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We Must Never Abandon Identity Politics
Opinion, Politics, Progressivism, Rebuttal,
Issue Based Campaigns Will Not Work Without Identity Politics
by Pamela Getz August 30, 2018, 4:00 pm 2 Comments
Photo Credit: bvcchurch.ca
The term "identity politics" has been tossed around the past couple years as a pejorative; mostly to equate identity politics with one issue voting. As often happens, leftists and progressives disagree on this point, as I disagree with Progressive Army contributor Mr. Joe Brunoli's piece Democrats Must Abandon Identity Politics and Run on Actual Policies. The article suggests that identity politics must be abandoned completely and he harkens back to the FDR-Style of progressivism. Those policies hit certain communities especially hard and African Americans took on the brunt of the problem.
"The rationale was the government's need to protect its investment, and those of white homeowners, against the threat African American neighbors would pose to property values." – Charles Lane for the Washington Post
Mr. Brunoli also suggests that Alexandria Osacio-Cortez and Senator Bernie Sanders are trying to develop issue-based only campaigns. I personally support Sen. Sanders on most topics, but this was where I feel he dropped the ball during the 2016 campaign and I wasn't the only one to notice this blind spot. Not directly addressing the issues facing individual communities was a key component missing from his arsenal. As for Congressional hopeful Alexandria Osacio-Cortez, even a perfunctory glance at her platform page is a litany of identity-based political issues that she says she plans on addressing if elected.
It is true that Democrats have a long history of running on identity politics but the problem wasn't and isn't this approach. The problem is politicians not following through after securing office. What the Democrats did in the 2016 presidential campaign is what they have been doing for decades; they made a boogeyman of the Republican party and their policies without having a concrete plan or action to replace those problematic stances. Much like the Republicans who rushed to attempt to reverse the Affordable Care Act (Obamacare) then couldn't produce a viable replacement.
A prime example of this from the Democrats was the push for Senator Kamala Harris as a presidential hopeful for 2020. Senator Harris was spouting the same tired talking points from the Democratic Party but they hoped that coming from the mouth of a 1) woman 2) of color would make them easier to swallow.
Related Article: Kamala Harris: Proof that Democrats Still Don't Understand Progressives
The republic is not only tired of waiting on Democrats to follow through on their campaign promises but is now in dire straits due to this lack of any follow-through on identity policies.
Democrats have a habit of flip-flopping on issues that affect marginalized communities based on whether or not they were politically expedient at the time rather than any true commitment to the ideologies the purport to support. This has caused a lack of trust among longtime democratic supporters and Democrats have been exposed for who they truly are; centrists or rather Republican-lite.
Mr. Brunoli's suggestion of:
"…getting off the addictive gravy train of corporate cash and it means stopping the vicious cycle of fundraising and spending on lobbyists, consultants, and mass media."
Is exactly what progressive candidates have done but progressives have seen a dramatic increase in support, not because they abandoned identity politics but because they spoke directly to them. In the aftermath of the 2016 Election, the progressive candidates who are making strides, showing great promise, and winning are largely very connected to the communities they serve. Some are even coming directly from those communities and they are familiar with the needs and the specific needs of those communities. Marginalized and disenfranchised communities may have a common end goal, but the hurdles they face in reaching those goals vary greatly. The needs of the LGBTQI community are not the same needs of farmers. The needs of former coal miners in rural Appalachia are not the same needs as sex workers.
There is no better way to get people to the polls than to show them that they will be voting in their best interest, rather than being forced to choose between the lesser of two evils where their needs are ignored once they have cast their ballots.
We certainly must support candidates that have solid issue-based campaigns but those issues will always need to be viewed through the lens of identity politics in order to be effective.
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Written by Pamela Getz
Writer and Activist. Follow Pamela on Twitter @goddesspamela.
Pamela Getz is Editor of International Affairs for Progressive Army and a member of its Editorial Board.
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Judging people by the color of their skin is the way to electoral victory. Thank you for your vibrant, inclusive article. #fenceJumperAmericans #basketBallAmericans #vaginalAmericans #peterPufferAmericans
"Vote for me because I'm _____ like you" has given us several generations of politicians who get elected either on ethnicity, religion or gender, who end up betraying the people who voted based on their identity–whatever it is. I realize corrupt politicians use this tactic because it works, but we should all realize by now that it is a con job. Bernie Sanders did not generate a huge following because he was a cranky, old Jewish guy: it was because of the specific programs that he advocates that resonate with a large part of the electorate. How many women have… Read more »
Democrats Must Abandon Identity Politics and Run on Actual Policies


Abstract: BACKGROUND: Transient lower oesophageal sphincter relaxation (TLOSR) is the predominant mechanism of gastro-oesophageal reflux (GOR) in healthy infants but the mechanisms of GOR in infants with GOR disease (GORD) are poorly understood. AIMS: To measure the occurrence of TLOSR, GOR, and gastric emptying (GE) rate in preterm and term infants with GORD. PATIENTS: Thirty six infants were studied and grouped as normals or GORD based on a routine clinical assessment and confirmation of an assessment of GORD by reflux symptom charts and oesophageal pH monitoring. METHODS: A micromanometric assembly incorporating a micro pH electrode recorded oesophageal motility and pH. GE rate was determined using the (13)C-octanoic acid breath test. RESULTS: TLOSR was the predominant mechanism of GOR, triggering 50-100% of GOR episodes (median 91.5%). Abdominothoracic straining significantly increased the occurrence of GOR in association with TLOSR. In infants with GORD, the number of TLOSRs overall was similar to normals but the proportion of TLOSRs accompanied by acid GOR was significantly higher than in normals (16.5% v 5.7%, respectively; p<0.001). Infants with GORD had a similar GE rate to normals. CONCLUSIONS: In infant GORD, acid reflux associated TLOSRs are abnormally common and likely to be a major contributing factor to the pathophysiology of GORD. Infants with GORD do not have delayed GE.
Description: Copyright © 2002 BMJ Publishing Group Ltd & British Society of Gastroenterology.


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Trance (15.)
Directed by Danny Boyle.
Starring James McAvoy, Rosario Dawson, Vincent Cassel, Danny Sapani, Wahab Sheik and Tuppence Middleton. 101 mins.
For all our Mike Leighs and Ken Loachs, Britain's greatest influence on cinema has been flash. Since with the late seventies, starting with the former advert maker like Alan Parker and Ridley and Tony Scott, a steady stream of chaps have shipped out to Hollywood on the backs of a few pop videos they made to add a bit of magic hour glow to their cop and sci-fi flicks. But one stayed home, and though it is heretical to suggest it right now, there is no greater exponent of style over substance than Danny Boyle.
Last year Boyle was a national hero for his Olympic opening ceremony. Olympic glows fade fast but while Jessica Ennis and any other athlete with face enough to do it, are busy whoring out her medal for anyone who'll pay, Boyle's picking up where he left off and his new thriller throws in just enough torture, gore and full frontal nudity to let everyone know he hasn't sold out or gone soft.
A remake of a little known 2001 film, Trance's opening prepares us up for a heist piece. McAvoy is an auctioneer narrating the security procedures used when they are auctioning a multi-million pound work of art. Quickly though we are whisked away into a very different film: McAvoy has amnesia and, on the vigorous promptings of a gang of hard-core villains, is consulting a hypnotist (Dawson) to try and remember the location of something very valuable. From there we are in a frantic game of who's playing who, with revelations tumbling out one after another and the audience encouraged to wonder which bits are real and which are illusions being played out in McAvoy's mind while it is under hypnosis.
At one point a gang member exclaims "This is nonsense," and I was inclined to agree. The plot is a fine old piece of hokum and to enjoy it you need to give into it and accept the silliness. Many people will do just that and be thrilled by it, but for me Boyle's frantic sensory overload - the restless visuals and cranked up, pulsating soundtrack - is too much for the material to support and communicate a lack of faith in the material.
It's not style over substance as much as style in opposition to substance. His previous film, 127 Hours, should've been an exercise in stark isolation and existential terror but Boyle made it so loud and vibrant James Franco looked like he was having a fine old time stuck down there in his crevice. It's also a touch desperate: like a middle aged man desperately trying to prove he's still down with the kids. Trance is Inception remade in a Hoxton nightclub.

redpajama_set_name: RedPajamaCommonCrawl


Street-art, graffiti, stickers, stencils, tags scratchiti, vandalism, whatever. Things from the cityscape, mainly from Helsinki. Not done by me, only documented by me. Things I consider visually interesting.
Thank god 4 wellfare, haluatko soittaa bändissä?


Senior scholars from all four Tibetan Buddhist traditions, along with 84000's editors and translators, met in Bodhgaya at our first translation seminar in October 2013 to discuss the best way to translate Buddhist texts.
The three day seminar involved many honest exchanges and the offering of invaluable advice. For the benefit of Dharma translators, scholars, as well as everyone who is interested, we are pleased to share the transcripts of these in-depth discussions in English and Tibetan.
The seminar was a great success, paving the way for the ongoing collaboration and participation among the four schools of Tibetan Buddhism. It was agreed that, as Samdhong Rinpoche stated, "It is a risky business, but it's a risk that Buddhist scholars have to take." The seminar concluded with each of the senior scholars pledging their earnest commitment to the success of 84000.
We would like to thank the following people for their kind assistance in preparing the transcripts: Khenpo Choying Dorjee, Khenpo Mriti, Khenpo Phuntsok Namgyal, Khenpo Sonam Phuntsho, Khenpo Sonam Tsewang, Lopon Pema Longdrol, Raktrul Ngawang Kunga Rinpoche (Do Tulku), Sithar Samdup, Sonam Jamtsho, Yosel Nima, Andreas Doctor, Ben Tan, Catherine Dalton, Heidrun Köppl, Jeanette Ng, Julie Jay, Sarah K. C. Wilkinson, Thomas Doctor, Ushnisha Ng, and many others.


text:
Some nutbag killed nine people, we don't do that in our family
(Fred Weinberg) – Last week's killing of nine bible study group members in Charleston, South Carolina reminds me of an event which happened 20 years ago this year.
On April 19, 1995, I owned five radio stations in Oklahoma including stations in Tulsa and Oklahoma City.
That morning, a rental truck containing a bomb made of fertilizer and diesel fuel blew up the Murrah Federal Building in Oklahoma City killing 168 people. In a time frame not dissimilar to the amount of time it took to arrest the perp in last week's killings, Oklahoma authorities arrested Tim McVeigh who was tried, found guilty and executed in 2001, ironically a few months before 9-11.
I've always been extremely proud of the way my people covered McVeigh's crime.
The next morning, we got a call from a television group in New York which produced a long forgotten show called Talk Television hosted by a forgettable New York TV reporter named Lisa Evers (back then known as Lisa Sliwa). They wanted to hook up with our Tulsa based morning show. We said OK.
The show they booked included some sort of psychobabble expert and they wanted to know what we were doing for "the children".
My afternoon guy—whose voice you have heard on many national commercials—called in to say that he told his three year old that some nutbag blew up a building over in Oklahoma City and "we don't do that in our family".
The folks from New York were horrified. They didn't know what to say.
I was like a proud father. Couldn't have put it better myself. (It was an all-hands-on-deck week and all the credit should go to Howard Miller, Tim Carroll, Jeff Brucculeri, Pat Richardson and Jim Fellows in no particular order because they all did what they did best as well as they have ever done it.)
What horrified the New York psychobabble experts fits the clown in South Carolina as well.
I don't care about his online "manifesto" any more than I cared about McVeigh's bullshit (which can still be found online). It was immediately disqualified from consideration when he started killing innocent people in a civilized society to make whatever point he thought he was making. Besides, it is mostly nonsense.
This isn't about civil rights or guns or violence.
It's about some nutbag who killed nine people for no real reason no matter how sophisticated he thought his ranting may have sounded.
And the same applies to politicians who try to make some political hay from the situation.
In fairness, at least McVeigh didn't use guns so Bill Clinton could not have used the bombing to call for gun control. Barack Obama had no such impediment because a gun was, indeed, used and Obama immediately took the cheap shot as if taking away the right from law abiding citizens to defend themselves would have had any impact at all.
But in fairness, Obama also said this:
"Racism, we are not cured of it. And it's not just a matter of it not being polite to say nigger in public… That's not the measure of whether racism still exists or not. It's not just a matter of overt discrimination. Societies don't, overnight, completely erase everything that happened 200 to 300 years prior."
Whatever else it is, it's a tacit admission that you cannot legislate the way people interact with each other all the time.
That said, again, this wasn't about race. It was about some nutbag who shot nine people dead in a church because he was, well, a nutbag. And in the vast majority of the United States of America, we don't do that in our families.
There are no real answers.
Because in 330,000,000 people, there are going to be some nutbags.
There is no law you can pass, no police action you can take to cure that. Nor should there be in a free society. Because Ben Franklin said this:
"Those who would give up essential Liberty, to purchase a little temporary Safety, deserve neither Liberty nor Safety."
What you CAN do as parents and family members is to make sure that growing up, the Dylann Roofs and the Tim McVeighs of the world know that we don't do that in our families.
It's ALL we can do.
Racism, gun control, fertilizer control are all debates for another day.
Mr. Weinberg is publisher of the Penny Press. Get to know more about him by visiting www.PennyPressNV.com.
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Performing the Past is an investigation of the multiple social and culture practices through which Europeans have negotiated the space between their history and their memory over the past 200 years. In museums, in opera houses, in the streets, in the schools, in theatres, in films, on the internet and beyond, narratives about the past circulate today at a dizzying speed. Producing and selling them is big business; if the past is indeed a foreign country, there are tens of thousands of tourist agents, guides, and pundits around to help us on our way, for a fee, to be sure. This collection of essays by renowned scholars from, among others, Yale, Columbia, Amsterdam Oxford, Cambridge, New York University and the European University Institute in Florence, is essential reading for anyone interested in today's memory boom. Drawing on different national and disciplinary traditions, the authors ultimately engage us with the ways in which Europeans continue a venerable tradition of finding out who they are, and where they are going, by performing the past.


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Live from The Feast
Ben Hardy trapped with Kylo Ren after Quantum Wars!
By Standard-Times Community Journalism School | Published: December 20, 2019 | Leave a comment
They also shared two pics of the stunt double performing an impressive jump from the edge of a building.Jumanji: The Next Level was a no-brainer after the enormous success of the second movie and that's pretty much all you need to know about why we got this third installment.
This threequel once again focuses on the video game played by the teenage characters in the last one. They've gone they're separate ways, but they reunite and Spencer is home from college and spending time with his grandfather Eddie (Danny DeVito).
Eddie comes across his former business partner Milo Walker (Danny Glover) whom he hasn't spoken to in 15 years since the closing of their restaurant.This year saw the release of Star Wars: The Rise of Skywalker and Avengers: Endgame, two films from major franchises that wrapped up their respective storylines. But it also saw the release of one of the most meme-able movies in recent history with the Netflix film Marriage Story. So it's very convenient that Avengers actress Scarlett Johansson and Star Wars actor Adam Driver both star in Marriage Story, creating the perfect opportunity for some clever fan edits. And that's exactly what comedy site Funny or Die took advantage of with one of their latest videos.
The new clip from the site cuts up footage from Marriage Story as well as both the Marvel Cinematic Universe and the Star Wars sequel trilogy to tell a similar story, but with Black Widow and Kylo Ren trapped in a relationship that has since become poisoned.
Well, enough about the subplots. Let's get to why we're really here. The four teens eventually do meet up sans Spencer and find themselves magically in Jumanji searching for a lost jewel that will restore peace. It's not the plot really matters here.
Dwayne Johnson, Kevin Hart, Karen Gillan, and Jack Black are back reprising their roles as the avatars of the four kids, but this time DeVito and Glover find their way into game via Johnson and Hart. Their humor does work well and display some natural chemistry.
A second user replied: "There was another scene you could see the stunt's face too, and some stunts were smaller than him."Definitely not a good sign for anyone involved, considering Mando has put his life on the line several times to keep Baby Yoda safe. And it doesn't look like he'll stop risking things anytime soon, either. Especially whenever he finds out who actually killed Kuiil, and double-especially if it ends up being certain metal someone that Mando never trusted in the first place.
After hearing complaints from many of its subscribers that Martin Scorsese's The Irishman was a bit too slow-paced and even boring for some, Netflix hit us all with Michael Bay's 6 Underground, an adrenaline-filled thrill ride that's one of the wildest, most over the top and just completely bonkers films we've ever laid eyes on.
Starring Ryan Reynolds, Mélanie Laurent, Manuel Garcia-Rulfo and Ben Hardy, among others, 6 Underground is what happens when Bay gets to be completely unhinged and allowed to go as far as he wants with his signature brand of Bayhem. That includes extravagant set pieces, physics-defying stunts and yes, lots and lots of explosions.
Sure, the plot is a bit incomprehensible at times and is full of holes, but no one can deny that it's an incredibly fun watch and given that viewers seem to be loving the film so far, it only makes sense that we're now hearing that Netflix is likely to do a sequel. And we've even got some plot details for it.
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It isn't just in the group dynamics that 6 Underground becomes Michael Bay's take on a comic book movie, though. Individual characters also resemble figures you'd find in your average comic book film. Many of the lead characters, especially the protagonist One (Ryan Reynolds), get tragic backstories explaining why they've taken up this specific life. Such backstories tend to hinge heavily on traumatic deaths that echo the similarly tragic origin stories for Bruce Wayne and Peter Parker. In another, likely unintentional, parallel to the female characters found in traditional comic book team-up movies, the primary female characters in the main group of heroes in 6 Underground get little in the way of distinct perspectives or personalities.
Sony will not be making another film in this franchise without the presence of its A-list talent, so it might be time for Dr Smolder Bravestone, Ruby Roundhouse and friends to make their way — Enchanted-style — into the world outside of their video game home. We've seen these actors play teenagers and pensioners inhabiting the avatars, so it will be interesting to see how the avatars' personas shake out without a player pulling the strings.
Even the extravagant action set pieces in 6 Underground featuring people doing grand parkour feats, falling from great heights and surviving, and walking away from car chases without getting so much as a scratch, feels more like something out of a Justice League adaptation than the smaller-scale grittier fights you'd find in, say, a John Wick movie. Although Michael Bay has never directed a movie based on a comic book, key qualities of 6 Underground make this title something that certainly feels like the filmmaker's first foray into the world of comic book movies.
Whatever happens, it's impressive that Jumanji has risen from its improbable roots to become a reliable Hollywood cash cow with a sizeable amount of creativity lurking beneath the hood.
The inevitable fourquel — though an announcement is not yet forthcoming — looks set to explore a wider canvas and merge the adventurous world of Jumanji with the reality of the 21st century.
However, there was one aspect of the movie that viewers couldn't get past – Ben Hardy's stunt double.
The former EastEnders actor's rise to super-stardom has seen him appear in all manner of Hollywood blockbusters, but like the rest of the cast, he didn't perform his own stunts.
While this is pretty standard fare in action movies, normally directors ensure that the faces of stunt doubles are hidden, so as not to ruin the illusion. This week marked a change-up on The Mandalorian, and I'm not just talking about the latest episode's mid-week premiere in anticipation of Star Wars: The Rise of Skywalker. Beyond that, the episode was the first of the season to bring together most of the seemingly disparate characters introduced week to week. even though two of them didn't appear to survive long enough to make it beyond the show's stellar end credits. In particular, curiosity has built up surrounding the supposed death of Nick Nolte's Kuiil.
A character who definitely understood the power of loyalty and freedom, Kuiil agreed to take on baby(Yoda)sitting duties during Mando's attempt to take down The Client, though his one stipulation was that he bring along the rewired killer droid IG-11 and a pair of blurrgs. In the end, Mando, Greef and Cara's mission was bamboozled by Giancarlo Esposito's introduction as Moff Gideon, leaving the Client dead (we think) and leaving Kuill with a similar fate. But let's take a deeper look at what went down.
One user fumed: "I'm watching 6 Underground and Ben Hardy's stunt double was so obvious you literally get a full view of his face."After Mando realized that the situation was looking extremely dire with all those surrounding stormtroopers, he radioed Kuiil to advise the Ugnaught to return to the ship with Baby Yoda. However, he's blind to the fact that two Stormtroopers picked up on the radio transmission and were quickly speeding along after Kuiil and The Child. Initially it seemed like he might make it back on the Razor Crest without any further obstacles.
Unfortunately, that doesn't get to happen. Just after the Razor Crest's door opened, the scene jumped back to Moff Gideon, but when it switched back again, Kuiil was laid out on the ground and appeared to be dead. Nearby, the Stormtroopers swung by and swooped up the swaddled Baby Yoda from off the ground.
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What happens at the end of Jumanji: The Next Level?
Michael Bay's new Netflix movie 6 Underground comes to the big screen with a number of overt creative influences: including blockbuster comic book movies. For his part, Michael Bay's fingerprints all over the final product, particularly in regards to his usual visual touchstones, like the rapid-fire editing. Writers Rhett Reese and Paul Wernick also bring back the pop-culture savvy dialogue found in their Zombieland and Deadpool movies for this project. Meanwhile, the overall story shares a lot of its DNA with classic heist movies, as well as a 1990's action movies such as The Rock. Above all else, though, 6 Underground is heavily influenced by comic book movies.
Jumanji: The Next Level concludes, unsurprisingly, with the gang escaping the game once again and returning to the real world. Danny DeVito's Eddie has a newfound interest in his grandson's video games and his buddy Milo (Danny Glover) has opted to stay behind within the game world in the form of a horse. It's an odd movie.
The influence of comic book superheroes in 6 Underground is observable in a number of ways; the frequent references to already-existing comic book characters through in-movie dialogue being an especially notable example. Famous pieces of comic book iconography like the Batcave repeatedly get name-dropped in the dialogue as reference points for key parts of the 6 Underground lore. But the influence goes beyond just some pop culture references: 6 Underground's whole story feels cut from the same cloth as a number of modern comic book movies, specifically titles like Guardians of the Galaxy or The Avengers, that follow a whole group of superheroes.
A nod to the original film as Eddie visits the diner he used to own, which is now run by Nora Shepherd (Bebe Neuwirth) — aunt of child protagonists Peter and Judy. Then, in that aforementioned mid-credits scene, a heating mechanic finds the battered, malfunctioning Jumanji game in a basement. He appears to tinker with it, which causes him to be sucked into that game just as the other characters were at the beginning of the film.
Most interestingly, though, is that this again harks back to the original movie as a rampaging flock of ostriches are released from the game into the real world. They run past the diner as the teenage protagonists have a reunion meal.
6 Underground is about a team of vigilantes living in a secret hideout, who have plenty of nifty gadgets at their disposal, and dedicate their lives to pulling off heroic missions that will help mankind — an apt summary for any number of cinematic superhero groups. Their quippy banter, laden with pop culture references, feels like it'd be at home in certain Marvel Cinematic Universe entries, while the team's narrative arc, which centers on the members learning to connect with one another as human beings, parallels how the individual members of the Guardians of the Galaxy spent their first movie learning to trust one another and care about somebody else.
Five years ago, few would've believed that the 1995 family adventure romp Jumanji would spark a megabucks Hollywood franchise. There was a lot of nostalgic love for the original film, starring Robin Williams, but it didn't seem likely that the story had the legs to sustain sequels.
Then, Jumanji: Welcome to the Jungle arrived in December of 2017 and blew everyone away, earning $962m (£734m) at the global box office thanks to a zeitgeisty cast led by Dwayne Johnson, alongside Kevin Hart, Jack Black and Karen Gillan.
Two years later, everyone is back for The Next Level, which is attracting very positive reactions and has already scooped $223m (£170m) after just a couple of weeks in play.
With those financial results in the bag, Jumanji 4 seems like a dead cert. And The Next Level lays the table very nicely for that possibility with its mid-credits scene.
What happens at the end of Jumanji: The Next Level? Jumanji: The Next Level concludes, unsurprisingly, with the gang escaping the game once again and returning to the real world. Danny DeVito's Eddie has a newfound interest in his grandson's video games and his buddy Milo (Danny Glover) has opted to stay behind within the game world in the form of a horse. It's an odd movie.
There's a nod to the original film as Eddie visits the diner he used to own, which is now run by Nora Shepherd (Bebe Neuwirth) — aunt of child protagonists Peter and Judy. Then, in that aforementioned mid-credits scene, a heating mechanic finds the battered, malfunctioning Jumanji game in a basement. He appears to tinker with it, which causes him to be sucked into that game just as the other characters were at the beginning of the film.
This opens the door for a sequel which steps out of the realm of the video game and becomes more of a direct homage to the 1995 original.
The genius of both Welcome to the Jungle and The Next Level lies in the way they shift the formula of the franchise to do something entirely different. In Welcome to the Jungle, it was the video game conceit and in The Next Level, it's the shuffling of the avatar characters into different roles. It seems that for Jumanji 4, the twist will be to take the concept of the original film and open it out, with aspects of Jumanji pouring out into the real world in spectacular fashion.
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She added: "It's extremely discouraging. It's extremely infuriating. And it just represents an archaic system that is full of people who don't value us."
"Queen & Slim," written and produced by Lena Waithe, stars Daniel Kaluuya (the Oscar-nominated actor from "Get Out") and Jodie Turner-Smith. The film has grossed nearly $30 million at the domestic box office, outperforming analysts' expectations.
A representative for the HPFA disputed the claim that members didn't watch the film. All voters had been sent screeners and could have seen it at home. "The HFPA maintains that 'Queen & Slim' was in the conversation amongst the membership," the organization told Variety in a statement.
The Hollywood Foreign Press encountered an avalanche of criticism this week for not nominating a single female director or screenwriter for the Golden Globes. This omission was particularly glaring given that it's been a banner year for female filmmakers. Among those who failed to make onto the Globes list were Greta Gerwig ("Little Women"), Lulu Wang ("The Farewell"), Kasi Lemmons ("Harriet"), Lorene Scafaria ("Hustlers"), Marielle Heller ("A Beautiful Day in the Neighborhood") and Alma Har'el ("Honey Boy").
"Queen & Slim" is a story told uniquely through the lens of the female gaze. While the movie is Matsoukas' first feature, the 38-year-old storyteller has spent the last decade as a Grammy-winning director of music videos from Beyoncé ("Formation"), Lady Gaga ("Just Dance"), Jennifer Lopez ("I'm Into You") and Rihanna ("We Found Love"), specializing in tropes that convey female empowerment.
Sources told Variety that Universal Pictures tried to cajole the members of the Hollywood Foreign Press into seeing "Queen & Slim." But after three different screenings, only a few HFPA voters had attended — one source puts the number at four — despite "Queen & Slim's" strong reviews. Matsoukas earned a graduate degree from the American Film Institute Conservatory, and "Queen & Slim" had its world premiere at the annual AFI Fest. In June, the director was awarded AFI's Franklin J. Schaffner Alumni Medal, which honors creators who embody "talent, taste, dedication, and commitment to quality storytelling in film and television."
Another source with knowledge of the studio's awards campaign notes that more than 60,000 individual DVDs were made and sent to various guilds and journalists, including the HPFA. It's possible that some Globes voters watched the movie at home, although studios can usually find out how the HFPA is responding to their movies by polling members. As a result of what Universal believed to be a lack of interest in "Queen & Slim," the studio cancelled a scheduled Globes press conference for Nov. 16. According to those familiar with the studio's process, the feeling was that there was no reason to ask the cast to talk about the movie since they didn't think voters had seen it.
Not every movie screened for the HFPA has a press conference, a lengthy rite of passage for prestige movies that involves some questions from members — and more selfies and schmoozy moments with them. But Golden Globes nominations are valuable. Not only do they serve as a springboard to the Oscars, they can help a movie's profits and boost a young director's career and salary on future projects.
When asked what message she'd share with HPFA members, Matsoukas responded: "Your time is over. I believe they've created an unsafe work environment."
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Disney is opening "Star Wars: The Rise of Skywalker" in theaters nationwide December 20. Watch the director answer the Baby Yoda question in the video below. A new "Mandalorian" debuts Wednesday with a Rise of Skywalker"-related special look.
In the aftermath of the Battle of Endor, the Empire is in disarray. Fragments of the former regime have gained footholds on distant worlds, trying to cling to what little power they have. The once pristine and uniform ranks of stormtroopers that fought for the Empire now resemble a ragtag army of mercenaries for lawless gangsters.
If ever an automobile proved the notion that they don't make 'em like they used to, it would be the Challenger 2. The 32-foot-long, 36-inch-wide and 37-inch-high streamliner was designed and built by Mickey Thompson, a hall-of-fame driver and self-made engineer, who piloted the aerodynamic twin-Hemi-powered vehicle to a top speed of 406 mph during a preliminary run at the Bonneville Salt Flats in 1968. After rain shut down the flats for what could have been Thompson's second, record-setting run, his racing team lost its sponsorship. Life also got in the way, and ultimately Thompson never returned to Bonneville, leaving his ultimate goal in the car unfulfilled.
But if ever an automobile proved that some things can improve over time—and with new technology—it would also be the Challenger 2. In 2010, some 20 years after Mickey Thompson's death, Danny Thompson decided to finish what his father had set out to achieve: breaking a land speed record in the streamliner that Sports Illustrated once declared "a rolling textbook in sophisticated automotive design." He pulled the Challenger 2 out from storage and began a seven-year journey restoring, retrofitting and updating the car to meet the Southern California Timing Association's contemporary requirements.
After the stories of Jango and Boba Fett, another warrior emerges in the Star Wars universe. The Mandalorian is set after the fall of the Empire and before the emergence of the First Order. We follow the travails of a lone gunfighter in the outer reaches of the galaxy far from the authority of the New Republic.
Pedro Pascal (Kingsman: The Golden Circle) stars as a lone Mandalorian gunfighter in the outer reaches of the galaxy. Gina Carano (Deadpool), Carl Weathers, Giancarlo Esposito (Breaking Bad), Emily Swallow (Supernatural), Carl Weathers (Predator), Omid Abtahi (American Gods), Werner Herzog (Grizzly Man) and Nick Nolte (Affliction) also star.
Jon Favreau serves as executive producer and showrunner for the series, Directors for the first season include Dave Filoni (Star Wars: The Clone Wars, Star Wars Rebels), who will be directing the first episode, plus Deborah Chow (Jessica Jones), Rick Famuyiwa (Dope), Bryce Dallas Howard (Solemates) and Taika Waititi (Thor: Ragnarok), who also provides the voice for bounty hunter IG-88 in the series.
I remember how badly I hated myself and hated the dark skin that made people call me ugly," he wrote. "How I turned my helplessness at being unable to change my outward appearance inward, by constantly cleaving away any and all parts of myself that I was told made me unacceptable to others. how I changed my voice, changed my hair, became captain of this and president of that, used my intelligence to build a wall around me, spent years in the practice of bending and shaping myself into the most acceptable form of Jodie for the people around me until there was nothing of me left but hate for a person i didn't recognize and fear that i had become someone it was impossible to come back from
Now that we've had some time for the hot takes to cool, we spend the latest Low Key Podcast discussing Melina Matsoukas' consciousness-raising road movie Queen and Slim, written by Lena Waithe and starring Daniel Kaluuya and Jodie-Turner Smith.
On every Low Key episode, your hosts Keith Dennie, Aaron Lanton and me discuss pop-culture moments we think others may have missed, often through a racial lens. The film follows a couple whose first date is interrupted by a bad traffic stop that turns into a road trip for justice.
Keith mostly embrace Queen and Slim, but Aaron says plot issues kept taking him out of the story. He also wonders—and we all discuss—whether the film overgeneralizes in its portrayal of how black people would respond to Queen and Slim.
She'd already been warned by her team that the membership of Hollywood Foreign Press Assn., comprised of about 90 international journalists who vote on the Golden Globes, had skipped multiple screenings of "Queen & Slim" that had been set for them.
"We held three screenings for the HFPA and almost no members attended," Matsoukas told Variety. "For me, it's reflective of their voting body. It's not reflective of the society in which we live in or the industry as it stands today. They don't value the stories that represent all of us, and those stories are so often disregarded and discredited, as are their filmmakers."
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Why Peter Parker swokes Evil spaceship With Baby Yoda!
Fans will also have another episode of Disney+'s "The Mandalorian" to watch. However, unlike previous weeks, episode seven will arrive Wednesday instead of Friday.
"The Mandalorian" was a program that fans had been looking forward to since it was announced more than two years ago. The show has dominated social media since its launch, in part because of a surprise new character dubbed Baby Yoda.
The little green creature is a 50-year-old "kid," as Pedro Pascal's Mandalorian calls him, and is the same species as Master Yoda, although that species has never been named.
Before we kick things off and tell you a little bit about the cars you'll see (or have seen) on the big screen in Ford v. Ferrari, allow us to act all 'Captain Obvious' for a moment and inform you that most of the cars in the film aren't the real deal. The Cobras and GT40s used in the action shots and most of the still shots as well are replicas built by either Superformance or Shelby Legendary Cars. The Ferraris, be it 250 GTOs seen inside Enzo's factory in Italy or the prototypes raced at Le Mans, were commissioned to Race Car Replicas of Fraser, Michigan.
Most of these fiberglass replicas can be driven around and about although some were hastily fitted with mock-up engines as they were only meant to appear in the back of some shots. Some of the cars used during filming now reside in a shop in Southern California, the majority awaiting new caretakers as they're being sold off one by one. We discussed already the story of Miles' No. 1 Ford GT40 Mk. II so head over there if you wanna get chock-full of Mk. II history. We talked about the GT40's birth and its coming of age in this article where you'll find enough pedantry to fill a few cabinets. In short, some of the cars in this movie are fake, as you'd expect, and some others are downright wrong in their appearance but, having said that, the makers of the movie made sure to get most of the big things right – and many of the little things too!
The Child, popularly known as "Baby Yoda," is a character in the new Disney+ series, "The Mandalorian"Disney has said that the seventh episode of "The Mandalorian" will feature an old rival and include a sneak peek at "The Rise of Skywalker."
Based on the divisive first reactions to "Star Wars: The Rise of Skywalker," it appears the final entry in the Skywalker saga could have used a dose of Baby Yoda. Speaking to Variety on the red carpet at "The Rise of Skywalker" world premiere, director and co-writer J.J. Abrams spoiled that Baby Yoda does not make an appearance in the new "Star Wars" movie. Many "Star Wars" fans have wondered how the Disney+ series "The Mandalorian" might connect to "The Rise of Skywalker," but the answer is not Baby Yoda.
"Baby Yoda is not in this movie," Abrams told Variety's awards columnist Marc Malkin. "But he's the cutest thing in the history of time. How do you deny Baby Yoda? You cannot."
Baby Yoda has become the breakout character of "The Mandalorian." The creature's widespread popularity has turned the Disney+ series into a hit for the streaming service despite mixed reviews. That Disney debuted "The Mandalorian" nearly two months before "The Rise of Skywalker's" theatrical release led many to believe the series would somehow tie into the new "Star Wars" movie.
The connection between the two projects was seemingly teased further when Disney moved up this week's new episode of "The Mandalorian" from Friday to Wednesday, so that it airs a couple days ahead of "Rise of Skywalker" opening nationwide. Whether or not there is a connection between the "Star Wars" properties remains to be seen, but Abrams confirms it won't be Baby Yoda related. Some "Star Wars" fans noticed the Mandalorian's spaceship is included in one shot in "The Rise of Skywalker" trailer that features an armada of spaceships. Abrams denied Baby Yoda's involvement in "The Rise of Skywalker" but did talk more about possible connections between the franchises.
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Don Johnson reconsidered Stanfield Predology!
Knives Out is Rian Johnson's latest movie, and it has been in theaters for some time now. This murder mystery has been praised by critics not just for its story but also for the incredible performances of its outstanding cast.
Sorting characters into Hogwarts houses is one of the most entertaining things to do, so it had to be done with this movie, too. Here's how we'd sort the Knives Out cast into the four Hogwarts houses.
If you have any idea about Christopher Plummer's career (and he has had many prominent roles during his long life), you probably know how determined he is to be successful. Plummer often chooses main roles declining supporting ones, though he does have the latter ones here and there.
This determination to be a winner in life is a definitive characteristic that places Christopher Plummer into Slytherin. However, Plummer mostly embodies only the positive traits that come with this house rather than possessing the negative ones.
Being the youngest of the cast at sixteen years of age, Jaeden Martell is definitely the goofiest one of them all if you take into account all of the evidence available from when he would hang out with the cast of his other major project IT and its sequel.
With his bubbling and always joyful personality, Martell is definitely a Hufflepuff. Of course, this might simply be because he is still very young, but it might stay with him even through the years as he matures and starts playing even more serious roles.
After starring in the hit Netflix series 13 Reasons Why, Katherine Langford started gaining momentum and getting great roles. But, if you read Langford's biography, you will realize that not everything was smooth for her from the beginning.
Nevertheless, the actress's dedication to her career has been fruitful. Considering her range of talents and skills, as well as her willingness to work for what she wants, Langford is definitely a hardworking Ravenclaw who excels in many things.
Lakeith Stanfield's career might not have been the longest one, but his future already looks bright. Stanfield grew up in a poor, dysfunctional family and had to work on various jobs during his lifetime while always wanting to be an actor (though he is also a rapper and singer).
You could probably say that Stanfield is also a Ravenclaw. His dedication to his dream is remarkable and his participation in numerous projects is also notable. On the set of his first feature film, Short Term 12, Stanfield even tried method acting to better perform his role.
Toni Collette is probably one of Australia's most prominent actresses. She has starred in numerous independent films in main roles as well as in some supporting roles in bigger projects, and, in Knives Out, she plays Joni Thrombey.
Collette is probably a Gryffindor. She doesn't shy away from complex roles and often undergoes physical transformations for them. Even at the age of 11, she was very brave when she decided to fake pain in order to miss school and had her appendix removed.
Along with being an actor, Don Johnson is also a director, producer, singer, and songwriter. He even has a star on the Hollywood Walk of Fame, which pretty much tells you everything you need to know about the greatness of his acting skills.
Having the free spirit that he does, Johnson is a Hufflepuff. He loves traveling and trying new things. Johnson easily makes friends, which is the most common Hufflepuff trait, but he is also a fun-loving person who enjoys living.
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Why Nick Fury declined evil class ability!
It's a neat trick that certainly works. The alternative would have been simply removing the lenses from the glasses in order to prevent reflection. This is what Paul Feig did for Chris Hemsworth in the Ghostbusters reboot, that actually led to a great joke about the lack of lenses. However, by taking the extra step here, Knives Out feels that much more real because we can see the reflections.
Here's a second example of a forced perspective matte painting, that doesn't only hide the filming equipment, but makes the room where the filming is happening appear larger than it actually is, based on where the painting is located.
Ah, the key grip. For those not in the know, they're the lighting and rigging engineer on the set. Basically, the director of photography's muscle. They have to come up with all kinds of methods, improvisations and experiments so that you, the viewer, can see what the director is holding in their mind's eye.
For Knives Out, Rian Johnson's whodunit that premiered Nov. 27 and is getting a lot of traction at the box office right now, key grip Matt Mania went all-in to deliver verisimilitude in the film's lighting. He sculpted the lighting diffusers in order to reflect, in the actors' eyewear, a realistic presentation of the windows in the rooms where they are sitting for their closeups.
You say that, but I don't think you're really giving much thought to the situation.I mean, if the grips hadn't constructed this rig to disguise the light, either the lighting rig would be visible in reflections and break immersion, or you'd have to remove the light entirely and have a poorly lit scene.
In a video game, where you only have so much power to work with, I can understand a player tinkering with the options and saying "I'd rather reduce the lighting quality to opt for a higher/stabler frame rate". That makes sense. But in a movie, why shouldn't the filmmakers care about something like this? It's literally their job to make a good film, and you, as the viewer, don't suffer in anyway from them caring about small details like this.
Besides, lighting is a huge factor in storytelling, whether you realize it or not. It's a massive part of conveying the tone of a scene, and also just straight up being able to clearly see what's happening. And here's the thing: you may not notice a well lit scene, but you'll definitely notice a poorly lit one. It's like CGI. These people try to do their job so well that no one notices these little details, because it just seamlessly fits into the film. When you notice a reflection of crew/gear, or you notice bad CGI, it breaks your immersion. When you don't notice anything wrong, it means the crew has done what they set out to do and create a story you can get lost in.
As part of the Season of Dawn patch for Destiny 2, Bungie increased the effectiveness of the Dynamo armor mod by removing its mod stacking restrictions. But it seems the buff was a bit too strong, and Bungie's had to disable the mod only three hours into the new season.
Dynamo is a Void class item armor mod, meaning all you need is a Void class item to use it (you have a one in three chance each time a class item drops). The mod reduces players' Super ability cooldown after they use a class ability — Titan Barricade, Hunter Dodge, and Warlock Rift. Normally this mod adds a bit of bonus Super energy on each class ability cast, but the Season of Dawn patch added the ability to stack multiple Dynamo mods together.
The result is a nearly instant Super on a class ability cast (which you can see in Destiny streamer Gladd's tweet above). The ability to instantly regenerate a Guardian's most powerful ability may be fun, it trivializes some difficult PvE encounters, and makes PvP pretty unbearable.
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Matt Mania warns bigwig Moff Gideon for baby yoda revenge!
One of the strengths of the series is that some of the supporting characters—Kuiil, Cara Dune, Shand—hint at backstories that could be the basis of future episodes or spinoff stories. Cara will be back, but Shand went one-and-done. It's also a treat to see so many characters who lead unspectacular lives; live-action Star Wars hasn't traditionally made much time for people who don't affect the fate of the galaxy.
The Mandalorian may make more time for them than it has to. One of the curious features of the series so far is that Mando doesn't seem to wonder why everyone wants to capture or kill his sidekick, even though the answer to that question could help him stay safe. As a bounty hunter, he's conditioned not to be nosy, but the audience is conditioned to keep asking questions.
In episodes such as this one, those inclinations come into conflict. One wonders whether detective work will play a bigger part in upcoming episodes, but if Favreau keeps dispensing plot at this pace, most of the mysteries will linger into Season 2. That's not a problem if the scenic route is riveting, but unlike its predecessors, Chapter 5 felt less like an entertaining detour than an uninspired stall.
The only development linked to the larger arc of the season was reserved for the final few seconds, when a booted, cape-wearing figure finds Fennec's body. (Do tracking fobs work with dead targets, too?) This may be our first glimpse of Giancarlo Esposito's ex-Imperial bigwig Moff Gideon, the Client's superior, who was wearing a cape in footage from the teaser.
Like everyone else, Gideon is presumably trying to track down Mando, but the Big Bad probably won't be properly unveiled until Chapter 7. In the interim, it sounds as if we're in for another sidequest-of-the-week, perhaps in a less well-worn setting: The Chapter 6 synopsis says, "The Mandalorian joins a crew of mercenaries on a dangerous mission." Let's hope that mission isn't a daring raid on Toshi station to pick up some power converters.
Knives Out is a, more or less, whodunit in the classic style. It's got a house full of suspects in the form of an all-star cast. It's got a detective who seems to see everything. It's got a seemingly impossible murder. It's the sort of movie that is designed to keep its audience guessing and get them to question everything that they see. And as it turns out, with Knives Out we should be questioning literally everything we see as even some of the film's simplest elements aren't what they appear to be.
Knives Out cinematographer Steve Yedlin recently took to Twitter to reveal some of the film's secrets that we didn't even know were secrets. Because of Knives Out's particular style, the movie has a lot of close ups of actors speaking, and some of them, like Jamie Lee Curtis and Daniel Craig, are wearing eyeglasses. This is a problem because the glasses can potentially reflect the lighting and cameras being used to film them. However, the movie's Key Grip, Matt Mania solved the problem, and in the below tweet you can see how.
For this scene with Jamie Lee Curtis, we see that it's being filmed on a stage, not a room in an actual house, which means the actress isn't looking at anything other than the crew filming her for the movie. If her glasses reflected what she actually saw, we'd seen the camera operator and the lighting rig, but thanks to the Key Grip, we see what we would expect to see, windows on the opposite side of the room. There's are no windows of course, it's a painting, but in the reflection, that fact is lost.
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Who did tactical attack on Monster Shand and Baby Yoda!
Fortunately for Mando and the Child, some combination of navicomputer quirk, the Force, and Filoni leave their limping ship within range of Tatooine. They land in Docking Bay 35, presumably 59 over from the former berth of the Millennium Falcon. There they meet mechanic Peli Motto (Amy Sedaris, who's had practice playing a frazzled caretaker of a troublesome baby on Bojack).
Motto has a hard day ahead of her: Because the super battle droid that gunned down Mando's parents put him off droids of all makes and models, she has to repair the Razor Crest the old-fashioned way. She also has to Baby Yoda-sit while Mando makes money to pay for the repairs, and later, she'll find herself held hostage.
Mando's armor may be worth a fortune, but he's not very liquid, and he knows only one way to make money: hunting targets. It makes sense, then, that he'd start sniffing around for a bounty, even though he burned his bridges at the Guild. It makes much less sense that he leaves without Baby Yoda. Up to this point, he's been unable or unwilling to leave the Child unattended for long;
he brought him along when he went to fight the mudhorn, and when he tried to leave him on board the Razor Crest on Sorgan, Baby Yoda had other ideas. Yet now—after incurring the wrath of seemingly limitless bounty hunters, realizing that the hunters will follow their target wherever he hides, and narrowly thwarting two more attempts on his life—he ditches him in a docking bay in a wretched hive of scum and villainy,
where one wouldn't be shocked to find a fob or two trained on his location. Not only does that deprive the viewer of priceless time with Baby Yoda, but it's also a character-confounding decision, especially considering that traveling solo doesn't make the Beskar-covered Mandalorian any less conspicuous. He's definitely not dressed for the desert, although the armor works well as twin suns-screen.
Unencumbered by the baby who saved his life on Arvala-7, Mando makes his way to the cantina, where he's hailed by Toro Calican (played by Jake Cannavale, whose eyebrows instantly reveal him to be Bobby's son; the seed is strong). Calican, who seems like a rich kid who's rebelling by bounty-hunting—a more violent version of Bash Howard from GLOW—is a noob who needs to capture a target to earn entrance to the Guild. Rather than set his sights on a wayward Mythrol or a nobleman's son who skipped bail, he's apparently picked the most challenging assignment, an assassin named Fennec Shand (played by Mulan's Ming-Na Wen, whose casting doubles as Disney synergy).
Calican, who speaks with the self-assured cadence of Hayden Christensen, hires Mando to help him, but he repeatedly telegraphs his willingness to double-cross his "partner," smashing the tracking fob, taking aim at Mando while he's resting, and, after they capture Shand, refusing to leave Mando alone with her. It comes as no surprise when he lets his quarry talk him into turning on Mando, whose maneuver on Navarro has made him notorious even on Tatooine. Calican kills Shand—couldn't he have stunned her?—and returns to the Razor Crest to ambush his bounty-hunting mentor.
But Mando uses a leftover flash charge to escape gunpoint for the third time and kill the would-be bounty hunter, no thanks to Baby Yoda, who used the Force to freeze the mudhorn but doesn't use it to disarm Calican. (Maybe he's miffed about the abandonment.) Mando plunders Calican's corpse to pay Motto for fixing up the Razor Crest, and he and Baby Yoda depart for destinations unknown.
The highlight of the episode is the tactical attack on Shand under cover of darkness (and sporadic bursts of light). It's a visually striking, well-choreographed scene leavened by levity: Calican earns Mando another blaster bolt to the Beskar by flubbing one of the flash charges, then gets creamed in close-quarters combat before Mando catches up. It's a shame that Shand doesn't have more time to shine.
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A Community in Action
Nov 1, 2005 | Miscellaneous | 0 |
by Christopher Piehler
Thanksgiving is here again—a time when large groups of people gather around various carcasses and tearfully remember why they are thankful—so I think I can be excused for taking a short break from discussing the business of orthodontics to get a little, well, mushy.
What, to me, makes the orthodontic field a joy to work in is the powerful sense of community among orthodontists, their staff, and the companies that serve them. I felt it at the recent Pacific Coast Society of Orthodontists meeting, where I was greeted with (notably straight) smiles, handshakes, and invitations to so many meals that I had to fast for a day when I got home. I felt it in the collective mourning for Ron Roth. I felt it strongly when I saw the AAO's booth offering help to doctors and patients affected by Hurricane Katrina.
And then there are the emails. Ever since the storms hit New Orleans, Mississippi, and Florida, I have gotten a wave of notes from various members of the orthodontic community, pointing out what some practice or company or consultant is doing to help both orthodontic patients and the general public in the affected areas. (Our entire news section on page 10 is devoted to highlighting some of these relief efforts.)
The most stirring individual story for me comes from a consultant based in New Orleans who has written for the magazine. Right after Katrina hit, he wrote to let us all know that he was OK. Weeks later, the news was that he had temporarily set up shop in Florida and was suspending operations while he looked for a new office in a new town. Then, the day before I sat down to write this, I got a note from him saying that he had gone back to New Orleans, where his office had withstood the wind and flooding. He is now open for business and has decided to stay in New Orleans to help rebuild his city.
It is that kind of dedication to a larger group that makes orthodontics more than a business. It makes it a community. And as oral historian Studs Terkel said recently, "… it is the community in action that accomplishes more than any individual does, no matter how strong he may be."
Enjoy your turkey, and next time, I promise I'll be all business.
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3rd Wave Brewing Co. will be attending the 2016 Spring Trade Expo organized by the Ocean City Hotel-Motel-Restaurant Association at the Ocean City Convention Center on 40th Street in Ocean City, Maryland. We welcome you to stop by and meet the entire 3rd Wave Brewing Co. team on Sunday March 6th and Monday March 7th. We love to talk about all of our craft beers. Whether you are a restaurant-bar owner, hotel-motel owner, beer distributor or just thirsty local, our booth is here to introduce you to our company. Anyone that loves beer is encouraged to stop by and visit with us. You'll be glad you did.


Home Bible Can you briefly the Lord's Prayer?
Can you briefly the Lord's Prayer?
"Our Father which art in heaven, Hallowed be thy name. Thy kingdom come, Thy will be done in earth, as it is in heaven. Give us this day our daily bread. And forgive us our debts, as we forgive our debtors. And lead us not into temptation, but deliver us from evil: For thine is the kingdom, and the power, and the glory, for ever. Amen" (Matthew 6:9-13 – KJV).
Our father: we may be unworthy to address the Lord as "Father," but whenever we do so in sincerity, He receives us with rejoicing (Luke 15:21–24) and acknowledges us as His sons.
In heaven: the consciousness that "God is in heaven, and thou upon earth" (Eccl. 5:2) brings to the contrite heart the spirit of reverence and humility that is the first condition of salvation.
Hallowed be thy name: believers hallow God's name by acknowledging His holiness of character and by permitting Him to reproduce that character in them.
Thy kingdom come: throughout the ages the promise that the kingdoms of this world would eventually become the kingdom of our Lord Jesus Christ is the hope of believers (Rev. 11:15).
Thy will be done: the request is for an end to the reign of sin and for the arrival of that moment when the will of God will be as universally accomplished upon this earth as it is throughout the other dominions of God's creation.
Give us this day our daily bread: this is a petition for the temporal and spiritual needs of man. Everything that we have comes from God, and in our hearts there should ever be gratitude for His goodness.
Forgive us our debts as we forgive our debtors: we dare not ask for forgiveness unless and until we have forgiven our fellow men (Matt. 5:24; 18:23–35).
And lead us not into temptation, but deliver us from evil: this is a plea to God to remove all temptation from us. But God's promise is not that we shall be protected from temptation, but that we shall be protected from falling (John 17:15). Too often we willfully place ourselves in the way of temptation (Prov. 7:9). Truly to pray "lead us not into temptation" is to renounce the ways of our own choosing and to submit to the ways of God's choosing.
For thine is the kingdom, and the power, and the glory, for ever: the "kingdom," "power," and "glory" here ascribed to the Father certainly include the present kingdom of divine grace in the hearts of men, and also look forward primarily to the glorious kingdom to be ushered in with the return of Christ to this earth to reign in power and glory (v. 10).
In the Lord's Prayer, we have a model of what every believer's prayer should be like. This prayer leads the believer into God's throne in Jesus' Name.