text:
package pet

// This file was generated by the swagger tool.
// Editing this file might prove futile when you re-run the swagger generate command

import (
	"net/http"

	"github.com/go-openapi/errors"
	"github.com/go-openapi/runtime"
	"github.com/go-openapi/runtime/middleware"
	"github.com/go-openapi/validate"

	strfmt "github.com/go-openapi/strfmt"
)

// NewUpdatePetWithFormParams creates a new UpdatePetWithFormParams object
// with the default values initialized.
func NewUpdatePetWithFormParams() UpdatePetWithFormParams {
	var ()
	return UpdatePetWithFormParams{}
}

// UpdatePetWithFormParams contains all the bound params for the update pet with form operation
// typically these are obtained from a http.Request
//
// swagger:parameters updatePetWithForm
type UpdatePetWithFormParams struct {

	// HTTP Request Object
	HTTPRequest *http.Request

	/*Updated name of the pet
	  Required: true
	  In: formData
	*/
	Name string
	/*ID of pet that needs to be updated
	  Required: true
	  In: path
	*/
	PetID string
	/*Updated status of the pet
	  Required: true
	  In: formData
	*/
	Status string
}

// BindRequest both binds and validates a request, it assumes that complex things implement a Validatable(strfmt.Registry) error interface
// for simple values it will use straight method calls
func (o *UpdatePetWithFormParams) BindRequest(r *http.Request, route *middleware.MatchedRoute) error {
	var res []error
	o.HTTPRequest = r

	if err := r.ParseMultipartForm(32 << 20); err != nil {
		if err != http.ErrNotMultipart {
			return err
		} else if err := r.ParseForm(); err != nil {
			return err
		}
	}
	fds := runtime.Values(r.Form)

	fdName, fdhkName, _ := fds.GetOK("name")
	if err := o.bindName(fdName, fdhkName, route.Formats); err != nil {
		res = append(res, err)
	}

	rPetID, rhkPetID, _ := route.Params.GetOK("petId")
	if err := o.bindPetID(rPetID, rhkPetID, route.Formats); err != nil {
		res = append(res, err)
	}

	fdStatus, fdhkStatus, _ := fds.GetOK("status")
	if err := o.bindStatus(fdStatus, fdhkStatus, route.Formats); err != nil {
		res = append(res, err)
	}

	if len(res) > 0 {
		return errors.CompositeValidationError(res...)
	}
	return nil
}

func (o *UpdatePetWithFormParams) bindName(rawData []string, hasKey bool, formats strfmt.Registry) error {
	if !hasKey {
		return errors.Required("name", "formData")
	}
	var raw string
	if len(rawData) > 0 {
		raw = rawData[len(rawData)-1]
	}
	if err := validate.RequiredString("name", "formData", raw); err != nil {
		return err
	}

	o.Name = raw

	return nil
}

func (o *UpdatePetWithFormParams) bindPetID(rawData []string, hasKey bool, formats strfmt.Registry) error {
	var raw string
	if len(rawData) > 0 {
		raw = rawData[len(rawData)-1]
	}

	o.PetID = raw

	return nil
}

func (o *UpdatePetWithFormParams) bindStatus(rawData []string, hasKey bool, formats strfmt.Registry) error {
	if !hasKey {
		return errors.Required("status", "formData")
	}
	var raw string
	if len(rawData) > 0 {
		raw = rawData[len(rawData)-1]
	}
	if err := validate.RequiredString("status", "formData", raw); err != nil {
		return err
	}

	o.Status = raw

	return nil
}


Millwork360 – The degree of superior quality.
At Millwork 360, our mission is simple. We strive to be the most dependable source for the highest quality products with the utmost accuracy, and provide on-time delivery with the shortest lead times in the industry. With this mission in mind, we uphold the following standards to produce bold, beautiful and durable products with industry-leading customer service: Service, Facility & Inventory. Read More.


The history of Cuban tabacco dates to the sixteenth century, when large cigars, or Vegueros, ignited interest amongst merchants.
By the nineteenth century, Cuban cigars were among the most sought after in the world. Cohiba, the flagship of Cuban cigars, was created for Fidel Castro in 1966, and the "Siglo V" was created to mark the 500th Anniversary of Columbus's epic"Voyage of Discovery" in 1492. In order to keep these superb cigars in the very best condition we keep them in a special humidor.
We have a wide range of cigars available at Cubana.


text:
The Duckworth Family Tennis Facility
Individual Match by Match
Live Stats/Video
Tigers Ink Alexandra Anttila
Clemson, S.C. — The Clemson women's tennis team has announced the signing of Alexandra Anttila from Lappeenranta, Finland. The signing marks the second under Head Coach Christy Lynch.
As one of the top women's tennis players in her home country, Anttila is a member of the Porsche Junior Team Finland and has competed on some of the world's biggest stages including at the U.S. and Australian Junior Opens. Anttila achieved a career high ITF ranking of 157 in December 2018 and has won three ITF Junior events in singles and seven in doubles. Anttila trains at IMG Academy in Bradenton, Fla. and is coached by Nick Bollettieri and Andres Alarcon and has also worked with Martin van Daalen.
"I'm excited to welcome Alex to the Clemson family," said Lynch. "Alex has a lot of international playing experience and has had excellent coaching throughout her junior career. More importantly she is a hard worker with great values and is also a strong student which makes her a great fit for our program!"
Anttilla is set to join the Tigers in the fall of 2021.
For complete coverage of the Clemson women's tennis team, follow @ClemsonWTennis on Twitter, Facebook and Instagram.

redpajama_set_name: RedPajamaCommonCrawl


We've been busy lately! Wednesday March 16 GMF traveled to Alabama and Montevallo University. We were honored to be invited to present falconry to the students of a very unique program at Montevallo… The Outdoor Scholars Program. The students enrolled are exposed to numerous and various outdoor careers and activities. We will have more photos and info to come later on this great event. Pictured below is Director William Crawford with our "crow controller" Hector. Thanks William for a great day!


Back in 2011, he made it clear that he'd love to hook up with Nicki Minaj in the Bad Meets Evil single "Fast Lane". Now, just recently Eminem says he wants a relationship with her.
The chatter started last week, when Nicki jokingly told a fan on Instagram that she was dating the rapper… after she dropped his name in YG's new single "Big Bank". "Told'em I met Slim Shady / Bagged an Em / Once he go black, he'll be back again," Nicki raps om the DJ Mustard-produced single.
Eminem fueled the rumor mill, when he responded in the comments with "girl you know it's true".
Simple right? Well, Eminem kept the news headline going, when he shouted out Nicki during at Boston Calling on Sunday (May 27). "So wait, one more time. Let me make sure so I can actually make this official. How many people in Boston want me to date Nicki Minaj?" Eminem asked.


text:
Man who killed longtime girlfriend sentenced to 40 years
Updated: 8:39 AM CDT Aug 7, 2015
A Racine County man convicted of fatally shooting his longtime girlfriend has been sentenced to 40 years in prison.Forty-nine-year-old Ryan King earlier pleaded no contest to first-degree reckless homicide in the death of Lucinda White. White was grazed by three bullets before King shot her in the head in the middle of the street in 2013.The victim's son was overcome with emotion in court Thursday. Timothy James sobbed as he told King that he had taken everything from him and his children.King told the judge he can't remember shooting White. He fled to Tennessee where police eventually tracked him down.King was also given 10 years of supervision to follow his time in prison.
RACINE, Wis. —
A Racine County man convicted of fatally shooting his longtime girlfriend has been sentenced to 40 years in prison.
Forty-nine-year-old Ryan King earlier pleaded no contest to first-degree reckless homicide in the death of Lucinda White. White was grazed by three bullets before King shot her in the head in the middle of the street in 2013.
The victim's son was overcome with emotion in court Thursday. Timothy James sobbed as he told King that he had taken everything from him and his children.
King told the judge he can't remember shooting White. He fled to Tennessee where police eventually tracked him down.
King was also given 10 years of supervision to follow his time in prison.


text:
package com.google.gerrit.server.restapi.project;

import com.google.gerrit.entities.Project;
import com.google.gerrit.extensions.restapi.Response;
import com.google.gerrit.extensions.restapi.RestReadView;
import com.google.gerrit.server.config.AllProjectsName;
import com.google.gerrit.server.project.ProjectResource;
import com.google.inject.Inject;
import com.google.inject.Singleton;

@Singleton
public class GetParent implements RestReadView<ProjectResource> {
  private final AllProjectsName allProjectsName;

  @Inject
  GetParent(AllProjectsName allProjectsName) {
    this.allProjectsName = allProjectsName;
  }

  @Override
  public Response<String> apply(ProjectResource resource) {
    Project project = resource.getProjectState().getProject();
    Project.NameKey parentName = project.getParent(allProjectsName);
    return Response.ok(parentName != null ? parentName.get() : "");
  }
}

redpajama_set_name: RedPajamaGithub


Boels-Dolmans will switch to Specialized bikes in 2014 in a three-year deal that will see the Dutch women's team on the American company's frames for three years. The team has been riding Issac bikes in 2013, but a big change in personnel for next season will also see a change of bike.
"This top equipment gives us the confidence to realise our ambitions in the years to come," concurred Erwin Janssen, owner/manager of Dolmans Landscaping Group.
The news that the team is to ride Specialized bill doubtless be welcomed by its biggest signing for 2014, World time trial champion Ellen van Dijk, who has been riding the American company's bikes since 2011, with HTC-Highroad and Specialized-lululemon. The 26-year-old won both the Netherlands and World titles aboard a Specialized Shiv this year and, with the Dutch powerhouse having signed for Dolmans-Boels through 2016, will stay on Specialized as she builds towards her next big target at the Rio Olympics in 2016.
As well as its frames, Specialized will also provide the team with accessories and Body Geometry Fit measurements.
Despite several changes to the Boels-Dolmans roster in 2014, the team holds on to British champion Lizzie Armitstead (pictured, left), who joined this year, as well as compatriot Emma Trott (right), who has been there since 2012.
Among those joining next season will be former US champion Megan Guarnier from Rabobank-Liv/Giant, who rode on Specialized while with Tibco-To the Top in 2011 and 2012. Luxembourg champion Christine Marjerus also joins from Sengers Ladies, and also rode the American marque during her five years with Team GSD Gestion.
With Specialized continuing to sponsor its eponymous team Specialized-lululemon as well as its new association with Boels-Dolmans, the American company will be providing bikes to two of the biggest teams in the women's peloton. This will be matched by Taiwanese company Giant in 2014, which continues to sponsor World champion Marianne Vos' Rabobank-Liv/Giant team, as well as taking over from US company Felt at Argos-Shimano.


text:
Historic 'Holy Roller' tank in Victoria Park vandalized
Sean Irvine CTV London
Published Friday, May 17, 2019 2:10PM EDT Last Updated Sunday, May 19, 2019 1:18PM EDT
CTV News has learned of a crime many - including retired lieutenant-colonel Joe Murray of the 1st Hussars - would dub the lowest of the lows.
The familiar Sherman 'Holy Roller' tank in Victoria Park has been broken into, vandalized and damaged, likely earlier this week.
"It is very disrespectful, what they've done. They did a lot of damage to the back of it, and now we have to repair it," Murray tells CTV News.
The 'Holy Roller' is one of just two tanks in the Canadian Army that fought from the D-Day landings until Victory in Europe Day on May 8, 1945.
It now serves as monument to the fallen, and has been a focal point in Victoria Park since it was placed there in 1956.
Murray says London police notified them of the break-in on Wednesday.
He says the thieves clearly had a plan, and went to great length to get inside the vintage tank, at its back end.
"They had to have maybe a pry bar and a sledgehammer to peel it all back and get in. I'm not sure if they were looking for souvenirs, or metal, but it is very disrespectful what they have done."
Thankfully, the 'Holy Roller' will not sit damaged for long. It is currently being guarded, and on Tuesday morning, volunteers will step-up to weld a new plate to secure it again for generations.
It's a good thing, as the 75th Anniversary of D-Day is June 6.
In London, the day's events will include a public parade featuring all of the vehicles driven by the 1st Hussars over its history.
It will begin at 10:30 a.m., and be followed by a service at the 'Holy Roller' tank.
Damage can be seen to the 'Holly Roller' tank in Victoria Park in London, Ont. on Friday, May 17, 2019. (Source: Retired lieutenant-colonel Joe Murray)
Befriending Tom
PART 2: Opening up about wartime loss
Owner of torched tow trucks speaks out
Local reaction to masking
CTV News London at Six for Monday, November 14, 2022
'Hound Line' to headline London Sports Celebrity Dinner
London doctor disciplined by CPSO still practising
Deliveryman 'barking mad' after service dog denied full access to Owen Sound hotel
Crash in Strathroy area kills Mt. Brydges man


text:
Conferences |5 August 2003
Pathogenesis and Treatment of HIV-Associated Renal Diseases: Lessons from Clinical and Animal Studies, Molecular Pathologic Correlations, and Genetic Investigations Free
Paul L. Kimmel, MD; Laura Barisoni, MD; Jeffrey B. Kopp, MD
Paul L. Kimmel, MD
From George Washington University Medical Center, Washington, DC, and National Institute of Diabetes and Digestive and Kidney Diseases, National Institutes of Health, Bethesda, Maryland.
Laura Barisoni, MD
Jeffrey B. Kopp, MD
Grant Support: Dr. Kimmel was supported by grant RO1-DK-40811 from the National Institute of Diabetes and Digestive and Kidney Diseases.
Potential Financial Conflicts of Interest: None disclosed.
Requests for Single Reprints: Paul L. Kimmel, MD, Division of Renal Diseases and Hypertension, Department of Medicine, George Washington University Medical Center, 2150 Pennsylvania Avenue NW, Washington, DC 20037.
An edited summary of a Clinical Staff Conference Grand Rounds held on 27 June 2001 at the National Institutes of Health, Bethesda, Maryland.
Authors who wish to cite a section of the conference and specifically indicate its author may use this example for the form of the reference:
Barisoni L. Pathologic features of HIV-associated nephropathy. In: Kimmel PL, moderator. Pathogenesis and treatment of HIV-associated renal diseases: lessons from clinical and animal studies, molecular pathologic correlations, and genetic investigations.
Current Author Addresses: Dr. Kimmel: Division of Renal Diseases and Hypertension, Department of Medicine, George Washington University Medical Center, 2150 Pennsylvania Avenue NW, Washington, DC 20037.
Drs. Barisoni and Kopp: Kidney Disease Section, National Institute of Diabetes and Digestive and Kidney Diseases, National Institutes of Health, Building 10, 3N116, Bethesda, MD 20892.
HIV infection is associated with several renal syndromes, including acute renal failure. Chronic renal failure directly linked to HIV infection includes thrombotic microangiopathic renal diseases, immune-mediated glomerulonephritides, and HIV-associated nephropathy. A renal biopsy may be necessary for diagnosis. The development of HIV-associated nephropathy has been definitively linked to renal cellular infection, but the disease affects only a minority of patients, typically men of African descent. Therefore, factors determining disease expression in infected patients must now be emphasized.
The pathogenic mechanisms involved in HIV-associated renal disease remain obscure. Genetic factors, as well as renal cellular responses, mediated by HIV proteins (including an immune-activated microenvironment) capable of presenting antigen in susceptible hosts probably explain most cases. HIV-associated nephropathy has a characteristic pathologic phenotype, including glomerular, tubular, and interstitial changes, and ultrastructural findings. Infection of the glomerular epithelial cell, or podocyte, and consequent structural and biochemical changes may be pivotal in pathogenesis. The HIV-1 transgenic mouse is an important model for understanding disease pathogenesis, particularly the role of HIV proteins in mediating renal tissue injury.
Rigorously controlled randomized trials have not evaluated treatment, but corticosteroids and angiotensin-converting enzyme inhibitors have been used. Highly active antiretroviral therapy seems to have decreased the incidence of end-stage renal disease related to HIV infection and, in case reports, to have improved renal functional and pathologic outcomes of HIV-associated nephropathy. Outcomes in patients undergoing hemodialysis and peritoneal dialysis have improved, and current research focuses on renal transplantation for treatment of HIV-infected patients.
Kimmel PL, Barisoni L, Kopp JB. Pathogenesis and Treatment of HIV-Associated Renal Diseases: Lessons from Clinical and Animal Studies, Molecular Pathologic Correlations, and Genetic Investigations. Ann Intern Med. 2003;139:214–226. doi: https://doi.org/10.7326/0003-4819-139-3-200308050-00011
Published: Ann Intern Med. 2003;139(3):214-226.
Prevalence of bcl-2 Rearrangement in Patients with Hepatitis C Virus–Related Mixed Cryoglobulinemia with or without B-Cell Lymphomas


text:
Author: indiefilm
MENTOR OF THE YEAR AWARD
By Indiefilm Posted on June 23, 2012 in HUB
Do you know who Sid Sheinberg is? You probably should. He's the guy who mentored a young Steven Spielberg and turned him into the filmmaker he is today. As Spielberg took his first job with Universal Studios at the age of 22, Sheinberg offered " …a lot of people will stick with you in success… I'll stick with you in failure."
The belief Sheinberg invested in Spielberg is not an isolated incident. For those working in the film and television industry, a supportive and influential mentor is probably the reason you're here today. They are someone who recognised your unique talent, believed in you, and helped you break into the notoriously difficult industry of film and TV.
Each year, mentors give thousands of unpaid hours of guidance to emerging filmmakers across a broad scope of disciplines, including directing, writing, producing, cinematography, composing, production designing, or editing. Their support goes largely unrecognised. Until now.
In an Australian first, Indie Gems is shining the spotlight back onto Australian mentors with the 2012 inaugural Mentor of the Year Award. The Award is an opportunity for mentees to publically recognise and honour their mentors.
WINNER ANNOUNCED!
The inaugural 2012 Mentor of the Year Award goes to TOM ZUBRYCKI.
"I find mentoring incredibly rewarding. It's the knowledge that you're passing on a skill-set to the next generation of filmmakers and nurturing some really great talent" explains Tom.
Tom was nominated by Sydney based filmmaker Ana Tiwary.
"Tom has been mentoring me for a couple of years and he has been incredibly generous with his time and advice. Over the years, Tom has mentored formally as well as informally several emerging documentary filmmakers and given them the practical guidance needed to enter an industry that creates very few opportunities for young filmmakers. I am thrilled that he has been awarded the inaugural Indie Gems 'Mentor of the Year' Award and thank Titan View for creating this important award to acknowledge the wonderful mentors in the screen industry."
Ana Tiwary is a Sydney based filmmaker and owner of 'inDiVisual films'. She is currently in post-production of her documentary 'Sunshine & Shade' and is being mentored by Tom Zubrycki.
Tom's documentaries currently in production include "Light from the Shadows" – writer/director John Harvey, and "The Sunnyboy" – writer/director Kaye Harrison.
Congratulations to Tom from the Indie Gems Team
Women in the Screen Industry: A woman's work is never done
By Indiefilm Posted on March 23, 2011 in Uncategorized
The Australian screen industry is full of talented and successful women, but this doesn't mean gender imbalance is a thing of the past. Georgina Pearson writes.
Gender equality is an age-old debate; one that's been analysed and pulled apart countless times before. Yet as women in the Australian screen industry continue to deliver on a global stage we must dispute its relevance – is there a significant gender imbalance within the industry, or has this argument become a moot point, questioned merely as a matter of principle?
When the list of films eligible for the Australian Film Institute Awards was announced last year, AFI CEO Damian Trewhella pointed out that eight out of the 19 titles were directed by women, arguing that "in an international industry where women are still significantly under-represented, Australia is heading in the right direction."
And the Australian Subscription Television and Radio Association (ASTRA) followed closely– declaring that the subscription TV sector has reached near gender equality amongst its 4,643 strong employees.
When Encore asked a number of industry bodies whether they knew the exact percentage of women working in their respective sectors, the answer was negative. It seemed that different sources had different statistics and opinions about the situation of women in the screen industry, yet for almost two decades no definitive research had been conducted in the area – not until associate professor of cinema studies at RMIT University Lisa French decided something needed to be done to address the information gap.
French is currently undertaking a study researching women in the screen industry – the first since the AFC/National Working Party report Portrayal of Women in the Media, in 1992. The study has received support from Screen Australia, Women In Film and Television, producer and RMIT adjunct professor Sue Maslin, the Australian Writers' Guild, the Australian Film Institute, the Victorian Women's Trust and the Australian Teachers of Media (ATOM).
French told Encore that whilst Australian women are continuing to succeed, there is still a huge gender discrepancy.
"Gender equality has not been achieved in the Australian screen industry," she explained. "While Australian women such as Catherine Martin, Jan Chapman, Jane Scott Jill Bilcock, Laura Jones, Mandy
Walker and Janet Patterson shine internationally, women continue to be a minority in every position in the screen industry in Australia and their representation as a numerical percentage is actually shrinking, not increasing in many industry jobs." French's Girls on Film survey was completed by 135 people, out of which 114 were women. Her aim is to map gender imbalances, the possible reasons behind them, and then use the research as an evidence base for action.
So far, French has found that although the overall industry view regarding gender developments was optimistic, new figures from the survey indicate otherwise. "There is gender inequity when it comes to views on improvements for women in the last five years – only a fifth of women believe there has been improvement compared to nearly half the men. No men believe the experience had deteriorated for women, but 13 percent of women indicated this."
A DIFFICULT CHOICE
Kate E. Wills, board director for the Australian Production Design Guild (APDG) agrees there is a long way to go before we reach gender parity, and suggests this may be due to a lack of support for women
with families. "We have fundamentally led women to believe we live in an equal society in terms of employment opportunities, only for them to discover that it's still the 1950s once there is any thought of having a family. Girls are not made fully aware of the ramifications when they are choosing what they would like to do as a career. There is still a long way to go before the pendulum stops swinging and a true balance is reached so that women don't feel guilty going to work, or inadequate staying at home."
Ana Tiwary, program director for the Australian section of Women in Film and Television (WIFT) also questions the absence of family support. "We are all aware that women are expected to multi-task and look after their homes as well as work. Although more women are going through film school and higher education, fewer women are able to stay in their chosen fields due to concerns in the late twenties and early thirties about starting families and the 'biological clock'. So women face an extremely difficult decision – family or career? There is much support needed for mid-career women trying to re-enter the industry after having children. "
Screenwriter and producer Jenny Lewis takes a different angle – it's the competitiveness between women that reflect a gender imbalance and the distinction shouldn't be between a woman or man, it should be between the work produced: "If there are fewer women in the screen industry than we'd like, then perhaps it's because when a certain type of woman makes it she is reluctant to give other women a leg up. I have seen this scenario time and time again. Some women in high positions are threatened by talented women and use their power to undermine and exclude. Certainly these women in power will give jobs to other females, but only if they don't pose any threat whatsoever. The result is minimally talented females getting important positions which undermine the entire cause. This insecurity is our gender's greatest enemy, and the unhealthy competitiveness between women is also present in most of our female onscreen characters."
Lewis told Encore gender equality is far from black and white. "The issue of gender equality isn't as straightforward and un-political as it seems. I want our country to be put on the map as top notch story
tellers and I'll take whatever gender we can get to achieve that. I'm not about to champion for women just for the sake of it – they need to be the right women, just like we need the right men."
THROUGH A WOMAN'S EYES
But gender equality in the Australian screen industry is vital to its future – and not just because of women's rights, or the need to look good on paper. With the global industry rapidly evolving the challenge is to be constantly producing new projects that stand tall internationally – and a collective portfolio produced by both genders offer a uniqueness that is only achieved by having different perspectives. Ron Johanson, president of the Australian Cinematographers Society, agrees. "Our industry needs to be constantly stimulated with new thoughts, new ways to do things and stay motivated and balanced across a broad cross section of the industry. We cannot let past bias influence what we do in these current times or into the future. There is a place for all genders, all philosophies at the table, so we can learn and grow together.
"Women bring another view, another perspective, in all areas. They challenge you to listen to their opinions and their ideas," said Johanson.
French also believes a woman angle is important. "In terms of content, we'd miss out on the range of stories and perspectives, as well a the aesthetic approaches of half the population if women didn't
get to contribute, and we wouldn't have films like The Piano, The Well, The Last Days of Chez Nous, and Looking for Alibrandi — all written, produced and directed by women." But she believes the
discrimination doesn't just end with the female gender. "Men are equally discriminated against because of gendered ghettos in the industry, because their choices will also be limited, and in line with historic workforce patterns in the industry—this is a loss of creative potential."
THE TECHNICAL MYTH
Job stereotyping is another issue that perhaps limits the number of females working in traditionally male roles. However, Tiwary argues the belief that women go for less-technical career options is simply not true: "Lack of interest in some specific occupations is one the myths that surrouons is one the myths that surrouyths that surrouBigelow) winning best director. That hardly comes up in our awards; people aren't really that fussed."
But Tiwary disagrees, adding that representation of women behind the screen industry in Australia is declining: "Australia is falling behind other developed as well as developing nations. I was a member of WIFT in Washington DC for four years and they had several events every month, large budgets and big funding from the US Government, thousands of members – including 30 percent male members. They also had men serving on their 20-member committee. WIFT in DC is not treated as a niche women's organisation but as a mainstream powerhouse and everyone wants to be part of it.
"The industry in Australia is much smaller compared to the US, and there seems to be a sense that 'cliques' in the screen industry make it difficult for any emerging filmmakers- male or female, to get a foot in the door. Also due to geographic isolation, new progressive ideas and studies do not make it into the public discourse until many years later. There is a resistance to change, intellectual
debate and anything new or different may be looked on with suspicion or considered un-Australian," said Tiwary.
What can be done to correct the situation? To create an equal structure that will encourage not only women, but men as well, screen industry bodies need to take an in-depth look into what their organisation can do to ensure that discrimination, stereotypes and misconceptions become transient – and many already have.
For example, the APDG has six volunteer directors, three of whom are women. "We also have an awards committee and five of these six volunteer members are women," explained Wills. "In an industry that provides all different avenues of media, it is arguably important for both genders to have input as this is what constitutes the voice that the public ultimately view."
Cindy Clarkson chairperson for the Victorian Committee of the Australian Screen Editors Guild believes that actively promoting women is important. "Not only should the ASEG promote those who are successful editors, but those who are up and coming, or women who are assisting or grading. We have a mentorship scheme which the ASEG is currently reigniting; we can encourage women to seek this
opportunity by promoting it widely within the industry."
According to Tiwary, gender equality is an issue that can't be ignored in any industry, because it's first and foremost, a human rights issue: "It is unacceptable and inhuman that anyone should have to give up their passion and career simply because the system and society is biased against them. All dreams are equal and deserve a fair go"
Women working behind the Australian screen industry are continuing to shine both locally and internationally but it is clear that gender equality is still a vitally important and valid debate –for both women and men.
Tiwary gets NSW woman of the year nom
By Indiefilm Posted on October 23, 2009 in HUB
[press release from WIFT NSW]
Women in Film and Television NSW congratulates management committee member, Ana Tiwary on being a finalist for the NSW Woman of the Year Award.
She is the first woman from the Film and Television industry to be short-listed for this prestigious award. The NSW Woman of the Year Award is about recognising the work of an outstanding woman, who can represent all the talented women who give their time and experience to other women and their communities in NSW. The Award recipient will be announced at the Premier's Reception for International Women's Day on Thursday, March 5 2009.
Ana Tiwary is Vice President of Women in Film and Television NSW and has established the successful and popular Media Mentorship for Women (MMW) program, which enables one to one relationships between industry professionals and emerging female filmmakers in order to create a supportive community and improve the status of women in the industry.
Latest statistics on the Screen Australia website reveal that in many technical areas, the number of women working dropped between 1996 and 2006. For example the number of women Editors dropped from 26% to 23% and women Sound Technicians reduced from 15% to 10%. The numbers of women Directors (24%), Technical Directors (10%), Directors of Photography (6%), Camera Operators (5%), and Lighting Technicians (9%) have not significantly increased. President of WIFT NSW, Lindy Monson states that "Women are under-represented in most areas of filmmaking. This remains not only a matter of equal employment opportunity but also impacts on the way stories are told on screen."
Before immigrating to Australia in 2007, Ana travelled around the world making films to support numerous charity organisations, giving a voice to the powerless and telling untold stories. A passionate filmmaker, Ana has made a film about the Women's Peace Movement in war-torn Liberia and the election of the World's first Black Woman President. From interviewing World Leaders to filming in Bombay slums, from National Geographic Channel to 'Bollywood', Ana continues to work on some very challenging projects. Ana holds double masters in English Literature and Film Production from the American University, Washington DC.
Ana says, "When I first moved to Australia, I did not how and where to start. I joined WIFT NSW and started volunteering as Technical Director for the WOW Film Festival. A speech by Tania Chambers (CEO, NSW Film and TV Office) inspired me to launch the Mentorship program." In Round 1, 75 women were accepted into the program and 38 have been successfully matched with mentors in 10 different technical areas. Mentorship Round 2 has already attracted 77 applications and the matching process has begun. Talking about the popularity and interest the program has generated Ana adds, "The success of the program shows that there is a definite need for mentorship opportunities in the Media industry. I am absolutely amazed by the support the NSW Government, Private Sponsors, Industry Partners and our wonderful Mentors have given to the program." The Media Mentorship for Women program is attempting to create a nurturing, warm and supportive atmosphere in which women filmmakers can thrive.
While announcing the State's top-ten women, NSW Minister for Women, Hon. Verity Firth, said "The NSW Woman of the Year Award recognises the achievements of women and the leadership they provide as positive role models, particularly to younger women".
Mentorship Coordinator, Heaven Muecke has worked closely with Ana in making the program a success. She states, "Ana's desire is to create a community in which women support each other as well as improving the status of women in the Film & Television industries, which has continued to decline in the last ten years. Her passion, commitment and generous spirit is outstanding and worthy of recognition, she inspires me to dream big."
Ana feels honoured and energised by being short listed for the 2009 NSW Woman of the Year Award. She is herself inspired by the incredible role-models she has met in Australia – Hon. Virginia Judge, Hon. Verity Firth, Wendy McCarthy, Rosemary Blight, Debra Richards, Sonia Borella, Jane Roscoe, Jan Chapman, Heidi Tobin, Katrina Southon and her guide and mentor Tania Chambers.
Women in Film and Television NSW are also holding events in Sydney on Thursday 5th and Friday 6th of March to celebrate International Women's Day. WIFT NSW will be screening an Australian Short Film Showcase on Thursday 5th March 2009, at 12.30 pm in the Parliament House Theatrette at NSW Parliament House, with an opening address by Hon. Verity Firth MP, NSW Minister for Women & Minister for Education & Training. The Australian Short Film Showcase includes three stimulating short films, both fiction and documentary, from the World of Women – 15th WOW Film Festival highlighting the diversity of Australian shorts made by women.
International Women's Day celebrations continue on Friday 6th March, at 7.00pm at the Australian Film Television & Radio School, Fox Studios; WIFT NSW will be screening an International Short Film Showcase featuring International shorts selected by Women in Film & Television International (WIFTI) of films by women from around the world and an opening address by Tania Chambers, Chief Executive, NSW Film & Television Office.
Multiculturalism: on the screens, no more softly, softly
By Indiefilm Posted on September 23, 2009 in HUB
Screen Hub
Tuesday 11 August, 2009
We are all multicultural now, right? No, say Ana Tiwary and Natalie Millar, who are adding another forum to a discussion which is passing from generation to generation.
Nearly thirty years after the creation of SBS, the role of diversity in our screen media is becoming increasingly bizarre. On the ground, our society has become steadily more multicultural, as succeeding waves of migrants establish themselves, and their children move confidently into the wider world.
Ask any teacher about the changes in schools. Sit on public transport for a day. Look at the faces in any large workplace. Check the stamps on the passports of young travellers venturing beyond Australia. We live in a multicultural world.
But commercial television, and to a significant extent the ABC, still pretends Australia is a monoscopic, white bread society. SBS, starved under the Howard government, has not been rescued by the Labor Party, and grapples with acute financial distress.
This bland vision of Australia doesn't reflect the audience. It avoids wonderful opportunities for story, tension and humour. It hides from the simple fact that some of our most dynamic drama on television comes from SBS, which is focused on intercultural stories. Think of East-West 101, The Circuit and Remote Area Nurse.
Most remarkable of all, Australian cinema at the moment is full of multicultural stories. Balibo, Cedar Boys, Samson & Delilah, Mao's Last Dancer, The Combination, Stone Bros, Two Fists One Heart and even Australiaitself all revolve around cultural identity.
Ana Tiwary and Natalie Millar are creating a website to create discussion about the current dilemmas of multiculturalism on screen. The forum is here, or here, via Facebook.
Ana Tiwary is the founder/director of WIFT's Media Mentorship for Women Program, and is a producer and director who has worked around the world, from Nat Geo to Bollywood. Natalie a Sydney production manager, and is also undertaking an MA Research project in Indian film at AFTRS.
Together, they have written this background document for the website.
The Diversity Dilemma: Some reflections from Ana Tiwary and Natalie Millar.
It's strange that such a well-worn topic as diversity and multiculturalism on our screens should still be a sensitive issue that only the "brave" will tackle.
Yet we are asking the same questions which have been asked for decades, and we are met with trepidation, frustration and occasional despair.
In our screen and media culture, is diversity and ethnic mixing – including Indigenous Australians – now a normal, everyday part of life? Or is it still seen as a "threat" to a "mainstream" Australian culture?
Diversity Dynamics in Society and on Screen
Diversity is a reality, it is dynamic and growing around the world as more people are migrating than ever before. Closing our eyes and living in denial will not make it go away. The sooner we accept diversity as a positive force rather than a problem, the sooner we will be able to recognize and use it's potential.
In a post 9/11 world the threat of violence arising from ethnic tensions, fear and suspicion caused by popular alienation is arguably greater than ever before, and the recent Indian student protests reminded us of what happens when minority voices are continually ignored. This week news about the alleged involvement of four Australian citizens with Somali and Lebanese origins in the Melbourne terror plot, is the extreme to which social exclusion can take us.
What has happened to the great idealism we felt 20 years ago as we envisioned a multicultural Australia, leaving our assimilationist and "White Australia Policy" days behind us? It's the sad truth that you may see more diversity on one train trip in Sydney than you would on a whole year of your commercial free-to-air TV screen.
Tony Ayres told us that over the 20 years he has been in the industry little progress has been made and "the discourse around the issue remains the same". Why are we still stuck in this situation and what will it take for the mainstream media establishment to remedy it?
After all, it makes both social and financial sense to tap into the large part of our population being neglected by our small screen characterisations. Cultural value and commercial success need not be mutually exclusive.
Australian culture is often painted in terms of either/or indigenous and white cultures. But what percentage of people living here at this moment actually falls neatly into these two categories? Many of us have much more complicated ethnic and cultural identities than that. Can we accept the "Anglo Aussie" culture as but one face of our diverse identity? We can absolutely embrace the core values that have come to define "Australian" such as fairness, equality, mateship, humour and a relaxed approach, while letting go of a stereotyped Aussie image. We think it's about time we get real and represent ourselves as we really are.
Film director Helen Goritsas, who is working on a cross-cultural comedy Alex & Eve believes that "It is important that we make Australian films about all Australians. I strongly believe it is crucial that we are able to express through our own cinema our own stories, stories that are at heart truly Australian and voice the concerns of our communities.
Socio-political satire offers a wonderful vehicle through which to communicate difficult issues such as these. It is a means by which we are able to hold up a mirror to ourselves and to our society and really look. In 'Alex & Eve' the stereotypes depicted serve to emphasise the central theme of the film, generational-frozen values. In a cheeky way these barriers are challenged and in so doing we hope to reduce the ignorance and misunderstandings that currently surround us about Greek, Lebanese as well as mainstream Australian culture."
No drama in Drama
We can celebrate some diversity in the area of feature film with examples of Australian box-office success for films like Samson & Delilah and The Combination in this year alone. And with Cedar Boys currently on our screens and Mao's Last Dancer to look forward to soon, comparatively cross-cultural stories seem to be faring better than mainstream films.
The popularity of these films is a clear sign that the population wants to see diverse representations and authentic stories. Will our mainstream TV networks take this as a hint and review their programming to reflect this evolving audience taste?
And we thankfully still have SBS, but the low funding sends a clear message to the ethnic communities that the Government is not serious about social cohesion. If the SBS has to rely on advertising and ratings, it makes it more difficult for it to be committed to presenting diverse points of view and multiculturally aware stories. In the long run this will mean that SBS will loose its distinctive multicultural character.
But what about the mainstream top-raters on TV? Can we honestly say that we're seeing healthy degrees of colour-blind casting and real-world diversity being reflected at us from our commercial free to air channels? Or is it possible that we're slipping deeper into a segregation of our popular TV audience down ethnic lines as we all too often fail to break out of stereotyped "Anglo-Aussie" character moulds?
Down at the local grocery store Greek cable TV plays in the background, and our South Asian friends have switched off free-to-air in favour of expensive international satellite TV channels because they feel alienated by the mainstream fare. The Head of Programming at SBS, Dr. Jane Roscoe says "At SBS we are not driven by ratings, but guided by our Charter. The big challenge is really to represent the contemporary face of Australia in all it's diversity. That means moving away from obvious stereotypes and recognising that there is more than one way to be 'Italian' or 'Greek' or Chinese'. The biggest challenge is in being able to serve all of these specific communities, whilst still be accessible and engaging to the broader audience."
Conflict & Creativity
It's a bit of an Australian myth that we shy away from conflict and avoid confrontation, and it is often all too much of a reality. But then isn't enjoying difference and conflict resolution at the heart of the creative force that drives not just story, but growth, learning and social development? There is no doubt that much can be gained both as creative professionals and as a society by choosing to engage with diversity in the stories we tell. In this way we can also develop a more real and inclusive picture of the everyday fabric of Australian life on our screens and contribute to the development of a more mature Australian culture and society that can embrace diversity and become richer for it.
Talking about how to deal with diversity in the scriptwriting stage, script-coach Karel Segers says "Cultural stereotyping is not needed in stories as long as the writer signals the function of the character to the audience using the techniques of archetyping. People from all cultures can relate to archetypes".
Karel adds, "I feel that we have been preaching to the converted: films with an accurate representation of cultural diversity are rarely told in a way the mainstream audience understands them. I find that both filmmakers and policy makers have taken an elitist position by encouraging this type of cinema."
Everyday Diversity
In everyday life Australia is made up of a very diverse mix and the majority of us accept this as a reality; a recent survey revealing 93% of Australians think we are in fact a multicultural society. In 2008 over a quarter of Australians were born overseas and more than one third have either one or both parents born outside the country. People from around 200 countries have made this country their home and over 200 languages are spoken here.
However, compared to this mix in other sectors, employment in the audiovisual industries continues to have a much lower representation of this ethnic diversity. Tony Ayres noted that we do see some of our diversity reflected in the mix of participants cast on reality TV shows, demonstrating that it's not for a lack of talent and interest in participating in screen culture that we're missing this diverse mix particularly in TV drama series.
One has to question – is something happening in the creative and commissioning processes that are ethnically selective or worse, actively exclusive? Believing we are a multicultural society is not enough in itself. Belief in the value of it is something much more.
Preeti Kannan, a media professional who recently migrated from UAE says "The truth is that multiculturalism exists here. However, it just exists. It hasn't been integrated and included not just in the media but elsewhere too… Diversity is conspicuously inconspicuous in the Aussie media, politics, university faculties… just about everywhere."
No Soft Solutions
An 11-year study into Racism in Australia by a collaboration of Australian universities found that 85 per cent of Australians acknowledge racial prejudice occurs in the nation with one in five claiming to be a victim of racist verbal abuse or related incidents. This should be reason enough for us to get serious about redefining what 'Australian' content means.
After 20 years there is still a long way to go in terms of diversity in Australian screen, especially on the small screen. It would seem that if we are to achieve a living, vital and diverse screen culture, we need some renewed policy intervention in the commercial sector.
We can again look at creating initiatives that encourage diverse participation in the mainstream industry. Community inititiatives such as ICE (Inter-cultural Exchange) which operates in Western Sydney for example, are working closely with ethnic communities but how much of their work actually reaches the mainstream audience?
Dr. Jane Roscoe says that "I think it's also important that we identify new talent within various communities and where possible work with them to get their stories to air. The more diversity in our content producers, the more perspectives and points of view we'll get in our television and online content. SBS is committed to screening stories that reflect the changing face of Australia, and part of this is nurturing creative talent that can do this." The other option is a top down approach. Perhaps we need to consider measures that encourage commissioning in commercial networks and to consider diversity, and not just "leave it to SBS".
Since majority rules, in any Democracy it is difficult to for ethnic minorities to feel a sense of belonging to their adopted land let alone get their voices heard. Having said that Australia has the potential to turn this around and create an inclusive and rich society without having to give up its national identity. This is where the Australian screen industry can play a powerful positive role in bringing about change.
Tony Ayres comments "I think that we need a comprehensive study of cultural diversity on our screens which factors in what has changed and what hasn't, and government has to decide whether cultural diversity is genuinely important to Australian cultural identity, and therefore Australian culture… This may sound dogmatic, but it doesn't have to be – it becomes one benchmark alongside many others… After being around this industry for the last twenty years, and watching the same arguments about our screen content pop up year in, year out, I feel that the "softly, softly" approach won't ever work."
We think that a first step in this process is getting discussion re-opened around this topic amongst ourselves and to this end we've created a forum.
We'd love to hear your comments so please visit the Facebook group 'Diversity in Australian Media' and leave your comments: here.
If you do not have a Facebook profile you can join our online forum and participate in an open discussion here: here.
If you are in Sydney you could also participate in the 'Diversity Debate' hosted by Women in Film and Television NSW at AFTRS on 16 September 2009.
WIFT: momentum on mentorship
By Indiefilm Posted on February 16, 2009 in HUB
by: Tina Kaufman
The second round of the WIFT Media Mentorship for Women Program is now underway, and three new mentorship areas have been introduced: Media Law, Interactive Media and Location Management. Tina Kaufman has the details.
The program, which was launched at the WOW Film Festival in October last year, saw thirty-eight mentors come on board for round 1 in a number of different specialities.
When she launched the program at WOW, Tania Chambers, Chief Executive of NSWFTO, said that everybody she has spoken to `who has either had the opportunity to be mentored by somebody, or who has been involved in mentoring, talks about the fact that it is a two way experience; that the people who are there as mentors get invigorated, inspired and enthused and actually get to see the world in a slightly different way.'
She added that she hoped the program would continue to expand and extend beyond the initial two rounds, and was very proud that the NSW FTO was a sponsor.
In fact it was a remark made by Tania Chambers at WOW in 2007, when she commented that WIFT should consider reviving its mentorship program, that initiated the process. Ana Tiwary, WOW technical director, who had only arrived in Australia earlier that year and had joined WIFT because she'd been a member of WIFT in Washington DC, was activated by that comment. She had felt that a mentor would have been a help in her first months in Australia, and went to the WIFT board, suggesting the program (which WIFT had last run seven years earlier) be revived.
Although the program had been successful in the past, the board was not willing to commit immediately, but they did encourage her to do more research. She spent three months looking at other mentorship programs, past and present, local and overseas, and talking to people who'd been through such programs as either mentor or mentee. (Can someone think of a better word? Mentee is awful!)
When she went back to WIFT with a detailed proposal, it was the surprise promise of an immediate sponsorship of $500 to kick-start the program from an enthusiast at the meeting that clinched WIFT's agreement. NSWFTO soon came on board, while the City of Sydney promised free venue hire for events and functions. A number of other sponsors have since been found, but the program would welcome more – at this stage much of the work is done by enthusiastic volunteers.
Responses flooded in after a call went out for expressions of interest from mentors, mentees, sponsors and volunteers. `I've been waiting for this for years!' was a frequent comment, while there were a number of women who'd actually joined WIFT because of its mentorship program, only to find it had been discontinued. Ana Tiwary had expected applications from women in regional areas, and from women with few contacts, but she was surprised to find many from women working in more mainstream areas who still felt the need for a mentor.
With help from a team of web designers from Israel who are now in Australia, a targeted website was attached to the WIFT website – `it's warm, friendly, youthful and creative,' says Ana Tiwary – and a call for applicants was sent out in July. The matching process took place in August and September, and the first round matches were announced at WOW in October, followed by a Work/Life Balance discussion and a networking session as the first official events.
While the program has attracted mentors from many different areas of the industry, from scriptwriting and cinematography to sound design and editing, 22 of the applicants were actually teamed up with people they had named as preferred mentors, who enthusiastically joined up when approached.
The rest of the 38 applicants to be matched up in the first round were teamed with mentors who had come forward independently. Industry professionals including Piet De Vries, Robert Humphries, Jessica Douglas-Henry, Susan MacKinnon, Guy Gross, John Edwards, Tom Zubrycki, and Laura Sivis, together with overseas mentors US-based Laurie Scheer, UK based Anna Reeves and Anjum Rajibali from India, came on board for Mentorship Round 1.
Ana Tiwary says, `the most vital part of our program is our mentors, and we are extremely grateful to them for contributing their time and sharing their wisdom with the next generation of women filmmakers.'
Agreement forms between mentors and their prot?g?s set out how many times they meet and how many days they spend together. The mentorships are normally six months, but for some very busy mentors they can be restricted to four. `Once it's set up, we let them work out the details,' says Ana Tiwary, `and there is a mid-term evaluation and then a final evaluation – and, hopefully, a certificate.'
The program is just about to hold its first evaluations, but they have already had some feedback – and are asking for more. `We've already learned a lot, and we've made some improvements, but I'm surprised and pleased at how well it's going,' she says.
Deadline for Round 2 is 6 February; guidelines and the application form can be downloaded from the websitewhere there is also much information about the program and about those already taking part.
The program will establish mentor relationships between industry professionals and women who are seeking to further their careers in key technical areas such as Cinematography, Editing, Sound Design, Music Composition, Directing, Script Writing, Animation, Location Management, Media Law, Interactive Media and other areas in which women are consistently under represented.
All applicants will be invited to attend free workshops and forums and will have free access to the online forum i-Mentoring, as well as to podcasts of events. This is proving very useful for the number of applicants from regional NSW who do feel isolated. They can pose questions they have on a range of issues, including careers advice and technical concerns, and mentors are being encouraged to participate in this process.
Applicants will be welcome at the program's upcoming events, including a talk on media law by Sonia Borella and Cathy Hoyle at Holding Redlich (6-8pm, 21 January), scriptwriting workshop with Karel Segers at the Rex Centre in February, and the cinematography workshop with Piet de Vries at Getting Creative in March.
Tina Kaufman
Tina Kaufman is a freelance writer on film and media issues who was editor of 'FilmNews' for seventeen years. She is now an Honorary Life Member of both the Sydney Film Festival and the Film Critics Circle of Australia.
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White Hills - Stop Mute Defeat // Limited Edition Blue Vinyl LPs
RIYL: Wooden Shjips, Psychic Ills, White Manna, Mugstar
Label: Thrill Jockey
Something new from the White Hills is coming in May. The trailer video doesn't give us much to ponder, but judging by the album title and the tracklist, I would assume this is a politically motivated one. Just looking at the Thrill Jockey press release, we can see as such:
Hard-line, gritty, and intellectually engaged, Stop Mute Defeat is a New York record through and through. With this in mind, White Hills drafted Martin Bisi (Sonic Youth, Brian Eno, Afrika Bambaataa) to mix. White Hills recorded with Bisi on two of their previous releases, Frying On This Rock in 2012 and its follow-up So You Are…So You'll Be, however Stop Mute Defeat is the first time they worked with Martin "The Beast" Bisi in control of the mixing board. A native New Yorker who made his name in the city's early hip-hop and no-wave scenes, Bisi was attracted to White Hills' new material for its distinct early-80s Mudd Club feel. A dance hall, drug den, and bar, the Mudd Club was one of New York's legendary haunts in the late 1970's. As a center of a distinct art scene the club served as a major influence for White Hills and Stop Mute Defeat's sound.
Following similar techniques to those propagated by William S. Burroughs (a regular at Mudd Club), Stop Mute Defeat sees White Hills break free from the guitar-driven structure of their earlier releases. Reassigning William Burroughs' word "cut-up" technique to music, Dave W. and Ego Sensation deconstruct sound clips to create minimalist but rhythmically complex phrases. Title track 'Stop Mute Defeat' layers turbocharged bass loops with squalling guitar samples, to create a sound that calls to mind Xtrmntr-era Primal Scream. "If… 1… 2" goes even further down the rabbit hole, oscillating into the experimental electro-sound of early 80s Sheffield, UK band Cabaret Voltaire. Meanwhile the taut brawny grind of 'Attack Mode' industrially hardens White Hills' rock boundaries to tribal densities.
Appalled by the rampant consumerism and the proliferation of 'post-truth' mythology, White Hills' defiant lyricism is at their most philosophically scathing. Condemning doublespeak as "Subliminal seduction…a serenade with a grenade," the song "Overlord" laments political and economic opportunism, where "In travesty, [there's always] another dollar to be made." On "Attack Mode" meanwhile, a clenched-jawed Dave W. channels the perverse cynicism of Throbbing Gristle, throwing scorn on "societies where misogyny leads and the objectification of young girls runs free." Exposing Western vulgarity in bright light, Stop Mute Defeat is a fearless and necessary denunciation of the political and economic powers that be.
There is more, but I'll let you to it on your own at Thrill Jockey.
You can also buy it for a dollar more on the bandcamp, linked below.
https://whitehills.bandcamp.com/
1. Overlord
2. A Trick of the Mind
3. Importance 101
4. Attack Mode
5. If… 1… 2
6. Sugar Hill
7. Entertainer
8. Stop Mute Defeat
Stop Mute Defense - Trailer
thrill 440 - 2017
LP pressed on virgin vinyl and packaged in a gatefold jacket with free download coupon. A very limited supply is pressed on blue vinyl.
Generally Thrill Jockey keeps their pressing amounts pretty hush hush.
Andrew Saputo	Author, Assistant Photography Editor
I hail from the "Oregon Bayou", south of Portland, as an isolated rare vinyl enthusiast scouting West Coast bands for insider information. My music preferences are genres that make me feel anything. Anything at all. I need to feel something... Genres that make me feel more than others tend to be Alternative Wonky, Space Folk, and Chamber Rap, but I'm not exclusive in the slightest.


A poignant story about making peace with the past and opening your heart to love. Seventeen-year-old Holly Mullen has felt lost and lonely ever since her boyfriend, Rob, died in a tragic accident. But she has no idea that as she goes about her days, Rob's ghost is watching over her. He isn't happy when he sees his best friend, Jason, trying to get close to Holly—but as a ghost, he can do nothing to stop it. As their uncertain new relationship progresses, the past comes back to haunt Holly and Jason. Her Alzheimer's-stricken grandfather claims to be communicating with the ghost of Rob. Could the messages he has for Holly be real? And if so, how can the loved ones Rob left behind help his tortured soul make it to the other side?
Wherever You Go is told from three different views, 1st, 2nd, and 3rd. Yes, you've heard me right and for the most part, although I admire Heather Davis for trying something new, it just did not work for me. In fact, it hindered my ability to really get into the story.
The first person point of view is told through Holly, a teenager with way too much responsibility for her age and not enough friends (it seems like) to even things out. Her boyfriend, Rob, had just died in the car accident that Holly happened to be in the car with at the time of the collision. His friends seem to blame Holly, for supposedly being drunk at a party, and have given her a hard time since Rob's death.
The second person point of view is done through Rob, who has died. For some reason he has not been able to move on into the other world and he has no idea why. I think this was my least favorite view point and (in my opinion) should not be used unless you are writing a letter. We know it is Rob, but it is being told like we are Rob and we are being told what to do. It is also told in present tense. For example "You are doing this." and I just didn't really feel for this point of view or the idea that it was in present tense. After all, every writer learns that it is important to pick a point of view and stick to it (same with tenses). During this view point, however, we get a better look at Aldo, Holly's Grandfather who is suffering from Alzheimer's. When I picked up Wherever You Go, my Mom had just lost her best friend from early onset Alzheimer's. Needless to say, the topic really touched home on that front.
The third person point of view is about Rob's friend, Jason. His friend's grave is barely cold when he swoops in for the kill — er, to sweep Holly off her feet. He also, typically as most "good guys in novels" are, attractive and rich. (Oh and you know Holly lives in a small cluttered apartment with her barely there Mother, her little precocious little sister, and now has to babysit her sick Grandfather. So naturally, Holly needed a rich Prince Charming to sweep her out of her "horrible life".
My favorite character in the entire novel was Aldo, as he had so much depth. A typical Italian grandfather, it was sad to watch his mind go and that he was aware that his memories were fading to disease. To make sure he would not forget certain things, he made a list and asked that his granddaughter, Holly, help him to remember these particular events in his life. I found that aspect of the story charming and memorable. Holly's dedication to her Grandfather's care has much to be admired. If only all teenagers showed that much dedication to family (with little complaint) and much maturity so early on in life.
On the other hand, I felt that Holly lacked in character depth. Her boyfriend, who she was supposedly in love with — just died and she really pushes those feelings deep inside her that I often wondered if it really even affected her. Her apathy to her situation(s) really bugged me. Does she not have huge resentment for having to be so heavily relied on by her mother to take care of the house, her Grandfather, and her little sister? Her Mother also did a great job of throwing out the guilt and playing the victim card that it made me feel sorry for Holly.
I was not a fan of the multiple points of view and tenses, and some things (which will be discussed in the spoiler) bugged me about the characters /situations — but some aspects of the story, such as Aldo dealing with his Alzheimer's were truly charming. Although I am not a huge fan of the novel, it does have it's warming moments and I know many other people enjoyed the read tremendously. You just may be one of them!
I love your "show" button. That is a fantastic idea and it looks professional. Great review also.


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El Country Club Plaza es un centro comercial del Distrito Country Club de Kansas City, Misuri, Estados Unidos.

El centro consta de 18 edificios separados que representan 74 694 metros cuadrados de espacio comercial y 43 478 metros cuadrados de espacio de oficinas Fue el primer centro comercial del mundo diseñado para acoger a los compradores que llegasen en automóvil.

Fue promovido por J. C. Nichols. La construcción del centro comercial fue anunciada en 1922. Tiene edificios de estilo español. La primera manzana del centro comercial abrió en 1923. J. C. Nichols visitó Sevilla en la década de 1920 y quiso construir una Giralda en el complejo en 1929 pero finalmente el proyecto no se llevó a cabo. En 1950 el centro comercial pasó a estar a cargo de su hijo, Miller Nichols.

Miller Nichols construyó hoteles y apartamentos en el entorno. En 1966 Sevilla, siendo su alcalde Félix Moreno de la Cova, y Kansas City, siendo su alcalde Ilus W. Davis, se hicieron ciudades hermanas. Miller Nichols visitó Sevilla ese mismo año. En 1967 se construyó en este centro comercial una réplica de la Giralda de aproximadamente 40 metros de alto y una réplica de la fuente de la Plaza Virgen de los Reyes de Sevilla. Sevilla, por su parte, tiene una avenida con el nombre de Kansas City y un monumento conmemorativo, «El Explorador».

Referencias

Enlaces externos
 Web oficial del centro comercial Country Club Plaza

Centros comerciales de Estados Unidos

redpajama_set_name: RedPajamaWikipedia


Penne alla Bolognese is my ultimate comfort food and my strongest culinary memory of growing up. It's the dish I make now for tradition (every Christmas), in times of crisis or stress, or for no real reason at all (it's Sunday! Bolognese night!). This recipe comes from my father, Don Roberto (er, Bob), who got it from his Sicilian mother, Felicia. She cooked it with one, very unexpected, secret ingredient that is now yours to try.
Heat olive oil and butter in pan over medium heat, adding chopped onion once the butter has melted and begun to foam. Stir in garlic or garlic powder. Cook until translucent and fragrant, about 5 minutes.
Add meat to pan, crumbling as it browns and cook just until it's no longer pink. Season with a pinch of salt, Aleppo pepper (or red pepper flakes), tomato paste, red wine, mustard, and sugar. Mix well and allow to cook down until everything's starting to thicken, about 5 minutes.
Add tomatoes last and bring everything to a boil. Turn the heat to low and let simmer for at least 1 hour, but ideally 2. Stir occasionally, do not cover.
When you're just about ready to serve, cook pasta according to package directions. Add pasta to pan with meat sauce and stir to combine. Add ¼ cup or so of the pasta's starchy water to the sauce and stir to combine everything.
Top with a large glob of ricotta (do not stir it in) and drizzle with very good extra virgin olive oil. Serve warm.


In today's post I wish to share a few more photos and some info re: Knossos, Crete, specifically pertaining to the palace. Knossos was the capital of Minoan Crete, and had the largest and most sophisticated palace on the island. The palace had more than 1,000 rooms. The archaeologist and excavator Sir Arthur Evans determined that the palace was three to five stories high.
South Propylon. Entrance to palace at Knossos Crete. Photo ©Leon Mauldin.
Some of our group are among the people in this photo; it was a cool, brisk March morning as you can tell by the coats most are wearing.
This monumental pillared gateway was the entrance to the palace on the south side. It was decorated with the Cup-Bearer figured. See photo below.
Cup-Bearer Figure decorating South Propylon. Knossos Crete. Photo ©Leon Mauldin.
The throne room is thought to have been used as council and and law court for King Minos and the priesthood. See photo below.
Throne Room for King Minos. Knossos Crete. Photo ©Leon Mauldin.
Note the griffins which "guarded" the throne. These mythical beasts with eagle's head and lion's body are thought to have symbolized royal and divine power. In the floor you see a basin, used for ritual cleansing.
North Entrance for the Palace. Knossos, Crete. Photo ©Leon Mauldin.
On the west side of the palace is the theater. It was a stepped court located at the end of the Royal Road. Some suggest its usage was for rituals associated with the reception of visitors.
Stepped Theater at Knossos, Crete. Photo ©Leon Mauldin.
The theater steps would have seated about 400 people.
Remember to click on images for higher resolution.
This entry was posted on Tuesday, July 20th, 2010 at 11:46 AM and is filed under Archaeology, Bible History and Geography.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
I would like to use your theater picture on my article named Ancient Grek Theatres. If you get permission I will be glad.
I will references as Stepped Theater at Knossos, Crete. Photo ©Leon Mauldin.
Send me your email address and I will send you a high resolution copy of the photo.


text:
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Fare-free and frequent?
2nd April 1971, Page 24
Page 24, 2nd April 1971 — Fare-free and frequent?
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Keywords : Greater London Council, London Transport, Bus, Fare, Bus Transport In The United Kingdom, London Transport Executive
• Concern that London would lose all its buses soon has been expressed in evidence submitted to the public inquiry into the Greater London Development Plan. And in a 24-page document Fare-free and frequent, the London Passenger Action Confederation has replied to the GLC's Green Paper on the future of London Transport, and warned that lack of action to stop the present trend could lead to London's bus services becoming virtually extinct by the early 1980s.
The Confederation echoes the concern expressed in CM on January 2, 1970 that the decline in London's bus services must be arrested if there is to be any future for the undertaking. It points out that in the past 20 years the number of passenger journeys on LTE buses has dropped steeply from 4500 million a year to 2500m. A fares-free
system is advocated by the Confederation, which represents about 30 public transport users' associations.
Also advocating a fares-free system is Mr Larry Smith, national secretary, passenger services group of the TGWU, in an eight-page objection to the GLC's motorway box proposals. In his evidence to the public inquiry, Mr Smith claims that if the entire cost of building the motorway box was used instead to finance public transport, the capital could have a fares-free system for about the next 20 years. No real attempt has been made to undertake a costbenefit analysis of such a proposal, he alleges.
In fact Mr Smith believes that the whole concept of the London motorway project is an abject surrender to private transport, diverting capital resources and labour away from far more urgent and economically rewarding ventures like homes, schools and hospitals.
Mr Smith claims that by turning to private transport, the public have demonstrated their disappointment with the quality of service offered, and its increasing cost.
Organisations: London Passenger Action Confederation
People: Larry Smith
Locations: London


Only 42 per cent of employees around the world know their company's vision, mission and values, according to a December survey of 300 global organisations that yielded 40,000 responses. The survey also found that some companies completely forgo a formal vision or mission statement.
Employee ignorance of employers' vision, mission and values can often be chalked up to senior managers' lack of communication with their staff.
Failing to communicate your organisation's vision, mission and values can lead to a significant drain on employee morale. According to the survey, management transparency is the most important factor in determining employee happiness, which requires ongoing dialogue between management and staff about organisational goals.
When senior management neglects to share this information, employees can feel like their positions are precarious and the company's direction is off course, leading to low morale and even lower productivity.
Transparency is key. Write a vision or mission statement if your company does not have one. Keep it short—no longer than three or four sentences. Get input from employees during the drafting process to involve everyone.
If your organisation already has a vision and mission statement, start communicating them immediately and watch employee morale rise.


Our specialization — launch of products on the market and their development.
We have resources for work at all stages — strategy, design, development and promotion and support.
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A thrill ride through time that will make you hold your breath.
Sitting by the campfire, Brandy admitted a secret to her friends. She swore she saw a ghost when exiting a cave earlier that day. Was she seeing things? Did they believe her? The next day, breaking a cardinal rule, she snuck back to the cave alone. No one knew where she was. What if she fell or was trapped? There would be no rescue.
For ten thousand years Alexander had kept the time streams of this universe safe from an eternal destructive force that continually threatened to tamper and destroy all. Locked in an unremitting battle, the two foes become sidetracked by an unexpected visitor. An entangled journey begins with chilling twists and turns until becoming locked into an inescapable death deep within a submerged cave.
Who will come out of the watery depths alive?
Preorder from the publisher. Use code: PREORDER2018 to receive a 10% discount!
Tina O'Hailey (author of animation text books "Rig it Right" and "Hybrid Animation", professor in animation, visual effects and game programming, caver and occasional mapper of grim, wet, twisty caves—if she owes a friend a favor or loses a bet—whose passion is to be secluded on a mountain and to write whilst surrounded by small, furry dogs and hot coffee) was struck by lightning as a baby.
Brandy and her friends are cavers and one night after a day of exploring, she admits to her friends that she thinks she saw a ghost. Of course no one believes her so Brandy goes back in the caves alone. After getting trapped she wakes to find a gorgeous man standing over her. Alexander is a Time Watcher that can manipulate time. He is trying to keep everything going well. Yindi on the other hand is trying to cause total destruction.
This was an interesting read. I really liked the Brandy and Susan story. Tina O'Hailey clearly knows her stuff when it comes to caving and made me feel right there with the women as they explore.
I love the idea of the Time Watchers and although they pity the linears, people that are believed to be stuck in their times. I admit that I was a little lost in the beginning and I don't completely know which side Alexander and Yindi are going to end up on let along what they are planning. But it was a great change from the regular paranormal characters.
This is a wonderful story with a hint at a prequel that I think will help clear up some of my questions. But I liked the book and think it's a fresh look at a fantasy story.
Brandy has rappelled into a pit and in the process became knocked unconscious, just missing breaking her neck, and was hanging from the rope inches from the bottom of the pit. Alexander plucked her from the rope and she came to. The tables turn and she thinks she is rescuing Alexander.
She paused, feeling the strength of his hand around hers.
"Did you have a light?" Brandy asked.
"A flashlight, yes. I lost it in a crawl. It rolled into a crevasse." He held out his hands, a what could I do gesture.
"I was rushing," said the man who had no need to rush.
"Yes." Brandy dropped her gaze to avoid his intense eyes. "We need to get you out of here." Brandy drug her pack to rest between her ankles and began returning the contents of her pack with care and dedication to the precise placement of the items. They disappeared one by one.
Alexander watched her movements without commenting.
"Here, use this." She handed Alexander a light. He held it in front of him and eyed it suspiciously. "It goes on your head. I mean, it should go on a helmet, but your head will do." She took it from him, pulled the elastic bands out then motioned for him to lean closer. Alexander lowered his head so she could place the light on his skull, the elastic band whisking across his hair. She leaned in close, her breath warm on his ear as she adjusted the straps. The goal of affixing the light met, Brandy paused and became conscious of how close she was to Alexander. She smiled a quick nervous smile and exhaled, "There." Then sat back from him.
"Oh yeah?" Brandy slung the backpack across her shoulders but made no attempt to start moving.
#FORLINEARS puzzle: Please check out the virtual blog tour and you might find some embedded fun in the imagery.
(https://www.rachelsrandomresources.com/absolute-darkness) In fact, I dare you. Can you find the hidden puzzles that lead to an autographed book give away? First one to figure it out wins an autographed book.


Advancing age is an unmodifiable risk factor for cardiovascular disease, and by the time men reach middle to older age, manifestations indicating the onset or presence of disease are commonly apparent.
An inverse relationship exists between age and testosterone levels, and some data suggests that low circulating testosterone may be an independent risk factor or even a predictor of vascular-event risk, which extends beyond a mere age-related phenomenon (Yeap et al., 2009).
Recent cross-sectional data found that in a group of men with type II diabetes, 31 per cent had low testosterone and in that sub-group, there was a significantly greater degree of risk factors related to vascular morphology and function compared to those with normal testosterone levels (Farias et al., 2014). In some cases, testosterone supplementation has improved cardiovascular outcomes and it is often prescribed under this premise (Handelsman, 2013).
In a low-normal testosterone research population, we are investigating what effect 12 weeks of testosterone administration or combined aerobic and resistance exercise training has on numerous outcomes of vascular function and structure. In addition, we seek to determine whether the combination of testosterone and exercise training provides any additional benefit compared to either intervention alone.
Previous research by our team has identified that regular exercise can induce improvements to vascular health. This project will help us determine what effect increasing testosterone by exogenous means has on vascular health, how it compares to exercise derived changes, and if there is justification to combine these interventions for added health benefits in those with low-normal testosterone.
Read more about our exercise research and our cardiovascular research group.
Green, D. J., Eijsvogels, T., Bouts, Y. M., Maiorana, A. J., Naylor, L. H., Scholten, R. R., Spaanderman, M. E., Pugh, C. J., Sprung, V. S., Schreuder, T., Jones, H., Cable, T., Hopman, M. T., Thijssen, D. H. J. (2014). Exercise training and artery function in humans: nonresponse and its relationship to cardiovascular risk factors. J Appl Physiol 117: 345–352.
Yeap, B. B., Araujo, A. B. & Wittert, G. A. (2012). Do low testosterone levels contribute to ill-health during male ageing? Crit Rev Clin Lab Sci 49(5-6), 168-182.
Yeap, B. B., Hyde, Z., Osvaldo, P. A., Norman, P. E., Chubb, S. A. P., Jamrozik, K., Flicker, L. & Hnakey, G. J. (2009). Lower testosterone levels predict incident stroke and transient ischemic attack in older men. J Clin Endocrinol Metab 94, 2353-2359.
Handelsman, D. J. (2013). Global trends in testosterone prescribing, 2000-2011: expanding the spectrum of prescribing drug misuse. Med J Aust 199, 548-551.


OhioHealth acquired 6805 Perimeter Drive (106,980 square feet).
Nexeo Solutions leased 91,609 square feet at 6000 Parkwood Place, which was the largest lease transaction in the Columbus Region in 2018.
Colliers reports that factors such as parking ratios and amenities, in addition to incentives, have been the key location decision drivers for office tenants in the Columbus market.
The Dublin Corporate Area Plan, adopted by City Council in September 2018, seeks to implement strategies that will ensure Dublin's "legacy" office buildings remain competitive and attractive. These strategies include updated zoning regulations that allow a wider range of uses including the amenities that are critical to attracting a talented workforce, as well as the neighborhood commercial development planned on City-owned land on Rings Road between Frantz Road and Blazer Parkway that will provide necessary housing and other commercial amenities such as restaurants and service-oriented retail.
Approx. 42 companies located in Dublin, renewed leases, and/or expanded in Dublin without local incentives in 2018, resulting in over 750 jobs retained and approximately 68 new jobs.
Office vacancy increased 3 percentage points to 11.1% with 288,368 square feet vacated in 2018. Despite the modest increase in vacancy, income tax withholding revenues increased from $81.3 Million in 2017 to $88.1 Million in 2018.
The 91,609 square foot Nexeo Solutions lease was the largest lease transaction of the year for the entire Columbus Region.
Industrial vacancy remains critically low at 3.34% vacant. Most of the available space is old and outdated, which can be challenging to attract new companies seeking open floor plans, such as IT, high tech, R&D, as well as lab companies.
Retail vacancy fell from 1.2% in Q4 2017 to 0.14% by year end 2018.
The Economic Development Division evaluates Dublin's commercial real estate statistics on a quarterly basis with data provided by Colliers International, a commercial real estate services and brokerage firm. Quarterly reports include vacancy rates, market absorption, and rental rates, in addition to a high level narrative summarizing Dublin's position in the regional commercial real estate market. We also use data from other sources (Columbus 2020, NAIOP commercial real estate development association, Site Selection magazine, etc.) as a supplement to the quarterly commercial real estate statistics for additional insights and to evaluate overall market trends.
Our most important source of information is business retention and expansion (BR&E) visits. Regular interaction with the Dublin business community, in addition to building owners and brokers, provides us insight and direct customer feedback to develop value-adding programs and resources to reduce time, risk, and money for our business community. This sets economic conditions that make Dublin a desirable place for business – an incentive in and of itself.
Check out the detailed Q4 commercial real estate report posted here for more insights, and then contact us at rray@dublin.oh.us or 614.410.4630.


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2018 Jaguar F-Pace 25t R-Sport
In Luxury, Reviews, Sport
Louis Vo
From the outside, it's quite easy to see how the F-Type sports car influences the F-Pace.
What do you value in your family appliance? Some may value maximum versatility, while others hold on to the sports car credentials they had to give up when moving to a more family-friendly vehicle. Others like the look and feel of a premium luxury crossover, with performance being secondary on the list of priorities. Thankfully, the choices out there today are numerous, and all chase their own ideals. We recently tested the new BMW X3 M40i (reviewed here), which prioritized performance over looks. One of the more pragmatic choices in the same segment is Jaguar's F-Pace. Available for sale since the 2016 model year, it offers up a blend of great looks and performance, with supercharged V6 engines producing lots of power and good noises. New for this year is an F-Pace with a more sedate four-cylinder engine, and we were sent a "Carpathian Grey" 2018 Jaguar F-Pace R-Sport 25t for evaluation.
The F-Pace follows an interesting approach to model evolution. Automotive product planning has often introduced mainstream models first, in order to target the largest chunk of the market. Then, to keep things interesting, more powerful models get added to the mix. Jaguar, has done things a little differently. As of this writing, the F-Pace SVR has just been announced, stuffing a supercharged 5.0L V8 under the hood, producing 550 horsepower, and bringing the gauntlet to Mercedes-AMG with a go-fast hyper crossover. It won't be available until later this year, but as interesting as the SVR is, the important model for Jaguar is this simpler 25t.
We've tested the Jaguar F-Pace 35t (reviewed here), which was powered by a supercharged 3.0L V6. The 25t is one of the "in-between" models, though it is priced lower than the diesel-powered 20d. Contrary to popular belief, the 25t isn't actually powered by a 2.5L engine, but rather a 2.0L four-cylinder gasoline engine, hailing from the new Ingenium family. It features an all-new in-house modular design, utilizing direct-injection, a twin-scroll turbocharger, and even some valvetrain technology borrowed from Fiat-Chrysler: their electrohydraulic MultiAir intake valve control system. Coupled with a strong focus on low-friction technologies, the engine in the F-Pace 25t produces 247 horsepower at 5,500RPM, and 269 lb-ft. at a useful 1200-4500RPM. Power is routed to all four wheels via ZF's excellent eight-speed longitudinal automatic transmission.
Most of us here are very accustomed to how the V6 F-Pace feels, and we expressed some reserved doubts that the base 247hp gasoline would fare. This is one of those engines that punches above its weight, thanks to the versatile torque output. The revs barely need to come up from idle in order to make full use of the 269lb-ft. of torque. The ZF eight-speed automatic also does a great job making the most of that torque, keeping the revs in the meat of the power band. Jaguar Canada quotes the 0-100km/h time at 6.8 seconds, but this base engine falls well in-line with its immediate competition: think of the BMW X3 30i, Mercedes-Benz GLC 300, Audi Q5, Lexus NX 300, Volvo XC60 (reviewed here), and the list goes on. If this isn't quite enough for you, there's also the 296hp F-Pace 30t, with more powerful version of the same Ingenium 2.0L gasoline four-cylinder engine.
One of the bonuses of opting for a more relaxed engine in the Jaguar F-Pace is the improved fuel consumption. Jaguar Canada estimates the F-Pace 25t at 10.7L/100km in the city, 8.8L/100km on the highway, and 9.9L/100km in a combined cycle. During my week of mixed city and highway driving, I ended up at an indicated average of 10.3L/100km. Winter tires and low temperatures affected these numbers, though the idle start-stop helps in the city, somewhat. Comparing informally to the more powerful F-Pace S, you'd be looking at approximately a 25% penalty in fuel economy in mixed driving. The fuel tank will hold 63L of premium 91-octane fuel.
Outside, the F-Pace 25t doesn't give up much in terms of its overall looks – it's quite easy to see how the F-Type sports car (reviewed here) influences the F-Pace. The base 25t Premium steps you down to halogen headlights and imitation leather seats, but I suspect most buyers will opt for the Prestige, which adds a lot of the features people expect in a luxury crossover. My particular R-Sport tester comes fully loaded with 20″ wheels, adaptive LED headlights, and more blacked-out trim. Inside, you get the usual Jaguar interior design, including that nifty rotary gear selector knob, and the updated InControl Touch Pro infotainment interface. While the screen resolution is decent for its size, the continued omission of Android Auto and Apple CarPlay means the F-Pace continues to lag behind many of its competitors. Taking a look around, the large panoramic roof allows lots of light in, and the available 17-speaker Meridian Surround Sound system lets you play great-sounding music.
The most affordable way to get into the Jaguar F-Pace is with the 25t, starting at a base price of $50,250. Stepping into the 25t Prestige will cost you $54,750, and the loaded 25t R-Sport starts at $60,000. This particular tester was also equipped with "premium metallic" Carpathian Grey paint, which adds $1,640 to the subtotal, and the $3,320 Technology Pack, which adds the improved InControl Touch Pro, digital LCD instrument cluster, and the Meridian Surround audio system. The $1,130 Adaptive Dynamics Pack allows for fine-tuning of various mechanical parameters, such as engine/transmission behaviour, suspension damping settings, and steering weight settings. The $3,320 Driver Assist Pack was also selected, which adds radar adaptive cruise control, a 360-degree surround camera, and active parking assist. The trademark Jaguar-Land Rover heated windshield adds $440. All in, there is over $12,000 in options here, bringing the total as-tested price to $72,100.
In terms of price, there's a lot to consider, in this segment. BMW's new X3, in both 30i and M40i, are well-rounded machines, with good dynamics, though they don't quite have the universal good looks of the F-Pace. Mercedes-Benz and Mercedes-AMG offer their GLC 300 and GLC 43 at price points that match up with surprising value, if you manage to exercise some restraint with the options menu. Audi's new Q5 and SQ5 (reviewed here) offer up more of that usual low-key Audi performance and style. The common denominator between all three of these German competitors is that they all offer six-cylinder power, at less money than what Jaguar asks to get you into an F-Pace S.
Over $70,000 for a loaded luxury crossover with four-cylinders is a lot of money, but one needs to consider how versatile the F-Pace model lineup is, nowadays. For those chasing those good looks, with an eye to either fuel consumption, or not getting an overpowered everyday vehicle, the 25t represents an interesting argument. Those who want the power, drama, and all the goodies can still opt for the F-Pace S, but the 25t and 30t represent a much more realistic option for the majority of the market. Let's be honest: it is unlikely these mid-size luxury crossovers will see much time off the beaten path, let alone the racetrack, so it's no surprise that Jaguar is redirecting much of its resources into ensuring their new Ingenium engines are more than up to the task. Adequate power output and agreeable power delivery means the F-Pace 25t and 30t should quickly become the volume sellers for Jaguar.
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