came early. In 1976 he graduated from the Ecole d'Horlogerie de Paris with a watchmaker's diploma. His first project was initiating the creation of his own tourbillon pocket watch, the only way he could afford to have one. Journe learned a step-by-step process from books by the great contemporary watchmaker George Daniels, who displayed the direct link of horology to art rather than just function. Watchmaking and especially The Art of Breguet directed Journe on his own workbench. In 1977, Francois began his eight-year apprenticeship working in his uncle Michael Journe's antique watch restoration and conservation workshop in Paris, which ultimately led to a partnership. He learned his trade working on high-grade, nineteenth-century watches, and in 1979, at the age of 22, Francois-Paul was commissioned by the Ateliers P-G Brun in Paris, to design a planetarium mechanism for Asprey in London. It was made of white and yellow gold, rubies, and diamonds, with 12 lapis-lazuli sides ornamented with the signs of the zodiac. The planets of the solar system revolved around the sun on a synchronized pendulum that supported and powered a complex wheel train. In 1982, after five years of work, Journe finished his first gold and silver tourbillon chronometer pocket watch, as well as an extremely complicated skeleton perpetual clock. Journe began taking commissions full time in 1985, establishing his first workshop in Paris on the rude de Verneuil when his uncle retired. In 1986 Journe produced an automatic chronometer pocket-watch with fusee and chain that housed a five-second remontoir, a detent escapement, and a rock crystal dial displaying a retrograde perpetual calendar mechanism with the equation of time. This was Journe's homage to Abraham-Louis Breguet's watch creation for Marie-Antoinette. In 1987 Journe created a planetary pocket-watch, his sixth timepiece, commissioned by a scientific objects collector; he also received a prize and became a laureate of the Fondation de la Vocation Bleustein-Blanchet, which is only awarded to thirty artisans each year. In 1988 he made three examples of his "pendule Sympathique" clock for Asprey's of London. Abraham-Louis Breguet, who invented the first Sympathique, again inspired Journe, although Journe's was a more complex design enhanced with an exquisite modern movement. In 1989 Journe won the Balancier d'Or prize at the Madrid watchmaker's convention. In 1992 Journe created his first wristwatch using the novel remontoir system he invented in 1982 for a pocket-watch. The remontoire is a second, small source of power from a weight or spring that runs the caliber mechanism, which is rewound by the mainspring. This became the prototype for his "Tourbillon Souverain," with the gear trains and movement components crafted out of 18K gold. The Musee de l'Homme et du Temps honored Journe with the Gaia Watchmaker of the Year award in 1994, and in Geneva in 1996, Journe formed TIM SA, an organization designed to develop unique calibers in what he called "Haute Horologie." To wind up the century and the millennium, in 1999 the Tourbillon Sourverain and a collection of chronometers – Invenit et Fecit (created and made) – were launched with the F.P. Journe label at the AHCI booth in the Basel Show, meeting tremendous success and acclaim. Invenit et Fecit became the official motto for Journe's company. The Twenty-First Century To celebrate the new millennium, Journe debuted the "Sonnerie Souveraine," to the marketplace at the Basel show in his own booth under the company name, Montres F.P. Journe in 2000. The Sonnerie was an innovative, complex design with a retrograde minute display and a section of the dial that revealed part of the mechanism. He also debuted the first resonance wristwatch that became the "Chronometre a Resonance." This allowed the balance wheel in the movement to vibrate at a much higher frequency. Also in 2000, the workshops of F.P. Journe were established in the center of Geneva's Plainpalais artist district. The little manufacture now hand built 3 to 4 watches per day, or about 900 per year. In 2001, Francois-Paul's son, Maxime, was born, as was the first automatic movement caliber from the Octa collection that guaranteed five days of precision timekeeping when unworn. The large, 120-hour power reserve promised to support new complications in the future. In addition, FP Journe began an association with Harry Winston Jewelers, designing eighteen exceptional, unique watches called the Opus One collection. In 2002, Francois-Paul started the Montres Journe SA antique clock collection by acquiring the resonance regulator made by French horologic genius Antide Janvier in 1780. This clock actually inspired Journe's Chronomètre à résonance, and was one of the world's first timepieces experimenting with high frequency resonance. The first private exhibition for supreme retailers was held at the Montres Journe headquarters in Geneva, with tours of the workshops on the first floor. Of the fifty companies with the ability to sell Journe's watches, he was now represented by 34, finding it unnecessary to exhibit with other watchmakers. Journe also received the special jury award of the "Grand Prix d'Horlogerie de Geneve" for the Octa Calendrier watch. 2003 saw the opening of the first showroom boutique in Tokyo – the Montres Journe Japon KK – in the Collezione building of the Omotesando district near the Nezu Museum. In a building designed by renowned architect, Tadao Ando, it included a watchmaking library, a lounge, and a bar where watch aficionados gathered to discuss their favorite subject or purchase one of a few hundred chronometers produced for Japan every year. Francois-Paul Journe contributed to his own two-floor store by designing the railings, overhead passage, and the interior staircase. Also in 2003, the automatic winding Octa Lune, with its five-day power reserve, received the Grand Prix d'Horlogerie de Geneve for Best men's watch. To Journe's delight, the Chronomètre à résonance also won the Watch of the Year Jury Award in Japan. Once again at the Grand Prix d'Horlogerie de Geneve in 2004, Journe was honored with the ultimate, coveted award, "L'Aiguille d'Or," the Golden Hand, for his Tourbillon Souverain, which was also presented the Watch of the Year grand prize in Japan. At the 2005 Grand Prix d'Horlogerie de Geneve, the Chronometer Souverain won the Favorite Men's Watch award. That same year, Montres Journe began producing all their movement components in house out of 18K red gold. In 2006, the French Minister of Culture bestowed upon Francois-Paul Journe the title of the "Chevalier des Arts et des Lettres." He also won his second "Aiguille d'Oro (Golden Hand) ultimate award for hisSonnerie Souveraine. The showroom boutique in the historical center of Hong Kong opened on October 3rd in the Princess Building. Moreover, in Tokyo the Watch of the Year award also went to the Sonnerie Souveraine. In 2007 the new showroom boutique opened on Place Longemalle in the center of Geneva on April 17th; on December 4thanother exquisite store opened in Boca Raton, Florida. The new Exhibition Space of the Manufacture held the Exhibition Steel Time from October 15th to December 21st. In 2008 the ultra slim, and many claim breathtaking minute repeater, debuted at the annual salon in the Exhibition room from April 7 to 12. In Los Relojes Del Ano 2008, theRepetition Minute Souveraine – equally breathtaking – was named the Watch of the Year in the Grand Complication category. Journe again received the "Aiguille d'Or" at the Geneva Watchmaking Grand Prix for the Centigraphe Souverain, and the boutique opened in Paris in December with the customary little sign, F.P. Journe - Invenit et Fecit. In 2009 the slim Minute Repeater won the "Best Technique Innovation Watch" at the Champions of Time competition in China. The Centigraphe Souverain was awarded the "Watch of the Year" for 2008 on Timezone.com. Elegant F.P. Journe boutiques debuted in New York and Pekin in November. F.P. Journe was now a world renowned watchmaker and retailer. In 2010, revisiting The Champions of Time in China, Journe once again was given the "Best Technical Innovation" award for his complicated Vagabondage II. For an unprecedented seventh time, the Grand Prix d'Horlogerie de Geneve gave him the Grand Complication Prize for the incredibleChronomètre à résonance. The Octa UTC was presented at the January 2011 exhibition at the Manufacture, and Francois-Paul held a world premier for his entirely aluminum (mechanism, case, and bracelet) Centigraphe Sport, the first watch of his newLinesport collection. Number 001 sold at Christie's for ten times its original price, with the proceeds going to the victims of the Japanese earthquake and tsunami. The Espace F.P. Journe boutique opened in Buenos Aires, Argentina on December 5th with their partner, Simonetta Orsini. The great, historical steel time exhibit was held at the Forbes Galleries in New York from April 15th to September 15th, 2012. This included F.P. Journe's collection of 250 burnished steel watches produced between 1850 and 1910. The all aluminum Octa Sport debuted, the second offering from the Linesport models. F.P. Journe entered a partnership with Jean Alesi and Lotus to compete in the Indianapolis 500 on May 27th, and in homage to the driver Alesi, brought out an Indy 500 edition of 99 examples. TheChronometre Optimum was presented in the international Journe boutiques. In 2013, at the annual exhibition in January, the new Quantieme Perpetuel was launched, and for popular culture exposure, an F.P. Journe watch appeared on the wrist of Academy Award winner Jean Dujardin in the new film Mobius. F. P. Journe Watches Currently Being Made Souveraine Collection These are eight, simple, softly rounded cases in platinum or red gold, with the exception of the chronometer blue which is made of the alloy tantalum, and the Repetition Souveraine and Sonnerie Souverain which are made of steel. They all have a fascinating list of complications: CHRONOMÈTRE BLEU Reference CB. An elegant, playful, and stunningly blue timepiece with central hours and minutes, offset small seconds dial, and matching blue leather bracelet. Made of the special alloy tantalum. Image: www.fpjourne.com CHRONOMÈTRE SOUVERAIN Reference CS. In four styles of platinum or red gold with matching metal bracelets or leather bands, with hours, central minutes, a small seconds dial, and a power reserve. CENTIGRAPHE SOUVERAIN Reference CT. In four combinations of platinum or red gold, with hours, central minutes, 1-second register at 10 o’clock, 20-second register at 2 o’clock, 10-minute register at 6 o’clock and power reserve of 24 hours with chronograph and 100 hours without. CHRONOMÈTRE À RÉSONANCE Reference RT. This is produced in red gold or platinum, with matching metal bracelet or leather band. The functions are beautifully integrated into four separate sub-dials, including a double time display with a 24-hour digital dial on the left, and a 12-hour analog dial on the right, hours, minutes, and small seconds. TOURBILLON SOUVERAIN Reference TN. This tourbillon has hours, off-centered minute display, small second dial, and power reserve. REPETITION SOUVERAIN Reference RM. This fantastic steel watch has hours, central minutes, small seconds dial, power reserve, and a minute repeater. The dial is silver guilloche with distinctive indigo blue hands and numerals, and a blue leather bracelet. SONNERIE SOUVERAIN Reference GS. This is a beautifully complicated steel masterwork with hours, off-centered minutes, a small seconds sub-dial, power reserve and grande and petite sonnerie. It comes with a leather bracelet. CHRONOMÈTRE OPTIMUM Reference CO. This watch is produced in platinum or red gold, with a 1 second remontoire at 11 o’clock, a natural dead-beat second on the open back of the movement, off center hours and minutes, a small seconds dial, and a power reserve. The Octa Collection Simple, round, elegant, and always groundbreaking, the Octa watches are more like tiny, miraculous vintage dashboards or airplane cockpits. There are seven models with variations in platinum or red gold, with either leather or matching metal bracelets, offering a fascinating array of unique timepieces: OCTA UTC Reference UTC. Debuted in 2011 with off-center hours, minutes, and time zones, earth dial, small seconds, winter/summer hour, large date, and power reserve. OCTA RESERVE DE MARCHE Reference A. Offers hours, off-centered minutes, subsidiary seconds, double date and power reserve display. OCTA AUTOMATIQUE RESERVE Reference AR. In four combinations of platinum and red gold with central hours and minutes, small second dial, large date window, and power reserve. OCTA AUTOMATIQUE LUNE Reference AL. Red gold or platinum with leather or matching bracelet, with central hours and minutes, small second dial, large date window, power reserve an moon phase. OCTA LUNE Reference L. In four variations of Platinum or red gold, with large date, off-centered minutes, hour, small seconds, power reserve and moon phase. OCTA DIVINE Reference D. In four combinations of Platinum or red gold with central minutes and hours, large date, small seconds dial, power reserve and moon phase. OCTA CALENDRIER Reference Q. In four styles of Platinum or red gold, with hours and off-centered minutes, month and day windows, retrograde central date by hand. The Jewellery Collection These two watches are special examples of bejeweling with great taste, without eclipsing the natural virtues of each piece: OCTA DIVINE SERTIE Reference D. This is a spectacular watch; the platinum or red gold case is set with 184 brilliant-cut diamonds on a leather strap, with hours, central minutes, a small seconds dial, a large date window, power reserve indicator, and a moon phase. The watches with matching metal bracelets have 950 to 1381 diamonds. Reference TJ. This elaborately encrusted case in platinum or red gold is set with 93 baguette diamonds, while the dial has 201 brilliant diamonds. The platinum or red gold bracelets have an additional 425 baguette diamonds, with a double deployant clasp that’s also diamond set. The watch itself has hours, off-centered minutes, a small seconds dial, and a power reserve. VAGABONDAGE II Produced in an edition of only 68 examples in platinum, and 68 in red gold, with crocodile leather straps. This is the first F.P. Journe watch that isn’t round, but a lovely rectangular Tonneau-shaped case. It has a 1-minute constant force device with digital hour and minute indicators, a sub-seconds dial, and a power reserve. OCTA PERPETUELLE This titanium watch has a perpetual calendar and a retrograde date display curving around 2/3 of the dial. Day and month windows include a nearly hidden leap year indicator. There is a subsidiary seconds dial and offset hours and minutes. Titanium makes for an extremely lightweight case, but the weight remains due to the solid gold movement components. OCTA SPORT This brilliant adventurer’s timepiece is entirely made of scratch resistant, anti-corrosive, anti-allergic aluminum – the movement, the case, everything. It only weighs 53 grams. It has central hour and minute hands, a big date window, a small seconds sub-dial, a power reserve, and a day/night indicator. It has rubber “bumpers” on the sides of the case, rubber-protected links if you choose the matching metal bracelet, and if you prefer the rubber strap, the crown and folding clasp also have rubber coatings. Exclusive Pieces These collections are offered only in the six F.P. Journe international boutiques. Each boutique is allowed only 12 pieces per year and two pieces per model: These are offered in red gold with a black lacquered dial in many complication variations. These have a distinctive black lacquered dial and a platinum case, this styling is available for every F.P. Journe model except the Grande Sonnerie. COLLECTION BOUTIQUE NACRE These come in several combinations of complications in platinum or red gold with luminescent blue or pink Mother of Pearl dials. CENTIGRAPHE SOUVERAIN F An exquisite combination of the auto sports and haute horology, this limited edition platinum chronometer and matching bracelet has an exclusive red chrome dial, Ferrari fly yellow hands, and three blackened gold registers. The Linesport Collection These are the first two of a new line of lightweight, durable watches for active sports enthusiasts. CENTIGRAPHE SPORT Like the Octa Sport, the case, bracelet, and movement are created out of an aluminum alloy. It has a separate chronograph train driven by the mainspring, and central hours and minutes. Discussed above in Limited Series. F.P. Journe is the watchmaker that all the other watchmakers are watching. These very well may be the treasured timepieces of the twenty-first century and beyond.	cc/2023-06/en_middle_0099.json.gz/line80
__label__wiki	0.834215	0.834215	Be Prepared Before And After The Storm Here’s How To Build Your Own Tornado Kit After Tornado, Couple Rebuilds Their Home — And Their Lives — On Tight Budget Without Adequate Insurance, A Family Starts From Scratch After The Storm Roars Through, Insurance Troubles Mount For This Single Mom, Recovering From Disaster Is Nothing New How A Stormy, Deadly Night Changed Four Families Forever A Year After The Tornadoes, Four Families Struggle To Start Over Single Mom Finds New Home But Still Searching For Peace After Exhausting Rebuild, Couple Moves Back Home Bracing For The Storm’s Anniversary After Months Of Strife After A Tough Year, Family Celebrates: ‘We’re All Still Here’ Homes across the street from Alfredo and Anthony Fowler-Rainone in Rowlett. Photo/Lara Solt The decorations were still up when a dozen tornadoes ripped through North Texas the day after Christmas in 2015. People lost loved ones, their homes and everything inside them. As the holidays approach, we are checking in with four families who have watched the last 11 months blur by in a haze of insurance claims, building permits and financial stress. They’re still struggling to rebuild their lives, a year later. Lindsay Diaz of Rowlett Some people returned from holiday trips to gutted apartments and gashed houses. Some families rode out the storm in their closet. The Christmas weekend tornadoes changed thousands of lives forever. Lindsay Diaz will never forget hunkering down with her then-infant son in the bathtub of her Rowlett duplex and then emerging to a home she no longer recognized. Lindsay Diaz and her then 7-month-old son, Arian, in their Rowlett home after the tornado. Photo/Lara Solt “Everything was broken, windows shattered, everything off the wall,” she said. Diaz had homeowners’ insurance but not enough of it. She’s been displaced since the day of the storm, moving into two different rentals in less than a year. “I’m homeless,” she said. “I don’t have a home and I need to figure out what I’m going to do to get it back.” Losing a home is more painful than some people realize, experts say. Social worker Valencia Alexander manages the senior services program for the city of Dallas and helped with counseling in the wake of the tornadoes. She says the stress of moving — even temporarily — can be crushing. “I now have to find financial resources to restart my life,” Diaz says. “I lost the things that were important to me. Can I really trust moving into another environment? Where do I find a place that’s safe?” Revisit Linday Diaz’s story from earlier this year. Jessica Cadick of Garland Jessica Cadick, her fiancé and their three kids were renting a house that was destroyed in Garland. Speaking a few months after the storm, she said her family was desperate to get back to normal. “Having that light, that hope at the end of the tunnel that we’re going to get to go back home,” she said. “It may not look exactly like the house that we had, but it’s going to be the same floor plan. It’s going to have some of the same architectural details to it. I’ll recognize it again, and that’s a comfort. Knowing that I’ll get to go someone that I’ll recognize as a safe place.” Jessica Cadick, and two of her children at their Garland home, one of the first to be rebuilt in the neighborhood, following the storm. Photo/Lara Solt Their house was one of the first on the block to start construction. But progress slowed during the spring. They hope to be moved back in soon. Valencia Alexander says even having to leave a rental property can cause pain and resentment. “Anyone who’s kind of moved from a place they’ve been in for awhile and go back and they look and say ‘Wow this had a lot of memories for me,’ and I was forced to move versus choosing to move,” she said. Revisit Jessica Cadick’s story from earlier this year. “I feel like I’ve earned it — I should have a little bit of peace. I think I’m still a little uneasy, because it’s always you have that feeling: ‘OK, what’s next.’” Jennifer Anderson, Garland Jennifer Anderson of Garland Single mom Jennifer Anderson, who lost an apartment full of furniture, clothes and toys for her two sons, has re-settled in a Garland rental house. It’s got a small backyard and a bedroom for the boys. Even so, she can’t help but worry about the next crisis on the horizon. She lost her husband to suicide two years before the tornado. “I feel like I’ve earned it — I should have a little bit of peace,” she said. “I think I’m still a little uneasy, because it’s always you have that feeling: ‘OK, what’s next.’” Revisit Jennifer Anderson’s story from earlier this year. Jenn Anderson and her sons eat in their motel room. Photo/Thorne Anderson Anthony and Alfredo Fowler-Rainone of Rowlett And after eight months of construction, the home of Anthony and Alfredo Fowler-Rainone is finally finished. Pictures are back on the wall; crystal is back in the cabinets. And while they didn’t have enough insurance money to replace everything they lost, they’re just glad to leave the process behind them. “Some of the furnishings, we just continue using what’s been damaged until we can replace it,” Anthony said. “There’s no way to even get it through anybody’s head how stressful this is,” Alfredo said. Anthony Fowler-Rainone of Rowlett looks into a hole in the bathroom ceiling that caved in when his home was damaged in the tornadoes in December 2015. Photo/Lara Solt That’s something Valencia Alexander hears a lot. Even folks with enough insurance find the process of getting everything evaluated and reimbursed exhausting. “They’re also dealing with a loss,” she said. “So they’re dealing with their own hurts while yet fighting for their rights.” A fight that started the day of the storm and has lasted for months and could for even years as they try to rebuild their lives, one brick at a time. Revisit the Anthony and Alfredo Fowler-Rainone’s story from earlier this year. Categorized: One Crisis Away: Rebuilding A Life Tagged: one crisis away Share 'One Crisis Away: Rebuilding A Life' Additional video: Dane Walters Assistant Producer, Digital News: Molly Evans Digital Designer-Developer: Mark Ho-Kane KERA VP, News: Rick Holter KERA's One Crisis Away series Rebuilding A Life: A Year Later is funded in part by Communities Foundation of Texas and Texas Women’s Foundation and the Carl B. & Florence E. King Foundation. Rebuilding A Life is part of KERA's One Crisis Away Initiative.	cc/2023-06/en_middle_0099.json.gz/line81
__label__cc	0.644771	0.355229	Buy Golem 7 Available Now on Amazon.com Don’t have a kindle? No problem! You can download a free Kindle book reader Ap for your PC, smartphone or tablet device, and amazon sends your books directly to that device. Anyone can read a kindle book, whether they have a kindle device or not. GOLEM 7 VIDEO Volume V in the Award Winning Meridian Series! Reads as a stand alone novel Three days after the conclusion of Volume IV, Anvil of Fate, the project team still has “unfinished business.” The Palma Event still ravages the Meridian, and Professor Nordhausen has his hand on the neck of the man he believes is ultimately responsible for the catastrophe. The Golem trail leads the team to one of the greatest naval sagas of all time, the hunt for the German battleship Bismarck! The book examines all the strange mishaps, odd decisions, quirks of fate and sheer luck that stacked up one upon another to lead to the sinking of Germany’s greatest ship...but something has gone awry and the Bismarck survives its maiden voyage, with startling consequences. Now the project team must find out why. Written in the “live history” style that first appeared in Volume IV, the historical figures come to life as they act out an exciting and engaging alternate history “sink the Bismarck” campaigns. They’re all here--Lutjens and Lindemann aboard Bismarck,, Wohlfarth of U-556, Tovey, Brind, Holland and Dalrymple-Hammilton and more--all the key players on this vast historical stage. Join Physicist Paul Dorland, Historian Robert Nordhausen, Math and Computer genius Kelly Ramer, and the redoubtable head of Outcomes & Consequences, Maeve Linford as they sleuth the history to identify the key Levers, Prime Movers and hidden Pushpoints in this exciting alternate history tale of the hunt for the Bismarck. The book reads easily as a stand alone novel, even if you haven’t read the other series books, but it also makes a perfect finish to this amazing quintet for those who have followed the Meridian team from the outset in the award winning Volume I. NEWLY EDITED FILE: 12/29/14 “Top notch research to present the most plausible and exciting alternate history of these events I have ever read!” KIROV SERIES READERS! Golem 7 stands as a “Prelude” that will deepen your understanding of events that will be presented in book 16 of the Kirov Series, Paradox Hour. And don’t miss these other exciting Meridian Series Novels! Writing Shop Press All site material is: Copyright © The Writing Shop with the exception of certain images presented for informational purposes only.	cc/2023-06/en_middle_0099.json.gz/line84
__label__wiki	0.572065	0.572065	A Reading of "Eden Prairie 1971" at the Playwrights' Center "Now in its 12th year, the Ruth Easton New Play Series gives selected Core Writers 20 hours with collaborators to workshop their script—to write, rewrite, experiment, and shape their work. For playwrights, this means great leaps forward for their plays. For audiences, this means a thrilling and intimate night of theater." This was my third "thrilling and intimate night of theater" as part of the 2016-2017 series last night (see also December's Wink by Jen Silverman and January's queens by Martyna Majok), and it just keeps getting better and better! After first "discovering" PWC just last May when they kindly invited the Twin Cities Theater Bloggers to attend a reading and meet with playwright Lee Blessing, I have to admit I've become a little bit addicted. There's nothing quite like the rush of experiencing a new play for the first time. This month's new play receiving a workshop and two-night-only reading was Playwrights' Center Core Writer Mat Smart's very promising Eden Prairie 1971. The description of Eden Prairie 1971 is: "On the night Apollo 15 lands on the moon, a draft dodger steals home to Eden Prairie, Minnesota from Canada. He risks arrest to deliver a message to a young woman from his high school class. This beautifully etched play challenges notions of our own bravery and the true cost of freedom." As always, PWC recruited some of the Twin Cities' best actors to workshop the work and perform it in two readings: Christina Baldwin, U of M/Guthrie BFA student Meredith Casey, and Billy Mullaney, with direction by Chicago's Henry Wishcamper and stage directions read by another U of M/Guthrie BFA student, Kendall Kent. The story plays out in one long scene, mostly between two characters - the aforementioned drafter dodger Pete and Rachel, his old friend from high school. Rachel's mother interrupts for a few hilarious and heart-breaking moments, but much of this play is of the two-people-sitting-in-a-room-talking variety, which might be my favorite kind of play. It really allows us to dig deep with the two characters, their relationship, and the topics they discuss, which is definitely the case with this play. Issues of relationships, friendships, responsibility, pacifism, and duty, all come into play. You might think, as I initially did, Vietnam was 40 years ago, what is there left to say about it? Judging by the intense and moving post-show discussion - a lot. My dad was drafted in 1967 and sent to Vietnam, but since he had just graduated from college with a degree in accounting, they put him to work accounting for troop movements and such, so he thankfully never saw combat. I've never asked him what it was like to receive that draft notice, how he felt, if he ever thought of trying to get out of it; I will now. The Vietnam War created much divisiveness in this country, the repercussions of which are still being felt. I hope to be able to revisit this play. There are some lovely (and disturbing) images described in the stage directions that I'm eager to see play out in a full production. And while the play would work anywhere in the country, the local references (Lunds! Harmon Killebrew!! Jim Kaat!!!) make Minnesota the perfect location for its world premiere. If you missed this reading, never fear, the Ruth Easton New Play Series continues the first Monday and Tuesday of the month through April. Scheduled plays include (click on title for more details and to make FREE reservations): March 6-7: The Sea & The Stars by Playwrights' Center Core Writer Harrison David Rivers Simon is a lifeguard. Finn is terrified of water. Both are adrift, with broken hearts, returning to the tiny beach town of Jupiter and to families who need them. A play about love, karaoke, and the sea. April 3-4: Minneapolis/St. Paul by Playwrights’ Center Core Writer Lee Blessing A celebrated crime novelist leads two different lives, one as Randall, the middle-aged husband and father, and the other as Mandy, the newly-wedded wife and stepmother. In a play that is both poignant and bitingly funny, Mandy/Randall struggles with the complexities and repercussions of an identity too vast to fit within binaries. I attended a reading of this play last year and am excited to see how it's changed since then. Also see the Events tab on the PWC website for more opportunities to see readings of new plays, most of which are FREE! Labels: Billy Mullaney, Christina Baldwin, Henry Wishcamper, Kendall Kent, Mat Smart, Meredith Casey, Playwrights' Center Exclusive Announcement of Lyric Arts' 2017-2018 Se... "Deathtrap" at Theatre in the Round "We Are Proud to Present" at the Guthrie Theater "King Lear" at the Guthrie Theater "Anna in the Tropics" at the Jungle Theater "Marie Antoinette" by Walking Shadow Theatre Compa... "As You Like It" by Classical Actors Ensemble at t... "The Importance of Being Earnest" by Four Humors a... "Fiddler on the Roof" by Ten Thousand Things at Au... "Grace" at Yellow Tree Theatre "Hedwig and the Angry Inch" on tour at the Ordway "Nina Simone: Four Women" at Park Square Theatre "Bad Dates" at Artistry "Dr. Seuss's The Sneetches The Musical" at Childre... "The Tragedy of Carmen" by Skylark Opera Theatre a... "The Royal Family" at the Guthrie Theater A Reading of "Eden Prairie 1971" at the Playwright... "Musical Mondays" at Hell's Kitchen, February 2017 "The Highwaymen" at History Theatre and "The Whipp... "Peter and the Starcatcher" by Theater Latte Da at... "Corazón Eterno (Always in My Heart)" at Mixed Blo... "Black Light" at Penumbra Theatre	cc/2023-06/en_middle_0099.json.gz/line86
__label__cc	0.69701	0.30299	Home / Android / MediaTek / News / NubiaN1Lite / Nubia N1 Lite with 2Gb RAM and Android Marshmallow at Rs 6,999 Nubia N1 Lite with 2Gb RAM and Android Marshmallow at Rs 6,999 5/22/2017 04:37:00 PM Android, MediaTek, News, NubiaN1Lite Today, Nubia India has announced the N1 lite smartphone in India. The Nubia N1 lite will cost you is Rs. 6,999, and it will be available exclusively via Amazon India. The key features of this phone are a fingerprint scanning support, soft-light front flash, and a 3000mAh battery and this phone is available from today to buy as mentioned from Amazon.in. Design wise, the Nubia N1 lite features a sleek design with metal edges. The fingerprint scanner is housed at the back of the device, right below the camera. The company claims that it can unlock the smartphone in 0.3 seconds. The speaker is situated at the back, and the power and volume buttons are housed on the right edge. Also, the 3.5mm audio jack is housed on the top edge of the smartphone. Talk about the specs Nubia N1 lite runs Android 6.0 Marshmallow out-of-the-box and sports a 5.5-inch display, just like the original Nubia N1, but the screen resolution has been downgraded from full-HD (1080x1920 pixels) to HD (720x1280 pixels). The smartphone is powered by a 64-bit 1.25GHz quad-core MediaTek MT6737 processor , and comes with 2GB of RAM. In terms of optics, the Nubia N1 lite sports an 8-megapixel rear camera with an f/2.0 aperture tagged with dual-LED flash and a 5-megapixel camera at front with soft-light flash support and camera beauty filter as well. The Nubia N1 lite features 16GB of inbuilt storage with the option to expand further via a microSD slot (up to 32GB). Connectivity options include 4G VoLTE, GPS, Bluetooth, Wi-Fi, and Micro USB port. The smartphone packs a 3000mAh battery that is rated to deliver up to 24 hours of talk time. The dimensions are at 153x77.5x8.4mm and the smartphone weighs 171 grams. Sensors on board include an accelerometer, ambient light sensor, digital compass, and proximity sensor. Nubia N1 Lite with 2Gb RAM and Android Marshmallow at Rs 6,999 Reviewed by Admin on 5/22/2017 04:37:00 PM Rating: 5 NubiaN1Lite	cc/2023-06/en_middle_0099.json.gz/line90
__label__cc	0.532869	0.467131	A.R.Rahman at Hollywood Bowl - What went wrong? Not many who watched A.R.Rahman’s concert with L.A. Philharmonic Orchestra live at Hollywood Bowl seem to have liked it. They expected a regular sing-song A.R.Rahman concert, though A.R.Rahman himself mentioned in many of his pre-concert interviews that this is not a regular concert and that the orchestra would be performing themes from his film scores. Even if not for these interviews, the moment one sees L.A. Philharmonic orchestra, one could have guessed that it is not one of those Jai Ho concerts. Your ignorance is not Rahman’s fault. Also, instrumental music is not everyone’s cup of tea. But, that is not the problem. Irrespective of the expectations of the audiences, if music performed had that magical power to infuse a sense of joy in the hearts of the people, no one would have complained. I did not watch A.R.Rahman’s concert with L.A. Philharmonic Orchestra live at Hollywood Bowl. It is not fair to pass a judgment without having the first-hand experience, but still these YouTube videos do give a strong sense of what it was like when they were performed, live. After watching all the dirty quality videos of the concert in YouTube, I feel I also would not have liked the concert if I were there. What was wrong? I can only say why I would not have liked it, even if I had gone there expecting a concert with Orchestra performing Rahman’s instrumental film scores. I do not like listening to orchestral concerts in the open-air auditorium, no matter how powerful a sound system you provide. The nuances in orchestral pieces are best experienced in a closed auditorium. And A.R.Rahman is no John Williams. Rahman’s orchestral pieces mostly are not chaotic, unpredictable, and bombastic and intricately layered enough to engage me in a live concert in an open auditorium. Rahman’s is mellifluous, haunting tunes that are just expanded on an orchestra with different sections playing supporting parts. Such pieces require the walls of a closed auditorium to give the audience an immersive experience. Compare the experience of listening to the performance of "Mausam and Escape" in Nobel Peace Prize concert with that of in Hollywood Bowl. I am glad to read that Rahman is planning for one such concert in India. I hope that when it happens, it happens in a closed auditorium. There may not be closed auditoriums in India that could pack in 20,000 people, which is the minimum number of attendees of any given Rahman concert. But, filling the hearts of a given number of people with joy and satisfaction is much better than merely filling a given auditorium space with more people most of whom would leave with a sense of disappointment. The idea of playing visuals from the films in that giant screen has gone terribly wrong. I understand the purpose, non-Indian audiences and all that. But, this is ridiculous. The screen shows frantic action sequences from Endhiran, when the orchestra is performing a calm and subdued version of “Pudhiya Manidha”. It is such a distracting contrast. It totally turns off one’s interest in the music piece. And when you have Rajini on screen doing all those stunts, I wonder if anyone would paid any attention to the orchestral music. The audience cheered in the middle of Lagaan theme because the peak in the crescendo was perfectly synced with the visual of Aamir hitting that epic winning shot. This is the amount of satisfaction that a perfectly synchronized music and visuals can give the audience, but it looks like that did not happen in any of the pieces performed except Lagaan. “Arima Arima” chant by Ragapella group was totally out of sync with the orchestra. Also, the number of singers singing “Arima Arima” is less. It totally lacked the grandeur and was not effective. In an interview, Rahman told that he recorded Arima choir parts with 20 voices and overdubbed it multiple times to make it sound like a grand choir. At least 50 singers should have been there on the stage singing that part for that piece to be effective enough. I am not sure if the suites compiled from the films’ cues were tight enough. There were too many middling loose moments in the middle of the piece. The transition from one cue to another in a suite is particularly crucial. It should be neither abrupt nor take too long. Seamless is the word. In Robot Suite, the middle section lingered far too long on ‘Pudhiya Manidha’ melody. There are so many other bombastic pieces in Robot. The whole suite includes only film’s End Credits music and few variations of Arima song. Mangal Pandey Suite also had the same problem. For “Warriors of Heaven and Earth” Suite, of all pieces from the film, they have chosen ‘Desert Storm’. I love that piece. However, considering that the performance is for a live audience, most of whom may not have heard the piece before, I doubt if it is a right choice. Instead, ‘Mountains’ would have worked better. It has a serene melody and is richly orchestrated with wood winds and strings. Not to mention, the most bombastic of all pieces, ‘Warriors of Heaven and Earth’, a suite of this film’s score without this piece, for me, is unthinkable. I do not know if they were played in the concert. None of the videos in YouTube has a full version of the performance of this piece. Most of the pieces were performed in a tempo lesser than that of the original (especially the End Credits cue from Mangal Pandey in Mangal Pandey Suite) and this I guess is one of the main reasons why the pieces sounded long and tiring. I liked the orchestral version of Lathika’s theme and Mausam and Escape from Slumdog Millionaire, though they were stretched tad too long. Did Naveen play the Lathika’s theme as a solo on Indian flute? I could not hear it properly in the YouTube videos. Lathika’s theme sounds its best on an Indian flute. Naveen, as always, was brilliant in Bombay theme. However, I never liked western orchestra playing Bombay theme. The way the strings orphan the notes in the very first bar is something an ear trained to listening to the original cannot stand. I do not know how to play a Violin. Is it so difficult to bow and pluck the notes in that phrase with the required fluidity on Violin? I am not much in favor of putting a symphony orchestra behind Rahman’s songs. I could not recognize that the orchestra is playing “Tamizha Tamizha” melody, until the brass section took it over for the final crescendo of the song. “Cry of a Rose” is a Naveen show, symphony orchestra does not add much to the experience. However, “Naan Varuvaenae” is one of those few Rahman songs to which we could put a symphony behind. I would love to listen to it in better quality. But, in this concert, Rahman’s singing of “Naan Varuvaenae” was quite tentative and lacked the soul of the original. The only piece I have no complaints about in the concert is ‘Intervention’ from Couples Retreat. The strings section is this piece is purely divine, and Rahman’s alaaps were perfectly in sync with the orchestra. I do not know what other pieces were included in Couples Retreat Suite. Jason and Cynthia theme suite is a must, I guess. I would be happy if someone uploaded full version of Couples Retreat Suite. Also, I am eager to know what was performed in 127 Hours suite. If "Liberation theme" were included in the suite, wonder how they had managed to perform it without Guitars. As a Rahmaniac, I am dying to watch such a symphonic concert in India, but hope the execution is far better than it was in Hollywood bowl. “Anything that goes out of my studio has to be good”, said A.R.Rahman. I hope he extends that policy to his live concerts too. Labels: A.R.Rahman, A.R.Rahman Hollywood Bowl, A.R.Rahman with L.A. Philharmonic, Bombay Theme, Lagaan Theme, Live Concerts, Slumdog Millionaire Orchestral, Suite KARL MARX. J said... Hi Suresh!! Such a nice article...Congrats...Inspires me to revive my blog again..So far from the views presented in various forums and websites, ARR and LA Philharmonics didn't click. It had so much grandeur but the impact was missing. Though it is the orchestra performing ARR's themes, I also feel ARR was a very active partner in all the arrangements. ARR's strength is his classy electronic synthesizer scores and he could have rocked the Hollywood like he had done in 2006...Instead they went for his Orchestral Themes. Though, only a few themes are uploaded in the internet, I think we should somehow communicate to ARR about the themes he can select for his orchestral scores on stage... Our fellow hubbers in TFMPAGE can discuss this and can also add to the list of compositions that he can translate into full fledged WCM scores..I have not added his Bombay Theme, as it is a regular in almost all his concerts. A few that came to my mind are as under: 1) Bombay Awakes (Bombay Dreams) 2) Only Love (Bombay Dreams) 3) How many Stars (Bombay Dreams) 4) Salaam Bombay (Bombay Dreams) 5) Orchestral Themes in Couples retreat 6) Vennilaavin Theril (Duet) 7) Puthiya Manidha (Endhiran) 8) Theme of Indian 9) Bolo Tum-Kabhi Na Kabhi 10) Waltz for a Romance-Lagaan 11) Oruvan Oruvan-Muthu 12) Desh Ki Mitti-Netaji 13) U Boat Theme-Netaji 14) War Themes-Netaji 15) Ratchagan Theme Music 16) Karisal Theme-Taj Mahal 17) Putham Puthu Bhoomi-Thiruda Thiruda 18) Veerapaandi Kottaiyile-Thiruda Thiruda 19) Uyire(Dil Se) End Credits 20) Kaathu Kaathu-Uzhavan 21) Thiruda Thiruda Chase BGM These are some of the scores, ARR can translate into a live orchestral fare with these Symphony Orchestras. With his increasing penchant for orchestras, I think he should also include his old un played numbers instead of resorting to the cliched numbers..and most probably he should restrict his Jai Ho number...Its becoming a bit mechanical and very artificial... IMMHO... What do you think?? Karl Marx - I have been thinking along these lines. I am planning to post with Audio Clips of Compilation Suites of Film Scores that I would want to listen to in such a symphonic concert. Personally, I don't want songs to be played in such concerts. Rather a Suite can be compiled from preludes and interludes of his songs that are orchestral. Oruvan Oruvan Mudhalali Prelude + Ratchagan Theme + Edudaa Andha Suriya Melam prelude + Naali Ulagam illai endral preludes can be strung into one orchestral piece Yes Suresh!!You are right...But i sincerely hope ARR sees our opinions too...Naalai Ulagam has a wonderful brass section...Ratchagan Theme has the class...Oruvan oruvan and Eduda Andha Suriya melam has that jinoistic appeal...Hope he realises this.. I recently heard "Sara Sara" song from Vaagai Sooda Vaa...Really loved that song..Whenever I hear that song, I am transported to my childhood memories...This song by Ghibran is very much in essebce similar to Pennala Pennala from Uzhavan...I loved it... Afterall its our ARR style..I dunno why ARR ceased to give us those numbers... varadharajan said... i would love it if he makes unthan desathin kural ( instrumental) into a symphony piece...it as all the qualities...the closed auditorium is a valid point... Couples retreat suite if anyone as clear video it would ve beenreally awesome... bcos it by itself is a orchestral score... Online Shopping India said... thanx Suresh for posting, thanx Karl for the list	cc/2023-06/en_middle_0099.json.gz/line93
__label__cc	0.591146	0.408854	We have our answer on Paraag Marathe When the 49ers embarked on their twisty-turny search for guys to pick the players and coach them, I wrote a story titled “49ers’ great unknown as they search for GM, coach: The power of Paraag.” Well, well, well. Now we know. Before we get into that … it’s been a little while since I’ve written about the 49ers, and a lot has happened. It has been noted by numerous people, reporters whom I trust wholeheartedly, that Josh McDaniels was the 49ers’ No. 1 choice. Tom Cable was interviewed by Denise York for an hour via phone. This kind of thing is exactly why I’ve called for her to receive some of the same scrutiny Jed faces. Trent Kirchner and Cable removed themselves from consideration yesterday, apparently because they knew they weren’t legitimate candidates and were interviewed to provide some leverage against Kyle Shanahan. Mike Silver, who seems to have a very chummy relationship with 49ers ownership (no disrespect intended, it’s how the insiders get the scoops that put food on the table), said it’s “almost certain” Shanahan will accept the 49ers’ offer to become their next head coach. This seems to be a very odd search, and not just because most teams would try to hire a general manager first. If the 49ers were trying to build leverage against Shanahan, aren’t there better choices than Cable? Maybe with every other open head coaching position getting filled, there weren’t many NFL employees who’d even appear to be viable candidates, and the 49ers weren’t going to stir up a huge dust storm by interviewing a college head coach when they had no intentions of going that route. Still, very strange. Cable? Really? Shanahan and his agent probably popped a bottle of expensive champagne on Sunday, and not just because Shanahan’s team just scored 36 on Cable’s. The 49ers seem to be burning some bridges along the way, but they probably don’t mind annoying the Seattle guys. It’s payback for the Seahawks complete ownage of the 49ers since 2013, I guess. OK, now it’s Marathe time. Ugh, that might be the least inspiring sentence I’ve ever written. Sounds like there was at least one major problem when McDaniels and Riddick started negotiations with the 49ers. That’d be: Paraag Marathe. — Tim Kawakami (@timkawakami) January 18, 2017 And yes, there were some negotiations between the 49ers and McDaniels, who was Jed’s guy from the outset. As discussed last week, McDaniels proved to be the best 49ers candidate by understanding exactly what’s wrong with the 49ers. And exiting. Three questions: 1) Is Kyle Shanahan more comfortable w/Marathe’s role than McDaniels was? 2) If he isn’t, will he threaten to walk? And… 3) And if Shanahan demands power over Marathe, in writing, or that Marathe can’t negotiate the deal, what does Jed do then? The answer to that last question might start with “Mike” and ends with “Nolan.” Seriously, who else would the 49ers hire if they screw up this Shanahan thing? Chuck Pagano (if he gets fired by Jim Irsay)? Trent Dilfer? I like the idea of Shanahan coaching the team from an offensive perspective (we’ll see about his personality if they seal the deal), but the 49ers have backed themselves into quite a corner. I can’t remember a coaching search ever looking like this, where a team semi-publicly narrows it down to one candidate and has to wait several days to sign that person. I suck at poker, but I would feel pretty confident if I was going against the Yorks. Oh, and we got this from Mike Florio (Pro Football Talk), who doesn’t seem to be quite as close with Jedraag as Silver and other national reporters: So how did it get to this point? Despite the widespread popular belief that the 49ers are currently the most dysfunctional team in football, the thinking in league circles is that, with some tweaks, the G.M. and coaching jobs could be desirable. The impediment to attracting their preferred candidates isn’t owner Jed York; apparently, it’s Chief Strategy Officer and EVP of Football Operations Paraag Marathe. Marathe is, as a practical matter, the Russ Brandon of the 49ers. The only difference is that the 49ers make no secret of Marathe’s influence over the football operations. From his online bio: “On the team side, Marathe reports directly to 49ers CEO Jed York and has a significant role in major strategic decisions for the club as Chief Strategy Officer. He also continues in his long-respected role as the team’s chief contract negotiator and salary cap architect, while overseeing the team’s football analytics department.” Put simply, Marathe has influence, along with the ear of ownership. He’s been there for 16 years, and he has transcended the bubble of accountability in which coaches and General Managers reside. And that’s precisely the kind of dynamic coaches and General Managers try to avoid. Shanahan is embracing it because, as his final package will demonstrate, he leveraged the team’s desperation to his full advantage. Moving forward, however, it’s an elephant in the room that may be serving as an oversized anchor. We don’t know if Shanahan would be a better head coach than McDaniels (they seem really similar in a lot of ways). If Shanahan indeed signs and makes the 49ers noticeably better, it’s an “all’s well that ends well” situation. It’s just interesting to note the dynamics of the 49ers front office. A former Senior Associate Consultant for Bain & Company has risen through the ranks, stayed with the 49ers for 16 years, and “transcended the bubble of accountability.” I thought only owners could pull off that last trick. Marathe seems to know quite a bit about the CBA and how to work the cap. But plenty of smart people would kill to be in a position like this, where your boss constantly hands you additional responsibilities in pro sports despite everything crumbling around you. It often isn’t what you know, but who you know. @BASportsGuy We were at dinner Friday night in Atlanta. Jed, wife, Paraag, and another guy were seated at our table. pic.twitter.com/sY5EVvwPo4 — Andrew Nolan (@sluttyapstrophe) December 19, 2016 Maybe the other guy was Brian Hampton. Hampton joined the 49ers as an intern in 2003, and he’s been a part of this process with Jedraag (and Jed’s mom, apparently). We don’t know who the 49ers will choose to be their GM or their next starting quarterback (it’s pretty clear that Kaepernick is gone), but we do know this: Making friends with the owner (or, in this case, the owner’s son) certainly has benefits. Related Items:Denise York, Golden State Warriors, Jed York, Kyle Shanahan, Mike Silver, Paraag Marathe, San Francisco 49ers, Tim Kawakami, Tom Cable Louis Riddick on Josh McDaniels’ decision to turn down 49ers: “He’s in a position where he can be choosy.” 49ers may have forced themselves into a great offseason	cc/2023-06/en_middle_0099.json.gz/line95

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