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Cat Pen Topper makes an excellent quick beaded gift for your friends and co workers.
Cat pen topper has been made to fit on a medium crystal bic biro – however the pattern can be easily modified to use with many different types of pens.
As you twirl the pen, the Cat’s arms and legs move and he will be sure to amuse the recipient of the pen.
This Cat Pen Topper bead pattern is made using Japanese Miyuki size 11 Delica beads and peyote or brick stitch can be used.
It is assumed the beader will be familiar with either Brick, Peyote or Both.
Peyote and Brick stitch bead instructions are available free on www.threadabead.com.
Please note the pattern may not work with any other size and type of beads.
There are 5 colours in total and the finished beadwork is approximately 5 cm x 3 cm.
4 x 4mm black crystals are also required.
The bead pattern supplied is 9 pages and includes a colour chart of suggested delicas, a colour pattern and a numbered coloured pattern.
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domain: hobby


text:
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Наш технолог ответит вам в ближайшее время по одному из указанных контактов.
Our specialist will contact you shortly.
Наш специалист свяжется с вами в ближайшее время по одному из указанных

domain: food


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Syracuse, N.Y. -- State lawmakers have approved legislation that lets family members make health care decisions, including withdrawing life-sustaining treatment, for incapacitated loved ones who have not made their wishes known in advance.
Family members have been unable to do this legally in New York unless the patient has a living will or health care proxy stating their intentions. The Senate approved the bill Wednesday. Gov. David Paterson said he will sign the legislation which was previously approved by the Assembly.
The bill's passage was hailed by Dr. Kathy Faber-Langendoen, a bioethics professor at Upstate Medical University. She has been deeply involved in the issue since 2000 when she and family members of a severely disabled and acutely ill patient at Upstate tried unsuccessfully to end life-sustaining treatment. The state ordered the hospital to continue providing care to Sheila Pouliot, even though her family and doctors said it would only prolong her suffering. Pouliot, 42, died in March of 2000 after months of legal wrangling.
“This woman died a gruesome death because the attorney general’s office felt it needed to protect life at all costs,” Faber-Langendoen said. “This legislation is an example of how grace can bring good things out of bad things.”
Faber-Langendoen educated legislators about the issue and advocated for passage of the bill.
The legislation, which takes effect June 1, sets up a protocol for health care providers to determine whether a patient in a general hospital or nursing home has the capacity to make decisions. If not, the legislation requires the selection of a surrogate decision maker from a list of individuals such as relatives, domestic partners and friends, ranked in order of priority.
Faber-Langendoen said the legislation is important because only about 20 percent of New Yorkers have filled out health care proxies, appointing a friend or relative to make medical decisions for them if they become incapacitated.
Under existing New York law, hospitals caring for incapacitated patients who have not prepared advanced directives either err on the side of doing everything for the patient or ignore the law and do what is right ethically, she said.
It’s still important for people to fill out health care proxies and prepare advance directives, she said. That’s because the surrogate decision maker chosen through the process mapped out in the legislation may not be the best choice or the person the patient wants, she said.
“A health care proxy allows you to pick whoever you want,” Faber-Langendoen said. “We don’t want the message to be that this new legislation takes care of everything.”

domain: news


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Written By Joseph Mains
photos above by Joseph Mains
It was a beautiful early morning watching the scenery slowly brighten from city to sugar cane to mountains on the way from ‘Alohilani into the sacred Waimea Valley. Known as “The Valley of the Priests,” Waimea Valley was the home to the Kahuna Nui high priests since 1092.
Peacocks were calling out their greeting as we approached the entrance to the visitors center, priming the air with an elevated sense of the moment as we met our tour guide and Waimea Valley Cultural Programs Manager, Ka’ulamealani Diamond. Before the tour started, Diamond chanted to her ancestors asking for permission and a blessing to enter one of the most sacred places in Hawaii. A gentle breeze rolled through the trees as she sang in Hawaiian, a sign that our presence was welcome.
We followed the gently meandering path as it ran along with Waimea River. Diamond narrated the history of the valley, the priesthood and the local connections that have been instrumental in protecting the land and ensuring its future. She paused to point out the native flora throughout the tour, showing us how each was used in everyday life and in ceremonies. Every flower, tree and root has its relationship to Hawaiian culture. We tracked our way by sacred archaeological sites on the valley floor. Diamond told us about others hidden high above in the cliffs overgrown by vegetation. She told us about the ways the priests used different structures in the valley, of their secret shrines and communications. And she shared examples of the interdependent relationship Hawaiians have with this place so palpably imbued with power.
Moving through the tour our steps felt lighter, reverent and humble as visitors to this holy area. Finally we reached our turn around point, the falls. People were swimming, snapping photos, quietly pausing to reflect on the awe of the moment. On our way out of the valley we took more time to explore short side trails. We discovered a natural auditorium that would be one of the best Oahu wedding venues imaginable, read plaques from the area’s more recent history as a botanical garden home to many endangered and rare plants and birds, and met an artist who makes historically accurate reproductions of ancient Hawaiian weapons using traditional methods and materials. (You can see an example of his work in the ‘Alohilani lobby, held alongside a reproduction of a sacred bird feather cloak worn by members of aha’ula — a council of 14 chiefs that ruled the islands for centuries.)
After picking up some books from the gift shop so we could continue our learning journey, we said mahalo and followed the river out to Waimea Bay, grabbing lunch at one of the many famous shrimp trucks along the North Shore before heading back to Waikiki.

domain: geography


The joint project "MobileFabLabs: WI+R Verbundwerkstatt Lausitz"(MoFab) explores openly designed innovation processes in the context of maintenance, servicing and repair, which are geared towards the participation of the Lusatian citizenry. The focus is on the Lusatian-specific topics of mobility, water use, industry and culture. The project aims to create dynamics between local problems and modern technologies, which will be developed into demonstrators in the further course. The result is a social innovation model as well as concrete solutions from the citizenry.
Main research question:
How can decentralized technologies, open workshops and decentralized infrastructures be part of a future vision of Lusatia? How are open hardware projects designed on the process level? What is the impact of the developed participation formats on participants' self-efficacy, self-determination and willingness to repair?
The goal is to develop an open hardware process model and implement six open hardware demonstrators. We are also setting up a first Prototype Fund Hardware as part of the project.


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The protagonists will change over the course of the story and also they're gonna find out that they have more than an special connection, in fact they will start dating. So at some point they will be girlfriends.
This is comic book is a mix of Drama/Fun/Adventure and Love.
These two girls belongs togheter.
The point is: how are they gonna survive or make a living in a future full of walkers?
You will only discover it by helping me out finishing this whole comic book with its storyline. I personally decided to create this comic book because I'm in love with the whole clexa/lexark fandom and I wanted to give them a real story that can thrill them.
I love you guys and I think you're pretty much the best fandom ever! thank you for helping me with this project.
The style of this comic book is called "nijigenka" (二次元化) or "2D-ification" in Japanese. It's not only popular in Japan, but pretty much anywhere people are interested in turning real people into art.
Risks and challenges
My Challange consists in fund raising donations to let The LEXARK Comic Book become my actual job at the moment!
I want to make a really cool story for you guys, a story that can thrill you - something that can make you smile again after all we've been through.
Since I strongly believe that the LGBT Fandom deserved better, I started drawing and I love making this Comic Book for you guys!Learn about accountability on Kickstarter
- (60 days)

domain: literature


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A-Ron’s Film Rewind Presents: “Calling Dick Tracy. Come In Tracy”. A 9-part, 30th anniversary celebration of actor, producer and director Warren Beatty’s ground breaking adaptation of Chester Gould’s classic comic strip. Every big director of the era, including: John Landis, Walter Hill, Tom Mankiewicz, Steven Spielberg and even Martin Scorsese had wanted in to direct. “Dick Tracy” was Disney’s answer in terms of scale, look and box office revenue to Warner Bros 1989 “Batman”, directed by Tim Burton (who was also in line as a director for “Dick Tracy”). Ultimately Beatty took the directors chair and unlike the other filmmakers, he had envisioned a stylized homage to the 1930s comic strip, with influences from the Art Deco movement and German Expressionism. Beatty who had a reputation of being an “insane”, but a “perfectionist” director on set, had fought battles over salary issues, the films budget and an endless decades war in court over the rights to the film and it’s intended but never made sequel. Featuring a star studded cast of A-list actors and filmed with over 57 matte paintings executed on glass. The paintings were then optically combined with the live action. It is one of the last films to be made with paintings as backgrounds, as Hollywood ditched it for CGI. Beatty has said that there is a two hour and fifteen minute version of the film. While the version we know is only an hour and forty five minutes. “Dick Tracy” was nominated for 7 Oscars and won three for: Best Art Direction, Best Make-Up and Best Original Song. “Dick Tracy” is a top-tier comic book adaptation that is stylish, unique and an undeniable technical triumph. Beatty creates a world that never could be, with ingenuous art direction and set decoration. It is one of the best comic book films, one of the most original and visionary productions seen on any screen.
•Part 1: Development
Development began in the early 1980s with Tom Mankiewicz (“Dragnet”), who was assigned to write the script. The screenplay was written instead by Jim Cash and Jack Epps Jr., both of “Top Gun” fame. “Dick Tracy” also went through directors Steven Spielberg, John Landis (“American Werewolf In London”), Walter Hill (“48 Hours”), and Richard Benjamin (“The Money Pit”) before the arrival of Warren Beatty. While it was released by Touchstone Pictures, it was filmed at Universal Studios.
Beatty had a concept for a “Dick Tracy” film in 1975. Although at the time, the film rights were owned by Michael Laughlin, who gave up his option from Tribune Media Services after he was unsuccessful in pitching “Dick Tracy” to Hollywood studios. Director Floyd Mutrux (director of “Hollywood Knights”) and Art Linson purchased the film rights from the Tribune in 1977 and in 1980.
United Artists became interested in financing and distributing “Dick Tracy”. Tom Mankiewicz was under negotiations to write the script, based on his previous success with “Superman” (1978) and “Superman II” (1980). The deal fell through when Chester Gould, creator of the “Dick Tracy” comic strip, insisted on strict financial and artistic control.
That same year, Mutrux and Linson eventually took the property to Paramount Pictures, who began developing screenplays and offered Steven Spielberg the director’s position, who brought in Universal Pictures to co-finance. Universal put John Landis forward as a candidate for director, courted Clint Eastwood for the title role, and commissioned Jim Cash and Jack Epps, Jr. to write the screenplay. “Before we were brought on, there were several failed scripts at Universal,” reflected Epps, “then it went dormant, but John Landis was interested in Dick Tracy, and he brought us in to write it”.
Cash and Epps’ simple orders from Landis were to write the script in a 1930s pulp magazine atmosphere and center it with Alphonse “Big Boy” Caprice as the primary villain. For research, Epps read every “Dick Tracy” comic strip from 1930 to 1957. The writers wrote two drafts for Landis; Max Allan Collins, then-writer of the “Dick Tracy” comic strip, remembers reading one of them. “It was terrible. The only positive thing about it was a thirties setting and lots of great villains, but the story was paper-thin and it was uncomfortably campy”.
Landis had left “Dick Tracy” following the controversial on-set accident on “Twilight Zone: The Movie” (1983), in which actor Vic Morrow and two other actors were killed. After which he was charged with manslaughter. Walter Hill (“The Warriors”, “48 Hrs”) then came on board to direct with veteran action producer Joel Silver as producer. Cash and Epps wrote another draft, and Hill approached Warren Beatty for the title role.
Earlier in Pre-production, Tim Burton was offered the chance to direct the movie, but declined because he was already in production with “Edward Scissorhands”. Pre-Production had progressed as far as set building, but the film was stalled when artistic control issues arose with Beatty, a fan of the “Dick Tracy” comic strip. Hill wanted to make the film violent and realistic, while Beatty envisioned a stylized homage to the 1930s comic strip. The actor also reportedly wanted $5 million plus fifteen percent of the box office gross, a deal which Universal had refused to accept.
Walter Hill and Warren Beatty left the film, which Paramount then began developing as a lower-budget project with Richard Benjamin directing. Cash and Epps continued to rewrite the script, but Universal was unsatisfied. The film rights eventually reverted to Tribune Media Services in 1985. However, Beatty decided to option the “Dick Tracy” rights himself for $3 million, along with the Cash and Epps script. When Jeffrey Katzenberg moved from Paramount to the Walt Disney Studios, “Dick Tracy” resurfaced with Beatty as director, producer and the leading man.
Warren Beatty originally wanted Bob Fosse (“All That Jazz”) to direct, but Fosse turned him down. Martin Scorsese was also a fan of the comic strip and considered directing at one point, but he lost interest and chose to make “Goodfellas”. Beatty considered appearing in and even directing “Misery”, which Rob Reiner went to direct. Beatty said about directing “Dick Tracy”….
“It never occurred to me to direct the movie. But finally, like most of the movies that I direct, when the time comes to do it, I just do it because it’s easier than going through what I’d have to go through to get somebody else to do it”.
Beatty’s reputation as director, most notably with the critically acclaimed and superb “Reds” (1981), did not sit well with Disney. As a result, Beatty and Disney reached a contracted agreement whereby any budget overruns on “Dick Tracy” would be deducted from Beatty’s fee as producer, director, and star. Beatty and regular collaborator Bo Goldman significantly rewrote the dialogue but lost a Writers Guild arbitration and did not receive screen credit.
Disney’s Touchstone Pictures, greenlit “Dick Tracy” in 1988 under the condition that Beatty keep the production budget within $25 million. Beatty’s fee was $7 million against 15% of the gross. Costs began to rise once filming started and quickly jumped to $30 million and its total negative cost ended up being $46.5 million: $35.6 million of direct expenditure, $5.3 million in studio overhead and $5.6 million in interest. Disney had spent an additional $48.1 million on advertising and publicity and $5.8 million on prints, resulting in a total of $101 million spent overall.
The financing for “Dick Tracy” came from Disney and Silver Screen Partners IV, as well as Beatty’s own production company, Mulholland Productions. Disney was originally going to release the film under the traditional Walt Disney Pictures banner, but chose instead to release and market the film under the adult oriented Touchstone Pictures label leading up to the film’s theatrical debut, because the studio felt it had too many mature themes for a Disney-branded film.
•Part 2: Casting
Although Al Pacino (who was nominated for Best Supporting Actor) was Beatty’s first choice for the role of Alphonse “Big Boy” Caprice, Robert De Niro was also under consideration. Madonna pursued the part of Breathless Mahoney, offering to work for scale. Sean Young (“Blade Runner”) was originally cast as Dick Tracy’s girlfriend Tess Trueheart, but was fired after a few days of filming by Warren Beatty.
Sean Young publicly accused Beatty of firing her because she “wouldn’t sleep with him”, though Deborah Ruf, Charlie Korsmo’s (who played The Kid) mom, later disputed this saying that “the rumor was that she had become too demanding, and they just decided not to put up with it”. Beatty issued a statement saying, “I made a mistake casting her in the part, and I felt very badly about it.”
Brigitte Nielsen was named as a contender for the role of “Tess Trueheart”. It was also stated that Kim Basinger, Michelle Pfeiffer, Kathleen Turner, and Melanie Griffith were considered for “Breathless Mahoney” before Madonna, who was romantically involved with Beatty at the time. When Beatty proposed to her, and she stalled on the question of marriage, he ended their romance and claimed what he had given her was just a “friendship ring.”
While the other actresses reportedly demanded too much money, Madonna agreed to work for the Screen Actors Guild (SAG) scale fee of $1,440 per week. Her resulting paycheck for the film added up to $35,000.
It was only Madonna’s seventh big-screen role, and the pop star was at the height of her singing fame. Al Pacino has stated that Madonna flashed him during rehearsals for this movie, opening her coat to reveal that she was naked underneath. Pacino joked that when he is old if he is observed with a beatific smile on his face, it will be because he is recalling the incident.
It was listed early into pre-production that Tom Cruise, Gene Hackman, and Faye Dunaway were up for possible cameos, although none of these actors appear in the film. In fact Gene Hackman turned down the role of Lips Manlis, because he couldn’t bear being directed by Warren Beatty again after his experience on Beatty’s epic masterpiece “Reds” from 1981.
To star in the title role of “Dick Tracy”, possible stars: James Caan, Harrison Ford, Richard Gere, Mel Gibson, Paul Newman, Robert Redford, George C. Scott and Tom Selleck were considered for the role of Dick Tracy. Even studios (originally optioned by Paramount Pictures, it was made by Disney and released under their adult label Touchstone Pictures) for over a decade.
Things turned around once Beatty came on board to direct, produce, and star, marking only his third turn behind the camera. A hard-core Tracy fan, Beatty was committed to making his film more of an homage to the comic strip than a singular adaptation. He didn’t go for the dark and gritty; he wanted something that looked like what it was, and Beatty’s desire to do just that turned “Dick Tracy” into one of modern cinema’s best adaptations of a comic book and comic strip.
Macaulay Culkin was considered for the role of The Kid, but turned it down, as he preferred to do “Home Alone” over this film. The role went to Charlie Kosomo, who went on to play Robin Williams son in “Hook”.
The supporting cast is rounded out by names such as Pacino, Charles Durning, Paul Sorvino, Dustin Hoffman, William Forsythe, Estelle Parsons, Dick Van Dyke, and James Caan. As a fan of the comic strip, Warren Beatty wanted to put in as many characters from the comics into the film as he could. This was a measure used by Beatty in case the film didn’t have a sequel. The cast list remains impressive, stacked with Oscar winners and nominees, some of Hollywood’s biggest stars, all lead by Beatty. This is a comic-book film with a pedigree.
•Part 3: Filming
Principal photography for “Dick Tracy” began on February 2, 1989. The filmmakers considered shooting on-location in Chicago, but production designer Richard Sylbert believed “Dick Tracy” would work better using sound stages and backlots at Universal Studios in California. Other filming took place at Warner Bros. Studios in Burbank. In total, 53 interior and 25 exterior sets were constructed. Beatty, being a perfectionist, had often filmed dozens of takes of every scene.
As filming continued, Disney and Max Allan Collins conflicted over the novelization. The studio rejected his manuscript: “I wound up doing an eleventh hour rewrite that was more faithful to the screenplay, even while I made it much more consistent with the strip,” Collins continued, “and fixed as many plot holes as I could”. Disney did not like this version either, but accepted based on Beatty’s insistence to incorporate some of Collins’ writing into the shooting script, which solved the plot hole concerns. Through post-production dubbing, some of Collins’ dialogue was also incorporated into the film. Principal photography for “Dick Tracy” ended in May 1989.
•Part 4: Design
Early in the development, Beatty decided to make the film using a palette limited to just seven colors, primarily red, green, blue and yellow to evoke the film’s comic strip origins; furthermore each of the colors was to be exactly the same shade. Beatty’s design team included production designer Richard Sylbert, set decorator Rick Simpson, cinematographer Vittorio Storaro (whom Beatty had worked with on his previous box office bomb “Ishtar”),visual effects supervisors Michael Lloyd and Harrison Ellenshaw, prosthetic makeup designers John Caglione Jr., Doug Drexler, and costume designer Milena Canonero. Their main intention was to stay close to Chester Gould’s original drawings from the 1930s. Other influences came from the Art Deco movement and German Expressionism.
For Storaro, the limited color palette was the most challenging aspect of the production. “These are not the kind of colors the audience is used to seeing,” he noted. “These are much more dramatic in strength, in saturation. Comic strip art is usually done with very simple and primitive ideas and emotions. One of the elements is that the story is usually told in vignette, so what we tried to do is never move the camera at all. Never. Try to make everything work into the frame”.
For the matte paintings, over 57 paintings were executed on glass, which were then optically combined with the live action. For a brief sequence in which The Kid dashes in front of a speeding locomotive, only 150 feet (46 m) of real track was laid; the train itself was a 2-foot (0.61 m) scale model, and the surrounding trainyard a matte painting. The film was one of the last major American studio blockbusters to have no computer-generated imagery.
“Dick Tracy” is one of the last films to be made with paintings as backgrounds. Hollywood was ditching this for computer graphics imagery (CGI). Using paintings as background saves a lot of time and money, but has a massive drawback: as the camera must remain still. This is why the movie has a “big budget on-stage play” feel and look. When watching the movie, notice that the camera never “pans” or swivels left or right. Warren Beatty had warned his camera people to not do this, because it would make it clear to the audience that the backgrounds were paintings.
Caglione and Drexler were recommended for the prosthetic makeup designs. The rogues gallery makeup designs were taken directly from Gould’s drawings, with the exception of Al Pacino, who improvised his own design for the character and ignoring the rather overweight character from the strip. His makeup took 3.5 hours to apply.
Make-up designers John Caglione, Jr. and Doug Drexler said they often had trouble keeping the Big Boy Caprice make-up on Al Pacino. Caglione told Entertainment Weekly that their biggest scare came when Drexler discovered Al Pacino, in full make-up and eating a big bowl of spaghetti that could have potentially disfigured and ruined his make-up. After that incident, several production assistants were designated as “Make-up Police”, to follow the actors around and to keep them out of pasta when in full make-up.
Beatty’s intention to make “Dick Tracy”, the movie was to look like an homage to the comic strip. It resulted in a feature that looked to be pulled straight from the paper, with vivid flatness and limited color palette. The film only uses seven colors, mostly red, yellow, green, and blue, all the better to approximate the look and feel of a comic strip. The film’s wider shots make the background look newspaper flat and colorized by ink, a look achieved by combining matte paintings with live action.
•Part 5: Music
Beatty hired Danny Elfman (“Fifty Shades Of Grey” trilogy) to compose the films score based on his previous success with Tim Burton’s 1989 “Batman”. Although Elfman said on working with Beatty, that “Warren was insane”. Elfman who was a part of the 80’s band Oingo Boingo, had enlisted the help of the bands lead guitarist Steve Bartek and Shirley Walker to arrange compositions for the orchestra. “In a completely different way,” Elfman commented, “Dick Tracy has this unique quality that Batman had for me. It gives an incredible sense of non-reality”.
In addition, Beatty hired acclaimed songwriter Stephen Sondheim to write five original songs: “Sooner or Later (I Always Get My Man),” “More,” “Live Alone and Like It,” “Back in Business,” and “What Can You Lose?”. Madonna performed “Sooner or Later” and “More”, while “What Can You Lose?” became a duet with Mandy Patinkin, and Mel Tormé sang “Live Alone and Like It”.
“Dick Tracy” was also the first film to use digital audio. In a December 1990 interview with The New York Times, Elfman criticized the growing tendency to use digital technology for sound design and dubbing purposes. “I detest contemporary scoring and dubbing in cinema. Film music as an art took a deep plunge when Dolby stereo hit. Stereo has the capacity to make orchestral music sound big and beautiful and more expansive, but it also can make sound effects sound four times as big. That began the era of sound effects over music”.
•Part 6: Marketing
Disney modeled its marketing campaign after the 1989 success of “Batman”, which was based on high concept promotion. This included a McDonald’s promotional tie-in and a Warren Beatty interview conducted by Barbara Walters on 20/20. “I find the media’s obsession with promotion and demographics upsetting,” Beatty said. “I find all this anti-cultural”.
In attempting to market “Dick Tracy” to young children, Disney added a new “Roger Rabbit” cartoon short (“Roller Coaster Rabbit”) and made two specific television advertisements centered on The Kid (played by Charlie Korsmo). In total, Disney commissioned 28 TV advertisements. Playmates Toys also manufactured a line of 14 “Dick Tracy” figures.
It would be Madonna’s idea to include the film as part of her Blond Ambition World Tour. Prior to the June 1990 theatrical release, Disney had already featured “Dick Tracy” in musical theatre stage shows in both Disneyland and the Walt Disney World Resort, using Stephen Sondheim and Danny Elfman’s music.
The New York Times also wrote in June 1990 of Disney Stores “selling nothing but Tracy-related merchandise”. Merchandise included badges bearing Tracy’s square jaw, followed by dolls, games, toy guns, two-way wrist radios, and books. Max Allan Collins lobbied to write the film’s novelization long before Disney had even greenlighted Dick Tracy in 1988.
“I hated the idea that anyone else would write a Tracy novel,” Collins explained. After much conflict with Disney, leading to seven different printings of the novelization, the book was released in May 1990, published by Bantam Books. It sold almost one million copies prior to the film’s release. A graphic novel adaptation of the film was also released, written and illustrated by Kyle Baker.
Reruns of “The Dick Tracy Show” had began airing to coincide with the release of the film, but stations in Los Angeles and New York pulled and edited the episodes when Asian and Hispanic groups protested that the characters Joe Jitsu and Go Go Gomez were offensive stereotypes. A theme park ride for Disneyland, Disney-MGM Studios and Euro Disney Resort called “Dick Tracy’s Crime Stoppers” was planned but ultimately never built.
•Part 7: Release
“Dick Tracy” had a benefit premiere at a small 300-seat theater in Woodstock, Illinois (the hometown of Tracy creator Chester Gould) on June 13th 1990, while the production premiere occurred the next day at the Walt Disney World Village’s Pleasure Island in Florida. The film was released in the United States on June 15th 1990, earning $22.54 million in its opening weekend, including an estimated $1.5 million of t-shirt sales.
This was the third-highest opening weekend of 1990 and Disney’s biggest ever. “Dick Tracy” eventually grossed $103.74 million in the United States and Canada and $59 million elsewhere, coming to a worldwide total of $162.74 million. “Dick Tracy” was also the ninth-highest-grossing film in America in 1990 and number twelve in worldwide totals.
Although Disney was impressed by the opening weekend gross, studio management was expecting the film’s total earnings to match that of Burton’s 1989 “Batman”, the film was estimated to have generated a $57 million deficit for Disney. Studio chairman Jeffrey Katzenberg expressed disappointment in a studio memo that noted that “Dick Tracy” had cost about $100 million in total to produce, market and promote. “We made demands on our time, talent and treasury that, upon reflection, may not have been worth it,” Katzenberg reported.
It garnered seven Academy Award nominations, winning in three of the categories: Best Original Song, Best Makeup, and Best Art Direction. A two hour and fifteen minute version of the film exists, as confirmed by Warren Beatty in a 2002 interview. He was forced to cut the film to the current one hour and forty-five minute version at the insistence of then chairman of Walt Disney Pictures, Jeffrey Katzenberg, prior to the release.
•Part 8: Sequel & Legal Issues
Disney had hoped “Dick Tracy” would launch a successful franchise, but its disappointing box office performance halted Disney’s plans. In addition, executive producers Art Linson and Floyd Mutrux sued Beatty shortly after the release of the film, alleging that they were owed profit participation from the film.
Beatty purchased the “Dick Tracy” film and television rights in 1985 from Tribune Media Services. He then took the property to Walt Disney Studios, who optioned the rights in 1988. According to Beatty, in 2002, Tribune attempted to reclaim the rights and notified Disney, but not through the process outlined in the 1985 agreement.
Beatty, who commented he had “a very good idea” for a sequel, he believed Tribune violated various notification procedures that “clouded the title”, to the rights and made it “commercially impossible” for him to produce a sequel. He approached Tribune in 2004 to settle the situation, but the company said they had met the conditions to get back the rights.
Disney, which had no intention of producing a sequel, rejected Tribune’s claim, and gave Beatty back most of the rights in May 2005. That same month, Beatty filed a lawsuit in the Los Angeles, California Superior Court seeking $30 million in damages against Tribune and a declaration over the rights. Bertram Fields, Beatty’s lawyer, said the original 1985 agreement with Tribune was negotiated specifically to allow Beatty a chance to make another “Dick Tracy” film. “It was very carefully done, and they just ignored it,” he stated. “Tribune is a big, powerful company, and they think they can just run roughshod over people. They picked the wrong guy”.
Tribune believed the situation would be settled quickly and was confident enough to begin developing a “Dick Tracy” live-action television series with Lorenzo di Bonaventura, Robert Newmyer, and Outlaw Productions. The TV show was to have a contemporary setting, comparable to the Superman teen show “Smallville”, and Di Bonaventura commented that if the TV show was successful, a feature film would likely follow.
However, an August 2005 ruling by federal judge Dean D. Pregerson cleared the way for Beatty to sue Tribune. The April 2006 hearing ended without a ruling, but in July 2006, a Los Angeles judge ruled that the case could go to trial; Tribune’s request to end the suit in their favor was rejected. The legal battle between Beatty and Tribune continued.
In 2008, Beatty convinced cinematographer Emmanuel Lubezki and film critic Leonard Maltin to make “The Dick Tracy” TV Special for Turner Classic Movies, which featured Beatty as Tracy in an retrospective interview with Maltin. Maltin explicitly asked the fictional Tracy if Warren Beatty planned to make a sequel to the 1990 film, and he responded that he’d heard about that, but Maltin needed to ask Beatty himself.
By March 2009, Tribune was in Chapter 11 bankruptcy, and lawyers for the company began to declare their ownership of television and film rights to “Dick Tracy”. Lawyers for Tribune wrote in a filing, “Mr. Beatty’s conduct and wrongful claims have effectively locked away certain motion picture and television rights to the Dick Tracy property”. Fields responded that it was “a nuisance lawsuit by a bankrupt company, and they should be ashamed of themselves”.
On March 25th 2011, U.S. District Court Judge Dean D. Pregerson granted Beatty’s request for a summary judgment, and ruled in the actor’s favor. Judge Pregerson wrote in his order that “Beatty’s commencement of principal photography of his television special on November 8th 2008, was sufficient for him to retain the ‘Dick Tracy’ rights.”
In June 2011, Beatty confirmed his intention to make a sequel to “Dick Tracy”, but he refused to discuss details. He said: “I’m gonna make another one [but] I think it’s dumb talking about movies before you make them. I just don’t do it. It gives you the perfect excuse to avoid making them”. When asked when the sequel would get made, he replied: “I take so long to get around to making a movie that I don’t know when it starts”.
The lawsuit was resolved in Beatty’s favor, with a US District judge ruling that Beatty did everything contractually required of him to keep the rights to the character. While there have not been any sequels in either television or motion-picture form, there have been sequels in novel form. Shortly after the release of the 1990 film, Max Allan Collins wrote “Dick Tracy Goes to War”.
The story is set after the commencement of World War II, and involves Dick Tracy’s enlistment in the U.S. Navy, working for their Military Intelligence Division (as he did in the comic strip). In the story, Nazi saboteurs Black Pearl and Mrs. Pruneface (Pruneface’s widow) set up a sabotage/espionage operation out of Caprice’s old headquarters in Club Ritz. For their activities, they recruit B.B. Eyes, The Mole, and Shaky. Their reign of terror, culminating in an attempt to bomb a weapons plant, is averted by Tracy.
A year after War was released, Collins wrote a third novel titled “Dick Tracy Meets His Match”, in which Tracy finally follows through on his marriage proposal to Tess Trueheart. In April 2016, Beatty again mentioned the possibility of producing a sequel when he attended CinemaCon.
•Part 9: The Legacy Of Warren Beatty’s “Dick Tracy”
“Dick Tracy” is a top-tier comic book adaptation that is stylish, unique and an undeniable technical triumph. Actor, producer and director Warren Beatty’s adaptation of Chester Gould’s classic comic strip, is larger than life, ground breaking, well conceived and executed adaptation. It’s success comes from Warren Beatty making all the right moves to make the ultimate “Dick Tracy” movie.
Beatty knows how to bring out the brightest in his full to the brim cast of A-list actors. “Dick Tracy”, further fulfills it’s fun factor, in trying to spot all of the stars under the cakes of make-up. “Dick Tracy” is a masterpiece of studio artificiality, creating it’s world through matte drawings, miniatures and optical effects. It creates a world that never could be.
With ingenuous art direction and set decoration, every frame contains some kind of artificial effect. An entire world has been built here. And “Dick Tracy” reflects the innocence of the comic strip that had inspired it. It is one of the best comic book films and one of the most original and visionary fantasies seen on any screen.

domain: artistic


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MOSES In Her Boots Women Farmer workshops (WI, MN & IL) – 2017
Kicking off our “In Her Boots: Sustainable Agriculture for Women, By Women” summer women farmer workshop series, faciliated by the Rural Women’s Project of the Midwest Organic & Sustainable Education Service (MOSES).
In Her Boots: Grass-Fed Beef & Dairy in a Diversified System
July 12 | 10 a.m. – 3 p.m. | Brattset Family Farm | Jefferson, Wis.
Farmer and grazing instructor Kirsten Jurcek offers a behind-the-scenes tour of her successful beef and dairy grazing operation. Learn about rotational grazing, and how to establish a conservation easement, CRP-funded prairie, and silviculture plantings of fruit and nut trees. Other topics include honeybee hives and ongoing warm season pasture experiments.
Bonus: Wisconsin Farmers Union Youth Day Camp for kids 6 & older
In Her Boots: Realize Your Farming Dream
August 4 | 10 a.m. – 3 p.m. | Circle M Market Farm | Blanchardville, Wis.
The Wisconsin Soil Sisters, an innovative network of local women who farm, share their seasoned perspectives to answer your questions and help you gather resources for your farm launch. This event is offered in conjunction with the annual Soil Sisters weekend of farm tours, workshops, and culinary events.
In Her Boots: Field to Plate Perennial Fruit
August 9 | 10 a.m. – 3 p.m. | Blue Fruit Farm | Winona, Minn.
Experience organic berry growing at peak harvest time. Farmer Joyce Ford and her husband, Jim Riddle, raise a variety of “blue” berries and plums for wholesale and direct-from-the-farm markets. Learn what it takes to nurture these fruits from field to plate.
August 24 | 10 a.m. – 3 p.m. | Radical Root Organic Farm | Libertyville, Ill.
Farmer Alison Parker raises diversified vegetables for a CSA, farmers market and farm stand on a 10-acre certified organic farm. Learn how Alison creatively connects resources and learning opportunities to access the education and land the operation needs to grow into a successful farm business in a unique urban/suburban setting.


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Jinal Joshi is an Indian Actor & Model. Jinal Joshi is also a social media influencer with a massive following of 1 million on Instagram. Read details about Jinal Joshi Wiki, Biography, Age, Husband, Boyfriend, Height, Weight, Date of Birth, Instagram, Career, Religion, Body Measurement, Family & more.
Jinal Joshi was born on 1 January 1997 (age 25 years; as of 2022) in Mumbai, Maharashtra. Her zodiac sign is Capricorn. She completed her schooling from RBK School and later graduated in Bachelor in Mass Media from Malini Kishor Sanghvi College Of Commerce And Economics (Ritambhara).
Height, Weight, Physical Appearance
Jinal Joshi Ethnicity is Indian and she has black eyes and black hair. Her height is 5′ 7″ and her weight is 55 kg.
Family & Husband
Jinal Joshi belongs to a Hindu family. There is not much information about her parents. She has a younger brother named Viral Joshi.
In 2020, she was featured in the Marathi song Satrangi Rani sung by Dhruvan Moorthy. which was uploaded on Tips Marathi’s YouTube channel.
In 2021, she was featured in the Hindi song Feels Like sung by Royal Anee. which was uploaded on K2 RECORDS’s YouTube channel.
Some Interesting Facts About Jinal Joshi
- Jinal Joshi was born and brought up in Mumbai, Maharashtra, India.
- She aspired to become an actress since childhood.
- In 2014, she was worked as a Head Client Servicing at Astitva Training and Placement Services.
- She has completed her advanced education course from the Anupam Kher Academy.
- In 2021, she appeared in the Airtel Payments Bank PaySafe tv ad.
|Full Name||Jinal Joshi|
|Profession||Model and Actress|
|Date of Birth||1 January 1997|
|Day of Birth||Wednesday|
|Age (as in 2022)||25 Years|
|College/University||Malini Kishor Sanghvi College Of Commerce And Economics (Ritambhara) LinkedIn|
|Educational Qualification||Bachelor in Mass Media|
|Relationships & More|
Social Media Presence
👤 Facebook ➡ Jinal Joshi
📱Instagram ➡ Jinal Joshi
📜 Twitter ➡ Jinal Joshi
🌐 Wikipedia ➡ Jinal Joshi

domain: celebrity


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Tiffany Brenning is a professional stylist and a freelance writer with a unique interest in beauty, style, and fashion. She graduated from Fashion Institute of Design and Merchandising, California. Tiffany’s passion is coming up with helpful advice in regards to style for men and women all over the world.
How to Style Your Hair in Less Than Five Minutes
Whether you pushed that snooze button way too many times or you just have a bad hair day, some mornings seem to be against you and any of your attempts to pull off a stylish hairdo to go to work with and want to style…


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On Wednesday, the GOP-controlled House approved a national 20-week abortion ban, successfully reviving a piece of legislation that was stymied earlier this year because of its narrow exception for rape victims. But when it comes to ensuring reproductive health care for survivors of assault, GOP lawmakers will perhaps never be able to get it quite right.
This time, Republican lawmakers were able to leverage enough support for the bill by revising its rape exception. They removed controversial language that would have required rape victims to report the crime to police in order to access abortion, and replaced it with new language that instead requires rape victims to seek counseling or medical care within 48 hours of their abortion procedure.
This slightly broader rape exception is a concession that Republicans were forced to make after some members of the party withdrew their support for the bill in January, raising concerns that the original language would alienate young female voters. The negotiation over the legislation illustrates the fact that the debate over proposed abortion restrictions often hinges on whether the legislation provides an adequate exception to victims of rape and incest.
From a political perspective, this pressure point makes sense. Since the vast majority of Americans support abortion access for survivors of sexual assault, politicians who don’t take this position can be construed as particularly extreme. It seems especially callous to remove reproductive rights from individuals who were already denied the autonomy over their bodies when they were raped. And particularly since Republican candidates have a long history of making offensive comments about rape and abortion, they likely don’t want to provide any openings for further criticism about their approach to sensitive issues of sexual assault.
However, from a policy perspective, there’s no real way that Republicans could amend their rape exception to solve these issues. Even when survivors of sexual assault are technically allowed to circumvent abortion restrictions, the process of obtaining that exception typically ends up being too complicated for them to navigate — no matter whether they have to file a police report or go through the slightly less arduous step of getting a doctor’s note.
The best evidence in this area comes from examining the real-world implications of the Hyde Amendment, the decades-old federal policy that prohibits taxpayer funding for abortion except in the cases of rape, incest, and life endangerment. Hyde’s exceptions have become somewhat of the gold standard for the narrow exemptions that “reasonable” abortion restrictions are expected to carve out.
Thirty-two states and the District of Columbia follow the federal Hyde Amendment and prevent low-income women in the Medicaid program from using state dollars to help cover their abortion procedures. According to a Washington Post analysis, 11 states require rape victims to obtain a police report or social services agency report to claim the exception (analogous to the GOP’s old rape exception), while 21 states require rape victims to present a doctor’s note (analogous to the GOP’s new rape exception).
But these polices simply don’t work in practice. Over half of eligible abortions don’t actually get reimbursed by the public insurance program, according to a 2012 study from Ibis Reproductive Health.
The National Abortion Federation (NAF), an organization that runs a hotline for women who need assistance getting an abortion, is well aware of this reality. Their employees field a lot of phone calls from women who can’t afford to pay for abortion procedures that their state Medicaid program should technically be covering.
“It is totally commonplace. You’ll have a rape survivor who calls their Medicaid office, and they’re told that Medicaid doesn’t pay for abortions in that state,” Vicki Saporta, the president of NAF, told ThinkProgress in an interview. “I cannot tell you how many women we raise funds for who should be able to have their abortion care paid for. Medicaid is supposed to pay for those women to obtain abortion care, but does not.”
Rather than struggling to overcome the complicated web of state funding restrictions, it’s easier for these women to turn to nonprofit organizations like NAF — especially if they live in a state that’s hostile to abortion. In the rare cases when the federal government does agree to fund an abortion that qualifies for one of Hyde’s three exceptions, it virtually never happens in the 33 states that restrict Medicaid’s abortion coverage. A study from the Guttmacher Institute found that more than 99 percent of the abortions that did end up getting funded by federal Medicaid dollars in 2010 occurred in the 17 states that don’t impose Hyde’s restrictions on their state programs.
Restrictions on insurance coverage for abortion represent a huge hurdle for people who want to end a pregnancy; according to Saporta, it’s “probably the biggest barrier to women accessing the care they need.”
But criminalizing the procedure entirely puts women in an even more tenuous situation. Right now, the sexual assault survivors who can’t get their abortion covered through the Hyde Amendment’s ineffective exception process at least have the option of turning to nonprofit abortion funds to help them pay for their procedure. But under a national 20-week abortion ban with an ineffective rape exception, women will have nowhere left to go.
In this context, it becomes clear that the GOP will never be able to craft a rape exception that’s truly sensitive to survivors of sexual assault — let alone any other woman who may need abortion care for a different and equally valid reason.
“I’ve been in this field for 20 years — sometimes I think I’ve heard every story there possibly could be. But then you hear another story that a hotline operator tells you,” Saporta said. “Just last night, I was reading through some stories of women on the hotline who needed post-20-week abortion care. Even I was surprised at how desperate some women’s lives and situations are, and the desperate means that some of them will go to in order to terminate an unwanted pregnancy.”
Saporta recounted one story from a woman who was in an abusive relationship, became pregnant from rape, and couldn’t figure out how to pay for her abortion. She attempted to terminate her pregnancy on her own by ingesting poison, ended up in the hospital, and received several blood transfusions — and at the end of that ordeal, she was still pregnant.
“If you put a national 20-week ban on top of the state restrictions that have already been passed, I don’t know what some of these women would do,” she said.

domain: sociology


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Can I travel to UK with refugee travel document?
If the passenger holds a refugee travel document issued by the UK they do not need a visa. If the passenger holds any other non-national or refugee travel document they need a visa to enter the UK.
Does UK accept Canadian travel document?
Regular Canadian passport
Your passport must be valid for at least the expected duration of your stay in the United Kingdom. This requirement may also apply when travelling to Northern Ireland from other parts of the United Kingdom, and vice versa.
Which countries I can travel with Canadian refugee travel document?
Once you have obtained refugee status, you may wonder where you can travel without the need for a visa.
These countries DO NOT require visas for the visitors with the Refugee Travel Document (blue) issued under the 1951 UN Convention:
- Bosnia and Herzegovina.
Can I travel to Europe with Canadian refugee travel document?
Holders of a blue Canadian Travel Document (Convention of July 28th, 1951) do not need a visa for transit and/or short term stay (e.g. for tourism or business purposes for up to 90 days) in Germany. You are allowed to travel to Germany without a visa for a duration up to 90 days.
Is a refugee travel document a passport?
A refugee travel document is basically the equivalent of a U.S. passport for asylees and refugees who need to travel outside the U.S. temporarily. … A refugee travel document is basically the equivalent of a U.S. passport for asylees and refugees who need to travel outside the U.S. temporarily. (See 8 C.F.R. Part 223.)
Can refugees travel to another country?
A person with refugee or asylum status who wishes to travel outside the United States needs a Refugee Travel Document in order to return to the United States. In most cases, a refugee or asylee may use the Refugee Travel Document for travel in place of a passport.
Can a Canadian citizen travel to UK without visa?
If you carry a full Canadian passport, you do not need a visa to visit the UK. You will get a stamp in your passport on arrival at LHR or LGW allowing you to stay as a visitor for up to six months. Yup, no Visa required.
Who is exempt from quarantine in Canada?
You may be exempt from the mandatory quarantine requirements under certain conditions, including if you: provide essential services. maintain the flow of essential goods or people. are receiving medical care within 36 hours of entering Canada (non-related to COVID-19)
Does UK share criminal records with Canada?
The UK does not routinely share criminal record information with overseas authorities. For this reason, if you declare a criminal record on your visa application form, you may be required to provide a copy of your criminal record as part of your application.
Can refugees in Canada visit their home country?
You need to get a Refugee Travel Document from Passport Canada. … It is recognized in all countries as a valid travel document. However, you cannot use it to travel to the country that you are a citizen of or the country of claimed persecution.
How long is a refugee travel document valid for in Canada?
For children under 3 years of age, the validity is 3 years. For children between the ages of 3 and 15, the validity is 5 years.
How long does it take to get a refugee travel document in Canada?
It can take up to 8 weeks for refugees to get their visas and exit permits, depending on where they are. Refugees usually travel within 3 to 6 weeks of getting their travel documents.
Is it safe to travel with travel document?
When used properly, advance parole is a document that is perfectly legal and safe to use. If you have a pending application for an Adjustment of Status Green Card or a marriage-based Green Card, Advance Parole serves the same purpose as a US Visa, allowing re-entry to the United States upon returning.
Which countries accept Irish refugee documents?
Ireland accepts Convention travel documents issued by the countries listed below only. If you possess a Convention travel document issued by another country, you will require a visa.
Convention Travel Documents.
Can I go to Canada as a refugee?
Foreign nationals, who fear persecution, who are at serious risk of harm and who cannot get protection in their own country often seek refuge in Canada. People who are recognized as refugees are allowed to stay in Canada and may apply for permanent residence status, and eventually may apply to become Canadian citizens.


Verizon Wireless has activated a total of five new cell cites, with 3 being in Kentucky and 2 in southern Indiana. The new cites are located in Jefferson and Oldham County. No doubt benefitting potential new and returning customers in Kentucky and Indiana with the iPhone 4 looming on the horizon. Below is a portion of the press release:
LOUISVILLE, Ky.—Verizon Wireless has activated five new cell sites in Kentucky and southern Indiana that improve voice and data coverage in three counties in the greater Louisville area.
Three new cell sites in Kentucky, including an in-building site within the KFC Yum! Center, improve coverage in the west central and south central portions of Jefferson County and in southern Indiana.
Another new cell site in Kentucky in Oldham County improves coverage in Goshen.
A new cell site in Floyd County in Indiana improves coverage in the southern portion of the county.
The new cell sites enable more Verizon Wireless customers to rely on their wireless devices for social networking, Internet browsing, downloading apps and music, exchanging email and text, picture and video messages, watching high-quality videos and making calls.
The company’s ongoing network investment in Kentucky now totals more than $307 million. Nationally, Verizon Wireless has invested more than $60 billion since it was formed—$5.7 billion on average every year—to increase the coverage and capacity of its premier nationwide network and to add new services.


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Who lives in my mind streaming
Fundação Calouste Gulbenkian
|55 min||Documentary||0 USD|
Download link for "Who lives in my mind" :
Thirteen elderly people with cognitive illnesses attend the Psychogeriatric Day Clinic at the CHPL Hospital. The treatment is based on psychotherapeutic practices, wich allow for intervention on the Person, improving the preserved abilities, implementing autonomy and rehabilitating identity.

domain: psychology


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CAMP PENDLETON, Calif. --
Camp Pendleton artillery units are scheduled to fire a ceremonial 21-gun salute at the Pacific Views Event Center between 4:30 p.m. and 5:00 p.m. Saturday. An additional test fire will also be conducted earlier in the day. The firing is part of a ceremony commemorating the landings on Iwo Jima during World War II.
The Center is located at the Southwestern part of base, near Interstate 5 and the base’s Main Gate.
Depending on atmospheric conditions, the sound may be amplified and heard up to 50 miles away.
The Battle of Iwo Jima took place between 19 February and 26 March, 1945. More than 6,800 Marines and sailors were killed during the fighting. The famous flag raising on Mt. Suribachi took place during the battle.
For future inquiries regarding increased noise levels, please refer to the weekly noise advisories posted on the Marine Corps Base Camp Pendleton web site at http://www.pendleton.marines.mil/About/BaseInformation/NoiseAdvisory.aspx.


Part of Advances in Neural Information Processing Systems 35 (NeurIPS 2022) Main Conference Track
Tengyang Xie, Akanksha Saran, Dylan J Foster, Lekan Molu, Ida Momennejad, Nan Jiang, Paul Mineiro, John Langford
Consider the problem setting of Interaction-Grounded Learning (IGL), in which a learner's goal is to optimally interact with the environment with no explicit reward to ground its policies. The agent observes a context vector, takes an action, and receives a feedback vector, using this information to effectively optimize a policy with respect to a latent reward function. Prior analyzed approaches fail when the feedback vector contains the action, which significantly limits IGL’s success in many potential scenarios such as Brain-computer interface (BCI) or Human-computer interface (HCI) applications. We address this by creating an algorithm and analysis which allows IGL to work even when the feedback vector contains the action, encoded in any fashion. We provide theoretical guarantees and large-scale experiments based on supervised datasets to demonstrate the effectiveness of the new approach.


This was a great victory for football supporters – I want to make this clear from the outset.
A lot of fans didn’t like it.
Perhaps, if social media and the so-called culture wars had existed earlier, there would have been a similar outcry when the term ‘fieldsman’ was organically ditched in favour of ‘fielder’.
Looked like there were some plays, third and six, third and eight, Steph gave him a little bit of a cushion.
Among Rodgers’ gripes is the obvious: the decision to trade for an earlier selection in the 2020 NFL Draft that was used to select a quarterback custom jersey maker baseball presumably will be the successor at that position.
Everything they’ve done has stayed hot.
According to The Denver Post, the Broncos went from having the 24th-best odds to win the Super Bowl at +6 to the ninth-best chance to take home a title at +2.
Erin Phillips – The cross-code star has made a name for Design Custom Shorts across a decorated career in basketball and now the AFLW.
Obviously, the throw to Greg Ward for the touchdown on a scramble … but there’s some things that, if and when he looks at the film, that we can clean up and that he can improve upon.
The third overall pick in the 2018 WHL Bantam Draft finished the year custom football jersey 12 goals and 23 assists in 39 games played.
Let’s not get ahead of ourselves.
Additionally, Melissa is a 2019 NEA Global Learning Fellow, a 2014 National Hope Street Group Teacher Fellow, a National America Achieves Fellow , a National Geographic Certified Teacher, a 2017 American Geographical Society Teacher Fellow, and an alumnus of the Rodel Teacher Council .
It’s a frightening situation from which one can only hope Weidman can recover.
The Nigerian Nightmare earned a knockout victory after catching Masvidal with a perfectly timed right hand in the second round of their welterweight championship bout, becoming the first fighter to defeat Masvidal via KO.
It didn’t matter who the Packers selected after the firestorm that grew from Adam Schefter’s report that Rodgers wants out of Green Bay.
Instead, he returned to Djurgårdens and continued to impress in one of the best leagues in the world.
So, it’s something you don’t understand when you’re a younger guy in the league, like I was when we first played the Titans, and now that I’ve been around a little bit longer, you really start to understand and see the impression guys like that make.
What they will do is provide critical structure to your draft preparation and performance, trading, and in-season management.
I tried to get up field and make some yardage and try to get out of bounds.
Obviously, each game is different, but I think there are some general things that we can make our players and coaches aware of.
It’s a risky move but I respect Flores’ desire to advance the Dolphins beyond the also-ran status Fitzpatrick represents.
Los Angeles Chargers Speaking of Staley, more great vibes are coming from the other L.A.
When Josh was no longer with us, they embraced that somebody else had to do something different to contribute to our offense.
11 a.m.: A bogey and birdie on Holes 7 and 8 move Mickelson back to 2 under through eight holes.
…New England’s front seven did a nice job of holding up the Titans’ o-line on 4th-and-1 from the NE 38.
If the Jaguars win and the defense plays to its potential, the ugly loss to Kansas City will seem like an outlier.
But to suggest the Jaguars would only select him to sell tickets and not because they believe he’s the best player in the draft is silly.
I would like to thank Mr Peters and grandma Lana for giving me the opportunity today, and Willie Pike thanks very much.
The Canadian Hockey League cares about your privacy.
There’s no doubt he’s relentless in trying to come up with game-changing plays, and the production proves it.
An uppercut lands moments later for GGG as well.
I mean we’re always confident.
According to NFL Network’s Ian Rapoport, the death knell in the relationship between Rodgers and the Packers came when Green Bay made the decision to release wide receiver Jake Kumerow ahead of the 2020 season.


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MANILA - Singer Aiza Seguerra serenaded her fiancée, actress Liza Dino on "Aquino & Abunda Tonight" on Friday.
During the episode, the 30-year-old ASAP mainstay sang Ryan Cayabyab's "Araw, Gabi" to her gushing and emotional fiancée, whom she refers to as the "one."
"She’s the person na naramdaman ko na masaya man o hindi maging okay, kung ano man ang mangyari I’m willing to fight for the relationship and I want to fight for her," she said.
To which Dino replied: "When you come to a point that you know what you want already and when I met her, I found everything that I am looking for in a person and more."
"When I felt that everything was going right for me, everything just seems to fall in place for us. And that is an affirmation for us everyday that we are doing the right thing," the emotional actress continued.
Seguerra earlier proposed to Dino during a stage play at the University of the Philippines on February 7. The proposal was revealed on social media when pictures surfaced of Seguerra down on one knee facing Dino.
Seguerra revealed that Dino remained clueless as she had invited real actors and audience members for the play: "To propose, I produced a play na kaming dalawa is part of. I asked her department's help. Talagang career, we had actors, we had an audience. Everything."
"Sa dulo ng part, doon na ako nag-propose," she added.
Seguerra also said that her family has been very supportive of her relationship since the announcement: "Nung una akala ko violent pero nagulat ako, when I told my parents about it, ang tanong lang nila sa akin, 'Handa ka na ba?"
Confidently, Seguerra said: "I'm prepared."
Seguerra and Dino first went public with their relationship during the singer's concert with Charice Pempengco last September 28.
A former beauty queen, Dino won the best actress in the New Wave section of 2012 Metro Manila Film Festival for her performance in "In Nomine Matris."


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Allison-Chinook Ski Trails
We are pleased to offer a ski trail map for download, both as PDF and GPX files:
Follow the link below to download the Avenza Offline Mapping App on your phone, so you will always be able to see where you are on the map!
For vehicle directions to the Main Ski Trails: follow the directions on Google Maps to the Allison Creek Brood Trout Hatchery and park outside the gate or see the following instructions:
Main Parking Area (no dogs allowed):
- Driving west on Hwy 3, turn right on to Allison Creek Road at:
- 8.6 km west from the Tim Horton’s/Shell gas station next to the highway at west Blairmore, or
- 2.3 km west from the highway speed change back to 100 km/hr at the west end of Coleman.
- Driving east on Hwy 3, turn left on to Allison Creek Road at:
- 9.6 km from the BC/AB border.
The Dog Friendly Trails Parking Area:
- Driving west on Hwy 3, turn right on to Tecumseh Road at:
- 10.1 km west from the Tim Horton’s/Shell gas station next to the highway at west Blairmore, or
- 3.7 km west from the highway speed change back to 100 km/hr at the west end of Coleman.
- Driving east on Hwy 3, turn left on to Tecumseh Road at:
- 8.1 km from the BC/AB border.
Click on the Avenza logo below to link you to the app download page. This application is free and works on all iPhone and Android devices.
Once you have downloaded the app to your phone, open the geo-referenced Trail Map PDF map above, to download it to your phone. In Avenza Maps, click on the “+” sign to import the map from your device into Avenza. On the trails, when you open the app and select the Allison-Chinook map, there will be a dot on the map at your location. You can also pull up a menu to “Record GPS Tracks”, as well as other mapping functions. Maps for Castle Park and Livingston PLUZ area also available for use with Avenza.


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CFD NYSE Ideas
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The Upside to CFD NYSE
Dependent on the asset, a broker might be the cheapest choice or the most expensive. There are plenty of reasons you may want to discover a stock broker. There are several reasons you might need to discover a stock broker. There are many reasons you may want to discover a stock broker. Always ensure your CFD broker has 24 hour support and a great supply of completely free on-line training tutorials for you to acquire confidence in the computer system. Who's the very best CFD broker and how can you choose which broker to use. As a rule of thumb the only CFD broker that gives you the ability to trade several exchanges around the world are market-makers.
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There are assorted types of trading strategies and you have to use different chart time periods for market timing. It's possible that you offer your trading strategy in the market place. There are several different kinds of trading strategies and you must use different chart time periods for market timing. Forex trading strategies are very crucial for any considerable trader in the forex market. They are rather essential for any considerable trader in the forex market. Although there are lots of forex trading strategies, you have to work out which one is the absolute best for you. Although there are many forex trading strategies, you will need to work out which one is the very best for you.
CFD NYSE Ideas
Work hard and you will succeed in trading. Work hard and you'll succeed in trading. So you will need to zero back on the sort of trading you wish to learn. So you'll need to zero back on the kind of trading you want to learn. In general, trading with commodity futures is certainly a good method to create handsome money but there are a few important factors that one needs to take care. In general, it is certainly a good means to produce handsome money but there are a few critical factors that one needs to take care. Generally, it is definitely a fantastic method to create handsome money but there are a number of essential things that one should take care. The most important reason is to block the trader experiencing an assortment of losses, which could lead to wiping off their complete capital at once. While trading currencies in the marketplace, traders will have to be certain they'll acquire reasonable profit at the ending of their trade. CFD traders have the capacity to go long and short at will, and internet trading makes it effortless to adjust stops and targets at any moment. Clearly if a CFD trader has a balanced collection of positions when it comes to longs and shorts, the typical beta on every side should be assessed concerning the general risk of major market moves in 1 direction. The greatest CFD traders are the individuals who understand market dynamics. So many CFD traders and especially day traders make an effort to go real-time way till they have the appropriate experience to really make a good income through trading.

domain: finance


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Directed by Scott Hicks, the drama Shine is a formalist masterpiece. Writing the piece as a fiction film gave the author license to alter the events in the story of David Helfgott, a real musician who had a nervous breakdown on his way to magnificence. Geoffrey Rush’s portrayal gave life and believability to David, and Rush won an Academy Award for his realistic method acting. He had not only to provide depth to the character, but had additional physical demands placed upon him due to David’s irregular speech and his tendency to twitch. Both setting and costume are unobtrusive, allowing the audience to focus on the characters rather than their adornments. The formalistic style allows for manipulation of time, and the film begins in medias reas, jumping back and then foreward as it progresses. The structure is highly fragmented, and much of the action is cyclical. Every element of film composition is elegantly intertwined in this picture, mingling together to form connections and patterns out of seemingly separated things.
The film opens with a close shot side-view of the protagonist’s face as he smokes a cigarette, smoke drifting up from his lips and into the surrounding darkness. He is talking, but that soon is faded into the sound of rainwater. The rain becomes visible as it replaces David’s face in a fade technique, and David enters the frame and walks from the right of the screen to its left, suggesting change and action. He arrives at a restaurant window, peers in, and falls into a strange conversation with the employees. This is now the chronological middle of the story, and, while common in Medieval literature, is a highly unorthodox place to begin a picture. Though this film is more easily classified as a formalist piece, it has outstanding avant garde elements throughout.
The transition from the restaurant to the car is masked by the dialogue covering it. Since the acting overrides editing as a way to convey meaning in Shine, Hicks employs many sound motifs to ease editing transitions and make them seem more natural. As the discussion fades and the rain again takes auditory prominence, the scene darkens and the water becomes the clapping of many hands. In this way David eases into a flashback of his childhood. He walks small and silent to the stage for his first competition, and a long shot is used to emphasise the fright and anxiety of the boy. Other transitory devices include David’s glasses, his hands on the piano keys, and sometimes a change in his costume, such as when he first plays the restaurant in rags. When he stands to receive his applause, he is dressed much more nicely, now an employee of the establishment.
Hicks also employs classical cutting techniques, which depend on the content curve (the moment when the audience has had a chance to assimilate all information presented but not analyse or become bored with it) to determine breaks in scenes. One example of this technique is after David presents his professor with the Rack III and asks “Am I mad enough?” The scene is cut before the professor answers, and the following scene is the professor intensively training David on the very piece. Cutting for continuity is commonly used to condense time while maintaining a sense of the actions taking place between two major events. Preparations for one of David’s concerts are edited in such a manner, making a ritual out of the ordeal while not wasting too much time on it.
Besides editing, relationships can be suggested through film devices such as proxemic ranges, angles, and reaction shots. After David loses his first competition, his father stares at the ground while walking well ahead of the boy. His father is disappointed, and David is rather unaware of any problem as he innocently plays hopscotch as he follows. The reactions of David’s father and his instructor are shown through parallel editing when the announcement of the National Champion does not coincide with their hopes for David. Both are displeased, but Mr. Helfgott simmers with barely restrained anger. Since he was denied music as a child, he forces it upon David and demands greatness from him.
Later in the film, David is filmed standing on the second floor of a library balcony as his father calls to him from below. The low angle used when the scene is shot from the father’s point of view suggests his decrease in power and his growing respect for his son. Moments before they walked down the hall to the room, the father’s arm wrapped protectively and proudly around David’s shoulders.
This relationship reverts to its former, however, as David’s father beats him for wanting to leave the family and study in America. Though no oblique angles are used, the effect of the handheld camera is enough to effectively portray the violence and confusion of the scene. This feeling is reinforced by the overlapping dialogue of the family and the tight framing. David is released and retreats into the pounding rain, but is unable to locate his teacher and so returns home.
David sits crouched in the bathtub as time stops due to a combination of the silence and the slow motion of the scene. Water, as it drips from the faucet and David’s hair, is the only sound, until his father arrives and fills the air with his pointless talk.
In the middle of David’s biggest recital, all sound is blanked out and the scene slows down, and only David’s sweat-soaked hair and his fingers provide movement. This lack of sound and action serves as a tension-building device, since an audience is unaccustomed to and unsettled by silence. Further than that, however, is the fact that the silence makes clear the distinction between David’s art and his reality. He has put such a great amount of time and effort into his playing that he no longer can even hear it; he has lost all enjoyment. At the end of the beautiful and perfectly played piece, the tragedy foreshadowed by the silence comes to pass and David falls to the floor from a nervous breakdown. His glasses slide and rest away from him; the next scene opens with David in a mental institution, lying on the floor, gazing at his glasses. They are photographed at an oblique angle (completely perpendicular) in order to reveal David’s perspective through his eyes.
Mise en scene also can be used as an effective method of foreshadowing. When David goes to the mailbox and receives the letter inviting him to America, he is caged in the foreground by the fence as the family house ominously fills the background. Low, somber classical music plays quietly, further reinforcing the reaction he will get from the letter. Another example of layered frame construction is the first scene in which the audience sees David at the college in America. Two professors discuss David’s possible talent as he flounders around after scattering papers far beneath them, separated not only by the distance but by the pane of windowglass as well. Since he is several stories beneath them, David is shot at an extremely high angle, making the disparaging and doubtful remarks the first professor says about David all the more possible. The very next shot has David standing above his peers on a stairway as they call up to him, reversing the situation. The professors might have been superior to David (at least at that particular moment), but he was far more advanced than any of his contemporaries.
During the scene cementing Mr. Helfgott’s admonition to disown David for leaving home he burns the newspaper clippings he’d saved about the boy. This is one of the few extreme-close ups in the film, and is repeated later when the same photograph is reprinted in another paper and Mr. Helfgott sees it, deciding then to make amends. David gave the same picture of himself to Katherine, his mentor, and receives it again in the mail upon her death. The photograph serves as a connecting device and as a reminder of the young man David once was, before stress set in and destroyed his love and passion.
The young David is associated with the sound motif of the piano and the applauding audiences he played before, while the adult David mostly is introduced by the melancholy sound of rain against a windowpane. At the film’s conclusion he is again able to hear the music as he once did, and he is fairly healed. A piano, a violin, applause, and the voice of an announcer melt together in a sound montage that creates tension as David, his father, and his instructor await the decision on the National Champion. The sound is very loud and powerful during scenes of change or major development, and understated in more stagnant scenes or those dependent on audible dialogue.
However, The political standpoint of the film, or its ideology, is not quite so clear. Hicks directed the film to be of implicit nature, wherein the protagonist and antagonist represent opposing value systems. David’s father is obviously a rightist in his beliefs, since he places worth in religion, custom, competition, and, above all else, family. While David believes in competition, he is not so set in religion and custom (he lives for an amount of time in a Christian church, while he himself is Jewish), he places the individual over the family. In search of his own fortune, David leaves after expressly being told not to. This one difference is strong enough to tear the family apart and create a conflict around which the story can revolve. The irony of the situation is that, while trying desperately to preserve his family, David’s father actually succeeds in alienating his son and putting undue stress on his relationships with the other family members. The music he counted on to bring David and himself together also split them apart. Until his breakdown, David had all but adopted the old professor as his father because he understood David well and was kind to him.
The literary aspect of this film comes not from the fact that it was adapted from a novel (since it was not), but from its strong basis in the literary convention. For example, the motifs of rain and applause are a common technique of literature, as is the shifting point of view. The story is told from first a third-person limited perspective, then goes into personal flashbacks from David’s memory, and the remainder of the film switches back and forth between the two. Also, the film is rife with imagery and symbolism, both of which are favourite literary devices.
Such symbols can be interpreted from the viewpoint of the theories of Structuralism and Semiology. Water is the most obvious of these symbols, and traditionally means cleansing, rebirth, and calmness. However, rain means bad weather and difficulties, and dirtied water (such as that in the bath) is poison. Just before David’s first adult recital, all of his pages float in clear blue pool water as clouds drift by above them. This is finally the foreshadowing of a rebirth. While not a universal symbol, the glasses signal David’s dependency on things outside himself. Such things eventually destroy him, since he is not able to break through the multitude of walls and fences that fill the screen and live for himself. A lion appears twice, first when David describes his father to Katherine and later when he awakens at the base of a huge sculpture of one. Lions are typically strong and powerful, the king of all they survey. The fact that David wakes up with one behind him foreshadows his father’s return and his support of his son. The medal won for the recital of Rack III and the composition itself both become symbols of the father that was so bent on having his child son play the impossible piece. The fact that David chose that as his premiere work told of both his lasting devotion to his father and his determination to please. When Mr. Helfgott returned the medal he was recognising the accomplishment and forgiving his disowned son at once.
The closing shot is one of David and his wife as they leave his father’s grave and the cemetery, the camera pulling back on a crane as the two become lost in the vast stretch. No longer is the audience involved; the story is over. The main themes of this film- complications, deterioration, and loss- are expertly portrayed through the harmony of all divisions of filmmaking. Both Hicks and Rush are excellent, and, despite herself, this eclectic critic enjoyed the film.

domain: entertainment


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Real Red, True Blue & Fast Yellows: Using Ancient Natural Dyes to Create Lasting Beauty
Indigo, Madder, and Weld – the names are an incantation for the trinity of natural color in the ancient world of Europe and the near East. Meanwhile in Central America, they created amazing textiles and painting manuscripts with Indigo, Cochineal, and Marigolds starting over 6,000 years ago. In this three-day immersion workshop we will delve into the potential of these 5 nature-based dyes to create pure and long-lasting colors. Each day will focus on one of the three primaries. Sourcing directly from the raw materials, we will create vibrant hues on cloth and paper. This class will provide a strong foundation for working with natural dyes, including the science that makes it all work, how to best prepare fibers, and growing dye plants.
The students will work together creating a full rainbow of dyed cloth samples, and experience the alchemy of making pigment lakes that can be turned into inks and paint. Each student will take home a detailed instruction booklet, a rainbow cloth, and the dye portfolio they create for future reference. Friday: Royal Reds- Madder Root & Cochineal Bugs Dye Session, and making a Madder Lake Saturday: The Sky and Sea – Indigo Blues Dye session, and Mayan Blue pigment Sunday: Yellow like the Sun- Pure Weld & Sacred Marigolds Dye session and Weld Lake
$135 plus a $100 material fee (Please pay material fee directly to instructor)
Where is the event?
Sou'Wester Lodge (See address and directions below)

domain: chemistry


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The pod episode kicks off with the team discussing a possible “font-off” contest, the creative process, David’s reanimation and staged reading of a play from 20 years ago through Milwaukee’s Sunstone Studios, and the triumphant return of the in-person Milwaukee Film Fest in spring of 2022.
Oscar joins Mac and David around 16:30 to discuss his film, “A Life On The Farm,” which will screen at the MFF on April 30th. The feature length documentary builds upon found footage from a video created by his grandfather’s neighbor, Charles Carson, in the 1980’s on a farm in Somerset, England. Carson was filmmaker and a farmer, an outsider artist, an inventor and a pioneer of “death positivity.” The film centers around the process of uncovering Carson’s creative genius, as Oscar and his filmmaking partners endeavor to learn about this unconventional filmmaker and his work through interviews with neighbors.
In the conversation, Oscar touches on formative influence of movies and theatre on his young life, and on being drawn to the electricity of the live performance. He details his career trajectory within the film industry, beginning with working to support the critically acclaimed film “Theeb.” Though Oscar now calls Milwaukee home, he is both Irish and British, and shares insights about state-funded arts and film funding access abroad, and reflects on how Ireland far exceeds the U.K. and U.S. in these opportunities. He remarks about how environments with limited funding end up proliferating elitism in the arts, and have the consequence of sidelining the voices of filmmakers of marginalized communities and diverse identities. Oscar reflects on his own journey from working on narrative film, to letting the footage of Carson inspire him to work in the realm of documentary film, in order to tell his story.
Web: Sonderbar Pictures
Font Psychology (Design Mondo)
“Evolution of Sunday” at Sunstone Studios, Online Program