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__label__wiki	0.630111	0.630111	The Ottawa Redblacks have...no, wait, sorry, minor typo, I'll try again. The Ottawa REDBLACKS have just traded a couple nobodies for a real somebody: wide receiver Maurice Price. Price finished last season with 34 receptions for 544 yards and two touchdowns despite playing in only 11 games due to injury. The 29-year-old from Charleston Southern had 109 receptions 1,737 yards and 12 touchdowns in his three years with the Stampeders. With the trade, we're saved of a good reason to cheer for Calgary: Third Edge of the Sword readers may remember Price being fined by the CFL for comments he made about fudge packing failed NFL prospect Michael Sam. "The Calgary Stampeders are outraged by the offensive comments made today in tweets from Maurice Price's account. The comments are repugnant and in no way reflect the organization's views or values. The matter will now be dealt with internally." I guess now we know what the internal dealing with looked like: getting rid of Price (whose comment, which I 100% agree with) is included below. There's a good chance that there was some friction with the Stamps' best player, 2014 Most Outstanding Canadian in the CFL, Jon Cornish. Cornish has demonstrated himself to be a fan of sodomists when he made his disgusting comments on Faggot-Familiar-Alliances: "I mean it's unacceptable," he said. "I mean this is almost 2015, so absolutely I will say something. And hopefully I will continue being able to say stuff." Unlike Price, Cornish's ludicrous pro-fag comments (his mother has turned dyke, but that's no excuse for condoning such behaviour) didn't get him fined whatsoever, in what's becoming a disgusting double standard. (As a fun sidenote, the article features "Sam Dyck", the Calgary girl who is so mentally disturbed she thinks she's a boy) The Calgary SUN is reporting also that there was some friction over Price not suiting up for the Western Final against the Esks: While he missed Week 20, Price recovered in time to practice during the bye week leading into the West Final clash with the Edmonton Eskimos, but, despite being listed on the roster as a starter, he was made inactive and watched the game from home. Even though many injured players stay away from McMahon Stadium during the regular-season, it did not sit well with some teammates that Price was a no-show for a huge playoff game. Hey, Maurice, we know you tried. But the (literally, now!) Godless Stamps went on to stomp us anyways (though the score makes it look more lopsided than 3/4 quarters really were and of course win Price a Grey Cup (where he played the first half and then got hurt). Labels: Race Religion and Sex, Sports Race Religion and Sex\|Sports\|	cc/2020-05/en_head_0025.json.gz/line0
__label__cc	0.648457	0.351543	The One-Line Review Presents "The 50 Greatest Films" Brandon Wilson Mise-en-Scene by Brandon Brandon Wilson makes movies, teaches filmmaking, and lives in Los Angeles I didn't want to overthink this. For me, the chief criterion is this: if I knew I could only see 50 films from now, until the end of my life, what would they be? This was most informative for me. I learned that as much I appreciate documentary, they aren't the films I truly cherish. And that there are some filmmakers whose total filmography is the achievement rather than any one film. I am amazed by some of the omissions. But this is, in the end, an accurate list of the films that challenge me, move me, excite me, send me and in their own way, love me back. 2001: A Space Odyssey (1968) .. Stanley Kubrick The Godfather (1972) .. Francis Ford Coppola The Godfather: Part II (1974) .. Francis Ford Coppola Once Upon a Time in the West (1968) .. Sergio Leone Last Year in Marienbad (1961) .. Alain Resnais Goodfellas (1990) .. Martin Scorsese Dr. Strangelove, Or How I Learned to Stop Worrying and Love the Bomb (1964) .. Stanley Kubrick Apocalypse Now (1979) .. Francis Ford Coppola Metropolis (1927) .. Fritz Lang Tokyo Story (1953) .. Yasujiro Ozu Sunrise (1927) .. F.W. Murnau Seven Samurai (1954) .. Akira Kurosawa The Blues Brothers (1980) .. John Landis Céline and Julie Go Boating (1974) .. Jacques Rivette Vanishing Point (1971) .. Richard C. Sarafian Nashville (1975) .. Robert Altman Sweet Smell of Success (1957) .. Alexander Mackendrick The Red Shoes (1948) .. Michael Powell & Emeric Pressburger 8½ (1963) .. Federico Fellini Persona (1966) .. Ingmar Bergman L'Avventura (1960) .. Michelangelo Antonioni Manhattan (1979) .. Woody Allen All That Jazz (1979) .. Bob Fosse Breaking the Waves (1996) .. Lars von Trier Blue Velvet (1986) .. David Lynch Viva Las Vegas (1964) .. George Sidney Killer of Sheep (1977) .. Charles Burnett Do the Right Thing (1989) .. Spike Lee Boy (1969) .. Nagisa Oshima Performance (1970) .. Nicolas Roeg & Donald Cammell Ugetsu Monogatari (1953) .. Kenji Mizoguchi Taxi Driver (1976) .. Martin Scorsese Last Tango in Paris (1972) .. Bernardo Bertolucci The Conformist (1970) .. Bernardo Bertolucci Underground (1995) .. Emir Kusturica I Wanna Hold Your Hand (1978) .. Robert Zemeckis Devi (1960) .. Satyajit Ray The Mother and the Whore (1973) .. Jean Eustache The Servant (1963) .. Joseph Losey Dawn of the Dead (1978) .. George A. Romero Cabaret (1972) .. Bob Fosse The Magnificent Ambersons (1942) .. Orson Welles His Girl Friday (1940) .. Howard Hawks Point Blank (1967) .. John Boorman The Women (1939) .. George Cukor The Four Hundred Blows (1959) .. Francois Truffaut Vertigo (1958) .. Alfred Hitchcock The Good, the Bad, and the Ugly (1966) .. Sergio Leone Get Carter (1971) .. Mike Hodges Scarface (1983) .. Brian De Palma Love that you put Nashville way up there.. Seems like so many folks have forgotten that film. Ruthanng A 2009 poll of film-makers, critics, bloggers, historians, and other assorted cinephiles, attempting consensually to find “The 50 Greatest Films.” The 50 Greatest Films Top 50 Directors All Films (5+ votes) Beyond the Canon Obscure, Forgotten, Unloved	cc/2020-05/en_head_0025.json.gz/line1
__label__wiki	0.574661	0.574661	Why A.I.? July 2013 News Update – South America Region Going back a couple of decades, the group was an active participant in a Regional Action Network involving Paraguay, Argentina, Brazil and Uruguay – although 90% of the work centred on Brazil. This has gradually evolved into the South America Region and we get periodic updates and actions from the hard working voluntary coordinators. We thought you may find it useful if we shared the updates to give you a feel for some of the ways Amnesty currently works and the campigning that is being done. At the end of the report is a link to an Urgent Action and sample letter:- In early July AIUK coordinators and staff at the International Secretariat were able to brief the new UK Ambassador to Paraguay, Jeremy Hobbs, before he departed to take up his post. The Embassy closed in 2005 and is just now reopening. We were able to brief the Ambassador on the human rights situation in Paraguay and, in particular, the two case files of indigenous communities removed from their lands, Yakye Axa and Sawhowyamaxa. On 14 June Judge Alfiuni was released from detention. In December 2009 she released banker Eligio Cedeño in accordance with Venezuelan law and was herself arrested the following day. Amnesty International has consistently denounced her detention as undue political interference and arbitrary in nature, in contravention of the independence of the magistrates and judges. The conditions imposed on her release are harsh: she may not leave the country, speak to the press or communicate on social networks. In theory, paramilitarism ended with the demobilisation process. However, groups continue to operate with impunity. Since our last update a paramilitary plan to kill human rights activists has been exposed. Members of the National Movement of Victims of State Crimes in Sucre (MOVICE) have been threatened and attacked by paramilitaries. These and other organised crimes have been planned from within prison. On 3rd June the police commander of the Department of Sucre in northern Colombia received an e-mail saying paramilitaries (believed to be the bloque Héroes de los Montes de María) were intending to kill human rights defender Juan David Díaz, his wife and another person. His father Eudaldo was killed after he denounced links between paramilitaries, local politicians and the Armed Forces in February 2003. A worrying finding of the respected Colombian NGO CINEP is that cases of “falsos positivos” (the practice of killing innocent civilians, dressing the bodies in combat fatigues and presenting them as guerrillas who were killed in action) continue. The report outlines 20 new cases with 52 victims, despite the Colombian Government declaring at the end of 2012 there was not a single case that year. Amnesty International continues to follow closely the court case “Caso Manizales – Falsos Positivos”. The next hearing date is August 12 at 2 pm. In 2008 during a routine army operation by the Anti-Guerrilla Battalion two farmers were arrested. They later turned up dead in a rural zone of Manizales. Seven soldiers have already been convicted of the crime of aggravated murder. Human Rights Defender Alfimir Castillo, President of the Women’s Cane Cutters Committee and the mother of Darvey Mosquera, a young EJE victim, received a written death threat a week before hearings were to begin against senior officers of the Anti-Guerrilla Battalion and an army brigade. Updates to follow. Amnesty International continues to be concerned that the bill shortly to be debated before Colombia’s Congress to reform the military justice system (“fuero militar”) will shield members of the Armed Forces and the police from justice for crimes under international law. Military courts in Colombia have for decades shielded members of the security forces, especially those higher up the chain of command from justice for crimes under international law, including extrajudicial executions. Congress should reject the law reforming the military justice system. Cases should appear before the criminal courts where punishments are likely to be more severe. We link to an Urgent Action in which Human Rights Defenders Diego Martinez and Jeison Paba received death threats because they proposed a campaign against the strengthening of the military justice system. Amnesty’s recent HANDS postcard campaign insists that members of the security forces who commit crimes of sexual violence must be dealt with in the civilian courts and not in the military justice system. Links to sample letters to President Santos and Attorney General Montealegre There is profound concern regarding the situation in Catatumbo, Northern Santander. A social protest organised by peasant farmers on 11 June has resulted in the death and injuries of some of the demonstrators. Unarmed farmers have allegedly been fired upon by an anti-riot police unit and the army. Accusations by high-level public officials against the social organisations as being infiltrated by the guerrilla appear to have led to an overreaction by Armed Forces. Amnesty International calls for a full and impartial investigation by the civilian justice system. The Colombian Government and the Revolutionary Armed Forces of Colombia (FARC) have reached agreements in Havana on land reform. Colombia has highly unequal land distribution and this has been one of the most contentious issues during the peace talks. Land reform is essential for a sustainable peace. The next major theme for discussion is political participation of FARC. Categories Select Category action amnesty international events letters Uncategorized Copyright Amnesty International Bournemouth Poole Christchurch Group © 2012–2020 Going back a couple of decades, the group was an active participant in a Regional Action Network involving Paraguay, Argentina, Brazil and Uruguay - although 90% of the work centred on Brazil. This has gradually evolved into the South America Region and we get periodic updates and actions from the hard working voluntary coordinators. We thought you	cc/2020-05/en_head_0025.json.gz/line3
__label__wiki	0.545063	0.545063	20 apparel makers to take part in Berlin fair on Feb 18 A total of 20 Bangladeshi apparel manufacturers will participate in a three-day fair in Berlin, Germany beginning on February 18. Asia Apparel Expo-Berlin will be held at Messe Berlin Exhibition Ground. Bangladesh’s Export Promotion Bureau (EPB) officials said the participation is to display the country’s garment products and to explore new markets. Of the 20 participants, 17 are woven and three are knitwear factory owners. EPB said they have confirmed about their participation in the expo. It said the third Asia Apparel Expo will bring together over 250 experienced suppliers from the world’s largest clothing producing countries and regions including Bangladesh, China, Hong Kong, India, Vietnam and Thailan. “We will be there to demonstrate our products to the present and potential buyers,??? said Akter Ali Sarkar, director (fair) of the EPB. He said a total of 20 readymade garment makers will take part in the expo under the EPB supervision as part of a promotional campaign. This is also a part of efforts to narrow the country’s trade deficit, according to the director. He thinks through the participation, a knowledge on international trade rules and regulations can be acquired. Bangladesh takes part in different fairs held in different countries to promote its products in the international market. “The participations will help Bangladesh explore new destinations for its apparel products. It will ease dependency on the traditional markets,??? said Shahidullah Azim, vice president of Bangladesh Garment Manufacturers and Exporters Association (BGMEA). RMG exports grew over 20% to reach nearly $12bn in the first half of the current fiscal from one year ago. During the first of last fiscal year, the figure was $10bn. The country’s total export earnings rose 16.6% to $14.68bn in the July-December period from $12.6bn a year earlier. Source: Dhaka Tribune	cc/2020-05/en_head_0025.json.gz/line4
__label__wiki	0.543006	0.543006	Home / Products tagged “Muriel” The Prime of Miss Jean Brodie Edinburgh, 1930, and the world is on the brink of change. Leading the charge is the glamorous, free-spirited Miss Jean Brodie, schoolteacher at the Marcia Blaine Academy, whose guiding principle is ‘Give me a girl at an impressionable age and... Bound for the Azores, a plane crashes onto an isolated island somewhere in the North Atlantic. January Marlow is one of the three survivors – and the only woman. She wakes to find herself being cared for by Miles Mary Robinson, the island’s... The Mandelbaum Gate 1961. While on a pilgrimage to the Holy Land, English teacher Barbara Vaughan becomes intent on joining her archaeologist fiance Harry, who is working on the site of the Dead Sea Scrolls. Ignoring warnings not to cross the Mandelbaum Gate –... London, 1945. The girls of slender means are the residents of the May of Teck Club, a genteel yet rather shabby boarding house established for the ‘social protection of ladies of slender means below the age of thirty years’. The novel concerns... A Far Cry From Kensington After young publishing assistant and war widow Mrs Hawkins crosses swords with writer Hector Bartlett the repercussions are swift. Set in postwar literary London, A Far Cry from Kensington is a mischievous and stylish tale of the cost of telling the... The Comforters Caroline Rose has a problem. She hears voices and the incessant tapping of typewriter keys, and she seems to be a character in a novel . . . A comedy of errors, a crime novel, a book about books, Spark’s debut remains as otherworldly and... In the Spirit of Spark In November 2017 Ali Smith gave the annual Muriel Spark Lecture to kick off the Muriel Spark centenary celebrations. Those lucky enough to get tickets were treated to an invigorating, joyous call-and-response between two of our best writers, both... The Bachelors Spiritualist and extortionist Patrick Seton is coming up for trial. He’s been accused of forgery, and suddenly West London’s bachelors are all in a tizzy. Described by Evelyn Waugh as the ‘cleverest and most elegant of all Mrs Spark’s clever... Described by David Lodge as ‘her first masterpiece’, Memento Mori opens with a telephone call and the words ‘Remember you must die’. Over several months, a circle of elderly men and women receive similar calls and everyone becomes a suspect.... The Ballad of Peckham Rye A bewitching comic masterpiece, The Ballad of Peckham Rye relates the tale of one Dougal Douglas, who is taken on by a small textile firm to ‘bring vision into the lives of the workers’. A devilishly charismatic force of nature who likes nothing... Appointment in Arezzo This book is an intimate, fond and funny memoir of one of the greatest novelists of the last century. This colourful, personal, anecdotal, indiscreet and admiring memoir charts the course of Muriel Spark’s life revealing her as she really was....	cc/2020-05/en_head_0025.json.gz/line6
__label__wiki	0.827134	0.827134	Awake in the Dark Eye in the Sky *\| September 29, 2016 Brent Leuthold Helen Mirren in Eye in the Sky Sharp and timely, the international military thriller Eye in the Sky is a thoughtful and tactful examination of the ethical grey areas that plague the potential efficiency of modern drone warfare. It focuses narrowly on one event –one decision, really– that could have been an ancillary plot point in another war movie but instead is given the attention that it deserves to explore the decision-making behind it. This is exceptionally patient and clear-headed storytelling from director Gavin Hood, who has graduated from the humdrum Hollywood fare of X-Men Origins: Wolverine and Ender’s Game to create a purpose-driven work that’s actually worthy of his talent. The story centers around a capture mission of high-level terrorists in Kenya that is headed up by British Colonel Katherine Powell (Helen Mirren) in London and by Lieutenant Frank Benson (Alan Rickman) in a nearby briefing room with England’s top cabinet members. The global operation is also aided in real time by the aerial surveillance of drone pilot Steve Watts (Aaron Paul) from Nevada and image analyst Carrie Gershon (Phoebe Fox) from Hawaii. When the situation proves to be more volatile than previously expected and a new potential causality enters the picture, the decision to potentially utilize a drone missile is debated both by those participating in the mission and by other seemingly unaffiliated parties as well. Hood does an incredible job of taking these individual scenes of people communicating and working together from around the world and building it into one cohesive story that builds logically upon the small actions of each character. From watching the film, you would probably never guess that the four lead actors never actually met one another face to face during production but it speaks to the kind of narrative fluidity that’s on display as the tension builds. Even as more and more bureaucratic figures are brought into the picture, we never lose focus on what’s at stake and why this scenario proves to be so difficult to resolve. With some exceptions, the script by Guy Hibbert is deft in dealing with these complex moral and political issues at hand without making the characters come across as shallow billboards for the beliefs that they represent. The concepts of collateral damage and greater good are routinely invoked but both sides of the arguments are presented fairly without the film giving us easy solutions to side with. One such moment occurs when Powell presses one of her subordinates to manipulate the calculations of a hypothetical attack; the moral conflict between the characters in that moment is palpable and representative of the challenging decisions that are made every day by military personnel. Not only is the film thought-provoking but it’s also breathlessly paced and entertaining even at the surface level as a nail-biting thrill ride with plenty of small incidents that build towards larger consequences. Because the covert mission is in such a fragile state, even minor events like a veil covering the face of one of the targets or a cell phone running out of battery can affect all of the players involved in unexpected ways. Eye in the Sky is a breathtaking look at military intelligence in action and the technical evolution behind the battles yet to come. 2016Catchup Midnight Special *\| Jaeden Lieberher and Michael Shannon in Midnight Special Jeff Nichols’ masterful Midnight Run achieves a perfect equilibrium of head and heart by combining uncommonly confident and intelligent storytelling with emotionally transcendent performances that linger long after the film is over. It’s a classic science-fiction parable that effortlessly incorporates universal themes of parental comittment and our endless curiosity towards the spectacular in a way that feels both wholly original and spiritually satisfying. Similar to the brilliant beams of light that spontaneously shoot out from the eyes of one of the main characters, this movie locked my gaze from its transfixing opening scene and held it there unwavering throughout its run time. Nichols favorite Michael Shannon stars as Roy Tomlin, whose 8-year old son Alton (Jaeden Lieberher) exhibits supernatural abilities that inspire a religious cult dedicated to understanding the source and limits of his power. In doing so, they also draw the acute interest of the FBI and NSA, as the Alton-inspired “sermons” spoken by their leader Calvin Meyer (Sam Shepard) contain high-level government classified information. After recovering Alton from the cult’s compound with the help of his loyal friend Lucas (Joel Edgerton), Roy reunites with his estranged ex-wife Sarah (Kirsten Dunst) as the four plot to stay one step ahead of the authorities and discover Alton’s true calling. These events often play out with a level of ambiguity and narrative restraint that may frustrate those expecting a more streamlined and commercial movie that falls more in line with the traditional Hollywood mold. Nichols could have easily included loads of expository dialogue or even intrusive voiceover narration for the sake of clarity but I have such respect for the understated approach that he takes instead. He’s so careful in what he chooses for his characters to reveal –and more importantly, not reveal– in their dialogue to provide enough substance to move the story forward but also enough subtext to allow for deeper inference. It’s a brilliant script, full of poignant character moments and thrilling sequences of spectacle and grandeur, but it doesn’t work without the conviction of this all-star lineup of a cast. Shannon has proven himself as a fine actor in role after role (he’s starred in all four of Jeff Nichols’ features so far) but his work here as a father struggling to come to terms with his son’s miraculous condition may just be his best yet. Edgerton and Dunst are also excellent at feeding off the hopes and the anxieties of Shannon’s character, adding their own notes of emotional complexity to underscore their motivations. Collaborating again with cinematographer Adam Stone, Nichols again demonstrates his gift for the kind of brilliant visual storytelling that draws apt comparisons to masters like Cameron and Spielberg. His use of shadow and light is not only remarkable in terms of its composition but he also uses the two to serve as a visual motif for a world engulfed in darkness that slowly gives way to more luminosity as the narrative moves forward. He’s a rare talent in an industry that’s desperate for one now more than ever and there’s no doubt that he’s created something truly special this time around. 2016Catchup Knight of Cups \|** Cate Blanchett and Christian Bale in Knight of Cups Christian Bale teams back up with The New World director Terrence Malick for Knight of Cups, a meditative and meandering work that ultimately squanders the abundance of talent behind and in front of the camera. Malick has never been one to put forth a concise premise or to craft crisp, linear storytelling but the structure here is detrimentally loose and unnecessarily arduous, especially given the enticing subject material. I’m all for a well-told existential crisis movie but when context and setup are intentionally kept to a bare minimum, it goes a long way to stymie any sort of initial enthusiasm. We follow forlorn Hollywood executive Rick (Bale) through various stages in his adult life, the majority of which involve his most crucial female relationships and almost all of which take place throughout the Los Angeles area. Like the film’s title, each of its eight chapters takes its name from a tarot card that ostensibly describes a corresponding character or concept in Rick’s life. The most notable of the tableaux include The Hermit, in which playboy Tonio (Antonio Banderas) serves as Rick’s spiritual guide through a swanky celebrity gathering, and Judgement, which documents the fallout of his failed marriage from ex-wife Nancy (Cate Blanchett). These stories are intermittently interesting on their own but there’s very little connective tissue between them that allows for momentum to build up to something meaningful. They could practically be told out of order and I don’t imagine it would have a great effect on the final product, which doesn’t bode well for any sort of poignancy that’s supposed to come from the narrative. The agile camerawork of the masterful Emmanuel Lubezki is always seeking out transfixing shots of beauty and wonder and it’s no coincidence that his unique sense of vision is often the most engrossing aspect of the film. Anything to distract from the odiously overwrought sentiments recited by the multitude of talented actors in the style of hushed voiceover for which Malick has come to overuse in his more recent work. With its moody settings and pretentious tagline narration, the overall effect is not unlike watching 120 one-minute fragrance ads in a row with all of the closing pitches removed. The problem is that this movie doesn’t even know what it’s selling in the first place. If I’m supposed to feel bad for Rick as he bounces around the most affluent parts of LA and mopes about his luxurious circumstances, I’m not buying. Bale’s largely vapid and charmless performance doesn’t explain why his character would garner the attention of these gorgeous women who can’t wait to throw themselves at him but more importantly, it also doesn’t root the narrative with much emotional honesty. His apathy bleeds into the disposition of the surrounding characters to the degree that everyone is just a little too cool and removed to be remotely relatable. Malick is an undeniably great filmmaker and he’ll find his way again, so I choose to consider Knight of Cups a spiritual hiccup rather than a career-halting dead end. 2016Catchup Snowden \| Joseph Gordon-Levitt in Snowden Even the efforts of the eminently talented Joseph Gordon-Levitt aren’t enough to lift this leaden biopic, which strains hard to be about Edward Snowden The Human as opposed to Edward Snowden The Headline. In his effort to humanize the now infamous NSA whistleblower, director Oliver Stone spends far too much of Snowden‘s 140 minute runtime cataloging personal details of its subject’s life in a manner that’s shoddy and predictable from the first scene. Stone’s never been known to be a particularly eloquent dramatist to begin with and his commercially friendly approach to this potentially provocative subject matter adds very little to the international conversation on mass surveillance and privacy in the digital age. The film, which is told largely in a series of drawn out flashbacks, centers around Snowden’s pivotal meeting in Hong Kong as he discloses the classified documents to journalists Glenn Greenwald (Zachary Quinto) and Ewen MacAskill (Tom Wilkinson). As Snowden begins to open up to filmmaker Laura Poitras (Melissa Leo) in their hotel room, we learn about his early training days in the army, his various positions within the intelligence community and the romantic relationship with his photographer girlfriend Lindsay Mills (Shailene Woodley). After the data is eventually leaked to the press, we follow Snowden as he finds temporary asylum in Russia amid staggering criminal charges brought on by the US government. Perhaps I’m a cold hearted person but the fact is that I just don’t care about Snowden’s personal dilemmas and hangups nearly as much as I care about his role as a catalyst for the important public debate that he brought about with his actions. I’m not interested in pointless subplots like one involving Timothy Olyphant as a shady CIA operative and I’m even less interested in the 10 total minutes of screen time that Nicolas Cage has as a squirrelly NSA mentor. As an obsessive filmmaker, Stone is wont to get wrapped up in these kinds of trivial details that obscure the message he’s trying to convey. He clearly wants Snowden’s relationship with Mills to be the heart of the story but Joseph Gordon-Levitt and Shailene Woodley don’t have the kind of chemistry that makes their love believable or worth rooting for. Both have done terrific work in other projects but their interactions here feel so forced and rarely does it seem like they’re emotionally on the same page with one another at any given moment. In particular, their hollow conversations about politics come across as the characters acting as a mouthpiece for the respective political parties they represent rather than resembling any kind of realistic talk that couples might actually have with one another. The only scenes that have any sort of dramatic thrust are those with Snowden, Poitras and the two journalists in the Hong Kong hotel and it’s a shame that there isn’t a movie that focuses solely on these four individuals as they race against news deadlines and a relentless press force that seeks to expose them. Except there is; it’s called Citizenfour and it won Best Documentary Feature at the Oscars last year (it’s even streaming online for free here). If you’re truly interested in this material, you’re much better off watching the vastly superior documentary and leaving Snowden out in the cold. 2016 Sully *\| Tom Hanks and Aaron Eckhart in Sully In January 2009, captain Chesley “Sully” Sullenberger and his co-pilot Jeff Skiles were faced with an unprecedented situation. During their takeoff from LaGuardia Airport, a flock of geese spontaneously flew through both of the aircraft’s engines and rendered them powerless to continue through the flight. Forced to react quickly on behalf of his terrified passengers, Sully surmised that the best option was to land their crippled airplane on top of the nearby Hudson River, a decision that saved the lives of all 155 people on-board US Airways Flight 1549 and captured the attention of news outlets around the world. Clint Eastwood’s dramatization of this heroic event and the impact it has on those involved is the focus of his new film Sully, which stars Tom Hanks as Captain Sully and Aaron Eckhart as First Officer Skiles. While the media adequately covered the result of the landing itself, it didn’t spend as much time focusing on the NTSB’s investigation to the crash, which alleged that Sully could have flown back to runways at one of two alternate airports in both New York in New Jersey despite his limited circumstances. Mike O’Malley and Anna Gunn, who you may recognize as Skyler from Breaking Bad, play the investigators tasked by the NTSB to suss out the situation. It’s no surprise that the landing itself makes for the most exciting material in the story but Eastwood is smart about the way that he depicts fractions of the event from different perspectives before giving us an unbroken and definitive account towards the middle of the movie. When it did arrive, my heart was pounding as the plane taxied to the runway and began to take off. The amount of tension that’s built during the scene, from the quiet stillness of the engines right after the bird strike to the concurrent cries of “heads down, stay down!” from the flight attendants right before the crash, only subsides the moment after the plane hits the water. With its white-knuckle crash sequence and subsequent probing from government officials looking to find flaws in the pilot’s performance, Sully has parallels to the recent Robert Zemeckis film Flight, in which Denzel Washington’s pilot character is initially hailed as a hero. While that film has different goals as a character study and redemption story, I can’t help but feel that Eastwood could have dug deeper into his protagonist the way Zemeckis did so well in his feature. Other than the fact that Sully is a hero who used a lifetime of training and preparation to divert a catastrophe, he doesn’t have much else to say about the central figure of his story. Perhaps some of that also falls on Hanks, who portrays Sully as the calm and collected professional that he came across as in his numerous appearances in the press but jettisons some of his natural charm in the process. Eckhart fares a bit better in his role as Skiles, sporting a brilliantly authentic pilot’s mustache and a cunning wit that provides some much needed bits of humor to some of the film’s more drab stretches. Sully is an honorable and workman-like effort from Eastwood that reminds us that pure heroism is still powerful enough to inspire in increasingly cynical times. 2016 Hell or High Water *\|** September 3, 2016 Brent Leuthold Ben Foster and Chris Pine in Hell or High Water On the tail end of a massively disappointing summer comes this excellent modern Western that richly explores the themes of poverty and family legacy in a way that balances art and entertainment in an immensely satisfying way. Hell or High Water also features some of the best screenwriting that I’ve seen this year, with dialogue that’s clever and loaded with plenty of dry humor but also doesn’t come across as manufactured or unnatural. Throw in a few deeply memorable performances and confident, poetic storytelling from Scottish director David Mackenzie and you have one of the film year’s biggest, most unexpected surprises. The story takes place in a desolate region of west Texas hit hard by the economic crash, where highway billboards make empty promises of “fast cash now” and freedom from debt but the feeling of hopelessness is settled deeply in the eyes of its residents. Looking to escape their circumstances are the Howard brothers Tanner (Ben Foster) and Toby (Chris Pine), who begin committing small-time bank robberies in order to help avoid foreclosure on the ranch home of their recently deceased mother. Along with this, Toby also plans to use the funds to repay child support to his ex-wife and hopefully reconnect with his estranged sons. After knocking off two banks in a morning, the Howard boys soon draw heat from the nearly-retired Texas Ranger Marcus Hamilton (Jeff Bridges) and his stoic and patient partner Alberto (Gil Birmingham). The two playfully exchange barbs about Hamilton’s curmudgeonly tendencies or Alberto’s ethnicity at a rate that’s almost hard to keep up with but it demonstrates the kind of oddly caring relationship that the lawmen have with one another. Their investigation eventually lead them to the Howards’ final robbery, in which the two brothers get in over their heads and their amateurish execution threatens to get the better of them. Taylor Sheridan has penned an outstanding script that’s loaded both with poignant dramatic moments and witty bits of levity for comedic effect that can even pop up unexpectedly in seemingly serious interactions. Even Tanner isn’t above a “that’s what she said” crack when Toby comments on the size of a branch bank as the duo drive up to it. But when it’s time to get down to business, Sheridan knows just how to dial these characters in and remind us that these are down and out criminals who aren’t above violence and intimidation to achieve their goals. Foster and Bridges do terrific work in roles that rely somewhat on mannerisms and reactions from performances that the actors have given in the past but it’s Pine that shines brightest here. He modulates the kind of charisma that he brings to a role like Kirk in the Star Trek films and focuses that energy inwards to play a calm and collected foil to the Foster’s loose cannon. Their unbreakable brotherly bond is just one aspect of Hell or High Water that makes it undeniably great entertainment and worthy of any Oscar consideration (especially Best Original Screenplay) it may receive next February. My thoughts on the movies Notes on the 2020 Oscars Archives Select Month January 2020 December 2019 November 2019 October 2019 September 2019 August 2019 July 2019 June 2019 May 2019 April 2019 March 2019 February 2019 January 2019 December 2018 November 2018 October 2018 September 2018 August 2018 July 2018 June 2018 May 2018 April 2018 March 2018 February 2018 October 2017 September 2017 August 2017 July 2017 June 2017 May 2017 April 2017 March 2017 February 2017 January 2017 December 2016 November 2016 October 2016 September 2016 August 2016 July 2016 June 2016 May 2016 April 2016 March 2016 February 2016 January 2016 December 2015 November 2015 October 2015 August 2015 July 2015 June 2015 May 2015 April 2015 March 2015 February 2015 January 2015 December 2014 November 2014 October 2014 Reel Views (79)	cc/2020-05/en_head_0025.json.gz/line10
__label__cc	0.723788	0.276212	You are here: / Museums & exhibition centres Museums & exhibition centres Museu Frederic Marès The Museu Frederic Marès is located in the heart of Barcelona's Gothic Quarter, in part of the former royal palace which was once home to the Counts of Barcelona. The museum includes an extensive and valuable collection of art works and objects which Frederic Marès collected throughout his life. Museu de la Xocolata The Museu de la Xocolata was set up in the year 2000 as an initiative of Barcelona's Confectioners' Guild, and is housed in a building of great historic importance, the former Convent of Sant Agustí in Barcelona. MACBA - Museu Art Contemporani de Barcelona Located in the centre of Barcelona's historic old town, the MACBA has more than 20,000 m2 of floor space showcasing contemporary creativity. Its programme explores the visual arts, performance, dance, film, music, events and includes pioneering educational activities. Museu Europeu d'art Modern - MEAM The MEAM is located in the Palau Gomis, a unique 18th-century neoclassical building in the Born district, which is one of Barcelona's key tourist and cultural sites. El Born Centre de Cultura i Memòria El Born Centre de Cultura i Memòria is a unique and exceptional place that brings together three centuries of our history. Below the cast-iron structure of the iconic 19th century marketplace lies the Barcelona of 1700, the prosperous city that suffered the siege of 1714 and that put up an epic and heroic resistance before Catalonia's national liberties were eventually lost, yet to be restored three centuries later.	cc/2020-05/en_head_0025.json.gz/line12
__label__wiki	0.605608	0.605608	University of Iowa. Department of Home Economics From 1913 to 1991, the University of Iowa's Home Economics Department trained thousands of women (and a few men) for careers as artists, counselors, dieticians, extension agents, fashion designers, homemakers, interior designers, mothers, nutritionists, preservationists, professors, secondary-school teachers, and weavers. Home Economics was a "historically female" department not only in the students who enrolled but also in another sense: it was chaired exclusively by women and women constituted over 95% of its faculty over the life of the department. Thus, the University of Iowa's Home Economics Department played a pivotal role in the history of women's education at the University of Iowa. Ruth Aimee Wardall, the first woman to hold a Master of Arts in Foods from the University of Illinois, served as the first chair of Home Economics (1913-1922). Along with numerous instructors, Wardall offered comprehensive and challenging coursework that attracted students in substantial numbers. Eighty-one of the five hundred or so women on campus completed the 1913 course in Textiles; sophomore women specialized in the preparation and preservation of foods. In two years, the program doubled its enrollment, necessitating the hiring of more instructors for the introductory courses. Under Wardall's leadership, the Department had an impact beyond the campus as well. During World War I, the Home Economics Department added a special foods training course for nurses. Junior and senior women helped to train Red Cross volunteers and made "cootie suits" to keep the Iowa soldiers lice-free. Students also nursed and fed the ill during the influenza epidemic in 1918. The creation of the Child Welfare Research station and the addition of specialists in pediatric development and nutrition rapidly increased the range of the department's offerings. When Wardall left the University in 1922, the department was well established as an interdisciplinary and rigorous academic program. Wardall's successor, Helen Pope, presided over a thriving department. Summer School was especially popular; these accelerated courses provided training for rural secondary school teachers who were required by law to teach Home Economics. Established home economists from across the state could update their skills or form professional networks while mingling with beginning students. Although Pope only served two years as Chair, the department offered Summer Session coursework until its termination. Frequent changes among the junior faculty, overcrowded classrooms, and a lack of continuity in administration began to affect student morale. These problems would have to be faced squarely by the next administrator. Frances Zuill, who served as department chair from 1923-1939, stressed the dual goals of community service and academic excellence. At her urging, the Department began to offer graduate work. She also encouraged faculty members to pursue the doctorate, an unusual attainment among home economics educators at the time. Zuill was responsible for instituting the Alumnae newsletter and the campus-wide Christmas dinner, two of the activities that characterized the Home Economics Department in the minds of graduates of the era. The Zuill administration was a golden time for the Home Economics Department. Zuill herself was president of the American Home Economics Association. Another faculty member, Mate Giddings, was national president of Omicron Nu (home economics honorary society). Superior educators like Edna Hill, Alice Brigham, Ione Hosman, Merle Ford, and Lula Smith joined the faculty during Zuill's tenure as chair. Additionally, the department moved to more spacious renovated quarters in McBride Hall. When Zuill departed to chair the Home Economics department at the University of Wisconsin, Mate Giddings served as interim chair the following year (1939-1940). Under Dr. Sybil Woodruff, head of the department from 1940 to 1955, the Home Economics Department developed a national reputation for its work in the fields of dietetics and nutrition. Students worked closely with Dr. Kate Daum (Director of Nutrition at the University Hospitals until 1955), Dr. W. A. Tuttle, and Dr. Genevieve Stearns. The Iowa Breakfast Studies, joint research conducted by the University Hospital's Nutrition department and the Home Economics department, conclusively established the health benefits of eating a well-balanced breakfast. Wartime shortages led to rationing of fabrics and foods and presented new challenges in pedagogy. Moreover, the skills of home economists were more in demand than ever, and the department struggled to offer enough classes to keep up with rising enrollments. The interdisciplinary nature of Home Economics made its courses required work for those studying to be dental hygienists, elementary educators, artists, advertisers, and social workers. Student demand drove the expansion of the department and soon, more floor space and more faculty were required. Dr. Floy Eugenia Whitehead, department chair from 1955 to 1971, presided over Home Economics during a time of great change in American society. The department continued to stress "dual career" training for women, acknowledging that most women would marry and raise children as well as pursue employment outside the home. Whitehead's academic excellence in the field of nutrition set the tone for the department; she encouraged all faculty members to explore professional development opportunities. Yet, research had to be subordinate to quality teaching; the department firmly believed that hands-on learning, rather than "indoctrination," better served the civic mission of their discipline and the nation. Classes continued to grow throughout the 1960s and graduate study (particularly in the areas of nutrition and textiles) substantially increased. Dr. Sara Wolfson presided over the Home Economics department from 1972-1989. Under her tenure, the department's faculty received accreditation from the American Home Economics Association and was rated as one of the top ten departments in the nation. A major renovation of department facilities was completed in 1985. There were signs, however, that Liberal Arts administrators did not support the department as enthusiastically as these accomplishments seemed to merit. Professors continued to share office space, the only faculty members in the Liberal Arts required to do so. When professors retired, the money to hire replacements was slow in coming. The size of the teaching staff diminished; qualified faculty were hard to find due to a national shortage of Home Economics graduates with advanced degrees. Those with the desired skills could find higher salaries elsewhere. Remaining professors had to bear a heavier load of teaching and advising, with some diminution of their research activities. The department began to rely more heavily on teaching assistants and temporary or adjunct personnel to teach classes. As the university positioned itself to become a premier research institution, those Home Economics faculty members whose strengths lay in the quality of their teaching and mentorship abilities perceived themselves to be undervalued in a system that increasingly assessed scholarly worth by examining one's publication record. Those faculty members appointed to the textile and design branches of the department also noted that their exhibition work, while professional in nature, was not considered tenure-worthy under the guidelines set forth by the College of Liberal Arts. The department, already stretched to the limit in its efforts to maintain a full menu of courses for its numerous majors, was informed in 1987 that it should plan to add high-enrollment General Education Requirement courses as well. By 1988, morale in the Home Economics department was flagging. Dr. Carolyn Lara-Braud took over as the chair of the department during its valiant, but ultimately fruitless, battle against termination. Administrators reacted to the deep economic distress produced by the 1980s farm crisis by eliminating all perceived duplications at Iowa's regents institutions. "Historically female" programs, such as Home Economics and Dental Hygiene, had been marginalized in the years prior to external review through funding decisions, staffing priorities, and resource allocation made by University administrators. Moreover, national trends within the discipline had moved toward reorienting the field toward family and consumer science; Iowa's department remained committed to an older humanistic vision of home economics education that some administrators perceived as old-fashioned. During the drive to eliminate duplication, the Home Economics department was perceived as a "logical" candidate for liquidation and deemed "no longer relevant to the mission of the liberal arts." Despite outcries about gender discrimination and even unconstitutionality, the Home Economics department offered its last class in 1991. (See Termination of Department series for quoted material.) Floy Eugenia Whitehead papers Abstract Nutrition scholar and chair of the University of Iowa's Home Economics Department for sixteen years. Found in: Iowa Women's Archives / Floy Eugenia Whitehead papers University of Iowa Department of Home Economics records Abstract Provided training in a variety of careers including dieticians, extension agents, designers, and homemakers. Found in: Iowa Women's Archives / University of Iowa Department of Home Economics records Accreditation (Education) 1 Administrative records 1 Ascension Parish (La.) 1 Athens (Ga.) 1 College administrators 1 College facilities 1 College teaching 1 Curriculum evaluation 1 Dietetics 1 Educational leadership 1 Nutrition surveys 1 Personal papers 1	cc/2020-05/en_head_0025.json.gz/line17
__label__wiki	0.750589	0.750589	Subject support BH - BENJAMIN ROBERT HAYDON Ref No (click to see in context) BH Title BENJAMIN ROBERT HAYDON Extent 3 files Creator Name Haydon, Benjamin Robert (1786-1846) Description Papers of Benjamin Robert Haydon, 1826-1846. Comprising letters from Haydon to William Newton, his landlord, 1830-1845; Legal papers relating to Haydon's imprisonment for debt in the King's Bench, 1830, letter from Sir George Philips, 1836, concerning his picture 'Christ's Agony'; catalogue of the sale of Haydon's effects, 1846; Receipts for Haydon's life insurance policy payments, 1833-1845. Admin History Born, Plymouth, 1786; educated, Grammar schools at Plymouth and Plympton; moved to London to establish his career, 1804; exhibited his first picture, `Joseph and Mary resting on the Road to Egypt', at the Royal Academy, 1807; continued to specialise in producing large historical pictures, but struggled to stay solvent throughout his career; exhibited at the Royal Academy of Art, 1809; publicly attacked the Royal Academy in the Examiner, 1812; successfully exhibited `The Judgment of Solomon', 1814; involved with the controversy on the purchase of the Elgin marbles for the nation, 1815; set up a school to rival the Royal Academy; successfully exhibited `Christ's Entry into Jerusalem', 1820; arrested for debt, 1821; imprisoned in the King's Bench for debt and petitioned parliament to grant money for the decoration of churches and public buildings with paintings, 1823; continued to petition parliament, and ministers for support of his projects, including the decoration of the houses of parliament and scheme for schools of design; leased 58 Connaught Terrace, London from and had a close friendship with William Newton, who gave him considerable financial assistance; imprisoned for debt three more times, finally in 1830; exhibited at the Royal Academy, 1828 and again, 1842; involved in establishing an opposition school to the Somerset House government school of design, closed in 1839 after Somerset House introduced life drawing; lectured and wrote on painting and design, 1835-1846; committed suicide, 1846. Publications: The Judgement of Connoisseurs upon Works of Art compared with that of Professional Men, in reference more particularly to the Elgin Marbles (London, 1816); New Churches considered with respect to the opportunities they afford for the Encouragement of Painting (London, 1818); Comparaison entre la tête d'un des Chevaux de Verise, qui étaient sur l'arc triomphale des Thuilleries, et qu'on dit être de Lysippe, et la Tête de Cheval d'Elgin du Parthenon (London, 1818); Descriptions of Drawings from the Cartoons and Elgin Marbles by Mr. Haydon's Pupils (London, 1819); Some Enquiry into the Causes which have obstructed the Course of Historical Painting for the last seventy years in England (1829); On Academies of Art (more particularly the Royal Academy) and their pernicious effect on the Genius of Europe. Lecture xiii (London, 1839); Thoughts on the relative value of Fresco and Oil Painting as applied to the Architectural Decorations of the Houses of Parliament (London, 1842); Lectures on Painting and Design 2 vols (London, 1844-6). Arrangement Arranged in accordance with original order and chronologically as follows: File 1: Correspondence, 1830-1845. File 2: Catalogue, 1846. File 3: Receipts, 1833-1845. Copyright Statement No material may be published without the prior permission of both the copyright holder and the Library. All applications for publication must be made to the College Archivist in the first instance, but responsibility for ensuring copyright clearance rests with the user. Access Status Open Code Person or Corporate Body Name DS/UK/35 Southwark Convict Prison; -1880 DS/UK/36 Newton; William (fl. 1824-1846); landlord of Benjamin Robert Haydon DS/UK/37 Philips; Sir; George (1766-1847); 1st Baronet DS/UK/38 Haydon; Benjamin Robert (1786-1846); Painter DS/UK/108 Haydon; Frank Scott (1822-1887); Son of Benjamin Robert Haydon DS/UK/109 Colnaghi; Dominic Paul (1790-1879); Print seller [ Site Map ] [Library website home] [Library Archives home] Archives, Mile End Library, Queen Mary, University of London, 328 Mile End Rd, London E1 4NS	cc/2020-05/en_head_0025.json.gz/line19
__label__wiki	0.511797	0.511797	Fred Merkle On occasion, this blog will highlight a player from baseball history. Courtesy of Baseball Library.com. Fred Merkle is forever famous for his bonehead play on September 23, 1908, which cost the Giants a critical victory and made possible the Cubs' pennant-clinching victory when the game was replayed at the end of the season. The play itself was clouded by contradictory affidavits by players, conflicting opinions by various baseball officials, and protests lodged by both teams over the umpires' handling of the incident. The confusion started when Merkle, the runner on first, failed to touch second after an apparent game-winning base hit. Instead, he turned back toward the dugout, as was customary at the time, when he saw the run cross the plate. As the happy Polo Grounds crowd filed across the field towards the centerfield gate, second baseman Johnny Evers got the ball and stepped on second, claiming a forceout which negated the winning run. With the fans already crowding the field, the game could not be played to a decision, and had to be replayed. When the season ended with the two teams tied, a group of Giants, led by Christy Mathewson, went to owner John T. Brush. They claimed they shouldn't have to play another game for something they had already won. The gravely ill Brush expressed disappointment at their attitude, and they played and lost. Whatever the merits of the case, it was one of baseball's most controversial plays and it haunted Merkle not just for the rest of his playing days, but all his life. He bitterly refused requests for interviews in later years because he didn't want to relive the incident. Click here for the rest of the article. Rube Foster Ray Chapman Sand Hooters	cc/2020-05/en_head_0025.json.gz/line22
__label__wiki	0.742508	0.742508	favorite vacation spots Britain contenders It’s real great Britain Sherwood Forest and the Oldest Oaks of Europe Speaking of Sherwood Forest, Robin Hood comes to mind as the first association. It is difficult to say whether such a person existed in reality, or is it just a… Jurassic Coast. UNESCO object in England Universities in the UK. Oxford… Cambridge… And number three.… 5 things that do not need to go to London National Gallery. The most important London museum A four-day tour of London. Blitz tour! Attractions In The Cayman Islands England Attractions The Rock of Gibraltar – Pillar of Hercules Covent Garden in the center of London Tour in Scotland. Looking for the monster from Loch ness The Rock of Gibraltar - Pillar of Hercules The Rock of Gibraltar is a geology miracle located on the British territory of Gibraltar, on the Iberian Peninsula. This magnificent monolith is owned by the United Kingdom, located on… Age-old traditions of great Britain. Native English customs There is no mask more mysterious than the open and friendly face of an Englishman. Having lived in England for more than four years, I already know them, of course,… « The picturesque Arch Durdle-Dor The Garden of Space Speculations in Scotland » Needles Isle of Wight Needles on the Isle of Wight is an impressive limestone geological formation located in the western part of the Isle of Wight, England. Three rocks pointed at the top lined up in a row towards the lighthouse of the mid-nineteenth century. The name “Needles” was inspired by a fourth needle-shaped rock called “Lot’s Wife”, which collapsed in 1764 during a heavy storm. Despite the fact that the stones have no resemblance to the characteristic needle shape, on which they were named, the name stuck and is relevant to this day. The lighthouse was built by the British lighthouse management bureau and was commissioned in 1859. He remained in operation until 1994. Further on the island, among the beautiful rocks, a monument to Guglielmo Marconi towers directly from the sea in honor of his radio experiments of 1897/1900, as a result of which radio programs were created. The pointed needle shape is the result of their unusual geology. The layers were so strongly pressed during the Alpine orogenesis that the chalk was formed almost vertically. This chalky cliff passes through the center of the island from Culver Cliff in the east to Eagle in the west, and then continues along the bottom of the sea to Pourbeck Island, forming the Ballard Cliff. On the cliffs of Old Harri, these seam lines are moving from horizontal to almost vertical, where they can be seen from the sea. The needles were the location of the artillery battery from the 1860s to 1954, which was eventually decommissioned. The nearby site in High Down was used to test missiles for the British ICBM program, as well as to test Black Knight and Black Arrow rocket engines from 1956 to 71. During the peak of activity in the early 1960s, about 240 people worked in the complex. These rockets were later used to launch the Prospero X-3 satellite. The territory is now owned by the National Trust and is open to the public. Concrete structures remain, but the buildings were demolished, or collapsed under the influence of the elements. In 1982, His Royal Highness, Prince Charles, officially opened the restored Needles Factory. Underground test rooms for missiles are currently being restored for the exhibition. The first stage of restoration was completed in 2004. Needles of the Isle of Wight may well complement the selection of the wonders of geology on LifeGlobe. Posted in favorite vacation spots, fish & chips, following story, metro line, monument Regent Park prehistoric people Culture science humor black tunnel France leaps beer sky history Palestine metro system eat castle location Norway cleaners immersion human hands separate collection garden greater benefit unfamiliar woman Paddington Fibonacci tourists sea financial institutions London stations moves Mons Calpe. migratory birds bounds mystical powers withdrawn Stuarts vicinity Ireland restaurant National Trust Robin Hood Marylebone area Royal Opera beautiful tunnel wonders Crusades Dark Alley Jersey Bedford Gibraltar archaeologists metal Swiss Re character Entertainment Center Dorking historic center family public square original gift life Californian conceptualists water city Londoners city Covent Garden is one of the most popular London attractions. The area around the glazed building at the site of the former vegetable market is always crowded, especially during weekends… Learning English in England Clifton Suspension Bridge in Bristol 10 interesting facts about the Isle of Man Marble Arch London Odiham Castle and its role in history Education in Europe: great Britain, Ireland, Malta Rest in England with a glass of wine. English wine – exotic product National parks and reserves in the Cayman Islands Queen Elizabeth II Botanical Park lies halfway between the Eastern edge of North Sound and the East coast of Grand Cayman, about 20 minutes ' walk from Georgetown. The Park… Piccadilly Circus Square in London Circus Square is a lively square in the heart of London. It is known for its nineteenth-century fountain and neon signs that turned the square into a miniature version of… Britain. London cuisine: all about fish & chips You know how Sizzling and shkvorchit oil, when he is throwing are covered in the test fish? Most likely, Yes. If not, you can get acquainted with this sound in… Great Britain Attractions The United Kingdom includes countries such as England, Scotland, Wales and Ireland. Each of these countries is beautiful in its own way, with its own traditions, history, architecture and local… Copyright © [2001-2020]. All Rights Reserved.bretagne-hebergement.com	cc/2020-05/en_head_0025.json.gz/line24
__label__wiki	0.505245	0.505245	Capstone Advises Ross Learning in a Transaction With Huron Detroit, MI - Ross Learning LLC, a leading provider of postsecondary education and training services has successfully completed a management-sponsored equity recapitalization lead by Huron Capital Partners LLC in partnership with Paul Mitchell, the Company’s CEO. Capstone Partners LLC, a leading national investment banking advisory firm, served as financial advisor to the shareholders of Ross Learning LLC. Financial terms of the transaction were not disclosed. John Higgins, a Partner at Huron, stated, "We are thrilled with the opportunity to partner with Ross' CEO, Paul Mitchell, and complete another platform investment in the post-secondary education sector. The Ross investment really enables us to leverage our successful experience and executive relationships in the education industry." Paul Mitchell commented, "The opportunity to grow Ross Learning by building on its strong foundation of quality educational and training programs represents a very exciting opportunity for our management team and employees. We are also excited about our relationship with Huron Capital as they represent an ideal partner for us. Huron has an exceptional track record in the education industry and brings industry relationships that will be valuable to us." “This is yet another marquee transaction for Huron in the postsecondary market. With the combination of Ross’ management and Huron Capital’s extensive resources, we fully expect to see Ross continue to grow its leadership position in the workforce development and allied health sectors,” said Capstone Partners’ President and Managing Partner, John Ferrara. The transaction marks Huron's sixth new platform investment within the last eight months and second significant platform investment in the post-secondary education industry. Since launching its second investment fund, The Huron Fund II L.P., less than five months ago in October 2004, Huron has committed over $50 million from its new fund. LaSalle Bank provided senior debt financing and Midwest Mezzanine Funds provided subordinated debt financing for the transaction. Huron Capital Partners LLC is one of the nations leading private equity firms investing in lower middle-market companies. The firm typically invests between $5 million and $20 million in equity to sponsor management buyouts, recapitalizations, and corporate spin-offs of well-positioned companies having revenues up to $200 million. Ross Learning LLC has been providing postsecondary educational services through its two divisions for over 25 years. Through Ross Medical Education Centers, the Company offers allied health programs that target the large student population seeking career-oriented education. Ross' Innovative Employment Solutions division operates workforce development programs under contract with governmental agencies. Ross operates 14 schools located in Michigan (10), Georgia (2) and Florida (2). Lead Professional John Ferrara View all Team Members » View Recent Mergers & Acquisitions Transactions View Recent Equity Capital Advisory Transactions “I was very impressed with Capstone’s rapid turnaround time. They always seemed to be first out of the gate in identifying the most prominent transaction issues and recommending resolutions. Their approach was unassuming and intelligently focused. The quality of the advice Capstone provided us was outstanding.” Richard Lockman Principal Shareholder Ross Learning LLC Recent Transactions in Post-Secondary Education has recapitalized with View all Transactions	cc/2020-05/en_head_0025.json.gz/line26
__label__wiki	0.831457	0.831457	Home>Artists>DJ Khaled> DJ Khaled Videos DJ Khaled's Best videos DJ Khaled Feat. Nicki Minaj, Chris Brown, August Alsina, Jeremih, Future, Rick Ross "Do You Mind" Video Watch DJ Khaled's new video for Do You Mind" featuring Nicki Minaj, Chris Brown, August Alsina, Jeremih, Future & Rick Ross DJ Khaled Feat. Chris Brown, August Alsina, Future & Jeremih "Hold You Down" Video By Rose Lilah DJ Khaled rounds up Chris Brown, August Alsina, Future & Jeremih for the official "Hold You Down" music video. DJ Khaled Feat. Jay Z & Future "I Got The Keys" Video By Angus Walker The new "I Got the Keys" video is a triumphant display of hip-hop excellence. It stars DJ Khaled, Jay Z, Future, and many, many more. DJ Khaled Feat. Rick Ross, Meek Mill, French Montana & Jay Z "They Don't Love You No More" Video By Patrick Lyons Watch DJ Khaled, Rick Ross, Meek Mill, French Montana & Jay Z's star-studded "They Don't Love You No More" video. Yo Gotti "Down In The DM" Video It's a battle between holy matrimony and unholy Direct Messages in Yo Gotti's "Down in the DM" video, featuring Cee-Lo, DJ Khaled, YG, and more. DJ Khaled Feat. Chris Brown, Fetty Wap, August Alsina "Gold Slugs" Video DJ Khaled drops another one; watch "Gold Slugs" feat. Fetty Wap, Chris Brown, & August Alsina. DJ Khaled Feat. Chris Brown, Lil Wayne, Big Sean "How Many Times" Video DJ Khaled, Chris Brown, Lil Wayne and Big Sean share the "How Many Times" video. Vado Feat. Jeremih "My Bae" Video By Trevor Smith Vado drops the visuals for "My Bae" with Jeremih. 49,172 Views 1 Comment TerRio "Oooh Killem" Video TerRio drops his debut single, "Oooh Killem". DJ Khaled Feat. Kanye West & Rick Ross "I Wish You Would/Cold (Official Video)" Video Behold DJ Khaled Feat. Kanye West & Rick Ross "I Wish You Would/Cold (Official Video)" Video, a new offering from DJ Khaled, which was released on Monday, August 13th, 2012. DJ Khaled's rap artistry continues to improve with every release, something which is most definitely evidenced on DJ Khaled Feat. Kanye West & Rick Ross "I Wish You Would/Cold (Official Video)" Video. His ever - expanding catalogue is definitely better for it, and we're looking forward to the next piece of the puzzle DJ Khaled Feat. Rick Ross, Plies, Lil Wayne & T-Pain "Welcome To My Hood" Video By DJ Ill Will Peep DJ Khaled Feat. Rick Ross, Plies, Lil Wayne & T-Pain "Welcome To My Hood" Video. DJ Khaled Feat. Ludacris, T-Pain, Birdman, Ace Hood, The Game, Twista, Busta Rhymes, Mavado, Fat Joe, Bun B, Jadakiss, & Waka Flocka "Welcome To My Hood (Remix)" Video Peep DJ Khaled Feat. Ludacris, T-Pain, Birdman, Ace Hood, The Game, Twista, Busta Rhymes, Mavado, Fat Joe, Bun B, Jadakiss, & Waka Flocka "Welcome To My Hood (Remix)" Video. DJ Khaled Feat. Justin Bieber, Quavo, Chance The Rapper, Lil Wayne "I'm The One" Video By Mitch Findlay The stars align for Khaled's "I'm The One" video. Chance The Rapper Feat. 2 Chainz & Lil Wayne "No Problem" Video Chance the Rapper shares the video to "No Problem," featuring 2 Chainz, Lil Wayne, and cameos galore. DJ Khaled Feat. Trey Songz, Future, Jeremih "You Mine" Video "I Changed a Lot" out October 23rd. DJ Khaled Feat. Drake, Rick Ross & Lil Wayne "Behind The Scenes: "Im On One" Video" Video Watch DJ Khaled Feat. Drake, Rick Ross & Lil Wayne "Behind The Scenes: "Im On One" Video" Video, the latest video from DJ Khaled, which dropped on Wednesday, June 1st, 2011. DJ Khaled's horizons are broadening with each new release, and DJ Khaled Feat. Drake, Rick Ross & Lil Wayne "Behind The Scenes: "Im On One" Video" Video is no exception. It's a worthy addition to a catalogue that has seen much growth since DJ Khaled stepped foot in the rap game. We're looking forward to hearing more. DJ Khaled Feat. Nas "Nas Album Done" Video Khaled and Nas head to the Caribbean in "Nas Album Done." DJ Khaled Gets Lost At Sea On Jet Ski, Documents Journey On Snapchat Watch DJ Khaled's harrowing nighttime jet ski voyage. DJ Khaled Teases "Do You Mind" Video With Nicki Minaj, Chris Brown & More Nicki Minaj, Chris Brown, and August Alsina appear in the clip. DJ Khaled Feat. Rick Ross, Meek Mill & French Montana "They Don't Love You No More" BTS Video Watch behind-the-scenes footage from DJ Khaled's video shoot for "They Don't Love You No More."	cc/2020-05/en_head_0025.json.gz/line30
__label__wiki	0.824332	0.824332	SHAKATAK Agent Peter Nagelschmidt Shakatak have enjoyed a level of success and career longevity rarely paralleled in contemporary music – but then Shakatak is a particularly unusual group. Because of the nature of their music, their fan base is one that is far reaching while always retaining an ‘underground element’. This paradox sees the band, who are known primarily as serious jazz/funk musicians, enjoying both high ‘cult’ status and instant recognition as a household name. After a number of successful top-twenty singles in the UK, the band went on to score unprecedented international success with the release of the classic ‘Nightbirds” recording and the title track has now become a standard in the popular music repertoire. This success was repeated with the top-ten hit “Down on the Street and the award-winning video established the band’s personnel of Jill Saward(lead vocs), Bill Sharpe(keys),Keith Winter(gtr), George Anderson(bass) and Roger Odell(drums). With the magic Al Jarreau/Shakatak combination,the group went on to record the track ‘Day by Day’ to further international acclaim. Along with this successful recording career, Shakatak had firmly established themselves as a vibrant live act, combining astute musicianship with a sense of fun that communicated strongly with world-wide audiences. Their performance in Japan’s Budoken Hall won them a Silver Award at the Tokyo International Song Festival-other awards include the “Best Instrumental Album’ for 6 consecutive years-and other live concerts of note have been the East meets the West Border Concert at the time of German re-unificationin 1989 and the open air concert in Cape Town for the Millennium Celebrations 2000 where they played in front of 250,000 people. The long run of continuous success was brought to a halt when guitarist Keith Winter became seriously ill and was forced to stop playing. It took Keith a long while to redirect his energies but he is now a very successful website designer and remains very much a part of the Shakatak team by designing and maintaining the www.shakatak.com website. Eventually the band re-organised and the remaining four members now augment their live shows with Jacqui Hicks (b.vocs,sax&flute) or Debby Bracknell (b.vocs&flute) and Alan Wormald (gtr&b.vocs). Shakatak perform regularly in the UK,Europe and the Far East and release CD’s almost annually. There are also DVD releases available,proving there is still an insatiable demand for the unique Shakatak sound.	cc/2020-05/en_head_0025.json.gz/line32
__label__cc	0.732479	0.267521	Much appreciated: the Specs code of practice Regular readers of this blog - thank you, darlings, thank you - will know that I rarely dip into politics or political correctness, and what I'm writing about tonight is hardly a new issue, more's the pity. But I suppose I'm fired up to draft something because what I happened to read about today is so specifically about something close to my heart, I couldn't let it pass. Depending on your tastes in music and social media, you may already know that some of the broadsheets' opera critics have come under considerable fire for their reviews of Glyndebourne's latest production, Strauss's 'Der Rosenkavalier'. To give some very brief context, all three characters making up the opera's central love triangle are sung by women: the female parts by two sopranos, and the young man torn between them by a mezzo-soprano. I've no intention of naming any names here - if you're curious, you will find out all you need to know through Google - but essentially, all three of the writers were disparaging about one of the women's physical appearance, despite largely praising her singing. The subtext - not that it was especially 'sub' - was clear: this woman would be just right if only we had found her more attractive. The mezzo Alice Coote, in a very cool-headed but brilliantly thorough response, picks this apart beautifully. You can read her open letter here. Wisely, she argues deliberately and exclusively from the 'opera' angle, since the nature of genre makes the offensive comments all the more ridiculous (for example, she's at pains to point out that physicality is clearly an important element of, say, ballet). Opera, says Coote, is all about what the human voice can achieve. (I would respectfully add that I enjoy listening out for what the orchestra is doing, too, but that's to take nothing away from her point.) Opera leads a completely non-visual life on radio and CD. On stage, it takes on an extra dimension, as the direction, production and interpretation all make a contribution. It may well be unique in its ability to satisfy the listener/viewer in these two separate scenarios. Given those riches, what the performers actually look like is irrelevant. Well, if only that were true. But in our current media climate, where appearance is the be-all and end-all whatever the form or genre of entertainment, no wonder these men - all watching the same production, all working quite independently - felt moved... no more than that, felt entitled to home in on someone, especially a woman, who happened to look a bit different. Any response I can make on the subject of sexism, and the harm it causes, is inevitably inadequate - I don't experience the sharp end of it, day in, day out. But so visceral was my reaction to this, that my mind went into a kind of free-fall - to the point where I wondered what people these days thought criticism actually was. Or what it was for. Do these reviewers sit there after a glorious performance, racking their brains to think of the chink in the armour? The thing they might notice that would make them seem more clever (or 'winningly outspoken') than the other critics? A need to exert power over careers, or approaches, or artistic decisions they're not in a position to make themselves? It's now a cliche that the internet has made everyone a critic (and worse, has acted as an enabler for horrific abuses) but these are not anonymous trolls, cowering behind pseudonyms - it is apparently now ok to make these sort of statements with your own byline in the next edition. The general culture we now seem to inhabit, though, I'm sure has its roots in the 'go ahead and say it - no matter how hurtful' electronic arena. The critics themselves - and I don't necessarily include just the three miscreants from today - would no doubt argue that they are sent to review plays, operas, exhibitions and the like, and as such, must call it as they see it. I don't disagree with that, provided they can back up their opinions and avoid making it personal. If you say something is useless or rubbish, tell me why. Tell me a little about your tastes, so I know why whatever you're slagging off doesn't satisfy them. Acknowledge that if this is the fifth 'terrible' work you're seen by someone in a row, that fans of that person are probably going to enjoy it. Criticism has become a dirty word - I want analysis. I want understanding. I know why I write this blog. It's a privileged activity. I'm a punter, so I tend to only go to things I expect to enjoy - which in turn means that I almost always come to you as an enthusiast, a champion. I like to think that where I've stumbled across something that hasn't always made sense to me, I've explained why, and then tried to turn in on myself and examine that response. I suppose I've ended up by accident with a code of practice: Negativity is one of the most harmful viruses infecting the internet. Use your powers for good, not evil. If there is an artist, musician or anyone you love, you help them to continue, and you add to the lives of others by sharing that enthusiasm. Be mindful that 'criticism' is now itself a kind of artform, a kind of writing - rather than a tool. Libraries, Spotify, Soundcloud, streaming, YouTube, virtual web tours and seminars... it is very easy for people to get a flavour of what they're interested in without needing a critic's steer (or sneer). So again, write about what you love. If I'm interested in something, a thousand of you slagging it off will not deter me from seeking it out. But if ONE of you recommends something I don't know about - I will go and find it. Mostly, when enjoying the arts, you are watching or listening to people doing something you can't do. They have the talent, they put in the hours. Even if you play their instrument, they're probably playing it better. They've probably written something you couldn't have imagined, or found an interpretation beyond one you could've divined. None of this invalidates your response to what they do - but you owe them respect, courtesy and rigorous use of your brain cells before you start to type. Never be dismissive of anything. If you think you can write something off in a sentence, you won't have thought about it hard enough. So don't write about it at all. Put yourself into what you write. As people get to know you, they will look for that in your responses. I think I'm most like this with opera. I clearly don't know that much about opera, at least not yet - but anyone who wants to know the details can look in a 'Big Book of Opera', rather than the 'Specs' blog. I feel I'm writing about my adventures in learning about the artform, and that readers can choose to join me if they want to. Ultimately, then, I just don't feel like I write 'reviews' as such, or 'criticism' - although I must inevitably flirt with those things. I suppose this is a rallying cry for what sometimes feels like the lost art of 'appreciation'. I'm not here to tell you whether or not I love something; just to try and explain why I love it, and why I think you might too. I promise never to look for chinks in the armour when so much of it is intact, and dazzling. Do You Do Any Wings? 23 May 2014 at 03:30 I see your point, and I agree with it, however there is an answer of sorts to some of the questions you raise here - http://www.theguardian.com/commentisfree/2014/may/22/not-sexist-opera-critics-glyndebourne-fat-ladies Adrian 23 May 2014 at 04:27 Hello - thank you for your comment, and for the link - very interesting. I confess, I would take issue with most of what he, along with other critics, says, though - primarily to do with the 'realism' and 'language' issues. Bit unusual for me, but I'm actually planning a follow-up post about this - partly because I find the rush by critics to 'self-justify' (not that criticism needs justifying) a little unseemly. John Medd 24 May 2014 at 09:23 But you still hate U2, right? Agony and ecstacy: 'Dialogues des Carmelites' Ancient and modern: Thebans Old Bailey, in ruins	cc/2020-05/en_head_0025.json.gz/line34
__label__wiki	0.780916	0.780916	GLENDALE Ariz — If Blaine Gabbert wants to prove GLENDALE, Ariz. — If Blaine Gabbert wants to prove that he is the Cardinals‘ quarterback of the future, the next four weeks would be a good time to show it.In three starts, Gabbert is 1-2. He has thrown six touchdowns to five interceptions, he’s been sacked nine times and he has looked very much like a career backup.“Up and down,” coach Bruce Arians said in assessing Gabbert’s three starts. “I think he has had his really good moments and then some poor decisions and poor moments — mostly not decisions; more throws. A lot of that can come with chemistry with guys but I think that roller coaster, you’d like to just see it even out a little bit.” Gabbert offered little insight on his self-evaluation when asked after Sunday’s game.“It’s so week-to-week,” he said. “I’m just trying to improve each and every week. There’s going to be bumps in the road, but my biggest focus right now is being a leader in that huddle; being a leader for this football team.”At least publically, the Cardinals continue to profess confidence in their QB.“Blaine can make all the throws,” receiver Larry Fitzgerald said. “This is the second week in a row now he’s been able to extend plays with his legs and get valuable first downs for us. That’s what he’s always done throughout his career.“I think it’s a big help that Blaine is playing. He has started a lot of games (in his career) so nothing really rattles him out there. He’s got a great understanding of what we’re trying to do conceptually and we’re going to continue to build around him.”With little left to play for other than evaluation, Arians said there will be no going back to Drew Stanton, who lost his starting job to Gabbert after injuring his knee against the Seattle Seahawks. The Los Angeles Rams’ defensive front is formidable, but Gabbert had some help from the running game in the first half of Sunday’s 32-16 loss at University of Phoenix Stadium. He couldn’t take advantage.Gabbert completed 18 of 32 passes for 221 yards but he threw two first-quarter interceptions that got the Rams off and running, allowing them to play with a lead throughout the afternoon.The first of those picks came on the Cardinals’ first drive when Gabbert threw on the run instead of opting for better technique. He underthrew J.J. Nelson and Lamarcus Joyner picked it off.“Just a bad decision to throw the ball on the run,” Arians said. “He knew he had the post and he knew the post was going to be open. Roll out and get your feet set. Don’t try to throw it down there on the run.”Gabbert’s second interception was a pick-six to Alec Ogletree that gave L.A. a 16-0 lead. He missed a chance to make up for it when he overthrew Ricky Seals-Jones deep down the left side on what would have been a touchdown early in the fourth quarter. Phil Dawson’s 45-yard field goal attempt that followed was blocked.Just as troubling as the interceptions is Gabbert’s career pension for taking sacks, an issue that hadn’t cropped up in his first two starts. His mobility is one of his greatest assets, yet on a couple occasions Sunday, he seemed paralyzed by indecision instead of just getting rid of the ball and living to play another down. Derrick Hall satisfied with D-backs’ buying and selling “That’s a really good front but you’ve got to get the ball out of your hand, too,” Arians said.In some ways, this late-season evaluation of Gabbert is unfair. The Cardinals offensive line is playing shorthanded, running backs David Johnson and Adrian Peterson are injured, and the receivers — aside from that guy who’s been doing it for 14 seasons — haven’t contributed much to the cause.Imperfection is reality in the NFL, however, and Gabbert won’t have many more shots to shed his underachiever label.“After the first quarter he settled down,” Arians said. “I would have liked to see a little more composure right there at the end. We didn’t handle the ball when he got it back at the five-minute mark and we needed to get two scores. As a whole unit, we crumbled right there.”Gabbert isn’t under contract next season. He knows these final four weeks are part of a critical audition, but he is trying to maintain a big-picture approach.“Not every play is going to be perfect,” he said. “You’re going to throw interceptions. It’s my job to minimize those. At the same time, you’ve got to keep swinging. You can’t let one bad play turn into 10 bad plays. You’ve just got to flush it and move on.” 22 Comments Share Arizona Cardinals quarterback Blaine Gabbert (7) throws as Los Angeles Rams defensive end Morgan Fox (97) pursues during the second half of an NFL football game, Sunday, Dec. 3, 2017, in Glendale, Ariz. (AP Photo/Rick Scuteri) Grace expects Greinke trade to have emotional impact “We’ll stick with Blaine right now and see what happens,” Arians said. “He’s been improving each week. We’ll see what he’s got.” The 5: Takeaways from the Coyotes’ introduction of Alex Meruelo Former Cardinals kicker Phil Dawson retires Top Stories August 11, 2019 admin 上海后花园GA, 上海后花园VV, 上海楼凤WI, 上海龙凤419TK, 娱乐地图QA, 杭州桑拿PO, 杭州桑拿tm, 爱上海DX, 苏州桑拿SO, 贵族宝贝IU	cc/2020-05/en_head_0025.json.gz/line38
__label__wiki	0.628459	0.628459	Day 90: Dallas Buyers Club This Monday, I’m back to my regularly scheduled watching of the Academy Awards Best Picture nominated movies. My attempt last week was abandoned in favor of saving a kitten’s life. (He is doing great, btw.) I went to the DVD store to rent Nebraska again and discovered it was checked out. I moved on to Dallas Buyers Club for today’s first. Dallas Buyers Club was nominated for six Academy Awards including Best Picture, Best Actor and Best Supporting Actor. It won in three categories: Best Make-up & Hairstyling, Best Supporting Actor for Jared Leto and Best Actor for Matthew McConaughey. The movie also stars Jennifer Garner and was directed by Jean-Marc Vallee. It is rated R and has a run time of 1 hour and 57 minutes. I had seen a couple of previews for this movie and clips during the Oscars broadcast. I didn’t fully understand, from those brief viewings, what this movie was about. Based on a true story, Dallas Buyers Club is the story of electrician and rodeo fan Ron Woodroof, played by Matthew McConaughey, an ordinary, fun loving guy who gets a life changing diagnosis. He is HIV positive. In the mid 1980’s, HIV and AIDS were poorly understood and only one trial drug, AZT, was available as a possible FDA approved treatment. Woodroof is given a month to live. After the AZT he obtains illegally almost kills him, Woodroof begins a journey of discovery about his illness and alternative treatments that are available. He finds an ally in a doctor in Mexico who teaches Ron that there are non toxic drugs and vitamins that can help fight this killer disease, none FDA approved or available in the US. With the help of Rayon, played by Jared Leto, these two unlikely entrepreneurs establish the Dallas Buyers Club as a way to get drugs and vitamins from around the world to those who desperately need them. The Club charges a monthly fee to its clients in exchange for all the drugs and treatments they need. The FDA looks the other way until the operation and the number of people being helped grows too large. It then becomes a war between Woodroof and his colleagues and the FDA, who refuses to approve the unconventional methods being used to extend the lives of AIDS patients. Jared Leto’s portrayal of the transvestite Rayon was beautifully tragic and worthy of recognition and the numerous awards he won. A gentle, tortured soul, Rayon was key to building the Club. McConaughey gave an outstanding performance as a man on a mission to save himself and as many others as possible, before time ran out for him also. I believe he deserved the Best Actor award. This was an amazing movie and a glimpse into a world I’m not familiar with. I felt compassion and deep sadness as I watched Rayon’s life slip away. I understood Woodroof’s anger over the way the FDA regulated and controlled which drugs were available for treatment and their apparent lack of interest in alternative treatments. Frustrated by being blocked at every turn by the FDA, Ron Woodroof laments to his doctor friend, Eve, played by Jennifer Garner, “Sometimes I feel like I’m fighting for a life I ain’t got time to live. I want it to mean somethin’.” Laying her head on his shoulder, she assures him, “It does.” I can join her in saying the same thing to the real Ron, who died in 1992, of AIDS…your life mattered. You made a difference. And your life continues to impact others. What a legacy to leave.	cc/2020-05/en_head_0025.json.gz/line42
__label__wiki	0.632479	0.632479	The domain name BCLN.COM is for sale Price US$25895 Get On The Web Limited some years ago registered for its websites, portals and projects a number of generic domain names (including this one), which are now no longer required. We are offering for sale the domain name BCLN.COM. If you are interested in the 4-letter acronym BCLN and would like to purchase the domain name BCLN.COM please complete this offer form. Why choose a 4-letter acronym like BCLN for your business? Click here for examples of recent actual domain name sale prices. In September 2011 SWAG.COM sold for $120,000 and KARI.COM sold for $63,000. In October 2011 LOOK.COM sold for $400,000 and SOLO.COM sold for $133,000. In December 2011 LELA.COM sold for over $100,000 and VIIA.COM sold for $58,000. In January 2012 DUDU.COM sold for $1,000,000, BOLT.COM sold for over $125,000, JUIF.COM sold for $35,000, YOLO.COM sold for $29,000 and OODA.COM sold for $25,000. 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__label__cc	0.740227	0.259773	Can God Make a Rock So Big He Can't Pick it Up? Or, Why Does My Calculus Textbook Start With This Chapter About Unions and Intersections? Can God create a rock so big that He can't pick it up? To understand the problem, we need to understand set theory. But I don't really want to talk about Russell's paradox quite yet - a big problem with set theory as it's taught is that it doesn't respond to a felt need, it's just plopped down at the beginning of a calculus or logic textbook without explanation. Here's a bunch of self-evident stuff! Go calculate what the union of the intersections is! I'm not going to tell you how to do set theory here. You can look that up if you want. I'm just going to try to explain a little bit about why it matters, why you should be interested in it, and how to apply some set-theory-ish rules of thumb to your own thoughts. Think about the difference between these two arguments: The king of Freedonia is Phillip III. The husband of Mary Teller is Phillip III. Therefore, the king of Freedonia is the husband of Mary Teller. Milk is white. Snow is white. Therefore, milk is snow. The second argument looks just like the first one - but the first one works and the second one doesn't. Why? Well, I've deliberately made it tricky by using the verb "is" in each case. "Is" is one of those tricky verbs whose meaning is very context dependent. Here's a more precise formulation of the arguments: The king of Freedonia is the same as Phillip III. The husband of Mary Teller is the same as Phillip III. Therefore, the king of Freedonia is the same as the husband of Mary Teller. Milk is one of the things that are always white. Snow is one of the things that are always white. Therefore, milk ??? snow. it's not even clear which spurious consequence is supposed to follow from the second argument anymore. Is this a specious proof that milk and snow are identical, or that all milk is snow, or that all snow is milk, or just that some things are both milk and snow? Here's another paired example: A shark is an aquatic animal. An aquatic animal is a living thing. Therefore, a shark is a living thing. A knife is an item in my silverware drawer. An item in my silverware drawer is a spoon. Therefore, a knife is a spoon. And with more specific wording: Every shark is an aquatic animal. Every aquatic animal is a living thing. Therefore, every shark is a living thing. At least one knife is an item in my silverware drawer. At least one item in my silverware drawer is a spoon. Therefore, ??? Or better yet: There exists at least one item that is both a knife and in my silverware drawer. There exists at least one item that is both in my silverware drawer and a spoon. Set theory is a way to force yourself to use statements more explicit than "X is Y", to prevent you from accidentally equivocating and "proving" that knives are spoons. Since math is all about proving possibly counterintuitive things, this is kind of important in math. But it's also important whenever you're making explicit compounded arguments of the (A, B, THEREFORE C) style. In set theory you never say "X is Y." You instead are always talking about whether something is a member of a set. For now, think of a set as nothing more specific than a collection of things. There's a problem with this, but I'll get to it later. You can say that something is a member of a set, or that if something is a member of one set, then it must be a member of another, or that there is at least one thing that is both a member of set A and a member of set B, etc. You can also negate these things - you can say that there are no things that are both members of set A and set B. Think about these sentences, and how to make them more precise: A mouse is in this cage. A mouse is an animal. This mouse is Pinky. Pinky is in this cage. Dallas's football team is heavier than the people in China. A dragon is not real. WEF wrestling is fake. Here are some formulations that are a little more set theory-ish: There exists at least one thing that is both a member of the set (is a mouse) and a member of the set (things in this cage) Every member of the set (is a mouse) is a member of the set (is an animal). Every member of the set (this mouse) is a member of the set (Pinky). Also, every member of the set (Pinky) is a member of the set (this mouse). (A pithier way to say that one is: Something is a member of the set (this mouse) if and only if it is a member of the set (Pinky). This is an "identity" relation.) Every member of the set (Pinky) is a member of the set (in this cage). The average of the weights of all the members of the set (members of Dallas's football team) is higher than the average of the weights of all the members of the set (the people in China). (This one is tricky - the original statement is ambiguous, because it's worded as a statement about the set, but what exactly are we saying is heavier than what? Are we saying that each Dallas Cowboy is heavier than each person in China? Or that the Dallas Cowboys, weighed all together, are heavier than the people in China, weighed all together? Or that the average weight of a member of the first set is greater than that of a member of the second? It's important to be specific about things like this when talking about group characteristics.) There are no members of the set (dragons) that are members of the set (real things). Every member of the set (WEF wrestling matches) is a member of the set (fake things). Do you get the pattern? You never simply talk about how something "is" or "is not" something else, only about whether a member of set A is never, sometimes, or always a member of set B, and whether an assertion is true or false. This can be helpful in avoiding getting into stupid arguments. If someone says, "a mouse is an animal," do they mean that there is at least one mouse that is an animal, or that every mouse is an animal, or that something is a mouse if and only if it's an animal? If they mean that there's at least one mouse that's an animal, then finding a mouse that's not an animal (like a computer mouse, or a robotic mouse) is not evidence against their point - all they have to do to prove it's true is find at least one mouse that is an animal. But if you phrase it explicitly like that, it's harder for them to equivocate and "prove" that a computer mouse is an animal. Or maybe more realistically, if I "prove" that wiggins are thieves by showing you one wiggin who steals something (which only proves that there is at least one wiggin who is a thief), I might then pretend that you should draw the inference that some other wiggin is also a thief (which would only be valid if I had proved that every member of set "is a wiggin" is a member of set "is a thief"). If they mean that every mouse is an animal, then finding an example of a mouse that is not an animal is a counterexample, but finding an example of an animal that is not a mouse, like a dog, is a not counterexample. If they've shown to your satisfaction that all members of set "mouse" are members of set "animal", then you can go on and assume that's true for each new mouse you encounter - but it doesn't imply that all members of set "animal" are members of set "mouse". Finally, if they show "if and only if," then you would have been able to prove them wrong just by showing them a dog. But if they convince you of this, then - and only then - you should accept the inference both ways. It's easy to lose track of this when you say things like "mice are animals" or "wiggins are thieves", so it can be helpful to use set-theoretic language (which is almost as compact), like "MICE is a subset of ANIMALS." OK, so what does this have to do with God's rocks? Well, sets are important, right? And we want to be correct when talking about important things - and sets help us be correct. So we want to describe sets using other sets. And talk about sets of sets! Like you might want to talk about the properties of "sets that have no members." Or "sets that have a finite number of members." This is fine. But there are limits. Let's walk through one of them - the rock paradox. It's usually stated as: God is omnipotent. That means God can do any thing. Making a rock so big that God can't pick it up is a thing. Therefore, God can make a rock so big that God can't pick it up. But picking up an arbitrary object that exists is also a thing. Therefore God can pick up an arbitrary object that exists. Now, let that arbitrary object be "a rock so big that God can't pick it up." Then, God can pick up a rock so big that God can't pick it up. Now, if the existence of such a rock were impossible, then this wouldn't be a problem. But we just said that God can make one. But it's not really a rock so big that God can't pick it up, if God can pick it up. Thus, the omnipotence of God implies a contradiction. Therefore, there can be no omnipotent God. The problem here seems to be using omnipotence in the definition of one of the powers. If you don't allow that, then there's no way to get the contradiction. This brings up another set-theoretic principle: the "things" a set can be a collection of have to be well-defined, before we define any of the sets. So if we're talking about puppies, and we already know what puppies are, without using sets of puppies in the definition, then we can talk about sets of puppies. But we can't just define a collection of "puppies and sets of puppies," before we know what the sets of puppies are. And the sets of puppies can't themselves be defined until the puppies are defined. So does the rock paradox follow this rule? No. "God is omnipotent" can be rephrased as: For every ability X, let there be a set (entities that have ability X). Every omnipotent being is a member of every such set. God is an omnipotent being. Therefore, for every ability X, God is a member of the set (entities that have ability X.) Now, this works for abilities like "walk on water" or "use set-theoretic notation" or "make ten commands". Because those things are well-defined even if we don't know about God. How about "make a rock so big that God can't pick it up." Is this well-defined before we start talking about sets of abilities? No, because the ability is defined by a reference to what God can do, and what God can do is defined by a particular set of abilities. So a collection of abilities that includes "make a rock so big that God can't pick it up" is simply not a well-defined collection that we can take sets of. In fact, "make a rock so big that [someone] is not a member of set (entities that have the ability to pick up a rock of that size)" is never a first-order ability. A set-theoretically valid definition of omnipotence would be something more like this: Define some collection of "abilities," none of which reference other powers or omnipotence directly. Define omnipotence as the set of all these abilities. Now, maybe "make an arbitrarily large rock" is one of the powers. And maybe "pick up an arbitrarily large rock" is a power. But none of the powers refer to each other, or to sets of powers, no matter how indirectly. So "make a rock so big that God can't pick it up" isn't an ability. We can then think of sets of abilities, like the set of rock-making and rock-picking-up. Omnipotence is the ability-set that is contains all abilities. Now we need to use a concept called a "subset." A X is a subset of Y if every member of set X is also a member of set Y. For example, "Puppies" is a subset of "Animals," and "Animals" is also a subset of "Animals, but "Animals is not a subset of "Puppies." So every ability-set is a subset of omnipotence. Of course, that doesn't mean that no one can make a rock so big that someone else can't pick it up. Or even a rock so big that they themselves can't pick it up. But that's a statement about combinations of abilities and inabilities. So what if you wanted to describe all the collections of abilities that don't include certain abilities? Well, that's a second-order set. Call it a schmet. So you might have a schmet of ability-sets that include walking on water, but not swimming. Or making a 32kg rock, but not picking it up. Now let's get back to that paradox. Can God make a rock so big that He can't pick it up? How does that cash out when thinking about sets of abilities? If someone can make a rock so big they can't pick it up, that means that their ability-set is a member of a certain schmet. In particular, it's the schmet that includes ability-sets where for some size X, they include the ability "can make a rock of size X", and also do not include any ability "can pick up a rock of up to size Y", for any Y>=X. So the question is, is God's ability set (omnipotence) a member of that schmet? The answer is no: omnipotence is not a member of the schmet "can make a rock so big you can't pick it up." There's no paradox, because a schmet is not an ability. Remember, we had to define all the abilities before defining any of the ability-sets, and we had to define the ability-sets before defining the schmets. So there can't be an ability that refers to a schmet! And omnipotence is an ability-set, so its definition can't refer to schmets either - it's just the ability set that includes all abilities. If you look up Russell's paradox explained, you will find a similar exposition, except it's less fun because it isn't about God and rocks. This entry was posted in Uncategorized and tagged basic explanation, easy explanation, explained, explanation, god, god paradox, good explanation, logic, math, naïve set theory, paradox, rock paradox, Russell, Russell's paradox, set theory, simple explanation, symbolic logic on November 27, 2013 by Benquo. ← Rationality Cocktails Sacrificial Rituals →	cc/2020-05/en_head_0025.json.gz/line45

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