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Longmont foster parents set for trial in fatal…
Longmont foster parents set for trial in fatal child abuse case
Vincent Johnson and Cassidy Lemmon (Boulder County Sheriff's Office)
By Mitchell Byars | mbyars@prairiemountainmedia.com | Boulder Daily Camera
PUBLISHED: May 21, 2021 at 11:40 a.m. | UPDATED: May 21, 2021 at 11:40 a.m.
The foster parents of a toddler who died as a result of numerous head and internal injuries in 2019 are set for a joint trial on multiple child abuse charges next year.
Vincent Johnson, 26, and Cassidy Lemmon, 23, are both charged with three counts of felony child abuse in the death of Thomas Boyles, who was 16 months old.
Both Johnson and Lemmon have pleaded not guilty and are now scheduled for a 15-day trial starting Jan. 18. Both are also set for a motions hearing on Nov. 29.
Both are out of custody on $25,000 bonds.
According to an affidavit, Boyles was related to Johnson and had been living in foster care with Johnson, his common-law wife Lemmon, and their young daughter since November 2018.
Police said Lemmon called 911 on April 22, 2019, and said the child was not breathing and she was doing CPR. The child was taken to Longmont United Hospital and later airlifted to Children's Hospital in Aurora.
The toddler was pronounced dead two days after the 911 call.
Police were called when doctors noted suspicious bruising on the toddler's face, stomach and limbs.
According to the affidavit, forensic pathologist Dr. Meredith Frank determined the boy died as a result of blunt force injuries to the head and trunk. In addition, Frank noted the presence of some healed rib fractures.
While CPR was performed, Frank said the injuries were not consistent with damage caused solely by CPR, and said, "There is not a sufficient explanation for the severity of the head injuries or healing rib fractures.
Noting the death was "highly suspicious in nature," Frank ruled the manner of death a homicide.
Both Johnson and Lemmon initially denied ever abusing the boy, saying the child bruised easily and had a habit of hitting himself on walls or toys. They also said the boy was sick in the days leading up to his death, according to the affidavit.
But the woman who had fostered the toddler before Johnson and Lemmon said she had never seen any evidence of self-harming and he did not bruise easily.
Doctors noted the injuries were "too severe" to be self-harming behavior. They also noted the injuries were to the toddler's soft tissue areas, not protruding hard areas or joints where accidental injuries would be expected.
Doctors said the injuries were more consistent with a child being thrown down or shaken violently.
Witnesses also reported seeing a recent change in the toddler's behavior along with the bruising, noting the boy stopped interacting and seemed "flat."
When confronted with the fact that medical evidence did not support their story, Johnson said Lemmon initially treated the boy like her own son, but eventually began ignoring him or becoming angry when he sought attention.
Johnson said he saw Lemmon on occasion pick up the boy by his limbs and throw him into his play area, according to the affidavit.
According to the affidavit, Johnson told police the night after the boy died Lemmon got drunk and said, "I'm really sorry."
Johnson admitted he also might have squeezed the boy too hard and yelled at him, and also said he should have done more to stop the abuse.
But when confronted with medical evidence and Johnson's testimony, Lemmon said Johnson had temper tantrums and would also hit and shake the boy.
Mitchell Byars | Reporter/ Social Media Specialist
Mitchell Byars has been reporting for the Daily Camera since 2011, covering breaking news and courts. He is originally from Hawaii and enjoys the beach, camping, golf, beer and writing third-person bios about himself that exaggerate how outdoorsy he is.
mbyars@prairiemountainmedia.com
Follow Mitchell Byars	@mitchellbyars
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Longmont police notes: Officers receive numerous reports of vehicle thefts


Ben H Winters has made a habit of writing what might be called crime fiction/dystopian mash-ups. His trilogy The Last Policeman was set on an Earth that was about to be decimated by a giant asteroid, and his last book, Underground Airlines, was set in an alternate present-day America in which slavery was never abolished. So it is no surprise, perhaps, that his latest book, Golden State, is also a heady mix of dystopian ideas and noir crime fiction.
… the captures are on: captures on every corner, captures in every doorway, forging history, putting us on the Record. Reality in progress.
The ambulance crew is trailed by its own Record team: more capture operators, more microphone bearers, more archivists.
Everybody keeps everything. You know it; I know it. Archiving is a bulwark.
… [T]his solemn responsibility borne by all good and golden citizens: taking the time every evening before it gets to be midnight or before you go to sleep, whichever comes first, to curate the day that has passed. To compile all interaction stamps, all recorded observations, all receipts and paperwork from the day that was, gather it all up into a Mylar bag, seal it and mark it and file it among all the other days of your life.
Everything is on the Record … the goal is simply the maintenance of reality as it occurs, so that all can live together within the same sheltering truth, safe within the strong high walls of the Objectively So.
… We are the ones with the power, and the license to truck with lies – we can sense them, we can handle them, and we are empowered to emit them ourselves. To construct different versions of the truth so each can be tested, so all might fall away until only the real one remains.
Laz has a classic noir detective backstory. A hero brother who brought him into the force and died bravely, to whom he always feels he is being compared. His wife has left him and his enemies are keen to remind him that not only was this his fault, but that he was never good enough for her anyway. And he is saddled with a bright-eyed young rookie who challenges his weary attitude with gung-ho enthusiasm.
Laz is thrown into what can only be described as a classic noir detective situation: a seemingly simple open-and-shut case of a roofer falling off a roof in an apparent industrial accident that slowly spirals out into a conspiracy. Suspects die mysteriously, records that are supposed to be sacrosanct disappear, and it seems that there may not be any such thing as 'Objectively So'.
And now here I am, with rain dampening my beard, inside one of those moments when one's inmost truth sits in uneasy disagreement with the acknowledged truth of the world.
There are distinct echoes of some of the classics of political dystopian fiction in Golden State. If anything, the surveillance state is taken a step further than 1984, with citizens willingly surveilling themselves. There are also echoes of Fahrenheit 451 in this world where fiction does not exist and the word 'novel' means a story in which everything is true (the most famous being Past is Prologue – "the long and beautiful history of the first days and years of the Golden State, of our seven heroic founders and the obstacles they overcame and the gifts they left in passing").
You go back far enough in history, ancient history, and you find a time when people were never taught to grow out of it, when every adult lied all the time, when people lied for no reason or for the most selfish possible reasons, for political effect or personal gain. They lied and they didn't just lie; they built around themselves whole carapaces of lies.
Imagine if everyone did it. Imagine if each person was allowed the luxury of claiming their own truth, building a reality of their own in which they can live. Imagine the danger that would pose, how quickly lies would metastasize, and the extraordinary threat that would pose to the world.
For two-thirds of the book, the investigation and the way it illuminates Winters' thought-experiment society works. But just as the action heats up, it starts to feel as if Winters is not sure where to go with the idea and the wheels fall off. The analogy is stretched as far as it can go and is unable to snap back into any kind of satisfying resolution. But despite an unsatisfying ending, Winters' dystopia is a fascinating conception, and of the many, many literary dystopias out there at the moment, it is one worth dipping into.
This review first appeared in Newtown Review of Books.


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West Vancouver Schools
Branding and website design for West Vancouver's innovative school district.
Within the municipality of West Vancouver, the community of Lions Bay and Bowen Island lies West Vancouver Schools.
The project encompassed a full re-branding and name change. Starting with the generic name, School District 45, we changed to West Vancouver Schools. The outdated lighthouse logo was updated with clean lines, modern graphics and fresh colours to support the innovative nature of the district.
To strengthen the brand language, we developed new meaning within the lighthouse. The idea of bright—futures and minds of our students helped capture the energy, passion and progressive drive of the brand.
The project continued with a full re-design and creation of new communication materials. We developed a consistent design standard and templates for documents, stationery, collateral, brochures and ads. Additionally, we built a new WordPress website for both the district and each of its individual 17 schools.
Armed with a new brand and spirited confidence, West Vancouver Schools was able to captivate its audience locally and across the globe.
Advertising, Branding, Environment Design, Graphic Design, Website Design

redpajama_set_name: RedPajamaCommonCrawl


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Man, 25, faces felony charges after assault of 11-year-old in South Side library: CPD
By Cate Cauguiran
CHICAGO (WLS) -- A 25-year-old Morgan Park man has been charged in connection with the alleged sexual assault of an 11-year-old girl in a South Side branch of the Chicago Public Library.
Damond Hampton faces three counts of predatory criminal sexual assault.
A 25-year-old Morgan Park man has been charged in connection with the alleged sexual assault of an 11-year-old girl in a South Side branch of the Chicago Public Library.
The charges stem from an incident Monday in the Walker branch of the library in the Morgan Park neighborhood, in which an 11-year-old girl was sexually assaulted, police said.
The girl's mother left the room the child was in at the library in the 11000-block of South Hoyne Avenue about 4 p.m. Monday, according to police. That was when a man in his mid-20s reportedly entered the room, sat next to the 11-year-old and started talking to her.
The man then sexually assaulted the girl and fled on foot, police said.
Police arrested Hampton shortly after the incident on Monday.
The victim was transported to Little Company of Mary Hospital and Health Care Centers in Evergreen Park. She remained stable, according to police.
Police have said the suspect in the case was previously asked to leave the library because his erratic behavior was making some patrons uncomfortable. However, the library, which has resources everyone is entitled to, cannot legally ban anyone from using it.
In a statement, the library said: "We take patron safety very seriously, and will continue to cooperate with law enforcement on this matter."
chicagomorgan parkcrimechicago crimechicago violencesexual assaultchild sex assault


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Julie -Polly Stenham
RATING ★ ★ ★
Directed by Carrie Cracknell
Polly Stenham is an ambitious modern playwright, who wrote her first play at the age of nineteen. That Face premiered at the Royal Court and since then her career has been on a steady incline. In 2014, her play Shed graced the stage of the National and told the story of a middle class family held hostage on a holiday in Africa. Julie takes a different turn altogether. Moving four years along Stenham's career, she tackles her first professional staged adaptation. Julie is a modernised version of Strindberg's 1889 classic to contemporary London - a seemingly common feature for the London theatre scene at the moment, namely Yerma (Young Vic) and Hedda Gabler (National Theatre).
Liberal hypocrisy takes centre stage in Stenham's adaptation. The upper class is scrutinised and the essence of privilege is brought into the spotlight. Now a spoilt, never-worked, thirtysomething Londoner, Vanessa Kirby takes the lead as Julie. A character who is weighed down by a mythological pain and a lazy stubbornness which prevents her from obtaining a sense of self worth.
As always, the National never fails to impress with set design. Tom Scutt inspires with a large-scale white box kitchen, including countless fridges and dishwashers, a nod towards excessive wealth and entitlement. Lighting and sound designed by Guy Hoare and Christopher Shutt respectively, emalgamate to create a house party scene with trippy colours and intrusive bass.
What made Miss Julie so groundbreaking when it premiered at the end of the nineteenth century was the representation of a sexual relationship onstage between the lower and upper classes. Put simply, the taboo relationship shocked, angered, and amazed audiences. This is the true essence of Strindberg's classic.
The primary issue with Stenham's portrayal is that, despite efforts in trying to locate taboo subject matter with Jean and Julie's relationship, the modernisation does not quite fit. The audience is led to believe that because Jeans' father is Julie's family driver and therefore a class divide, they would be ridiculed for having sexual relations. There is a fundamental disconnect here as twenty-first century Britain certainly allows for races, genders and classes to mix without fingers pointing or people judging. Jean, characterised by Eric Kofi Abrefa, suggests that they should pack up, move to Cape Verde and open a restaurant, which seems an usual solution for 'feeling trapped' in 2018 London. Perhaps a holiday abroad or a new life in the country might make more sense...
Kirby gives a strong performance as Julie, capturing the innate sadness that shrouds her character by the end of the play. Thalissa Teixeira shines as the maid Kristina, a woman caught up in this environment of questionable morality but still projects sensibility and hope.
Elements of the production captivate, particularly the lasting image of sheer helplessness, but the audience is left to question whether Strindberg's classic can operate in contemporary London, a hustling and bustling sanctuary of openness and liberalism. If it can, then perhaps Julie has missed a trick...


Muslim Youth Voices Project Dallas workshops from 2017. Photo by Production Manager Kristin Colaneri.
Muslim Youth Voices Project Dallas workshops from 2017. Photo by Production Manager Kristin Colaneri. Photo by Production Manager Kristin Colaneri.
What does it mean to be a young Muslim in America today?
That's the question that was posed to more than a dozen middle school and high school students—all whom are Muslim American—during a series of filmmaking workshops this summer.
This summer's Muslim Youth Voices workshops in Plano, TX and Portland, OR marked the completion of a six-city, three-year summer workshop series. The initiative from the Center for Asian American Media, funded by the Doris Duke Foundation for Islamic Art's Building Bridges Program, seeks to start a discussion beginning with the youth themselves.
The workshops provided a safe and creative space for self-expression and exploration. Through weeklong intensive sessions, students gained an in-depth appreciation of storytelling and created short films with a professional crew. In addition to Plano and Portland, the workshops took place in Fremont, CA and New York, New York (year one) and Minneapolis and Philadelphia (year two).
In total over the three years, 30 plus short films have been completed, with more than 40 youth participating. The films have been shown at film festivals, including CAAMFest, the Minneapolis/St. Paul International Film Festival, the New York and Philadelphia Asian American film festivals, and at the Maysles Documentary Center. One of the short films received an award at the Minneaopolis/St. Paul festival.
CAAM recently received an additional grant from the Doris Duke Foundation to distribute the youth films and for outreach. The next step is to distribute the short films more widely and expand the discussions.
Artistic Director and Lead Instructor Musa Syeed worked with students from a cross section of ethnic, racial and religious backgrounds—meaning Muslim Americans from different religious backgrounds—as well as from all walks of life. Participants families have roots from places like North Africa, East Africa and Iran and across the Middle East.
Syeed said that as the past three to four years have gone by, and the political climate has taken the turn, he had to keep in mind that the environment he grew up in is different than now. A total of 44 youth have been trained in Fremont, CA, New York City, Minneapolis, Philadelphia, Portland and Plano, and 36 short videos have been made.
Some of the students' film ideas were about politics or Muslim identity, but others were just youth having fun—horror or zombie movies, for example.
Throughout the screenings at festivals, the students, families and films have received great appreciation and feedback. Syeed said there is definitely a demand for a program like this to continue.
Syeed, a Sundance Award-winning filmmaker and whose film, A Stray, was recently a part of SXSW 2017 and another film, Menashe, played in theatres, said the youth have inspired him as well.
The Muslim Youth Voices Project is funded by the Doris Duke Foundation for Islamic Art's Building Bridges Program.


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Lovebox Weekender Festival Featuring Jamie Lidell, Hot Chip, Gullemots, Lily Allen, Gogol Bordello
By PopMatters Staff / 14 August 2006
There may be no Glastonbury this year, but the UK is hardly wanting for music festivals — there are no less than 390 taking place in 2006. Such fierce competition has led promoters to shake things up. Dance music festivals, for instance, are suddenly less dance-y. Not so long ago, the only guitar you'd see at an event like Lovebox would have been the one Keith from Prodigy was desecrating; now they're everywhere.
Lovebox is organized by Groove Armada, one of a few electronic outfits that have managed to stay successful in the face of dance music's post-millennial meltdown. Clearly they know a thing or two about survival, and broadening the music on offer at Lovebox is a smart move.
The festival is held in lovely old Victoria Park, a sprawling oasis of greenery in the middle of London's careworn east end. I live just around the corner, so I went to last year's event as well: with its assortment of insipid electronic acts and not-so-superstar DJs, the event was a drab, lifeless affair. This year is a marked improvement, though a cursory look at the line-up suggests it is business as usual. Groove Armada headline the first day (if you can't headline your own festival, what can you headline?), and Jamiroquai — the band who put the bland into boogie wonderland — holds down the second. But, elsewhere on the bill there is spiky art-rock, self-sampling maniac fop, and raucous gypsy punk.
The first day provides all the usual festival clichés — huge toilet queues, people in 'wacky' headgear, and some truly horrible concessions. In addition to the main stage, there are nine tents of music run by various promoters. The site is big, busy, and boiling hot. London is in the grip of a heatwave, so profuse sweating is the order of the day.
I arrive to the sound of "Stairway to Heaven" as played on dueling flamenco guitars. Cult Mexican duo Rodrigo Y Gabriela (two ex metal mavens gone surprisingly soft) are on stage, and they could not be more pleasant. No doubt they are already soundtracking middle-class dinner parties across the land.
Hot Chip, another band I'd expect to hear at such soirees, play to a large late-afternoon crowd. They are this year's big dance-music success story, its great white hope, and songs like the incessantly fun "Over and Over" seem custom-created for the sunny main stage. They're colorful and energetic, but there's an occasional disconnect between the band and audience, as dry, self-deprecating lyrics float over our heads into the hazy ether.
A bad bit of scheduling means that while I'm watching Hot Chip on the main stage, I'm missing Jamie Lidell in one of the tents. I eventually wander over — Bugz in the Attic are due on next. Thankfully, technical problems have so delayed Lidell's set that, when I arrive, he's a still a few minutes from starting. I say "thankfully" because Lidell, dressed in a silk smoking jacket and NHS glasses, is an astonishing performer. A one-man science-fiction band, he has the charisma and pipes of a seasoned Motown crooner but the appearance and maniacal zeal of a rabid cartoon lunatic. This strange duality resonates in his music.
Some songs, like the heartfelt "This Time", are delivered straight and sincere. Others explode. For "When I Come Back Around", Lidell beatboxes, scats, and wails into his microphone, then pummels the results through a series of samplers and sequencers. In an instant, he has created something frantic, fractured, and wonderful. His vocals soar from the middle of this maelstrom, and the audience swoons. At the end of the show a wired, jittering Lidell is helped into a jacket by his sidekick, the fabulously named Pablo Fiasco, much as a spent James Brown would collapse under a cloak — the difference being that Lidell's jacket has several meters of industrial fairy lights wrapped around it.
Bugz are cursed by more delays, so the first night ends with a trip across the park to see Jim Noir. Except, he isn't there. Instead we have the magnificent Hot Club de Paris, an arrow-sharp trio of Liverpudlian art-rockers. They bang out two-minute masterpieces like "Shipwrecked" and banter sarcastically with the crowd. They steam with real attitude, which makes their brief forays into three-part a capella harmonies all the more unlikely, but no less thrilling. "I love your pretty pink wheelchair," they sing. "I love you paint it by yourself/ and those diamante stars you've got/ I love to let you out your room."
Sunday starts with the Guillemots, another band whose stock is fast on the rise. Their sumptuous, brass-augmented sound swoops around the site with songs like "Trains to Brazil" — positively anthemic, in a twee sort of way. Arch-hipster Mark Ronson is next with his soul revue live show. Britney's "Toxic" and Radiohead's "Just" are covered enthusiastically, but in a manner more reminiscent of the Commitments than the Meters. MySpace princess Lily Allen is wheeled out for a version of Kaisers Chiefs' "Oh My God", but really, it's more of the same.
Wandering around the park it becomes apparent that a very different crowd has shown up for day two of the festival. Though Lovebox describes itself as a weekender, it is really two day-long concerts, each with a 10:30 pm curfew to appease local residents. This, and the kind of acts that headline, means the event appeals to affluent thirty-something Londoners who used to go raves but, these days, have to be home in time to pay the babysitter. These fine people were here in abundance yesterday, and are here again today, but this time they're joined by a legion of skinny teens congregated around the Kill All Hippies and Rumbleteaser tents. It's in the latter, that I see ska-rock urchins the Holloways and calypso hillbillies Larrikin Love perform boisterous, sweat-drenched sets. The two bands are clearly good friends and join each other on stage at various points. This bonhomie reaches all the way in to the crowd.
It is here that things begin to go awry. I see a bit of M Craft, a bit of the Bees, and a bit of Cash Money and DJ Spinna. They're all just fine, especially the last two, who perform a fantastic tag-team beat juggling routine. I hear a rumor that Jamiroquai have 300 people on their guestlist while I spend an hour queuing for the toilet.
Then I go watch Gogol Bordello, the purveyors of the gypsy speed punk I mentioned in the first paragraph. It sounds better than you could ever imagine. They're a riot, a tsunami of accordions, fiddles, and high-kicking dancing girls. Frontman Eugene Hutz spends as much time in the crowd as he does on stage, driving the audience into a frenzy. Hutz sings a song extolling the virtues of punk rock and the crowd go even wilder. "If you don't see no punks in downtown/ you know this town is dying quick/ it's just no good/ I guarantee you in this town/ you'll have a problem finding a prostitute!"
I stagger out and hear our old friend Jamiroquai belting out banalities on the main stage. Within half a song I've made it to the Faith tent where Chicagoan techno don Theo Parrish is DJ-ing. There's something magical about the way Parrish loops and builds the music he plays, so I'm surprised to find the tent half empty. I'm told the crowd left after the soundman was forced to turn the sound — and worse for Parrish fans, the bass — down. The tent speakers are set up directly opposite those at the main stage so when Jamiroquai's set began, down went the volume. For a weekend which pitched the marvelous against the mediocre, it seems an appropriate ending.
TAGS and jamiroquai gogol bordello gullemots hot chip lily allen lovebox weekender festival featuring jamie lidell
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5 Stocks To Buy And Hold For The Long Run
Many investors dream of buying the right stocks at the right times and hitting it big. Who would not want to have a portfolio of solid winners, bought on the cheap and selling with huge profits? The reality is many investors never find even one stock with a huge payout, let alone enough of these dream stocks to build a nest egg.
Most smart investment advice suggests investors should have a diverse range of industries in their portfolios. What is more, investment gurus such as Warren Buffett favor holding on to their stocks, not getting caught up in the day trading game. Below are some prime choices for stocks that may take time to grow, but will likely come out as winners in the future.
Specializing in decorator and home goods, Wayfair is a great long-term stock to invest in.
Wayfair (NYSE: W) is entrenching itself in the world of e-commerce as a go-to outlet for furniture and home decor products. With close to 28 percent sales growth over the past three years, Wayfair business has been obviously favorable. Since it went public in late 2014, W stock has seen a meteoric soar of more than 336 percent per share.
While losses have widened and net income is negative, that may not be unusual for this type of business. Up until a few years ago, Amazon (NASDAQ: AMZN) had the same issues. Investors seem to look past the bottom line in view of top-line growth, and those willing to stay the course could see Wayfair becoming an Amazon, albeit on a smaller scale.
Language education software innovator Rosetta Stone is a stock to buy for an ever-changing world
Most Americans believe that English is the language of the world. Americans traveling abroad have come to expect someone will speak some English, no matter where they are.
With iconic American brands like McDonald's (NYSE: MCD) and Coca-Cola (NYSE: KO) in nearly every corner of the planet, it is hard to imagine a world without Western values and culture. However, even in the United States, the demographic is shifting with a growing population of non-English speaking citizens.
In view of a constantly shifting world, Rosetta Stone (NYSE: RST) language software offers a much-needed solution to a developing need, whether or not English remains the international language.
RST has also proven itself as a worthy investment with a 35 percent lead. Because it is not just a language translator – but also education software – Rosetta Stone could prove a pleasantly surprising investment for the future.
FedEx is one of the best long-term stocks to invest in as e-commerce continues to gain in popularity
It does not look like the trend toward online shopping will do anything in the future but rise. As consumers venture into brick-and-mortar retail outlets less and less, the need to have their goods shipped and delivered to them increases which is why international couriers like FedEx (NYSE: FDX) continue to be smart investments.
Although Amazon is experimenting with implementing its own delivery service, analysts believe the impact on FDX is likely overestimated. Not only would taking down the shipping giant be a monumental feat, but the e-commerce sector will grow enough to accommodate all current shipping competitors.
On its most recent fourth-quarter fiscal 2018 earnings report, FedEx showed favorably further illustrating it is a solid stock to invest in and hold on to while the shipping dust settles.
Lithium, touted as the gasoline of the future, makes Albermarle a candidate for one of the wisest stocks to invest in.
With companies like Tesla (NASDAQ: TSLA) proving lithium is the fuel source of the next generation, domestic lithium company Albemarle (NYSE: ALB) is a great stock to buy at a discount now.
Lithium demand is rising and currently so is supply. Foreign producers from Chile, Argentina, and Australia have boosted their production in an effort to profit from the high prices lithium was commanding. The end result is more supply than demand and new, lower prices.
However, the supply and demand ratio is hard to forecast; today's oversupply of lithium could quickly change into tomorrow's shortage. In view of the broader technology industry foretelling of increased lithium usage, ALB appears to be a smart investment for the future.
A savvy stock to invest in now and watch grow, 51job caters to the next generation of employment.
Millenials are all grown up and tend to do just about everything differently than the generations that preceded them. From their habits as consumers to the way they communicate, millennials are shaping the future of just about everything including the workplace.
According to Rooster's Lindsey Kline: "Millennials are the most educated generation in history. We grew up in the midst of a digital era, and consequently, we're the only generation that doesn't have to adapt to new technologies." In her words, she prefers companies offer "office kegs, pool tables, and air hockey" and cut the BS.
Many would agree that this thinking seems presumptuous, but it does seem to be the way the working environment is shifting, and it is not just an American trend. 51job (NASDAQ: JOBS) is a Chinese human resources solutions provider and employment recruiter focusing on the young and tech-wise workforce.
China has a labor force that is more than twice the size of the entire population of the United States. With that in mind, an investment in JOBS could yield substantial profit as larger numbers of millennials gain a further foothold in the Chinese workplace.
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San Diego, California Passes Advertising Rules for Independent Committees
City Council unanimously adopted new campaign contribution rules to monitor independent and primarily formed committees.
Ordinance 2015-37 requires earlier disclosure of large contributors and restricts the ability of a committee to reproduce and distribute campaign advertisements used by a candidate.
The ordinance becomes effective January 1, 2015, and is not applicable to the November 2014 election.
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**Please note:** this repository is a work in progress. Even though the list is nonexhaustive at this time, we are still trying to collect them all. If you have a thread archive that is not listed here, please post it on [/v/](https://8ch.net/v/catalog.html)'s GamerGate threads. Thank you.
1. *[#GamerGate + #NotYourShield [#GG + #NYS]: Dawn of the first day -72 hours remain Edition](https://archive.is/QBRXf)*.
1. *[#GamerGate + #NotYourShield [#GG + #NYS]: Yandere Viv Edition](http://archive.is/fuvQU)*.
1. *[#GamerGate + #NotYourShield [#GG + #NYS]: Why are You Happy Edition?](https://archive.is/kBGIg)*.
1. *[#GamerGate + #NotYourShield [#GG + #NYS]: This is The #1 Bread on 8chan /v/ Board Edition](https://archive.is/8A6gm)*.
1. *[#GamerGate + #NotYourShield [#GG + #NYS]: Danielle is best ara edition](https://archive.is/dx1QZ)*.
2. *[#GamerGate + #NotYourShield [#GG + #NYS]: Seven Days Remaining Edition](http://archive.is/g2SLR)*.
1. *[#GamerGate + #NotYourShield [#GG + #NYS]: Spooky Edition](https://archive.is/wQSL3)*.
1. *[#GamerGate + #NotYourShield [#GG + #NYS]: Devil's Night Edition](http://archive.is/e1djW)*.


I'm super excited for this quick blog post for a few reasons.
This is the first time I've shared an editing "before and after" on my blog!
I'm thrilled at the prospect of diversifying the content on my blog!
I'm happy to rejoin the Blog Circle many of you are familiar with.
In reference to the last point, some of you might recall that I'm a member of a group of photographers who encourage each other to blog by posting a theme each month and sharing our interpretation of that theme. This month the theme is "before and after." Once you've read my blog, you'll click on the next photographer's post, continuing to click until you've made a full circle.
Now, if you've been following me for a while you know that I don't have a dramatic editing style. I like to stick with clean edits that showcase lots of pretty colors and skin tones. Sometimes I take a few more liberties with my post-processing, especially when it comes to these gorgeous Carolina skies. I'm a big proponent of "getting it right in camera", which means I aim to get as close to perfect as I can when I snap the shutter, rather than bring an image into Photoshop and resurrect it from the dead. I don't tend to over- or under-expose my images. I like to start off with good exposure in an effort to keep my editing to a minimum. However, when you perfectly expose a subject you will more than likely over-expose the sky and lose all that fabulous color and detail. That's when a little post-processing magic can really help.
The image on the left represents the SOOC image (straight out of camera, no editing). You can see that my bride and groom are properly exposed, but if you take notice to the water you'll see the reflection of a beautiful warm sunset that is absent from the sky. To accurately showcase the sky, I adjusted the image on the left in Lightroom by bringing down the exposure. The result is the image on the right. The sky in that image is exactly as it appeared at the time the image was taken. I saved both versions of the photo and opened them in Photoshop. I combined the two images by masking in the sky from the right. From there I continued on with my normal editing workflow.
It's rarely necessary for me to combine exposures in Photoshop to achieve the result I'm looking for. Shortly after this image was taken, I brought in some off-camera flash so I could get everything right in camera. Not only does that save time in post-processing, but it gives me more creative flexibility. I love experimenting with off-camera flash as a Jacksonville NC Wedding Photographer. These skies just beg for it!
I hope you found this post helpful! If you'd like to see more posts like this, let me know in the comments!
Up next in the blog circle is Oklahoma Photographer Nicole Gulick Photography! Don't forget to leave her some comments, too!


text:
Home > Health Care, Food, Beer, Retail, Tobacco > Food, Beer and Beverage A-I > Coors Beer Company - Colorado 1980
Adolph Coors Beer Company - Colorado 1980
Product #: newitem359327018
Normal Price: $189.95
Our Sales Price: $149.95
(You Save: 21%)
Beautiful engraved RARE Specimen Certificate from the Adolph Coors Company printed in 1980. This historic document was printed by American Bank Note Company and has an ornate border around it with a vignette of the company's brewery. This item has the printed signatures of the Company's President, Joseph Coors and Secretary, L. C. Sund and is over 39 years old.
Adolph Coors (February 4, 1847 � June 5, 1929) was a brewer who started the Adolph Coors Company in Golden, Colorado in 1873.
Adolph was the son of Joseph Kuhrs (c1820-1862) and Helena Hein (c1820-1862), and was born in Barmen in Rhenish Prussia on February 4, 1847. He was apprenticed at age thirteen to the book and stationery store of Andrea & Company in nearby Ruhrort from November of 1860 until June of 1862. The Kuhrs family moved to Dortmund, Westphalia, where Adolph was educated. His mother died on April 2, 1862. In July of 1862, Adolph was apprenticed for a three year period at a brewery owned by Henry Wenker in Dortmund. He was charged a fee for his apprenticeship, so he worked as a bookkeeper to pay for his apprenticeship. His father died on November 24, 1862. Orphaned, Adolph completed his apprenticeship and continued to work as a paid employee at the Wenker Brewery until May of 1867. He then worked at breweries in Kassel, Berlin, and Uelzen in Germany. Early in 1868, he immigrated to the United States. He sailed from Hamburg to New York City and then moved to Chicago arriving on May 30, 1868. His name was changed from "Kuhrs" to "Coors". He worked in the spring as a laborer, and during the summer he worked as a brewer. In the fall and winter he worked as a fireman, loading coal into the firebox of a steam engine. In the spring and summer of 1869 he worked as an apprentice bricklayer and a stone cutter. He became foreman of John Stenger's brewery on August 11, 1869, in Naperville, Illinois, about 35 miles west of Chicago. He resigned from Stenger's brewery on January 22, 1872, and arrived in Denver in April. He worked in Denver as a gardener for a month, then on May 1, 1872 he purchased a partnership in the bottling firm of John Staderman. In the same year he bought and assumed control of the entire business. An advertisement in Corbett, Hoye & Company's Directory of the City of Denver for 1873 on page 242 showed Adolph Coors as a dealer in "bottled beer, ale, porter and cider, imported and domestic wines, and seltzer water." His place of business was located in the Tappan Block on Holladay (now Market) Street between E and F Streets (now 14th and 15th). The same directory shows that Coors lived on Curtis Street between IC and L (20th and 21st) Streets.
On November 14, 1873, Coors and the Denver confectioner Jacob Schueler purchased the abandoned Golden City Tannery and converted it to the Golden Brewery. By February of 1874 they were producing beer for sale. In 1880 Coors purchased Schueler's interest, and the brewery remains majority family-owned as of 2006. When Prohibition was passed in Colorado in 1914, he converted his brewery to make malted milk. The company also manufactured porcelain and ceramic products made from clay mined in Golden. The Coors Porcelain division has since split off, and is now known as CoorsTek.
Location Golden, Colorado United States
Owner Molson Coors Brewing Company
Active Beers
Coors Original Pale lager
Coors Light Light pale lager
Coors Extra Gold Light pale lager
Keystone Pale lager
Keystone Light Light pale lager
Keystone Ice Pale lager
Aspen Edge Pale lager
Killian's Irish Red Pale lager
Blue Moon Belgian Wheat
The Coors Brewing Company is a regional division of the world�s fifth-largest brewery companies, the Molson Coors Brewing Company. According to the Molson-Coors website, the division is the third-largest brewer in the U.S. The brewery in Golden, Colorado is the world�s largest on a single site.
The Coors Brewing Company is the principal subsidiary of the Adolph Coors Company. In 1873, German immigrants Adolph Coors and Jacob Schueler, a successful Denver businessman, established a brewery in Golden, Colorado. Coors invested $2000 in the operation, to Schuer's investment of $18,000. In 1880, Coors bought out his partner in "The Golden Brewery". His pale lager, nicknamed the "Banquet Beer" or "Premiums" and is now known as �Coors Banquet" once again after being dubbed "Coors Original" for many years. It is said to take its flavor from the pure water of the Rocky Mountains. Coors� company survived the prohibition era in America by diversifying into manufacture of other products including malted milk and ceramics. The Coors Ceramics business was later spun off as CoorsTek.
According to the Coors website, in 1959, Coors became the first American brewer to package beer in an all-aluminum two-piece beverage can.
For much of its history, Coors beer was a regional product mostly confined to the American west. The major reason is that Coors beer is not pasteurized, and thus shipments were limited to areas where the beer could remain refrigerated. This made it a novelty on the east coast, and visitors returning from visits to the western states often made a point of bringing back a case. This iconic status was reflected in pop culture: in 1977 the movie Smokey and the Bandit centered around an illegal shipment of Coors from Texas to Georgia. The company finally established nationwide distribution in the U.S. in the early 1990s.
Coors brewery in Golden, ColoradoIn 2003, Coors was the third largest producer of beer in the United States, and the second largest brewer in the United Kingdom through its subsidiary, Coors Brewers Limited. There it controls the UK�s most popular brew, Carling.
On July 22, 2004 the company announced it would be merging with Canadian brewer Molson. The merger was completed February 9, 2005 and the merged company is called Molson Coors Brewing Company.
Through its owners and foundation, Coors also has played a prominent role in American politics and public policy, supporting many conservative causes, including The Heritage Foundation, one of the world�s most influential conservative public policy research institutes, and, via its parent company, the right-wing think tank American Enterprise Institute. Chairman Pete Coors ran unsuccessfully for the U.S. Senate from Colorado in 2004 on the Republican ticket.
Coors has a long history of labor strife that came to a head in the late 1970s with a nationwide boycott led by the AFL-CIO, the nation's largest union. A Federal Lawsuit by the Equal Employment Opportunity Commission in 1975 ended in a settlement with the company agreeing not to discriminate against blacks, Mexican-Americans, and women. By 1979, the boycott continued and the union was broken.
History from Wikipedia and OldCompanyResearch.com.
About Specimens
Specimen Certificates are actual certificates that have never been issued. They were usually kept by the printers in their permanent archives as their only example of a particular certificate. Sometimes you will see a hand stamp on the certificate that says "Do not remove from file".
Specimens were also used to show prospective clients different types of certificate designs that were available. Specimen certificates are usually much scarcer than issued certificates. In fact, many times they are the only way to get a certificate for a particular company because the issued certificates were redeemed and destroyed. In a few instances, Specimen certificates we made for a company but were never used because a different design was chosen by the company.
These certificates are normally stamped "Specimen" or they have small holes spelling the word specimen. Most of the time they don't have a serial number, or they have a serial number of 00000. This is an exciting sector of the hobby that grown in popularity over the past several years.
Scripophily.com and Old Company Research Press Releases
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text:
For Your Consideration: 'The Hangover'?!
When I was six, I played soccer. My team stunk, but we always got a trophy just for participating. That's where the Academy is headed now that it has announced that 10 movies will be in competition for best picture. Don't like that analogy? OK, how's this — the Academy is officially going the way […]
Michael Speier | June 24, 2009 @ 11:46 AM	Last Updated: June 24, 2009 @ 1:35 PM
When I was six, I played soccer. My team stunk, but we always got a trophy just for participating.
That's where the Academy is headed now that it has announced that 10 movies will be in competition for best picture.
Don't like that analogy? OK, how's this — the Academy is officially going the way of the Golden Globes. And that used to be blasphemy, heresy, whatever.
But by inviting more people to the party, AMPAS has diluted the value of getting a nomination, which is everything in Hollywood.
Ten movies? Are there really 10 movies every year that should get a best picture nomination?
Think about it … For Your Consideration: "The Hangover."
Let's take 2008. The overall consensus is that "The Dark Knight" and "Wall-E" were reasonable contenders that missed the cut. So that takes the total to seven, along with "The Reader," "Benjamin Button," "Milk," "Frost/Nixon" and eventual winner "Slumdog Millionaire."
But really now, were there tons of people who were shocked, upset or angry over "The Visitor" not getting a nom? Or "The Wrestler"?
Over the years, the one constant at the Academy was its prestige and its appropriate arrogance. Five nominees in every category meant the contenders had be really good. That doesn't mean I liked them all, but five is a small lot.
Nominating everyone really waters that down.
There's no argument that the reasons seem like good ones on paper.
Why not make the industry happy? It would be wonderful to have the Pixar team in the mix for best picture … as well as critically lauded tentpoles like "Star Trek" or a "Harry Potter" installment.
And the biggest reason of all is a valid one, since this is a business: Ratings have stunk, and this is a way to get more eyeballs.
But, mixing my years here, can you imagine a year in which "Schindler's List" goes up against "Knocked Up"?
That's not an unlikely possibility. A 10-movie list means well-reviewed things like "Wedding Crashers" could be a contender for Best Picture.
Say that out loud.
Look, isn't snubbing part of the fun? When "Dreamgirls" was "supposed" to be a guaranteed winner — but didn't even get a nomination — wasn't that part of the whole process?
Now the only thing to ponder will be … who was number 11.
Michael Speier, former executive editor of Variety, is the News Editor of TheWrap.


"Written consultation is surely preferred. I again stress your good self to participate in the consultative process by giving your views in writing.
In case you do not participate in the consultative process, the people of Pakistan and I shall have no other option but to presume that you are evading the legal process, in which further rights shall be reserved," writes the PM, without further elaboration.


text:
/*
 * (c) 2015 Mike Chaberski, distributed under MIT License
 */
package com.github.mike10004.jenkinsbbhook;

import com.google.common.base.Function;
import com.google.common.base.Preconditions;
import javax.servlet.ServletContext;

/**
 *
 * @author mchaberski
 */
public class ServletInitParamValueProvider implements Function<String, String> {

    private final ServletContext servletContext;

    public ServletInitParamValueProvider(ServletContext servletContext) {
        this.servletContext = Preconditions.checkNotNull(servletContext);
    }

    @Override
    public String apply(String paramName) {
        return servletContext.getInitParameter(paramName);
    }

}

redpajama_set_name: RedPajamaGithub


Ank?tara nothing but thoughts and alliance in the mind of the buyers. A manufacturer is supposed to be with the consumers and certainly not in the aboard space thus it is usually more important to understand just who our customers are and what they need from your brand. Customer choice has the power which in turn has built brands like football and Amitabh Bachchan. Therefore whenever you think about a successful company, few various other related details can even come to head and also the manufacturer name just like, associated coloring, person, quality etc. Every one of the successful makes display handful of common attributes which contain made them thus big. Ranking brands happen to be the case to the core, understanding who that they are and displaying the real attributes. They will be textured and outstanding in that they have discipline and be noticeable in the mass. These kinds of brands are evocative thereby make emotions and feelings among the customers. These companies retain authenticity and creative imagination, and continue to keep shocking the customers. Additionally, they will be winners in their industry, become management and not supporters and generate views. They will find out how to occupy their personnel and customers. Although this kind of accomplishment is normally not an instant task. You need to be ready using a complete brand strategy to choose your organization a genuine company. Manufacturer approach can be described as ongoing effort and hard work to build a brand's recognized value. To build a strategy that can have your brand into an ideal worth is going to need a whole lot of exploration and planning.
Research offers being exterior as well interior. You need to seem inside ahead of anyone looks out of doors your business. Discuss to your personnel and stakeholders to understand the actual perceive through your brand and just how they suspect it is usually much better. Analysis of consumer styles, single members and behavior is as well crucial for you to figure out the adjustments and foresee the future trends. When you do the internal assessment shop around and speak to your customers. Make an effort to have customer opinions to learn the things you lack and what truly does your buyer actually want. Becoming familiar with brand mindset, the client notion, shopping for factors and buy response are necessary as well. This will likely offer thought of wherever you will be and just how do you require to tactics. Competitor analysis and research is another vital element that cannot end up being failed. You should be aware of the competitors and their capabilities. Know your rivals; you will want to all their ideas, their particular contact details and their completely unique advertising idea. This kind of evaluation will give you a mind start since you will end up being mindful of the areas where you have got to to stress more and have got notion of creating a exceptional image in the market which offers multiple players. Once all of the important analysis work is finished you are ready to step in the next level; that is to strategies a plan that might take those manufacturer to preferred situation. The crucial issue at this kind of stage should be to ensure that you employ your group at most amounts to highlight your specific personality and determine your location. This will emphasize your organization beliefs, attitudes and characteristics. Identifying spot in the market is important just like you can outline the concentrate on group and area. Prior to you go into a market you need to know your target audience, then only you can concentrate on what they want and not what you want to market.


Danish shipping and offshore energy conglomerate Maersk Group reported its profit at USD 253 million for the first quarter of 2017, compared to USD 224 million seen a year earlier, in line with expectations.
The group's revenue increased by 5 percent to USD 8.9 billion from USD 8.5 billion reported in the first quarter of 2016, as a result of revenue growth in the group's businesses Maersk Line and Maersk Oil. Namely, Maersk Oil saw a surge of 33 percent, or USD 343 million, in its revenues, while Maersk Line experienced a rise of 10% in revenues, or USD 519 million.
The underlying profit of USD 201 million, compared to USD 214 million reported a year earlier, was at the same level as last year, reflecting an increase of USD 321 million in Maersk Oil due to higher oil price and lower operating expenses, offset by decreases in almost all other businesses.
"We delivered year-on-year revenue growth for the first time since Q3 2014 in line with our ambitions to become a growth company again," Soren Skou, CEO, A.P. Møller – Mærsk A/S, said.
The group's container shipping business Maersk Line reported a negative ROIC of 1.3% and a loss of USD 66 million for the first quarter of the year, against a profit of USD 37 million seen in the same period in 2016. Market fundamentals continued to improve in the three-month period ended March 31 and demand outgrew nominal supply for the second consecutive quarter, according to the company.
"Maersk Line is on track to deliver a result improvement of above USD 1 billion for 2017 compared to 2016, despite an underlying loss of USD 80 million in Q1, driven by a USD 381 million higher fuel bill," Skou added.
The company informed that both spot freight rates and contract rates have increased during the quarter, lately also on the North-South trades.
Additionally, APM Terminals reported a decrease in its profit which reached USD 91 million, compared to USD 108 million seen a year earlier, and a ROIC of 4.5%. The underlying profit was negatively impacted by declining markets in West Africa and rate pressure in a number of locations due to overcapacity. In line with the new strategy no new terminal projects have been pursued and APM Terminals achieved a positive free cash flow of USD 88 million.
"We are starting to see synergies in Transport & Logistics, for example with Maersk Line increasing volumes to APM Terminals, improved collaboration between Maersk Line and Maersk Container Industry leading to significantly higher volumes and improved results, as well as cost synergies on Sales, General & Administration," Skou said.
During the quarter, the sales and purchase agreement to acquire the German container shipping line Hamburg Süd from the Oetker Group was approved by the boards of the Oetker Group and Maersk Line. The company will acquire Hamburg Süd for EUR 3.7 billion on a cash and debt-free basis. A syndicated loan facility has been established to fully finance the acquisition.
"The Hamburg Süd acquisition is progressing as planned towards a closing in fourth quarter, subject to regulatory approvals. The acquisition will deliver substantial revenue, volume and market share growth as well as operational synergies of USD 350-400 million per year from 2019," Skou said.
Posted on May 11, 2017 with tags earnings, Maersk.


is fha a conventional loan FHA vs. Conventional Loans – SmartAsset.com – FHA vs. Conventional Loans: The Loan-to-Value ratio. fha loans tend to have higher loan-to-value ratios than conventional mortgage loans. To explain why, it'll help to explain what FHA loans are and why they exist.
Mortgage Loans vs. Home Equity Loans | What You Need To Know – Home Equity Lines of Credit. This means that the bank will approve to borrow up to a certain amount of your home, but your equity in the home stands as collateral for the loan. The interest rates are lower than they would be with a credit card. Often home equity loans have a variable interest rate that will change according to market conditions.
owe more than house is worth and want to sell Can You Sell a Home If You Still Owe on Your Mortgage. – The simplest way to sell a home you still owe money on is to sell it for more than what you owe. Banks and lenders are generally willing to sign off on a sale if they are confident they will be repaid the remaining mortgage balance.
average credit score to get a mortgage What Credit Score Do I Need to Get a Mortgage? | The Truth. – For example, if your credit scores are 650, 680, and 720, a mortgage lender would use the 680 score, which is a decent but below-average credit score. You basically don't get credit for the 720 score, though they throw out the 650 score as well.
Home Equity Loan Vs. Mortgage Loan | Home Guides | SF Gate – Function. The biggest difference between mortgages and home equity loans and credit lines is that a mortgage has only one purpose: Buying a house.
Learning Center Live | How To Pay Off Your Mortgage Early. – New? Start Here Replace Your Mortgage Ebook. Start by downloading our short free book on how our proven Replace Your Mortgage Method works. Home Equity Line of Credit.
Home Equity Line of Credit vs. Second Mortgage: What's the. – The primary difference between a home equity line of credit and a second mortgage is the way the funds are distributed. A second mortgage is always distributed as a lump-sum payment. Depending on what you intend to do with the money, you may choose to have the bank disburse funds directly to a contractor.


text:
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Runaway Slave
May 12, 2013 By Seth H. Leave a Comment
By now, everybody and their dog is familiar with the series The Walking Dead on AMC, so you've probably seen the part where Rick Grimes rides into Atlanta, only to find it full of dilapidated corpses, shambling to and fro with a glassy-eyed stare, rotted flesh hanging from their faces, seeking only their next kicking, screaming meal. There's a part of Runaway Slave eerily similar to that scene. Rev. C.L. Bryant, seeking answers to his questions, arrives in Atlanta, former commercial center of slavery and political center of the Confederacy, also the birthplace of MLK and, arguably, the Civil Rights movement. As he begins conducting interviews, he meets many people with the same glassy-eyed, hopeless stares, their bodies bearing tattoos and other scars of a pointless, nihilistic existence of government colonization. But of course, this isn't some theoretical apocalyptic scenario. This is real life, and these are real Atlantans.
Runaway Slave is a documentary by Bryant, the great, great grandson of slaves in Louisiana who purchased 64 acres from their former masters upon emancipation. He lives on the same 64 acres today, when he's not speaking at rallies around the country. Earlier in life, Bryant was a loyal member of the NAACP, and was climbing the hierarchy with some success, until he refused to speak at a pro-abortion rally. For his refusal, he was forced to resign from the organization. He was later fired from the church that he pastored for speaking out against big government. He made this film in 2010 and 2011, during the initial outrage that boiled up over Obamacare being rammed
Bryant interviews Alfonzo Rachel on the streets of L.A.
through Congress. At that time he was speaking, among other places, at Tea Party rallies all over the country, and receiving hate mail calling him an Uncle Tom and a house n**ger.
The film opens with footage of the Restoring Honor rally on the Washington Mall the 47th anniversary of MLK's famous march on Washington, featuring the likes of Glenn Beck and Dr. Alveda King (MLK's niece). It zips back and forth between this event and Al Sharpton's Reclaim the Dream rally at the White House, both happening at the same time. (Something that was odd, but cool, to note: At one point at the Beck/King rally, the camera zooms in on an American flag someone is carrying. Just below it on the same poll is a Nebraska Cornhuskers flag. Don't know how it got there, but I paused the movie and it is definitely a Husker flag. Rex Burkhead would be proud.) Bryant is at the Sharpton rally, and interviews several people there, including Black Panthers. Afterward, he asks why, when the two groups profess to want most of the same things, Sharpton's flock spews so much bile and seems to have so much hatred for those at the Honor rally.
As Bryant explains early on in the film, he is plagued with questions such as why, in an age when someone's race doesn't hold them back from walking into any business, voting, or holding any job, black Americans still believe they are not "free at last," or why, after the Democrats fought to keep slavery legal, fought to keep schools segregated, sicked dogs on black protesters, and shot history's greatest black leader, black Americans now vote 95% Democrat. He says "I have to find out if there are other people out there who think the way I do." (If he's been speaking at rallies for years, I think he probably knows, but every documentary needs a kickoff.) He then travels the country, interviewing people of different races and different political stripes. He interviews Jesse Jackson, and the aptly named Ben Jealous (he tries to interview Sharpton, who blows him off). However, the largest group that he talks to is black conservatives, such us Star Parker, Alfonzo Rachel and David Webb.
Runaway Slave is not just an excuse to plug the books and web sites of people Bryant agrees with. It's a well-made documentary that takes on some tough questions, generates some good discussion, and leaves room for the audience to do its own thinking. The editing can be a little bit rough. Sometimes, Bryant will be talking to someone, and their lips won't go with the words, as if we're looking at an establishing shot, while we're hearing dialogue from a more central shot. Bryant can come off as just a tad narcissistic as well, as there are some shots were he appears to be interviewing himself. But in fairness, this is because he feels the need to explain why he is making this film. This is a documentary with a view point, but that doesn't make it any less worth watching. I'd say the most interesting part is about 1 hour in, when Bryant covers the decision by a school board in North Carolina, under the strain of budget limitations, to stop cross-city busing. The reaction of certain people is quite telling. And disturbing.
Runaway Slave is a gusty and in-your-face move, but also carefully done and thoughtfully presented. It's a movie that everyone should see.
Filed Under: Documentary, Movies Tagged With: 4 Stars, Alfonzo Rachel, Bill Whittle, C.L. Bryant, Documentary, Glen Beck, politics, race
May 9, 2013 By Simon R. 1 Comment
A few weeks ago one of my Twitter followers asked me if House of Cards was a good show.  I took a little while to figure out how to respond, because to answer that question requires a bit more than a simple "Yes" or "No."  The brainchild of David Fincher, Kevin Spacey, and a heap of computer-powered data mining, Netflix's reimagining of the classic British television drama is an interesting concoction.  It's good in the sense that the production is slick, the acting is top-notch, and the plotlines are appropriately deep and intricate for this type of political thriller.  But House of Cards is much more than that, and even though I finished watching the series I'm still not sure exactly what to make of it.  It's interesting, compelling, and often entertaining but unfortunately a host of other adjectives would be appropriate as well: creepy, sleazy, disgusting, and at times downright repugnant.
The show stars Kevin Spacey as a puppet master of sorts, the House Majority Whip pulling the strings of various beltway heavy-hitters while secretly pursuing an agenda of his own.  His Frank Underwood character, a Democrat from South Carolina's 5th district, is as slimy and smarmy as they come: one episode delivering a moving eulogy for a young girl in front of a faithful congregation, using just the right mix of smiles and scriptures to work himself into the hearts and minds of the assembled masses, all the while becoming increasingly entangled in any number of conspiracies to ruin the lives and careers of anyone who stands in his way back in Washington.  Few things are beneath him, from drugs to extortion to murder, though he remains well-nigh untouchable as the wizard behind the political curtain while finding ways to manipulate his fellow Washington cockroaches into doing his bidding.  It's an entirely cynical take on DC politics, gutting the optimistic heart The West Wing and replacing it with a dark mechanical lump of coal, and after every single episode my wife and I quickly fired up Parks and Recreation as a lighthearted palette-cleanser.
That's not to say House of Cards is not a well-made show.  In many ways it genuinely is a good, if not great, made-for-internet-television production.  Easily holding its own against its weighty counterparts on networks like HBO and Showtime, House of Cards plumbs the sordid depths of Washington politics like few other productions (celluloid, digital, or otherwise) have done so.  At the start of the series, Underwood is at the apex of his political game, wielding his political power and acumen like a scalpel in the hands of a master surgeon.  He of course has his sights set much higher up the political ladder, but to reach them requires winning a dangerous game of chess that even he might not be ready for.  One of his key pawns in this high-stakes match is Zoe Barnes (Kate Mara), a hotshot reporter-turned-blogger whom Underwood uses to plant stories and sway public opinion through media manipulation.  But as one would expect in a show of this pedigree, Underwood and Barnes' political relationship quickly becomes personal, though capriciously self-serving, and we quickly get the sense that Netflix is aiming to one-up HBO in their quest to shovel as much gratuitous sex as possible into the living rooms of their subscriber base.
Also at play in this grand political scheme is Underwood's wife Clair (Robin Wright), with whom he shares an unsettlingly open relationship.  She runs the Clean Water Initiative, a nonprofit whose goals aren't entirely in line with her husband's, and serves as the closest thing House of Cards has to a moral center.  Poor Peter Russo (Corey Stoll) is the empty-headed fool who bandied about by Underwood like a nerf gun with the sole purpose of helping the Democrat from Dixie reach his lofty ambitions.  We get a front row seat to Russo's doomed career both as a congressman and then gubernatorial candidate–a political self-immolation aided by Underwood who provides not only the match but the gasoline.  But alas, Russo's political corpse is another rung to be stepped on if the ladder is to be climbed, and so up Underwood goes.  This is tragedy on a grand scale, and in that sense House of Cards succeeds admirably.  Of course there is a host of other players in Underwood's clever game, from union bosses to vice presidents to the owner of a local barbecue joint, and it is often compelling to watch all the various threads come together–or unravel, as is often the case.
So why the bum rap? Â Evaluating House of Cards is tricky because it's hard for me to separate the content from the delivery. Despite the Oscar-worthy performances, intricate and well-developed plotlines, and compelling characters, I find it hard to recommend the show because it is so overpoweringly bleak. Â It's an interesting show, but not an enjoyable show. Â Engaging but not satisfying. Â Worth watching, though not what I would consider good.
Filed Under: Drama Tagged With: David Fincher, Kevin Spacey, politics
Obama's Amercia 2016
October 22, 2012 By Seth H. 1 Comment
Remember those pictures that were so popular back in the 1990s called Hollusions? The first time you walked up to one, all you saw was a field of dots sprayed on a piece of paper, like snow on a TV screen. You had to learn to focus (or rather not focus) your eyes in the proper way. It took patience. The first time, it could take an hour of looking, but suddenly, you would see the dots arrange themselves into a holographic image. Some of them were beautiful, some were a little bit scary, but once you learned to see them, it was hard to imagine how you ever missed them, and hard to be patient with those who still couldn't see the picture.
That's what it was like for me to observe Barack Obama's candidacy, then his presidency, asking the tough questions, and finally to see this excellent film made by Dinesh D'Souza. Obama was a phenomenon in 2008. Watching one of his rallies was like watching a Michael Jackson performance. You saw male and female, young and old, black, white and all others. A huge crowd of people from many walks of life, all united in, not the support, but the worship of one man. A man who, like Jackson, was "black" but … not really; his skin not very dark, his features resembling those of his white mother, and not one drop of slave blood in him. Rather, he reflected his international background, projecting a mix of ethnic groups. His platform was equally nondescript, one of "hope" and "change," with no concrete positions expressed until after he was in power. He was a blank canvas, upon which the naïve projected whatever they desired.
However, many have been puzzled by Obama since 2008, as there doesn't seem to be a pattern to his actions. His actions cannot be explained by the usual differences between Republicans and Democrats. You might recall that, when the congressional vote was nearing on Obama's universal health care plan, Democratic voters were calling their Congressmen in large numbers, begging them not to pass the bill. Obama had enough close allies to push it through, however. Around the same time, Obama was in the middle east, apologizing to America's enemies. He had no problem using force in Libya to depose a dictator who was no threat to America, yet he does nothing to keep Iran from obtaining nuclear weapons. When his actions in Libya led to the murder of an ambassador and several other Americans, he again apologized to radical Islamists for the First Amendment. He blocks efforts to drill for America's life blood on American soil, yet encourages such drilling in South America. Seeing all this, millions of us can't help but ask "Does he want America to fail?"
D'Souza covers the way in which Obama was lauded by millions, not as a good candidate for a job, but as a messiah. Millions stamped themselves with
A drawing from obamamessiah.blogspot.com. The post gives no indication of being satirical or facetious.
his "O" icon. Paintings were done of him resembling the traditional Jesus. Classrooms full of children were required to sing songs in his honor. Crowds of people were on TV, literally weeping for joy when he was elected. I want to be clear about something: D'Souza does not spend this film bashing Obama. He simply covers some truly embarrassing behavior of real Americans from the past several years.
I'm thankful for D'Souza. He grew up in India, and, just as it took a child to point out that the emperor was naked in the famous tale, it seems to take a newcomer to America to say the things that some of us just can't, however true they may be. D'Souza points out the fact that Barak Obama is the first President in American history to be elected primarily because of the color of his skin, and is brave enough to say that no white (or Indian) man would ever have been ushered into the White House after just four unremarkable years in the Senate.
But what's really impressive about Obama's America 2016 is the depth of the journalism. D'Souza has put enormous effort into digging up Obama's past, traveling around the world and interviewing everyone from his extended family in Kenya, to those he knew in Indonesia,  to people who worked with him on the campaign trail. Using Obama's two autobiographies as a guide, D'Souza pries his way into Obama's head to see what makes him tick.
Does Obama want America to fail? D'Souza unearths a straightforward answer to this question; one that, after the care and thoroughness of his search of Obama's past, is very hard to argue with. Most of the way through, I suspected that this was actually a pro-Obama film. D'Souza remains objective in his explanation of the emotional journey of Obama, and you really do start to feel with Obama. And with all the adorable footage of Kenyan children in Obama shirts, you can see how people fell so madly in love with Obama. But the last 15 minutes of this film give you the mental equivalent of finally seeing those dots arrange themselves into a picture. It becomes clear why Obama does the things he does, and it is genuinely scary.
Obama's America 2016 is available to rent at Redboxes across the nation, and you need to see it before you vote.
Can you see the picture yet?
Filed Under: Documentary, Independent, Movies, Mystery, Opinion Articles Tagged With: .5 Stars, Barack Obama, Dinesh D'Souza, Documentary, politics
Judicial Retention Elections: Director's Cut
We movie critics take a lot of flac. People accuse us of lazily taking cheap shots at directors, actors and techs who break their backs and offer up their work. Occasionally, someone will say "Why don't you just make a movie yourself, if you think it's so easy?"
So, I decided to try it. It was a few months ago that I was introduced to Xtranormal.com, the website that allows ordinary people to make movies by selecting characters and locations from a menu, and typing dialogue. And I have to admit, having actually put my nose to the grind stone, that … movie making is really easy! I don't know why all those studios, with billions of dollars at their disposal, couldn't get it right, when I did this with a laptop and a few hours. I'm partly joking of course, but I do want to draw attention to three good things that Xtranormal will contribute to the American cinema: One, it puts a bit more of the power in the hands of ordinary people to counteract the Hollywood propaganda machine. Two, you can't fill your movie up with car chases and explosions, so it forces the audience to focus on dialouge. And three, most of the people who will use Xtranormal will likely be people who have something worthwhile to say to the world, as I did when I made the film below. Enjoy.
Filed Under: Comedy, Miscellaneous, Movies, Opinion Articles, Uncategorized Tagged With: Government, judges, law, lawyers, politics
Enterprise: The Expanse (S02E26)
One thing I appreciate about Enterprise is its level of ambition: Â some episodes really reach for the stars (no pun intended), and while most of them don't end up being all they strive to be, I give them credit for at least trying. Â The Star Trek universe is a rich canvas on which an incredible […]
By Simon R. 1 Comment
After cutting his cinematic teeth with the low-budget film El Mariachi, director Robert Rodriguez gained some clout and influence to complete the next chapter in his series about the mysterious Mariachi–the musician with a mysterious past who exacts vengeance with weapons stored in a guitar case. Â For the follow-up story he was able to hire […]
Walmart: The High Cost of Low Price
Reviewing a documentary can be a bit tricky, since it's not always easy to divorce oneself from the subject matter of the movie and do an objective writeup. So in the interest of full disclosure, I should probably get a few things out of the way off the bat regarding my relationship with America's largest […]


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