It is said in the Work that nothing happens to a person unless it is first in his atmosphere. It takes effort to learn to understand this idea well enough to accept it: to accept the fact that we alone are responsible for whatever happens to us, since everything takes place following definite patterns and attitudes prevailing in a person's being and it is necessary to observe oneself in life a great deal for the purpose of discovering these patterns.
What would you like most to be? To know? To do?
Why wouldn't you change places with any other human being?
What do you fear most for the future?
What do you consider your weakest characteristic? Your strongest?
What do you like most about yourself? Dislike most?
Make a list of your (a) likes (b) dislikes.
What is your attitude to Art today?
Why do you go on living?
If you died tonight what would you feel most cut off from?
David was the editor of Stopinder: A Gurdjieff Journal of our Time. He and his wife, Nonny Hogrogian, founded Two Rivers Press in Aurora, Oregon. David's children's book, The Road from Home: The Story of an Armenian Girl, was based on his mother's story as her family's sole survivor of the Turkish Genocide of 1915. The book received the Newbery Honor Book Award and was an American book Award nominee.
The author of sixty-six books including poetry, fiction, non-fiction, memoirs, translations, retellings, anthologies, children's books, David will share poetry from Seeds of Light: Poems from a Gurdjieff Community during his October 13, 2012 presentation at Camp Caravan. Read a selection written during work at Claymont, below.


An exclusive song from Rob Murat's 2008 album release, So Much To Say.
"down & out & doubting how" ... wow that was fresh.
This song really works well. It makes you stop and listen.
I reeeaaally enjoyed listening. Great voice Rob. Keep bringing it!!! P.E.A.C.E.


The full form of BSOD is "blue screen of death" and indicates the crashing of your PC's windows operating system. While working, you suddenly get a blue screen showing an error saying "Your PC ran into a problem and needs to restart…." and your system restarts without letting you save your current data. It is necessary to fix the BSOD error in a right way since it can lead to a loss of data and you may have to do a fresh windows installation.
BSOD can put you in two situations. In the first scenario, you may be able to have an access to the desktop or else you may face a windows restarting loop. In both cases, you can do a number of troubleshooting steps which are unearthed below.
Let's first deal with a situation where you are not able to log in to windows desktop screen. After 2 or 3 restarts you will get a windows troubleshooting screen like the one shown below.
Note: If you do not get a troubleshooting screen automatically, you can boot your PC with a windows bootable CD or a windows bootable USB drive. Now when you get the following screen, you need to select Repair windows option.
Ok, now the safest way to bring back the normal running of windows is to restore your system to an earlier time when it was working perfectly. So choose system restore option and select the previous date on which you think, window OS was behaving normally.
Through this troubleshoot mode, you can also move to the desktop screen by booting in safe mode. So select the "startup settings" option and click on restart button.
Now you will be presented with various debugging and safe mode options. As per the below screenshot, you need to press numeric key "4" from the keyboard to enable safe mode.
Now if you are able to access the desktop of your windows OS, you can perform the following steps as per the probable cause.
Scenario-2: In case you can open windows desktop screen, you can follow the below mentioned methods to resolve BSOD error.
Windows update. If you suspect that the blue screen occurred after a recent windows update, go to control panel>programs & Features and select "View installed updates". Now uninstall the latest update-file and restart the system in normal mode to see if windows error is gone.
New Software. Navigate to control panel>programs & features and uninstall the latest software or the program after which the problem started to occur.
Device Driver. Right click on My-computer/This-PC and click on properties and now click on device manager and see if there is any exclamation mark or error showing in front of any device drivers. So select the problematic driver and uninstall it.
Hardware Device. Unplug any newly installed hardware to the computer system. Sometimes, the incompatibility of hardware can cause BSOD.
If you are still not able to resolve the issue you should install a fresh copy of windows OS. You can download the ISO file from Microsoft and even create a bootable USB drive to start the installation. You just need to have windows key and follow the ion-screen instructions to complete the installation.


text:
Police and fire calls
POLICE CALLS
People booked into the Shawnee County Jail in connection with felonies.
Jimmie Dean Franklin Jr., 36, in connection with burglary, 5:54 p.m., 7/30.
Jamie Lee Cook, 23, in connection with forgery, theft by deception, 6:55 p.m., 7/30.
Nicole Marie Bingham, 33, in connection with possession of certain stimulants, 3:20 a.m., 7/31.
Felony cases reported to the Topeka Police Department.
200 blk. S.W. Clay,
burglary, 3:18-3:24 p.m., 7/30.
3300 blk. S.W. Eveningside,
burglary, theft, 10 p.m., 7/29-8 a.m., 7/30.
3100 blk. S.E. Mareta Circle,
burglary, theft, 9-noon, 7/30.
900 blk. S.W. Hedgewood,
burglary, 9 p.m., 7/29-6:30 p.m., 7/30.
100 blk. S.W. 29th,
burglary, 2:25-6 p.m., 7/30.
1000 blk. S.W. Webster,
auto theft, 3:30-4:20 a.m., 7/31.
1900 blk. S.E. 20th,
burglary, 3 p.m., 7/29-6 a.m., 7/30.
3200 blk. S.W. Topeka,
300 blk. S.W. Fillmore,
burglary, theft, noon, 7/19-2 p.m., 7/26.
100 blk. S.W. Kendall,
burglary, 2:30 p.m., 7/28-7 a.m., 7/30.
1900 blk. S.E. Washington,
burglary, 1-6:30 a.m., 7/30.
700 blk. S.W. 1st,
criminal damage, 4 p.m., 7/28-5 a.m., 7/30.
1300 blk. S.W. Garfield,
burglary, 9 p.m., 7/29-midnight, 7/30.
3200 blk. S.W. Lane,
3100 blk. S.E. Pisces,
burglary, theft, 7-10:39 a.m., 7/30.
4600 blk. S.W. Misty Harbor,
burglary, 10 p.m., 7/26-6:15 a.m., 7/27.
Topeka Fire Department
4920 S.W. West Hills Drive,
steam, gas mistaken for smoke, 6:43 p.m., 7/30.
2106 S.E. Minnesota Ave.,
natural vegetation, 6:01 p.m., 7/30.
541 N.E. Winfield Ave.,
hazmat, none found, 3:18 p.m., 7/30.
600 S.E. 23rd St.,
flammable gas or liquid, 1:32 p.m., 7/30.
1725 S.W. Arnold Ave.,
steam, gas mistaken for smoke, 9:38 a.m., 7/30.
Thirty-three medical calls and no false alarms on 7/30.

redpajama_set_name: RedPajamaCommonCrawl


© 2017 EMI April Music, Inc. (ASCAP) admin by Sony/ATV Music Publishing, LLC, EMI Music Publishing Australia PTY LTD (APRA) admin by Sony/ATV Music Publishing, LLC, Songs of Universal, Inc. (BMI), Morendorffin Music (BMI) admin by Songs of Universal, Inc. All rights reserved. Used by permission.
Music Corp, WB Music Corp. (ASCAP), Funky Friars Music (ASCAP) admin by WB Music Corp. All rights reserved. Used by permission.


The Tecumseh Farmers Market takes place every Saturday morning from 9:00am to 1:00pm at The Market on Evans. Interested in being a vendor? Print off the application from the home page of our website and mail or bring to the chamber office with payment. We are located at 132 W. Chicago Blvd in Tecumseh.


text:
//===-- TestFS.cpp ----------------------------------------------*- C++ -*-===//
//
// Part of the LLVM Project, under the Apache License v2.0 with LLVM Exceptions.
// See https://llvm.org/LICENSE.txt for license information.
// SPDX-License-Identifier: Apache-2.0 WITH LLVM-exception
//
//===----------------------------------------------------------------------===//
#include "TestFS.h"
#include "GlobalCompilationDatabase.h"
#include "Path.h"
#include "URI.h"
#include "llvm/ADT/None.h"
#include "llvm/ADT/Optional.h"
#include "llvm/ADT/StringRef.h"
#include "llvm/Support/Errc.h"
#include "llvm/Support/Path.h"

namespace clang {
namespace clangd {

llvm::IntrusiveRefCntPtr<llvm::vfs::FileSystem>
buildTestFS(llvm::StringMap<std::string> const &Files,
            llvm::StringMap<time_t> const &Timestamps) {
  llvm::IntrusiveRefCntPtr<llvm::vfs::InMemoryFileSystem> MemFS(
      new llvm::vfs::InMemoryFileSystem);
  MemFS->setCurrentWorkingDirectory(testRoot());
  for (auto &FileAndContents : Files) {
    llvm::StringRef File = FileAndContents.first();
    MemFS->addFile(
        File, Timestamps.lookup(File),
        llvm::MemoryBuffer::getMemBufferCopy(FileAndContents.second, File));
  }
  return MemFS;
}

MockCompilationDatabase::MockCompilationDatabase(llvm::StringRef Directory,
                                                 llvm::StringRef RelPathPrefix)
    : ExtraClangFlags({"-ffreestanding"}), Directory(Directory),
      RelPathPrefix(RelPathPrefix) {
  // -ffreestanding avoids implicit stdc-predef.h.
}

llvm::Optional<ProjectInfo>
MockCompilationDatabase::getProjectInfo(PathRef File) const {
  return ProjectInfo{Directory};
}

llvm::Optional<tooling::CompileCommand>
MockCompilationDatabase::getCompileCommand(PathRef File) const {
  if (ExtraClangFlags.empty())
    return None;

  auto FileName = llvm::sys::path::filename(File);

  // Build the compile command.
  auto CommandLine = ExtraClangFlags;
  CommandLine.insert(CommandLine.begin(), "clang");
  if (RelPathPrefix.empty()) {
    // Use the absolute path in the compile command.
    CommandLine.push_back(File);
  } else {
    // Build a relative path using RelPathPrefix.
    llvm::SmallString<32> RelativeFilePath(RelPathPrefix);
    llvm::sys::path::append(RelativeFilePath, FileName);
    CommandLine.push_back(RelativeFilePath.str());
  }

  return {tooling::CompileCommand(Directory != llvm::StringRef()
                                      ? Directory
                                      : llvm::sys::path::parent_path(File),
                                  FileName, std::move(CommandLine), "")};
}

const char *testRoot() {
#ifdef _WIN32
  return "C:\\clangd-test";
#else
  return "/clangd-test";
#endif
}

std::string testPath(PathRef File) {
  assert(llvm::sys::path::is_relative(File) && "FileName should be relative");

  llvm::SmallString<32> NativeFile = File;
  llvm::sys::path::native(NativeFile);
  llvm::SmallString<32> Path;
  llvm::sys::path::append(Path, testRoot(), NativeFile);
  return Path.str();
}

/// unittest: is a scheme that refers to files relative to testRoot().
/// URI body is a path relative to testRoot() e.g. unittest:///x.h for
/// /clangd-test/x.h.
class TestScheme : public URIScheme {
public:
  static const char *Scheme;

  llvm::Expected<std::string>
  getAbsolutePath(llvm::StringRef /*Authority*/, llvm::StringRef Body,
                  llvm::StringRef HintPath) const override {
    if (!HintPath.startswith(testRoot()))
      return llvm::make_error<llvm::StringError>(
          "Hint path doesn't start with test root: " + HintPath,
          llvm::inconvertibleErrorCode());
    if (!Body.consume_front("/"))
      return llvm::make_error<llvm::StringError>(
          "Body of an unittest: URI must start with '/'",
          llvm::inconvertibleErrorCode());
    llvm::SmallString<16> Path(Body.begin(), Body.end());
    llvm::sys::path::native(Path);
    return testPath(Path);
  }

  llvm::Expected<URI>
  uriFromAbsolutePath(llvm::StringRef AbsolutePath) const override {
    llvm::StringRef Body = AbsolutePath;
    if (!Body.consume_front(testRoot()))
      return llvm::make_error<llvm::StringError>(
          AbsolutePath + "does not start with " + testRoot(),
          llvm::inconvertibleErrorCode());

    return URI(Scheme, /*Authority=*/"",
               llvm::sys::path::convert_to_slash(Body));
  }
};

const char *TestScheme::Scheme = "unittest";

static URISchemeRegistry::Add<TestScheme> X(TestScheme::Scheme, "Test schema");

volatile int UnittestSchemeAnchorSource = 0;

} // namespace clangd
} // namespace clang

redpajama_set_name: RedPajamaGithub


Please indulge me. This is another Eye Candy post. It's another tribute to my Outlander obsession…a love note really. This time it's the television series on Starz. It's just so beautiful—the costumes, the scenery…and well yes, the actors too! I love the attention to detail.
It has been interesting to see the translation from page to screen; lots of changes and additions in the script (some small, some not) but the essence of the story is the same.
I've always wanted to go to Scotland (and Ireland and England and Wales), but as I sat on my sofa, glued to the TV watching the opening minutes of episode 1, it struck me: I have to go there! It is filmed in Scotland where the action is set (unlike Vikings for instance, which is filmed in Ireland rather than Norway or Denmark), and I think that is important—the countryside is almost another player in the show!
This seems like an appropriate moment for reflection, as the big wedding episode aired this past Saturday, and the "mid-season finale" is tomorrow—don't even get me started on the current trend of crazy-short seasons! But enough chatter, let me show you what I'm talking about!
All photos are courtesy of Starz.com, except the four wedding photos from The Outlander Podcast. Please click to enlarge–you need to see these bigger to get the full beauty!
Our heroine Claire: Hmm…I wonder what will happen if I go to a stone circle on a fire feast day?
I love the knitwear pieces in the costumes—easily translated to 2014!
100 lashes, and 100 lashes more.
Herself, author Diana Gabaldon, kitted out for her bit part as Iona McTavish.
If you watching the show, what do you think about the scenery and costumes? Have you read the books? Have you been to Scotland? Indulge me once again—let's discuss in the comments!
<- 1930s MOVIE POSTERS…MMM! EYE CANDY!
I'd love to see the process, and hear the conversations, about designing period clothing and then watch a few pieces ie the wedding gown, being constructed from start to finish. Wouldn't it be exciting to be able to try it on for the total effect and spin around in front of a 3-way mirror?
I'm hoping to have a similar experience of seeing period clothing as a volunteer at The Henry Ford; Greenfield Village, if selected for Holiday Nights events this upcoming season.
Beautiful pictures! I just have a few pages left to read of Outlander (which I watched on Starz) and now I'll be seeing Dragonfly in Amber on Starz before reading it! Can't wait to see them in Paris, the pictures that they posted on Facebook look beautiful! They were saying that the outdoor Paris scenes were actually filmed in Prague, because Paris now looks nothing like it did in the 1700s.
FRIDAY THE 13TH…WHY SO UNLUCKY?


text:
Q: jQuery processor usage when referring to same event multiple times Are there any advantages of using the following code:
$(window).scroll(function () {
  var scrollPos = parseInt( $(document).scrollTop() );
  $(".div1").css({"background-position-y":scrollPos});
  $(".div2").css({"background-position-y":scrollPos});
});

instead of splitting it up into two function, like so:
$(window).scroll(function () {
  var scrollPos = parseInt( $(document).scrollTop() );
  $(".div1").css({"background-position-y":scrollPos});
});

$(window).scroll(function () {
  var scrollPos = parseInt( $(document).scrollTop() );
  $(".div2").css({"background-position-y":scrollPos});
});

Naturally the second option will increase the processor usage marginally since it has to calculate new values for the same variable more than once. But, assuming a relatively modern machine, are there any advantages of choosing the first over the second example?

A: If you're not payed by the Line Of Code, then any version longer than this one is only adding maintenance costs :
$(window).scroll(function () {
  $(".div1,.div2").css({"background-position-y": $(document).scrollTop()});
});

and is slower but that's not really relevant with today's browsers speed.
Just in case you didn't notify this change, I also removed the parseInt as scrollTop returns an integer.

redpajama_set_name: RedPajamaStackExchange


Docs Step 4: Create your first campaign See a demo AWS AppSync (154) Did kings have soap 500 years ago? You are not trying to make friends. You are not trying to simply be top of mind. You are not trying to build your brand. Those may be byproducts, but they're not the #1 focus.
Thanks for notifying us, we have fixed it Check that your Autoresponder list is connected to your signup form, and that your campaign is running, and you're all set!
InfusionSoft OTHER RESOURCES Remove contacts from the list they are on based on an event. "name": "Anna", Design Once, Please Many.
Menu Lifestyle Note the Clear and Concise Call to Action in the Examples Above Security Credentials There's still a lot of power in A/B split testing. Testing emails reduces bounce rates, tells you more about your customers, increases conversions and is cost effective.
5.7	Spam Next to SEO, there's search engine marketing (SEM), which is simply the paid version of SEO. Knowing they "make deposits" for the first 3-4 messages, it's interesting to watch the value per visitor increase on the fourth message – likely when they make the first offer for the paid solution.
July 13, 2018 4:06PM EST SEM Legal Writing Because of this, it's important that your email campaigns are aligned with the colors, fonts, and branding you use across all your other customer touchpoints so that your customers have a consistent experience with your brand.
AWS Secrets ManagerRotate, Manage, and Retrieve Secrets So, we have been using mail chimp, and they just booted us from using it because of new regulations. Does anyone know of a service that will allow us to send mass e-mails without issue?
WordPress Responsive Design Online marketing is the real deal. Of course, guys like Chandler are the exception. But thanks to the power of the Internet, anyone and everyone can become financially independent through Internet marketing.
Learn how the GDPR affects marketers around the world. Prepare for the new privacy regulation, which becomes active and enforceable in May 2018. This means that we're on the up and up with Google, that we know our stuff, and we know how to use it. That's important to us, because Google is a huge part of our business. And that's important to you, because you really want Google to like your website and show it to those who are searching for what you do.
Note How annoying is it to receive an email that invites you to an event that is located on other side of the world?
— Lori Taylor, The Produce Moms What are Autoresponders? I've been a Blizzard client for over 8 years now, and something that has always impressed me, is that not only have they always been on top of all the latest trends and developments within the internet marketing and search world, but they strive to anticipate what is likely to be next, and prepare their clients accordingly so that they're ahead of the game and not having to play catch-up.
TWEET THIS If your site includes a search tool, you can look at what visitors have searched for. Chances are, you field questions via email and/or chat. Take note of the questions and look for common threads and themes.
No matter what your opinion of mass emails is, I guarantee there are at least a few you actually enjoy receiving and do get real value from. The only emails that are annoying are ones that don't pertain to you or your situation and needs. And as someone who sends them myself, I can assure you that we absolutely want you to unsubscribe if that's the case. Nobody wants to annoy you with their business emails!


With its small size would be suitable for a minimalist modern bathroom decor, which is practical for modern families. Rectangular shape with curved corners, looks simple, but elegant and compact look with matt blue color. Washbasin in addition to this, you can also integrate it with their cabinet products, or sanitary ceramics are also available there. There is a large collection of bathroom furniture and fittings which may be an option, from the colors and designs to match you with your bathroom decor needs. Detailed information visit their website Ceramica Flaminia.


text:
Eric Stanley Whitbread
Roll of Honour Eric Stanley Whitbread
53rd Australian Infantry Battalion
St Peters, Sydney, New South Wales, Australia
VC Corner Australian Cemetery and Memorial, Fromelles, Lille, Nord Pas de Calais, France
Eric Stanley Whitbread's name is located at panel 158 in the Commemorative Area at the Australian War Memorial (as indicated by the poppy on the plan).
Eric Stanley Whitbread's name will be projected onto the exterior of the Hall of Memory on:
Tue 05 April 2022 at 10:02pm
Sat 14 May 2022 at 8:06pm
Mon 25 July 2022 at 2:04am
Tue 25 October 2022 at 9:13pm
VC Corner Australian Cemetery and Memorial


Happy Dragon New Year! May the New Year bring you prosperity, good health and joy. This year, the only CNY cookie I made is my long-time favourite, Kuih Momo (also known as Kuih Makmur). This crumbly, butter-scented cookie was only available during Chinese New Year and came in recycled Milo tins. My siblings and I used to ration this out precisely, and woe betide anyone who took more than their share! Even now, when I see a re-used tin, I fully expect to see cookies inside.
The recipe comes from Sunflower's Recipe blog, which was recommended by Mum. The cookies are very moreish, but take small bites and be ready for crumbs. It is not advisable to put the whole cookie in your mouth, as the dry, crumbly texture have caused more than a few gasps for water.
This recipes comes courtesy of Vera, a friend from Kuching who now resides in Melbourne.


text:
The Murder at the Vicarage characters, The Body in the Library characters, Clergy, First-person narrators
Leonard Clement
TimMcInnerny as Rev. Leonard Clement (The Murder at the Vicarage, Agatha Christie's Marple, 2004)
Leonard Clement is the the vicar of St. Mary Mead, and the husband of Griselda Clement.
The Reverend Mr. Clement describes himself as a 'faded and indeterminate' character but is possessed of depths ill understood even by himself. These submerged dimensions of his personality have led to him making a very inappropriate marriage to a much younger and entirely unsuitable woman, and percipitating the crisis in Murder at the Vicarage with an uncharacteristicly 'revivalist' sermon.
Griselda describes her husband as '- very unexpected. I never feel I entirely know you.'
In The Murder at the Vicarage, Reverend Clement catches Lawrence Redding and Anne Protheroe kissing in the shed which Lawrence uses as a studio. He later advises Mrs Protheroe not to do anything rash, as to leave her husband would be a very serious step. He also advises Lawrence to leave St Mary Mead, as if he stayed, he would only make the situation worse for Mrs Protheroe.
The next day, Reverend Clement has an appointment with Colonel Protheroe at the vicarage. He receives a telephone call telling him that Mr Abbott of Lower Farm is dying, and so informs Mary that he will be late for the appointment. However, on reaching Lower Farm, he found Mr Abbott well, and Mrs Abbott denied making the call. When he arrives back at the vicarage, he finds Colonel Protheroe in the study, dead.
Reverend Clement comes across Lawrence Redding in the woods, carrying a large stone. Lawrence says that he is giving the stone to Miss Marple, for her rock gardens. Reverend Clement also finds a crystal of picric acid in the woods. The stone and the picric acid are later revealed to be part of a set up used by the murderer to produce an explosion, to produce a sound which would be interpreted as a shot.
Towards the end of the novel, Reverend Clement preaches a sermon exhorting sinners to repentance. After this, he receives a telephone call from Mr Hawes, saying that he wants to confess.
In The Body in the Library, Reverend Clement receives a visit from Mrs Price-Ridley, who tells him that a woman's body was found in Colonel Bantry's library, and that she has come to ask his advice.advice.
She tells him that she met Colonel Bantry on the train going up to London, and he had buried himself behind a newspaper, as if he did not want to talk. At Paddington, he got into a taxi, and she heard him give the driver an address in St. John's Wood. She considered this behaviour .suspicious
Appearences[edit | edit source]
The Murder at the Vicarage (1930)
The Body in the Library (1942)
Retrieved from "https://agathachristie.fandom.com/wiki/Leonard_Clement?oldid=42990"
The Murder at the Vicarage characters
The Body in the Library characters
First-person narrators


text:
The 116th Street–Columbia University station is a local station on the IRT Broadway–Seventh Avenue Line of the New York City Subway. It is located at the intersection of Broadway and 116th Street in Morningside Heights, Manhattan, just outside the west gate to the main campus of Columbia University and the southeast corner of the Barnard College campus. The station is served by the 1 train at all times.

The 116th Street station was constructed for the Interborough Rapid Transit Company (IRT) as part of the city's first subway line, which was approved in 1900. Construction of the line segment that includes 116th Street began on June 18 of the same year. The station opened on October 27, 1904, as one of the original 28 stations of the New York City Subway. The station's platforms were lengthened in 1948 to accommodate ten-car trains, the station's median entrance was replaced in the 1960s, and the station was renovated in the 2000s.

The 116th Street station contains two side platforms and three tracks; the center track is not used in regular service. The station was built with tile and mosaic decorations. The mezzanine above the platforms contains exits to 116th Street and Broadway, and the northbound platform contains an additional exit to 115th Street. The original section of the station is a New York City designated landmark and listed on the National Register of Historic Places.

History

Construction and opening
Planning for a subway line in New York City dates to 1864. However, development of what would become the city's first subway line did not start until 1894, when the New York State Legislature authorized the Rapid Transit Act. The subway plans were drawn up by a team of engineers led by William Barclay Parsons, chief engineer of the Rapid Transit Commission. It called for a subway line from New York City Hall in lower Manhattan to the Upper West Side, where two branches would lead north into the Bronx. A plan was formally adopted in 1897, and all legal conflicts concerning the route alignment were resolved near the end of 1899.

The Rapid Transit Construction Company, organized by John B. McDonald and funded by August Belmont Jr., signed the initial Contract 1 with the Rapid Transit Commission in February 1900, under which it would construct the subway and maintain a 50-year operating lease from the opening of the line. In 1901, the firm of Heins & LaFarge was hired to design the underground stations. Belmont incorporated the Interborough Rapid Transit Company (IRT) in April 1902 to operate the subway.

The 116th Street station was constructed as part of the IRT's West Side Line (now the Broadway–Seventh Avenue Line) from 104th Street to 125th Street, for which construction began on June 18, 1900. The section of the West Side Line around this station was originally planned as a two-track line, but in early 1901, was changed to a three-track structure to permit train storage in the center track. Construction on the section between 104th Street and 125th Street had already begun prior to the design change, requiring that a portion of the work be undone. A third track was added directly north of 96th Street, immediately east of the originally planned two tracks. By late 1903, the subway was nearly complete, but the IRT Powerhouse and the system's electrical substations were still under construction, delaying the system's opening.

The 116th Street station opened on October 27, 1904, as one of the original 28 stations of the New York City Subway from City Hall to 145th Street on the West Side Branch. The opening of the first subway line, and particularly the 116th Street station, helped contribute to the development of Morningside Heights and Harlem.

Service changes and station renovations

20th century
After the first subway line was completed in 1908, the station was served by West Side local and express trains. Express trains began at South Ferry in Manhattan or Atlantic Avenue in Brooklyn, and ended at 242nd Street in the Bronx. Local trains ran from City Hall to 242nd Street during rush hours, continuing south from City Hall to South Ferry at other times. In 1918, the Broadway–Seventh Avenue Line opened south of Times Square–42nd Street, thereby dividing the original line into an "H"-shaped system. The original subway north of Times Square thus became part of the Broadway–Seventh Avenue Line. Local trains were sent to South Ferry, while express trains used the new Clark Street Tunnel to Brooklyn.

To address overcrowding, in 1909, the New York Public Service Commission proposed lengthening platforms at stations along the original IRT subway. As part of a modification to the IRT's construction contracts, made on January 18, 1910, the company was to lengthen station platforms to accommodate ten-car express and six-car local trains. In addition to $1.5 million (equivalent to $ million in ) spent on platform lengthening, $500,000 () was spent on building additional entrances and exits. It was anticipated that these improvements would increase capacity by 25 percent. The northbound platform at the 116th Street station was extended  to the south, while the southbound platform was not lengthened. Six-car local trains began operating in October 1910, and ten-car express trains began running on the West Side Line on January 24, 1911. Subsequently, the station could accommodate six-car local trains, but ten-car trains could not open some of their doors. In conjunction with the platform lengthening, a new entrance was constructed to the northbound platform in 1912. An entrance kiosk for the new staircase was taken from the 23rd Street and Fourth Avenue station and was installed in July 1913.

The city government took over the IRT's operations on June 12, 1940. Platforms at IRT Broadway–Seventh Avenue Line stations between  and , including those at 116th Street, were lengthened to  between 1946 and 1948, allowing full ten-car express trains to stop at these stations. A contract for the platform extensions at 116th Street and eight other stations on the line was awarded to Spencer, White & Prentis Inc. in October 1946. The platform extensions at these stations were opened in stages. On April 6, 1948, the platform extension at 116th Street opened. Simultaneously, the IRT routes were given numbered designations with the introduction of "R-type" rolling stock, which contained rollsigns with numbered designations for each service.  The route to 242nd Street became known as the 1. In 1959, all 1 trains became local.

Columbia University first requested the demolition of the station's original entrance in Broadway's median in 1954, ahead of the Columbia University Bicentennial. The university brought up the issue again at a meeting of the New York City Board of Estimate in 1963, after a student was killed while crossing the street. The kiosk was seen as a safety hazard, with two deaths and several accidents occurring at the kiosk from 1962 to 1964. Sixty-eight hundred students and faculty members signed a petition to remove the kiosk in February 1964. On March 13, 1964, the New York City Board of Estimate voted to allocate $600,000 () to demolish the entrance and replace it with two new sidewalk entrances as part of the 1964–1965 City budget. The New York City Department of Highways had requested that funds be allocated to this project at the request of Columbia University. The New York City Transit Authority had not yet drawn up plans for the project. Bids for the kiosk's demolition were initially scheduled to be solicited in July 1964. That October, a NYCTA spokesperson announced that the demolition of the entrance would be delayed until the following spring. Work on the project had been expected to commence in December 1964. The NYCTA was expected to complete the design of the project in early 1965, after which the project could be put out for bids.

On November 2, 1966, the New York City Planning Commission voted to grant an additional $300,000 () for the project after the cost of the project was revised. The money for the project was reallocated within the Highway Department's budget. It was estimated that following necessary approvals from the New York City Board of Estimate, bids on the project would be let on December 16, and work on the project would begin by the end of January 1967. Work on the project was set to be done in 22 months. In 1965, Columbia University and Barnard College had announced that they would each spend $5,000 () to decorate the new entrances to fit in with their campuses. Work on the project was completed in 1968.

In 1979, the New York City Landmarks Preservation Commission designated the space within the boundaries of the original station, excluding expansions made after 1904, as a city landmark. The station was designated along with eleven others on the original IRT. In April 1988, the NYCTA unveiled plans to speed up service on the Broadway–Seventh Avenue Line through the implementation of a skip-stop service: the 9 train. When skip-stop service began on August 21, 1989, it was only implemented north of 137th Street–City College on weekdays, and 116th Street was served by both the 1 and the 9.

In October 1988, the Metropolitan Transportation Authority (MTA) announced that the newsstand on the station's downtown platform would be removed as part of a citywide program to beautify stations and improve passenger flow. The agency began this program in late 1987. The owner of the newsstand was unsure of whether he would rebuild the stand as the cost of rebuilding it might have outweighed the benefits of reopening it. This newsstand was chosen for rebuilding as it was only  away from a staircase.

21st century
In June 2002, the MTA announced that ten subway stations citywide, including 103rd Street, 110th Street, 116th Street, 125th Street, and 231st Street on the IRT Broadway–Seventh Avenue Line, would receive renovations. As part of the project, fare control areas would be redesigned, flooring, and electrical and communication systems would be upgraded, and new lighting, public address systems and stairways would be installed. In addition, since 110th Street, 116th Street, and 125th Street had landmark status, historical elements would be replaced or restored, including wall tiles.  At the ends of the station platforms at 103rd Street, 110th Street, and 116th Street, a small section of station wall, which would look identical to the existing station walls, would be added to provide space for scrubber rooms. Work on the ten citywide renovation projects was estimated to cost almost $146 million, and was scheduled to start later that year, and be completed in April 2004, in time for the 100th anniversary of the station's opening, and the 250th anniversary of Columbia University.

Columbia University contributed $1 million () to the station renovation project after the MTA said it would have to put off the renovation projects in Manhattan due to funding issues. The university had also reached agreements to cover part of the costs of the station renovations at 103rd Street, 110th Street, and 125th Street. As a condition of the funding allocation for the station renovation, the university wanted work on the project to be expedited. Residents of Morningside Heights approved of the renovation plans, but were concerned that the expedited repairs would come at the cost of damaging the stations' historic elements. The MTA was expected to decide whether preservation or speed would be prioritized in the station renovation projects by the end of 2002.

At the 110th Street and 116th Street stations, local community activists opposed artwork that was planned to be commissioned through the MTA's Arts for Transit program. Though the proposed artwork was intended as a homage to the stations' history, the activists believed the art would damage the decorative tiling that dated from the stations' opening, and that the artwork would damage the landmark interiors of the stations. The MTA had planned to install a small bronze subway track and train to be inlaid within the station walls surrounded by sepia-toned photographs of the neighborhood at 116th Street. In December 2002, Manhattan Community Board 7 voted in favor of the plan to include artwork from the MTA's Arts for Transit program at the 103rd Street station, which was not landmarked. Community Board 7 voted against the plan to include new artwork at the landmarked 110th Street and 116th Street stations, and the MTA dropped plans for the artwork at these stations. The station renovation project at 116th Street began in January 2003. From May 31 to July 12, 2003, the uptown platforms at the 116th Street and 103rd Street stations were closed at all times for their renovations. The original interiors were listed on the National Register of Historic Places in 2004. Skip-stop service ended on May 27, 2005, as a result of a decrease in the number of riders who benefited.

Station layout

This station has two side platforms and three tracks, the center one being an unused express track. The platforms were originally  long, as at other stations north of 96th Street, but as a result of the 1948 platform extension, became  long. The platform extensions are at the southern ends of the original platforms.

Two staircases from each platform lead to a mezzanine above the platforms, which contains the fare control area. Outside fare control, the mezzanine connects to stairways on either side of Broadway.

The southbound local track is technically known as BB1 while the northbound one is BB4; the BB designation is used for chaining purposes along the Broadway–Seventh Avenue Line from 96th Street to 242nd Street. Although it cannot be accessed at 116th Street–Columbia University, the center track is designated as M. These designations are rarely, if ever, used in ordinary conversation.

Design

As with other stations built as part of the original IRT, the station was constructed using a cut-and-cover method. The tunnel is covered by a "U"-shaped trough that contains utility pipes and wires. The bottom of this trough contains a foundation of concrete no less than  thick. Each platform consists of  concrete slabs, beneath which are drainage basins. The original platforms contain circular, cast-iron Doric-style columns spaced every , while the platform extensions contain I-beam columns. Additional columns between the tracks, spaced every , support the jack-arched concrete station roofs. There is a  gap between the trough wall and the platform walls, which are made of -thick brick covered over by a tiled finish. The ceiling is about  above platform level in the southern part of the station, but is higher above the northern part, reaching  above the platform.

The walls along the platforms consist of a buff-colored brick wainscoting on the lowest part of the wall, and white glass tiles above. The platform walls are divided at  intervals by blue tile pilasters, or vertical bands. The pilasters are topped by alternating blue-and-cream faience plaques of the number "116" and the Columbia University seal; both of these motifs are surrounded by faience wreaths. The seal shows a seated woman with a book of knowledge in her hand and three children standing near her feet. A blue-and-green cornice, made of faience, runs atop the wall and around the mosaic tablets. Mosaic wall tablets with the name "Columbia University" are installed along the platform walls. The mosaic tiles at all original IRT stations were manufactured by the American Encaustic Tile Company, which subcontracted the installations at each station. The decorative work was performed by tile contractor John H. Parry and faience contractor Grueby Faience Company.

Entrances and exits

The station has four entrance/exit stairs that serve both platforms. One pair ascends to the northwest corner of Broadway and 116th Street, while the other pair goes to the northeast corner of the same intersection. There is also an exit-only staircase near the southern end of the northbound platform that leads to the east side of Broadway at 115th Street, outside the Alfred Lerner Hall.

There was a station house in the median of Broadway, just north of 116th Street, which was designed by Heins & LaFarge and dated to the station's opening in 1904. It was built as one of several station houses on the original IRT; similar station houses were built at Atlantic Avenue, Bowling Green, Mott Avenue, 72nd Street, and 103rd Street. The station house, which was identical to the one at 103rd Street, occupied an area of . The one-story station house contained exterior walls made of buff brick, with a foundation made of granite blocks.  A limestone string course ran atop the exterior wall. At the corners of the station house were limestone quoins, which supported a copper-and-terracotta gable roof facing west and east. The ridge of the station house's roof was a skylight made of glass and metal. The doorways were centrally located on the north and south walls of the control house, topped by terracotta finials and a rounded gable. There were terracotta crosses on each rounded gable with the number "116" embossed onto them. Above the doorway was a pediment and an arched window made of glass and wrought iron.  The control house was closed and demolished in 1968.

References

Further reading

External links

 Station Reporter – 1 Train
 Forgotten NY – Original 28 – NYC's First 28 Subway Stations
 MTA's Arts For Transit – 116th Street–Columbia University (IRT Broadway–Seventh Avenue Line)
 116th Street entrance from Google Maps Street View
 Platforms from Google Maps Street View

1904 establishments in New York City
Broadway (Manhattan)
Columbia University campus
IRT Broadway–Seventh Avenue Line stations
Morningside Heights, Manhattan
New York City Designated Landmarks in Manhattan
New York City interior landmarks
New York City Subway stations at university and college campuses
New York City Subway stations in Manhattan
Railway and subway stations on the National Register of Historic Places in Manhattan
Railway stations in the United States opened in 1904

redpajama_set_name: RedPajamaWikipedia


In the early 1990s, several partners of the Charles Léopold Mayer Foundation for the Progress of Humankind (FPH) organized a series of continental, theme-based and socioprofessional meetings in order to open their work to other initiatives, actors, fora, and cultures.
This process led in 1993 to the drafting of the "Platform for a Responsible and United World", which in turn entailed the need to combine diversity—of the contexts—and unity—of the challenges—and to consider the perspectives from three angles simultaneously: by theme, by region of the world, and by socioprofessional sphere.
The alliance itself was born in 1993 with the adoption of a shared agenda focusing everyone's work for the end of the century on formulating proposals for strategies and action to bring about the crucial, necessary changes in our lifestyles and our management systems, from the local level to the global one.
The Alliance Workshops were internationalized and developed, and they culminated in December 2001 with the organization of the World Citizens Assembly in Lille, France.
After the Lille assembly, "Alliance 21" turned progressively into an informal forum for its thousands of members, groups and individuals, as well as for new interested persons, and today its doors are always open to share the enormous wealth of its work, still current, and to be a place where anyone can give their information, analyses, experiences, coming events, proposals, and so on.


Teaching Good Eaters: Don't be Afraid of Flavor! Spice it Up!
Don't be Afraid of Flavor! Spice it Up!
There seems to be a tendency in our country to serve children bland, tasteless food. The assumption is that kids don't like spices (even if they're mild!) I have simply not found that to be true, and I believe that teaching kids to embrace flavor is a great way to help them be better eaters.
Since I have 5 spice related things that I'm sharing today, I'm linking up to Five Favorites.
Fox Point Seasoning from Penzeys Spices. This is my favorite spice mix to have on hand. It is pricey, but so worth it because you can be a great cook without putting out any effort whatsoever. Need something to put on the chicken? Fox Point. Need something for your veggies? Fox Point. Eggs taste too bland? Fox Point. You can pretty much put this on anything and your meal is done. No recipe required.
*Incidentally, I have no affiliation with Penzeys whatsoever…. I just love their spices and think that you should too!
Tony Chachere's Original Creole Seasoning. This one is a little on the spicy side but my family loves it on everything! The best thing about this spice is that it can save just about any dish. Whenever I make something that is lacking in flavor, my family just asks for the Creole seasoning and everyone's happy.
Magic Salmon Seasoning I resisted this one for a while. I already had the perfect seasoning for salmon (Fox Point- See #1) and I didn't think I needed to change it up. However, a few weeks ago, I broke down and gave it a try.
Even once I decided to use it, I almost stopped at the last minute because it has sugar in it. There is LESS than one gram in a 1/4 teaspoon of the spice. And yet, I wondered, "Do I really need sugar on my salmon?" And the answer is, "YES I DO!"
This spice truly is magical. I just followed the directions on the shaker, buttered up my salmon, sprinkled it with Magic Salmon Seasoning and the results were amazing! Here's the thing. I really did love salmon with Fox Point, but only on fresh salmon. Frozen salmon still tasted like frozen salmon. Here's where the magic comes in… I don't know how, I don't know why, but even frozen salmon is amazing once you hit it up with the magic! The only problem was that my family was so enthusiastic about the fish that everyone ended up arguing over the last piece.
Right now I am loving Aldi. It seems like every time I go, I find that they are carrying something new and exciting (they now have frozen organic strawberries for less than what you'd pay for conventional at most stores!!) Anyways, I also love to take advantage of their spices. I go through a TON of chili powder, so knowing that I can buy some (that actually tastes good) for only $1.00 makes me very happy.
"Homemade," taco seasoning. Or, at least, "Home-mixed." I use this once or twice a week, typically when I'm making my "taco meat," mixture of ground beef, black beans, zucchini, and onions. This is my "go to," starter for a bunch of recipes and this seasoning is what gives it all its flavor.
This post for my "taco muffins," explains how I use it for my taco mixture.
These are my favorites, for now, but I'm open to suggestions… I'd love to know your favorite ways to add flavor to your family's meals. Do you have a favorite spice or spice mix?
*Though I don't have an affiliation with Penzeys (though I wish I did) I DO have an affiliation with Amazon… If I actually created the links correctly (which is doubtful) and you click on them, and then buy something, I'll receive a small advertising fee.
This post is linked up to: Best Mom Advice at Crystal and Co.
I'm all about spices. Sometimes a little too much. My faves right now are Pumpkin Pie Spice and Apple Pie spice. Thanks for sharing these!
Pumpkin Pie Spice I LOVE (and Penzeys also has a great one--- really, I should work for them! ;) ) I've never had apple pie spice, I'll have to check that out.
We are *trying* to call it Tony's :) The first time that we had it, my 4 year old tried it and responded to the spiceyness by saying, "bootie pants!" (his version of a swear, I guess) Of course, the other kids thought it was hilarious and they have now dubbed the spice, "bootie pants." I don't think it's snobby at all to say that food seems tasteless when you travel. I am usually disappointed when I go out to eat… sounds like I need to go out to eat in Louisiana!!
Great post! Being from Texas, we are surrounded by hot and spicy food. When my son was little he LOVED the salsa and creamy jalapeño dip at our favorite restaurant. I did not want him eating the tortilla chips as a two-yr-old, so I always took in a baggie of Corn Chex for him to dip in the hot sauce and the spicy creamy jalapeno dip. He is now 7 and still loves spicy food.
I'll have to try that Salmon Seasoning...we eat Salmon pretty often! Usually we just use sea salt...brings out the natural flavor so well.
My kids LOVE strongly-flavored foods - heck, they like their spices stronger than I do! My son loves to eat black pepper straight (and hot sauce, and salt, and basically every spice there is...).
Oh my goodness! I have trouble even smelling black pepper sometimes!
I wasn't sure about 'comment etiquette' so I wanted to respond here too. Is that too much? I don't want to seem like a stalker ;) And we are die hard Tony's fans here. We keep getting these overseas assignments and my poor mama has to go in and buy ten bottles at a time and mail them to us every few months!
How wonderful of your mom to help you get your Tony's fix :) Thank you so much for explaining how you did you design!! I've been using online photo editing sites (for free) and am running into all kinds of trouble. I'm starting to learn more and more, that you get what you pay for ;) I really appreciate your help and since you're so willing, I just may have to pester you again!


FictionFridays are all about finding inspiration in the craziest of places. This Friday I was inspired by reading.
talking about a memory long lost.
afraid to speak out loud.
trying to protect a friend.
hits the walls of your skull.


Spain coach Julen Lopetegui praised Gerard Pique for his "exceptional" behaviour with the national team.
The Barcelona defender was jeered by fans at training on Monday as he continues to come under fire for his support of the Catalan independence referendum.
Pique tearfully offered his Spain resignation on Sunday night amid a day of violence in the Catalonia region, with Barcelona forced to play their win over Las Palmas behind closed doors.
But the 91-time Spain international has the support of his coach, who is delighted with the way the centre-back has conducted himself.
"I don't go in and out of ideas. Gerard's behaviour is exceptional," Lopetegui told COPE .
"I wanted to know how he was and I've seen him willing and motivated. He is well and motivated. If it were not so, he wouldn't be with me."
Spain are on the verge of qualifying for the 2018 World Cup, sitting three points clear atop Group G with two matches remaining.
But Lopetegui called for greater support of his team ahead of matches against Albania and Israel.
"I would encourage people to know that we need their support because we are not qualified for the World Cup," he said.
"It would have been a mistake to train behind closed doors."


Update: Since this article was published, NBC has announced that among responses after the Sunday night debate, Clinton's lead shrank to a 7-point advantage in both a four-way matchup and in a head-to-head race — reflecting the same margin that Clinton showed in a mid-September NBC/WSJ poll." In other words, Clinton holds 7-point lead in a poll with 16% more Democrats interviewed and (in this poll) has recovered from any presumed damage over the lewd remarks.
Democrat Hillary Clinton has doubled her lead over Republican Donald Trump in a new WSJ-NBC News poll. It's good news for Clinton and bad news for Trump supporters after the release of a recording of his lewd, private conversation from years ago.
But that may not the full story.
In focus on Full Measure this past Sunday, we heard from a polling expert who cautioned that the headline of any poll rarely tells the full story. Looking at the sample, the WSJ-NBC News poll, like many others, leaned more heavily on Democrats. If Democrats turn out in significantly greater numbers than Republicans, then the poll is likely to be most accurate. If not, then it may not be a true measure of the state of play. On the other hand, there's little doubt that Trump's popularity has slipped when compared to similar, previous Democrat-heavy polls.
So 35 (16%) more Democrats were interviewed than Republicans.
13 percentage points more of the sample voted for Obama over Romney in 2012 (yet Obama won by less than 4 percentage points, indicating this poll may lean much more heavily toward Democrats).
7 percentage points more of the sample want a Democrat-controlled Congress, further indicating a Democrat-heavy poll.
All this refers to the same poll you are talking about above.
Early today our crack researcher friend Lynda sent another article from Sundance at the Conservative Tree House. Pretty incredible to see the attempted manipulation of voters' minds by the Left!
Then a bit later, Tom Lifson, publisher of American Thinker, wrote his own editorial on Sundance's research.
Regardless of your party affiliation, don't let your friends be suckered by talking heads who trumpet scurrilous polls. They're all using psy-ops to sway the public into voting for The Liar.
Early today Sundance at the Conservative Tree House wrote an article evaluating all parts of the poll. Pretty incredible to see the attempted manipulation of voters' minds!
Regardless of your party affiliation, don't believe the polls that the media trumpets regularly. They're all using psy-ops to sway the public's voting habits.
Keep up the good work, Ms. Attkisson. Educating people on how to analyze the demographic splits in polling is very important in fighting against the mainstream media's overt dishonesty. Everyone who reads your articles on this will tell others. I know I have. If you're armed with the exact numbers and can cite them people intuitively understand the bias. Especially because with Trump it's many orders of magnitude worse than any other presidential election in the modern era.
Is the owner of this polling firm not currently employed by the Clinton campaign. This was also exposed by CTH.
Please keep up the great reporting. If there's ANYTHING this country needs now more than ever, is independence and integrity in journalism. Of course we need journalists first and not paid talking heads, but that's another wormhole. I love your work no matter who it's for or against. As long as it's honest and backed up by the facts, that's what I want to see.


We recommend that you select the closest fit to your target job, based on the roles in our list. When you reach the question, "Describe what you are looking for in a new position," please provide additional details on your ideal job function. This is a better option than choosing "Other," as it provides us a clearer picture about how we can help with your job search.


Boston — Making it easier and more efficient to report data breaches that affect Massachusetts residents, Attorney General Maura Healey today launched a new Data Breach Reporting Online Portal, which businesses and organizations can use to provide notice to the AG's Office as required by the Massachusetts Data Breach Notification Law.
The portal, available through the AG's website, gives organizations the option of reporting data breaches online to the AG's Office in lieu of delivering a hard copy notice.
Since November 2007, the AG's Office has received notice of more than 21,000 breaches, with 3,821 breaches reported in 2017 affecting more than 3.2 million residents.
In September 2017, following a major data breach at credit reporting firm Equifax Inc., AG Healey filed the nation's first enforcement action over the company's failure to protect sensitive and personal information of nearly three million Massachusetts residents and also announced proposed legislation that will better protect consumers from data breaches.
The Massachusetts Data Breach Notification Law (M.G.L. c. 93H) requires any entity that owns or licenses a consumer's personal information to notify affected Massachusetts residents, the Office of Consumer Affairs and Business Regulation (OCABR), and the AG's Office any time personal information is accidentally or intentionally compromised.
Data breaches may occur due to intentional hacking or because of human error, such as sending an e-mail to the wrong person or losing a laptop. Institutions experiencing data breaches range from the largest, most sophisticated institutions in the state to small businesses with only one or two employees. While many breaches affect a relatively small number of consumers, many entities have experienced data breaches affecting large numbers of consumers.
The Massachusetts Data Breach Notification Law was enacted on Aug. 2, 2007, and since then the AG's Office has been focused on making sure consumers receive proper and prompt notice when their information is put at risk by a data breach. Notification is important so that consumers can guard against harm, ranging from unauthorized use of a credit card to identity theft.
The use of the portal is voluntary and entities can still send written notice to the AG's Office through mail. Use of the portal does not relieve an organization of its obligations under chapter 93H to also notify OCABR and affected Massachusetts residents.
A database that allows members of the public to view information online about reported data breaches is expected to be available on the AG's website in the coming weeks. It will allow consumers to see which businesses have reported data breaches and when, as well as the estimated number of affected Massachusetts residents.
More information about the Massachusetts Data Breach Notification Law and an organization's reporting obligations under that law (including sample notice forms) is available on the AG's Guidance for Businesses on Security Breaches website.


text:
May 15, 2013 · 10:11 am
Star Trek Into Darkness – A failing Enterprise
Heart of Darkness: Spock (Zachary Quinto) and Kirk (Chris Pine) interrogate John Harrison (Benedict Cumberbatch)
There is a scene early on in J.J. Abrams's 2009 sci-fi reboot Star Trek where the young cadet James T. Kirk (Chris Pine) has a titillating roll around in bed with a beautiful, voluptuous and green-skinned woman who is also the roommate of another romantic interest. The scene more or less sums up the whole film: it's flippant, sexy, fast-paced, raises the character drama and makes cute reference to the original Star Trek TV series, in which William Shatner's Kirk once had a similar inter-species dalliance.
Suffering from a brutal case of sequelitis, that caustic condition whereby a follow-up film tries to up the game by doubling-up on what went right the first time, Abrams's second Enterprise adventure, the grammatically topsy-turvy-titled Star Trek Into Darkness, features a similar scene early on in its duration. We cut to Captain Kirk's bed-chambers to the double-screech of a scratched record which heralds some contemporary (for us) hip hop music, before the camera pans to reveal Kirk in bed with not one but two sexy aliens. As in the predecessor, this scene neatly sums up Into Darkness, but says very different things: it's plotless, intellectually vacuous and desperate (and failing) to be cool. It's also wildly inappropriate for a film that parents will no doubt bring young children to, but that isn't exactly the case with the rest of the film. Thank heaven for small mercies.
We pick up a few years after the events of Star Trek, where the overly headstrong young Kirk is still captain of the Enterprise, seconded by the emotionally retentive half-Vulcan Spock (Zachary Quinto). Opening with a sequence as fun as anything the first film produced, in which the crew of the Enterprise stage an intervention on a savage planet to save its primitive lifeforms from a bubbling volcano, despite their code of ethics being opposed to such activities. Spock is nearly lost in the process and gets his pointy ears boxed by Kirk and girlfriend Uhura (Zoe Saldana) for not caring about the feelings of others. Thus begins a barely scripted piece of soul-searching for Spock that is somehow drawn out across this film's 133-minute running-time.
Back on Earth, Kirk is given a dressing down of his own for disobeying orders, and is relieved of his command – this happens to three major characters in this film, and all are back at their posts by the story's end; hitting the reset button and putting everyone back to where they were last film round is so much easier for writers than to come up with genuine obstacles the characters might face. But just as Kirk is getting used to being first officer again, disgruntled Starfleet officer John Harrison (Benedict Cumberbatch) begins a wave of terrorist attacks that puts the Federation on high alert. Enraged at the assault, Kirk is spurred towards taking a fiery vengeance on Harrison by militarist admiral Alexander Marcus (Peter Weller). Several increasingly superfluous action sequences follow.
The first 40 minutes or so of Star Trek Into Darkness zips along at a solid pace with some amusing scenes. Banter between Kirk and Spock about the latter's failure to grasp basic concepts of human emotion provides some easy laughs, while a three-way argument on the same, drawing in Uhura, displays the finest dialogue the film has – a witty, Whedonesque scene of sniping back-and-forths.
But things shift for the worse when the Enterprise arrives at the Klingon homeworld, where Harrison is hiding out, safe from the Federation's reach. But Admiral Marcus doesn't care about the dangers of starting a war, and Kirk doesn't care about rules. After a thrilling shuttle craft scene, a diplomatic incident on the Klingon planet turns into one of the messiest gun battles ever shown on screen – with Hunger Games levels of camera shaking and awkward cutting. In the aftermath, Harrison surrenders; anyone who's seen a blockbuster in the last five years will know well what this means.
Courage under fire: Uhura (Zoe Saldana) in action
Long before its midpoint Star Trek Into Darkness descends into cliché, with the crew facing two antagonists and learning all too late which is the greater evil. Neither villain is properly defined, and much of the threat is based around knowledge of events that happened in the TV series and original films, which were set in a different universe to begin with. It's like making a version of A Christmas Carol and forgetting to tell us why Scrooge is a miser (or for that matter, that he's a miser). The film's writers, returning duo Roberto Orci and Alex Kurtzman, and Prometheus-defiler Damon Liondelof, have taken almost no effort to recreate these characters, copying and pasting from earlier works. A late scene is a direct re-enactment of one of the finest scenes from Star Trek II: The Wrath of Khan, with none of the emotional or dramatic weight of its predecessor. Two famous lines are recycled from that film; the first cleverly, the second showing a failure on behalf of the writers to grasp basic concepts of drama, language or time. All this is is regurgitation; swallowing a feast of adventurous sci-fi and ejaculating it in a flurry of bile back onto the screen – then flaring the lens with enough lights so you can't see the gooey chunks.
Sure, the crew are all fine, but they're very much on auto-pilot following their first outing together. John Cho's Sulu gets one great scene, but it is stolen from him by Karl Urban's Dr. McCoy, which continues to be the stand-out performance in this series. Simon Pegg's Scotty has more direction this time, and more to do, but the character is still played far too much for laughs.
As for Cumberbatch, one of the finest actors of his generation, he does good work here. His downcast, beady eyes inspire a menace that the script cannot back up. When Harrison weeps, we see Cumberbatch acting so well at weeping, but cannot believe in the character despite the performer's great work. Hopefully this will not be the villain role for which Cumberbatch is remembered. There are many out there better for him; indeed his dual villainous roles in The Hobbit may yet inspire the right level of dread.
Star Trek Into Darkness looks divine, for the most part, and it's hard to fault the production design. The futuristic updates of London and San Francisco look superb, the former putting the future London of last year's Total Recall to shame. The design of the Klingon ships is some of the best spacecraft design seen since Return of the Jedi. The most dazzling moments come whenever the Enterprise enters into warp speed, leaving behind it a luminous blue vapour trail that lingers in the vacuum of space before dissolving – it's a superb image that captures the grandeur of the Star Trek universe.
Sinking into the clouds: The Enterprise in peril
But despite all the gloss (there are thankfully fewer lens flares this go-around, though still too many), the stylish design and Michael Giacchino's enthusiastic score can't save the pacing. The final half hour is given over to an endless tirade of action sequences that call to mind the seemingly never-ending finale of Star Wars: Attack of the Clones. Beginning with an excellent sequence in which Kirk torpedoes himself through space from one ship to another, this moment is rapidly followed by a fist fight, a shootout, a photon bombardment, a ship crash, a foot chase and another fist fight. To add insult to injury, this rigmarole of energy culminates in a deus ex machina so ridiculous it would cause J.K. Rowling to spit up blood.
What grates the most is the story, which laboriously draws on recent memories of the War on Terror for inspiration. A vicious terrorist is tracked into hostile territory, but the militant wing of a force for good in the universe decides to hunt him there no matter the cost. It's all 10 years too late – not to mention how ridiculous the idea of a military junta seizing power in San Francisco is. Star Trek Into Darkness displays the political knowhow of a civics paper written by a 15-year-old whose abiding memory of 9/11 is of the news-coverage cutting into his favourite cartoons. Hiccoughs in the first Star Trek screenplay could be blamed on the Writers' Strike of 2007/'08. Here there is simply no excuse for this inane refuse.
Plodding, under-written, over-produced, with exhaustingly endless action scenes and "clever" references to previous film properties, Into Darkness is the Van Helsing of Star Trek films, a beautiful misery that will excite as many as it will disappoint.
Tagged as A Christmas Carol, Alex Kurtzman, Attack of the Clones, Benedict Cumberbatch, Chris Pine, Damon Lindelof, JJ Abrams, JK Rowling, John Cho, Joss Whedon, Karl Urban, Michael Giacchino, Peter Weller, Prometheus, Return of the Jedi, Roberto Orci, Star Trek, Star Trek II: The Wrath of Khan, Star Trek Into Darkness, Star Wars, The Hunger Games, Van Helsing, William Shatner, Zachary Quinto, Zoe Saldana
2012 in review – The year of archery and French wheelchairs
As the credits begin to roll on another year of film (don't bother sticking around to the end, the bonus scene after the credits is just a hangover), it's time to look back on what the world of film offered up in 2012. There were highs and lows, unexpected joys and underwhelming potential wonders. Hollywood provided its most entertaining popcorn blockbuster in a generation. French cinema shattered our hearts over and over and over.
Early on The Artist won out at the Oscars, but rather than reignite interest in silent cinema, it became a Netflix-condemned anomaly unto itself. Thanks to 3D, The Avengers won out over The Dark Knight Rises and its IMAX presentation, but the launch of Peter Jackson's The Hobbit series caused the real fuss with its introduction of HFR (higher frame rate, 48 frames per second), which has caused more division amongst audiences than Prometheus. Films such as Berberian Sound Studio and Cloud Atlas aspired to greatness, but fell at the all-important last hurdle, having an ending. Michael Haneke returned to Cannes, made everyone and their mothers cry, then went home victorious to launch a parody Twitter account.
Archery!
It was once again a mediocre year for animation. Pixar clawed their way out of the wreckage of Cars 2 with the unfairly disliked Brave, though it remained a step down from their sensational output in the last decade. Frankenweenie and Rise of the Guardians charmed but did not wow. ParaNorman sadly escaped my gaze.
It would be unfair to say it was a poor year for documentary, but I was left disappointed by many of the most praised docs this year; Samsara, The Imposter and Bill Cunningham – New York were all strong works that did not fully succeed in their ambitions. Disappointingly, Waiting for Sugarman, 5 Broken Cameras and Tabu were all missed by me – I suspect my top 20 might have looked very different had I caught them.
On a personal note 2012 was not the year career-wise I had hoped it to be, but my writing, both here and for Film Ireland Magazine continued and I like to think improved – this blog expanded two-fold over the last 12 months, something to be proud of. I continued to trawl through the greatest of film cinema, most notably binging on the Rocky movies, The Bourne Trilogy, The Apu Trilogy and The Godfather Trilogy – each of those in single, incredible sittings. On the big screen I revisited classics such as The Apartment, A Night to Remember, RoboCop, Baraka, Bambi, The Shining, Fantastic Planet, Haxan and the 4K restoration of Lawrence of Arabia. My major goal for the year was to finally delve into horror cinema, a genre I had avoided for much of my life, with first-time viewings of Carrie, Halloween, A Nightmare on Elm Street, The Omen, The Texas Chain Saw Massacre and George Romero's original Living Dead Trilogy. More specifically, I delved into Italian horror, seeing some of the best films of Dario Argento and Lucio Fulci, as well as Lamberto Bava's Demons films, and also gave myself a light education in the rockumentary, finally watching The Last Waltz, Stop Making Sense, Buena Vista Social Club and the director's cut of Woodstock. Elsewhere, I finally completed the IMDB Top 250 list, an achievement that would be so much greater if not for the fact that, due to its constant shifting, I now find myself back at 249 (and not caring).
There were a handful of films I was eager to see this year but missed; Sightseers, Monsieur Lazhar, The Perks of Being a Wallflower, Seven Psychopaths and Silver Linings Playbook. Due to my continued transatlantic travelling, my list is assembled of films released in Ireland or the US anywhere from 2011-2013, and films such as Django Unchained, Les Misérables and Wreck-It Ralph remain viewing for next year's list.
French wheelchairs!
Films that nearly made the grade this year include Le Havre, Coriolanus, The Dark Knight Rises, Ted, Moonrise Kingdom, Killer Joe, The Kid With a Bike and Laurence Anyways. These and many others remain worthy viewing. But the following should all be seen and appreciated; they are my top 20 of 2012.
20. The Grey
Featuring an immensely committed, world-weary performance by Liam Neeson, what should have been a standard action/horror about plane crash survivors fending off a wolf pack turned out to be a treatise on the nature of faith and the human will to survive. With characterisation of a quality far beyond what this story called and some truly tense adventuring, The Grey hit harder than Liam Neeson punching a wolf in the face.
19. What Richard Did
It's easy to forget some times that I am actually Irish; I know I often do. And despite my role in promoting film culture in Ireland, few Irish critics are harsher to Irish filmmakers when they drop the ball than I am. But when they get it right, they can get it so very right. Lenny Abrahamson's What Richard Did, based on a true story about an accidental killing by privileged schoolboys of one of their own, delved deep into the issues of when uncontrollable testosterone and youthful arrogance collide. Beautifully capturing the light grey tones of Dublin city, What Richard Did is at its best tracking the distress of Richard (notable newcomer Jack Reynor) through intense, unrelenting camera movements.
18. Anna Karenina
As much an exercise in cinematic stagecraft as an adaptation of Tolstoy's romantic novel, Joe Wright brought out all the visual big guns to set his film apart from its forebears. Theatres become palaces and diamonds become more emotive than the faces of the actors wearing them in this ultra-stylised drama. Keira Knightley gives it her best in the lead role, but it is the supporting players, most notably Jude Law and Domhnall Gleeson, who really steal the show, along with Tom Stoppard's oft-inventive screenplay. Nothing else this year looked quite like it.
17. Argo
After years of lamentable acting and increasingly promising directing, Ben Affleck has finally won the love of all Hollywood with this tense, witty espionage drama. A spy thriller in which not a gun is fired or a woman seduced, Affleck recreates, with some liberties, the exodus of American civilians trapped in Tehran during the Iranian Revolution, while also poking fun at the Hollywood studio system, which was manipulated to help win the day. Superb attention to historical detail is what really sets this film apart. The tension is carried through to the very end, at the unfortunate expense of believability, but it remains a thrilling ride, with several exceptional supporting performances.
16. Looper
The first truly entertaining time-travel adventure since Marty McFly settled down for good in Hill Valley, Rian Johnson's Looper looked at the consequences of actions through two versions of the same character, played by Bruce Willis and a Bruce Willised-up Joseph Gordon-Levitt. Exciting and playful with its impossible premise, Looper stood out for its wit and audacity. It faltered hugely in its third act, but it was too late to do the film any real damage – and the final 20 minutes proved an unexpected rollercoaster. As clever as popcorn cinema can get.
15. The Hunt
More than a decade after his magnificent Festen, Thomas Vinterberg returns to form with the dramatic thriller. A magnificently pained and frustrated Mads Mikkelsen stars as a kindergarten teacher falsely accused of child abuse. Rather than create a mystery around the events, Vinterberg and co-writer Tobias Lindholm allow the audience to be the only ones aware of how this dreadful confusion arose. This omniscience on the viewer's behalf becomes tormenting as the town turns against the teacher. Superbly acted, it is given extra power by the brown and grey autumnal look of the Danish landscape, full of a slowly fading beauty.
14. Lincoln
Showing uncharacteristic restraint, Steven Spielberg directed a Civil War "epic" with almost no war. Playing like an extended season finale of The West Wing, Spielberg's beautifully detailed period drama is entirely focused on scrambling for votes in the U.S. Congress. Milking the political clash over the abolition of slavery for all the drama and excitement it's worth, Tony Kushner's screenplay made the esteemed president a Machiavellian political mastermind, while Janusz Kamiński's camera shot him like a former superhero returning for one last heroic act. Daniel Day-Lewis captured the president's spirit, but it was Tommy Lee Jones who stole the film as the devoutly anti-slavery congressman Thaddeus Stevens.
13. The Raid
A bolt out of the blue that hit so hard the audience's collective heads shattered several wall tiles, Gareth Evans's Indonesian cop thriller/martial arts extravaganza was one of the year's most unexpected critical darlings. Lethal human whirligig Iko Uwais played the cop trapped in a tower full of machete-wielding drug dealers, forced to fight his way out using every weapon and muscle at his disposal. The results were electrifying and often hilarious. Editing troubles aside, The Raid was one of the tightest action movies released all year.
12. The Intouchables (Untouchable)
The first of three French films on this list to feature the tragedy of a person confined to a wheelchair, and the film in which the wheelchair is most at the fore, this undeniably charming dramedy, based loosely on a true story, tells of a wealthy quadriplegic and his unlikely friendship with a street-smart layabout turned caregiver. Predictable and light, it is also superbly acted and told with boundless heart and (often dark) humour. Shamelessly uplifting without being slight, it is adeptly shot and edited.
11. Skyfall
Choking on the poison that was Quantum of Nonsense, James Bond brought himself back to life with a defibrillator shock once more, and this time that shock was Skyfall. Exceptionally written and paced, Skyfall had the audacity to focus more on the character of Bond than any other film in the series to date, while giving ample room to develop his relationship with the ever-excellent Judi Dench as M. Javier Bardem's villain was left with a poor evil scheme, but was himself memorable as a vengeful ex-agent with mincing homoerotic undertones. Light on action, when it hit it came with a wallop. Sam Mendes's direction was solid but came second always to Roger Deakins exceptional camerawork.
10. Life of Pi
Adapting a spiritual novel into a personal epic with countless remarkable special effects shots, Ang Lee continues his quest to be the most diverse filmmaker in the business. Weaving the wonderful tall tale of Piscine 'Pi' Patel into a visually astounding oceanic adventure took remarkable skill, which bursts forth from the screen in every shot – literally in the case of the impressive 3D presentation. Suraj Sharma plays the devout theist castaway on a lifeboat with a vicious tiger. The metaphor at the film's centre lands powerfully, but it is the clever dialogue and mesmerising visuals that make this film stand out.
9. Holy Motors
Leos Carax's veritable clusterfuck of madness is at some level a statement about the falsehood of (digital) cinema. At another level it is just plain bonkers. Chameleonic Denis Lavant plays everyone you could think of, as a performer doomed (it would seem) to forever play the strangest of roles; from romantic lead to frustrated father, beggar woman to subterranean troll, his own killer to husband to a chimpanzee. It lapses in many of its instalments (installations?), but as a whole it is an astoundingly odd and wonderful piece of filmmaking.
8. The Avengers (Avengers Assemble)
Against all the odds and an army of alien beasties, this superhero mash-up succeeded on almost every level. Four years of films leading up to this one, introducing some of the leading players and the universe's themes, paid off as the egos of Iron Man, Thor, Captain America and Bruce 'The Hulk' Banner collided. The result was unexpectedly tremendous, with Joss Whedon's wildly entertaining script bouncing the characters' personalities off one another beautifully, and with plenty of laughs. Everyone played to their strengths, the minor characters were given moments to shine and the action redefined explosive. Here's to Phase 2, eh?
This pastoral police procedural drama, set over a night and the day that followed, gave a haunting insight into modern Turkey. Exceptionally well acted and with more than its fair share of beautiful, memorable shots (the mini adventure of a tumbling apple cannot be forgotten), Nuri Bilge Ceylan's wonderful film was let down by a tragically sluggish third act that clashed with the astounding first two thirds of the film. Still, as a whole Once Upon a Time in Anatolia remains far more impressive than any American crime drama of the same year.
6. The Master
Barely passing under the bar set by There Will Be Blood, P.T. Anderson's The Master cannot be underestimated. The incomparable story of two men who need each other for contradicting reasons, The Master would still be a great film without the powerhouse performances of Joaquin Phoenix and Philip Seymour Hoffman. With them, and with remarkable assistance from Amy Adams, this is a drama that must be experienced before you can believe it. Occasional lapses in pacing and a visual aesthetic that rarely lives up to the power of the drama do it a disservice, but the mastery of filmmaking on display here cannot be denied.
5. The Pirates! in an Adventure with Scientists!
The finest animated feature released this year, this daft comic gem from Aardman Animations brought more laughs than any other two films released this year could muster between them. Rattling out sight gags and wordplay like the spiritual successor to Airplane!, The Pirates! also featured some superb voicework (especially from animation virgin Hugh Grant as the pirate captain, named the Pirate Captain) and took Aardman's animation style to new limits. The incredibly detailed stop-motion sets (photographed in 3D) boggle the eyes as you try to take in everything you can see – there are more sight gags per image than the human brain can process. It may not have the same heart as some of Aardman's earlier offerings, but there is a sweetness to be found here. It doesn't matter though, the outstanding quality of the Gatling-gun comedy and the craft on display are what make this the work of brilliance it is.
As a bonus, here's a picture of me with the model Pirate Ship from The Pirates! taken during a studio tour of Aardman Animations back in 2011.
4. Amour
Michael Haneke's heartbreaking tale of an elderly husband caring for his stroke-addled wife could not be more perfectly handled or acted. The camera is confined to the apartment like Anne herself, but gently roams its rooms and corridors capturing flashes of the dying days of this unspectacular couple. Punctuated with comedy (a rogue pigeon invades the house) and horror (a nightmare of floodwater and disembodied, strangling hands), Amour's power is inescapable. '60s romantic movie stars Jean-Louis Trintignant and Emmanuelle Riva excel, the former capturing a pained patience, the latter the agony of natural imprisonment; within a wheelchair, within a bed, within her own body.
3. Beasts of the Southern Wild
This majestic imagining of a Louisiana community struggling against the elements, told through the eyes of a wondrous, haunted young girl, is the breakthrough movie of 2012. First-time director Benh Zeitlin crafts a world drifting on the border of reality. Shot on 16mm, Beasts succeeds in finding a unique beauty in the overgrown damp of the bayou. The narration by six-year-old Hushpuppy (the revelation that is Quvenzhané Wallis) is perhaps overwrought, but it is delivered with astounding honesty and passion. As the world around her is literally and metaphorically washed away, her imagination of the end times allows for a powerful reclamation of human spirit and dignity. The score alone, all plucky Southern instruments, is enough to make this film a triumph. Thanks to its other successes, it is a minor masterpiece.
2. Rust and Bone
The follow-up to his phenomenal A Prophet, Jacques Audiard turns to a more humanistic tale in adapting Craig Davidson's short story collection from an assemblage of broken lives into a remarkable drama of shattered dreams and people repairing one another. Matthias Schoenaerts and Marion Cotillard each give career-defining performances as, respectively, a bare-knuckle boxer-cum-struggling father and a sexually defined whale trainer left powerless and paralysed in a gruesome accident. The tenderness and frustration of this odd couple's relationship rings amazingly true, while Stéphane Fontaine's near-divine handheld camerawork circles them effortlessly, stopping from time to time to capture remarkable stand-alone images. Over-powering stuff, altogether.
1. The Turin Horse
Far from the most entertaining film of 2012, no film released this year deserves immortality quite like Béla Tarr's intended swan song. Imagining the daily life of a beleaguered workhorse, whose plight is fabled to have caused the mental breakdown of Friedrich Nietzsche, The Turin Horse is shot in hypnotic, terrifying black and white. Capturing the monstrous monotony of rural life at the turn of the last century, Tarr takes us through several interchangeable days as a brutish farmer and his weary daughter go about their chores. The repeated imagery as man and woman eat their daily potato, each time shot from a different, intense angle, each time robbed of civility by the farmer's slurpy gorging, makes for painful, powerful viewing/listening. The outstanding black and white cinematography, the phenomenal use of music and the set design and wind-battered landscapes create a cinematic experience unlike any other. It is difficult viewing, but the craft involved in it cannot be rivalled.
A Turin-out for the books
And now, my top 5 worst films of the year. I managed to miss a few apparent clunkers; Project X, The Watch, Battleship or Piranha 3DD. But I still managed to catch some pretty awful stuff. Some lamented films, such as John Carter and Abraham Lincoln: Vampire Hunter, were actually pretty harmless. Films that nearly made the list include The Bourne Legacy, Ghost Rider: Spirit of Vengeance and This Means War. Despite hating more than almost any film I can think, there was no denying that Ruby Sparks is too adequately made to reduce it to this waste bin of cinema. Instead I'll condemn it to the waste bin of human decency.
5. Snow White & the Huntsman
This uninspired, or rather thievishly over-inspired, adolescent fantasy threw everything it had at the screen and none of it stuck. An evil queen far more radiant than the Snow White. Kristen Stewart wearing armour. And leading an army after giving a dramatic speech. A love triangle in which none of the corners seemed particularly interested in one another. Actually, this film did feature one pretty awesome feat of archery (theme!), but it was of course pilfered from the infinitely superior Princess Mononoke. Thank goodness for the amazing sequence with giant deer god in the forest that was oh no wait stolen from Princess Mononoke. I love Princess Mononoke. I hated this.
4. Haywire
Despite the lamentable acting of MMA fighter Gina Carano, your film is in trouble when she's the best thing in it. Several fine actors (most notably Michael Douglas) phone in their performances so hard they even reversed the charges. Michael Fassbender forgets his accent in the last scene again. The decent fight choreography and the surprisingly good sense of Dublin geography could not prevent this formulaic purported pastiche from being one of the most excruciating viewing experiences of the year. Steven Soderbergh has directed a movie so badly edited The Asylum would look down on it. Oh, and the jazz score? No.
3. Taken 2
Liam Neeson beats up anyone with darker skin than him, this time without any of the urgency or fun of the original. Grenades get thrown recklessly at civilians. Mosques are shown with deafening boom sounds on the soundtrack, just to remind you that foreign things are evil. They're not really, but pumping this much cash into a movie and ending up with this surely is.
2. Charlie Casanova
What was that I was saying about Irish movies? This hardly seen Irish indie does its best to deconstruct the worst excesses of the Celtic Tiger generation, but creates a character so ludicrously cartoonish in his villainy that he fails to represent anything at all. Shot on grim low-grade digital in not one but two of the ugliest hotels in the world, this was an almighty mess of editing and dialogue. Lead actor Emmett Scanlan gives it so much socks that he and his improbable moustache swallow the movie whole.
1. The Campaign
But at least the makers of Charlie Casanova tried! In a year when political satire was a much needed relief, this Congressional comedy ran for the safety of the silly hills. No attempt was made to properly address the preposterous (and potentially hilarious) contradictions of the American two-party system. Instead The Campaign opted to have Will Ferrell and Zach Galifianakis do their best to out-swear and out-stupid one another. The results were hardly funny. It was the film audiences deserved, but not the one they got. An utter waste of several talents.
Here's hoping for 2012!
Tagged as 3D, 5 Broken Cameras, A Night to Remember, A Nightmare on Elm Street, Aardman Animations, Abraham Lincoln, Abraham Lincoln: Vampire Hunter, Amy Adams, Ang Lee, animation, Anna Karenina, Argo, Back to the Future, Bambi, Battleship, Ben Affleck, Berberian Sound Studio, Bill Cunningham - New York, Brave, Bruce Willis, Buena Vista Social Club, Cannes, Carrie, Cars 2, Charlie Casanova, Cloud Atlas, Coriolanus, Daniel Day-Lewis, Dario Argento, Demons, Denis Lavant, Django Unchained, Domhnall Gleeson, Dublin, Emmett Scanlan, Fantastic Planet, Frankenweenie, Gareth Evans, George Romero, Ghost Rider: Spirit of Vengeance, giallo, Gina Carano, Halloween, Haywire, Häxan, HFR, Holy Motors, horror, Hugh Grant, Iko Uwais, IMAX, IMDB, Irish cinema, Jack Reynor, James Bond, Janusz Kamiński, Jason Bourne, Javier Bardem, Joaquin Phoenix, Joe Wright, John Carter, Joseph Gordon-Levitt, Joss Whedon, Jude Law, Judi Dench, Keira Knightley, Killer Joe, Kristen Stewart, Lamberto Bava, Laurence Anyways, Lawrence of Arabia, Le Havre, Lenny Abrahamson, Leo Tolstoy, Leos Carax, Les Misérables, Liam Neeson, Life of Pi, Lincoln, Looper, Lucio Fulci, Mads Mikkelsen, Michael Douglas, Michael Fassbender, Michael Haneke, Monsieur Lazhar, Moonrise Kingdom, Netflix, Nuri Bilge Ceylan, Once Upon a Time in Anatolia, ParaNorman, Paul Thomas Anderson, Peter Jackson, Philip Seymour Hoffman, Piranha 3DD, Princess Mononoke, Project X, Prometheus, Quantum of Solace, Rian Johnson, Rise of the Guardians, RoboCop, rockumentary, Rocky, Roger Deakins, Ruby Sparks, Sam Mendes, Samsara, Seven Psychopaths, Sightseers, Silver Linings Playbook, Skyfall, Snow White & the Huntsman, Steven Soderbergh, Steven Spielberg, Stop Making Sense, Suraj Sharma, Tabu, Taken 2, Ted, The Apartment, The Apu Trilogy, The Artist, The Asylum, The Avengers, The Bourne Legacy, The Campaign, The Dark Knight Rises, The Godfather, The Grey, The Hobbit, The Hunger Games, The Hunt, The Imposter, The Intouchables, The Kid With a Bike, The Last Waltz, The Master, The Means War, The Omen, The Perks of Being a Wallflower, The Pirates! in an Adventure with Scientists!, The Raid, The Shining, The Texas Chain Saw Massacre, The Watch, The West Wing, There Will Be Blood, Thomas Vinterberg, Tobias Lindholm, Tom Stoppard, Tommy Lee Jones, Tony Kushner, Turkish cinema, Waiting for Sugarman, What Richard Did, Will Ferrell, Woodstock, Wreck-It Ralph, Zach Galifiankis


text:
Il singolare del torneo di tennis ATP German Open 1989, facente parte della categoria Grand Prix, ha avuto come vincitore Ivan Lendl che ha battuto in finale Horst Skoff 6-4, 6-1, 6-3.

Teste di serie

 Ivan Lendl (campione)
 Horst Skoff (quarti di finale)
 Jakob Hlasek (secondo turno)
 Kent Carlsson (secondo turno)
 Assente
 Carl-Uwe Steeb (quarti di finale)
 Jonas Svensson (terzo turno)
 Aaron Krickstein (secondo turno)

 Emilio Sánchez (secondo turno)
 Jonas Svensson (quarti di finale)
 Alberto Mancini (primo turno)
 Assente
 Andrej Česnokov (primo turno)
 Assente
 Aleksandr Volkov (primo turno)
 Patrik Kühnen (secondo turno)

Tabellone

Finali

Parte alta

Sezione 1

Sezione 2

Parte bassa

Sezione 3

Sezione 4

Collegamenti esterni

ATP German Open 1989