text:
The Magnificent 60s
by Brian Hannan
Tag: Africa
Africa – Texas Style (1967) ***
Falling into the unusual category of Saturday afternoon matinee with a message, American cowboy Jim Sinclair (Hugh O'Brian) and sidekick Jim Henry (Tom Nardini) hightail it across the Atlantic to help the wildlife conservation efforts of game rancher Wing Commander Hayes (John Mills) who faces sabotage at every turn by another rancher Karl Bekker (Nigel Green). It combines Hatari!-style action and interesting storylines with Disney-animal-cuteness (a domesticated zebra called Pyjama Tops).
To get the conservation element out of the way – Hayes is concerned that letting animals roam free will result in overgrazing, turning the countryside into a dustbowl and endangering a variety of species. That Hayes is already talking about animals becoming extinct is way ahead of the common perception of Africa at the time. His plan is to round up the wild animals and fence them in, this kind of ranching preventing foodstocks becoming depleted. Bekker's objection is that wild animals carry infections such as East Coast Fever that will endanger his herd.
Romantic interest is supplied by the already-engaged nurse Fay Carter (Adrienne Corri) while orphan Sampson (Charles Malinda) tugs at the heart strings. There is a fair measure of authenticity, glorious aerial shots of elephants and buffalo and other species, tribal dances by the Masai while the Sinclair/Henry rodeo-style method of catching wild animals, with lasso rather than giants nets as in Hatari!, ramps up the excitement quotient, not least when Sinclair goes one-on-one with an enraged rhino. As you might expect, there is also ample opportunity for Sinclair to encounter a deadly snake and crocodile and it wouldn't be an African picture without a stampede.
Although villainous, Bekker is not without logical argument, not just the fear of infection which would decimate wildlife as much as soil erosion, but his own concerns that taming wild animals would upset the balance of nature, and, on a personal level, the lack of respect for territorial rights. Of course, when push comes to shove, he resorts to rifle and fist to settle arguments.
Atmospheric, well-made, engaging and at times exciting, there is enough going on here to keep the picture ticking along – a hunt for a lost and bewildered Sinclair, questions about home, and the spectacular wildlife rodeo show. Unlike Born Free (1966) and any other animal picture for that matter although wildlife takes narrative center stage we are not subjected to countless cute four-legged specimens.
Hugh O'Brian (Ambush Bay, 1966) could be a latter-day Tarzan (or more correctly Jungle Jim since he is never in loincloth) but Scottish actress Adrienne Corri (The Viking Queen, 1967) is less jungle adventuress more principled counter to his easy manner. With every chance to rely on the stiff-upper-lip of an English war hero, John Mills (The Family Way, 1966) does anything but and turns in another engaging performance and if you are looking for a decent chap to deliver a conservation message he is definitely your man without being obsessively annoying. Nigel Green (The Skull, 1965) adds to his portfolio of interesting characters as a smooth-talking rough-edged bad guy while Tom Nardini (Cat Ballou, 1965) impresses. Look out for a fleeting glimpse of Hayley Mills at the start.
Director Andrew Marton, who had been involved in helming The Longest Day (1962) and second unit director of Ben-Hur (1959) and Cleopatra (1963), was something of a wild animal specialist with Clarence, the Cross-Eyed Lion (1965) in the kitty as well as a dozen episodes in total of television series Flipper (1965) and Daktari (1966). But he is at home as much with the human aspects of the story as with the animal. Producer Ivan Tors was a sometime rival to Walt Disney in the family film market with Flipper (1963) and Zebra in the Kitchen (1965) as well as small-screen Flipper and Daktari.
Mistakenly described on imdb as a TV pilot, this was a genuine feature film that happened to produce a television spin-off series Cowboy in Africa. It was screened for the trade in the U.S. on May 5, 1967, reviewed in the feature film section of Variety on May 17, and its U.S. box office figures can be tracked through Variety – opening in 1967 in San Francisco and Kansas City in June, for example, Baltimore in July, Detroit in August and Boston and Louisville in September. In some situations it was double-billed with El Dorado (1967).
CATCH-UP: John Mills' versatility can be seen from movies already reviewed in the Blog: The Truth About Spring (1965), Operation Crossbow (1965), The Wrong Box (1966) and The Family Way (1966).
Author Brian HannanPosted on October 1, 2021 September 30, 2021 Categories DramaTags 1960s film, Adrienne Corri, Africa, Andrew Marton, Charles Malinda, conservation, Hugh O'Brian, Ivan Tors, John Mills, Nigel Green, Tom Nardini, wild animals2 Comments on Africa – Texas Style (1967) ***
Book Into Film – "She" (1965)
Hammer made a substantial number of changes for its version of She. For a start, H. Rider Haggard's novel was published in 1886, three decades before the time in which the film which took place at the end of World War One. While the three main characters – Horace Holly (Peter Cushing in the film), his manservant Job (Bernard Cribbins) and the younger Leo (John Richardson) – remain the same, their relationships are significantly different, in that in the book Holly is the legal guardian of Leo.
The book is far more Indiana Jones than sheer adventure, the journey into the unknown instigated by a piece of parchment and a translation of a potsherd from the fourth century B.C. In the film the spur towards the journey into the unknown is a vision. But in the book the adventurers already know before they set off that ancient Egyptian high priest Kallikrates found Ayesha and the sacred flame and was killed by her because he loved another.
Unlike the film the book has no trek through the desert either which renders them hungry, thirsty and exhausted and leads to visions of Ayesha for Leo. Instead, they are shipwrecked. And their peril comes from swamps and wild animals such as lions and crocodiles. In fact, the filmmakers clearly resisted the opportunity to include one of the tropes of jungle adventure, namely a wild animal battle, in this case crocodile vs. lion, which was a feature of the book.
While they shoot a water buck for food, nonetheless they do later face exhaustion, only rescued by the sudden appearance of an Arab, who mentions She-Who-Must-Be-Obeyed and arranges for them to be transported in litters to a mysterious land in the heart of African darkness. This land is rich and fertile, with herds and plenty of food.
Two important elements introduced here shape the book but are ignored in the film. The first is that Leo, seriously ill at this point – and not capable of being strung up for the movie's sacrifice – remains ill for the rest of the book so that it is Holly who enjoys most of the encounters with Ayesha. Secondly, and a rather advanced notion for the times, the women in this country are independent, neither considered chattels nor subordinate to men, and are free to choose their own lover. But it is only now that Leo meets Ustane (Rosenda Monteros) rather than in the film which brought them together almost immediately. Here, they also meet Billali (Christopher Lee) whom Holly rescues from a swamp.
With Leo still ill, it is Holly who first encounters Ayesha, who dresses as she will in the film, in a gauzy white material. In the writer's eyes her beauty lay in her "visible majesty" as well as more obvious physical features, which could not be dwelt on at such length in a Victorian novel. Holly falls in love with her on the spot, even though he is "too ugly" to be considered a potential suitor, and learns of the fate of the earlier Killikrates and also catches a glimpse of her bemoaning her fate, imprisoned in immortality for two thousand loveless years.
"It is hard for a woman to be merciful," proclaims Ayesha as she puts to death the villagers. Throwing them down the pit was invented by the screenwriters. By this point Leo is nearly dead and only saved by a phial administered by Ayesha. She also decrees that Ustane must die because "she stands between me and my desire." In the film it is Leo who intervenes to attempt to save Ustane. But in the book it is Holly. He blackmails Ayesha, threatening to reveal her secret, that she had killed Killikrates in the past. Ustane claims she has taken Leo as her common-law husband. Ayesha promises to spare Ustane if she will give up her claim to Leo and go away. But Ustane refuses. In the book, there is an astonishingly visual and terrifying scene where, in revenge, Ayesha claws at Ustane's black hair, leaving there the imprint of three white fingers.
It is the film that introduces the element of palace intrigue, with rebellious subjects and Billali believing he is entitled to immortality. That is not in the book.
When Leo finally wakes up, he is reunited with Ustane, but Ayesha catches them and kills Ustane, not by throwing her down the pit, but by her magic power. Despite being appalled, Leo cannot resist Ayesha. Even so, he is fully aware of his predicament, believing he has been "sold into bondage" and forced to love a murderess. But when she enters the sacred flame – naked, it has to be said, in the book, which was an exceptionally daring image for that era – she dies.
Holly in the book is more a narrator than a protagonist and shifting the emphasis more squarely back to Leo suits the film's dramatic purpose. There was no real reason the film could not have followed the thrust of the book except that it would perhaps cost more costly to bring a jungle and swamps to life than a desert and arid mountains. More importantly, perhaps, was the need to introduce the physical Ayesha more quickly than in the book.
It is worth pointing out that the concept of She-Who-Must-Be-Obeyed was not so alien to British readers. After all, when the book was published, the country was ruled by a woman, Queen Victoria. And although democracy had reduced elements of her absolute power, the people still had to bow down before her. In addition, the British celebrated the rule of a previous female monarch, Queen Elizabeth I, who had been an absolute ruler, in the days before there was any notion of democracy and Parliament, and in those days anyone who opposed such a figure was liable to meet as swift a death as that meted out by Ayesha.
Author Brian HannanPosted on September 7, 2021 September 4, 2021 Categories Books Adapted into Films, HistoricalTags 1960s film, adaptation of bestseller, Africa, Ayesha, Bernard Cribbins, Christopher Lee, Egypt, John Richardson, jungle, Peter Cushing, She Who Must Be Obeyed, Ursula Andress, Victorian4 Comments on Book Into Film – "She" (1965)
She (1965) ****
Ursula Andress certainly knows how to make an entrance. Emerging out of the sea in a bikini in Dr No (1962) proved a Hollywood calling-card but failed to put her center stage. She fixed that with She and dominates this superior adventure hokum. Studio Hammer lucked into a solid piece of storytelling, a classic, and all it had to do – with the help of a bit more finance than was usual for their productions courtesy of MGM – was not muck it up.
Three soldiers are celebrating the end of the First World War in a Palestinian night club and while archaeologist Holly (Peter Cushing) and his bowler-hatted valet Job (Bernard Cribbins) are tripping the light fantastic with belly-dancers, blond-haired Leo (John Richardson) is seduced away by Ustane (Rosenda Monteros) because he bears a stunning resemblance to an ancient medallion. Encountering a vision of Ayesha (Andress) he is urged to embark on a dangerous journey to the lost city of Kuma where she awaits.
Despite the theft of their camels and loss of water, the trio trek exhausted across desert and mountains, Leo sustained by his vision, by the fact that he seems to know the way and with the assistance of Ustane. But a savage tribe reckon Leo would make an ideal sacrifice to the gods. Just as the tribe are driving themselves into ritualistic frenzy, high priest Billali (Christopher Lee) comes to the rescue, escorting the explorers into Kuma.
The regal Ayesha is as beautiful in the flesh as in the vision, but more ruthless, condemning slaves to a terrible death for disobedience and, noting the attraction between Leo and Ustune, planning also to rid herself of her rival. Leo's arrival will fulfil an ancient prophecy with the Englishman attaining immortality, and he seems to be able to "float through the sea of time" and remember events from two thousand years ago. However, Ayesha has a dubious past, providing one of several unexpected twists.
Most films of this sub-genre rely on improbable mumbo-jumbo and are loaded down with wearying amounts of exposition. But here is nothing but clarity, the ancient backstory tale told with minimum visuals and verbals and the intellectual sparring between Holly and Ayesha on the one hand and the archaeologist and the high priest on the other are intelligently-put, presenting opposing options for the development of civilisation, absolute monarchy vs. democracy and immutability vs. change.
But that takes place within a highly-charged drama, the enfolding romance between Ayesha and her chosen man both touching and perilous, while the battle for the life of Ustane is brilliantly presented. Lack of reliance on special effects and art direction utilizing the MGM millions – the mountain-sized statue outside Kuma (prefiguring perhaps Game of Thrones) and the set for Ayesha's room especially magnificent, as is her golden crown – prevents the picture falling into the camp camp. Instead, it emerges as an adventure classic.
Ursula Andress (4 for Texas, 1963) is stunning, every inch a goddess and yet believably mortal. Her looks tended to mask her abilities and while she rarely received credit for her acting she holds her own in some redoubtable company. John Richardson (Black Sunday, 1960) doesn't quite step up and remains more a creature of adoration. But the supporting cast more than compensates. Peter Cushing (The Skull, 1965) has had a persona transplant, replacing his normal grim demeanor with fun and enthusiasm, not lacking courage where required, and delivering a very fine performance. Bernard Cribbins (Crooks in Cloisters, 1964) provides the humor. And we still have Christopher Lee (The Gorgon, 1964), filled to bursting with self-entitlement, in malevolent form, Andre Morell (The Vengeance of She, 1968) and Rosenda Monteros, scandalously under-used in films since The Magnificent Seven (1960). It's interesting to see Cushing and Lee, who dealt with immortality in the Dracula series, engage in conflict without coming to blows.
Director Robert Day (Tarzan's Three Challenges, 1963) keeps up a brisk pace at the same time as focusing on character and provides Hammer with a marvelous adventure template for the future. Five features and two shorts had already been adapted from the H. Rider Haggard classic, but the last was in 1935, starring future U.S. House of Representatives member Helen Gahagan. This version presents the best shot at visual interpretation of the classic.
Catch-Up: Ursula Andress was reviewed in the Blog for 4 for Texas (1963), The Blue Max (1966) and The Southern Star (1969). Christopher Lee pictures already reviewed are: The Devil-Ship Pirates (1964), The Gorgon (1964), The Skull (1965), The Brides of Fu Manchu (1966), Five Golden Dragons (1967) and The Curse of the Crimson Altar/The Crimson Cult (1968).
Author Brian HannanPosted on September 5, 2021 September 4, 2021 Categories Books Adapted into Films, Drama, HistoricalTags adaptation of bestseller, Africa, Andre Morrell, Bernard Cribbins, Christopher Lee, Egypt, H. Rider Haggard, John Richardson, Palestine, Peter Cushing, Robert Day, Rosenda Monteros, Ursula Andress3 Comments on She (1965) ****
Selling Tough Guys – The Pressbook for "Dark of the Sun"
Mercenaries rampaging through strife-ridden Africa, chainsaw the weapon of choice, marketing to The Dirty Dozen crowd a formality, but how do you interest the rest of the paying public?
"Bright ideas to boost your box office" as computed by the MGM marketeers in the Pressbook fell into four categories: fashion, jungle, diamonds, and military. Oddly enough, the pick of the bunch was fashion. And not what the chic mercenary was wearing. Instead, the focus was on Yvette Mimieux who "took time off" filming to "model sensational creations by Dorothy McNab of Jamaica Fashions." This picture is set in the Congo and Jamaica is about 3,000 miles away across an entire ocean so where did Jamaica come into it? Well, it was shot in Jamaica and that appeared excuse enough, and it was hoped that cinemas would link up with department stores showing the seven outfits modelled ranging from casual to elegant evening wear.
Creative license was used here for Mimieux never fought side by side with Taylor and Brown on the top of the train.
The jungle seemed a safer bet so managers were encouraged to kit out doormen and usherettes in jungle outfits while tropical plants and foliage and possibly tropical birds could turn the lobby into a jungle paradise. Local military Army reserve or National Guard units could be persuaded to lend military equipment to add to the display and, as a longer shot, recruitment agencies might choose to get involved. Since the main thrust of the picture involves diamonds the marketeers suggested linking up with large jewelry store chains to give away cheap industrial diamonds prior to launch or as a competition.
Since Toyota land cruisers play a significant part in the movie, MGM had set up a promotional tie-in with 1500 dealers coast to coast with the potential for one of the vehicles mounted on a ramp in front of the theater drawing attention both to the picture showing inside and the car itself. In addition, discounted tickets to members of four-wheel drive clubs might bring in customers. More standard material included an original soundtrack album and a paperback book.
Much of a Pressbook's job was to provide snippets of information that could be fed to local journalists. Former boxer Rod Taylor did some of his own stunts, 6-foot 3-inch 240lb former gridiron star Jim Brown needed his own bed flown in to location, the temperature was so high the actual film had to be cooled down in giant vats of ice, and certain sequences used live bullets. The giant steam locomotive was a "55" built in 1902 and brought out of retirement.
And there was no shortage of usable quotes. "I don't believe in love at first sight," commented Mimieux; "I was warned off directing by some of the finest directors in the business," said director Jack Cardiff.
Author Brian HannanPosted on May 25, 2021 May 24, 2021 Categories Pressbook/Campaign ManualTags 1960s film, advertising, Africa, Congo, diamonds, fashion, Jamaica, Jim Brown, marketing, Rod Taylor, Toyota, Yvette Mimieux2 Comments on Selling Tough Guys – The Pressbook for "Dark of the Sun"
East of Sudan (1964) ***
Remembering this picture as a summer holiday matinee of stiff-upper-lip-ness entangled in all sorts of Khartoumery, I came at this film with low expectations. Given producer Charles H. Schneer's (First Men on the Moon, 1964) involvement, there were no Ray Harryhausen magical special effects. I was only aware of star Anthony Quayle as a bluff supporting actor in epics like Lawrence of Arabia (1962) and The Fall of the Roman Empire (1964) and Sylvia Syms as a willowy supporting actress (The World of Suzie Wong, 1960). So I was in for a pleasant surprise. Take away the back projection, stock footage and the unlikely zoo of wild animals and there is a fairly decent action film set in the Sudan on the fringes of the Mahdi uprising (that story filmed as Khartoum the following year).
Quayle is a former army sergeant awaiting court martial when he escapes from a battle near Khartoum, ends up saving governess Syms, her charge Jenny Agutter (making her debut), officer Derek Fowlds (BBC Yes, Minister) and a wounded soldier. The motley crew flees down the Nile in a boat. You know you are in for something quite different when the soldier dies and Quayle wants to toss him overboard. Overruled by prim Syms and stiff upper lip Fowlds, this good deed is rewarded by losing their beached boat while burying the dead. A picture like this only survives on twists. Burning the remainder of their boat to attract the attention of the British relief force only brings in their wake a mob of Arabs, who we are informed, in a spicy exchange, don't know the ten commandments, especially "thou shalt not kill." It turns into a battle of the sexes, with Syms' innocence and good breeding quickly eroded in the face of danger, her natural antipathy towards a scallywag like Quayle softening. Lacking due deference, said scallywag is given some choice lines which spark up proceedings. It being Africa, the animals have nothing better to do than torment them, so cue snakes, crocodiles, charging rhinos, hippos, elephants without even an entertaining monkey to lighten proceedings. Quayle sets his ruthless tendencies to one side to take a tender, paternal interest in young Agutter. Ongoing action prevents the usual male-female meet-cute African Queen-style banter and it's all the better for it.
Capture by African tribesman takes the story on an interesting detour. Quayle, attempting to make friends, shouts out despairingly (and without irony), "Don't any of you even speak English?" only for chieftain Johnny Sekka (The Southern Star, 1969) to stride out of the bushes with the reply, "I speak, English, Arabic and Swahili." Quayle explains, "We come in peace." Sekka retorts, "With gun in hand?" Game on! The plot goes offbeat when we become involved in Sekka's life. A former slave, his village presents an unusually realistic alternative world not least for Agutter, ill by this time, saved by an African witch doctor. There are further surprises, clever ruses to foil the enemy, revelations about Syms and a surprising but very British ending.
Quayle is convincing, reveling in the opportunity to create a fully-formed character rather than confined to a small chunk of a picture. Syms, too, with more on offer than normal, Agutter (Walkabout, 1971) not a precocious Disney cut-out, and Fowlds revealing what did for all those years before turning up on television as puppet Basil Brush's sidekick. As a British B-picture making do on a small budget, it overcomes this particular deficiency with some sparkling dialogue and attitudes that go against both the time in which it was set and the era in which it was made.
NOTE: Khartoum, The Southern Star, The Fall of the Roman Empire, The Southern Star and First Men in the Moon (with Harryhausen effects) have all been reviewed on this blog.
Author Brian HannanPosted on March 12, 2021 March 10, 2021 Categories Drama, HistoricalTags 1960s film, Africa, Anthony Quayle, Charles H. Schneer, Derek Fowlds, Jenny Agutter, Johnny Sekka, Khartoum, Nathan Juran, Sylvia Syms2 Comments on East of Sudan (1964) ***
Hatari! (1962) ***
What this movie needed was Cinerama. That format blended exotic locale and thrills. The Tanganyika setting and jeeps belting across uneven terrain to capture myriad wildlife provide the two required elements. But the rest of the film struggles to keep up.
Here Howard Hawks combines his two most common themes, a group of men stuck together facing an unusual task and a battle of the sexes. But without the tension of an upcoming gunfight (Rio Bravo, 1959) or bizarre romantic comedy contrivance (Bringing up Baby, 1938), it falls short of the director's highest standards. But as he set such high standards, virtually anything would.
Paramount went the extra mile on this one, producing, in addition to the normal pressbook, a special "Care and Handling Manual" such as had previously accompanied Psycho. This was a week-by-week breakdown of marketing activities – from arranging a John Wayne hat tie-up, to getting record stores and bookshops to prepare window displays, stencilling paws on the ground leading to the cinema and organising permits for a safari-parade on opening day. There was a tie-in with Jeep and the movie was a natural for involvement with schools and kids
The original concept intended to pair Clark Gable and John Wayne so that might have produced better results. Setting aside the gripe of the unlikely romance between a young Elsa Martinelli (rather than a mature Maureen O'Hara) and the ageing Wayne, this remains highly entertaining and a thrilling ride. Watching the actors do their own dangerous stunts, bouncing over potholes and battered in trucks moving at high speed, holding on for dear life (Wayne as the catcher unprotected on the outside) as the vehicles swerved and twisted, the thunder of hooves, confronting extremely dangerous and extremely wild animals such as rhinos, makes up for other deficiencies.
Martinelli does not quite have the zap of a Hepburn or Monroe but does well as the photographer infiltrating a male enclave and her bonding with the baby elephant (triggering Henry Mancini's "Baby Elephant Walk" theme) steals the picture. A pet leopard also provides a decent riff on the girl-in-the-bath number. Quite a number of plot lines are worked in to give actors of the calibre of Hardy Kruger something to do and to stretch the likes of Red Buttons who is rarely given any decent dramatic material.
In quite a different role, Wayne, for once not called upon to save the day, gives a good performance. Not only do they not make them like that anymore, they wouldn't be allowed to make them like that these days, notions about working with animals (though none were harmed) much changed.
Author Brian HannanPosted on October 30, 2020 October 28, 2020 Categories DramaTags 1960s, Africa, Elsa Martinelli, film, Hardy Kruger, Howard Hawks, John Wayne, movie, wild animalsLeave a comment on Hatari! (1962) ***
The Big Gamble (1961) ***
If only there had been some serious money put behind this picture it would have been an absolute cracker, custom-made for the likes of Cinerama which didn't go down the dramatic route until a few years later. It's a bit "Hell Drivers Goes to Africa" but with some really quite stunning sequences.
Whatever French chanteuse Juliette Greco had to offer on stage and in a personal capacity – lovers included Miles Davis and this film's producer Darryl F. Zanuck – never seemed to translate to the screen and the most we get is a kind of tomboyish perkiness.
It's a medium-grade cast, the lead taken by Northern Irishman Stephen Boyd (here playing a Dubliner) hot at that time from coming straight off a supporting role in Ben-Hur and who would be hot at various times during his short-lived career (he died at 45) while equally never making the transition to major star. David Wayne (The Three Faces of Eve, 1957) is the sad sack brother who joins the other two in a bold plan to set up a haulage business on the Ivory Coast in Africa.
The opening sequence demonstrates the dreary Irish life Boyd is trying to escape with a sparkling cameo from Sybil Thorndike as the family matriarch before the African sequences kick in. Apart from scenes shot at Ardmore Studios in Bray, Ireland, the rest is clearly filmed on pretty dangerous locations if the unloading of a lorry onto what looks like little more than a large canoe is anything to go by.
After an unpromising start, the intrepid trio (well, two are bold, Wayne is not) set off into the wilderness. There are two edge-of-the-cliff sequences that would have The Italian Job fans frothing at the mouth, a runaway lorry in the best Cinerama tradition and an astonishing section crossing a swollen river where clearly the actors did their own stunts. In between we have snippets of genuine Africa, especially canoeists braving the surf and an African funeral party.
Emotionally, beyond Boyd sticking out his chin as much as possible, the main drama focuses on fraternal rivalry with Wayne trying to pull himself together in the face of a mission he believes doomed to failure. Directed by the underrated Richard Fleischer, best known for 20,000 Leagues under the Sea (1954), Compulsion (1959) and later The Boston Strangler (1968) and here with some help from Elmo Williams, it has a decent enough script from novelist Irwin Shaw (The Young Lions).
All-in-all this tight little film more than does justice to its miserable budget with some genuinely exciting sequences. As a wee bonus, if you listen hard to Maurice Jarre's score you will hear strains of some themes that turned up in Lawrence of Arabia.
Author Brian HannanPosted on July 3, 2020 September 9, 2020 Categories DramaTags Adventure, Africa, Compulsion, Darry F. Zanuck, David Wayne, Elmo Williams, Juliette Greco, Richard Fleischer, Stephen Boyd, Sybil ThorndikeLeave a comment on The Big Gamble (1961) ***
Devoted to the films of the 1960s plus a few other treats from my film memorabilia library. I have slightly changed the format from when I started. So now I'm doing movie reviews of 1960s films four days a week – Monday, Wednesday, Friday and Sunday – with other stuff slotted in as and when on other days.
A-Z – Movie Reviews
Annual Top 30
Books Adapted into Films
Books by Brian Hannan
Contemporary – 2020
Contemporary 2022
Crime/Thriller
Five-Star Review
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Pressbook/Campaign Manual
Tomance
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Microsoft Releases Rare Bug Fix Off of Regular Patch Schedule
Most of us like to take matters into our own hands, almost to a point where we might refer to ourselves as control freaks. So, when it comes to letting other people or even our own devices update themselves, we tend to click "remind me later" or "don't ask me again". Patches however, are a crucial task in the computing era. Keeping everything up-to-date aids your business in staying one step ahead of lurking threats. Recently, Microsoft announced that it had two major security updates which required emergency patches.
Cybersecurity Patch Management Microsoft
Taking a Long Look at Microsoft 365
Microsoft has always offered a variety of business solutions, some which conform to your needs and others that do not. The beauty of this, is you can pick what solution will benefit your business, and leave the ones that will not behind. Here, we will discuss Microsoft 365 and what is offered within the Microsoft 365 package.
Microsoft Cloud Windows 10
The Time Has Come for SQL Server 2008 and 2008 R2
Software solutions don't last forever. While patches and security updates can stave off the inevitable for quite some time, it's impossible to maintain a specific solution forever. Support is eventually cut off, and businesses are left exposed if they haven't taken the time to prepare. In the case of Microsoft SQL Server 2008 and 2008 R2, you are running out of time.
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Tip of the Week: How to Customize Your Microsoft Word Tools
Onward Technologies Blog Tip of the Week
It's probably pretty fair to say that Microsoft Word has become the poster child for word processing programs - and for good reason: its tools and capabilities are very well-suited for the user's needs. Did you know that you can even adjust Word so that it better fits your use of it? For this week's tip, we'll go over a few ways to do so.
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Tip of the Week: Adjusting Microsoft Word to Match Your Style
The popularity of Microsoft Word is undeniable, in part because it features preconfigured settings to make it easier for its users. While these settings are useful for most of these users, they might not reflect your business' use of Word. Fortunately, you can make adjustments to these settings to increase the value that Word can offer your business. Here, we've put together some tips to help you make these changes, if you so choose.
Microsoft Productivity Tip of the Week
SharePoint Brings Dynamic Collaboration to Your Business
Every business needs a platform they can use to securely store, organize, share, and access the mission-critical information needed to keep operations running smoothly. SharePoint is Microsoft's intranet solution for enterprises of all shapes and sizes, and it's worth looking into for your data needs.
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South Ossetia leader quits to end deadlock
TBILISI - Agence France-Presse
South Ossetia's presidential candidate Alla Dzhioyeva (R) speaks to her supporters during a rally near South Ossetia's electoral commission office in Tskhinvali.
The strongman leader of Georgian breakaway region South Ossetia is set to resign on Dec.10 in a deal with the opposition to end a crisis that has rocked the tiny Russian-backed province, local media reported.
The deal is a victory for opposition challenger Alla Dzhioyeva, who led street protests for 10 days after the Supreme Court cancelled her surprise leadership election win over a candidate backed by South Ossetia's patron Moscow. Strongman Eduard Kokoity will step down as leader of the region, which was the focus of the 2008 Georgia-Russia war, and be replaced by Prime Minister Vadim Brotsev until repeat elections in March. The text of the agreement that was reached overnight said both sides agreed to compromise because of "the profound socio-political crisis in South Ossetia and the threat of further development of civil strife", local official news agency RES reported.
The crisis that started when the court annulled the results of the November 27 leadership polls saw unprecedented round-the-clock demonstrations in South Ossetia, with protesters establishing a tent camp in the main town Tskhinvali despite a high-profile armed security presence. Fears were raised that tensions could escalate into violence in the heavily-militarized province after a rocket-propelled grenade attack on the prosecutor general's apartment and the arrest of several of Dzhioyeva's supporters.
Russian media dubbed the protests, which continued through subzero temperatures, the "Snow Revolution". Moscow recognized the independence of South Ossetia and another breakaway Georgian region, Abkhazia, shortly after the 2008 war despite other world powers insisting that both territories remain an integral part of Georgia. Georgia said the leadership elections were a sham because South Ossetia is "occupied" by thousands of Russian troops stationed there since the war, when most ethnic Georgian inhabitants were expelled.
Spain church attack suspect was 'flagged for deportation'


text:
Q: How do I support something like /etc/issue on OpenBSD? Longtime users of Linux and most other forms of Unix (especially those which used to have startup frameworks based on the venerable SysV init) supported a special file /etc/issue which was displayed on local consoles and serial terminals prior to the login: prompt.
I needed to do something like this for my OpenBSD portable jump hosts.  I take these systems to events remotely maintain some in wiring closets (they're in the NUC form factor, not much larger than a pack of cigarettes).  But I want quick, easy and unauthenticated access to the MAC and IP (DHCP) addresses (on just em0).
However, OpenBSD doesn't support /etc/issue ... so I had to hack around this with an rc.local and a gettytab.template.  (Posted as an answer below).
Question: is there a better way to do this?

A: I created an /etc/gettytab template like so:
# The default gettytab entry, used to set defaults for all other
# entries, and in cases where getty is called with no table name
#
default:\
    :np:im=\r\n%s/%m\r\n{MACADDR}\r\n(%h@{IPADDR}) (%t)\r\n\r\n:sp#1200:

... where the relevant changes are the insertions of the strings \r\n{MACADDR}\r\n and @{IPADDR} in that entry.  "im:" is the "issue message" field of that table?
From there I use the following snippet of code in my /etc/rc.local:
## Include IP and MAC address of em0 in login screen message:
mv ./gettytab ./gettytab.old
ifconfig em0 | egrep "(lladdr|inet) " \
   | sed 's/:/-/g' \
   | { read x macaddr x; read x ip x;
       sed -e "s/{IPADDR}/$ip/;s/{MACADDR}/$macaddr/" ./gettytab.template
     } > ./gettytab
## : in MAC address translated to - for compatibility with gettytab syntax

(I suppose I could try for an optimization that only changes the file if either of these variables changes; but these systems usually are moved about as often as they are rebooted ... so it's not much of a savings).

redpajama_set_name: RedPajamaStackExchange


text:
#93 — Coronavirus has shown us that the news industry needs to change
Welcome to our new subscribers 👋🏼As we navigate these unprecedented times, we've considered whether we should pause this newsletter for a while.
The last thing we want to do is add more unwanted noise. But since the subscribers keep growing every week, it feels like we should continue sharing our curation of the most relevant stories about the future of independent publishing. We hope you find it helpful.
Remember, you can always hit reply to start a conversation and let us know what you want to see more of.
Stay safe & take care! ❤
More valuable than ever, but less revenue: Coronavirus has shown us that the news industry needs to change
"The value of news to its primary audience is highest, but the ability to generate revenue to news publishers is at its lowest. How can we fix this?"
Slate launches a metered paywall to draw more membership revenue from readers, not just listeners
"Up till now, Slate has provided almost all of its written work for free. But going forward, we think the way we will truly thrive is by continuing to diversify our revenue — by asking readers like you to support us more directly."
Launching a membership model "at a time of reckoning for the media industry"
gal-dem started as a voluntary organisation almost five years ago - but they have now asked their audience to give back for the first time with a new membership model.
More creators than ever are sharing their work on Patreon
Patreon's data science team share some insights of a platform-wide behaviour change starting on Friday March 13th, with a record amount of new creators joining the platform.
"In short, this moment in time is one of the strongest influxes of memberships that we've ever seen. And the message from the data is clear: membership works."
What publishers can learn from The Independent's growth story
"The Independent is now one of the most profitable newspapers in the UK. It's a significant achievement for a company that had to stop print and go digital-only in 2016, to survive."
Despite relaxing paywalls, publishers like Bloomberg, WSJ and The Atlantic see subscription spikes
"Publishers are seeing a spike in subscriptions over the last four weeks in the U.S. and Europe, fueled by readers' appetite to stay as informed as possible during the ongoing coronavirus pandemic."
✍ Modern journalism
What will the coronavirus pandemic mean for the business of news?
"A lot of news media won't make it but this is an opportunity for some" – Reuters Institute Director Rasmus Nielsen explores what the coronavirus pandemic means for news in the long run.
Do news sites have an ethical duty to remove paywalls on coronavirus coverage?
"News organisations have spent years trying to get audiences to pay for news. Do they have a duty to offer COVID-19 coverage free for the public good?"
What do sports journalists do when there are no sports to cover?
From high school to the pros, the games that filled sports sections have nearly all been called off. "We don't have a guidebook on how to cover sports when sports aren't being played."
👩💻 Technology
YouTube to limit video quality around the world for a month
To ease internet traffic while many people are staying at home, YouTube will now play video in standard definition by default.
Big tech could emerge from coronavirus crisis stronger than ever
"Amazon is hiring aggressively to meet customer demand. Traffic has soared on Facebook and YouTube. And cloud computing has become essential to home workers."
How journalists can work from home securely
"When journalists are forced to work from home, there's a lot the newsroom can do to support them. Likewise, there's a lot that indiviudal journalists can do to upgrade their personal security posture when working remotely."
#92 — Major news publishers take down paywalls during times of crisis


The pinblock is to blame. On a grand piano, the pinblock is a piece of hardwood that sits beneath the cast iron sound plate. When it was manufactured, your piano's tuning pins were fit snugly into pre-drilled holes.
Over the years, those holes become slightly larger. Temperature changes cause an expansion and contraction that wear away at the wood, and after enough time has passed the pinblock won't hold the pins tight.
There are a couple of repairs that might give your pinblock a little more life. The first is to re-pin the pinblock with oversized pins. A larger pin will create a better fit, and this could hold until even more wear has occurred.
Another repair option is to use CA glue or another type of pinblock restorative. Treating the wood may also give the pins a better fit and longer life.
Either of these roads ultimately lead to the same place – replacing the pinblock.
When enough deterioration has occurred, the best solution is replacing the old pinblock with a new, custom-fitted upgrade.
Pinblock replacement is an extensive repair that requires bringing the piano to our shop. In order to access the pinblock, we'll remove the strings, tuning pins and the cast iron plate.
Once we have removed the pinblock, we'll get to work duplicating it. This requires us to cut, fit and drill the pinblock just right to get a good fit. Once this is completed and the piano is put back together, your piano will be able to hold a tune again for years to come.
If you need pinblock replacement, call 405-749-3540 to schedule service from Bruce Piano.


text:
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S. 2858 (117th)
S. 2858 (117th): Creative Economy Revitalization Act
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S. 2858
IN THE SENATE OF THE UNITED STATES
Mr. Luján (for himself, Mr. Heinrich, Mr. Padilla, and Mrs. Gillibrand) introduced the following bill; which was read twice and referred to the Committee on Health, Education, Labor, and Pensions
To direct the Secretary of Labor, in consultation with the Chairperson of the National Endowment for the Arts, to award grants for arts and creative workforce programs.
This Act may be cited as the Creative Economy Revitalization Act .
National grants for arts and creative workforce programs
Subtitle D of title I of the Workforce Innovation and Opportunity Act (29 U.S.C. 3221 et seq.) is amended—
by redesignating section 172 (29 U.S.C. 3227) as section 173; and
by inserting after section 171 (29 U.S.C. 3226) the following:
Program authorized
From the amounts appropriated under subsection (f), Secretary, in consultation with the Chairperson of the National Endowment for the Arts, shall award grants, on a competitive basis, to eligible entities to carry out the arts and creative workforce programs described in subsection (c)(1).
To be eligible to receive a grant under this section, an eligible entity shall submit to the Secretary and the Chairperson an application at such time, in such manner, and containing such information as the Secretary and the Chairperson may require, which shall include—
a description of the arts and creative workforce program the eligible entity plans to carry out with the grant, including—
cost estimates;
timelines;
a description of the final product and how such product will be made accessible to the public;
the proposed number of employees the program will employ, including a description of the creative workers the program will employ;
the number of such proposed employees who have barriers to employment and a description of such barriers; and
whether the eligible entity will be working in coordination with a State board or a local board to employ individuals under the program, and a description of such coordination; and
a good-faith certification that—
during the grant period and during the 2-year period beginning after the such grant period—
the eligible entity will not outsource or offshore jobs for the arts and creative workforce program carried out with the grant; and
the eligible entity will not abrogate existing collective bargaining agreements of employees of such program; and
the eligible entity will remain neutral in any union organizing effort by the employees of such program during the grant period; and
in carrying out such program, the eligible entity will comply with the wage and safety standards described in subsections (n) and (m) of section 5 of the National Foundation on the Arts and the Humanities Act of 1965 (20 U.S.C. 954).
Uses of funds
Arts and creative workforce programs
An eligible entity that receives a grant under this section shall use such grant to carry out an arts and creative workforce program that—
provide art or arts programming that is publicly available and accessible to other individuals by the eligible entity; and
employ individuals in the labor market area served by the eligible entity, which may include the use of such grant to cover the cost of wages for such individuals; and
may include—
outdoor events for the community (such as concerts, street fairs, art fairs, community arts events, performances, live music, or other arts-based activities);
interviews and written stories that capture and document the history of the United States—
through photographs, narratives, storytelling, murals, films, plays, and other media; and
that illuminate narratives of first responders during the COVID–19 pandemic, or marginalized narratives and histories of all individuals, regardless of income, age, race, religion, legal status, sexual orientation, or gender identity;
temporary or permanent visual, literary, or performative public artworks celebrating community identity, such as—
two- and three-dimensional visual artworks such as murals, painted benches, sculptures, and statues;
interactive or sound-based artworks; and
performative artworks like concerts, readings, festivals, or displays of dance or theater;
poetry, writing, photography, theater, visual or media arts, or dance exhibitions; and
programs and works that support the arts in both schools and community cultural spaces (including arts-integrated teaching, place-based arts and cultural practice, intergenerational education, oral histories, and the preservation of folk traditions that elevate a community's history and culture, including on Tribal land).
Limitation on administrative costs
Not more than 5 percent of the funds appropriated under subsection (f) for a fiscal year may be used for administrative costs by the Secretary.
Not later than 1 year after the first grant is awarded under this section, and each year thereafter, the Secretary shall report to Congress on the outcomes of the programs funded under this section for the preceding year, including—
the number of grants awarded for such year to eligible entities, disaggregated by the type of eligible entity listed in subsection (g)(2); and
a description of each program assisted with such a grant, including—
the geographic location of the program;
the length of employment of an individual who is employed by the program;
the percentage of such individuals who are in unsubsidized employment during the second quarter after exit from the program;
the percentage of such individuals who are in unsubsidized employment during the fourth quarter after exit from the program; and
the median earnings of such individuals who are in unsubsidized employment during the second quarter after exit from the program.
In accordance with section 200.315 of title 2, Code of Federal Regulations (or any successor regulation), and notwithstanding section 2900.13 of such title (or any successor regulation), an author of a work that is created under any program funded under this section and for which copyright protection is available under title 17, United States Code, shall retain ownership of the copyright to that work for the purposes of that title. The Federal Government may—
obtain, reproduce, publish, or otherwise use the work produced under this section; and
authorize another to receive, reproduce, publish, or otherwise use the work for a Federal purpose.
Authorization of appropriations
There are authorized to be appropriated $300,000,000 to carry out this section for fiscal years 2022 through 2024.
Creative worker
The term creative worker—
means any individual who earns (or previously earned) income through creative, cultural, or artistic-based pursuits to produce ideas, content, goods, and services, without regard to whether such income is earned through employment as an independent contractor or as an employee for an employer; and
may include an art director, artist, animator, sculptor, writer, author, poet, photographer, musician, singer, producer, director, actor, announcer, storyteller, comedian, dancer, architect, designer, programmer, choreographer, or a technician, backstage or behind-the-scenes staff, curator, or other support staff who make creative work possible.
Eligible entity
The term eligible entity means—
a State;
a local area (or local board);
an entity described in section 166(c);
a public or private nonprofit agency or organization (including a consortium of such agencies or organizations) that employs, or supports the employment of, creative workers; or
a State workforce agency.
Authorization of funds for the NEA
There are authorized to be appropriated to the Chairperson of the National Endowment for the Arts such sums as may be necessary for such Chairperson to provide the consultation required under section 172 of the Workforce Innovation and Opportunity Act, as amended by section 2.
The table of contents of the Workforce Innovation and Opportunity Act is amended by striking the item relating to section 172 and inserting the following:
172. National grants for arts and creative workforce programs.
173. Authorization of appropriations.
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text:
Apple warns customers to stop using some MacBook Pro laptops
Mark Gurman, Bloomberg News
The Touch Bar is seen on a new MacBook Pro laptop computer during an event at Apple Inc. headquarters in Cupertino, California, U.S., on Thursday, Oct. 27, 2016. , David Paul Morris/Bloomberg
Apple Inc. (AAPL.O) on Thursday recalled some MacBook Pro laptops sold between September 2015 and February 2017 due to a "battery that may overheat and pose a safety risk."
The Cupertino, California-based technology giant said in a statement that it is asking customers to stop using the computers. The problem affects the 15-inch version of the older MacBook Pro. The company said it will replace the batteries in these models at no charge.
"Apple has determined that, in a limited number of older generation 15-inch MacBook Pro units, the battery may overheat and pose a fire safety risk," the company wrote.
The recall notice marks the second from the company this year. In April, Apple recalled some wall plug adapters for international use that could create a risk of electrical shock. Over the past several years, Apple also announced less critical replacement programs, such as for batteries and storage drives in the 13-inch MacBook Pro.
However, this battery recall marks the second significant issue with Apple laptops this year. Last month, after years of complaints from consumers, the company confirmed that some of its newer laptops have problems with the keyboard and offered a free service program to impacted customers.
Apple expands Goldman credit card test to thousands of retail workers
Apple wants suppliers to explore major shift from China: Nikkei
Larry Berman: Average stocks performing worse than the market
FAANG stocks
Tech execs face antitrust grilling in Washington
Mnuchin warns on Facebook's Libra
The Big Three: CannTrust CEO says he's only human; U.S. bank earnings; Facebook's Lira under scrutiny
Can the White House kill Facebook's cryptocurrency?
Amanda Lang: Don't lose your head over Prime Day deals


Pfizer Inc. is a world-leading biopharmaceutical company based on research and development of its own drugs. The company was established in 1849 with global headquarter in New York, USA.
Pfizer established its office in the Czech Republic in 1993. Today, with a market share of 5%, Pfizer is ranked among the top five largest pharmaceutical companies with a significant position on the Czech medical market.
Our business focuses on research, development and sales of medicines for human use, including biological drugs and vaccines. In addition, we offer a wide range of medical devices and consumer products. We also organize clinical trials, even in the Czech Republic.
Pfizer employs more than 97 000 employees worldwide and our drugs can be bought in more than 175 countries around the world. We produce medicinal products for more than 15 therapeutic areas. The most important therapeutic areas in the Czech Republic are oncology, rheumatology, cardiology, vaccines, central nervous system and women's health.
In 2014, Pfizer founded the Global Financial Solutions (GFS) center in Prague - the fifth GFS center in the world, the second in Europe and the first in Central and Eastern Europe. The number of employees in this financial shared service center is constantly rising. Our goal is to reach the number of 200 financial specialists in the GFS center in Prague by the end of 2018, supporting markets of Central and Eastern Europe, Northern Africa and Middle East.
We aim to be one of the best employers in the pharmaceutical sector in terms of compensation, benefits and opportunities to develop. For more information on our benefits and vacant positions, please see other pages in the "Career" section on our website.
You might be the next one to join our team!


text:
typedef union DHT_DATA {
    struct {
        char hh;        // Humidity, high byte
        char hl;        // Humidity, low byte
        char th;        // Temperature, high byte
        char tl;        // Temperature, low byte
        char crc;       // Checksum
    } val;
    char bytes[5];      // All sensor data in raw
} DHT_DATA;

typedef struct DHT {
    int pin;            // MCU pin the sensor is connected to
    volatile *timer;    // Pointer to a TimerA register
    int error;
    DHT_DATA data;      // Data recieved from the sensor
    unsigned int arr[41];
    unsigned int tar;   // Timer's value
    int debug;
} DHT;

extern DHT dht;

void timerDHT();        // Call it on timer interrupt

#endif

redpajama_set_name: RedPajamaGithub


text:
Lee Powell
Health & Safety Consultant (TechNZISM)
Lee joined the team in 2014 as a Health and Safety Consultant, covering the Waikato and Bay of Plenty.
Lee's passion for health and safety started during her career as a registered nurse. After working in the hospital environment for four years, she started her career in health and safety as an Occupational Health Nurse.
After studying a Post Graduate Certificate Endorsed in Occupational Health, Lee began working as an H&S Coordinator and then progressed to an Advisor and ultimately H&S Manager during her 12 years in the industry.
Lee has had experience in health, manufacturing, agriculture and food processing, to name a few sectors. She is passionate about providing businesses with comprehensive Health and Safety advice and systems that protect staff while complementing production demands.
Lee has completed a NEBOSH International Certificate in Occupational Health & Safety, is a Technical Member of the New Zealand Institute of Safety Management, and is highly experienced in the development of Health & Safety management systems.
With a passion for workplace wellbeing, Lee can also work with you to ensure that you are getting the most out of your team, and develop tailor-made wellbeing programs that suit your business.
From the start of 2019, Lee will be available for project work.


The Eon C-leg corner desk from Buzz Furniture is the ultimate choice for simple, contemporary, and budget-friendly metal leg style in modern office spaces. Its C-leg style offers a unique point of difference for businesses looking to make a stylistic impression. Sigma offers an economical option for a range of commercial office fitout applications including managerial and executive office areas.


(Reuters) - When the almost 11,000 financial advisers in Wells Fargo & Co's branch brokerage system get their 2015 compensation plan on Wednesday they may grimace at one change that could hit their pay, or cost their customers a little more.
Wells is raising the minimum commission size on which it will allow brokers to be paid on a stock trade to $125 from $95, according to people familiar with the plan. Wells brokers, who receive 50 percent of most of the commissions they charge, risk customer backlash for the higher charge.
A $30 rise in the so-called ticket charge may not sound egregious but transactions can quickly add up. For example, a broker closing out a $400,000 managed account portfolio of a deceased client or rebalancing positions could easily execute 50 transactions, costing an extra $1,500, said one of the sources.
Brokers at Wells and other full-service firms still have leeway to offer discounts to selected clients from published rates, but all firms are putting constraints on behaviors that they say erode profitability.
Morgan Stanley, the largest U.S. brokerage firm with more than 16,000 advisers, for example, does not credit brokers for purchases or sales of securities that trade below $1 a share or on products, other than options, that have commissions under $100 a trade, according to its 2015 compensation plan.
Wells is the last of the four big U.S. brokerage firms to issue its annual compensation plan, a document that can run dozens of pages and is scrutinized internally and at competitors to see where the most attractive deals lie and what sales behaviors are being encouraged or discouraged.
Morgan Stanley, Bank of America's Merrill Lynch Wealth Management and UBS Wealth Management Americas distributed plans in the past month that offer inducements for working on teams and penalties for discounting fees and commissions and for working with small accounts.
In addition to raising its compensable trading ticket size, the new Wells plan will make it more remunerative for lower-producing brokers to work on teams, the sources said. Some Wells brokers have complained that the firm was constraining their ability to manage their teams.
Full-service firms are promoting teams as a superior way to handle the sophisticated needs of wealthy clients, with the added benefit of making it harder for teams to bolt en masse to competitors.


Preheat the oven to 375 ranges F. Place the chook on a rimmed baking pan.
In a small bowl, stir to mix the olive oil, chopped rosemary, thyme, sage, red pepper flakes, grated garlic, lemon zest, 1 tablespoon salt and 2 teaspoons black pepper. Rub the chook throughout with half of the herb oil, being certain to unfold a few beneath the pores and pores and dermis of the breasts and thighs to season the flesh. Stuff the cavity with the rosemary, thyme and sage sprigs, the bay leaves, 1/2 lemon and garlic head halves.
Place the rutabaga, carrots and turnips in a enormous bowl. Toss to coat with the last herb oil. Scatter the vegetables round the chook and move to the oven. Roast till the vegetables are mushy and the chook is cooked through, with an instant-read thermometer inserted on the thickest level of the thigh studying 160 ranges F, about 1 hour 15 minutes. Let relaxation 10 minutes earlier than carving. Serve with the vegetables.


Once deciding that he would not bring all the required equipment, it took many people scolding him before he even considered letting other people assist him. McCandless set out on the journey alone, and wanted to prove to himself that he could in fact make it alone in the wilderness. This is one of Chris' critical faults. Too proud to admit defeat, Chris only lets others help him when in dire circumstances, eventually accepting clothes and other supplies from friends. At the end of his life, a very gaunt Chris finds it increasingly difficult to find game and records how butchering is "extremely difficult" (166). If Chris was adequately prepared for his trip, he would have taken th steps to learn these skills, and may not have resorted to the seeds that killed him. Another crucial mistake made by McCandless was not accounting for when he would not be able to get game. He went into the wild with a small bag of rice and the "heaviest item in his half-full backpack was his library" (162). While it is extremely difficult to read the last chapter of the book without feeling compassion and admiration for Chris, his death could have easily been prevented. His complacency towards "the Wild, the savage, frozen-hearted Northland Wild" proved to be his biggest mistake (9).


text:
New signing, Flowers of the Forest!
We are delighted to tell you we have signed the Norwegian / Estonian duo, Flowers of the Forest. We will release their debut single "The Calling" on Friday December 17th, and a string of singles before their album also titled The Calling comes later in 2022.
Flowers of the Forest is a musical journey created and composed by Sigmund Vatvedt and Rutt Treima. The group combines various musical expressions, cultures and languages. It bridges the ancient and modern, inspired by folklore and traditions spanning the north, south, east and west. The songs express the beauty of nature and the creative Life Force. The lyrics speak of the hearts longing to be free. At its core, the music embodies a deep spiritual calling which comes to life through the melodies, harmonies and sounds. It is a powerful creative expression, a prayer for the souls yearning to awaken and live life fully.
Their upcoming debut album "The Calling" is the result of many years of searching for the Great Spirit. It is an invitation to the listener to undergo the journey of self exploration, transcendence, inner peace and connection to nature.The album is a multilingual meeting of ethnic traditions, medicine music and the singer songwriter genre. Flowers of the Forest creates a sound that is genuine to the source and weaves a unique story between indigenous and western cultures.
The first track to be released is "The Calling". The song's genesis was born at the River of Jordao, in the Brazilian Amazon where Sigmund has spent long periods studying with the native people and was completed in Norway. The song merges various indigenous shamanic cultures of the north, south and west and is a call for the spirit to awaken from the deep slumber of modern life. To begin the journey of attaining freedom and the meeting point between polarities. To awaken the indwelling divinity that lies in the heart and soul of all Life.
More about Flowers of the Forest:
https://www.facebook.com/flowersoftheforest.music
https://www.instagram.com/theflowersoftheforest/


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Legislation, in the form of the Legal Immigration and Family Equity Act of 2000 allowed undocumented individuals to apply for legal permanent resident status. Although immigration policy has changed drastically since the September 11, 2001 terrorist attack on the World Trade Center in New York City and the Pentagon in Washington, DC, the large number of immigrants entering legally and illegally has resulted in ongoing debates over immigration policy.
Should immigrants be admitted to enter the United States under special circumstances, such as family preferences, employer preferences, refugee or asylum status, etc? Why or Why not? What are the pros and cons to granting a limited number of legal permanent resident statuses to documented immigrants?
The adverse world economies have necessitated people to migrate into the United States to seek for jobs and better living standards. These people, include, expatriate nurses who come into the United States to offer healthcare services in the US health system which is characterized by decreased number of professionals. Apart from helping the US resident's receive better and high quality health services, they also contribute to the US economy through taxation and other economic activities that contribute to the national budget CITATION Dem09 \l 1033 (Demetrios & Aaron, 2009). Also, such employees who come to work in the United States should be allowed to come with their families into the US. This is essential because they will not have to leave work to go and see their families in their native countries. It enhances easy family management issues and results to the employees undergoing lesser stress to manage their families. This factor is very essential as the employees will be able to concentrate and produce more unlike when they are under family management stresses. Therefore, it's necessary to allow such people to come into the US under special circumstances.


The team at SitePoint have been very busy of late, thinking up wonderful new topics and websites. So it's with great pleasure that I bring to you our latest creation: BuildMobile.
The recent launches of DesignFestival and RubySource have shown you some great new content and ideas such as the Cicada Principle. Our simple goal with BuildMobile is to bring you innovative ideas, tutorials and opinions from the world of mobile web development.
Over the coming weeks and months, we will be engaging some of the worlds best mobile web developers to ensure that our content is always cutting edge and relevant to your clients and your business.
BuildMobile is split into several distinct sections.
HTML5 based mobile web development.
We know that many users are very passionate about their mobile platforms, so each of these categories will focus exclusively on specific platform news, apps, tutorials, reviews and more. New categories will be added over time, so make sure to stay tuned for the latest mobile developments.
We are always on the look-out for great authors. So if you happen to know a great mobile web developer, please let us know.
You can connect with BuildMobile via Facebook, Twitter or by visiting the new site. Stay tuned for more new sites from SitePoint in the near future also!


Sasol is an international integrated chemicals and energy company that leverages technologies and the expertise of our 30 300 people working in 33 countries. They develop and commercialize technologies, and build and operate world-scale facilities to produce a range of high-value product stream, including liquid fuels, chemicals and low-carbon electricity.
Sasol's new value chain-based operating model came into effect in 2014. Towards this end, the Sasol Group is now organized into two upstream business units, three regional operating hubs, and four customer-facing strategic business units, supported by fit-for-purpose functions.Sasol was established in 1950 in South Africa and they remain one of the country's largest investors in capital projects, skills development and technological research and development. The company is listed on the JSE in South Africa and on the New York Stock Exchange in the United States.
To align employees with the Sasol One Identity Pledge, they were looking for a digital solution for their internal event that would provide employees with all the event info, enable networking with each other and gain real-time feedback by engaging with a live Q&A session.
Flock provided the event app for the internal Sasol One Identity event so employees were able to access the schedule and take part in the PLEDGE which then rewarded employees with a gift at the end of the event.
The social timeline came alive with photos, messages, likes, and comments from Sasol members before the event started. Attendees introduced themselves on the timeline, posted photos of their event experiences, and started interacting with likes and comments.Once the event started, people shared content with insights into session materials, started discussions, and continued to interact throughout the event.The speakers engaged with the attendees with a live Q&A session, this feature exceeded the clients expectations.
I was completely unaware of the capabilities an app could bring to an event. It certainly does make for a smoother, more efficiently run event and the audience response to the technology was fantastic!The possibilities are endless and we congratulate the team at Flock for their expertise in digitally applying our event requirements.
Once the event came to a close, the Flock team were able to provide Sasol with the event break down and analytics.
The reports helped them to better understand their employees questions intentions and provided an analysis across various segments and territories.
Sasol's continuous use of event apps has enabled them to reach their audience digitally and allow for meaningful connections amongst employees. Ongoing feedback is provided by their employees and the use of the app is extended well above than just at the events.


CBM IBERICA is doubling its storage surface area!
In just one year, our Spanish subsidiary has expanded the surface area of its warehouses from 2,200m2 to 4,400m2. The aim of this? To increase our storage area for windows, ensuring we can more effectively meet the needs of public and private transport operators in the region (Spain, Malta and Portugal).
Since 2006, CBM Iberica has been supplying 10,000 spare parts for public transport vehicles, obtained from new parts manufacturers.
Based in Zaragoza, our team comprising 14 employees remains available to service 500 customers, while it handles 150 orders daily.


"Was evil BEFORE it was cool."
Chill Bill is a radio DJ by day, and a crazy Troll who freezes people with his ice gun by night. Of course, he also does that last part in the daytime too.
Chill Bill is a new Water trappable villain character for Skylanders Trap Team. Chill Bill can be trapped in a Water Crystal Trap and then be used as part of your Skylanders team. Chill Bill is not a purchasable figure.
Attack 1 Press Attack 1 to fire a freeze beam. Enemies caught in beam are frozen in place.
Attack 2 Press Attack 2 to activate Chill Bill's jetpack. Enemies caught in wash take damage.
Attack 1 Beam does more damage and enemies are frozen longer.
Attack 2 Flight time is longer. Enemies take more damage.


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Artists in Residence and Barbados
With the ongoing surge of contemporary art in the region, hosting artists in residence is imperative to the expansion of a new sense of Caribbean Art. This is due to the creative, economic, and social advantages a residency programme offers to both the artists experiencing them and the institution hosting them. So why isn't there more of an initiative for them in Barbados?A residency program consists of an art institution or informal network inviting an artist to live, create and share in a different environment. There usually is an Open Day showcasing the artist's work at the close of the residency, depending on the nature of that programme. The notion of having an artist in residence is one that started roughly 100 years ago with artist colonies in the European and American countryside, based around the theory that as a collective artists could expand their creative ideas. It was an exciting time for art then, as style was shifting and the Modern Art movements were emerging. Equally, now is an inspiring time in Caribbean Art, and residency models can only help strengthen the collaborations in the region and shape the future of our artists.
Barbadian based, Cuban artist Leandro Soto has completed a vast number of residencies in his career so far, and is a strong advocate for recreating that atmosphere for other artists through his classes. He described in a recent interview that interacting with new environments and building alliances with other artists from around the world is invaluable to the development of an artist and the venue: "For an artist, being in an art residence is an open window for themes, for materials, to have new friends (to meet other artists), to have new collectors…in the art residence, you see the artist's work but you also (get to) know the artist, so you have a better picture of who is doing the art, how they are doing the art, what is the connection that this artist has…it's extremely important."
Leandro Soto's installation during his residency in New Dehli. Photograph compliments http://www.leandrosoto.com
What better way for Barbados to integrate with the Caribbean art world as a whole than to host artists from the region on a regular basis, injecting fresh ideas into the circulation? It could also work on an international level, as seen in the residency programme at Eden Rock in St. Barts. They host various artists from all over the world who contribute to the thriving arts culture, and it has become an important aspect of their tourist industry. So not only is their population exposed to a vast amount of international art, but tourists see it as part of the reason to visit.
Alice Yard in Trinidad had it's 5th Anniversary this year, which was a national and regional event, attracting creatives from all over the Caribbean. This is no doubt partly due to their extensive practice of hosting artists in residency there, exposing themselves to networks outside of Trinidad while expanding their own critical space.
The advantages of being exposed directly to other art atmospheres can be seen in the ambition of the artists who experienced it. Sheena Rose, Mark King, Joanna Crichlow, Ewan Atkinson, to name a few, have all done residencies and are all active catalysts and participants in the movement of contemporary art in Barbados and will be on the FRESH MILK platform in November to share their residency experiences. Sheena runs a number of events with her group Projects and Spaces, Joanna has been exploring the language of her artwork in her articles. There are no real previous models on the island of the things they are involved with, so the question has to be raised- would they have the motivation or knowledge to carry these things out if they had not been exposed to similar things through their residency experience? Not to mention the encouragement to create more experimental works, exhibit their works outside of the commercial gallery sphere, from gaining support of their work by outside institutions.
Both Sheena and Annalee Davis have also made movements towards hosting artists in residency, such as Sheena's 24 Hour Residency at her studio as part of Projects and Space and FRESH MILK's own upcoming weekend event to be held next month when Dominica based, Venezuela born Performance Artist, Sandra Vivas will be in residence to perform and offer a workshop experience in Performance Art. But why does it have to be just the informal networks and individuals striving towards the expansion of the residency community? When Leandro was listing places outside of the Caribbean he had completed residencies at, most of them were programmes tied to schools or Universities. Imagine the wealth of exposure for the institutions and the students if this were to happen on a continuous basis here at the Barbados Community College or the UWI. Currently Popup Studios in the Bahamas, Tembe Art studio in Suriname, the IBB in Curacao, Ateliers '89 in Aruba and Alice Yard in Trinidad offer Caribbean residency opportunities. One international opportunity for artists to carry out residencies overseas and one which several Caribbean artists have participated is the Triangle Network (http://www.trianglearts.org/), which integrates artists of all backgrounds, enabling them to compare initiatives. However, when the artists return to Barbados, there are no formal institutions to support the experience they gained overseas. And so the number of informal spaces grows, trying to fill the void, sustaining the art community, keeping it from fragmentation.
A thriving creative culture should not be something that scrambles to find a place in a community, it should be a nurtured and prominent aspect of society. Incorporating artist residencies is one of the ways to ensure this.
Natalie McGuire
Posted in: Artists, Barbados, Contemporary, Contemporary Art, Residency, Uncategorized | Tagged: Barbados, Fresh Milk, Natalie McGuire
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