Best Beard Trimmers 2019 - Which is the Best to Buy?
An electric beard trimmer is a necessity for maintaining facial hair. The best ones are intuitive and they offer a range of settings for general hair trimming and precision touch-ups. Many beard trimmers on the market also utilize blades that require very little upkeep. Stumbling on the right trimmer best equip for your facial profile takes a bit of research and it's generally a matter of mixing and matching the features you want most at the price you're willing to pay. So, if you're looking for Beard Trimmer we can help you with some of the Best Beard Trimmers 2019 that are available in the market.


Looking for a simple and free music player for your Android phone ? TorchMusic is a minimal and easy to use music player which streams unlimited music.
TorchMusic is actually a web-based music streaming service by the developers behind the TorchBrowser. TorchBrowser is a browser which comes with features like built-in Accelerator, torrent downloads, media grabber, quick sharing and heavy security. It is available for Windows and Mac, but it is not much popular as Google Chrome and Mozilla Firefox are popular ones and have majority of users.
TorchMusic android app comes with simple interface and with no options or settings, maybe because it is currently in beta. Apart from that, it doesn't plays the local tracks, the tracks on your SD Card. It only streams music and that too from YouTube.
The main screen loads all the new or trending albums from artists all around the world. You can explore from a wide range of albums in the app. The albums are well-organized and loads quickly on the main screen. You can choose your favorite album and it will show up the list of songs in the Album.
You can either play all the tracks or you can play a single track by selecting a particular song from the list of songs in the albums. Once you click the track, it will show up the YouTube video on the screen and you will need to click on the play icon to play the video. It is actually a Video streaming app and it buffers very quickly as compared to the Official YouTube app.
The main feature is you can sign in the app using your Facebook account and create your own playlists. You can browse through your playlists on the web too on the TorchMusic site.
You can add songs in the queue and browse other albums while you enjoy the music. You have option to skip to next track or to previous track on the music player.
The interface is simple and clean alike Spotify and other such apps with almost messed up design.


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This hash brown casserole is perfect for people who don't cook but want something tasty and different for dinner. Just throw a few ingredients together and let the oven do the rest!
Preheat your oven to 350 F (176 C), and grease a 5-quart casserole dish. Pour your hashbrown potatoes, and generously season them with salt and pepper.
In a large bowl, combine the remaining ingredients except for the cheddar cheese. Pour the mixture over the shredded potatoes and top with cheddar cheese.
Bake for 50 minutes or until it's bubbly and golden brown.
TIP: If you're feeling extra decadent, try adding some crispy bacon bits to the mixture. Serve with some hot sauce.


text:
Community Blog Winter Seminar 2020:
By Hebrew College Jan 14, 2020
Behind many of the headlines that vie for our attention every day are deep and complex questions of economic justice. These questions touch our lives in countless ways, from the broadest public policy debates to the most intimate family discussions and matters of personal choice. What constitutes socially responsible investing? What is the proper role of inheritance in an economy with widening social inequity? What are the ethical issues raised by the gig economy? What is appropriate and inappropriate philanthropy? What does fairness demand regarding reparations for African Americans?
These topics are complex and often entail competing value claims; there are no obvious answers. They beg the questions: What can we do about economic injustice? What should we do? What do we owe each other? What might Judaism have to say about these timeless questions, in a way that speaks meaningfully to our own time?
"Jewish tradition has wisdom around what a just economy should look like, but Judaism doesn't speak in a single voice. This seminar is a way of trying to respond to real questions that the society is grappling with and understanding that Jewish tradition has something to teach us in a nuanced way about these issues," said Rabbinical School Dean Rabbi Dan Judson, who studies the historical intersection of Judaism and economics. "For example, this is the first time in history that Uber has existed, but it's not the first time in history that Jewish tradition has thought about some of the value struggles inherent in a 'gig' economy."
Hebrew College students, faculty, and alumni will wrestle with these issues at this year's Winter Seminar entitled, "What Do We Owe Each Other: Jewish Conversations on Equality and the Challenges of a Just Society," which will be held the last week in January. Community members are invited to four public lectures.
"Ownership, Access, and the Question of Belonging: Towards a Just Land Ethic in America," a conversation with Leah Penniman (pictured above), co-director and farm manager of Soul Fire Farm: January 27, 2 pm, Hebrew College.
"Tainted Money: Jewish Philanthropy in a Troubled Time," a conversation with Len Fishman, former CEO of Hebrew SeniorLife, the largest nonprofit provider of senior housing and healthcare in New England, and Rabbi Sara Paasche-Orlow, Director of Spiritual Care at Hebrew SeniorLife: January 28, 9:15 am, Hebrew College.
"Investing for Equity," a conversation with Aliana Pineiro, Impact Director for the Boston Impact Initiative Fund: January 28, 1:15 pm, Hebrew College.
"Income Inequality and the Problem of Inheritance," a discussion with Chuck Collins, author of Born on Third Base, Molly Schulman of Resource Generation, and Rabbi Shoshana Meira Friedman, Rab`14, Hebrew College Director of Professional Development: January 28, 7:15 pm, Hebrew College.
Examining Land Ethics
Join us for a discussion with Leah Penniman, co-director and farm manager of Soul Fire Farm, a community farm committed to ending racism and injustice in the food system. The organization raises and distributes life-giving food as a means to end food apartheid. With deep reverence for the land and wisdom of our ancestors, they work to reclaim our collective right to belong to the earth and to have agency in the food system. They bring diverse communities together on this healing land to share skills on sustainable agriculture, natural building, spiritual activism, health, and environmental justice.
Penniman is a farmer, educator, author, and food sovereignty activist. She is co-founder, co-director, program manager of Soul Fire Farm, in Grafton, New York. She co-founded Soul Fire Farm in 2011 with the mission of ending racism and injustice in the food system and reclaiming the inherent right to belong to the earth and to have agency in the food system as Black and Brown people. The work of Penniman and Soul Fire Farm has been recognized by the Soros Racial Justice Fellowship, the Fulbright Program, the Presidential Award for Science Teaching, the New York State Health Emerging Innovator Awards, and the Andrew Goodman Foundation, among others. Penniman has also worked as a science teacher at University Park Campus School, Tech Valley High School, and Darrow School, and was founding director of the Harriet Tubman Democratic High School. Penniman lives on the farm with her partner, Jonah Vitale-Wolff, and their two children, Neshima and Emet Vitale-Penniman.
Tainted Money
Join Len Fishman, former CEO of Hebrew SeniorLife, the largest nonprofit provider of senior housing and healthcare in New England, and Rabbi Sara Paasche-Orlow, Director of Spiritual Care at Hebrew SeniorLife will be discussing the difficult question of whether Jewish institutions should accept money from donors who might be "tainted" in the eyes of the Jewish community. Either because of political activity or illicit behavior or business practices that are problematic, a number of well-known philanthropists have come under scrutiny and many organizations are grappling with the difficult question of what to do with money that comes from these donors. Our guests from Hebrew SeniorLife will reflect on the dilemmas that have occurred in their own development work for Hebrew SeniorLife, as well as engage the community in a conversation about appropriate values guiding such decisions.
Investing for Equity
Judaism has venerable ethical and legal traditions around dealing with financial questions of support for individuals and organizations in need. How much should one give to people on the street asking for money? How much should we give to Jewish causes? How much of one's income should be earmarked for charity? Join us for a conversation with Impact Director for Boston Impact Initiative Fund Aliana Pineiro. Pineiro works with impact investors, social enterprises, and non-profit organizations to effectively measure and manage their impact.
Originally from Boston, Pineiro began her career in asset management, spending five years at ClearBridge Investments in New York. Pineiro is interested in how impact evaluation can make impact investing more just and equitable. She was an impact evaluator for organizations operating in Latin America, including three years as the director of evaluation at RUNA, a social enterprise in the Ecuadorian Amazon. Most recently, Pinerio worked as a researcher at the Global Impact Investing Network publishing practitioner-oriented research for impact investors around the world.
The Problem of Inheritance
As economic inequality widens, economic mobility from one generation to the next has shrunk. Fewer Americans are able to move up the economic ladder than at any point in the past century. Join us for a panel with Chuck Collins, author of Born on Third Base; Molly Schulman of Resource Generation; and Rabbinical & Cantorial School of Hebrew College Director of Professional Development Rabbi Shoshana Friedman who will grapple with questions about inequality and the racial wealth divide, the tax code, and inheritance, and ask what economic proscriptions might be in place to deal with this issue.
Chuck Collins, an expert on U.S. inequality and the racial wealth divide, is director of the Program on Inequality and the Common Good at the Institute for Policy Studies, where he co-edits Inequality.org. He is author of the popular book, Born on Third Base: A One Percenter Makes the Case for Tackling Inequality, Bringing Wealth Home, and Committing to the Common Good; Is Inequality in America Irreversible? and Bill Gates Sr. of Wealth and Our Commonwealth, a case for taxing inherited fortunes. He is co-founder of Wealth for the Common Good, a network of business leaders, high-income households and partners working together to promote shared prosperity and fair taxation. This network merged in 2015 with the Patriotic Millionaires.
Molly Schulman is a leader in the Resource Generation Boston chapter for a year. She has participated in both an anti-racist white praxis group and a virtual high net wealth praxis group, currently facilitates a Jewish praxis group, has attended three national Resource Generation conferences, and currently organizes Boston constituents to increase their giving to social justice. Apart from her work with Resource Generation, Molly serves on JOIN for Justice's board, sings in a cover band, facilitates a monthly Rosh Chodesh gathering, and is a member of the Chordata Capital fellowship. She is thrilled to share her passion for wealth redistribution, her grounding in Jewish resistance, and commitment to building compassionate cross-class relationships to the panel.
All four events are free and open to the public. For more information, visit hebrewcollege.edu/events or contact Laurena Rosenberg at lrosenberg@hebrewcollege.edu.
Boston Impact Initiative
Resource Generation
Soul Farm
winter seminar
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redpajama_set_name: RedPajamaCommonCrawl


Being a part of a writing industry organization is money well spent. With tons of free advice and resources, the following organizations sit atop our favorites list.
Are we missing your favorite? Send it along and we might add it!


Located in gated neighborhood next to Dragon Ridge Country Club. Less than 10min drive to airport/Las Vegas Strip. The house offers 5 car garage w/amazing views of Las Vegas Skyline & Mountains. Enjoy your coffee in the Morning Room off the kitchen & relax in the Master Bedroom retreat while looking over the Las Vegas skyline. Find a wet bar in the family room for entertaining in this spacious 4065 sqft home offering 4 beds an office & much more.


There are many bays in Tayrona National Park, this is Bonito Gordo. Colombia.
A nice place to escape the crowds, Bonito Gordo.
A little round cactus with a red button, Bonito Gordo.
On the small cliff beside the sea at Bonito Gordo.
One of the many secluded bays in Tayrona National Park - Bonito Gordo.


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In 1858 Bellevue set aside four city blocks as a cemetery. However, it was thought to have been used earlier as unofficial burial plots. One of the earliest markers is of Jean Allen dated 1856 and located 70 feet northwest of marker. Jean Allen and Esther Peters were buried within one month of each other. Other notable are Big Elk and fourteen of his braves. Big Elk was the last full-blooded chief of the Omaha Tribe. Fenner Ferguson, first chief justice of the Nebraska Territory, Dr. Frank Gifford, noted archeologist, and a grave of a pioneer child who was buried before 1856. A slab of rock was placed over the top of the grave to discourage predators.
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text:
Music, New blog post, New music
Who You Need: EDEN
January 29, 2018 January 29, 2018 by Blondie and the Beat
Image via news.uic.edu
WHO: EDEN
WHERE: Dublin, Ireland
GENRE: Pop/Alt/Chill
TOP SONGS: "drugs", "XO"
EDEN caught my attention with his latest song, "take care". It feels almost too elaborate to consume in one sitting. "Care" takes on several different parts; some ominous, some angry, some empowering. Listening to the rest of his latest album, vertigo, I couldn't help but analyze the album title more and more.
"Vertigo: a sensation of whirling and loss of balance, associated particularly with looking down from a great height." This definition couldn't be more fitting for the album. Songs like, "start//end", "icarius", and "gold" feel like a bit of a push and pull; an inner monologue finally floating to the surface. Think of early The 1975 minus the rock elements (think 2012's "Antichrist"). Vertigo is like staring at a painting you're a little confused about but somehow you find it so beautiful that you can't look away.
EDEN recently opened up to Pigeons and Planes about his personal life and why he tends to keep himself under the radar. "I've always just done what I wanted to do…I see how some other artists use social media, and it's just not for me. For a long time I didn't even have my face on the internet because I just wanted it to be a music thing, not about me as a person…at one point I just updated my Twitter profile picture. I just decided to let go."
In a time where social media can carry someone's image to a whole new level, EDEN is about to blow up. Especially after the immensely creative release of vertigo.
artist spotlight EDEN New album New music
Q&A with Sure Sure!
What I'm Listening To!
2 thoughts on "Who You Need: EDEN"
priya says:
I love EDEN! Especially XO and his cover of Billie Jean, great post x
Blondie and the Beat says:
agreed! thanks for reading 🙂


Oh, sweet Emmett. I just love this age!! He has grown so much since his newborn session. He made us work for his smiles, but we got quite a few!! Oh, and Emmett is soon to be a big brother!!
This little boy is so happy. I couldn't get enough of him and his parents are some of the sweetest around.


...and I present to you...sessions 7 and 8 of 8. Shooting 8 family sessions in one day was a wild ride but I had such great clients to work with. Now don't get all giddy thinking I am going to post 8 more family sessions next week, after all this Sunday I am slowing down and only shooting 5 family sessions.... ;) I must admit I squealed a little with delight when I asked these two siblings to smooch and they did. Rocky would rather poke a stick in his eye than kiss Luci :( Can you believe her curls aren't natural? Momma sponge-rolled those and I got all the details from her to try it out on Luci.
Now these curls....all natural baby. I've been shooting Paige and Evan FOREVER wouldn't you die to have their skin tone?
Doesn't this little girl just scream "Sassy" - Her momma and I went to High School together and re-connected at the local pool last year. I've done their photos before and I was thrilled when Dena asked me to shoot them again because Miss Ava always brings her "A Game"
Because these are 2 of the cutest sisters you will ever meet.
I must confess, when I was pregnant with Libby Lu part of me was secretly hoping she was a boy. I don't have a sister and I was a little scared of having 2 girls, I was envisioning the cat fights, hair pulling, and clothes stealing that would be in my future if I had more than one girl.
But shoots like this remind me of the fun parts of having a sister, the giggling, and secret sharing, the bond and the trust that is naturally born into sister-hood. I'm so excited to watch my girls grow into little ladies who love and confide in each other for everything, just like these 2.
Shea and Reese are beautiful little girls, they love theater, twirling, and show tunes. Shea LOVES the camera and did a full performance of Annies "Tomorrow" during the shoot. I shot a session with them last year as well, and both years their mama brought the style on and dressed them matching head to toe, and they rocked it. Easily one of my favorite sessions of the year so far.
First meet sweet little Hayleigh who is Luci's long lost sister, I swear. Seriously, these sassy little ladies were cut from the same cloth. Cheyenne we have GOT to schedule a play date. They can sit and talk about sunglasses and nail polish all day.
and this little girl, named Charley was KILLING me with those red bouncing curls.
In 2009 a vicious house fire robbed the Mueller family of everything they had. Well, not everything, they did make it out of there with the pajamas they were wearing. Mom and the girls were home when it happened and escaped to safety only to watch every single thing they owned destroyed by the flames.
When I heard about this story last year the thing I kept hearing over and over was what a positive attitude the family had. Especially Julie, the mom. A wise man once said that a persons character is better judged in bad times than good. I cannot imagine what Julie and her family went through. But I was thrilled to get to meet them in person and help them start replacing some of the family photos they lost.
When I woke up last Sunday morning, I hit snooze, laid in bed for a few more minutes...staring at the ceiling...silently cussing myself out...."What the H *%$ was I thinking?" 8 portrait sessions today? Really Kelly? 8??? All with children under the age of 4???
I like to give time and attention to each of my clients. Get to know them, and their kids and customize their session to fit their family, lifestyle and personality. I was a little scared of losing that personal touch in such a busy day.
But, we rocked it out. All of the credit goes to my clients who showed up with their adorable kids all dolled up and ready to shoot. They all put smiles on my face and helped me get through the day. And a big thank you to my cousin Kristine for being my assistant and extra pair of hands to make the day go quicker.
So throughout this week I will be featuring various families from my huge marathon session....Enjoy!
We are going to kick things off with the Herman Family! Emma is killing me with those freckles. If they look familiar they have been on the blog before for family photos and the birth of their little man Eric.
This one needs to go above the fireplace...for sure!
Side Note - Billy and Michelle are high school sweethearts. We went to the same High School. They were Seniors in High School when I was a freshman, they were one of the cutest couples in the whole school, and they are just as adorable today. Something has always intrigued me about High School sweethearts. I guess because they beat all the odds, ya know? It's so rare to find your soulmate at 14 or 15 years old and hang onto them for life.
Thank you Herman Family for the chance to share your story and your beautiful babies with my blog readers.


Lukestar's second album, Lake Toba (2008), was quite a thrilling pop piece, steered by its smashing, stellar first single "White Shade". Some three years later, here's their third go, Taiga. This time introduced by single choice, Flying Canoes.
"Taiga (which is Russian, or Mongolian), also known as the boreal forest, a biome characterized by coniferous forests. It's the world's largest terrestrial biome covering: in North America most of inland Canada and Alaska as well as parts of the extreme northern continental United States, and in Eurasia most of Sweden, Finland, inland and northern Norway, much of Russia (especially Siberia), northern Kazakhstan, northern Mongolia, and northern Japan." (according to wikipedia). So, Lukestar's presenting chilling, ice cold pop? Or maybe Northern soul? Well, fact is Lukestar is quite soul-warming (they started out under the moniker Lukewarm, mind you...). Another fact is that the Lukestar gang must be quite a busy bunch, since most of them also are in Truls and the Trees (my now 4-year-old daughter was a big fan of their song "Upside Journey", off the Oslo! compilation, all through last year -- singing along and all). Their line up have been through some changes, but the four-piece are: founding members Truls Heggerø (vocals, guitar) and Yngve Hilmo (guitar), Jørgen Larsen (drums) and Marius Ergo (bass, synth) - Hilmo being the only one not being one of the Trees. Truls, who's fronting both bands, has got his signature high pitch vocals. His angelic, ambigender-ish voice make Sigur Rós' Jónsi sound like Lemmy. Or the Bee Gees sound like The Highwaymen. Not bad, but maybe better in smaller portions. This is where Lukestar is a clever band: Where Lake Toba was an 11-songs-in-35-minutes album, Taiga is a 10-songs-in-37-minutes one. Less is more is a good thing.
Musically Lukestar is up the indie-pop alley. They somehow sound like Death Cab for Cutie, or The Shins, played at 45 rpm. No, I don't mean to be rude, but Heggerø's falsetto voice is quite... peculiar. Anyway, Lukestar are good pop-smiths, creating catchy pop tunes. Taiga kicks off with the immediate and quick "Great Bear"; a 2-and-a-half-minute pop song with attitude. "Miracles On An Angry Line" follows, being on of the best songs of the album. Maybe even better than "Flying Canoes". Well, maybe not as catchy. I didn't quite get it at first, but it's a grower. Like many of the tracks on the album. Other highlights are "Saint Toby" and "Palace Road".
Lukestar won themselves a 'Norwegian Grammy' for Lake Toba. I don't see why Taiga shouldn't bring them another one. Because it's as good as its predecessor.
You may also want to check out our Lukestar articles/reviews: Great Bear EP, Lake Toba, White Shade.


text:
How Trump's Grandfather Hit it Big in the Yukon
Michel David-Weill and the Succession Drama at Lazard Frères
Suzanna Andrews
The Literary Battle for Nat Turner's Legacy
Sam Tanenhaus
Jared Harris's Charmingly British Reaction to Chernobyl's Emmy Noms: "Obviously One's Thrilled"
Sonia Saraiya
The Discovery, and Remarkable Recovery, of the King Tut's Tomb of Silent-Era Cinema
Nearly four decades ago, a treasure trove of film from the early 20th century was found, underneath a hockey rink, in the remote Canadian town of Dawson City. In anticipation of Bill Morrison's new documentary, Dawson City: Frozen Time, Lawrence Weschler dives into how and why the Dawson City archive came to be.
Once the booming center of the Klondike Gold Rush, Dawson City, Canada, eventually became the sleepy end of the line for movie distribution in the early 1900s.Photograph By Henry Guttmann/Getty Images, Digital Colorization By Lorna Clark.
Film burns. It melts, delaminates, molders, and rots, turning from a pasty goop to a clotted puck which every so often, and not that infrequently, spontaneously combusts and even explodes. This is not the case with all film, but it certainly applies to film made from cellulose nitrate, which means most movies made before the early 1950s, when a general conversion to acetate began. A vast amount of film has been lost to time—whole careers vaporized, entire catalogues of once-thriving studios laid waste, miles of newsreels gummed up beyond salvage.
Which explains what Bill Morrison was doing up in the Yukon a couple of years ago, 165 miles south of the Arctic Circle, in Dawson City, the hub of the late-19th-century Klondike Gold Rush. Dawson City was the site, 38 years ago, of one of the most astonishing and unexpected bonanzas in cinematic history: the chance discovery of a mother lode consisting of more than a thousand reels of nitrate film stock from the earliest days of the movie industry—virtually all of it unique and long thought lost, improbably preserved inside a permafrost landfill underneath an abandoned ice-hockey rink. This mother lode came to be known as the Dawson City archive. It is the King Tut's tomb of early movies. Why and how it came to be found in Dawson is a story in itself.
When it comes to the relentless disintegration of nitrate film, preservationists such as Martin Scorsese rage against the dying of the light. Morrison, for his part, revels in the stuff. He laments what has disappeared, to be sure, but he also appreciates how heartrendingly gorgeous the images can look while they are in the process of disintegrating. Fifteen years ago Morrison was one of the first people to view the entire collection of restored reels, and the splendors he uncovered—the way in which the underlying imagery often seemed to be struggling to persist despite the encroachments of an equally beautiful rampaging rot—formed the basis of his 2002 symphonic masterpiece, Decasia. The film, an almost delirious braiding of sequences from decaying old movies, created in collaboration with the composer Michael Gordon, is already regarded as a modern classic. For his next film, which will screen at the Venice, New York, and London Film Festivals, Morrison had set himself to mining the rich veins of the Dawson City archive, and he had gone to Dawson on a latter-day prospecting mission of his own.
Left: Kathy Jones-Gates with film salvaged from the old swimming-pool site, where the old movies were stored and then forgotten, 1978. Right: Sam Kula (left) and Michael Gates (right) examine some of the reels.
© Kathy Jones-Gates/Dawson City Archives.
Nowadays you can fly to Dawson City, which sure beats the months-long slog in thoroughly wretched conditions faced by the tens of thousands of original stampeders back in the winter of 1897–98. To get to the Klondike, most prospectors had to make multiple Sisyphean treks up and down the icy 45-degree incline of the dreaded Chilkoot Pass in order to hoist the 2,000 pounds of provisions per person required by the North West Mounted Police before they would allow an individual to continue onward. (Sly entrepreneurs like Donald Trump's grandfather made considerable sums off the would-be miners themselves, offering everything from meals and lodging to gambling and prostitutes. The airports get successively dinkier—O'Hare to Vancouver to Whitehorse, just above the southern edge of the Yukon Territory—on through the last, hour-long leg, pretty much due north in a rickety puddle-jumper, which finally descends to the single-shed Dawson airport. Unlike Whitehorse, a generic Midwestern-like Anytown, with its inevitable cohort of chain franchises, Dawson City is surprisingly charming: a dead ringer for HBO's Deadwood, with its grid of clapboard store fronts and wooden sidewalks, built up over a spit of once-marshy moose pasture, just downriver from where the Klondike River, with its brace of gold-flecked sidestreams, pours into the Yukon River. The sense of wandering through a movie lot is heightened by the way in which, Altman-like, the town's denizens keep shifting roles—a waitress here turning up as the ferryboat ticket-taker there, for instance. Dawson's population, which had collapsed from a peak of about 30,000 in 1898 to fewer than a thousand by the 1940s, has rebounded to about 1,500 year-round. With mineral prices up, there are some who still hope to extract what they can from the surrounding hills. Most of the others have in various ways taken to panning for tourists. The far side of Labor Day, when Bill and I visited Dawson City, it was a bit late in the season, but the leaves were turning glorious autumn shades on the surrounding hills (well more than a month before they would be doing so in Vermont), and the bars, of which there are considerably more than restaurants, were doing a brisk business. One of them actually stayed open 24 hours a day and had been doing so for years—it had to, because the minute it closed, there were standing orders to have the place condemned. Not a few buildings in Dawson lean drunkenly into one another, undermined by the annual cycle of permafrost melts and freezes. Several once-thriving concerns, such as the Bank of British North America, were boarded up when I was there; others, similarly abandoned, such as the one-time boarding house known as Mary's Rooms, had trees sprouting through their windows.
If summer in the northern Yukon is brief, autumn is even briefer, and we were told that within another 10 days or so, winter would be arriving, and within weeks of that the town would be largely socked in, the wide Yukon freezing over entirely. This state of affairs likely explains why for many decades, and until not that long ago, four movie theaters thrived in this tiny hamlet. All of them have lately succumbed to the onslaught of DVDs (available for rent at Jimmy's Place) and the Internet.
Morrison had come to Dawson City to research the history of the archive—specifically, the circumstances behind its original burial and then its remarkable recovery. So he and I made our way over to the Dawson City Museum, known for its copious archival holdings and elaborate displays.
One presentation, on the geology of placer gold, showed how gold pebbles by the sides of streams, being heavier than ordinary stones, tended to sift downward over time, often through dozens of feet of larger fragments, until settling in a thin layer just above bedrock, the layer itself being known as "pay dirt" (that's where the term comes from), hence the considerable difficulty of its extraction. The Klondike Gold Rush is often described as the most cinematically documented event of the 19th century, albeit occurring at the very end of that century, and the museum's walls are appropriately covered with black-and-white imagery. Furthermore, the museum regularly screens the superb National Film Board of Canada short film, City of Gold, nominated for an Academy Award in 1957, which Ken Burns credits with having inspired his own use of sweeping, music-driven pans over evocative historical stills. Our most significant find at the museum, though, was Alex Somerville, a dapper young senior interpreter in a thick white fisherman's wool sweater, with a Van Dyck goatee, a twirled mustache, and a merry gleam in his eyes. He was not easily controlled. Somerville told us tales of the old-timers, as if he'd personally known each and every one: the hapless rainmaker Charles Hatfield, whose spells lost out to the more powerful, countervailing magic of the local Han native medicine men; Mary Hitchcock, the widow of a U.S. naval officer, and Edith Van Buren, grandniece of the former president, who, travelling in style (parrots and parakeets, quail eggs and caviar, fur muffs and petticoats, "with no quarter given to the remoteness of the place"), were two of the town's first tourists, as early as 1898; the many other ladies of very different station, from all over the world, who plied their trade in Paradise Alley; Jack London? ("Oh," Somerville said dismissively, "he was here for five minutes, which he proceeded to parlay into an entire career"); Calamity Jane, Swiftwater Bill, Diamond Tooth Gertie, and the Evaporated Kid; the poet Robert Service ("This was his concertina"); a New Jersey balloonist who insisted he could float his way up to the Yukon, and failed; all the dreamers who were sure they could plow a train clear up the valley, and also failed ("hilarious—I mean, quite sad"); and, in particular, Thomas O'Brien, who while "mad for transport" had little luck (successively) with trams, trains, and steamboats, but then founded a brewery, which succeeded spectacularly—"the beer that made Milwaukee jealous"—and died a rich man, of sclerosis of the liver, at 54.
Boxes of film reels from the Dawson City Recovery site—an entire lost archive in need of preservation, 1978.
We asked Somerville about cinemas. He ventured that, by some accounts, the first film house opened as early as 1898, though he wouldn't want to be held to that. As we knew, there were soon several movie theaters running simultaneously, changing their programs as often as twice a week: two or three features, a number of serials, a fresh set of newsreels. Somerville told us about a backwoodsman who would wander into town every six months or so, sell his furs, and dive into each of the movie theaters in turn, until, satisfied that he had caught up with the world, he would head back out into the woods again. Dawson City's association with the history of cinema is considerable. For one thing, many early films used the backdrop of the Gold Rush as a romanticized setting for their storytelling, culminating in Charlie Chaplin's The Gold Rush (though Chaplin himself never ventured up this far). A man named Alexander Pantages tried his luck in Dawson before turning around and heading south to eventually found the Pantages chain of movie houses (some of which were later bought by RKO). Nineteen-year-old Sid Grauman accompanied his gold-addled father up to Dawson City, but instead of making his way out to the hills, stayed in town selling newspapers. Grauman soon inferred that the real money was in entertainment, and after staging a sequence of boxing matches at Dawson's famed Monte Carlo Saloon, he soon ventured to San Francisco, where he and his father founded the nationwide movie-house chain that would culminate in Grauman's Chinese Theatre, on Hollywood Boulevard. But what about the archive? We tried to reel Somerville (and ourselves) back to the business at hand. Well, he said, when it comes to that, "the gold standard are the Gateses. They are a byword in Yukon history."
As it happens, Morrison and I had had a chance to meet Michael Gates and his wife, Kathy, during our layover in Whitehorse. In 1978 they were the principal protagonists in the drama behind the discovery of the archive. Kathy Jones-Gates today is stout, gruff, and no-nonsense. Michael is slim, elfin, spry, and still clearly smitten.
They are the kind of long and comfortably married couple who are continually interrupting each other—contradicting, undercutting, upending, clarifying, and agreeing to disagree for the time being. "We won't argue," Kathy will say. "I'll talk to him later."
In 1978, Michael, an archaeologist and conservator, had just arrived in Dawson City on a fresh assignment to Parks Canada as curator of collections for the Klondike National Historic Sites. Several months after he had walked into the Parks Canada office, a colleague told him he might want to take a look over at the one-time ice-hockey rink that was being bulldozed behind Diamond Tooth Gertie's gambling hall, in preparation for the new rec center. They seemed to be unearthing all manner of odd things over there. Michael was a fan of odd things that had been preserved as a result of the permafrost: ("ancient caribou dung, human and other animal remains, possible evidence of the 1,200-year-old volcanic eruption, which may have sent the local Navajo scurrying on down to the southwest U.S., original 1898 Levi's frozen stiff in an abandoned mineshaft"), but he soon realized that this was something of an altogether different order.
Video: "The Dawson City: Frozen in Time" Trailer Is a Time Capsule for Silent-Era Cinema
Frank Barrett, a Pentecostal minister and alderman who knew how to operate a backhoe and hence got the assignment to level the lot, had stopped cold soon after slicing through a layer of wood planks, and he was just standing there, gazing into what seemed to be a refuse dump: used skates, broken curling stones, and strange metal canisters out of which spooled looping ribbons of what appeared to be plastic. Gates crouched down in the ditch, reached for one of the canisters, and tore off a snippet of what he could see was some kind of film stock. Holding it at arm's length, he lit a match and brought it over to the out-held nub, which instantaneously flared, combusting to ash. Gates had heard of nitrate film: millions of feet of the stuff in a U.S. National Archives storage facility had famously burned to a crisp in the late 1970s. Nitrate film was so flammable that it continued to consume itself, deliriously, even when thrown into a vat of water. (It is just a few tweaks removed from its close chemical cousin nitroglycerin.). Gates then headed back to his office and began making calls and sending telexes.
He eventually roused the attention of Sam Kula, director of Canada's National Film, Television, and Sound Archives, in Ottawa, who soon announced that he was on his way. Kula would subsequently describe the Dawson find as the high point of his career. Gates and Kula enlisted the help of a woman named Kathy Jones, then the director of the Dawson City Museum. (In time, she also would become Kathy Jones-Gates.) They set to work carefully extracting the rotting canisters, digging deeper and deeper into the cache, as scores and presently hundreds of reels emerged. In what everyone felt was breakneck speed for stodgy national bureaucracies like Parks Canada and the Library and Archives Canada, the parties came to an agreement as to how reclamation would proceed. Gates secured the use of an historical industrial mining complex, the abandoned Bear Creek acetylene plant, several miles outside town, where a warehouse with a concrete floor and metal-lined walls could provide a safe space for handling the reels, and a root cellar could serve as a dark, cool storage facility.
Jones recruited a group of student workers to help dig out and process the reels. This meant performing a preliminary cleaning, setting aside reels that were completely unsalvageable, identifying all the rest where possible, providing a detailed list, transferring the spools onto fresh plastic cores, wrapping each one in paper and tying the bundle with string, and returning the results to the root cellar. Of the 1,500 reels extracted from the lot site, some 522 were deemed in good enough condition to save. These reels held about 500,000 feet of film. About a year later, another 25 reels turned up, having been surreptitiously harvested from the original site, out behind Diamond Tooth Gertie's, by a Dawson eccentric named Windy Farr, who stored them in his outhouse until his kids discovered the subterfuge and prevailed upon Farr to return the canisters before they could do him harm.
The new documentary Dawson City: Frozen Time uses film from the Dawson City archive, including this footage of the 1919 World Series—when members of the Chicago White Sox conspired with gamblers to intentionally lose to the Cincinnati Reds.
Courtesy of the Dawson City Museum, Library and Archives Canada.
Big questions remained unanswered, however: what was all this stuff? And what was it doing here in Dawson? Kathy placed a story in a newsletter called the Klondike Korner, reporting on the discovery and asking if anyone had any idea how all these reels had ended up in Dawson City. Twelve days later, the Korner received a letter from 69-year-old Clifford Thomson—now residing hundreds of miles away, in Chilliwack, British Columbia— who had seen the story in the Klondike newsletter. And he had answers to Kathy's questions. Thomson explained how, in 1928, he was working in Dawson as an employee of the Canadian Bank of Commerce, the agents for the filmmakers and distributors in California in their dealings with the various movie theaters in town, including the one at the Dawson Amateur Athletic Association (founded in 1902), whose facilities included a summer swimming pool that was boarded over most of the year to support an ice-hockey rink. Thomson was also the treasurer of the local ice hockey association, and had come to understand that the dual-purpose arrangement was troublesome: the pool covering created a bulge at mid-rink, which regularly set hockey players to tumble all over the ice.
Somerville, the senior interpreter, showed us Thomson's original letter. He explained that, when it came to movies in those days, Dawson City was pretty much the end of the line: the film reels of current offerings would be sent from Calgary, say, to Vancouver, to Whitehorse, and eventually on up to Dawson. By then, it just wasn't financially worthwhile to send the reels themselves back to California, so they simply accumulated in Dawson (occasionally, as in 1916, erupting into terrible fires). By 1929, Thomson related in his letter that the basement of the Carnegie Library, where the bank had been storing its trove of old film, was nearly full (indeed, alarmingly so). But he suddenly had an idea: why not deposit the nitrate hoard in the swimming pool, where permafrost conditions would keep it stable, and then cover over the pool once and for all, thereby killing two birds with one stone. "Amazing," Michael Gates had said to us in Whitehorse, regarding the Thomson letter. "As an archaeologist, one grows used to having to be satisfied with guesswork and speculation, but here was this letter, almost 50 years on, detailing for us exactly what had happened." Kathy went on to describe how one part of the L-shaped Dawson Amateur Athletic Association building would itself burn down, eight years after the film was buried, in 1937, probably as a result of a spontaneous conflagration of the eight additional years' worth of nitrate film being kept alongside the movie house tucked into the site. But the ice-rink wing of the structure had been spared. Some years later, the rink was razed and the site became a parking lot, with more than a thousand reels of film in the abandoned swimming pool underneath.
By October 1978, the processing of the reels at the Bear Creek complex was finished. Gates and his team had been able to identify films from as early as 1903 all the way through 1929, though the preponderance seemed to be bunched in the late teens. The challenge now became how to transport the boxed-up, perilously flammable films to Library and Archives Canada, in Ottawa.
Michael explained how he was able to persuade a pair of haulers to include the ton's worth of boxes in the empty half of a Whitehorse-bound truckful of the belongings of a family who were leaving Dawson. (Myself, I had visions of a lost version of that old classic nail-biter, The Wages of Fear, during this part of the story.) From there, Sam Kula was able to arrange for the Canadian defense department to dispatch a Hercules transport to fly them out. The armed forces had the right experience—they hauled explosives all the time, didn't they? (Archivists in the United States reached a similar conclusion: after suffering its catastrophic fires, in 1977 and 1978, the Library of Congress began storing more of its own nitrate holdings at the Wright-Patterson Air Force Base, in Ohio, in a hive of tunnels where the government had warehoused reconnaissance film and military newsreels after World War II.) Further reclamation efforts now commenced in Ottawa, a process so exacting and time-consuming that in the end the Canadians divvied up the work with the Library of Congress. The originals of any Canadian reels stayed in Canada; the originals of any American reels went to Washington. Both parties agreed to provide clean, 35-mm. duplicates of their salvaged material to the other.
Meanwhile, the North Country experienced an unprecedentedly snowy winter, and the following spring the Yukon River breached its banks, flooding 80 percent of Dawson City. Had the nitrate lode not been recovered the previous summer, there's a good chance that it might have been further damaged or destroyed. That fall, the inaugural screening of highlights from the Dawson City archive took place before a packed audience at Dawson's restored Palace Grand Theater, founded in 1899. For the occasion, Kathy invited an old-time silent-screen pianist named Fred Bass. Following tradition, he declined to preview the films prior to accompanying them live, as they unfurled. "It was a magnificent event," Michael recalled, "the perfect exclamation point to what had in the meantime been a very difficult year." A few weeks earlier, in July, Michael offered Kathy an engagement ring. She was characteristically argumentative. "What is this for?" she asked.
Sam Kula, now deceased, used to say that, when he first heard of the Dawson City find, he had hurried out west with visions of Theda Bara swimming in his head. Bara, the Madonna of her era, forged a meteoric career as the silent-screen's pre-eminent sex goddess, its primordial Vamp (as she styled herself), but cinematic evidence of that career is now almost entirely lost, except for a few films and a few brief moments from her notorious 1917 Cleopatra. Footage of Bara is every cinephile archivist's holy grail. Alas, the Dawson trove did not yield Theda Bara, but it did hold all sorts of marvels, as I came to understand when, back at our hotel one afternoon, Morrison opened up his laptop and began sampling footage from the archive stored on five hard drives, including films from such otherwise long-lost studios as Thanhouser, Rex, Selig, and Essanay. The footage included early Lionel Barrymore features, and films with Lon Chaney, Pearl White, Douglas Fairbanks, and Harold Lloyd. There was a very early Arabian-sheikh-style romance. There was a melodrama called Dread of Doom, in which a monkey bites the protagonist's finger, and another called Bobby's Dream, in which a boy, napping during a beach outing with his family, drifts into a reverie that is soon disrupted by pirates. And there's a relatively hackneyed (not to mention conventionally racist) Western, entitled Halfbreed.
Some of the richest discoveries came in the form of newsreels, many of them British Canadian Pathé, others from American outlets, most of them from the 1917–21 period. We get to see a fur-wrapped Alexander Graham Bell racing at 71 miles per hour on his gasoline-powered Flying Fish watercraft; all sorts of World War I material, including an item about a "Primitive American" (as he is referred to in the inter-titles) in full feather headdress, solemnly inspecting a wooden mock-up of a dreadnought, which had alighted in New York's Union Square as a navy recruiting center; scenes in which "Negroes Protest in a Silent Parade," with thousands of people moving in procession through New York City, a demonstration organized by W. E. B. Dubois and the N.A.A.C.P. in July 1917 to protest upwards of 200 deaths in recent lynchings and race riots in East St. Louis; newsreel footage of the aftermath of the September 1920 anarchist bombing outside the J. P. Morgan headquarters, on Wall Street, which took 39 lives; and footage of a massive 1920 snowstorm that brought the East Coast to a shuddering halt, including a plaintive sign which protests "You took away our booze, why not take away our snow?"
"But this," said the Chicago-born Morrison, as he reached for another hard drive, "this was perhaps the most amazing find of all"—and, as became clear, he himself had been the first to flag its significance, only a few months previously. He slotted the drive into his laptop, and up popped a five-minute British Canadian Pathé newsreel showing a few minutes from the nine-game (as it was then) 1919 World Series between the Chicago White Sox and the Cincinnati Reds. Dangle that fact before any baseball-fan friend of yours and see the response you get: contemporary footage of the 1919 World Series! This was the Series that, a year later, would be revealed as having been fixed—the Black Sox Series, as it came to be known, the darkest scandal in the history of baseball, taking down "Shoeless" Joe ("Say it ain't so!") Jackson and other White Sox players. "Not only is this footage of that," Morrison said, "but across just five minutes, by complete happenstance, the footage includes the very botched double play, in the fourth inning of the first game, that had roused the suspicion of some of the sportswriters at the time in the first place." (This was the play in which the White Sox pitcher, Eddie Cicotte, made a bad throw to Charles "Swede" Risberg at second base, foiling what could have been a double play. The Reds went on to score five runs that inning.)
For all we know, there may be more of the Series, and reels of other things, yet to glean. Kathy Jones-Gates believes that, in digging the foundation for the rec center back in 1978, the bulldozer unearthed only about two-thirds of the old swimming pool. "I bet there's a lot more down there," she told us.
This still from the new documentary includes an image of actress Dorothy Davenport in the movie Barriers of Society, 1916, one of many movies found at the dig site.
Courtesy of the Dawson City Museum, Library and Archives Canada, and the Library of Congress.
Bill Morrison's Decasia was hailed by the film critic J. Hoberman, in 2007, as "the most widely acclaimed American avant-garde film of the fin de siècle." In 2013, it was the first film made in this century to be added to the Library of Congress's National Film Registry. In the decade since then, Morrison has been pursuing similar explorations, almost always in collaboration with some of the foremost composers and performers of our time (ranging from Philip Glass and Vijay Iyer to Steve Reich, Bill Frisell, and Maya Beiser). The fall of 2014 brought a mid-career retrospective of Morrison's work to the Museum of Modern Art, in New York. For his Dawson City film, he worked with composer Alex Somers, a frequent collaborator with Sigur Rós. The movie will be something of a rhapsodic documentary, combining live-action contemporary footage and a rich sampling of still photos from the Dawson City area as well as Dawson Archive film from both the Library Archives Canada and the Library of Congress.
One afternoon, after we'd been out scouting vistas in Dawson for some bridging shots, Morrison fell to talking about his new project. "Funny," he said, "how 1896, the year the first gold strikes were made upriver, was the same year that elsewhere, large-scale cinema projectors were being deployed. The nitrate of their film stock base proved ideally suited to holding the silver-suffused emulsions that gave silent films their extraordinary character, especially the deep, deep blacks. Meanwhile, here, prospectors flooded in, ravaging the land as they went, displacing the native peoples, and then largely moving on to the next set of strikes in Nome and elsewhere, leaving the emptied town behind, whose stragglers got hooked on movies, and ended up inserting the silver of the nitrate film back into the ground, a treasure which itself then lay dormant for another half-century." Morrison showed me examples of the kind of footage he was playing around with for the new film—for instance, historical scenes he'd been able to procure from several sources, including the Yukon Archives, in Whitehorse: (raggedly disheveled bearded gents panning for gold; an old hotel afire; the ice-bound Yukon breaking up in the spring thaw with huge surging icebergs careering downstream), and some uncannily apt interstitial text cards from the recovered Dawson City films ("Omnipotent is the power that governs the Universe, All Powerful and Unknowable" and "Life: As tottering age descends into the vale of years, Ambitious youth ascends the path that leads to—where?"). We then proceeded to a particularly suggestive sequence from Barriers of Society, a five-part serial that was released by the Red Feather studio in 1916 and was partially recovered from Dawson. "Note the degradation to the image," Morrison pointed out, "which tends to limit itself to flaring along the sides, the result of water damage, rather than all across the middle, as is so typical of the rot you find elsewhere." At one point, the prim heroine of the film, played by Martha Gorham, hazards out onto a boulder off a beach at low tide, yawns expansively, and stretches out and drifts into a nap, oblivious to the rising tide ("The sleeping girl heeded not the passing hours"), which soon threatens to engulf her. She wakes to her peril at the last possible moment.
Rather like the archive itself, I suggested, to which Morrison replied, "It pretty much all turns metaphorical once things have been buried in the ground for 50 years."
A still from The Social Buccaneer, 1916, with Louise Lovely—a movie recovered at Dawson City. The damage is typical of what is found on many of the films.
Downton Abbey's Luxe New Teaser Portraits Are Fit for Royalty


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text:
L'Ultime Souper () est un film américain réalisé par Stacy Title sorti en 1995.

Synopsis
Jude, Pete, Paulie, Marc et Luke sont cinq étudiants de l'Iowa aux idées de gauche et progressistes. Pete, en panne de voiture, est dépanné par Zack, un vétéran de la guerre du Golfe, et le groupe invite ce dernier à dîner. Mais, au cours du repas, Zack s'avère être un raciste et nie la véracité de l'Holocauste. La conversation dégénère et Zack, après avoir menacé de violer Paulie, casse le bras de Pete avant d'être poignardé à mort par Marc. Le groupe décide alors d'enterrer le cadavre dans leur jardin.

Sous l'initiative de Luke, le groupe décide de nettoyer le monde de ceux qu'ils estiment potentiellement dangereux en invitant à dîner chaque dimanche soir des extrémistes de toutes sortes et en leur donnant au cours du repas l'occasion de changer d'avis sur leurs convictions personnelles. Si l'invité ne change pas d'opinion, il est empoisonné pendant le dessert avec de l'arsenic mélangé à du vin. Triés sur le volet, les invités et les meurtres à l'arsenic se succèdent : un révérend homophobe, un misogyne nationaliste, un néo-nazi, un anti-écologiste, une militante anti-avortement, etc. Après une dizaine de meurtres, et autant de cadavres enterrés dans le jardin, les cinq étudiants, Luke mis à part, commencent à avoir des doutes sur leurs actions et épargnent leur dernière invitée, une adolescente opposée à l'éducation sexuelle.

Le shérif Stanley, qui enquête sur le meurtre d'une jeune fille dont Zack est le principal suspect, vient interroger les étudiants et trouve leur comportement suspect. Luke la surprend dans le jardin après l'un des meurtres et la tue elle aussi, à l'insu des autres. Luke et Pete rencontrent alors par hasard le présentateur d'émission télévisée Norman Arbuthnot, aux idées très conservatrices, et l'invitent à diner, le groupe s'accordant sur le fait que ce sera la dernière fois. Mais, dans le privé, Arbuthnot ne se révèle pas du tout être la même personne qu'à la télévision et présente des arguments très convaincants. Alors que le repas touche à sa fin, le groupe se réunit dans la cuisine pour décider du sort d'Arbuthnot. Après une vive explication, Luke finit par être dissuadé par ses amis de tuer leur invité. Pendant ce temps, Arbuthnot inspecte la pièce et trouve des indices des activités meurtrières du groupe. Quand les étudiants reviennent, il leur propose un toast mais regrette de ne pas pouvoir se joindre à eux, affirmant avoir déjà trop bu. La dernière image du film est une peinture des cinq étudiants inanimés sur le sol et d'Arbuthnot debout à côté de la carafe de vin empoisonné.

Fiche technique
 Titre français : L'Ultime Souper
 Titre original :
 Titre québécois : Le Dernier Invité
 Réalisation : Stacy Title
 Scénario : Dan Rosen
 Musique : Mark Mothersbaugh
 Montage : Luis Colina
 Photographie : Paul Cameron
 Décors : Linda Burton
 Costumes : Leesa Evans
 Production : Matt Cooper, Larry Weinberg
 Sociétés de production : Columbia Pictures, Electric Pictures
 Société de distribution : Columbia Pictures
 Pays d'origine :
 Langue originale : anglais
 Format : couleur — 1,85:1 — son Dolby —
 Genre : comédie noire, thriller
 Durée : 92 minutes
 Dates de sortie :
 Canada :  (Festival international du film de Toronto)
 États-Unis :
 France :

Distribution
 Cameron Diaz (VF : Déborah Perret) : Jude
 Ron Eldard (VF : Denis Laustriat) : Pete
 Annabeth Gish (VF : Dominique Chauby) : Paulie
 Jonathan Penner (VF : Jean-Philippe Puymartin) : Marc
 Courtney B. Vance (VF : Emmanuel Jacomy) : Luke
 Ron Perlman (VF : Michel Vigné) : Norman Arbuthnot
 Bill Paxton (VF : Bernard-Pierre Donnadieu) : Zachary Cody
 Nora Dunn (VF : Danielle Volle) : le shérif Alice Stanley
 Dan Rosen : l'inspecteur adjoint Hartford
 Charles Durning : le révérend Gerald Hutchens
 Mark Harmon (VF : Philippe Bellay) : le machiste
 Rachel Chagall : l'activiste anti-avortement
 Jason Alexander : l'anti-environnementaliste
 Elisabeth Moss : Jenny Tyler

Accueil
Petit film indépendant distribué dans très peu de salles, L'Ultime Souper n'a pas eu de succès commercial lors de sa sortie au cinéma, attirant dans les salles  spectateurs en France et  spectateurs aux États-Unis.

Le film recueille 65 % de critiques positives, avec un score moyen de 6/10 et sur la base de 31 critiques collectées, sur le site internet Rotten Tomatoes.

Distinctions
Le film a remporté en 1996 le Grand prix du Festival du film policier de Cognac et a été nommé pour le prix du meilleur film à la MystFest.

Références

Liens externes

Film américain sorti en 1995
Comédie noire américaine
Thriller (film) américain
Film se déroulant en Iowa
Film tourné à Los Angeles
Film de Columbia Pictures

redpajama_set_name: RedPajamaWikipedia


text:
Greg Allen: The change few hoped for
Nov 1, 2011 at 12:01 AM Nov 1, 2011 at 1:14 AM
Barack Obama ran a 2008 campaign that showcased hope and change. He said he would fundamentally change America - it was a nice-looking apple till you nibble around the edges to find a worm.
Obama recently said, "America's grown soft." From the standpoint of an electorate not doing their research on the candidates, his point is a legitimate one. I researched Obama's voting record and his personal history before I decided to vote for the other guy in '08.
I was alarmed at what I found when doing research on the man.
Many blindly followed that politically conjured narrative of "It's an inspirational thing to vote for a man who could be the first black president."
I remember on election night a television reporter interviewed an Indiana University student, voting for the first time, who said: "I voted for Barack because he likes sports, man." (Now that's an informed individual.)
Many in Hollywood threw their support behind candidate Obama in 2008 as well. However, individuals like Robert Redford are now saying they don't even know who he is.
I think that America's the most prosperous nation on the planet for a singular reason: Its citizens grew complacent before, a prosperous existence will shellac that, but many now take notice of the political landscape being forged.
I can understand why voter turnout has been mostly low in the past. Several I've talked to never bother to vote - young and old alike. But I'm seeing a growing unrest though, for many who have never voted before now plan to in 2012.
The president handles the truth carelessly, and that has stirred the dandruff of the republic, of which he can't contend. For those familiar with poker, Obama is "all In." He's slid that last stack of political stash in the pot; it's all he's got. The president thinks he has a winning hand, but in fact it's a losing one. He's proven to be a poor player for the electorate, who are about to call his bluff.
I'm convinced the vast majority of Americans want nothing to do with Obama's ideology. Remember when your parents said, "Be careful who your friends are." Barack himself said he liked to hang around with the Communist professors in school. His past associations were with like-minded individuals, as are some of the czars he's appointed.
The president's convinced spreading the wealth around is a good thing, yet that conflicts with the capitalistic economy America thrives on. It's also contradictory to the Christian views Obama claims to have. For the last of the Ten Commandments says, "You shall not covet your neighbor's wife. You shall not set your desires on your neighbor's house, land, or anything that belongs to your neighbor." (How striking is that claim God made.)
Instead of the president denouncing the Occupy Wall Street movement, which is bent on overthrowing the government, he's encouraged it. When was the last time you heard demonstrators say, "Down with the establishment, man!"
If you're old enough to remember, the '60s should ring a bell. Before that "Abajo con el establecimiento, hombre!" rang out in the streets of Cuba 1959. Prior to that it was "Unten mit der Einrichtung, Mann!" in 1934 Germany. And in Russia, 1917, it was: "???? ? ??????????, ???????!" that was shouted out.
I'm of the opinion Barack Obama has awakened a sleeping giant. The next president will have some knots to untie, for Obama's presidency will be for but one term. History will show that the citizens of the United States soundly rejected that ideology he has. Because the Democrat party has swung so far left it will cost them.
I'm convinced if a politician has a "D" behind their name it will relate to negative connotations for quite awhile. I think the Democratic Party was subtle with their ideology before, but that's no longer the case.
With that said, it's my prediction they've cursed themselves for the next 20 years; my meaning being they won't hold the majority on Capitol Hill for that long for the citizens of this country won't soon forget that party's maneuvers.
For those politicians with an "R" behind their name, don't gloat, for the American people will have you on a short leash as well. As the rise of the tea party has shown, our leaders need to take notice or be shown the door.
Greg Allen's column is published bi-monthly. He's a published author, syndicated columnist and the founder of Builder of the Spirit in Jamestown, Ind., a nonprofit organization aiding the poor. Contact him at www.builderofthespirit.org or 765-676-5014.


So it's November 30 and the ground is not frozen. Actually, we have hardly had any snow. We had one October storm and then, well, not much. This weekend snow fell in the mountains, finally. When we lived up next to Bolton Valley resort they aimed to open on Thanksgiving weekend each year. This year it has hardly been cold enough to make snow. Apparently 20 inches fell on the top of Mount Mansfield over the past few days. Now we're talking.
Today it spit snow on and off in the valley as well. As darkness spread across the fields, snow was falling steadily. It even gathered in a few spots. Winter is being shy this year. Fall has been ready to give up the ghost but I guess winter has been willing to step up and take over. That works out well in several ways but with December beginning tomorrow, I am ready for some snow. I would love to see snow for the 25th, of course, but I also simply am ready to make the transition.
So here's to snow! Fall on down, fall on down. In this house at least you will be welcome.
I didn't run the past two days but I got up and went this morning. It was raining. Hard. And it was dark. And I was sleepy. Did I want to go? Not really, but I did anyway.
It was pouring. Just dumping, really. And, it being late November, it was dark at 5:30. And the clouds made it darker. I dressed, slowly, and stood on the porch.
I did that for a few minutes, stood there that is. I watched the rain drip off the eave through the beam of my headlamp. I was going to get mighty wet. And then I stepped onto the gravel and off I went.
It was chilly, as you can imagine. Not what I would call cold, but nothing warm about it. I was still sleepy, eyes half shut as I navigated the puddles in the driveway.
I was thinking I might go five or six miles. I only went four. I was chilled, I tell you. It was a decent run. I was home before I knew it. I had to pay so much attention to my feet that I hardly noticed where I was. Plus, it got foggy. I couldn't see more than a ten feet in front of me.
I was soaked by the time I got home. Dripping. I was thinking that what I wanted at that moment was to a warm cup of coffee and a warm fire. But that wasn't happening. I could make some coffee and start a fire, but by then it wouldn't have the same effect. So I took a warm shower and got ready to head to work.
Tomorrow maybe eleven miles? It should be cloudy but not raining like this morning. We'll see. This is a somewhat easy week anyway. But I would like to go fairly long. I'll see what happens when I wake up. I can decide then.