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- Bride and Prejudice
name = Bride and Prejudice
caption = Original film poster
producer = Gurinder Chadha
Paul Mayeda Berges
Aishwarya Rai Martin Henderson Nadira Babbar Anupam Kher Naveen Andrews Namrata Shirodkar Sonali Kulkarni
Anu Malik Craig Pruess
February 11, 2004
runtime = 111 minutess
India United Kingdom United States
language = English
imdb_id = 0361411
"Bride and Prejudice" is a 2004
Indian/British/American romantic musical filmdirected by Gurinder Chadha. The screenplay by Chadha and Paul Mayeda Bergesis a Bollywood-style adaptation of " Pride and Prejudice" by Jane Austen. It was filmed primarily in English, with some Hindiand Punjabi dialogue.
The plot closely follows the plot of "Pride and Prejudice", with many elements compacted to brief references. Some character names remain the same, while others are changed slightly, using localized names with similar pronunciation (such as Lalita for Lizzy).
Lalita Bakshi is a daughter of a farmer in
Amritsar. She has three sisters, Jaya, Maya, and Lahki. Lalita is introduced to William Darcy, an American businessman, but initially deems him to be self-absorbed and resists his advances.
Lalita falls in love with Johnny Wickham, whose mother was Darcy's childhood nanny. Darcy tries to warn Lalita about Johnny, without revealing he impregnated Georgie, Darcy's younger sister, when she was sixteen-years-old, but she assumes Darcy is simply jealous of his romantic rival.
Lalita, her mother, and sisters go to
Los Angelesto attend the wedding of Lalita's best friend Chandra Lamba to Kholi. Lalita and Darcy begin to spend together, and she overcomes her misgivings and falls in love with him.
Darcy proposes to her, but Lalita declines because Darcy discouraged his friend Balraj from having a relationship with her sister, and she returns to India. Lakhi runs off with Johnny, and everyone is worried. Darcy flies back to London and, with Lalita's help, rescues the younger sister. They fly back to India where Lalita and Darcy and Jaya and Balraj get married in a double wedding.
Ashanti sings "Take Me to Love" and "Touch My Body" in the film. Ashanti's appearance in the film is an homage to the tradition of a celebrity making a cameo appearance to sing a song that has no direct involvement in the plot in Bollywood films.
The film received funding from the UK Film Council with the stipulation that a majority of filming had to take place in the UK. Locations used include
Halton House, Stoke Park, Turville, and Cobstone Windmillin Buckinghamshire, and Southall, Somerset House, Little Venice, the London Eye, and the National Film Theatrein London. Other locations used for the film include the Golden Temple of Amritsar, the beaches of Goa, the Grand Canyon, the Walt Disney Concert Hallin Los Angeles, and Santa Monica Beach.
* "Deh Shiva Bar Mohe"
* "Punjabi Wedding Song"
* "A Marriage Has Come to Town"
* "My Lips Are Waiting" - Ashanti
* "Dola Dola"
* "Take Me to Love"
* "No Life Without Wife"
* "El Tilingo Lingo"
* "Take Me to Love (Part Two) - P J Lequerica
* "Ride with Me" -
* "Touch My Body" - Ashanti
* "My Lips Are Waiting" (Reprise) -Ashanti and Aishwarya Rai
* [http://www.miramax.com/bride/ Official site]
*imdb title|id=0361411|title=Bride and Prejudice
*rotten-tomatoes|id=bride_and_prejudice|title=Bride & Prejudice
Wikimedia Foundation. 2010.
Look at other dictionaries:
Bride and Prejudice — Filmdaten Deutscher Titel: Liebe lieber indisch Originaltitel: Bride Prejudice Produktionsland: UK, USA Erscheinungsjahr: 2004 Länge: ca. 107 Minuten Originalsprache … Deutsch Wikipedia
Pride and Prejudice — This article is about the novel. For other uses, see Pride and Prejudice (disambiguation). Pride and Prejudice … Wikipedia
Pride and Prejudice — Orgueil et Préjugés Orgueil et Préjugés Auteur Jane Austen Genre Roman Version originale Titre original Pride and Prejudice Éditeur original T. Egerton Langue originale Anglais Pays d orig … Wikipédia en Français
Pride and prejudice — Orgueil et Préjugés Orgueil et Préjugés Auteur Jane Austen Genre Roman Version originale Titre original Pride and Prejudice Éditeur original T. Egerton Langue originale Anglais Pays d orig … Wikipédia en Français
Pride and Prejudice — Stolz und Vorurteil (Originaltitel: Pride and Prejudice) ist der bekannteste Roman der britischen Schriftstellerin Jane Austen. Er erschien 1813. Der Roman ist ein Entwicklungsroman, in dem die beiden Hauptfiguren Elizabeth Bennet und Fitzwilliam … Deutsch Wikipedia
List of artistic depictions of and related to Pride and Prejudice — The following is a list of artistic depictions of and related to the classic novel, Pride and Prejudice by Jane Austen, which was originally published in 1813.Film, television, and theatrical adaptations Film versions*2005: Pride Prejudice ,… … Wikipedia
Pride and Prejudice (disambiguation) — Pride and Prejudice is a novel by Jane Austen, but the title may also refer to:* Pride and Prejudice (1940 film) * Pride and Prejudice (1980 TV serial) * Pride and Prejudice (1995 TV serial) * , a 2003 film * Pride Prejudice (2005 film)ee also*… … Wikipedia
Duty and Desire — Author(s) P … Wikipedia
Sense and Sensibility — This article is about the novel. For other uses, see Sense and Sensibility (disambiguation). Sense and Sensibility … Wikipedia
Mail-order bride — is a label applied to a woman who publishes her intent to marry someone from another, usually more financially developed, country. This term is considered offensive by some definitions. The mail order bride industry is the economic trade of … Wikipedia


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Kasey Jones led the balanced Cardinal O’Hara offense with five goals, and O’Hara (9-3, 5-2 Catholic League) got two goals apiece from Sam Amicone, Chelsea Fox, Morgan Sperratore and Lauren Granata en route to the 17-4 win over Bishop McDevitt.
Shannon Neill, Jackie Piszker, Lauren Daly and Jess Randazzo also tossed in goals for the Lions.
In the Inter-Ac:
Episcopal Academy 18, Agnes Irwin 8
Lynda Michaels sparked the Churchmen’s onslaught with three goals and six assists, while MC Curran and Ali Singley each found the back of the cage four times as EA (9-5, 7-0) rolled.
Bridget Chakey and Campbell Crochiere each had three goals for the Owls, while Emily Wetz stopped nine shots.
In nonleague action:
Barrack Hebrew 14, Academy Park 10
Tamar Parmet had an incredible day for the Cougars with seven goals, while Dani Levin was right on her heels with six to help Barrack edge the Knights.
Tanisha Joseph tossed in five goals for AP (3-10), while Gabby Lee netted four. Continued...
Friends’ Central 19, Sacred Heart 7
Eileen Dombrowski led the Lions (6-9) with five goals, while Karleigh Carlin and Jenna Palumbo also tallied, but Sacred Heart was no match for the Phoenix.
Philadelphia Sports By Bleacher Report
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Matt Chandik covers high school sports in Delco.
Your source for high school football in Delaware County.
Jeff Wolfe has been an avid runner for years, including running cross country in high school and college, though he's not as fast now as he once was. This blog is designed for high school runners, and their coaches and parents in Delaware County.
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domain: sports


Sensation to Stream Live Friday at 10pm on Youtube
Sensation is finally making its way to America this weekend in New York at Barclays Center. Dennis Ferrer, Joris Voorn, Nic Fanciulli, Mark Knight, Danny Tenaglia, and 2000 and One will be performing. If you are not able to attend the event, don't worry! The stream will be available on YouTube.com/BudLightPlatinum.
Tickets are still available HERE.
Will you be tuning in? Let us know using the hashtag #MakeItPlatinum


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Compositor, Artista Sonoro, investigador y docente. Se dedica principalmente a la música electroacústica, los medios mixtos y el procesamiento inter...
We have Composers in Buenos Aires, AR!
Twine will help you find the perfect Composer for you project.
Post a brief then choose your creative. Simple.
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domain: artistic


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Article By: Dominica Dieffenbach, RDN
Dominica is a Registered Dietitian and mom of 2 kiddos currently specializing in the special needs pediatric population. She has over 15 years of experience as an RD, working with a wide variety of patients to provide them with individualized medical nutrition therapy and education.
A food allergy is an immune system response that causes symptoms ranging from discomfort to life-threatening complications. Symptoms of food allergies can include vomiting, diarrhea, hives, itching of the mouth, difficulty breathing, and/or a drop in blood pressure. It's important to note that allergic reactions present quickly.
Unlike food allergies, food intolerances affect the digestive system, not the immune system, and can happen a while after the food was ingested (i.e. feeling bloated after eating eggs). Most children will develop food allergies within the first 2 years of life.
The number of kids with food allergies is growing, and estimates show 1 out of every 13 children has a food allergy — that’s an average of 2 per classroom. Why is this happening? The cause is likely multifactorial with several hypotheses at play including:
1) We live too clean.
Over generations, we now live in cleaner and cleaner environments, and our immune systems are being under-stimulated. As a result, when our immune system encounters food proteins, it automatically interprets this protein as an “invader”.
2) Vitamin D deficiency.
There is a link between low levels of Vitamin D and food allergies due to Vitamin D’s immune-boosting function. Many factors can cause inadequate Vitamin D absorption such as suffering from obesity, spending most of the day indoors, and living in places with limited sunlight in winter. If a Vitamin D supplement is needed, be sure to check out Renzo's Dynamite D3.
3) Delay of introducing allergens.
In the year 2000, the recommendation was to delay introducing allergenic foods until babies were over 1 year old, however, the number of kids who developed food allergies nearly doubled. We now know that introducing allergenic foods early on in life actually prevents food allergies, and delaying the introduction of these foods is problematic.
Approximately 90 percent of all food allergies are caused by the following eight foods: milk, eggs, wheat, soy, tree nuts, peanuts, fish, and shellfish. Eliminating these foods is critical for avoiding allergic reactions... However, in doing so, nutrient gaps can arise. Children allergic to milk have higher risk of poor bone growth and tend to be shorter in height compared to those who can tolerate milk. Children eliminating just milk from their diets have been shown to be lacking in Vitamin D, Calcium, and Protein. As the number of food allergies increase, so does the potential for nutrients to be lacking.
|Nutrients lacking when avoided in the diet
|Calcium, Vitamin D, Vitamin A, Vitamin B12
|Thiamin, Riboflavin, Folate, Magnesium, Phosphorus
|Selenium, Riboflavin, Vitamin B12
|Iron, Niacin, Folic Acid, Thiamin
|Peanuts & tree nuts
|Copper, Niacin, Chromium, Magnesium
|Fish & shellfish
|Omega 3 Fatty Acids, Potassium, Vitamins B6, B12, & E
It’s always a good idea to consider a quality multivitamin such as the Renzo’s Picky Eater Multi for any child with even just 1 food allergy to help close the nutrient gap in their diet.
Renzo's Vitamins provides general recommendations, not to be construed as medical advice.

domain: food


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Comparison of Clinicopathologic Factors in 122 Patients with Resected Pancreatic and Ileal Neuroendocrine Tumors from a Single Institution
- First Online:
- Cite this article as:
- Dahdaleh, F.S., Calva-Cerqueira, D., Carr, J.C. et al. Ann Surg Oncol (2012) 19: 966. doi:10.1245/s10434-011-1997-4
- 179 Downloads
Recent population-based studies have demonstrated significant differences in outcome between patients with pancreatic and ileal neuroendocrine tumors. The objective of this study was to examine the clinicopathologic differences between ileal and pancreatic neuroendocrine tumors following resection.
A retrospective chart review was performed and data on clinicopathologic variables, biochemical markers, and follow-up of patients with resected ileal (INETs) and pancreatic (PNETs) neuroendocrine tumors were collected. The t test or analysis of variance (ANOVA) was used to compare means. Survival analysis was performed using the Kaplan–Meier method.
Between 1998 and 2010, 122 patients with PNETs and INETs were explored (70 PNETs and 52 INETs). Several variables were found to be significantly different between patients in both groups. INETs were more often associated with flushing (44 vs. 14%; P < 0.001) and diarrhea (63 vs. 16%; P < 0.001) and were more often associated with elevation in preoperative serum levels of pancreastatin (88 vs. 42%; P < 0.001), chromogranin A (78 vs. 54%; P = 0.036), and serotonin (90 vs. 43%; P < 0.001). INETs more frequently had vascular invasion on pathology (96 vs. 60%; P < 0.001), and presented more often with nodal and/or distant metastases (77 vs. 37%; P < 0.001). There was no significant difference in overall survival between patients in both groups.
In this series, patients with INETs presented with a more advanced stage of disease compared with PNETs, had higher preoperative levels of 3 markers, and were more often symptomatic. Despite these factors, there was no significant difference in overall survival between patients with these 2 tumor types.

domain: literature


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Purina Outlast Treats
Outlast Horse Treats from Purina are a remarkable tasty treat for your horse that supports gastric health and a proper pH level. Purina Outlast Treats are made with Outlast Supplement, the popular feed supplement that keeps horses feeling their best. Now you can give your horse the benefits of Outlast and reward them for being a good pony!
Outlast Treats can be fed as a reward or treat. If you feed 5-6 treats per day, Outlast will support gastric pH level. If you feed 10-12 treats per day, your horse will get a full serving of Outlast Gastric Support Supplement (one serving for 1000lb horse). And your horse will be so happy to get all the treats and love! Horses love the taste so they are easy to feed. Purina Outlast Treats are an easy and effective way to support equine gut health.
Ingredients: Wheat Middlings, Ground Oats, Ground Wheat, Seaweed Derived, Calcium, Magnesium Oxide, Cane Molasses, Soybean Oil, Citric Acid, Colored with Iron Oxide, Artificial Flavors, Vitamin E, Supplement, Vitamin D3, Supplement, Preserved with Mixed, Tocopherols, Rosemary Extract, Vitamin A Supplement, Citric Acid (a Preservative), Zinc Oxide, Copper Sulfate, Calcium Iodate, Calcium Carbonate, Cobalt Carbonate, Ferrous Carbonate, Sodium Selenite, Manganous Oxide
- 5-6 treats daily for gastric pH level
- 10-12 treats daily for full serving of Outlast Supplement
- Nutritious and delicious
- 3.5lb bag

domain: pet


Optical Switches And 20,000 DPI Sensor
Design - 90%
Battery - 80%
Price - 77%
Connectivity - 90%
It’s lightweight and very comfortable to use, particularly for anyone who uses multiple PCs, the performance from the sensor is quick fast and accurate, and you could never tell this was a wireless mouse without actually seeing there’s no cable coming out of it. If you like the DeathAdder already, this is the one you are looking for.
The new model continues the tradition of the first DeathAdder: it is still comfortable and insanely functional.
The Razer DeathAdder was a huge hit with gamers. Now, v2 is on sale – that is, the next generation. However, the design has not actually changed, except that the characteristics have once again raised the bar, and there are noticeable improvements in the design. But first things first.
You can also read: Logitech M190 Review: Minimalist Mouse
Razer DeathAdder v2 Pro Gaming Mouse: Design
As before, the mouse is only slightly asymmetrical: it fits best in the right hand, but theoretically, it will suit left-handed people. True, the additional buttons, in any case, remain on the left side. It is most convenient to press them with your thumb.
By the way, about the buttons. There are 7 of them: 2 main, 3 – on the upper part (including the mouse wheel), 2 – at the end. Everything can be reprogrammed, but more on that later. There are fluoroplastic pads on the bottom panel of the mouse, due to which the device glides very easily on any surface.
Of course, the pride of any gaming mouse is the sensor with frantic DPI values. And the Razer DeathAdder v2 Pro is no exception. Its Focus + optical sensor has a maximum resolution of 20,000 DPI, and the practical side of using such huge values is not entirely clear. In our practice, 10,000 is enough “for the eyes,” well, except that, in theory, there are such needs in e-sports.
It should be said about the unique design of the switches.
You can also read: MSI Vigor GK30 Combo Review: Gaming Keyboard With Mouse
It uses second-generation Razer optical switches, in which the actuation does not occur mechanically but by passing an infrared beam through the stem when pressed. This eliminates the need for a few mechanical parts and thus increases the switch life. For example, the Razer DeathAdder v2 Pro promises up to 70 million clicks.
Razer DeathAdder v2 Pro Gaming Mouse: Connection and software
You can connect the mouse in three ways at once: via a regular wire, via Bluetooth, and using Razer HyperSpeed Wireless technology. Due to a special protocol, the latter allows us to reduce the response delay by about a quarter compared to the connection via Bluetooth – for shooters, for example, this is important.
The Razer DeathAdder v2 Pro’s lighting will definitely appeal to those who don’t think a gaming mouse should glow like a Christmas tree. In this model, only two areas are highlighted: the scroll wheel’s ends and the top panel’s emblem. Of course, using the Synapse 3 utility can change colours or turn off all LEDs altogether. If you have other backlit devices from the same manufacturer (such as a keyboard) that support Chroma, you can set up sync.
You can also read: Razer Cynosa V2 Keyboard Review: Play and Work
Proprietary software is what makes Razer mice worth buying. For example, in the Razer DeathAdder v2 Pro, you can not only change settings but program accounts. Let’s say if the computer is at home and several people use it. You can turn DeathAdder v2 Pro into a regular office mouse in one of the profiles by turning off the backlight and setting the parameters lower. In others, set the maximum sensitivity and brightness.
Another common setting for game controllers is creating macros. With Synapse 3, you can record macros and “hang” them on any button. Again, it can be macros for complex commands in games and a list of specific actions in office programs.
Bottom line: Did we like the Razer DeathAdder v2 Pro?
Definitely a worthy member of the Razer family. Everything here works so clearly, and there are so many opportunities that there is nothing to complain about. Well, perhaps for the price: on average, a mouse costs about $149.99. (on the Razer website – price $129.99). Not cheap, but Razer has never been super affordable. At least it is clear what this money is being charged for.
Razer DeathAdder v2 Pro Gaming Mouse: Conclusion
It’s lightweight and very comfortable to use, particularly for anyone who uses multiple PCs. The sensor’s performance is quick fast and accurate, and you could never tell this was a wireless mouse without actually seeing there’s no cable coming out of it.
If you like the DeathAdder already, this is the one you are looking for.


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Loan Amount Calculator / Loan Affordability Calculator. If you are planning to purchase your dream home or car, you must be wondering how much money you can afford to repay without overburdening yourself. It depends on how much EMI (i.e., monthly payment) you can pay and for how long.
Commercial Insurance Calculator Commercial Property Real Estate Calculator – A commercial mortgage is a more complex concept. This is a loan that a business acquires in order to own property in an area zoned as commercial. Whether the business intends to take up residence on the property immediately, build on the land, or simply hold it for a designated period, the bank’s point of view is still the same.
Use our Loan Payment Calculator to determine your total cost and monthly payment on an undergraduate MEFA Loan. To minimize borrowing, we also recommend that you consider using your college’s interest-free monthly payment plan to pay for a portion of your college costs. Talk to your.
Use the slider in the calculator to put in different personal loan amounts and tenure to arrive at the EMI at which you are comfortable with. What is the calculator about? The personal loan calculator helps one calculate the equated monthly instalments (EMIs) that has to be paid to the lender every.
300 000 Mortgage 30 Years Is $300,000 too expensive for someone with a salary of. – Based on their mortgage calculator (using the average settings) it seems reasonable to look at houses up to about $300,000. Their calculator estimates the monthly payments to be about $1500 a month for this price. We will be making about $50,000 a year (just over $4000 a month) plus about $20,000ish for a down payment.
Using the total loan value, interest rate, and term, this simple loan calculator provides the monthly payment, total payment and total interest paid.
Explore ways to save with our loan term calculator, refinance calculator, and college planning calculators. Get insights on the impact of interest rates and.
You can use a mortgage calculator to dig into the different parts of your mortgage. But you’d also pay more interest for a longer period of time before you can truly call your home yours. Shop.
Meeting your long-term investment goal is dependent on a number of factors. This not only. This calculator will calculate estimated payments or loan value.
Loan Calculator With Missing Variable. It can be hard to compute something when you don’t have all the information. However, this calculator can create a loan amortization schedule given only three of four necessary variables. Enter 3 of the following variables: number of monthly payments, interest rate, loan amount &monthly payment..
Rental Property Loan Rates Hakim, Elghanayan land $72M refi for Turtle Bay rental building – “This was an opportune time to refinance as rates are low,” Hakim. with a $71 million Fannie Mae loan, public records show. The lender also didn’t respond to a request for comment. The 21-story.
The PV, or present value, portion of the loan payment formula uses the original loan amount. The original loan amount is essentially the present value of the future payments on the loan, much like the present value of an annuity. It is important to keep the rate per period and number of periods consistent with one another in the formula.
(Use this calculator to see how this works. If you’re planning to leave your job during the loan period, it’s usually best not to take the loan. Most retirement plans require that retirement plan.
Types Of Commercial Bank Types of Commercial Business Loans | Business Financing – Types of Commercial Business Loans. Short Term Loans: Lines of Credit.. You can often access the money in your credit line by transferring funds via online banking services, initiating a telephone transfer to your checking account, or writing a check up to your available credit limit..

domain: finance


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Having lived in the city centre for the past few years, I know it’s time to feel festive when I start to see wooden cabins, flat packed, being driven around the city. Over the course of a few days in mid-November the Frankfurt Weihnachtsmarkt, or Christmas Market, is constructed along a mile or so from the ICC on Centenary Square, all the way through Chamberlain square, Victoria square, and New Street, with stalls now stretching almost as far as High Street. Here’s a quick guide about where I think it best to get what, and how to avoid being crushed in the crowds, although arguably that’s half the fun.
Let’s start with Centenary Square, which is on Broad Street by the ICC. Here you’ll find a fairground, which I think is pretty generic, other than the Kettenkarussel (I think we call them a chair-o-plane – metal chairs connected by chains to the central tower which lifts you up and spins you out and around) which feels appropriate to the market. You can also try your luck on some fairground stalls to win an 7ft banana (why?!). Walking towards Paradise forum from here you’ll head through the non-German craft stalls. Some of it is worth a look, but I think there’s some tat there this year to make up the numbers. I like the hat stalls particularly, and the zip-bag stall – who wouldn’t like a bag made out of a length of zip for Christmas? If you’re in this part of town in the week and on some weekends then you should take a moment to nip in to the Hall of Memory which contains books with the names of those from the Birmingham area who died in the Great War and the Second World War – it’s appropriately sombre and moving, and is a lovely bit of architecture to boot. Just before that is a chance to get Bailey’s laced Hot Chocolate, or a Hogan’s cider, or Christmas dinner in a Yorkshire pudding. Further up past the Hall of Memory you can pick up more craft items, or an ostrich / reindeer / bison burger, or a turkey / pork / beef filled bun. Lots of foodie opportunities. You’ll then get to Paradise Forum, which you should proceed straight through as it’s quite horrible.
Out the other side, you’ll arrive in to Chamberlain Square. Here you’ll find further craft stalls, and you’ll also be able to get a hot Winter Pimm’s (which is served with hot apple juice – yummy), some spicy Indian wraps, noodles, pashmenas (that’s not food, you understand), more hats (I do love a hat), 3D wooden things like lamps and fruit bowls that fold down flat, and lots of other random stuff.
It’s just past here, as you enter Victoria Square that you’ll start to see the German stalls. My advice is you should stop immediately at the large bar at the right hand side and buy a comedy large 2 pint beer, or a Gluhwein (potent German mulled wine, which I’m assured back in Germany only the winos drinks). When you buy a drink here you’ll also have to pay a deposit – which is £5 on the 2 pint glasses – and you’ll get a token. You must return your token and your glass to any of the German stalls selling Gluhwein / Beer so that you can get your deposit back. The booze is fairly pricey.
In this square you can get frankfurters (yuck), garlic breads which will make you honk for days, a roasted ham roll, coffee beans, traditional German crafts, and other stocking fillers. Most importantly though, by the entrance to the Town Hall, is Chris Moose – a stuffed and mounted Moose’s head on one of the bars which sings Christmas tunes (and if you’re there at the right time you might be able to join in with the tipsy crowd). Head round the corner from here and you can get a pork burger with mushrooms and garlic sauce (yummy), or a red or white grilled sausage. This brätwursts are cooked on coals in front of you. You pay your money, you get a token in return (which will stay on the bar), and this is then exchanged for a sausage. You can then milk a condiment udder (you’ll have to go and see to explain that one) of mustard or ketchup.
The market then proceeds down New Street with a fairly repetitive array of stalls: pretzels, wooden carved things including toys, doughnuts, marshmallows, candid nuts, candles, Christmas decorations, frankfurters, pretzels, wooden carved things, doughnuts, marshmallows, candid nuts….. etc. Half way down New Street, just by Bennetts Hill, is a helicopter topped bar which is the last place you can get your mugs returned for their deposits, if you can squeeze in here you’ll be able to warm up because it’s toasty inside. Then carry on going and eventually you get to a stall selling Honigwein (hot sweet wine with a honey flavour).
In 2012 the market runs from 15th November to 22nd December, 10am until 9pm. It’s busiest times are Thursday after work, Friday after work, Saturdays after 2pm, and Sundays until about 4pm when it begins to thin out. I cannot describe how busy it gets! Particularly the area around Victoria square gets completely and utterly crushed, you can barely move. Don’t say I didn’t warn you. Coming in on the weekend? Don’t even think about driving in, get the train, or the bus, or the tram. Parking is a nightmare at the moment as we’re a couple of car parks down due to refurbishments. However if you HAVE to drive then I suggest these (in this order of preference):
- Brindley Place Car Park B1 2JF
- Paradise Circus Multistorey B1 2NB
- Arena Car Park (under Crown Plaza) B1 1TQ
- Town Hall Multistorey (previously Brunel St Car Park) B1 1TA
- The Mailbox Car Park B1 1XL
- Birmingham Albany Multistorey (I think it has a new name, it’s on St. Judes Passage) B5 4AN
Charges for these car parks can be found on Parkopedia, and they’re all within a 5 or 10 minute walk of the market.
Although I bitterly complain about how busy it makes town during December, Christmas isn’t Christmas for me unless I’ve milked a condiment udder on to a foot long sausage. It’s a must do!
Have a wonderful Christmas everyone, or as they say in Germany, Froehliche Weinachten!

domain: geography


3D printing is an innovative technology that has been gaining a lot of attention in recent years. It has revolutionized the way we create and manufacture products, allowing us to quickly and easily create objects with intricate detail, without needing to use traditional manufacturing methods. While 3D printing can be used for a wide variety of applications, it is particularly well-suited for the design of objects for 3D printing.
Designing objects for 3D printing requires knowledge of CAD (Computer Aided Design) software as well as an understanding of the specific capabilities and limitations of various 3D printing technologies. It is important to consider how the object will be printed when designing it; different types of 3D printers require different types of files and have different build parameters.
The first step in designing an object for 3D printing is to create a digital model using CAD software. This model should accurately represent the desired shape, size, and features that the final object should have.
Once the model is complete, it can be exported as a file type compatible with the Target 3D printer.
The next step is to consider what type of material will be used to print the object. Different materials have different properties, such as strength, flexibility, weight, etc., so it’s important to select a material that is suitable for the intended purpose. Additionally, some materials are more suitable than others depending on what type of printer will be used; some materials may not be compatible with certain types of printers.
Finally, it’s important to make sure that any parts or components included in the design are designed in such a way that they can be easily printed by the Target printer without requiring any additional supports or other modifications during printing process. Additionally, care should be taken to ensure that all elements are properly aligned and fit together correctly when assembled after printing.
Designing objects for 3D printing requires knowledge of CAD software as well as an understanding of various 3D printing technologies and materials available. It’s important to consider how each part or component should be designed so that they can easily fit together after being printed by a specific type of printer without requiring any additional supports or modifications during the printing process.


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- Casting Announced for NYC and Tour Companies of Vital Theatre Company's FANCY NANCY: SPLENDIFEROUS CHRISTMAS (Nov 1, 2016)
- Westport Country Playhouse to Host Free Family Festivities Kick-Off Party (Oct 18, 2016)
- Westport Country Playhouse Announces 2016-17 Family Festivities Series (Sep 29, 2016)
- Coming Up This Week in Theatre - 9/24/2016 (Sep 24, 2016)
- Vital Theatre Company's STINKYKIDS, THE MUSICAL Returns Off-Broadway Today (Sep 24, 2016)
- Coming Up This Week in Theatre - 9/17/2016 (Sep 17, 2016)
- New Songs 'In The Works' at the Duplex This Month (Sep 14, 2016)
- Vital Theatre Company's STINKYKIDS, THE MUSICAL to Return Off-Broadway This Fall (Sep 8, 2016)
- TheaterMania Block Party at the Manhattan Chamber of Commerce Street Fair: Performers From Chicago, Paramour, Waitress, and More (Sep 1, 2016)
- PINKALICIOUS, STINKYKIDS and FANCY NANCY Set for Vital Theatre This Fall (Aug 25, 2016)

domain: entertainment


text:
(W) Yoko Taro, Takuto Aoki (A) Himiko
Everything about Alice - her family, her friends, her life, even her crush - is ordinary, no Wonderland to see here. But lately, her dreams have been anything but ordinary. While asleep, she finds herself interrogated by two creepy marionettes, their glass eyes peering into the darkest corners of her heart. Try as she might to ignore the dreams, Alice is drawn into their violent, twisted universe. As greed and desire begin to warp the ordinary reality she knows, Alice is thrust into a dark game of slaughter made for fairy-tale heroines who'll stop at nothing to bring their creators back to life!


Details for FIRST ENERGY MEDIA/MET-ED - Ad from 2021-03-17
NOTICE TO CUSTOMERS PER MET-ED’S PROPERTY RIGHTS Met-Ed has contracted for the ground application of herbicide solutions on electric line rights-of-way in parts of Cumberland, Perry and York Counties. Both the herbicide solution and the application method are specified by Met-Ed. The herbicides are registered and approved for this use by the U. S. Environmental Protection Agency and the Pennsylvania Department of Agriculture. The application will be performed on electric line rights-of-way during the period commencing 14 days from the date of publication of this notice and extending to 45 days from the date of publication. Prior to the application, an attempt will be made to contact property owners residing on the property scheduled for treatment of wood vegetation. Additional information will be furnished during this contact. Requests for additional information should be directed to: Met-Ed 1-800-545-7741.


Hot tubs are relatively small systems, meaning your hot tub water chemistry can change rapidly. Having a reliable hot tub test kit will ensure that you can stay on top of managing your water quality. Using a test kit that provides accurate results will help ensure that you are maintaining proper sanitizer levels and you know which chemicals to add in order to achieve proper water quality and pH levels. It’s important to use your water testing kit at least 2 or 3 times per week. Contact us for more information.
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Royal Canin Maxi Junior 4kg dog food
Description: This is the best food you can give to your maxi breed dog up to 15 months old.Royal Canin Maxi Junior can also be used in combination with the breed-special foods for added benefit.
Complete dog feed for large breed puppies (adult weight from 26 to 44 kg)
Dog Food for Fairly Large Breeds like labrador, german shepherd, golden retriever etc.
Large dog breeds, by their very definition, need nutrition of a nature far different from small or medium-sized breeds. These sporty breeds often require ample energy reserves to match their higher activity levels. It is also important that their nutritional needs are met during the early developmental stage to support healthy musculoskeletal development. Hence, the Maxi Size Health Nutrition range has been specially formulated for large dogs of all ages and breeds, including puppies. This nutrition range helps large dogs maintain a healthy heart, digestion and strong joints at every life stage.
Ingredients: dehydrated poultry protein, rice, animal fats, vegetable protein isolate*, maize flour, hydrolysed animal proteins, maize gluten, maize, beet pulp, vegetable fibres, minerals, soya oil, fish oil, fructo-oligo-saccharides, psyllium husks and seeds, hydrolysed yeast (source of manno-oligo-saccharides), hydrolysed crustaceans (source of glucosamine), marigold extract (source of lutein), hydrolysed cartilage (source ofchondroitin).
ADDITIVES (per kg): Nutritional additives: Vitamin A: 11400 IU, Vitamin D3: 1000 IU, E1 (Iron): 45 mg, E2 (Iodine): 3.5 mg, E4 (Copper): 8 mg, E5 (Manganese): 58 mg, E6 (Zinc): 192 mg, E8 (Selenium): 0.08 mg – Preservatives – Antioxidants,Protein: 30% – Fat content: 16% – Crude ash: 8.2% – Crude fibres: 2.5% – Per kg: Fructo-oligo-saccharides: 3.4 g – Manno-oligo-saccharides: 0.5 g – Calcium: 12 g – Phosphorus: 9 g.
*L.I.P.: protein selected for its very high assimilation.
Size of packet: 4kg.


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Use Purple Heart in summer baskets and container planters, then bring it indoors when the temperatures drop in the fall.
Available in storeClose
Purple Heart, aka Tradescantia pallida 'Purpurea,' adds an unusual structure and vibrant color to summer gardens. We use it almost exclusively in hanging baskets and container planters, though it could be used as a sort of ground cover in borders, twining its way through other shade-loving plants. Bright pink flowers accent the tips of the stiff purple stems throughout the summer and up until freeze. Stems may be pinched back after blooming to encourage more compact new growth. Bring Purple Heart indoors at the end of summer, or take cuttings and grow them inside for next year's garden.
|Common Name||Setcreasea purpurea, Purple Heart|
|Mature Size||12" - 18" tall and wide|
|Cold Hardiness||Frost sensitive perennial grown as an annual|
|Light||Sun to partial sun/shade, may need protection during hottest time of day|
|Bloom Time||Late spring to fall|

domain: biology


text:
New opportunities bring balance
to private equity
Our Global private equity watch 2014 finds balance returning to the industry.
Having proven it can react and even thrive in difficult market conditions, PE continues to navigate 2014 with increased confidence. Optimism abounds regarding investment prospects, exit alternatives and follow-on capital opportunities.
Sustained good news in the US and an improving outlook for many European countries initiated the rebalancing of investor portfolios back toward domestic markets. Compared to recent years, global funds are likely to invest more capital in developed markets as they seek larger transactions.
At the same time, PE activity in emerging markets will persist because many firms have spent recent years building capital and talent.
IPO market makes strong return
The most compelling story in 2013 was the return of the PE-backed IPO market, which had its strongest year on record with US$58.5b raised. By year end, 187 PE-backed IPOs had priced, compared with 110 in 2012.
Top 10 IPOs 2013
The resurgence in EMEA was particularly striking. In 2013, PE firms raised US$17.8b across 35 IPOs, compared to just six raising US$2.3b in 2012.
As hold periods have lengthened over the last five years, PE has intensified its focus on making operational improvements in the businesses it backs. This hands-on approach is starting to bear fruit as investors respond with strong demand for PE-backed assets.
PE can now exit some of its largest portfolio companies, many of which date to the pre-crisis era. This is beginning to restore balance to PE portfolios, offering relief around aging investments.
New exit routes in emerging markets
Until recently, IPOs had been the mainstay of markets such as Asia-Pacific. Now, options are broadening as trade sales increase and the proportion of exits and secondary buyouts become more common.
Overall, PE firms in emerging markets are managing to balance exits across the main available routes rather than relying too heavily on a single type of realization.
Stability is also returning to the fund-raising markets. Developed market totals are up, while funds in emerging markets are now focused on deploying the high amounts of capital they’ve raised.
Total 2013 commitments to PE funds in developed markets increased by 17% over 2012, to US$401.1b. Indeed, 2013 was the best year for fund-raising since the 2008 peak of US$634b.
Although that boom era peak is unlikely to be challenged any time soon, confidence is solid. Two-thirds of GPs are now optimistic about the fund-raising environment, according to the most recent PE Capital Confidence Barometer.
LPs now seek to build a broad spread of commitments across developed and emerging markets. In 2013, emerging markets fund-raising accounted for 12% of the global total, compared to 20% in 2012. Nevertheless, the decline follows a decade of exceptional growth. This is restoring some balance to the fund-raising outlook.
Top 10 IPOs 2013


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A man armed with a sword was seen ‘lashing out’ at two other men in a street brawl which could have led to much more serious injuries had the weapon not been blunt.
One man suffered a cut to his ear following the incident in The Crescent area of Stapleford at 5.30pm yesterday.
Armed officers from Nottinghamshire Police quickly responded and arrested three men, aged 32, 36 and 43.
A blunt Samurai sword was recovered at the scene.
Witnesses reported seeing a man running around with what they reported to police was a machete after two other men were seen smashing objects outside the address. It is believed this was a retaliation fight following an earlier incident.
Blows are alleged to have been struck to the victims’ heads, necks and chest areas with the weapon, but neither were left with any significant injuries. But police have said today that had the weapon been sharper it could have caused some really serious damage.
Detective Sergeant Matt Scott said: “Witnesses reported seeing a man armed with a Samurai sword allegedly confront the two males who were apparently causing the damage, swinging the sword at one man then lunging towards them both with the sword.
“The weapon clearly makes contact at some point as it caused a cut to one person’s ear, but thankfully no further injury was reported. The weapon we recovered was actually quite blunt, but had it been sharper this could have caused some very serious injuries.
“This incident was treated with the utmost severity having received a report from a member of the public that a man was running around the street with a machete.
“Thankfully officers quickly brought it to a safe conclusion and we’re grateful that there were no serious injuries.”Early indications suggest that those involved were known to each other.
“We absolutely won’t tolerate weapons and violence on our streets and this can be really distressing to those who witness it.”The men were all arrested for affray and they remain in custody while enquiries continue.”
Anyone who saw what happened or who has any information that could help is asked to call Nottinghamshire Police on 101 quoting incident 592 of 11 July.
Alternatively, people can call Crimestoppers anonymously on 0800 555 111.

domain: news


text:
Your game is on its way.... Please wait.
It's Christmas and Santa's out making deliveries! Help him out by grabbing the presents he drops. Just watch out for coal!
Start the game by clicking "PLAY."
As Santa Claus flies back and forth across the screen he will drop candy and toys. Move your mouse to move the chimney to catch the gifts with! But don't catch coal or snowmen. The coal will light a fire in the chimney and destroy any presents you catch! A snowman will freeze over the chimney and presents will bounce right off of it. Catch as many gifts as you can before the time runs out. The timer is the top number in the upper left corner. The number underneath is how many presents you've caught. You can boost the amount of time you have left by catching clocks or ten presents.
The game will end when the timer runs out. Click "PLAY AGAIN" to start over. Go catch some presents!

domain: game


Is the following statement FACT or CRAP?
- You can get addicted to marijuana.
17% of adolescents who use marijuana become addicted, and 50% of daily users become addicted. Adverse Health Effects of Marijuana Use https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4827335/pdf/nihms762992.pdf
Recently, I came across an ad for a cannabis-only investment company that pointed out that legal marijuana might soon grow to a $100 billion industry. It also claimed that Shakespeare might have been a user, so you can see how much weight their claims hold.
Of course, not a word was mentioned about how addictive marijuana is. The burgeoning pot-investment field, like everyone else associated with Big Marijuana, wants to pretend that marijuana’s good for what ails you, and claims it’s certainly not addictive (hmmm does this sound like Big Tobacco’s playbook?).
This is nothing less than a bald-faced lie. By now, Big Marijuana is well aware that modern potent marijuana in all its forms is very addictive. The medical and mental-health fields have known it for decades. Psychiatrists define cannabis in the DSM-5 as one of nine categories of substances that can result in a Substance Use Disorder (SUD), which can permanently plant its hooks into frequent users. If cannabis weren’t addictive, it wouldn’t have medically defined withdrawal effects—and it does.
Here’s the reality. According to the National Institute on Drug Abuse, around 9% of those who experiment with marijuana will develop a Cannabis Use Disorder (addiction). Worse, a minimum of 1 in 6 users who start using as adolescents—about 17%—become hooked. For those who use marijuana daily, the percentage rises to 50%.
Marijuana addiction is real, and it hurts everyone.


A Process of Meiosis
In Jim Jarmusch's work, friendships matter, both within the stories he tells and in the numerous well-known people he works with: those who appear in his films as more than mates and yet less than stars. If works from The Towering Inferno to Ocean's 11 offer star-studded, carat-gold celebrity, bringing together huge names who can jostle for attention on any marquee, Jarmusch no less seeks name-recognition but there is usually a cachet quite distinct from simple celebrity cinema. Obviously, he has cast enormously successful actors but this is usually long before or long after their biggest hits. When Johnny Depp took the leading role in Dead Man it was when he was the star of smaller-scale projects, Benny and Joon, Ed Wood, What's Eating Gilbert Grape?; not the one who in the 2000s made fortunes from Fantastic Creatures and the Pirates of the Caribbean franchise. Bill Murray was enormous when he made Ghostbusters in the eighties but it is as though he has reversed Depp's trajectory and become much better known for smaller works by independently minded filmmakers in films by Sofia Coppola and Wes Anderson appearing for Jarmusch in the 2000s in Coffee and Cigarettes, Broken Flowers, The Limits of Control and The Dead Don't Die. Murray may still appear in films like Dumb and Dumber To and the newer Ghostbusters films, but his reputation now rests as much on The Royal Tenenbaums, Lost in Translation, The Grand Budapest Hotel, and the earlier Groundhog Day, while the numerous other films he has appeared in can seem just money-making exercises from a wry man who is surprised Hollywood is willing to throw money at him. Even working for Jarmusch on Broken Flowers, he only "agreed to do the film on the condition that he would not have to travel more than an hour from his home in Hudson Valley, New York." (Imdb) He has become a useful Jarmusch actor just as, in a different way, his co-star in The Dead Don't Die, Adam Driver, can exist in a parallel universe: the audience for Star Wars is unlikely to be the same as for Paterson, and Driver is the sort of independent actor Noah Baumbach can be drawn to while an advert for Burberry augments rather than counters Driver's reputation.
It is as if working for Jarmusch gives to actors a credibility within a given milieu that may be small but isn't insignificant, can even erode saccharine celebrity with the caustic soda of Jarmuschian irony. Whether working with stars from the US, internationally (Roberto Benigni, Beatrice Dalle, Isaac de Bankole, Tilda Swinton), or from the world of music (Tom Waits and Iggy Pop), Jarmusch has a sixth sense when it comes to a certain type of status: people who fit into his world while reflecting a wider one of indie credence. Occasionally an actor feels completely ill-equipped to exist within the Jarmuschian (Tom Hiddleston in Only Lovers Left Alive) but whatever one thinks of Jarmusch as a filmmaker, his ability to cast within the film, and to indicate a brand beyond it, has been impressive. While directors like Quentin Tarantino and Wes Anderson seem much more deliberately to have created a brand for themselves, Jarmusch gives the impression that his career has come about through friendships that have little to do with creative ambition or purpose. As Geoff Andrew says, "...many of the performers, not to mention some of those paid hommage, are personal friends of Jarmusch, who prefers to write roles specifically for people he knows personally, and still describes his filmmaking as essentially 'amateur'" (Stranger than Paradise)
Our purpose here won't only be to try and understand how friendships work within and beyond the films, how it creates an understated celebrity culture, and also how Jarmusch differs from other filmmakers, directors who work with an ensemble of actors but whose oeuvre doesn't quite capture the fraternal. It will also be to explore understatement more broadly. Wes Anderson creates an ensemble with repeated appearances by Tilda Swinton, Bill Murray, Jason Schwartzman, Owen Wilson, and Adrien Brody, just as Tarantino has often worked with Samuel L. Jackson, Michael Madsen, and Harvey Keitel. Tarantino and Anderson if in different ways are drawn to bring them into their worlds rather than allowing them to assume a liminal position between the world of the story and the world outside of it. Anderson's films may more obviously than Tarantino's invoke the animated, but Tarantino more ambitiously, and problematically, incorporates into his movie universe the real world, which is why Hitler can be invoked and killed in Inglourious Basterds and Sharon Tate named and yet survives in Once Upon a Time in Hollywood. If Anderson's films offer up an artificial world that can occasionally incorporate the actively animated (Fantastic Mr Fox; Isle of Dogs), Tarantino's are closer to strenuous egomaniac assertion. If history is written by the winners, then Hollywood has always had the money to play unfair with the past but few have done so with such audacity as Tarantino. Even a scene where Bruce Lee gets bested by his Anglo-Saxon central character in Once Upon a Time in Hollywood can feel like white American revisionism: that Tarantino wants to show good old American robustness can take out Asian pretension.
Let us not concentrate too much on other directors, though their presence in this piece will help contextualise Jarmusch's approach, but Tarantino's resistance to Chinese influence (with the Chinese unhappy with the Bruce Lee scene and where Tarantino refused to cut) and his fictional simplification of an actual event between a stuntman and Lee, reflects the Tarantinoesque: the need to be top dog who takes no excrement from anyone. Jarmusch's sense of independence was always much quieter than that: "he has made a policy of keeping control of his own negatives" (Guardian) and while Tarantino has often worked with stars all the better to play up their exaggerated persona (Bruce Willis, John Travolta, Pitt and Di Caprio) or helped create hyperbolic personae (Samuel L. Jackson, Christoph Waltz), Jarmusch usually aims for meiosis: downplaying the stardom and suggesting more that everyone is involved in a communal event that happens to be a film: hence the 'amateur" aspect Andrew notes. It is this question of meiosis in its various form that we wish to explore, seeing the importance not only (though especially) of actors and how Jarmusch utilises them, but also his use of music, framing and narration to generate an ironic, understated, minimalist aesthetic. Jarmusch has accumulated over time a large body of work no matter the feeling that he is neither grifter nor grafter, neither ambitious nor hardworking. Perhaps this is all part of the image but big enough as the oeuvre happens to be, let us concentrate chiefly on five works: Down by Law, Dead Man, Ghost Dog-Way of the Samurai, Broken Flowers and Limits of Control.
It is easy enough to see why critics can paradoxically exaggerate the minimalist dimension in Jarmusch's work, but while we wouldn't disagree with Michael Koresky's claims in a symposium, we might tone down the dismissal. "Jarmusch has widely been cited as a "minimalist," an easy, often ill-used tag for someone who is much more interested in the big picture." (Reverse Shot) We can look at that bigger picture while still observing the minimalist aspects of his films, especially if we reckon serialisation is vital to a minimalist aesthetic. As Sam Korman says, "historically, minimalism used repetition to challenge notions of linear time and rational space." (Frieze) Jarmusch may not push so far into creating spacial and temporal incoherence as Alain Resnais so famously did in Last Year at Marienbad, as even John Boorman would do in the Resnais-influenced Point Blank, but his serialisation often creates an ironic rather than incoherent relationship with the spatio-temporal. In Down by Law, the beginning of the film emphasises the location and its inertness through the tracking shots and their variations, the jump cuts and the music. Here the film starts on a fixed frame showing us the rear of a hearse before the camera pulls away and shows us in lengthy lateral shots the cemetery, and then the broader vicinity, as it passes through various Louisiana locations, offering sharp cuts from one place to another but giving the impression of a continuous movement through space. The angle may change from a level-eyed view to a low angle but for most of this montaged sequence we feel that Jarmusch hasn't used elaborate tracks but filmed from inside a car. It gives to the scene both a formalist dimension and a cinema povera insistence: that this is cinema that shows the generally impoverished Louisiana life with little money being suggested behind the camera as well.
That it was shot in black and white like all of Jarmusch's early features adds to the idea that the film was made on the cheap. This isn't the monumental black and white of The Last Picture Show, the melancholic beauty of The Elephant Man, or the deliberate harshness of Raging Bull. Jarmusch manages to make monochrome not a sign of aesthetic luxury in an age of colour, but a necessary means of cinematic survival: that his black and white appears to have less an aesthetic than a budgetry quality to it. This doesn't mean the film is poorly shot; it was after all his first collaboration with the great cinematographer Robby Muller, who was known for his work with Wim Wenders, and often in monochrome: in Summer in the City, Alice in the Cities, Kings of the Road. But it shares with these three Wenders' films a simplicity of means, and gives to Jarmusch's work a subdued underpinning that makes us assume the director shares with his characters a lazy approach to life. When the film settles on John Lurie lying in bed with a lover we are offered three more or less fixed-frame shots: Lurie with his paramour in the sack; Lurie looking out the front door and seeing another woman sitting on a rocking chair on the porch, and then back to the lover as Lurie returns to the bed. Then the film cuts to a tracking shot moving in the reverse direction from the earlier montaged sequence before we have once again three fixed shots of Tom Waits in his apartment as his girlfriend lies under the covers. There is obviously deliberation here, that Jarmusch has absorbed the lessons of his masters, including Bresson and Ozu (see his Sight and Sound top ten from 2002), but Jarmusch also manages to indicate this isn't respectful homage. It is an awareness that great films have come out of ostensible simplicity and why shouldn't he try the same.
At the beginning of Broken Flowers, Jarmusch again opens on a lateral track but this time the film is more pragmatic than deliberate. It follows the postman as she delivers letters to the central character's neighbour before delivering a key letter to our hero, Don Johnston, which will set the story in motion: Don receives a semi-anonymous note from a former girlfriend informing him he has a grown-up son. The film's visual pragmatism doesn't mean Jarmusch has got more conservative in his aesthetic as he has become older and better known. His films are sometimes more obscure and formally controlled (The Limits of Control); on other occasions more obvious and almost commercially targeted (The Dead Don't Die). It is more that the form constantly finds ways to accommodate the meiotic; that Jarmusch's first principle doesn't reside in a definitive minimalism but in what allows for understatement in its various manifestations. Whether it is the shot choices or the casting decisions, Jarmusch usually insists on undermining exaggeration, as though an independent aesthetic can counter the hyperbole of Hollywood.
Koresky reckons "his films luxuriate in set pieces, just perhaps not on an imposingly grand scale" (Reverse Shot). The 'perhaps' seems redundant, especially if we think of how Jarmusch avoids the dramatic even when it would seem necessary. In Down by Law, the three figures sharing a cell decide to escape and Jarmusch cuts to Tom Waits, John Lurie and Roberto Benigni's characters running through the prison sewers without any dramatisation of the action, nor any sense of the stench or the filth. Where there is a will there's a way, and the irony involved in such a phrasing here is that Jarmusch shows us neither much will nor way. They can escape so easily because they are in a Jarmusch film, a suspension of disbelief that is the opposite of the inflated. While Hollywood will go to great lengths to show the will and the way no matter how unbelievable, Jarmusch offers an elliptical resistance. The point of the big-budget is to make it dramatically believable not realistically plausible. If a Bond film can exaggerate its case with money to burn, why can't Jarmusch understate his and indicate to the viewer that they are watching a film that doesn't have money behind it. Simon Hattenstone notes: "He doesn't work with the studios, relying on grants and sponsorship from private companies (notably the Japanese electronics giant JVC)" (Guardian)
This method of financing allows Jarmusch to retain the Jarmuschian. Better to get money from people who know nothing about cinema than those that pretend to do so. When he did go a little more mainstream with Dead Man he inevitably fell out with Harvey Weinstein, nicknamed Harvey Scissorhands, who thought he knew better than Jarmusch how to make a Jarmusch film. "We had a problem because I sold him a finished film that was produced by my company, and then he wanted me to change it and I'd already signed a contract that he was distributing the film as is. He just bullied me, and I don't like bullies." (Guardian) Whatever Weinstein's almost uniquely negative qualities, the history of Hollywood producing, from Louis B. Mayer to Scott Rudin, is full of people telling others beneath them what to do and how to do it. It wouldn't be fair to say it is built into the Hollywood ethos but if the narratives are given to hyperbole then it is matched by those at the top who want to exaggerate their case. Looking into the career of Rudin, Tatiana Siegel speaks on one incident: "In a fit of fury, he allegedly smashed an Apple computer monitor on the assistant's hand. The screen shattered, leaving the young man bleeding and in need of immediate medical attention. One person in the office at the time described the incident as sounding like a car crash: a cacophonous collision of metal, glass and limb." (Hollywood Reporter) It is like a moment from a Coen brothers film (whose work Rudin produced), or any number of Hollywood movies that find dubiously innovative ways to show violence.
There are moments in Jarmusch's work where we believe he has been 'infected by Hollywood', that his meiotic aesthetic has succumbed to the excess of the commercial. Ghost Dog may be a hitman film but that doesn't necessitate a high body count, especially when directed by someone who knows how to use ellipsis, as Down by Law shows. Yet in the film there are numerous killings, as though Jarmusch had obliviously been absorbing the need for higher body counts in nineties films, even if part of that influence had come from Asian cinema. Tarantino's Reservoir Dogs owed a great debt to Ringo Lam's City on Fire and Tarantino would often talk up the greatness of John Woo. "John Woo released "The Killer," a milestone of Hong Kong cinema that reinvented action movies and introduced the world to a new way of rendering violence," (Indiewire) Greg Cwik says, noting Tarantino's admiration for the work. A clever moment in Ghost Dog shows Jarmusch going further back for his Asian influence. Not only of course in the opening voice-over as Forest Whitaker's title character reads from Hagakure, nor even the book that passes between various characters, Rashomon by Ryunosuke Akutagawa, but for the specifics of violent wit. Here near the end of the film, Ghost Dog takes out one of the mafia henchmen by hiding in the basement, undoing a pipe that leads up to the bathroom sink, and fires a bullet into the head of the mafia man as he looks down the sink hole. As Michael Richardson says, "one of the most audacious scenes, in which Ghost Dog kills Sonny Valerio by disconnecting the outflow pipe from his sink and shooting him through the exposed channel, is even lifted directly from [Seijun Suzuki's 1967 film] Branded to Kill." ('The Phantom of Communication')
It is a clever scene and a decent homage but should it be in a Jarmusch film? Bert Cardullo would say, while writing on Broken Flowers, "certainly Jarmusch has the makings of a cinematic poet, in the verbal as well as the visual sense (if not the physical one, as his films have always de-emphasized action per se); but if he continues down his present path, pretty soon he'll have only the habit and that's when Hollywood will finally have him." Yet Broken Flowers was made in 2005; Jarmusch had already long before that in Ghost Dog clearly shown the tics of mainstream moviemaking, no matter if some of those tics could be traced as far back as sixties Asian film. However independent the films Tarantino had spawned may have appeared from Two Days in the Valley to Things to Do in Denver When You're Dead they smacked of cinematic complacency, an attitude towards violence that was more attitude than violence, as opposed to rougher or gentler works like Kids, Trees Lounge and Slacker, which didn't seem to be attending to a perceived audience, but were searching out the intricacy of intimacy, the confusion of entangled feeling.
The stylistically mainstream that would occasionally show up was potentially a problem given the importance of irony in Jarmusch's work. Partly what distinguished him from many seventies filmmakers was a low-key acceptance of the post-modern as the self-conscious and self-reflexive. Thus Jarmusch's films aren't 'about' the situations he films but they are 'about' the awareness of these situations as filmed events. When early in Ghost Dog, three of the heavies are quizzing another gangster Louis over the titular character, Louis refers to the carrier pigeon that Ghost Dog uses to send messages, "passenger pigeon's been extinct since 1914", the half-deaf gangster yells, as the film plays on the post-Tarantino irrelevance within menace, the ability to play up suspense (Louis is clearly frightened) while interrupting it with humour. It doesn't weaken the tension but it often delays the violence, and though nobody is killed in this particular scene, the menace and humour are intertwined in a way that emphasises the reflexive.
Yet it appears a little different from the Jarmusch of Stranger than Paradise and Down by Law, where the self-reflexive is present but hasn't passed through the generically populist and the audience appeasing. In other words, while in Down by Law Jarmusch is well aware of the tropes he uses and wants us to be aware of them as well, this takes the form of understatement rather than overstatement. Whether it is the breakout (since all prisoners inevitably try and escape), the police framing someone, or the forlorn women in the middle of nowhere who is happy to seek love from a hardened criminal, Jarmusch takes the tropes and makes us aware of them without exaggerating their characteristics. The breakout is all but ignored as action; the entrapment is simple, quiet, and horrific as a little girl lies in the bed as we may wonder what abuses she has been victim to, while Lurie's Jack looks on, distraught, terrified by the arrest but also not a little by the girl's broken innocence. And after they've escaped, the others push Benigni in going first into a cafe in the middle of nowhere and waiting outside while he takes forever before coming out. They end up going over to the cafe themselves and as they look through the window, Benigni is enjoying dinner with a woman who shares the same language: Italian. Benigni's been the most naive of the three of them, the only one who isn't constantly wary, and yet he is also the one who allows them to escape and who finds the woman of his dreams. The film is happy to be self-aware but its awareness needn't mean that the film becomes crude, cynical or devoid of a world: the film makes the most of its New Orleans and Louisiana bayous. These are not film-sets to frame ironic action, but locations that absorb the characters, making them small within the frame as they are incompetent in the milieu. You never feel they have the measure of their environment even if this doesn't lead to any great danger; again part of Jarmusch's understatement.
In this sense, Dead Man (often seen as Jarmusch's best film) is aesthetically somewhere between Down by Law, which was made in 1986 and Ghost Dog made in 1999, and came out in 1995. Made in black and white but distributed by Miramax, with a music score improvised by Neil Young, it also had a cast of actors that expanded far beyond Jarmusch's usual limits (no matter Winona Ryder, Gena Rowlands and Armin Muller Stahl in Night on Earth). Here we have Robert Mitchum, Johnny Depp, Alfred Molina, and Gabriel Byrne, and the film feels both austere and commercial, a work that insists on its hermetic qualities while also yearning for a broader acknowledgement. The latter is there in the humour it seeks and the absurdity it promotes, as though within Jarmusch's need for meiosis a sense of exaggeration wants to become apparent. This can best be epitomised in the suit Depp initially wears. It is a multi-coloured costume in a monochrome film, capturing the absurdity of Depp's attire as he gets off the train and finds himself in a frontier town where fussiness looks out of place. While he walks through the primitive main street he passes a man receiving a blow job from a kneeling hooker, and the man aims a gun at Depp's character, William Blake, when Depp stops and watches for a moment in shock. Everybody else is dressed for the environment; Depp is attired for a civilisation that is already established.
While most actors in Jarmusch's work bring to the role clothes that are consistent with their broader persona offscreen, Depp is a 'prop' actor in his interest in costumes that make him exist very much in a movie world. Whether it is Benny and Joon, Edward Scissorhands, Alice's Adventures in Wonderland, Charlie and the Chocolate Factory and The Pirates of the Caribbean, Depp brings to films a habilimental hyperbole usually missing from Jarmusch's work. The costumes are rarely a dimension of mise en scene even if they are clothes the characters themselves are proud of wearing. Whether it is the winklepicker shoes that Waits' girlfriend throws out of the window in Down by Law, the various shiny suits Isaach de Bankole wears in Limits of Control, or the central character's wife's preoccupation with dots and stripes in Paterson, clothes aren't irrelevant to Jarmusch's films, but they don't usually function as the do in a Wes Anderson or a Tim Burton movie. They usually remain within the context of a broader aesthetic understatement. In Dead Man, the early moments are full of overstatement, from the prostitute blowing a client, to Robert Mitchum's factory owner pulling out a shotgun, while in its last stages it offers understatement as it moves towards a resigned acceptance of death: the shot William Blake becoming a dead man not even walking but one who lies in a canoe as it drifts off along the river. Yet though the film is finally consistent with Jarmusch's litotes, there is also the scene where Depp is shot after trying to protect his lover and the bullet kills her instantly but wounds him also, and the US marshal whose face is squashed like a character in a low-grade horror film. Asked about this latter moment, Jarmusch said "I was definitely conscious that it was somewhat out of style in relation to my previous films, and maybe this film, too, but I left it in. It's stylistically over the top." (Cineaste) Jarmusch is right to say it is not in the style of his earlier work, but it has become a dimension of a number of his more recent films, and surely not for the better leading to his worst work, The Dead Don't Die. After all, as Jarmusch says, "...style is very important...It's what Martin Scorsese says differentiates all film-makers. Style is the important identifier of someone's personal expression." (Guardian)
However, this doesn't indicate that Jarmusch has sold out, that Hollywood has consumed him as critics once feared. If we agree that Only Lovers Left Alive and The Dead Can't Die are Jarmusch's worst films, they were preceded by Limits of Control and Paterson respectively not only perhaps two of his best but also two of his most meiotic. Dead Man is in many ways a very fine film but it shows like Ghost Dog a filmmaker in two minds towards exaggeration and understatement, towards a hint of audience gratification and a need to retain the enigmatic; to make films that remain a mystery to the very man who makes them. "I'm for the mystery of life" (Guardian) Jarmusch insists, and at his best, in his work too. Dead Man is a mixture of the mysterious and the obvious, and while in some filmmakers' work this can be their very style as they veer between the enigma of their characters and the directness of their form (Aki Kaurismaki perhaps a prime example), Jarmusch's work loses its distinctiveness when it offers the too categorical. When in Dead Man, Mitchum hires three top gunmen to go and find Depp dead or alive, at one moment Mitchum yells at them to shut up. The film cuts to John Hurt, his long-suffering, long-serving assistant, with a startled expression on his face. Earlier in the film though when Depp insists he wants to speak to Mitchum, Hurt is amused by the idea, well aware that Mitchum will force him out of the office at gunpoint. A raised voice is surely nothing next to Mitchum's gun-toting but it works for the comedic touch even if it counters both character and style. It seems unlikely that Hurt would react like this and the reaction shot is the sort of Hollywood intrusion that underscores moments that are already clear enough.
There are numerous scenes like this in a film that at the same time seeks in its monochrome images, its plaintive and wondrously insistent Neil Young soundtrack, in Depp's increasingly attractive yet fatigued face, a melancholy that the style often intrudes upon. If Jonathan Rosenbaum could "regard [thefilm] as his most impressive achievement to date" (Cineaste), it seems to us more stylistically compromised than Down by Law and later works like Limits of Control and Paterson assuming we see style as vital to a filmmaker's work and that style in Jarmusch is meiotic.
In The Limits of Control, one way of looking at it is to imagine a Bond film that removes all exaggeration and categorical meaning; to imagine a hit man movie that insists the reasons for the hit remain vague. Xan Brooks quotes the famous Hitchcock dictum: "Hitchcock once said that drama is life with the dull bits cut out. But Jarmusch's films seem expressly designed to test that maxim, turn it upside down." (Guardian) Jarmusch himself has said "I realized a couple of years ago that I get lost sometimes watching films because my mind drifts away" (Reflex) and never is this more deliberately evident as a stylstic gesture than in The Limits of Control. The film is constantly attending to the edge of its narrative rather than its dead centre, giving time and attention to anything from how the central character likes his coffee (two espressos in two separate cups) to the architecture he passes through in Madrid and Seville. If in Bond films, the locations are both exotic and irrelevant, there as tourist-brochure opulence and ignored as a place with specific smells, sounds and sights, Jarmusch reverses this by making the locales immersive and the story incomprehensible. While we usually expect 007 to get his orders from M, and his technological instructions from Q in categorical plot exposition, here at the beginning of The Limits of Control, Isaach de Bankole looks wise but none the wiser: "he who thinks he is bigger than the rest must go to the cemetery" one of the men, Alex Descas (the other Jean-Francois Stevenin), says, while the three of them talk at an airport. This is the Jarmuschian equivalent of M telling Bond that a madman wants to nuke the world and explaining in detail how they must put a stop to it as Bond then goes off and sees Q, who will give him the necessary means to help combat the super-villain. Jarmusch plays halfway between Godard and Rivette. The pleonastic use of various languages brings Godard's Le Mepris to mind and the reality of what happens when you have an international cast and crew that slows everything down due to linguistic differences. Wouldn't the same be the case in international espionage too, but a detail no Bond movie will spend more than a moment entertaining?
Stevenin appeared in both Godard and Rivette films but one might think especially of Rivette's Stevenin-starring Le Pont du Nord, with its 'complot', the sort of story that is conspiratorial and subterranean and which never quite makes it into the arena of comprehension. The very nature of the material demands the meiotic because the story cannot quite rise to the surface and generate the clear tension in a Bond film. When at the end of Limits of Control, Bankole bumps off Bill Murray's uber-villain, Murray's is a cameo appearance that emphasises the vagueness of the events. It looks like he has wandered in off another set rather than appearing integrally part of the story. While a Bond villain relishes the role as the chief perpetrator of the plot, Murray seems to be as bemused as everyone else as to what is going on.
As in much of his work, throughout The Limits of Control, Jarmusch decompresses his narrative, finding ways to retreat from the momentum of the story to find the dawdling detail. It might be Bankole shining his shoes on an automatic shoe-shine machine at the airport, sitting at cafes or walking the streets of Madrid, exercising in his room or visiting galleries. "For me", Jarmusch says in the film's pressbook, "if something moves me, I get flooded with it. So the idea was that he looks at everything in the way he looks at paintings. The way he watches the nude girl swimming in a pool. There's a scene where there are pears on a plate, and I wanted that to look like a painting. The way he compares the Tower of Gold to a postcard. Even the moving landscapes, when he is travelling by train." It isn't that Jarmusch creates painterly images, though sometimes he does; more that he creates the contemplative space that resembles the time we give to paintings in a gallery.
There has of course been much talk around the movement of the film image and the difficulty this gives to reflection, indebted to Roland Barthes' Camera Lucida, but rather than seeing it is an absolute issue between movement and stillness, between cinema's capacity for contemplation or its impossibility one can think of how films in general, and Jarmusch's films in particular, facilitate or obstruct its possibility. The closer we feel Jarmusch happens to be to the former over the latter, the more Jarmuschian the film is, the more it is true to its own sensibility. When his films become exaggerated or crude, it isn't that these are a priori problems in a work, though they may be, but they are problems in a Jarmusch film. One may not care for the Coen brothers, or for Sam Raimi, but to ask them to be more nuanced would be making a category error; to ask it of Jarmusch seems not unfair.
It might be useful to conclude by saying what these features are without reducing the claim to a taxonomy, nor insisting that all Jarmusch films ought to have them to seem like a film directed by the independent filmmaker. It is more likely that the presence of a tonal detail that better belongs to a Tarantino, a Burton, or a Coen bros film will reveal failure rather than the absence of a general aesthetic, which is almost always present. Nevertheless, we might expect from a Jarmusch film that characters hang out together (Stranger than Paradise, Down by Law, Coffee and Cigarettes, Broken Flowers) deal with cultural incomprehension (Down by Law, Limits of Control, Ghost Dog, Dead Man), observe deliberately but not schematically their environment (The Limits of Control, Paterson, Stranger than Paradise), and possess behavioural peculiarities (Ghost Dog, Paterson, Limits of Control, Broken Flowers). Often Jarmusch's characters are protecting themselves against something (Broken Flowers, Ghost Dog, The Limits of Control) and this can seem to be useful or detrimental to their ego. In Broken Flowers, we might believe that the central character has spent his life too self-protectively while in Ghost Dog we sense that the protagonist's wariness of others is the sensible response to a childhood of beatings and bullying. Sometimes the humming egoism of a character appears justified (The Limits of Control), often not Tom Waits and John Lurie's characters in Down By Law could do with a bit of growing up as they wrestle like a couple of kids twice in the film.
Formally, on occasion the camera's movement is pronounced; often its fixity evident. It can move frequently and laterally as in Down by Law, or feel much more static and geometrical, evident in Paterson. But one frequently senses a space between the action and its representation, a space usually missing in films that want us to concentrate on the story. Jarmusch asks us to focus on the narrative but not quite to ignore that it has a form in its telling. This can give to the film a feeling sometimes of the perfunctory or the arbitrary, as if Jarmusch can't quite be bothered to create variety in the shots, or can't quite keep his mind on the story he tells. But closer inspection usually reveals a formal preoccupation that counters the need merely to let the images tell the tale, as we noticed in looking at the beginning of Down By Law, or if we think about the shot choices in The Limits of Control, where Jarmusch constantly appears to be looking for ways to film less the story than the environment the character finds himself in. If the mystery for us as viewers is the story that is narrated cryptically, the mystery for Bankole's character is Madrid and Seville as he wanders through these cities that are unfamiliar to him. It makes sense that Jarmusch's breakthrough film was called Stranger than Paradise: his films generally show characters who are themselves strange or in strange circumstances or situations, and Jarmusch's filming often reflects one or the other. Sometimes, the style mirrors the idiosyncratic and habitual nature of character (Broken Flowers, Paterson), sometimes the unusualness of place (Night on Earth, The Limits of Control, Dead Man).
The soundtrack is often present in Jarmusch's films, and rarely as cue music dictating the action but more as a score that makes us think about how to feel about the film rather than the narrative. If in common parlance film music tells us what to think, the best way to describe Jarmusch's usage is that it tells us how to take the film, the appropriate disposition towards it. Whether it is Young's jarring, jangling work for Dead Man, the abrasively enigmatic Boris soundtrack for The Limits of Control, or the gentle, drifting use of Mulatu Astatke in Broken Flowers, Jarmusch uses music to ask us to ponder over the film we are watching, not to get lost in the story we are following. It is part of the director's self-reflexivity. Contrasting Jarmusch's soundtracks with other films of the eighties, Ryan Gilbey reckons, "music wasn't there to shift units; it lived in the fibres of the celluloid." (Guardian) This is at odds with the norm: as Randy Thome says of film composers: "everything is raw material, and so that the music that you do for this scene is very likely to be ripped out of that scene and used in another scene where you didn't intend it to be used at all." (Soundscape) If Jarmusch often works with musicians as actors then they also have agency on the soundtrack. None more so than Neil Young on Dead Man: "Neil asked me to give him a list of places where I wanted music, and he used that as a kind of map, but he was really focused on the film, so the score kind of became his emotional reaction to the movie." (Cineaste) In Down by Law, the song we hear at the beginning of the film is by Tom Waits, who of course also appears in the film as one of the three leading characters. But this isn't the 'same' Tom Waits: the soundtrack and the character are distinct even as the film contains a very strong sense of Waits' presence because of this dual function as musician and actor. While it is common enough to have an actor singing in the film, providing the music as they perform a character (like Bette Midler in The Rose or Barbara Streisand in The Jazz Singer), in Down By Law, Waits' character is a DJ not a musician; that he is the sort of guy who would play Tom Waits on his radio show gives us a sense of the sort of irony and distance Jarmusch seeks to employ.
These are some of the ways that Jarmusch creates the Jarmuschian generating a style that is both his own and isn't remotely 'original'. Jarmusch draws too much on predecessors generically and formally for that. He knows that when he makes a western he cannot be unaware of numerous westerns that have come before him, from Acid westerns to Spaghetti westerns, from revisionist takes on the genre to the anti-western. "Nothing is original. There are a limited number of stories to tell. But there is an unlimited number of ways to tell those same stories. I am more interested in forms" ('Philosophy and Genre Politics Behind the Acid Western Film of Jim Jarmusch') Thus the same will be the case when Jarmusch makes a gangster film (Ghost Dog), a hitman outing (The Limits of Control) or a road movie (Broken Flowers).
Yet Jarmusch should know that the question of originality is a relative one: Reed Martin took a lawsuit out against Jarmusch for Broken Flowers: "It is absolutely the same type of character; a taciturn man of few words who is ostensibly childless, who goes on a road trip to find out what his life would have been like had he stayed with the women who he neglected." (NPR) Reed lost the case but it gives a legal context to Jarmusch's remark how does a filmmaker create a work that isn't so indebted to others that a lawyer may come calling? Even if Jarmusch's script coincided with Martin's, the aesthetic development would have likely been very different.
Part of Jarmusch's originality, such as it is, rests, as we have noted, on the disposition we have towards the material rather than the story Jarmusch expects us to follow. To get too engaged in the story the director tells would be an error of judgement and this is partly why he uses ellipsis, irony and detachment. We can't get worked up over the jailbirds' escape in Down by Law because Jarmusch doesn't give us the components of the tension. He doesn't build up the possibilities of the escape, all the things that might go wrong, and the risks involved. Unlike such a marvellous examination of an escape in all its intricate detail like Le trou or even Escape from Alcatraz, Jarmusch underdetermines the drama all the better to overdetermine the viewer's disposition. It is the same in The Limits of Control since we cannot follow easily what is happening, we instead share the character's aloof approach to event.
This doesn't make Jarmusch's work Brechtian, nor does it make it post-modern, but by making clear it owes little to the distanciation devices of either (whether for political or for consumerist reasons, whether to make the public aware of the art they are succumbing to, or aware of the exhaustion of consumer products that can only be tweaked cleverly), Jarmusch leaves us a little bemused as to his purpose. We might say that he wants to create Jarmuschians, a small band of folk who get the references, know the actors are often playing if not versions of themselves then versions of how Jarmusch sees them, and are aware that a film is a construct that makes them adopt an attitude towards the material. Many a filmmaker will insist that they are just telling a story, and plenty others will insist that they want to convey a message, but in Jarmusch's work it is as though the message is the medium if we see the medium as the dispositional, as the construction of a sensibility that never allows a person's goals to be more important than their attitude towards them. When Jarmusch allows scenes better found in a Tarantino film, or a Raimi work, he fails his own test: he is no longer a Jarmuschian and the meiotic disappears. The rest of the time, which is most of the time, the director conveys an ironic tenderness that makes the work if not original, whatever that might mean, at least singular. Yet we might wonder, in conclusion, and by way of returning to some early remarks, how Jarmusch's work would play if it weren't for the well-known faces who appear in his films and give it an irony that might on occasion be close to bad faith. Few filmmakers give a greater sense of resistance to celebrity culture, and yet there is no doubt that Jarmusch has often worked with people who are famous; and that this feeds into the characterisation. This isn't to condemn Jarmusch, but it is to muse over what independence of mind and cinema look like, and how while the casting of stars can often lead to a weakening vision; Jarmusch's casting of celebrities has indeed affirmed his.
© Tony McKibbin


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Latest Update on 9th November 2021: Delhi SSSB has published Junior Clerk (Post Code 13/20) Exam Date notice. The Online Examination will be conducted from 3rd May to 12th May 2021.
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|Recruitment Authority||Delhi Subordinate Services Selection Board|
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|Post Name||Junior Clerk|
|Selection Process||Written Exam, Typing Test|
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|Type of Post||Group C Under Delhi Transport Corporation (DTC)|
|Last Date of Applying online||6 February 2020|
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- In a small saucepan, combine juices, sugar and cornstarch.
- Cook over low heat until thick and clear, stirring often.
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- Pour into pie shell.
- Cover with other pie shell and seal edges.
- Make small slits in top crust to allow steam to escape.
- Bake at 450°F for 15 minutes. Reduce heat to 375°F and continue baking for 25 to 30 minutes or until crust is golden brown.
- Calories 304
- Carbohydrates 48.1 g
- Dietary Fiber 2.7 g
- Protein 3.5 g
- Fat 11.1 g
- Saturated Fat 4.6 g
- Sodium 181.1 mg
- Potassium 102.7 mg
- Calcium 14.3 mg
- Phosphorus 43.6 mg


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Design and the City is a podcast by reSITE, raising questions and proposing solutions for the city of the future. In the final episode, Ravi Naidoo from Design Indaba discusses the purpose of design. Aiming to define the field, the founder of Interactive Africa, a company based in Cape Town, and the design platform Design Indaba shares his personal thoughts on empowering people to create a better future through creativity.
What’s design for? Is design a handmaiden for consumption? Or is design in the service of people? Could design improve the quality of life? […] Can design enhance democracy? I think the fundamental question is this - what’s design for? Ravi Naidoo, famous for putting the African design on the map is “the driving force behind Design Indaba, arguably the most influential design event in the world”, taking place each year in Cape Town. The multi-level platform, founded in 1995, has ever since leveraged over 200 projects across South Africa, increasingly across Africa and the rest of the world.
An accidental design advocate, as he calls himself, Ravi Naidoo, originally a med student, ventured in the advertising world, where he discovered the world of creativity and design. After that, he started a platform called Interactive Africa, a company that does much more than design. Reimagining South Africa through the Design Indaba platform, the agency created a lot of projects in the public domain. “A tireless force in design activism, involving himself in various humanitarian initiatives not only in South Africa but across the continent and the globe”, Ravi Naidoo worked with low-cost social housing projects, security enhancements, and contemporary infrastructure.
Living in a city of extreme duality, merging stunning natural landscapes and inequality, Ravi sees design as the solution to healing the cities’ deeply ingrained social and spatial issues. In fact, he states that “we need to start to really look at a complete makeover and a spatial redesign of the city. We should look at how we could get more low-income housing closer into the city, and improve the densification of the city”.
ReSITE, a global non-profit acting to improve the urban environment, launched its first podcast, Design and the City, featuring nine speakers from the reSITE 2019 REGENERATE event. Revolving around how we can use design to make cities more livable and lovable, every week, a new episode is released, featuring a new guest.