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Credit: Brigitte Lacombe
Well, what can I tell you?” began Martin Scorsese, when I spoke to him in New York a month before the British premiere of his latest film The Irishman at the BFI London Film Festival. “I’ve nothing to say!” But then he laughed, and we talked for three and a half hours – slightly more, in fact, than the duration of the film.
We met one warm afternoon in a comfortable Midtown hotel suite that he uses as a quiet venue for scriptwriting and for meetings. He had been working on the script of his next film, Killers of the Flower Moon, to star Robert De Niro and Leonardo DiCaprio, as well as other projects; and to begin with was visibly weary, as a man half his age might have been under such pressure.
After the agonies and spiritual torment of Silence (2016), the grand, dark epic The Irishman, running to three hours and 20 minutes, puts us back in more familiar Scorsese territory – in the world of Italian-American gangsters, and after a five-film partnership with DiCaprio, back with De Niro, their ninth film together and the first since Casino (1995).
The movie, based on Charles Brandt’s true-crime book I Heard You Paint Houses (2004), tells the story of Frank Sheeran (De Niro), the Irishman of the title, from his 411 days of combat in World War II, tasked with ‘handling’ – aka murdering – prisoners-of-war in General George Patton’s ‘Killer’ 45th Infantry Division, through to his recruitment as a handler of ‘matters’ by Mafia bosses Russell Bufalino (Joe Pesci) and Angelo Bruno (Harvey Keitel). It tracks his progress out of a life of hustling and post-war petty crime to his close but Mafia-sponsored friendship with Jimmy Hoffa (Al Pacino), the tough, charismatic, now unimaginably powerful boss of America’s biggest labour union, the International Brotherhood of Teamsters, whose disappearance in a Detroit suburb on 30 July 1975 has never been definitively solved. In fact, it takes us further, beyond all that.
It might have all seemed too late: Scorsese is 76, De Niro 75, Keitel 80, Pacino 79 – and Pesci, 75, had to be coaxed out of retirement. But director and actors are still in sprightly, and magnificent, form. Pesci, De Niro and Pacino, the central grouping here, are quite spellbinding. In particular, it’s De Niro’s best performance for years, quiet but immensely subtle and cumulatively very moving, brutal but also confused and vulnerable.
Pesci is as terrifying as in GoodFellas (1990), but in a wholly new mode, his violent ruthlessness veiled by his mild, avuncular manner. And while Pacino’s extrovert Hoffa gives grandstanding speeches, and his fiery outbursts are spectacular, there’s a core of tenderness in his relationship with Frank that heightens the tragedy.
The film was made possible by a refined CGI process painstakingly developed by Pablo Helman of Industrial Light & Magic, called ‘youthification’ by Scorsese, which de-ages the actors while retaining the nuances of their performances – allowing De Niro for one brief scene to go back even as far as World War II, when Sheeran was 24, but mostly just making them convincing as forty- or fiftysomethings.
If the subject-matter sounds like vintage Scorsese, the approach is startlingly fresh and ambitious, both challenging and intensely pleasurable for the audience. There’s a big canvas, stretching over more than half a century, full of striking set pieces. Sheeran’s story suggests Mafia involvement in the failed 1961 invasion of Castro’s Cuba at the Bay of Pigs and in the election and assassination of JFK; and includes the murders of Mafia bosses Albert Anastasia in 1957, Joe Colombo in a 1971 rally at Columbus Circle – where Travis Bickle tries to shoot the presidential candidate in Taxi Driver (1976) – and Joey Gallo in 1972 at Umberto’s Clam House. There are superb, intense chamber scenes where these great actors play off each other thrillingly – small group sessions, so to speak, full of nuances, that are always edged with both comedy and threat.
Scorsese, together with his screenwriter Steve Zaillian and his longtime editor Thelma Schoonmaker, also constructs a very fluent double-flashback structure, giving an overarching unity of feeling to the large narrative. Within that, he seems open to all kinds of experiment. While there’s a powerful narrative in The Irishman, it’s full of invention: the liberating lessons of his documentaries – most recently the thrilling, radical Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese – seem to carry over here.
The film, like Rolling Thunder Revue, has been financed by Netflix – so though guaranteed a limited initial theatrical release, it will thereafter only be available through the streaming service. This ‘venue’ has meant that for once Scorsese has not been under pressure to bring a film down in length, or indeed to simplify the storytelling – and he has made the most of this freedom. Viewers will be able to watch the film repeatedly – more than one viewing has always been almost compulsory with Scorsese’s films – and one senses this has been freeing. As Schoonmaker told me, a saying of her late husband and Scorsese’s mentor, the British director Michael Powell, became their watchword during the editing: “Never explain.”
In the conversation which followed his announcement that he had nothing to say, Scorsese’s quicksilver intelligence, restless curiosity, sense of humour and generosity of spirit were, as always, much in evidence. Happily, ‘never explain’ wasn’t his rule as we talked.
Do you have a way of describing The Irishman for people who haven’t seen it?
Well, generically it’s in the underworld of the American north-east, organised crime and unions, and the political ramifications thereof, during the 1950s, 60s, 70s. It goes up to about the year 2000, yet it focuses on one character, Frank Sheeran, who is a devoted member of this so-called dark society. It’s a story of a man who finds himself in a position that he hadn’t expected, and it’s based on love, duty, loyalty and, ultimately, betrayal.
We tried to make a film that is on a big canvas, but focuses down to one person, and stays with that person until the very end – really the end of their life. People come and go, governments come and go, strange things happen, people find themselves being used as pawns – not to ask any questions and just be a good soldier and go out and do what you’re told to do. And the ramifications thereof no one talks about.
It’s really a moral conflict – a film about how Frank balances what he is as a human being with what he does in his life, which ultimately overwhelms him. And it has some very funny moments too! [Laughs]
Is it true that Robert De Niro found Charles Brandt’s book I Heard You Paint Houses when he was doing background research for something else, and brought it to you?
[Screenwriter] Eric Roth gave him the book. We had wanted to make a film together: we hadn’t since Casino in 1995. Over the years we tried various projects. I would always check with him what he was doing and vice versa – and we just never connected on what he wanted to do and what I wanted to do.
And then finally he admitted to me, “I’d rather, with the time we have left, revisit that world that we feel very comfortable in.” I said, “Well, all right, but there are so many stories out there, the genre has become saturated – so what’s new in that?” And then Eric Roth gave him this book.
We had been playing around with another project called Frankie Machine [based on the novel The Winter of Frankie Machine by Don Winslow], and that was a good example of something, ultimately, that I realised I cannot do. I tried. It’s a mixture of a genre – I just feel like I don’t want to do genre, meaning a real genre of… I guess the extension of the B film or noirish film in today’s marketplace. And the very fact of the place and genre limits us, and I couldn’t find where to go with that character – in this configuration, in this story.
We had a deal actually, at Paramount Pictures. [The late Paramount head] Brad Grey said, “I’ll give you a green light, and on the phone Bob said, “Actually, we’ve found this other book.” And he said, “Well…”
Now I knew what he had in mind, Bob, because when he presented the idea to me – and I hadn’t read the book yet – he became rather emotional, and I realised that’s the key. If I could feel the same way, or create something that allows me to get to that emotional state, creatively, that might be the way to go.
So I had that conviction. I knew it. So when Bob said to Brad Grey on the phone, “I think we have another project, we found this book,” Brad Grey says, “Let me get this straight. You wanna switch from a greenlighted movie to a development deal?” And we said, “Er, yes!” [Laughs]
You were both busy with other projects at the time?
Bob was making other films. I was making, I guess, The Departed , and then Shutter Island , things like that, so I was working. I was trying to get Silence made, really – and so that also pushed this picture back. So when I finally did Silence, that was when we realised we could not have Bob play younger any more. And that’s when Pablo [Helman, of ILM] came to me on the set of Silence and said, “We can do this with youthification.”
But I skipped a very important point, which is that immediately they’d made the deal, I hired Steve Zaillian. And he put the script together. And once I saw the script, I knew we had something. I realised the kind of picture it would be. What I wanted to do was seeping in.
I told Bob. He didn’t ask me to explain it. He knew that I felt something. I said, “It has to be done a certain way, and I’ve got it. I know.” And [that way meant] eliminating as best I can the complications of major production…
Credit: Courtesy of Netflix
Now, eliminating certain elements like that, we created other complications with the CGI. But there was a trade-off. We could concentrate there, get to the heart and soul of the movie, rather than an overcomplicated, unnecessary situation where you’re dressing three city blocks or going to actually shoot in Pittsburgh and places like that. All this action takes place in a closet, basically. So I knew at that point the sort of picture it had to be. It had to really rely on the interplay of the characters, the actors.
Brandt’s book is great, but perhaps – given that he is a lawyer – it goes in all sorts of directions. It must have been hard to adapt?
There are so many wonderful things in the book, but I had to get it down to him [Frank Sheeran], to find my way with him, not Charles Brandt’s. And also the tone of the voiceover… that’s why we went back to some of the audiotapes, to get the actual language. Somehow these were… it’s good, but it is… from the point of view of an interrogator. We need to go from the other point of view. And we have to stumble our way through that.
Did Steve Zaillian go off and do the script more or less on his own?
Oh no, we were here [in this hotel room]. We used these rooms, and we talked, primarily about the road trip.
So was the road trip the film keeps returning to, with Frank and Russell and their wives driving to the wedding in Detroit in 1975, always there as a structuring element, punctuating the narrative?
Always there. To the wedding, which isn’t really a wedding. And Frank thinking it’s the road trip: we’re just driving along; we talk about the past a little bit… Then it was a matter of choosing significant moments rather than spectacular scenes. I mean moments in their lives or how they behave.
For example, to show just a little about the bond between husband and wife in that world, the scene when Pesci comes back at night covered in blood. You don’t have to explain anything, you don’t have to say anything. She just says, “I’ll clean it up.” That’s not in the book, but it’s real, and when you have that kind of complicity and trust, that loyalty, that’s the world you’re in. You just are.
Zaillian and I went through it a number of times. Then I wanted him to layer in more of Anna Paquin’s character, [Frank’s daughter] Peggy. I didn’t want any dialogue. So he said, “How are we going to do that?” Of course, we’ll do the scene at the beginning when she’s a kid [when Frank beats up a grocer] – that certainly leaves an impression on her.
And then I insisted on going back and layering in Peggy more, to be an observer… not an observer, but she’s part of the group, part of the story. She knows Frank. She doesn’t have to say a word. When she’s looking at him and he’s sitting eating his cereal, listening to the report [about the death of Joey Gallo] – “A lone gunman walked in.” The look on his face – it’s him, obviously.
Now, whether he really killed Joey Gallo or not, or whether he killed Hoffa… I’m not interested, it’s a matter of the moral choices that he has to make, that he’s forced to live in, that all the people around him are affected by, in his life.
And we also layered in Chuckie, the adopted son [of Jimmy Hoffa played by Jesse Plemmons] as much as possible. I even think I was doing some of that while we were shooting, adding characters to certain scenes, to try to keep a balance going on in this giant fresco.
Particularly towards the end, it feels as if you’re going from the crime film with the plots in which people are in danger of being killed, to a film that’s more just about life. For example, there’s a moment late on when Frank hears that his lawyer is dead and asks, “Who did it?” – and the FBI man answers, “Cancer.”
That’s the first thing that comes to mind, if you’re in that world. It doesn’t mean that the FBI have to know about it. It’s just, like, “Wait a minute… Oh, no, it was natural causes, OK.”
They’re in that world, and it’s convenient to say that it’s not very different from the – how should I put it? – the establishment. It’s not very different. It’s all about power. There’s power here – but ultimately, it’s about love. How he has to deal with what he’s feeling and what he’s obliged to do, and then how he deals with himself afterwards.
And the different steps of dying off: all the old men dying off, his family dying off – or being lost to him, his daughter [Peggy] particularly, Anna Paquin who’s terrific in the film, she only has one line of dialogue. But that one daughter knows, she knows everything, just with looks – and that’s the one he wants to be with, that’s the one he wants to love him [but she refuses to speak to him after learning of his crimes] – and he tries to explain all these things to his other daughter.
And he’s right, there were bad people out there. Fighting your way up the boot of Italy, if you survive for 411 days of combat, it does something to a person. I’m not saying it’s an excuse, but… when he talks about “You don’t know what’s out there,” they don’t. [Laughs] It doesn’t mean he has to behave the way he did. But they simply don’t.
You feel sorry for Frank because of his experiences in the war. If you didn’t see the kind of thing that he had to do in the war you would feel differently. It sort of sets everything else up.
It really does. But there’s an oversimplification: “He’s this way because of the war.” Not necessarily the case: a lot of people came back, didn’t do what he did. He just has that in him as part of his human condition, he’s prone to it, and he gives in to it.
But the fact that he feels slightly uncomfortable killing the unarmed men [as we see in flashback] – and he has that line, it’s in the book, where he says, “Maybe they dug their own graves, I can’t understand how they kept doing that. Maybe they thought that if they did a good job the guy with the gun would change his mind.” And then immediately: shoot. [Snaps fingers] He didn’t change his mind. It’s terrifying.
So there’s that humanity in him that goes against it, and he’s struggling with that – he comes out, but he winds up in the same world. It’s like he’s forced to do what he does.
That’s not an excuse, it’s the world he’s in. He can pick up and move out… What other milieu is he going to find himself in? Truck drivers in one place, truck drivers in another place. Mafia here, organised crime there. Wherever. He’s on a certain level, he’s not going to go and suddenly start reading Middlemarch. I’m sorry. He’s not going to take comparative literature in college. He’s stuck with his life.
When Frank says the Mafia boss Russell Bufalino “took a shine to me”, it’s immediately after he’s said that he’s had all these days of combat. Russell knows Frank’s a thief, he’s not denounced his confederates so he isn’t a rat, and he knows how to follow orders.
Yes, he’s a big man, a tough man, he can be brutal – but he’s efficient. If you notice, the killings in the film are executions, they’re not spectacular in any way. I guess the Umberto’s Clam House killing [of Joey Gallo] is spectacular, but it’s very efficient, very quick.
And Frank talks about the philosophy thereof, of each hit. In this case, “Don’t shoot the bodyguard, Pete the Greek – well, don’t shoot him to kill him.” It’s his job. He’s a bodyguard, we’re all professionals – just the leg or the arm, that sort of thing – and get in and get out fast.
It’s striking how high up he is, to do that. You wouldn’t expect the president of a union local to be doing these things.
Yes. The more I read, the more the tentacles go out to areas that I don’t really want to know about any more. But the game is played, and that’s how it happens. There are always the real ‘higher-ups’. It’s just the nature of power. And organised power. Everybody’s doing well. You have to behave. And if you don’t… You know, we have ways of dealing with it. And that’s it.
The film touches on huge political matters – the Kennedys, Cuba, JFK’s assassination – but keeps at a distance from them.
The whole thing about [Mafia involvement in] Dallas itself is something else. I don’t even get into that. The conspiracy theories are always compelling and entertaining. But I’ve got to say, I do believe there are elements that are absolutely true. Whether that was the final cog in the wheel, I don’t know. But they’re fooling around with some bad people.
In The Irishman, the violence is portrayed differently to the way it is in GoodFellas, and things like The Sopranos where they’re all fans of GoodFellas and so on, isn’t it? Partly the role of Peggy is about that. You can’t simply enjoy the violence. Here the moral cost is being counted as the violence is experienced.
Yes, exactly. I think that’s what I was struggling to get to, without verbalising it. To live a life like that – you pay, they all pay. Everybody around him and her, they all pay. And so it’s not a glamorous life, it really isn’t. And yes, there are elements of humour – a dark humour so to speak is certainly there – but this picture goes another way…
I think I only saw one episode of The Sopranos, for example, because I can’t identify with that generation of the underworld. They live in New Jersey with the big houses? I don’t get it. They use language – four-letter words – in front of their daughters, at the dinner table? I don’t get that. I just didn’t grow up that way.
The language of The Irishman, a lot of which is taken from the book, is so euphemistic – “Taking care of that particular matter.” These people don’t want to incriminate themselves; they’re issuing orders all the time.
It’s cold-blooded. Russell Bufalino’s known as the Quiet Don. I’d never heard of him before reading the book. He was a very, very powerful man.
The euphemism is such that when Frank has to tell Jimmy Hoffa that “it is what it is” [ie, he will be killed if he doesn’t compromise], Jimmy won’t accept it. And he goes further, and finally Frank says, “This is it. It’s the bottom line.” He won’t say it. He can’t. “This is it. It’s it!” “Well, I’d better get bodyguards.” “Don’t get bodyguards.”
And they’re back and forth, but: “How many times do I have to tell you, looking you in the eye, and telling you, ‘It’s over. It’s over.’” And then his reaction is, “They wouldn’t dare.” There’s no need to say certain things, there just isn’t. That’s what’s so… I guess cold-blooded is the word, but it’s efficient.
The use of In the Still of the Night by The Five Satins on the soundtrack, framing the film, is wonderful – it could be about the Mafia, or it could be about God, or the family.
Exactly. [It goes back to] the Catholic preaching I used to hear back in 1950, 1951: “Like a thief in the night, Death will come” – and ‘the still of the night’ is when it happens. So this is always something in my head. Now we’re there – at a certain age. The still of the night: it’s clandestine, it’s love, danger, everything.
And that’s the quintessential song of that type. For that time, you know. It’s simple – and kind of moving. It created an atmosphere and a mood when that came out. You would hear it on jukeboxes, radios. And so… that was the movie, that song.
About the use of ‘youthification’ in the film. You were quoted as saying at an earlier stage, when I think you weren’t happy with the first version, “Does it change the eyes at all?”
That’s the second time I’ve heard that as if it was a negative thing. Actually not. What I was saying was: “That’s the job, that’s what we have to do.” In other words, you keep the eyes, but even if you keep the eyes, there’s much more to that: there’s the crow’s feet, there’s the bags under the eyes, there’s the eyebrow. There’s the way the light hit. So every frame you see, there’s infinitesimal work that’s been done. Ultimately, it’s about the performance and about the character.
I knew the sort of picture it has to be. I said, “I can’t have the actors, these actors, with mechanical objects on their heads” because they’re not going to do it, it gets in the way.
But then Pablo [Helman, the film’s visual effects supervisor] came back to me and said, “I think I’ve figured a way.” And he made the… I guess they’re called contacts; little pieces of fabric or something that really were invisible. And you know, you could be wearing it like, round here [indicates his face], and at a certain point you’re talking to a person, you’re not talking to a machine.
The challenge, as they say these days, was to take those elements and keep the person, not lose them in something that is cleaned up. It’s really about keeping that character, keeping those emotions and their faces alive.
In one scene where De Niro’s younger, for example, and he’s talking to some people and he has to convey a kind of vulnerability and a haplessness – making him younger, a couple of times we noticed, made him look like he was threatening them. Now why’s that? The line around the mouth. So, let’s go into the mouth, work on that.
A week later they bring it back. “No, it still looks like he’s threatening.” Well, maybe the eyes have to be fixed – around the eyes.
I’m going for what the performance is. Ultimately, we felt that we regained through the youthification process the vulnerability in that moment.
So it makes you look very closely at the actual way that facial expressions work?
Yes, at every aspect of the face. And then of course as the actor moves in the frame, the light changes. So a few frames this way – you’ve got to put some texture here… and so you’re really creating, recreating, the performance, in a way, with the basic truthful elements of the actor, and protecting those.
We stumbled through that. We said, “What about trying this? What about that?” It would come back a week later, we would say, “It looks a bit funny here, or there.” And so we’d go back. We did that with every shot, with Joe Pesci and with Al too. It’s a learning experience.
In a way, I look at it as… well, there’s the convention in cinema of the use of make-up. If you look at an older film, there was an acceptance by the audience where the hair is powdered, or you know that that’s makeup and that the moustache is fake. But you went with the illusion.
I always remember the great Dick Smith, and the old-age make-up he made for [Dustin Hoffman’s 121-year-old character in] Little Big Man . Or the make-up in The Elephant Man . Where’s the heart? Where’s the performance? It’s there, because John Hurt was great. But I know that’s make-up, so as a viewer I go with the illusion. I give you something back so I can get something from the world that you’re trying to depict for me and the characters.
It’s another level of that, I think. And ultimately, it might be superior in the long run, to creating an illusion. Rather than having to apply prosthetics and that sort of thing. Mind you, we did a great deal of make-up on the film too.
Do you think this system will have an effect on other films that are made?
I think so. Obviously, it may have an effect on films that are trying to create more of a futuristic world. But it’s as good as the people doing it, really. Pablo and his group and ILM were amazing; and we were – myself and Thelma – on them to work in the slightest, the most scrupulous way.
One of the key things was, I didn’t want to make a film dealing with this subject-matter, and this character – and where we were taking him, to the very end – and have half the film working with younger actors that were supposed to be Bob, supposed to be Joe, and supposed to be Al. I just didn’t.
And so you may find that now that’s something that is doable: actors playing themselves younger – or older. This is a first time and there is an element of cost. But I think the more it’s used, the more the cost will become reasonable.
De Niro’s performance is wonderful. Was he involved in the script?
Yeah, once he’d read it he had questions, and then we made some changes as we were shooting too. But we just found our own way really.
Al Pacino was the new actor for you. He came into the production after some of the others. I read that he was slightly nervous joining the team.
I guess he was, but we didn’t really rehearse or anything, we just would talk.
I go back with Al. Francis Coppola introduced me to him the first time in 1970. Francis had come to my mother and father’s apartment on the Lower East Side and we’d be eating dinner, and I became friends with him that year. Francis was telling my mother about The Godfather  and how he was casting it but the studio didn’t want who he was casting. “They didn’t want Marlon Brando” and “I may have to do a screen test, but I can’t tell Marlon it’s a screen test.”
All this was going on, and then he said, “And then I have this new actor to play Michael,” and he told my mother, “He’s named Al Pacino and he looks just like your son. He’s a terrific actor but he’s never done a film before and they don’t want him.” And he said, “What am I going to do with these people?”And he said, “I’m gonna take you to the Village.” And he took me to Greenwich Village, and I saw this play by Israel Horovitz called Rats, which was really interesting, and it was directed by Al. That’s when I first met Al, that night.
And then later on, Al, after Godfather, was in a different situation, of course, and I think I met him for Serpico . We talked, but they were on another level of production, it was like him and Dustin Hoffman – they were up, in a way, and we were still scrabbling in the streets in a sense.
So you were considering directing Serpico?
No, they were considering me! Thankfully, I didn’t get it: it’s a Sidney Lumet thing, and he handled it beautifully. I wouldn’t understand… I couldn’t… No, there were a lot of meetings that I… I was considered for but found that I couldn’t fit in. Then he started working with Brian De Palma a lot, but over the years he was always very good with me, respectful.
We tried to work on a project one time in the 90s, on Modigliani, but we unfortunately never got it made. Or maybe in the late 80s. At that time I really couldn’t get anything made. Nothing.
Pacino’s performance in The Insider is very precisely judged in the way that he’s so angry – and he’s pretty much of a raging bull in certain ways – but then there are also these very tender moments…
Yes. I think a lot of it has to do with… that’s Al’s personality. There’s a relationship between him and Bob that goes on for years, and that’s what was tapped into. I don’t know if the actual Frank Sheeran and Jimmy Hoffa were that way, but I do know from the book and from what I’ve read, that they were close. And they trusted each other. He was a confidant, so to speak, from what I can tell.
The film is a sort of reunion of lots of actors you’d worked with before, including Barry Primus from Boxcar Bertha , which is a film about unions, isn’t it?
That’s right, it is: about the famous labour organiser Big Bill Shelley [played by David Carradine].
I very much enjoyed Ray Romano’s performance [as Bill Bufalino, the attorney who represented the Teamsters and worked closely with Hoffa].
When he read for me for Vinyl [the 2016 TV series about the 1970s New York music scene], the guy was great. They said, “Well, he’s known from TV.” I said, “Well, I know, but I never really watched the show, and I didn’t realise.”
But he is spot-on every time. Everything he does is within the character. No, Ray Romano is a wonderful actor – in there with Al Pacino and Bob, and hanging in there. Whatever they threw around, he picked up.
You seem to have found Netflix to have been very good to work with.
For me they were excellent to work with.
And it’s a very long film.
Yes, it is. Again I took advantage of the venue. I tried doing long-form television – but in order to really do that right you’d have to be doing every episode, almost every season.
And so here I was just trying to experiment with form. And I know that people might be more amenable to spending time watching a film that’s not a series, and so… I came to terms with the nature of the story itself and how I wanted to do it and how I felt I should do it. If I felt I could add something here, that would change this last section, we had really no sense of people coming in and saying, “Cut 15 minutes out of it.” Which is… my life…
Historically, that’s because they wanted theatrical releases, and long films would interfere with schedules?
That’s right. That’s been a struggle and a fight, a war in a sense. So now we just said, “What happens if I just push it here, a little bit? Now if I could sustain the interest, that’s interesting.”
So that’s how I pushed the construction of the film. They were very good with me on that, they gave us all the financial support we needed, and so that was the way this film had to be made. We could not get it made otherwise.
Ideally, I like films in theatres. But on the other hand, we tried to get this film made [through other studios] – it was the other aspect of those nine years when Steve wrote the script and we were trying all these different things and I wanted to do Silence – but nobody would give us the money. I’m not talking about an elaborate budget, I’m talking about a decent budget.
Believe me: at this point in time, in my life, in Bob’s life, the way the picture had to be made, not even the CGI – they still wouldn’t give us the money. We can move fast. On the other hand, we may need to take a little time here and there. You know? And we’ve fought over the years to get that time. And the rug was pulled out from under us, really. They don’t care. Because the way that the Hollywood studios are now… it doesn’t exist any more, so we lost out that way.
And Netflix stepped up. I thought, “Well, at least it can be shown in a theatre for a week or two. And maybe at a film festival, and maybe at some point it can be shown in theatres in a retrospective of some kind.” You know, it will exist. So that’s the way it transpired.
The mode of storytelling you use in the film is suited to the medium. I was thinking about David Simon talking about The Wire and saying that he wanted the audience to be “leaning in” to it – that he wasn’t explaining things, that you were immersed in this incomprehensible world, and you had to make sense of it…
Exactly. To see if you could join that world. As an audience. And go with that, let them take you, rather than us leading you.
The partly fictionalised Dylan documentary you did earlier this year – Rolling Thunder Revue: A Bob Dylan Story by Martin Scorsese, which was absolutely thrilling, has some parallels with The Irishman. Partly it’s the period – there’s a lot of focus on that particular moment, because it’s the 70s: 1975-76.
It did influence the structure of The Irishman. Because once we had Rolling Thunder constructed, [editor] David Tedeschi and I looked at it, and I said, “It’s conventional. It’s just a film about a group of people who go on the road and they sing some songs. I’m going to have to start all over.”
We have to go with the music, maybe, go with the spirit of the commedia dell’arte. And then the words started to come in about possibly people who weren’t there, being there. [Laughs] That’s interesting. That’s a challenge, as they say. Let’s pursue that.
Let’s say Sharon Stone represents certain things. What about the businessman, the marketing man? And that’s [the head of Paramount] Jim Gianopulos. And Irwin Winkler [producer of Raging Bull], my old friend, they started Chartoff-Winkler, they were agents for famous musicians in the 60s.
So why don’t we not stop there? What about the filmmaker? Great. And he had to be taken advantage of. [Laughs] He possesses the performers, he wants to be them. It’s like us, making this… we love the music and the performers so much that the only thing we can do is photograph them and edit it, right? And we wanna be them. And no matter what, we’re left wanting more.
So that fed into The Irishman?
Well, yeah. Let me put it this way: something that I’ve been working on over the years is with narrative. On certain films I’m locked into a narrative – I used to say plot, but it’s more than plot, it’s narrative. But I’ve been trying to break free of it, and tell stories in a different way, and I found that the documentaries helped me with that.
Rolling Thunder; the George Harrison one, Living in the Material World ; Public Speaking , about [author] Fran Lebowitz. They helped me go by tone – where the inspiration comes from takes us to another story, or to another place – and it’s more spatial than time.
Is this new approach about trusting intuitive connections more than you perhaps had done in the past?
Yes. Totally. Intuitive connections. Almost improvisatory… And then structuring that somehow. Finding where that takes us – and how you feel at a certain point, or what you’re thinking, and then pull it back here. And shock and then move again and take off, fly off at some other beautiful piece of music or something or, you know, some wonderful monologues.
Do you hear back from Dylan?
No. I’m good friends with his producer and archivist Jeff Rosen, and Jeff is the one. Last time I saw Dylan was at a big dinner for Armani, 20 years ago. I met him a few times with Robbie Robertson. That’s about it.
But I do enjoy doing the films. They’re almost impossible, and it’s like working out, in a way, creatively, in that it’s not a matter of making the story of a tour. Who cares? It’s capturing a time and place. Even little things like when Allen Ginsberg is talking about poetry – and that you don’t have to use a [fancy] phrase like “diamond fairies dancing” or something, just listen to the room [instead]… listen to… maybe there’s a sound, even the sound of your pencil or pen on the paper. There’s the poetry there.
I mean, naturally, one could argue against that, but it makes you think another way. And so that’s fascinating to me.
In The Irishman – and in Silence too – you use little mini-dissolves within a scene. That’s because there are bits of two different takes that you wanted?
Yeah. Just pragmatic. But it works.
It’s a technique from documentary, isn’t it? You notice, but you don’t mind.
Exactly, and that’s what I was trying to get to. I enjoy doing that now particularly from the documentaries. Sometimes you find yourself unnecessarily locked into a form: “Oh, you can’t go from here to there.” Well, you know what? Let’s just do it. And we’ll know if it’s disruptive. We’ll feel it. Let’s break the form.
Really, this film is pretty straightforward in that way, but – well, it’s all throughout the picture, too, there are moments like that. I’ve been trying to fight that form and “It isn’t done that way!” Well, maybe it should be.
Thinking again of Silence, the shot of Hoffa’s body being cremated, where he’s got the gun beside him, reminded me that there’s the cross on Rodrigues’s body as he is cremated in Silence…
Yes, that, and it’s very close to what Dylan says at the end of Rolling Thunder, which I disagree with in a way, but he says “What’s left of this tour? Nothing, dust, ashes.” And then we punch into Knockin’ on Heaven’s Door.
And we end with Allen Ginsberg, with the spirit of the whole tour, and his wonderful monologue at the end, and so it kind of refutes what Dylan says – but in his mind, from what I understand, he felt that those elements that put together that tour, and those 70s, will never happen again. It’ll happen in different ways, maybe, but for a different society and a different way of thinking – I don’t know, a different world.
He used the word ‘ashes’, and so I was always reminded of the church of the Capuchin monks in Rome, where the head of the order in the 17th century, Cardinal [Antonio] Barberini, has his tombstone on the side of the church, and it says: “Here lies dust, ashes and nothing.” And I saw that 40 years ago and I’ve never forgotten it. And the Dylan thing reminds me of that and here, the cremation. And the passage into wherever it is. Oblivion.
But my feeling watching the Rolling Thunder film was that it was thrilling, these possibilities, it’s exciting…
It really was. He can say that about his perception of it. But the point is to let younger people know there was a time when such a thing could be. Just for the value of itself. Not necessarily the big arena, and the money and the ads and the iPhones, and all that. There was a time when just the purity of this form was able to express itself that way. “Go out and make it for your own eternity” – that is what Allen Ginsberg says.
Actually, I had to make a speech for my daughter’s school graduating class two years ago, and I ended with that, “Go and make it for your own eternity.” How beautiful you are, how beautiful your friends are, just go and do it for yourself, for your own eternity. And I think that supersedes whatever feelings he may have had, or has, about this quote unquote ‘tour’.
Maybe I’m romanticising it – but there was a purity in it, I think. Because it was a reaction against, I think, the Before the Flood album with The Band, going on tour, with the big arenas, and that sort of thing. That’s where rock and roll was going, but… [Dylan said] let’s go back the other way now, let’s go back to the essentials.
So in a way it’s like your earlier Dylan documentary, No Direction Home , which is so stirring about the way he’s refusing all that stuff being loaded on to him.
Yes, exactly. Reinventing yourself, and ‘making it for your own eternity’. Just try to stay as best you can with the elements you choose to work with, or the world you choose to work in, try to remain as true to yourself as possible. Whoever you are. [Laughs]
It’s all searching anyway, and so if you choose to go a certain way, there are certain elements that you can deal with. And that means, in terms of film, many different venues, now especially.
I’m thinking about Agnès Varda. She used the tools, and if the tools became a digital camera that she could just point and shoot, that’s what she used. Whether I prefer seeing a film in a theatre or not, the point is that for the artist, or for a person who’s trying to be an artist, use what’s there, and you can create the venue somehow and get shown.
You’re about to make Killers of the Flower Moon, the story of the Bureau of Investigation handling of the 1920s murders of members of the Osage tribe in Oklahoma, who had become immensely rich through their oil rights. The narrative, in the book it’s based on anyway, is more linear than it is in The Irishman, isn’t it?
Yes, but again, I don’t know if I’d do it that way. I’ve been working with Eric Roth on the script for a few years now, and we’re – now, actually, yesterday, in this room, and last night – we’re knocking away at this script, and restructuring it, rethinking it. Because it’s convenient to do a sort of detective story, but we all know what it is.
So I want to explore something else, and that is the nature of a whole way of thinking as being complicit in genocide. It’s dehumanising people.
I was out in Oklahoma about six weeks ago, and ultimately, as the Osage told me, it’s about greed. And therefore you could think that these people don’t deserve any of it because they’re not human anyway. Not really human.
That opens up a whole interesting situation, let’s say, with William Hale [the jovial, sinister white local patriarch] and his nephew Ernest, and [his Osage niece-by-marriage] Mollie, beyond even the Bureau of Investigation and [its agent] Tom White, who’s a good man, comes in – he couldn’t pin it on anybody, he couldn’t get evidence – they were all doing it. Or they’re all, at least, complicit in sins of omission. They were quiet about it.
And ultimately that’s the story, the whole idea of the status quo being guilty.
De Niro is going to be in it?
[Yes, as] Bill Hale. William Hale. Gotta get him in there. And Leo [DiCaprio], I think playing Ernest at this point, the husband. And we haven’t yet settled on Tom White, but… yeah, it’s shifting the story from – since we know what happens and we know certain characters… Then how do you tell the story from the inside rather than from the exterior in? It’s going to take a few more months to get that right.
But I was in Oklahoma, met with the Osage, Chief Standing Bear and his family, and it’s quite remarkable. I was certainly – how shall I put it? – surprised by the landscape. This is very different. I’m more used to the South-west, California, New Mexico – I did a film there. The landscape here is something that I hadn’t anticipated. The space of it. And the isolation is interesting. I mean, we’re just beginning, but I hope to get there, I hope to start shooting it by March or April.
But it’s exciting, and we’re just grappling now, getting the script together. I have to go around, do some travelling, for The Irishman, but these days it’s best just to get to work.

domain: artistic


text:
LA MOUETTE RESTAURANT
La Mouette Restaurant
PRIMARY CUISINE: French
OTHER CUISINES: Seafood, Mediterranean, International, French
AVE SPEND: R220
AVE MAIN: R120
ADDRESS & OPENING TIMES
78 Regent Road, Sea Point, Cape Town
OPEN: Tue - Sun: Lunch: 12:00 - 15:00
Mon - Sun: Dinner: 18:00 - 22:30
Renowned London chef, Henry Vigar has opened La Mouette Restaurant in Cape Town?s Sea Point area. La Mouette is situated in a double storey manor house with cobblestoned courtyard that is almost 100 years old. The menu is French Mediteranean and showcases the best of South African local produce and seasonality. Henry did his training in the south of France, Australia and also in varied Michelin starred establishments in London.
Chef Henry reflects his passion for French cooking by using classic techniques and combining them with locally sourced produce to create a finer dining experience that won't break the bank. Henry along with Team La Mouette takes great pride in the matching of food and wine and has become known for their ever changing and exciting Tasting Menus with wine pairings.
Team La Mouette is made up of Henry's wife Mari Vigar, business partner Gerrit Bruwer and Events and Marketing Executive, Janine Hoggins. They very much look forward to welcoming you to La Mouette Restaurant where great food and great, friendly service are always the priority.

domain: food


text:
Alia Bhatt Reveals About What She Absolutely Hates About Katrina Kaif On Neha Dhupia’s BFF’s With Vogue ShowJanuary 30, 2018 0 By Mudassir
In an industry where he hear about cat fights every now and then, Alia Bhatt and Katrina Kaif have found their BFFs in each other. They have been giving us friendship goals with their pictures and workout videos all this while. But now, the two actresses are all set to talk about their bond and confess all that they like, love and hate about each other. Yes, that’s what happens when two best friends-cum-soul sisters are on a show that is all about being candid. Alia and Katrina are going to be the guests on the next episode of Neha Dhupia’s BFFs with Vogue and we can’t keep calm.
We have seen a glimpse of what the two have in store for us and we know the show is going to be a laugh riot. Especially a segment where the two are asked to wear boxing gloves and talk about some thing(s) that they absolutely hate about each other, with a punch on each other’s faces.
In her turn, Alia Bhatt reveals that she hates that “Katrina never sticks to the plan.” Well, we know how disappointing and annoying that can be. You make an interesting plan with your gal, wait for the d-day to arrive so that you can have all the fun you had in mind, and then at the last moment, it gets altered or worse, cancelled. We agree with Alia there.
But that wasn’t all. When Katrina was asked to talk about what she dislikes about Alia, she said, “I wish she were more generous and could send a few of her critics my way and some of her awards as well.”
Aah! What is true friendship without a dash of envy? Katrina not only revealed how she is longing to win an award for the roles she does but also underlined how critics loves Alia’s performance and none of her good work goes unnoticed. You can watch the teaser below:
What what we have seen so far, Alia and Katrina are like a house on fire. We are sure when they come together on the screen, it will be nothing less than pure treat for the audience. Let’s hope someone gets inspired after watching them on BFFs with Vogue and offers them a film or at least an ad together. It will be an also delight!
Let us know your comments!

domain: entertainment


Special to Iredell Free News
The Charlotte Regional Transportation Planning Organization (CRTPO) has opened a 30-day public comment period to obtain public input on the 2020-2029 Draft Transportation Improvement Program (TIP), amendments to the 2045 Metropolitan Transportation Plan (MTP), and the air quality conformity determination report for the MTP and TIP.
This public comment period offers an additional opportunity for residents, business owners and other interested parties, within the Charlotte Urbanized Area, which includes Iredell, Mecklenburg and portions of Union County, to submit comments to CRTPO in conjunction with the adoption of this program. CRTPO’s TIP is a subset of NCDOT’s State Transportation Improvement Program (STIP).
The 30-day public comment period starts Monday, November 18, and will conclude on Wednesday, December 18.
Final action to approve the draft TIP and associated documents is scheduled for Wednesday, February 19, 2020, during the CRTPO Board meeting at the Charlotte-Mecklenburg Government Center.
The draft project lists and maps are posted on the CRTPO website at http://crtpo.org/2020-2029-tip-adoption.
Comments should be directed to Judy Dellert-O’Keef using the following methods:
Charlotte-Mecklenburg Government Center
600 E. Fourth Street, 8th floor
Charlotte, NC 28202
In addition, the November 20, and January 15, 2020, and February 19, 2020, CRTPO Board meetings will serve as an opportunity for public comment on the 2020-2029 Draft TIP and the associated documents. The meetings begin at 6 p.m. in Room 267 of the Charlotte-Mecklenburg Government Center.
About the Charlotte Regional Transportation Planning Organization
CRTPO is the federally-designated metropolitan planning organization (MPO) for the Charlotte urbanized area. More information is available on the CRTPO website at www.crtpo.org.


text:
Builders' Forum Archives
Re: Epoxy hardening
Posted by Ron on Apr 26, 2005
If it is a small spot, a light bulb in a reflector shining on the spot from up close might speed things up.
In Response to: Re: Epoxy hardening by walter crandall on Apr 26, 2005

domain: hobby


text:
CONTINUATION: a "Square Element" in flat peyote stitich
- round 5: ***pick up 2 beads in color B and go through the next bead which is in color B
- note: you do no longer skip a bead in the corner
- pick up a color A, skip a bead and go through the next bead, pick up a color A, skip a bead and go through the next bead, pick up a color A, skip a bead and go through the next bead***
- repeat ***...*** three more times
- to summarize: each side in regular peyote adds an extra bead in each row, each corner is made by adding 2 beads
- make a step-up
- to finish, you add only one bead in each corner instead of two beads and do the rest in regular peyote
- attach your thread by zigzagging through your work piece
- have fun !
- for a larger center, start with: 4 times (5 beads in color A and 1 bead in color B), thus a total of 24 beads or 4 times (7 beads in color A and 1 bead in color B) giving a total of 32 beads
- for a larger square: simply add more rounds
- you could also use seed beads instead of tubular seed beads (type Delica)
- of course, you could make the “Square Element” in a single color or in as many different colors as you want
- in round 3, you could add two beads in the corners instead of three beads creating a regular herringbone effect in the corners, but the final shape will be a little less square
- for a bracelet: connect several squares by attaching bugle beads in between them
We used the following beads:
Thank you for choosing your beads and finding @ https://dunebeads.com/en/ !
Happy day, see you soon!

domain: design


text:
Last Saturday evening in the City Recital Hall, a small group of very talented musicians from the Australian Brandenburg Orchestra presented a delightful programme of eighteenth century chamber music. The programme included works by Carl Phillip Emanuel Bach, Francesco Durante, Wolfgang Amadeus Mozart, Joseph Haydn and Luigi Boccherini and the musicians played with such commitment and passion that this solely chamber music recital - a first for the ‘Brandies’ - is sure to be repeated.
The concert opened with a duet for flute and violin in E minor, composed by C.P.E. Bach in 1748. Mainly concerned with engaging and moving his listeners, Bach said that ‘a musician cannot move others unless he too is moved’. This performance certainly engaged its listeners and flautist Melissa Farrow and violinist Lucinda Moon played with a beautiful light tone and each voice of the musical dialogue could be clearly heard. Occasionally the violin slightly dominated the flute but this was due to the extremely light tone quality of the Baroque flute rather than any fault of the musicians.
The title of the Concerto per Quartetto No 2 in G minor by Durante was somewhat misleading as the composition required five musicians and not four as you would expect. This arrangement included two violins (Lucinda Moon and Ben Dollman), viola (Shelley Soerensen), cello (Jamie Hey) and violone (the baroque double bass with six strings played by Kirsty McCahon) and the musicians convincingly captured the passionate mood of the piece with its restless short phrases and unexpected chromatic inflexions in the melody and harmony. Lucinda Moon was once again stunning on the first violin with its fast semiquaver passages and two octave leaps and the balance between the parts was impressive. The second movement showed a stylish use of dynamics and the cello and violone provided a good steady bass line in the third.
Mozart said several times during his short lifetime that he couldn’t stand the flute, although his Quartet No 3 for flute and strings in C major K285b gives no indication of that. The piece was delicately and charmingly played and flautist Melissa Farrow showed no concern for the technically demanding music; at no stage did her flute go out of tune and this is quite an achievement on an eighteenth century flute. In the first movement the other players provided a gentle accompaniment to the wind instrument, and in the second, the distribution of melody among the parts was much more equal. All of the playing was perfectly in tune and well balanced and these consummate musicians performed with great ease.
After the interval, the programme recommenced with a divertimento for flute, violin and cello in G major, Hob IV: 7 by Joseph Haydn. Having composed sixty-eight string quartets in his lifetime, Haydn should perhaps have been called the father of the string quartet rather than the father of the symphony and this particular piece intended for amateur musicians as background music is a truly delightful creation. As with all of the playing up until this point the instruments were perfectly balanced and there was not a note even slightly out of tune. The second movement in particular was a highlight of the evening with thoughtful, understated playing which made effective use of the rests and pauses and the group played the obviously difficult music that followed with much grace. The audience particularly enjoyed this piece and demonstrated their appreciation with generous applause.
Following the Haydn, Durante made a second appearance in the programme with another Concerto per Quartetto, this time No1 in F minor. His use of leaps and lively figures was reminiscent of Vivaldi and the polyphonic style associated with sacred music. In this concerto, there was a constant interchange of material amongst the voices and no one instrument dominated the others. The bass instruments made a very full-bodied sound and the significant communication between the players helped them to capture the sadness and understated nature of the music.
The concert concluded with the string sextet in D major Op 23 No 5 G458 by Luigi Boccherini and this time the players worked together to create a more luxurious and less transparent sound. Boccherini was prolific and wrote over three hundred pieces of chamber music and he wrote this sextet for two violins (Lucinda Moon and Ben Dollman), two violas (Marina Phillips and Shelley Soerensen) and two cellos (Jamie Hey and Kirsty McCahon) in 1776. The piece started with slow paced violas and cellos and the violins soon joined. The first violin had the melody and played with pleasingly little vibrato whilst the other instruments accompanied her to create a hushed and dignified sound. Lucinda Moon played quasi-cadential passages with great ease and her virtuosity was a joy to see. The musicians performed in absolute synchronicity with one another, with perfect balance and intonation and there was a great deal of contact between them which clearly facilitated the cohesion of the music; this was not only satisfying to hear but also to watch.
This concert was musicianship at its finest and a concert for lovers of chamber music. The musicians played superbly and with commitment to the music and clearly enjoyed performing the eighteenth century repertoire. The only thing that may have enhanced the performance would have been the addition of another instrument with a different tonal colour - a voice perhaps? - and hopefully next time a packed auditorium.
Intimate chamber music concerts turn the spotlight onto our own stars
THE MUSIC PARTY
Featuring eight soloists from the Australian Brandenburg Orchestra
Venue: City Recital Hall, Angel Place Sydney
Dates/Times: Saturday 5 April @ 7pm; Sunday 6 April @ 3pm
Tickets: $65.00 to $35.00 Booking fees apply.
Bookings: City Recital Hall Box Office 02 8256 2222 or www.cityrecitalhall.com.au
Brandenburg Box Office 02 9328 7581


text:
One night stay, and all I could ask for in a budget hotel. Clean room, great bed with great pillows and sheets, free breakfast in the morning. The pool seemed real small, but no big deal. I will stay at this property next time I am back in Kansas City.
- Reservation Options:
- TripAdvisor is proud to partner with Booking.com, Priceline, Expedia, Travelocity, Hotels.com, Orbitz, Choice Hotels, Despegar.com, TripOnline SA, Odigeo and Tingo so you can book your Quality Inn reservations with confidence. We help millions of travelers each month to find the perfect hotel for both vacation and business trips, always with the best discounts and special offers.
- Also Known As:
- Best Western Kearney
- Kearney Best Western

domain: travel


Howard hit a two-run drive in the sixth and a solo shot in the
eighth for his seventh multihomer game this season. The first homer
came on a 2-0 count with the Marlins leading 1-0, and the second
came with one out.
Both times rookie Scott Olsen threw Howard a fastball.
"Except for a couple of pitches to Ryan, I pitched a good
game," Olsen said. "He's got 56 home runs for a reason."
Marlins manager Joe Girardi hinted that he would have preferred
for Olsen (12-8) to pitch around Howard.
"We've talked about not letting him beat us," Girardi said.
"Ollie made some mistakes to one guy. He's one guy in the league
right now you can't afford to make mistakes to. All I'm going to
say is we didn't execute the way we were supposed to."
Howard said he was a bit surprised the Marlins pitched to him.
Even with 80 walks this season, he's on pace to finish with 64 home
runs and 159 RBI.
Manager Charlie Manuel said he projected Howard to hit 30 to 40
homers this year, his second in the big leagues.
"He's going to double the homers," Manuel said. "It's fun
watching him. I'd come to the ballpark just to watch him."
Howard is keeping the Phillies in playoff contention, and
they've won the first two games in a four-game series between NL
"We need to win a couple more," Manuel said. His team began
the night 2½ games behind wild-card leader San Diego, while Florida
trailed by 3½ games.
Moyer (2-1), making his 514th start and his first against
Florida, allowed five hits and one run and threw only 90 pitches.
Tom Gordon pitched the ninth for his 28th save in 32 chances,
and his first since being sidelined Aug. 12 by a strained right
shoulder. He gave up a double to Miguel Cabrera and a sacrifice fly
to Mike Jacobs.
The game drew a crowd of 21,432, the best of the week for the
attendance-challenged Marlins, and it became a pitching duel
between the 43-year-old Moyer and the 22-year-old Olsen.
Nursing a 1-0 lead, the Marlins' left-hander limited
Philadelphia to two hits until the sixth. Shane Victorino led off
with a single, and Howard homered over the scoreboard in left
Howard connected against Olsen again in his next at-bat.
"I'm glad he's on my team," Victorino said.
Olsen has given up only one other homer to a left-handed hitter
this season. Howard has 15 home runs against lefties, and he has
homered in 11 of the past 16 games.
"Amazing," Manuel said.
Is Howard amazing himself?
"A little bit," he said. "But as soon as something like today
happens, you try to forget it as soon as possible. You try not to
get sucked in by everything that's going on and stay focused on the
task at hand, which is trying to get the playoffs."
Florida's first run scored in the second on a single by Wes
Helms and a triple by Miguel Olivo. Moyer didn't walk a batter and
has walked only three in 27 1-3 innings since joining the Phillies
on Aug. 19.
"He doesn't light the radar gun, but he'll get you out,"
Manuel said. "He takes the sting out of your bat."
Olsen pitched 7 2/3 innings and struck out seven, giving him 147
this season to break Dontrelle Willis' club rookie record of 142
set in 2003.
Howard has 28 homers since the All-Star break. ... In the
past 10 games, Phillies starters have an ERA of 2.69. ... Marlins
SS Hanley Ramirez went 0-for-4 and fell to .182 (8-for-44) against
the Phillies this season. ... The Phillies have won 15 of their
past 22 road games.
Atlanta looks to clinch pennant with victory over Los Angeles
Los Angeles Dodgers (106-56, second in the NL West) vs. Atlanta Braves (88-73, first in the NL East)
MLB playoffs 2021 - Love them or hate them, the Houston Astros are really this good
No matter how much some despise Houston for its sign-stealing transgressions, there's no denying what this team is accomplishing now.
Alvarez: Astros showing we are the best team in the league
Yordan Alvarez discusses the Astros advancing to the World Series and how much they proved in beating the Red Sox.
2021 MLB playoffs: Schedules, postseason bracket, analysis and updates
All the latest information about the teams, storylines and highlights of the 2021 MLB postseason, from the start of October through the World Series.
Astros celebrate winning the ALCS
Players and coaches on the Astros celebrate after defeating the Red Sox to win the American League pennant and advance to the World Series.
Luis Garcia, Yordan Alvarez send Houston Astros to third World Series in five years
The Astros beat the Red Sox in Game 6 of the ALCS behind a gem from rookie Luis Garcia, who gave up just one hit over 5 2/3 innings.


text:
|Reviews for A Black Rose|
| Guest 2/3/13 . chapter 1
Please make a wykyyd and raven fanfic their my fav cuple and its so hard to find good stories but by far you are one of the best writers I've seen
| Natasha 1/17/13 . chapter 1
Wow. This was really good! It was pretty intense and deep!
| Delicate Feather 1/12/13 . chapter 1
I really love the analogy of the black and pink roses that you used here, it's really creative and very fitting! I really your analysis of Raven's thoughts, it sounds very much like her! This was a really cute fic and I liked the banter between Raven and Red! They make a great couple now that I think about it! Nice job!
| Iya30 12/29/12 . chapter 1
Robin...why u gotta be a douch.
| Guest 12/27/12 . chapter 1
i like it...i think she should be with robin ,kid flash or red x...i dont care who as long if it one of these 3 :)
| Guest 12/7/12 . chapter 1
| Guest 11/19/12 . chapter 1
| lanamere 11/17/12 . chapter 1
Red Freaking X or BB!
| Ravens dark master 10/10/12 . chapter 1
Black or pink?
| red x lover 10/7/12 . chapter 1
your next fan fic should totally be about raven and red-x! i love that pairing soooooooo much!
| Angelus Tenebrae 10/2/12 . chapter 1
Cute! Please write more Red X / Raven fics :)
| RheaThePsychoticNinja 10/2/12 . chapter 1
Awww! Cute, I love it! It's really good! (Way better than I could do) :)
| Mrs.DylanLightwoodIvashkov 10/2/12 . chapter 1
It's pretty cute, I think. I'm not a big fan of RobinxRae and all that, but I didn't mind this. Maybe you could have made the part with Red X a little longer so it had more of a story and plot?
IDK... Up to you.
| ilikehats2 10/2/12 . chapter 1
| kellie1999 10/1/12 . chapter 1
Nice job NKcandygirl

domain: literature


Samsung Galaxy S10 Or Galaxy S10 Plus Leak A whole New Design: Both the Samsung Galaxy S10 and the Galaxy S10 Plus have leaked in a little bit – but as of today, they look much different than most people expect.
Earlier this year we saw many presentations with many different front faces of the Galaxy S10. As a result From the Samsung Developers Conference, this set of the performance came mostly, which showed several types of “Infinity Display” made for 2019. It was not expected that Samsung had the version of their Infinity Display, the one they did not want to be shown at all
This week as a preliminary manifestation in the universe, Leaked is a new set of smartphone presentations. In these presentations, we see two different versions of the Galaxy S10 family. In one version, we look at the Galaxy S10 with a shot-sized frontside camera array. This first version comes from concept maker, a leak, which usually gets excellent results with similar sources for the industry’s largest smartphone brands.
The minor problem with these presentations was the bezel around performance. If this bezel is provided to it, then it has grown up with the Galaxy S9 – which is not a joint. As we can still rely on the accuracy of these presentations, with a small grain of salt. If we increase the shape of the bezel – and maybe even the camera array – we get another final design.
If we look at the designs of kitty cat chosen by the name of Ice Universe, then we see that we have reached the final phone for Samsung in the nearest the year 2019. What’s interesting here is that many are different – the producers are making a screen protector. One is in front of a black tablet-shaped section for front cameras and possibly with a whole or a different glass. The other keeps the same kind of lens.
It is possible to believe that in 2019 we will be looking at two front-facing cameras in at least two models of the Samsung Galaxy S10. One is the Galaxy S10. The second is the Galaxy S10 Plus. If we get two other models in the mix, then we have reached the following collection.
The Samsung Galaxy S10 Or Galaxy S10 Puls family for 2019
- Samsung Galaxy S10
- Samsung Galaxy S10 Lite
- Samsung Galaxy S10 Plus
The Samsung Galaxy S10 5G will be released at any time after the initial launch of the Samsung Galaxy S10. The first Release will include the other three devices. Samsung Galaxy S10 Galaxy S10 Plus, along with the low-cost Galaxy S10 Lite (and we are not entirely sure that it will be called “Light”, but it is likely that Samsung is the simplest, most effective solution – which Lite is saying.)
Samsung Galaxy S10 release date
The first official show on the Galaxy S10 will be on February 24, 2019. A day before the show floor opened in Mobile World Congress 2019. If Samsung organises a function on February 24, then the Galaxy S10 is likely to be launched on March 6, 2019.
Thus, I anticipate the date of release of Galaxy S10, Samsung Galaxy S10 Plus and Galaxy S10 Lite or March 6, 2019. The 5G version will be launched as a career – or at least one major carrier in the United States – ready to start its first wave of 5G coverage in 2019.


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Arctic to Asturias
Llanes to Gijón. 41 nautical miles. The final sail of the original Severne Turbo 9.2. We've come a long way - from the Arctic to Asturias. This last sail it completed with two fresh holes - the films just don't have anything left now, the UV has done for them. Nice to give the sail a proper send off though. Even feel a bit nostalgic. New sail tomorrow.

domain: geography


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By: Remy Raccuia
Serves: 8 – 10 bites depending on size
Prep Time: 10 minutes
Protein bites are the perfect on-the-go breakfast or post-workout snack. Being a college student, I find these bites perfect for ensuring I get protein into my diet each day. I usually use Vital Proteins Collagen Peptides in order to get protein and collagen into my daily routine. Collagen is vital for skin preservation; it is the most responsible agent in skin elasticity (Fletcher, 2019). In addition, including flaxseed meal to these bites adds fiber and omega-3 fats (Tan, 2017). These bites are not only packed with nutritious value but also taste delicious!
- 3/4 cup rolled oats
- ¼ cup flaxseed meal
- 1 scoop of protein powder (I prefer to use Vital Proteins Collagen Peptides)
- ½ cup peanut butter (can substitute for another nut butter)
- ⅓ cup honey (can substitute maple syrup)
- ½ cup dark chocolate chunks
- Shredded coconut (optional)
- Start by adding ¾ cup oats into a blender or food processor. Make sure to only pulse a few times.
- In a medium-sized bowl add the blended oats, flaxseed, protein, peanut butter, and honey in a large bowl and mix together.
- Once the consistency is smooth, fold in chocolate chunks, making sure to distribute them evenly throughout the mixture.
- After folding in the chocolate chunks, begin to form the bites using your hands.
- *Optional step* Roll the bites in shredded coconut for an added crunch!
Fletcher, Jenna (2019). What to know about collagen supplements. Medical News Today. Retrieved from July 20 from https://www.medicalnewstoday.com/articles/325344
Tan, Verana, RD, PhD. (2017). Top Ten Health Benefits of Flax Seeds. Healthline. Retrieved from July 20 from https://www.healthline.com/nutrition/benefits-of-flaxseeds


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Inside the New Europe
In the 1970’s, when the European Community was failing to advance its objectives, “Eurosclerosis” was the buzz word of the day. It looked as if Europe might become a permanent economic and technological backwater. Since then there has been a remarkable turnaround. Now, Europe is pervaded by a sense of excitement as the December, 1992, deadline for the removal of barriers to the free flow of trade, goods, services, and people between the twelve member countries of the EC approaches. This will make the EC the largest trading bloc in the world and a formidable rival to the United States and Japan. By 1999, the EC will have a single currency and a regional central bank. In INSIDE THE NEW EUROPE, Axel Krause, who is corporate editor of the INTERNATIONAL HERALD TRIBUNE in Paris, describes earlier attempts to unify Europe, from Charlemagne to Hitler, and analyzes how Europe shook itself out of its doldrums and began to take on the United States and Japan in global economic warfare. Much of Krause’s analysis is in terms of the economic impact of the new Europe on the United States. He sounds a warning, for example, that the United States is in danger of being left behind in the race to invest in newly democratic Eastern Europe.
Will the 1990’s be the Decade of Europe, as some observers suggest? Krause predicts that over the next decade, growth rates in the EC will outpace the United States but trail Japan. He also expects that the driving force in the EC with remain the Franco-German alliance, but that Britain, fearful of being left out, will become a far more active participant. Krause acknowledges that the EC will face problems of high unemployment, racism, drug-trafficking, and organized crime, and will also have to deal with a rise in protectionist sentiment.

domain: finance


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The firm received the Platinum Level Approved Employer status from the global accounting body.
After a recent training inspection, its status was updated from its previous Gold Approved Employer title.
The newfound status recognises the firm as “providing the highest level of support and assistance for the ACCA members and students it employs”.
It also recognises the financial support provided to employees who are studying or sitting for the ACCA examinations.
Burgis and Bullock currently employs 19 trainees, of which nine are studying for the ACCA qualification.
Trainees studying for the Association of Accounting Technicians, Institute of Chartered Accountants in England and Wales, and Chartered Institute of Taxation qualifications are also employed by the firm.
Simon Chapman, partner at Burgis and Bullock, said: “To have received the new Platinum Level Approved Employer status is a fantastic achievement for the firm.”
“We have held gold status for many years, but this upgrade is recognition of the dedicated work the team at Burgis and Bullock has put in to develop our offering for the trainees we support.”
He added: “Burgis and Bullock supports trainees for a range of qualifications and is always looking to help progress new talent in the profession. We are delighted to have received this new employer status from the ACCA.”


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Let’s talk about salt shall we?
Salt is SO critical to life, that without it, we would cease to live. That’s kind of a big deal! There seems to be many conflicting opinions and misinformation out there when it comes to salt. I thought I’d help clear up the issue today with a few must know facts about this commonly used condiment.
Iodized Salt vs. Sea Salt vs. Himalayan Salt
First, you need to know that there are various types of salt and signficant differences between each of them. I’m going to address the most popular 3 types used in our kitchens today.
- Iodized Salt aka Table salt
- Iodized salt is the white salt you find sitting on most tables in the US. This type of salt has been refined and stripped of all of its essential trace minerals. Once this happens, anticaking agents are added, and in most parts of the world, artificial iodine is added. Your table salt is actually 97.5% sodium chloride and 2.5% chemicals. It is then dried at over 1,2000 degrees Fahrenheit, this crazy high temperature alters the natural chemical structure of the salt rendering it basically useless for any nutritional benefit.
- This is the type of salt that can cause increased blood pressure, inflammation, water retention, and all the negative side effects we have heard of related to salt.
- Sea Salt
- Sea salt comes naturally from the sea. This is what makes ocean water taste “salty”. When extracted naturally, without being refined, sea salt is full of beneficial minerals and nutrients that can be very healing for the body in numerous ways.
- Himalayan Salt
- This pink salt comes from the Himalayan mountains in Pakistan. Awareness about Himalayan salt has significantly increased in the past few years as more people learn about the nutrient density of this powerful salt. Himalayan salt contains all 84 of the body’s essential minerals! Wow, right? It is incredibly nourishing for the adrenal glands (aka your hormones), thyroid, pH levels, digestion, muscle regeneration, bone health, and basically every system in the body. You can read more here in Dr. Mercola’s article- http://products.mercola.com/himalayan-salt/
Now, let’s take a look at some health conditions related to salt…
Salt & Blood Pressure
- If you go to the cardiologist, or if you have elevated blood pressure, you will always be put on a sodium restricted diet. This is because regular table salt and sodium found in processed foods, causes you to retain water and makes the work much harder on your heart, therefore increasing your blood pressure even more. Himalayan salt or authentic sea salt, however does not have the same effects. Proper mineral balance actually helps maintain healthy fluid levels in the body. Even more, the heart is a muscle. Muscles need minerals and magnesium to function properly. Many times heart palpitations can be attributed to a magnesium or mineral deficiency. Using a good Himalayan salt to restore the body’s mineral balance can actually be helpful for the heart!
Salt & Hormones
- You’re probably thinking…what the heck does salt have to do with hormones?? Well my friend, let me tell you! One hormonal gland in particular that benefits from good quality salts such as Himalayan salt, is the adrenal glands. There are significant structures within the hormonal system pivotal to hormonal balance. The adrenal glands and thyroid gland are two of those esential glands. Mineral rich salts nourish the adrenal glands and enhance function. These days, nearly every American is struggling with insufficiently functioning adrenal glands. Any type of stress, big or small, good or bad strains the adrenal glands, and unfortunately we are surrounded with chronic stressors. When our adrenal glands are not functioning properly, our thyroid function suffers as well as the rest of our body. Common symptoms of adrenal and thyroid fatigue include weight gain, fatigue, dry skin, hair loss, inflammation, lack of drive for life, depression, hormonal imbalances such as PCOS, infertility, PMS, low libido, and more.
Salt & Heartburn/Acid Reflux
Did you know consuming healthy salts can actually help rebuild healthy stomach acid necessary for proper digestion? Here’s how… your stomach acid is called Hydrochloric acid or HCL. The main cause of acid reflux or heart burn interestingly enough, usually isn’t an overproduction of stomach acid, but an UNDERPRODUCTION of stomach acid. When you don’t have enough HCL, your food does not digest properly, and this causes the pressure and burning sensation you feel. Himalayan salt is high in chloride and essential minerals that dramatically help to replenish HCL levels in the stomach. It’s that easy! Use it in your food, and if your heartburn is really bad, I recommend drinking some salt water by mixing 1 tsp himalayan salt with 1-2 cups of warm water. Apple cider vinegar is also a great remedy for heartburn FYI.

domain: chemistry


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The European coalition STOP THE BOMB, which campaigns for tough economic and political sanctions against the Iranian regime, demands the cancellation of the trip by a delegation of the European parliament to Iran, scheduled for October 27th.
Considering the given situation, in which the Iranian regime unwaveringly cherishes its nuclear program, continuously repeats its threats of annihilation towards Israel, represses by brute force every movement of the opposition in Iran and directly participates in quelling the protests in Syria, this visit would set the worst signal possible and subvert the Iranian opposition.
STOP THE BOMB’s spokesperson for Europe, Simone Dinah Hartmann, directly addresses the President of the EU Parliament, Martin Schulz: “We urge the conference of Presidents to prohibit courting the Iranian Regime as they did in 2011. This trip entirely contradicts the spirit of the EU’s sanctions and it thwarts the recent decisions by the EU member states. Instead of increasing pressure on Tehran, this trip offers the regime the possibility to celebrate yet another propaganda success.”

domain: news


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Pear and Pistachio cake is filled with pistachios and is super moist. A lot of steps but will feed a crowd and the flavors are awesome. A great cake for a Holiday Meal.
As a food blogger, I love it when someone asks me to make a particular dish or sends me a recipe they found that looks good, so when Mike e-mailed the recipe for a Pear and Pistachio cake from Garden & Gun, I was thrilled. Normally, I don’t make cakes. There’s just so much left-over and it’s hard to share. You can only cut a slice so small and once it’s on my plate, I have a hard time not eating the entire slice. Thanksgiving seemed a great time to experiment with this very large dessert, so the weekend before I baked the layers. This is a dense, very moist cake, that makes three very large layers. It has an entire pound of pistachios in the cake, making it pretty crunchy, but if you love pistachios, it’s right up your alley.
When baking cakes, like anything else, the more you make them, the better your technique becomes. I’ve made cakes before, but it’s been a while, so I gave my mother-in-law a call to get her tips on freezing and icing. She can make a perfect cake in her sleep. She suggested I make the layers, let them cool and then wrap and freeze them which I did the weekend before Thanksgiving. Then on Thanksgiving morning, I took them out of the freezer and frosted them while they were still frozen. It’s so much easier to frost a cake when it’s frozen. You can also freeze the cake once it’s frosted, but I didn’t have room for this enormous cake in my freezer. It was thawed by dinner and looked awesome.
This cake was delicious and everyone loved it. However, it was complicated and took a while to prep. For all of the above reasons, I’m not sure I would make it again, or any cake unless I am having a lot of people over. I do love the challenge of a complicated recipe, but seriously it took me 45 minutes to prepare this, not counting the baking and assembly time. With browning the butter, chopping the pistachios, grating the pears, then squeezing all the juice out of them, I was done before I even put it in the oven. To decorate it, they suggested using the juice from the pears to make candied pear slices on the top which I did. (mine didn’t turn out quire at pretty as Garden & Gun’s) I’m not trying to discourage you from making this, just warning you in advance. The recipe suggested 8 inch pie pans, but mine are 9 inch and were full with the batter. I don’t think 8 inch pans would have held it. With a cake this dense, you need to make sure the center is cooked. One of my layers was a little under done in the center, but I just didn’t cut the slices too deep, and I was fine.
One trick I read somewhere when making layer cakes is to put a piece of cardboard under each layer to keep it together when you are moving the layers. I cut out 3 from some gift boxes I had under my bed. This worked like a charm and I didn’t have to worry about my layers falling apart. You just slide it under the layer and when ready to place, just slip it out.
I was hoping to get a pear flavor from this cake, but the pears, just added moisture. If you are willing to put in some effort, this cake is a show stopper. Garden & Gun rarely disappoints in their recipes.
Get the recipe here.


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- EA ARGUES TO KEEP MADDEN NFL AVATAR DATA SECRET
An ongoing lawsuit by former NFL players threatens to disclose a secret procedure used in common Madden NFL games to select avatar identities, in accordance with court filings by Electronic Arts workers in Central Florida.
The firm and attorneys for a few of the former players argued that data about the game needs to be filed below seal - meaning it wouldn't be publicly out there.
The case was filed in 2010, on behalf of plaintiffs for instance former Rams player Vince Ferragamo, and is getting closer to certifying a class and to a trial. The lawsuit alleges that EA wrongly made use of player likenesses with out their permission.
Determining who all the plaintiffs are requires that the company disclose a number of its procedures. As of Tuesday, spreadsheets and data concerning the game - together with a motion to certify the class - weren't visible around the court docket soon after a debate about sealing them.
Orlando game designer Ryan Ferwerda said in a written affidavit to the court that "EA does not publicly discuss the precise attributes of Madden NFL avatars, its system of designing Madden NFL avatars, or the Madden NFL avatar database. EA takes affirmative methods to limit employee access ... EA believes that public disclosure of [the information] could have negative effects on EA's organization by, among other issues, top to competitive injury to EA."
The plaintiffs within the case not too long ago alleged in court filings that every retired pro player is identified, in EA's internal databases, by his actual name, team, number, along with other identifying qualities such as age or height.
Attorneys for the plaintiffs within the case criticized a survey that EA took of its buyers, saying it failed to prove that people can't recognize the video-game avatars, because EA failed to find out initially no matter if the people taking the survey had any familiarity with the former pro players to start with.
EA has argued that working with specific player likenesses was "incidental" inside the success on the game. But an appeals court rejected that argument. According to the appellate court opinion, EA's use of NFL player likeness is "central to EA's key commercial objective - to make a realistic virtual simulation of football games involving present and former NFL teams."


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designed to inspire, motivate & connect with people through images words & music that have touched me in my life - good bad happy & sad & i wanna share with YOU ....... Steve :)
Thursday, 24 January 2013
When we resist our fate we suffer.When we accept it we are happy.We have time in abundance, an eternity, to repeat our mistakes. But we need only once correct our mistake and at last hear the song of enlightenment, with which we can break the chain of vengeance forever. In your heart you can hear it now. It is the song your spirit has been singing since the moment of your birth.If the monks are right, and nothing happens without cause, then the gift of suffering is to bring us closer to God, to teach us to be strong when we are weak, to be brave when we are afraid, to be wise in the midst of confusion and to let go of that which we can no longer hold.


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DELAFIELD, Wis. ( Stockpickr) -- Professional traders running mutual funds and hedge funds don't just look at a stock's price moves; they also track big changes in volume activity. Often when above-average volume moves into an equity, it precedes a large spike in volatility.>>5 Rocket Stocks for Turkey Day Trading Major moves in volume can signal unusual activity, such as insider buying or selling -- or buying or selling by "superinvestors." Unusual volume can also be a major signal that hedge funds and momentum traders are piling into a stock ahead of a catalyst. These types of traders like to get in well before a large spike, so it's always a smart move to monitor unusual volume. That said, remember to combine trend and price action with unusual volume. Put them all together to help you decipher the next big trend for any stock. >>5 Hated Earnings Stocks You Should Love With that in mind, let's take a look at several stocks rising on unusual volume today. Visteon Visteon ( VC) is a supplier of automotive systems, modules and components to original equipment manufacturers. This stock closed up 1.3% at $77.90 in Monday's trading session. Monday's Volume: 677,000
Three-Month Average Volume: 480,994
Volume % Change: 75% From a technical perspective, VC trended modestly higher here right above its 50-day moving average of $75.82 with above-average volume. This move is quickly pushing shares of VC within range of triggering a near-term breakout trade. That trade will hit if VC manages to take out some near-term overhead resistance at $78.09 to its 52-week high at $79.62 with high volume. Traders should now look for long-biased trades in VC as long as it's trending above Monday's low of $76.77 or above its 50-day at $75.82 and then once it sustains a move or close above those breakout levels with volume that's near or above 480,994 shares. If that breakout hits soon, then VC will set up to enter new 52-week-high territory, which is bullish technical price action. Some possible upside targets off that breakout are $85 to $87. Adept Technology Adept Technology ( ADEP) is engaged in the development of intelligent robotics and advanced control systems. This stock closed up 15.9% at $10.96 in Monday's trading session.

domain: economics


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Dermot Kennedy performed an energetic version of Giants on The Graham Norton Show last night, ahead of the release of Without Fear: The Complete Edition next week.
The Dublin singer Dermot Kennedy has taken the world by storm over the past year, and his momentum is not letting up anytime soon.
Kennedy appeared on Graham Norton to promote the release of Without Fear: The Complete Edition which comes out next week.
Speaking (or more shouting across the room, due to the Coronavirus restrictions) to Graham after the performance, Dermot joked about not knowing when the album was out. "Don't ask me," he laughed, showing just how busy he's been over the past while.
Graham also says that the song Giants is everywhere, that it's gone global. Dermot laughs once again and says, "You can say that- I can't!"
His appearance on the Graham Norton comes after he released a brand new track with Meduza, called 'Paradise," which fans have praised online.
Can’t get enough of Dermot Kennedy’s new song paradise 😍😍
— Nicole Dornan (@nicoledornan1) October 30, 2020
New Music Friday treated me well this week! “Paradise” by @DermotKennedy and @meduzamusic is a true jam! SO GOOD 💥 Glad there are still some artists that share new music in times of the pandemic! Thank you 🙏 ♥
— Melly 🍒 (@sentimental_grl) October 30, 2020
— Soave (@soaverecords) October 30, 2020
The Meduza and Dermot Kennedy collaboration is amazing, and no doubt The Without Fear: Complete Edition will be equally class when it's released next Friday.
The singer can do no wrong!


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3 awesome movies out this weekend. I struggle to remember the last time so many good movies came out at the same time, and if this continues, as I am thinking it will, 2015 is going to go down as a GREAT year for film.
The Martian is the screen adaptation of Andy Weir’s book by the same name. I hear the book is incredible and much more science heavy. The film version however, has Matt Damon playing the astronaut in need of saving. Matt Damon is a great actor, but really, how many times can an actor have a movie made about him needing to be saved? (Interstellar, Saving Private Ryan and now the Martian). lol
Great movie. Highly recommended to see in theaters.


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Is Hollywood Brainwashing Americans Into Supporting Gay-Rights?
Conservative writer Ben Shapiro joined Pat Robertson on The 700 Club to discuss his new book, Primetime Propaganda, and Hollywood’s advocacy of gay-rights and progressive values. Shapiro’s book argues that shows from ‘Sesame Street’ to ‘Friends’ are pushing left-wing beliefs to viewers, and tells Robertson that what is most despicable are television shows that back gay-rights. Shapiro believes that television shows exclude conservative actors and writers while increasingly include openly gay characters in order to manipulate people into supporting marriage equality. Robertson lamented, “the American people overwhelmingly vote for traditional marriage between a man and a woman, what is it with Hollywood, I mean they are inserting gays one after another, as a matter of fact straight actors are being forced to play gay roles.”
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domain: sociology


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Thursday, May 12 2005
ISU-developed virtual reality tool works on Apples
VR Juggler, an ISU-developed software tool that makes it easier to build virtual reality systems, now works on Apple computers.
Researchers working on technology to detect WMDs
Robert Lipert has developed a technology that can detect a single spore of simulated anthrax or a single bacterium cell of simulated plague. Now the trick will be to figure out a way to capture and detect a spore or cell in something as big as a city's water supply.
Bloedel will step down from vice provost post
Dr. James Bloedel, who has been Iowa State's vice provost for research since 2000, will leave that position Sept. 1 to return to the professorate and continue his research in the area of motor learning and motor control.
Farmers' markets help economy
Farmers' markets generate an estimated $20.8 million annually in sales and more than 325 jobs for the Iowa economy.
Ahmanson's charge to graduates
"It's up to you to decide where you will dig, how deep and lasting your well will be," writer and philanthropist Roberta Green Ahmanson told gradutes at the May 7 commencement ceremony.
ISU graduates first doctorate in human computer interaction
Melinda Cerney is the first Iowa State student to graduate with a doctorate in human computer interaction. Iowa State is one of three American universities offering a doctorate in human computer interaction, a program that trains students to understand how humans and computers interact in various environments.
Actuarial tools helps predict sexual offenders' recidivism
Several states are using an Iowa State professor's actuarial tool to help predict whether sexual offenders will relapse into more criminal behavior.
Fire safety goes high-tech
A new fire safety program will use Iowa State's virtual reality facilites to put children in a computer-generated fire. The exercise will be realistic and safe.
New dairy farm plans OKed
Final plans for Iowa State's new dairy farm got the greenlight from the Board of Regents May 5. When completed, the new farm is expected to be among the premiere dairy education and research facilities in the nation.
New facility will be dedicated to academic success
Iowa State students will soon have a new facility dedicated to improving academic achievement and increasing student retention and graduation rates. Donors committed $10 million to establish the center.
71 on promotion, tenure list
The Board of Regents approved tenure, promotions or both for 71 Iowa State faculty on May 5. Twenty-nine faculty were promoted to the rank of professor, 39 were promoted to the rank of associate professor with tenure, and three faculty were tenured without promotion.
Associate director of teacher ed program named
Veronica Stalker has been named associate director of Iowa State's teacher education program.


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When we’re on tour we always love preparing our food outside. This summer we enjoyed some outdoor California cooking as we camped in the Paso Robles and Mammoth Lakes areas. But seriously, it’s all about the produce. Once you get to the Central Valley past Sacramento you can find good ingredients at any store, and if you look a little harder you can find some really special stuff to prepare.
The same goes for the wine! We did a little extra wine research this year because of a couple fogged in days where it wasn’t so good view for hiking.
Food and wine finds this year in So Cal
King Trumpets – made a delicious pasta with local organic spring shallots served with Hahn’s Lucienne Loan Oak Vineyard Pinot Noir
Strawberries (from anywhere really) Figs! And Lycees!
Fresh King Salmon off the boat in Morro Bay – grilled it on the camp grate with San Francisco’s Semifreddi’s Kalamata Bread and local roasted veggies
Radish, yellow tomato salad with Seka Hills Yocha Dehe Wintun Nation olive oil
New Winery find Four Lanterns – family owned, special cared for wines
Andy made an eggplant, tomato, green onion sauce served on egg noodles


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The motto at King's Fish House is "Welcome to the house that seafood built."
King's is known for fresh fish and steaks. Pasta, soups, sandwiches and salads are also on the menu.
There are 11 locations. Dining is indoor and outdoor, with a heated patio.
The restaurant is rather large, and seating is comfortable.
Servers are attentive and know the menu well.
King's purchases more than 1.5 million oysters each year from shellfish farms. They are shucked to order.
Lunch and dinner are served daily. Fish dinner entrees with two sides range from $16.95 for wild British Columbian red rockfish to $44.95 for filet mignon and South African lobster tail.
King's features bottled beer, beer on tap, cocktails, sake and wine.
- Tustin hiker who died in Sequoia National Park identified
- Bernie Sanders in Orange County: Disney comes under fire during speech in Anaheim
- Public Steak: Former Mastro's chef opens then exits new Santa Ana steak house
- 4 injured in two-car crash that closed Ball Road in Anaheim
- Thieves smash store's front door, take Lotto tickets, attempt to steal ATM


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In a land far away flies the airship Superior Liquorice Co. manned by Captain Arthur and his trusty companion, Pip. Join them as they whirl through this fantastical world discovering tasty liquorice treats and creatures beyond imagination.
When we were asked to design a new, disruptive and distinctively Australian brand, we approached it as an exciting opportunity to develop something unique for the marketplace. The liquorice segment had long been held back by brands that played it safe and simply offered more of the same. Superior Liquorice represents a step in a new direction for the entire category.
The key to finding the brand's identity was the exploration of turn of the century Australian brands. We followed the cues in the typography and illustration stylings to develop a new brand that still feels like it has deep roots in Australia.
To capture a spirit of intrepid adventure, we developed a world for the brand's heroes to exist in. As they travel the world they encounter strange animals never before seen. Each animal is documented by our hero Captain Arthur through illustration and with a small anecdote about each beast.
Captain Arthur's Diary Entries
We detailed snippets of our hero's adventures through snippets of text, derived from the Captain's diary. Each snippet comes in the form of a short poem, inspired by the works of Dr. Seuss.
Each pack incorporates all the elements we developed across all the different variantas, combining the detailed black imagery with vibrant colours for a final product that feels at once, historic and contemporary.
The aim of the website was to help engross the audience in the story behind Superior Liquorice Co. To this end, we decided on an unusual navigation method, whereby the audience is taken skyward along with Captain Arthur's airship on an adventure through the skies, past the Superior Animals and through a rain of liquorice treats.


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Keywords: potato baskets
Workers in Maine have labored in factories, on farms, in the woods, on the water, among other locales. Many of Maine's occupations have been determined by the state's climate and geographical features.
Visitors to the Maine woods in the early twentieth century often recorded their adventures in private diaries or journals and in photographs. Their remembrances of canoeing, camping, hunting and fishing helped equate Maine with wilderness.
"In Time and Eternity: Maine Shakers in the Industrial Age 1872-1918" is a series of images that depict in detail the Shakers in Maine during a little explored time period of expansion and change.
Harvesting Potatoes INTO THE BASKET FIRST Potato Picker's Basket, Presque Isle, ca. 1940Item Contributed byPresque Isle Historical Society…
Former farmer Larry Park talks about how a potato harvester works. SOURCES Richard W. Judd” AROOSTOOK A Century of Logging in Northen Maine”…
A full basket of potatoes is being emptied into a barrel. The farm owner, Mr. Conant is walking across the field by two potato pickers.

domain: library