text:
Microsoft and Facebook, Social Data in Search Results, & What It Means for Businesses
Ryan Buddenhagen, May 14, 2012
The push is coming, or has it already begun? The push from Microsoft and Yahoo (but considering Yahoo's recent issues, let's concentrate on Microsoft and it's Bing search engine) to stand up to Google and offer formidable competition has been in the works for some time. Now, Microsoft is not backing from the challenge, instead fully pressing on continuing to invest in their online services division, that which guides its search platform Bing, and trying to differentiate themselves from other search engines, namely Google.
This means that the decision-makers at Microsoft are confident they can eventually tip the scales and draw web searchers to their platform. This is serious confidence considering the online services division reported operating losses of $2.6 billion for its last fiscal year, according to a recent New York Times article by Nick Wingfield. Part of their plan in mounting a surge was announced just at the beginning of the month in that they are going to integrate social media data into their search results. This information is not just any social data, however, it is social data from yes, a range of sites, but namely from Facebook. Sound familiar?
Google introduced its "Google Search, Plus Your World" functionality as Google Search began integrating social data into its search results (primarily from Google+) causing a stir for several reasons among them being a significant change to the user experience and the issues associated with potentially privileging its own social platform over others in search results (considering it is the dominant engine used). In this process, Google and Facebook are pitted against each other as Google is ramping up its Google+ to compete with Facebook to amass social/personal data. So, now it appears Microsoft and Facebook are teaming up to add an additional functionality to Bing that mirrors Google's latest search functionality.
According to experts cited in the NYT article, Microsoft has integrated in the social data quite well. They have been very concerned with integrating the data without cluttering the search results pages, making multiple changes through various tests. The apparent result: a crisp-looking search engine results page (SERP) that has a neatly organized sidebar of social media results where users can post questions to the friends who have posted relevant information without leaving the results page.
Business Implications
The move to integrate social data into Bing search results from Facebook and others and the similar steps from Google previously have clear implications for those conducting online marketing and SEO campaigns:
Businesses must get a social presence and optimize it. The longer businesses lack a presence on social media, the longer they will miss out on opportunities to engage with customers online, widen their audience through greater exposure, and push greater business and conversion.
Marketers need to leverage social media with the other marketing operations of the company. Linking promotions to their social presence, bridging traditional media to this social presence, and coordinating the different accounts themselves to strengthen each other, along with optimizing it with SEO- friendly practices will bring the return businesses are looking for.
The apparent alliance between Microsoft and Facebook is intriguing and will be something to track as the way it plays out, and the way that Bing performs going forward, will greatly impact the future search landscape.

redpajama_set_name: RedPajamaCommonCrawl


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text:
Speech 911 Coaching Service
You have a very important speech, presentation or video shoot coming soon and you absolutely want to rock it. You may not be feeling completely confident in your message, story or speaking ability. The nerves are really getting to you this time because the stakes are high. Perhaps it never occurred to you to hire a coach, but now you're thinking… it's time.
I am a professional speaker, coach and talk show host with over 30 years of experience. I offer a unique skill set for both on-stage and on-camera coaching, and I'm passionate about helping you deliver stories that meet your goals and drive more business conversations. I will help you become a more powerful speaker who communicates with clarity and confidence.
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"David is an insightful coach who knows what's effective for an audience….as well as authentic for a speaker. He never told me that there was one magic way to reach the audience – instead, he asked powerful questions that allowed me find the answers that worked for me. As a published author and established writer, David helped me sharpen my writing to maximize the impact of my speech, challenging and encouraging me all the way to the Semi-Finals of Toastmaster's International Speech Contest, placing in the top 100 out of 30,000 contestants." – David Hollingsworth, Speaker, Author, Technology Leader, www.holliworks.com
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The worst story ever
Where does courage come from?
How do you build a legacy?
That moment you decided
When you get grilled
David is a speaker, executive coach and author based in the San Francisco Bay area. He is a 30-year marketing veteran who has worked as a talk show host for Cisco, ServiceNow and others. He is an avid endurance athlete and believes that most people are far from reaching the limit of what's possible. All proceeds from his book "Getting to the Point" are donated to cancer research.
HIRE DAVID
Looking for a dynamic speaker, executive coach,
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text:
Antibotic resistance in Zn(II)-deficient environments: activation of metallo-beta-lactamases in the periplasm
Meini, María Rocío ; Gonzalez, Lisandro Javier ; Vila, Alejandro Jose
Editorial: Future Medicine
Revista: Future Microbiology
http://www.futuremedicine.com/doi/full/10.2217/fmb.13.34
http://dx.doi.org/ 10.2217/fmb.13.34
http://dx.doi.org/10.2217%2Ffmb.13.34
Citación: Meini, María Rocío; Gonzalez, Lisandro Javier; Vila, Alejandro Jose; Antibotic resistance in Zn(II)-deficient environments: activation of metallo-beta-lactamases in the periplasm; Future Medicine; Future Microbiology; 8; 8; 7-2013; 947-979
Zn(II) is an essential metal ion in living organisms, playing a wide variety of roles as a structural, regulatory or catalytic cofactor in proteins. As is the case for most transition metal ions, high Zn(II) levels are toxic. Therefore, organisms have developed a series of mechanisms to regulate Zn(II) concentrations and to ensure proper metal uptake by metalloproteins. Bacterial pathogens require transition metal ions during infection to achieve an optimum colonization level and to activate a variety of virulence factors. This condition is exploited by the human host, which sequesters these metal ions in a process generally termed nutritional immunity. In addition to that, antibiotic resistance can also be affected by Zn(II) sequestration, as recently reported for a multidrug-resistant Acinetobacter baumannii strain, whose susceptibility to carbapenems was increased in the presence of a Zn(II)-chelating agent. The most outstanding resistance mechanism towards beta-lactam antibiotics involving Zn(II) ions is the expression of metallo-beta-lactamases (MBLs). Inhibitor design strategies for MBLs have been largely unsuccessful, mostly due to the structural diversity of their active sites. Many efforts have relied on a structural and biochemistry bases, but in vivo inhibition has not been effective. Novel strategies should consider Zn(II) uptake as a limiting step on MBL activation. Selective Zn(II) chelating schemes, reinforcing human host Zn(II) sequestering strategies, should be put into focus.
Description: Acceso abierto disponible en el enlace propuesto
Articulos(IBR) [320]
Articulos de INST.DE BIOLOGIA MOLECULAR Y CELULAR DE ROSARIO


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Which PDF Editor is Best?
A PDF editor is an absolute must for today's work. But which PDF editor has the features and the right price for you?
In this video, Scott Friesen compares PDFelement, Nitro, and Adobe Acrobat. He shows you the different features and pricing that you'll want to consider when selecting the best PDF editor for your work.


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With a growing number of graphene related events to choose from, why should scientists, researchers, students and industry representatives choose the Graphene Flagship's Graphene Week to be held in San Sebastian, Spain, 10-14 September 2018?
"Graphene Week is the only graphene conference that has a large focus on fundamental science in addition to the applications, a balance other conferences don't have, making it unique in the landscape of graphene events," says Konstantin Novoselov, Graphene Flagship strategic advisory council member, member of the Graphene Week 2018 Scientific Advisory Board and recipient of the Noble Prize in Physics.
The event should be valuable for students, as well as researchers, as the past year has produced a number of exciting breakthroughs in graphene and 2D materials that will be presented at the conference. Industry representatives from Europe and abroad will be present along with high profile speakers, reporting recent breakthroughs, including Andre Geim of the The University of Manchester, Pablo Jarillo-Herrero of the Massachusetts Institute of Technology and Dimitri Basov of Columbia University.
Learn more about Graphene Week 2018.


text:
Q: NLTK ne_tree Word Tokenize chunk from Column rows (Python/Pandas/Jupyter) I just started learning about the Natural Language Took kit. I'm trying to categorize words. I'm basically looking for things Persons, Places, and Organizations.
So far defining a single line of text works in the script.
ex = 'John'
ne_tree =  nltk.ne_chunk(pos_tag(word_tokenize(ex)))
print(ne_tree)

Output:
(S (PERSON John/NNP))

My question am I able to specify an entire column with this script?
My table is as below.
ex2:
Order   Text
    0   John
    1   Chicago
    2   stuff
    3   question

Order is basically the index I created. The idea is later I can break sentences down to words, maintain a key, and melt. Text is what I want to tokenize.
When I run this code I get the below error. Perhaps I'm calling it incorrectly, and I need to specify the column? Thanks for the help.
ne_tree =  nltk.ne_chunk(pos_tag(word_tokenize(ex2)))
print(ne_tree)

Error:
---------------------------------------------------------------------------
TypeError                                 Traceback (most recent call last)
<ipython-input-80-5d4582e937dd> in <module>
----> 1 ne_tree =  nltk.ne_chunk(pos_tag(word_tokenize(ex3)))
      2 print(ne_tree)

~\AppData\Local\Continuum\anaconda3\lib\site-packages\nltk\tokenize\__init__.py in word_tokenize(text, language, preserve_line)
    142     :type preserve_line: bool
    143     """
--> 144     sentences = [text] if preserve_line else sent_tokenize(text, language)
    145     return [
    146         token for sent in sentences for token in _treebank_word_tokenizer.tokenize(sent)

~\AppData\Local\Continuum\anaconda3\lib\site-packages\nltk\tokenize\__init__.py in sent_tokenize(text, language)
    104     """
    105     tokenizer = load('tokenizers/punkt/{0}.pickle'.format(language))
--> 106     return tokenizer.tokenize(text)
    107
    108

~\AppData\Local\Continuum\anaconda3\lib\site-packages\nltk\tokenize\punkt.py in tokenize(self, text, realign_boundaries)
   1275         Given a text, returns a list of the sentences in that text.
   1276         """
-> 1277         return list(self.sentences_from_text(text, realign_boundaries))
   1278
   1279     def debug_decisions(self, text):

~\AppData\Local\Continuum\anaconda3\lib\site-packages\nltk\tokenize\punkt.py in sentences_from_text(self, text, realign_boundaries)
   1329         follows the period.
   1330         """
-> 1331         return [text[s:e] for s, e in self.span_tokenize(text, realign_boundaries)]
   1332
   1333     def _slices_from_text(self, text):

~\AppData\Local\Continuum\anaconda3\lib\site-packages\nltk\tokenize\punkt.py in <listcomp>(.0)
   1329         follows the period.
   1330         """
-> 1331         return [text[s:e] for s, e in self.span_tokenize(text, realign_boundaries)]
   1332
   1333     def _slices_from_text(self, text):

~\AppData\Local\Continuum\anaconda3\lib\site-packages\nltk\tokenize\punkt.py in span_tokenize(self, text, realign_boundaries)
   1319         if realign_boundaries:
   1320             slices = self._realign_boundaries(text, slices)
-> 1321         for sl in slices:
   1322             yield (sl.start, sl.stop)
   1323

~\AppData\Local\Continuum\anaconda3\lib\site-packages\nltk\tokenize\punkt.py in _realign_boundaries(self, text, slices)
   1360         """
   1361         realign = 0
-> 1362         for sl1, sl2 in _pair_iter(slices):
   1363             sl1 = slice(sl1.start + realign, sl1.stop)
   1364             if not sl2:

~\AppData\Local\Continuum\anaconda3\lib\site-packages\nltk\tokenize\punkt.py in _pair_iter(it)
    316     it = iter(it)
    317     try:
--> 318         prev = next(it)
    319     except StopIteration:
    320         return

~\AppData\Local\Continuum\anaconda3\lib\site-packages\nltk\tokenize\punkt.py in _slices_from_text(self, text)
   1333     def _slices_from_text(self, text):
   1334         last_break = 0
-> 1335         for match in self._lang_vars.period_context_re().finditer(text):
   1336             context = match.group() + match.group('after_tok')
   1337             if self.text_contains_sentbreak(context):

TypeError: expected string or bytes-like object

A: You have too apply the function to each row value
ex2['results'] = ex2.Text.apply(lambda x: nltk.ne_chunk(pos_tag(word_tokenize(x))))

redpajama_set_name: RedPajamaStackExchange


text:
Manchester United vs Leicester City for the EPL history!
Leicester City could well be set to make Premier League history against Manchester United this Sunday as they look to secure the last 3 points necessary to win the title against all odds!
At the start of the season nobody could have guessed that the Midlands outfit would be anywhere near the top of the table, let alone challenging for the title, and they were amongst the teams that were most likely to be relegated to the Championship next season.
bet365 were quoting 5,000/1 that Leicester would go on to win the title at the start of the season and the bookmaker now faces a huge liability if the Foxes come good on Sunday.
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The Foxes find themselves 7 points clear at the top of the league, needing only 3 points to secure their first top flight title in their 132 year history. The meteoric rise of players like Riyad Mahrez, N'golo Kante and upstart Jamie Vardy have proved instrumental in Leicester's success this season, with Italian manager Claudio Ranieri building the team around these key players to get results with a fast, counter-attacking style of play which doesn't rely on possession or a high press.
By comparison, United's season can be deemed one of missed chances and frustration. In what has been perhaps the most open Premier League title race ever, Louis van Gaal and his Red Army have failed to capitalise, despite having spent almost quarter of a billion pounds since van Gaal became their manager. In spite of their disappointing season, United go into the fixture firm favourites at 21/20 (2.05) and with the faint hope of a top four finish looming, United will be desperate to try and snatch all 3 points on the day.
The Foxes will be acutely aware of the task ahead of them, an away win at Old Trafford never comes easily and this is reflected by their odds – Leicester are 13/5 (3.60) to win on Saturday whilst the draw is an appealing 12/5 (3.40). Leicester's last win against United was a 5-3 mauling at the King Power Stadium in 2014 in a performance that defied expectations, but in the matches since the Foxes have lost 3-1 and drawn 1-1.
Given some of Leicester's recent performances, it may seem likely that it will be a low scoring affair, but it's not unreasonable to think there could be goals in the encounter, and bet365 are offering odds on the over/under 2.5 goals market which have seen plenty of backing in the run up to the game. Over 2.5 goals is 11/10 (2.10) whilst under is a shorter 7/10 (1.70).
Regardless of the outcome, what's certain is that this will be one of the standout fixtures in one of the most exciting Premier League seasons in the competition's history, and you can watch all the action unfold at bet365.
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This entry was posted in Betting News and tagged Premier League betting.


The 30-day period for public comments on the latest draft of New York's BitLicense proposal comes to a close today, March 27th.
While the original comment period did result in tremendous developments to the proposal, many in the bitcoin intustry felt that there were still many onerous components that inhibit the development of new companies.
Where this becomes a problem for Wilson is that a state-by-state requirement becomes tremendously arduous. The basic question is: If the Federal Government already has a rule, why make another rule?
And Coin Center agrees. "The BitLicense's AML requirements go too far, imposing costs onto Bitcoin businesses that are not borne by any other money transmission business under state or federal law," Peter Van Valkenburgh, Director of Research at Coin Center, wrote.
But it's not just the Anti-Money Laundering rules that are onerous. Wilson also talks about how every virtual currency company is, by default, regulated as a money transmission business. "The Bitlicense requires similar provisions to what is already in place for money transmitters under state regulations, thus creating duplicative and redundant compliance obligations, which, again, could end up being replicated in all fifty states around the country," he wrote on his blog.
Primarily, what Wilson, Coinbase, and Coin Center are arguing for is equal treatment like any other money transmitting business. The companies are not looking to avoid regulation; rather, they are simply looking to be regulated like any other comparable business.
Fundamentally, the three groups believe the DFS has worked hard to try and create a set of rules that are fair to the virtual currency businesses.


Andrea Rody of Sarasota County, Florida was killed Monday in a roadside accident, sources indicate. Rody, 45, was cutting grass with a weed whacker in an overgrown median near her home at the time, sparking complaints that the city may have been responsible for her demise. Rody was struck by Samantha Lax, 20, of Sarasota, Florida and was air rushed to the Bayfront Memorial Hospital, where she was pronounced dead at around 1:30 in the afternoon. According to Florida Highway Patrol, charges are pending as an investigation into the incident continues. Whether Rody's family plans on filing charges against the city remains to be seen.
News reports indicate that Rody was cutting grass outside her home in the median of the 6800 block of Mauna Loa Boulevard around 9:30 A.M. before the crash. The grass had reportedly grown over two feet in length after county officials failed to maintain its height. Rody had apparently complained numerous times about the grass being too high, according to one county report. Annoyed by the overgrowth, Rody took it upon herself to cut the grass with a weed whacker, sources say.
A county worker who noticed Rody cutting the grass that morning told her that he would require a work order before cutting grass, reports claim. Shortly before she was hit, the county worker had acquired the work order and informed Rody, who, reports say, thanked the worker and informed him that she would stop cutting after one more bush.
Rody was subsequently struck by a 2001 Lexus driven by Lax. News sources say that Lax did not see Rody cutting the grass. Florida Highway Patrol reported that Rody was hit by the left front of the car and thrown into the middle of the median. She was rushed by helicopter to the Bayfront Medical Center with critical injuries but was pronounced dead shortly after at 1:14 P.M. It is currently unclear if Rody was in the median or the road when she was struck.
New sources have reported that the median in front of Rody's home was one of many that went uncut in Sarasota County. The county had been undergoing contract issues with the landscaping company Blooming Landscape and Turf Management. Their contract with the company terminated in May. According to reports, County staff has since taken over responsibilities but do not have the manpower to maintain all the grass patches in the county. On August 1, three local companies were awarded contracts to the cut the grass, reports say, but that it will take around one month for workers to catch up.
Rody's partner has reportedly questioned the speed at which Lax was traveling on Mauna Loa, which, according to reports, has a 25 MPH speed limit. The partner, who has been in mourning since the accident, expressed concern that vehicles were driving at speeds far excessive of the posted limit the morning of the accident.
Read about other pedestrian crashes here.


text:
Bally opens first London "maison"
The very first "maison Bally" has been opened in London, where the brand moved its headquarters last year. The 4,300-ft2 flagship store was recently inaugurated at 45/46 New Bond Street in a three-floor townhouse.
For the project, the Swiss luxury footwear brand has not held back. It enlisted star architect David Chipperfield to develop a new store format that will also be rolled out in Bally's other flagship stores, with the brand aiming to open a dozen of these "maisons" in major cities. Bally also presented its newly revamped digital platform as it aims to further develop its omnichannel.
Bally has opened its first "maison" in London
The store's design was inspired by archived photos of a Bally store from the 1920s designed by modernist architect and furniture designer Marcel Breuer. The brand, which has previously worked with renowned architects such as Robert Mallet-Stevens, Andrée Putman, Le Corbusier and Karl Moser, has continued on a similar path by collaborating with David Chipperfield Architects, which also designed the store's furniture.
In the same vein, new management has drawn on the brand's heritage in its marketing efforts, aiming to go beyond the products in order to get to the heart of the brand. The goal? To shed new light on the brand through design and architecture.
The maison has begun to put together a furniture collection with Swiss designer and architect Jeanneret Switzerland. It has also purchased one of the last wooden "demountable" houses by French architect Jean Prouvé in collaboration with Pierre Jeanneret, presenting it at the Art Basel exhibition at both its editions in Basel and in Miami.
Bally's London store is inspired by modernism
Celebrating the modernist movement, Bally is presenting a clean and precise image that showcases a functional and modernist aesthetic. Its strategy has been accompanied by the launch of an online magazine, "Function & Modernity", dedicated to design, lifestyle and travel, headed by Thomas Erber.
"Some of these pieces have been integrated into our showroom and have directly inspired our creative director Pablo Coppola. We want to present something solid that is anchored in our DNA. Everything has to make sense: the aesthetic, the design. We're creating a whole lifestyle around Bally," said CEO Frederic de Narp.
"The London store is the starting point of a new era. Everything has been revamped, from the advertising to new packaging, through new collections and services available in the new store, including a floor set aside for unique services for made to measure footwear" continued Bally's CEO.
Bally's London store sets aside a floor for menswear collections
On the second floor, customers can take advantage of new services such as made to order, made to color and a "shoe care" service, not to mention a shoe shine! The basement, meanwhile, is home to the men's collection while the ground floor is set aside for women's fashion.
The brand is currently distributed through 400 multibrand clients and 300 single brand stores, 100 of which are located in airports. China, where it has 60 points of sale, is its biggest market.


A compound structure graphic indicates a Compound Search was performed.
Did You Know ... The product does not display timespan information for compound searches.
Right-click the mouse to display the following menu options: File, Edit, 3D Rendering, Color, and About.
Select additional options from the right-click menu as needed, such as Rotation, Display, and Options.
When combining a Compound Search with a General Search using the OR Boolean, the system combines the patent records found in the Compound Search with the patent records found in the General Search.
Let us assume you perform a Compound Search for nickel (SYN=nickel) and find 197 compound results. If you click the Find All Patent Records button from the Compound Results page, the system returns 26,979 patent records.
If you perform a Topic search TS=(recharg* lithium batter*), the system returns 2,950 patent records.
Combine the two search queries using the AND Boolean: #2 AND #1 and the system returns 31 patent records.
26,979 + 2,950 = 29,929 - 31= 29,898 records.
Note: These numbers are likely to change as new patent and compound records are added to the product database.


Have you got a classic car you want to insure? Here's how to get a bespoke insurance policy.
Whether it's a vintage Beetle, 1920s MG or a Mini rivalling the one from the Italian Job, your classic car is your pride and joy.
Not only is it a form of transport, it's a beautiful machine and your hobby all rolled into one. So if anything happened to it – if it was stolen, damaged or involved in an accident – it's understandable that you'd be devastated.
Therefore you'll need to insure it in case the worst was to happen – that's where classic car insurance comes in.
Classic cars are out of the ordinary, so a standard car insurance policy just isn't going to cut it.
In fact, it's unlikely you'll be able to insure your vehicle through a normal high street insurer even if you wanted to. More than likely you'll be looking at insuring your vehicle with a bespoke provider, who will ask specific details about your particular vehicle.
There are a number of insurance companies offering classic car insurance, including Footman James, Lancaster Insurance and Adrian Flux.
You might be surprised to learn that insuring your vintage car will probably be cheaper than insuring a regular vehicle.
There are a number of reasons for this – namely the usage. For example, if you've got a classic Jag that you've polished so much you can see your face in, you're unlikely to take it commuting up the M6 on a rainy day.
Instead, insurers assume that you'll only use your classic car in fair weather, or for the occasional relaxing Sunday drive. So they factor this into the price – if you use it less than a normal car, then there is less chance of any harm coming to it and therefore you'll pay less for your cover.
In fact, many insurers put a cap on the amount of miles you can do in a year within your policy. If you plan to use your car for more than the occasional summertime drive, make sure you stay within your limited miles.
And actually, to get insurance for your classic car, you don't even need to be doing any miles in it at all. Yours could be a 'project' vehicle – a car that you keep in your garage to work on but you still want to cover it, in case of a fire or theft, for example.
Normally when you buy a car, the value goes down every year – this is depreciation. This is because as it gets older, it is worth less. That's not the same with classic cars because generally, the older they get, the more they're worth. This is particularly true if you keep your classic car in good condition.
Classic cars are often bought for hobbies, so the owner will likely look after it and plough money into enhancements to their vehicle – in turn, increasing the value. That means if you claim on your insurance, you could end up out of pocket if your insurer just gave you market value for the car as it's worth more than that.
You'd need to agree with the insurer what the car (and any modifications you've made) is worth – this is a Valuation Agreement. This is the amount they'll pay out in the event of total loss.
You may need to provide evidence of the additional worth, such as receipts for work you've had done or photos – your insurer will tell you what you need to provide.
Your classic car is more than just a set of wheels, we understand that. It is a hobby and a project to really put your heart and soul into so you'll want to protect it the best you can.
We hope this has answered some of your questions on classic car insurance. All that's left is for the sun to come out and you to dust her off and enjoy the ride!


text:
The Devil & The Universe - Benedicere (2015) - Review
Published on Wednesday, 30 December 2015 17:00
Band: The Devil & The Universe
Album title: Benedicere
Release date: 8 December 2015
Label: Rustblade Records
01. Ascension
02. Dei Genetrix
03. Immaculata
04. Hail! Mary
05. Ora Pro Nobis Deum
06. Elousa
07. Mater Dolorosa
08. Nikopoia
09. Road To Damascus
"Do not marvel at the novelty of the thing, if a Virgin gives birth to God."
The Devil & The Universe is back with a new opus and all lovers of occult cinematic darkness are already licking their fingers. This Austrian project, which started their path as a duo in 2013 and soon after the formation released their debut EP Evoking Eternity, gained the attention from fans of obscure sounds. Still, nobody really knew in which direction this project will really go, but as soon as they've released their debut album Imprint Daath and last year the sophomore one Haunted Summer, the things were pretty much clear, The Devil & The Universe, who in the meantime become a trio, are now without any doubt one of the most original and noteworthy acts in the whole (you name it) wave occult scene. There's no need to mention anymore who are the main actors behind the goat masks, but if I say that Ashley Dayour, better known from gothic rockers Whispers In The Shadow and Near Earth Orbit, is the main man here then the things are more or less pretty clear. The other two members are Stefan Elsbacher (Black Manna) and David Pfister (Neigungsgruppe, Sex, Gewalt und gute Laune).
Benedicere in a similar way like its predecessor, Haunted Summer, which invited us to spend an idyllic summer of 1816 in Lord Byron's Geneva's lakeside mansion: the famed Villa Diodati, with two women in their teens and three men in their twenties..., goes deep into Christian mysticism and all the mysteries surrounding the Virgin Mary. To give us a proper picture and essence of the musical content the band travelled to the most visited pilgrimage site in the world- Lourdes, France, as well as to the Spanish Santa Maria de Montserrat Abbey and the Vatican in Rome. Now, what we are left with is a twisted, yet meticulous sonic extravaganza that hooks the listener with its diabolic audio/visual character and takes him into the world of occult and from this aspects delivers an audible take on on probably one of the most delicate Christian mysteries. The Devil & The Universe have evolved into spheres where only absolute darkness is the limit and their musical output is hard to describe, they call it goat wave, but in truth you'll find here dark/ritual ambient, symphonic music, psychedelia, minimal wave, cold wave, xy wave, industrial parts and yet much more, everything composed in a way that it feels just like listening to a perfect soundtrack that could fit fine to any kind of 70s occult horror movie.
Every single track on this album is connected with each other by kind of a natural pathos, nevertheless the diversity of incorporated elements and sound variations, and as soon as the first waves of the solemn symphonic opener "Ascension" start to make an impact on your senses, your mind and body could be trapped into this maelstrom of almost infernal seduction. "Ascension" in a way evokes the spirit of Lacrimosa's early albums, but in its own way, it copulates with huge doomy, almost bombastic orchestrations and sends shivers down the spine with its hypnotic vibe and those backing angelic voices give a feeling of timelessness. "Dei Genetrix" is a proper psycho/occultistic ritual, "Immaculata" is based on the hypnotic danceable synthpop/EBM beat and it becomes almost creepy with captivating melody and lush sparkling ambiances in the background, a similar vibe, but much more horrific and turbulent, with an addition of almost martial industrial sequence and gritty guitars that are imposing there in a spectacular cinematic way is "Ora Pro Nobis Deum". Those short intermezzos like are "Hail! Mary" and "Elousa" make such a great connection with the main story and adds a lot to the whole ambiental archaic bitterness that culminates in glorious "Mater Dolorosa", where strong, soul shaking percussions, obscure chants and cold keys once again create a very dense, yet original mystical sonic madness. Cold wave, dark wave,... and that typical The Devil & The Universe sense of humor is best present in "Nikopoia". The Devil & The Universe are bethroted to the occult and darkness, after all also their name derives from there, and once those esoteric, yet perverted erotic vivid images made by strong sonic waves, female speeches, whispers, chants and by the pure solemn suspenseful horrific presence in "Road To Damascus", the listener knows exactly what's all about.
Ashley, David and Stefan did one hell of the album, in my opinion their best until now. They don't take it easy on things, everything is in perfect balance, so in a way also very accessible and recommended for various types of listeners. No matter from which point you look at it, performance, production, mix, the whole concept, artwork,... everything is just right. Benedicere is an occult drama, an adventure, a refined and accurate ritualistic experience, magick and mayhem, order and chaos, mysticism, a dark cinematic murky masterpiece.
"The immaculate thing is clean. I'm the immaculate conception."
Review written by: T.V.


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What Figure Of Speech Is This, Metaphor?
I teach because, being around people who are beginning to breathe, I occasionally find myself catching my breath with them.
What does catching my breath with them mean? I sense some special effect has been made, but what figure of speech is it, metaphor?
I suppose the meaning is that when we discover something new and surprising, we often gasp ('catch our breath') in astonishment or delight. A good teacher, of course, often discovers new things, or new views of things, along with his/her students.
I wouldn't call this a metaphor. I'm sure it has another name-- the use of one characteristic to represent the whole experience-- but I have a mind like a sieve, sorry. Maybe another member will know.
These are the real reasons I teach, these people who grow and change in front of me. Being a teacher is being present at the creation, when the clay begins to breathe.
Mister Micawber I suppose the meaning is that when we discover something new and surprising, we often gasp ('catch our breath') in astonishment or delight. A good teacher, of course, often discovers new things, or new views of things, along with his/her students.
A form of metaphor in which the part stands for the whole, the whole for a part, the genus for the species, the species for the genus, the material for the thing made, or in short, any portion, section, or main quality for the whole thing itself (or vice versa).
These are the real reasons I teach, these people who grow and change in front of me. Being a teacher is being present at the creation, when the clay begins to breathe. I teach because, being around people who are beginning to breathe, I occasionally find myself catching my breath with them.
This is a reference to the divine creation of Man. God molded a man from clay and blew the breath of life into him. The teacher is exulting in the experience of watching young minds develop and discover-- 'come to life'-- and the teacher sometimes, as I said, learns something new as well.
Hmmmm, now I sense "catching my breath" here means "exulting". It's very vivid. And the figure of speech is metaphor.
Catching my breath is not a metaphor because a metaphor uses like or as. I am pretty sure it is personification.
No; that is a simile. A metaphor carefully does NOT use 'like' or 'as'.
Rules Of Parts Of Speech For Computer Project?
_-_Can You Figure This Out?_-_?


text:
Журавльо́ва () — присілок у складі Тугулимського міського округу Свердловської області.

Населення — 145 осіб (2010, 157 у 2002).

Національний склад станом на 2002 рік: росіяни — 95 %.

Примітки

Джерела

Посилання
 На Вікімапії

Населені пункти Тугулимського міського округу
Присілки Свердловської області

redpajama_set_name: RedPajamaWikipedia


text:
Methyl Ethel: 'Triage'
"Is this real life?" sings Methyl Ethel's Jake Webb on 'Real Tight,' the self-proclaimed "surrealist love song" from his new album Triage. Over a propulsive rhythm and angular yet euphoric guitars, the song folds in on itself as Jake acts out the blurred edges of his dreams in vivid hues. "For as long as I've made music I've also poured myself into the songs. But in pieces, fragments. Like in dreams."
Methyl Ethel has always been an expression of the subconscious. Born in the heat of the Australian summer, the early recordings were built from the ground up in various bedrooms and friends' studios; the same spaces Jake returned to for Triage, the third album in a triptych he started with Oh Inhuman Spectacle (2015) and continued with Everything Is Forgotten (2017), which was named Best Independent Album by AIR, the Australian Independent Record Labels Association. Triage is like experiencing youth as a fever dream. Drawing from experiences that have been erased with time. As ever, the songs feel like "real life" even if their author has put their authenticity into question in the past. "The first couple of records I wrote from a personal experience, then obscured it; that's how I write songs", he explains, "My go-to thing is really to write about an abstract emotional experience while being ultra-personal." This delicate balance of internal revelations played off against calculated ambiguity, has struck a nerve as Jake's lyrics are sung back at him by audiences around the globe. They are precise enough to be authentic, and hazy enough to be anyone's, a universality that is echoed when Jake touches on the themes of Triage. "It's about love, about mental health, about people and relationships. Isn't everything?"
At the end of the Everything Is Forgotten album cycle, Jake returned to Western Australia and to a routine of working in his home studio from 9 to 5 every day. It was the same process that birthed his earliest recorded works. "I got obsessed with a lot of theory, essentially trying to discover how songs work," he says. This scholarly approach has resulted in a succinct record dripping in aesthetics, as Jake subverts pop music across its many styles. 'All The Elements' takes the ready-to-wear sonics of Everything Is Forgotten and brings in a lumbering new wave groove. 'Trip The Mains' has the fizzy thrill of The Cure's 'Let's Go To Bed' coupled with the melting synths of David Bowie's 'Ashes to Ashes'. "I must admit I was only listening to Scary Monsters and The Cure at that stage. All you have to do is put in some chimes and make the 16th note hi-hat," Jake explains. Keyboard-driven first single 'Scream Whole' marries the incongruous, drawing from Sibelius' piano work, Venezuelan producer Arca, "I designed quite a few of my own soft synth sounds across the album in a similar way", and rhythms that are a blend of "classic drum machines and actual playing, so they hint at the 80's". The aforementioned 'Real Tight' is so infectious that it takes several listens to realise there isn't a chorus. It is the same hypnotism that bred 'Ubu', the second single from Everything Is Forgotten, which hit #4 in the 2017 triple j Hottest 100 and is now an ARIA accredited Gold single. Across Triage, Jake draws from a love of soundtracks and the process of "making songs big though composition, rather than volume".
Magic runs throughout Triage, not in the spiritual sense, but in the practical application; the process of making something extremely difficult look easy, the practice of concealing your tracks to maximise the shock and awe of the reveal. Practising magic tricks is also how Jake and mixing engineer Marta Salogni spent the downtime as they finished the album in London. "I recorded it all by myself and I mixed it with Marta Salogni. It was probably the best collaborative experience I'd ever had. Especially at the back end."
In clinical terms, Triage is "the assignment of degrees of urgency to wounds to decide the order of treatment of a large number of patients", a truly apt analogy for growing up, making a record, and making a record about growing up. Jake perfectly articulates this parallel when he summarises Triage as being "cold logic for warm bodies".
Formats: LP | CD | Digital
Scream Whole
All The Elements
Trip The Mains
Post-Blue
Real Tight
Hip Horror
What About The 37º?
No Fighting
Everything Is Forgotten
by Methyl Ethel
Oh Inhuman Spectacle
Fading Frontier
by Deerhunter
by Ariel Pink


To flavour a good dish of tagliatelle, there is nothing better than a truffle sauce. In this case, let's take the black truffle as the main condiment. You can combine this sauce with different dishes, from starters to main courses.
Ingredients: Butter, Truffle, White wine, Stock, Garlic, Parmisan.
Sauté the garlic and butter in a pan.
Add the grated black truffle and cook for 10 minutes.
Add a splash of white wine and let the liquid evaporate.
Pour in a small quantity of stock and a handful of grated Parmisan cheese.


text:
Tags : Frameboxx Gyan Correa BoxxOffice
Gyan Correa, director of much acclaimed film 'The Good Road', India's official entry to the Best Foreign Language Film category, at the 86th Academy Awards, has joined hands with Frameboxx, India's leading Animation and Visual Effects training brand - for mentoring students for their Advertising Film Making course.
Gyan Correa, who also won the National Award for Best Gujarati film last year for his directorial debut, has directed over 500 TV commercials and documentaries. His work straddles the worlds of advertising, NGO's and Art, including some of India's leading corporate's, the Indian National Trust for Art and Cultural Heritage, UNICEF and the UGC etc.
Gyan says "Film making is a skill born of that right blend of theory and practice. It's exciting that Frameboxx has given me a chance to develop a platform for the next generation of film makers. The Boxxoffice way is to have students far spend more time in the field making films, rather than in classroom lecture. That's exciting and compelling"
The BoxxOffice program is a comprehensive hands-on course in advertising film making that demystifies the process in a practical way. There are tons of workshops, studio visits and expert lectures that add an extra edge to the course. This course has been designed and will be mentored by Gyan Correa and his team of industry professionals and thus is a one of its kind opportunity for students in India.
The duration of the course would be of twelve months and the first batch will commence in March, this year.
Kireet Khurana, Chief Creative Officer of Frameboxx and Creator/Director of "Toonpur Ka Superrhero" says "Under the mentorship of award-winning advertising and feature film-maker – GYAN CORREA, Box-office promises to be one of India's best Digital Film making courses. Frameboxx is extremely pleased and honored to have an accomplished film auteur like GYAN on its board."
Detail of the course - www.frameboxx.in/boxxofficedemo
Download - BoxxOffice - Prospectus


text:
Beaulandais és un municipi del departament francès de l'Orne (regió de Normandia) que el 2006 tenia 150 habitants. Forma part del districte d'Alençon.

Geografia
Beaulandais ocupa una superfície de 8,6 km², amb una densitat de població de 17,44 habitants per km².

Demografia
El diagrama següent mostra la variació en el nombre d'habitants (font: estadístiques de l'INSEE).

Referències

Enllaços externs

 Ubicació del municipi (mapa a escala 1:100.000) a Mapquest
 Informació estadística al web de l'INSEE

Municipis de l'Orne


text:
The Face (UK), December 1991
Most Excellent!
(Previously published in August 1991 as a longer version under the title 'The Pursuit of Excellence')
Most of us recognise Keanu Reeves as one of the spaced-out dudes in Bill & Ted's Excellent Adventure, Keanu likes that, he likes to play stupid. But underneath the dumb show, one of Hollywood's finest young actors is slowly coming of age.
by Chris Heath
Some people think Keanu Reeves is a bit stupid. They see the shaggy hair and the stoned, surfer-dude body language; they hear the "wow"s and "man"s and endless pauses. They remember him as the Ted half of Bill & Ted's Excellent Adventure, as the disaffected and druggy young Romeo in 1986's River's Edge, as the hyperactive problem boyfriend in Parenthood. He is affable but dumb, they decide, and however you cast him he plays himself.
Everybody who has worked with him tells a different story. They talk about an actor with substance and depth. They testify to his diligence, his sincerity, and his intelligence. They point to the way in which, not just in the aforementioned roles but also in less obvious parts - such as Martin in last month's Aunt Julia And The Scriptwriter or as the love sick Chevalier in Dangerous Liaisons - he has instilled his characters with a rare sense of urgency and energy, and also with a beautiful, flawed honesty and naivete. They see an extraordinary actor, one who can project feelings on to film in a truly unusual way. They enthuse about somebody who has more than the right cheekbones, a rough 'n' ready demeanor, and puppy-dog eyes. He's a bit weird, he's a bit strange, and he's living life by his own agenda, but he has, they agree, a future.
But some people think Keanu Reeves is a bit stupid, and Keanu Reeves is one of them. "I'm a meathead," he breezily tells me. "I can't help it, man. You've got smart people and you've got dumb people. You just happen to be spending some time with a dumb person."
It's convenient for him, this "Don't ask me - I'm just a dumb schmuck" line. If you live behind the shutters marked "clever," your life is dogged by nosy intellectuals rattling the blinds and trying to peek at your furniture. If you smile half-wittedly behind the curtains marked "dumb" - Mel Gibson does this, too - then they leave you alone.
Nearly all celebrities - nearly all people - like to talk about themselves. Keanu doesn't. He's cordial, and he's not deliberately evasive (he's embarrassed by, not proud of, his reluctance to talk), but he finds the process... ludicrous. If he doesn't like a question, he'll say under his breath the "wow" word, or he'll do this laugh that starts out like a normal laugh but stops halfway through, dead, leaving him leaning back in his chair with his mouth still slightly open. Then, as often as not, there'll be silence. Ask about his childhood and he'll maybe mention something about acting. Ask about his family and he'll tell you about his state of mind. Ask about films and he'll start onto something about his parents. Wait for an answer and it never comes. Very Zen.
When I press him about his past, he resists for a couple of minutes, staring unhappily at my big tape recorder on the table ("the dinosaur," he calls it), then splurges forward in an uncomfortable mixture of semi-revelation and parody. The following is delivered as a totally uninterrupted monologue: "Oh, wow. O.K., so here we go. I lived in New York City until I was six or seven or eight. I grew up in Manhattan - upper west side - and then I moved to Toronto. That's where I spent my misspent youth, my spent youth. I spent my youth, my youth was spent. I'm a middle-class white boy... a bourgeois middle-class white boy with an absent father, a strong-willed mother, and two beautiful younger sisters. I played sports - my main sports were hockey and basketball. I was kinda shy in school, but I also had the class-clown element about me. I was removed, but I was involved. I was very particular. If you wanted to invade my space it was heavy; you'd get a reaction. I started acting when I was 15. Toronto was a great place to grow up in. You know, no graffiti. We'd play hide-and-go-seek. Barry Horsely was the first rebel I ever knew. Beautiful guy. Hey, Barry, I hope you're fuckin' rockin' out there, man, doing what you want to do. Evan Williams was one of my young mates. And Rowan. Rowan was the only black dude in my school, man. Didn't start doing drugs, tried drugs when I was 18. Avoided them, was afraid of them, I guess, but then I got into it and it was groovy. I dug it. I'm so glad I've hallucinated in my life. I think that's one of the most beautiful things. Isn't it one of the most amazing things?"
I tell him truthfully, but at the time with some shame, that I wouldn't know.
"You've never hallucinated?" He is shouting. Loud. "Chris, come on, bro! You're in these clubs and everyone's tripping and singing and dancing and... you're just a fuckin' voyeur, man. Well, my friend, it's a trippy, trippy thing. You're ready, man. I can see it inside. You're kindling."
Keanu Reeves was born in Beirut, September 2, 1964. His Hawaiian-Chinese father, if the story he's been told is true, had one of the first Jaguar XKEs off the line. Purple. His mother, English, was a strong individual with a strong style, and at the time she favoured cowboy boots, blue jeans, and a mink coat. The couple's fashion sense was not always appreciated by the Lebanese. They got stoned a couple of times. By rocks.
Keanu was his great-great-uncle's name. The most famous Keanu Reeves fact is that Keanu is Hawaiian for "cool breeze over the mountains." At school they called him Keanu or Kee; sometimes they called him Reeves or Reevo. He says his middle name is Charles.
Keanu is sitting here two weeks after the busiest year of his life. He has shot three films back-to-back: Point Break - out this month - in which he stars as an FBI man undercover as a surfer alongside Patrick Swayze; My Own Private Idaho, which is due here early next year, and which stars Keanu and River Phoenix, as two young street hustlers; and January's sequel to Bill & Ted's Excellent Adventure, more goofing, grinning, and saving the world with Alex Winter. As light relief, he also co-starred in Paula Abdul's "Rush Rush" video, a brief remake of Rebel Without a Cause in which he plays the James Dean role. "Another regurgitation of icons and culture by the American media," he deadpans. "And I'm your guy, I guess, for that right now."
Indeed. Keanu's career has been building steadily - a strange, disparate selection of strong, quirky, charming performances from River's Edge to Aunt Julia And The Scriptwriter, Parenthood to Dangerous Liaisons, and many people see this new crop of films as the ones to cement his name.
So people ask questions. There is a type of question - just about anything that stretches beyond simple time and place - that Keanu doesn't like. I ask him what he recalls about his father. He laughs. Says "Wow." When I persist, the sarcasm steam train heads off into the hills. "He taught me how to rollerskate! We went hunting together! My father was a strong-willed man! He taught me how to cook! He had a je ne sais quoi about his step! I remember being little and grabbing for his finger; his hands seemed so big back then. And then I flashed after I'd eaten acid: 'My God, I'm taller than my dad.' Weird. Beautiful. Heavy."
He was 15 when he last saw his father. Does he think of him fondly? "I think of black and I think of blue / I think of red and I think of you / I think of yellow and I think of mauve / No more colors do I know ..."
Then, maybe, he says something he means, like "Jesus, man, the story with me and my dad's pretty heavy. Full of pain and woe and loss and all that shit."
His mother sent Keanu to a therapist when he was a little guy and the heavy father thing was going down. They played chess and talked; after a while his mother decided he was better. Keanu won the chess games, but he never knew whether the guy had let him.
We decide to shoot some pool. Down Sunset Boulevard to the Hollywood Athletic Club. Keanu leads the way on his motorbike - leather jacket, faded blue-black jeans, Adidas trainers, black jearsey, no helmet. "Helmet law of California, fuck you! Petty government bullshit -- get outta my face!"
Keanu likes motorbikes because they're great to ride and they look cool. A couple of years ago he took a turn too fast in Topanga Canyon and lost it. It wasn't too bad. His spleen ruptured, but they sewed it up. Afterward, he was straight back on the bike. It wasn't such a psychic trauma. But he fears for the future that the doctor may have put his intestines back in wrong, which would give him pretty serious problems when he gets old. He just feels his digestion moves slower round there.
He's not a bad pool player, but he hits everything too hard. He attacks the table and balls verbally as well as physically. "Fuck you, man," he tells them when he misses. In between shots he waves the cue about, pretending to use it as a weapon. He hums along to the Pretenders' "Hits" LP that's being played and does a spot of air bass. Keanu likes second-generation punk music. He talks about Wire, Sham 69, Discharge, Agent Orange. He whistles the Clash's "White Riot". "I guess it's just the frenzy, man," he explains.
On film -- in Permanent Record and both of the Bill & Ted's escapades - Keanu struggles with lead guitar. In fact, he plays bass in a group he describes as "a Joy Division-Zappa-Sixties progressive-blues jam."
Are you any good?
He looks me straight in the eye and answers in slow, definite, read-my-lips fashion: "I'm the worst bass player in the whole world, Chris. I have no rhythm."
He didn't tell himself to be an actor until he was 15. He had four early ambitions. A race-car driver, an inventor, a nuclear physicist, the conductor of an orchestra. At 15 he auditioned for Toronto's Theatre Arts High School and got in. He was thrown out after a year. Not enough concentration. Too flighty. Always questioning authority.
He worked a little. He sharpened skates at an ice-rink shop. He did landscaping, climbing trees with one end of a rope tied around his waist and the other to a chain-saw. He made a hundred pounds of pasta a day in a shop called Pastissima; at 18 he became the manager. He quit when he was cast in his first play. He never had a real job again.
His first TV part was in a local Toronto show about a community center. He had one line: "Hey, lady! Where's the shower?" In a show called Night Heat he played Thug Number One. His friend Vince was Thug Number Two. Keanu was the tallest, and the director said to him, "Why don't you be the tall one?" and to Vince, "Why don't you be the short one?" They both howled like dogs. The lesson was: just do it.
His Hollywood break came when the Rob-Lowe-plays-ice-hockey vehicle Youngblood was shot in Toronto. You first notice Keanu, the goalkeeper, walking through the changing room, a roll of tape balanced on his head. He doesn't remember that, though. When reminded, he says, "Wow. That's silly."
Why do you act?
"Because it makes me happy, that moment when you're in it. It's only happened a handful of times, but when it does you're in the fire, you're unconscious, just... free. One of the first scenes I ever did was like that. I was in community theater doing Bent (a drama about inmates at Auschwitz). I was the guy who eventually throws himself onto the fence."
It also taught him what acting could mean. He and his friend Alan had made shirts, "a bit of research," for the play. Keanu had a yellow star on his shirt - a Jewish prisoner - and Alan had a pink triangle on his - a homosexual.
"We were putting them on in the bathroom, and this old man came in and freaked out. He started spitting and swearing in Yiddish, trying to get at us. We were like" - he imitates a moron realizing what happened years after the bomb went off - "What did we do? Oh, hello, we're in the Jewish community center..."
He won't forget it.
"It hit me that theater can actually do something, that it's physical and emotional and human. It's in the heavens and in the earth and it just vibrates through us. That was a special day, and it added something - whatever - to that boy," he says, referring to himself. "He found something for himself."
The last few lines of this speech lurch into insincere voice-over - maybe that's the only way Keanu can say these things - but the impression is that he doesn't mean them any less.
A friend used some psycho one-on-one expression on Keanu recently, something about "being your own parent." It made sense to him.
These are weird days for Keanu. When he turned 26 it was the most radical change. It's not enough now just to want to be an actor. He says there's more - intellectually, spiritually. He thinks he's sometimes been guilty of falling back on what he knows, which is OK in a craft sense but not in a personal sense. "Stanislavsky talked about personality acting, and I've been guilty of that to a certain degree," he mutters. It's his own diagnosis. And he's started thinking about "my mortality... friendship, love, what's important, what's real, what there is to do, family, the smell of the flowers, all that shit." So now he's trying to act on it. He's trying to develop a life.
But this process, these changes, may have a darker side. Over and over Keanu praises things - Beat writers, acting, bike riding, retro-punk - that have that "Yes! What the hell, just do it!" quality. If there's a theme in this (and it's one that fits in well with his reluctance to share, or even examine himself), it's that he's trying to find - in his life, in his acting - that natural state where you just go. He enthuses about the filming of My Own Private Idaho. For a while, the actors moved into director Gus Van Sant's mansion to get into their roles as renegade kids. Keanu figured, "I only have so much time. I might as well throw myself into the fire."
Hollywood is aflood with stories of how this meant more than just late-night script revision and the occasional cold beer. They say that Keanu indulged his "Just say yes" enthusiasms a little too far and that they lasted well into the filming of Bill & Ted's Bogus Journey. Some accounts even have the set closing down while Keanu sorted himself out. Director Peter Hewitt, who denies that the set closed, tells me that if the film's grueling schedule was a bit too much for Keanu, "it didn't show."
Keanu looks unhappy when I allude to this. "Uh-huh," he says to himself and nods. "I don't want to talk about it." For the first time he looks angry, hurt, unwilling to continue. I reassure him that this is no low-life exposé. "So why did you ask me then? " he snaps.
Keanu looks betrayed... but Keanu is the sort of person who is going to feel betrayed a lot. He's not the sort of person to pussyfoot around in a please-everyone, helmet-law, Hollywood style. Keanu believes in climbing the tree and reaching for those higher branches, and he's only interested in looking up, in watching what his hands are grasping for. He doesn't realise that other people have their eyes on his feet, waiting for him to lose his footing. He doesn't see the point in it - why would you look at the shaky feet when you could look... up there! That's what acting is about, and that's what his life is all about.
But when the world doesn't live up to your ideals, you feel betrayed. It happened on one of his early films, Permanent Record. He plays a student reacting to a friend's suicide. It's nearly good, especially in the middle, when he sweeps up the film into his hyperactive arms and makes you ache along with his character, who is trying, and failing, to cope with the death. But, as he has often related, he felt betrayed by the finale, a bit of cheesy Beverly Hills 90210 togetherness: a girl interrupts the school's Gilbert & Sullivan musical to sing an impromptu musical tribute to their departed buddy, and they all clap and smile. When he saw it, Keanu went out of his mind. Betrayed. Betrayed.
But the interesting thing is that, as he now admits, this wasn't a last-minute piece of Hollywood gift wrapping. It was in the script. It was always going to happen. It was just that the vulnerable Keanu - with all his faith, his trust, and his belief in the values and aims of acting and filmmaking - never really believed it.
Underwear on the floor. It's a mess. Keanu rents a house in Los Angeles. Lots of tapes. A bass amp. A TV. Rented furniture. He only has one of his own videos, a copy of Parenthood. It's still in its package. A few books, stuff like The Idiot, some William Gibson. Philip K. Dick. The last book he was into was rereading Stanislavsky's An Actor Prepares. "He's Russian dude," says Keanu. Then, realizing this information is unnecessary, he mutters, "That was pretty Ted-like."
Ted is a role Keanu is proud of. It's changed his life. "What's Ted like?" he asks me.
"So dumb that everything is fun," I say.
"So. Dumb. That. Every. Thing. Is. Fun," Keanu repeats. He says it three times. "Wow."
The description does not seem to have met with his approval. So what, I persevere, is life like post-Ted?
"Post-Ted? What the fuck is that, man?" he scoffs, then answers anyway. "You're not judgmental. You just want to do your own thing and just go. It's radical. What's your next question?"
"I don't know yet."
"How organic. Well, here you are, in the miasma of the moment."
He has some photos - Martha Plimpton and him during Parenthood, him and William Hurt in I Love You to Death - but he keeps those in a drawer. On the wall there's a photo taken by Allen Ginsberg of Neal Cassady.
Keanu was 18 when he discovered the Beats. He read The Dharma Bums and On the Road. It seemed "American and accessible and alone and searching and human and real and an honest kind of grooviness." But he's never lived it as deeply as those guys did. Two years ago, Keanu and a friend took a road trip over to New Mexico - a couple of thousand miles in ten days.
The desert is where Keanu feels most calm. He's very connected to the earth; he loves "dirt and earth and fuckin' flowers and big skies and the desert." He just gets in the dirt and hangs out. Then he's happy.
When did you last cry?
"Gosh." Pause. Then, a little sarcastically, "Last night."
Is that even slightly true?
"Totally. I'm not lying at all. Actually, I cried three times. I'm a crybaby, man."
What did you cry about?
"Once I cried over beauty, once I cried over pain, and the other time I cried because I felt nothing. I can't help it, man. I'm just a cliché of myself."
"I'm kidding. I didn't cry at all. I haven't cried for a long time."
So can you remember the last time?
"Yeah, it was last night. I cried because I was happy my friend was pregnant. I cried because my sister..." He pauses and mutters under his breath, "She's not going to like this," then says, a little bit louder, "No, I'm lying again."
A girl interrupts one of our talks for an autograph. Keanu is charming to her - he signs with the Ted-like message "Be excellent" - but he gets annoyed with me when I ask whether this happens often. "I'm not famous, man," he snaps. "I played Ted - that's it."
He's suspicious of fame. He almost fears it, not in the way shy people fear attention but in the way tidy people abhor a mess. It might sully everything. It would be a bother. The things he values have nothing to do with parties and awards and crowds and interviews. He wants to act, to dive into the fire, to ride his bike too fast, to ride his mind too fast, to shake his head to music that's too fast... to be there. That's when he feels good, not when somebody knows his name.
And so, what will make him happy is not more people knowing his name but getting deeper into the fire, getting better at being in the fire. What he really wants is very, very simple: "To hopefully be a good actor one of these days." He talks about this quest as though he's sure no one could understand, with the hesitancy of someone who's been forced, against his will, to explain to a man with no mouth just what's so good about kissing.
To ask him to be self-conscious about any of this is a peculiar form of cruelty. He really hates it. When he asks me whether I liked his kiss with Barbara Hershey in Aunt Julia And The Scriptwriter - "kinda sloppy, wasn't it?" - I ask him about that experience, of kissing someone for fake. I point out to him that most people, in the whole of their lives, never get to kiss someone except with the regular motivations. What is it like?
He goes quiet. "I never thought of that," he says. And he means it. He gives me a look that seems to say, What kind of freaky, strange, self-conscious person would think of something like that?
But, I persist, he's been screen-kissing for seven or eight years.
"Just kissing right and left," he laughs. "Sure! A movable feast."
So, I ask him, where is his inner head - the one that provides the commentary - when he's doing that? He has to think awhile.
"I don't know," he finally says. "I'm not watching. I'm gone. You want to be out of there. If you're judging, you're evaluating. You're not being. There are so many atoms and molecules involved, it's hard to look at each one."
You just do it.
His love interest in Point Break, Lori Petty, says he does it well. "Oh, he's a very good kisser." And a good actor. "He's obviously very, very gifted. It's something you can't learn. He's definitely blessed, and he works very hard... and he's a good kisser. That's all you need: God's blessing, and lips."
Down in Santa Monica, at the Ivy On The Shore restaurant, Keanu is sharing a meal and some thoughts about the new Bill & Ted's with Alex Winter. Later they're meeting at a "sweat bash" at the Palladium: the Butthole Surfers, L7, and Red Kross. For now, Keanu and I wander to a bench overlooking the sea and the Santa Monica pier. It's nearly sunset and there's a cold wind. Around us, bums wander. I'd never been here before. "This," Keanu tells me, "is a street vibe... the melting pot of America." Before we start talking he jumps up toward a particularly bedraggled, bearded soul.
"I don't know if you need it or not, " he begins a little nervously, holding out the remnants of his meal, "but I had some spaghetti. I'm not going to eat it. Do you want it?"
The man grunts in appreciation, takes it.
"All right. Good, man," Keanu mumbles and sits down. With other actors, I would have suspected the whole scene was played out for my approval. Here, I think my presence made Keanu less, not more, likely to do what he did. As is so often the case in his offscreen human encounters, Keanu Reeves looks painfully embarrassed. But he's not going to change the way he behaves for me. Or anyone.
Bill & Ted's Excellent Adventure , River's Edge , Parenthood , Tune in Tomorrow... , Dangerous Liaisons , Point Break , My Own Private Idaho , Bill & Ted's Bogus Journey , Rush, Rush , Permanent Record , Hangin' In , Night Heat , Youngblood , Bent , I Love You to Death


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It's hard to believe that the iconic Michelin Man, among the most well-known brand logos in the world, has actually been around for 120 years! The always-happy pudgy guy has been the lifetime brand ambassador for tyre-maker Michelin, but how exactly did he come about? Well, it was quite simple really.
As the official story goes, at the international Lyon Exhibition in France, brothers André and Edouard Michelin were looking for an original way of presenting their company's products. The organiser of the Michelin stand had placed two piles of tyres at the entrance. Edouard apparently pointed to them and said: "Look at that. Add some arms, and you'd say they were men".
André Michelin visited the talented poster artist O'Galop. The artist presented a paintbrush of a little round man made of tyres, holding a mug full of nails and pieces of glass. Thus was the "Nunc est bibendum" slogan born, translated from Latin to "the tyre that drinks up obstacles". The Michelin Man was officially born with a heavy marketing campaign during the Paris Motor Show. The French now knew him better as Bibendum.
When Bibendum was originally sketched out, tyres were light in colour, and black versions only appeared in 1912 when a black carbon preservative was added to the manufacturing process, but Michelin decided to preserve their last-century link.
The Michelin Man crossed the Atlantic and set up in the United States. The advertising took a more educational tone, depicting the Michelin Man as a giant accompanying and advising travellers on the advantages of his products. These campaigns ran all the way into the 1930s.
The Michelin Man's appearance reflected the culture of his time, sometimes smoking cigars like in an image by French artist René Vincent, or wooing women as a diplomat in a promotional image from Italy. Over the years, the Michelin Man adopted the traditional clothing of local markets, even wearing African garb at one time.
By the 1920s, the obvious eyeglasses and cigar were discarded, both of which signified the high-end clients Michelin used to target, as cars became more affordable for the masses.
The logo continued to evolve over time, inserting itself into current affairs such as moon landings and sports events as part of the marketing, eventually making its first appearance as the Running Michelin Man in 1982.
The now-formidable character made an appearance alongside James Bond when the movie A View to a Kill was released in 1985, as part of an early attempt at product-placement marketing.
Having continued unchanged for decades, Bibendum finally lost some weight as part of a dynamic redesign in 1998.
The Michelin Man was elected "best logo of the century" by an international jury in 2000.
In 2011, the logo became part of the Madison Avenue Advertising Walk of Fame in New York City. This year, the Michelin Man celebrates his 120 years, becoming quite possibly the oldest "brand ambassador" ever.
Find out more at the Michelin Arabia Facebook page.


The Coldwell Banker Residential Brokerage Charitable Foundation and Special Spaces Northern Illinois Chapter, a non-profit organization that creates dream bedrooms for children with cancer, teamed up to create a bedroom makeover for a 7-year-old girl, Sofia.
On Sunday, September 30, Sofia came home to find a big surprise - a new dream bedroom. Sofia is a remarkable child who was diagnosed with Acute Lymphoblastic Leukemia just over a year ago. Sofia's love for The Little Mermaid and LEGO® blocks were the inspiration for her bedroom makeover. She received a custom mermaid mural, all-new furniture including a "house" bed, custom closet, ceiling fan and a mini LEGO station.
To help complete makeovers, Special Spaces depends on donations from individuals, local businesses, groups and even other foundations. All the funds for Sofia's room were raised by Coldwell Banker Residential Brokerage's Deerfield and Glencoe offices.
"We are grateful for the outpouring of support we received from our colleagues and friends to help make this bedroom makeover a possibility," said Michele Vold, managing broker of the Deerfield office. "We are extremely happy that we were able to create a comfortable space for Sofia where she can relax and play," added Gloria Matlin, agent affiliated with the Glencoe office.
Fran Broude, president and COO of Coldwell Banker Residential Brokerage, said, "I have been lucky enough to witness firsthand the impact that a room makeover has on a child who is battling an illness. We are beyond thrilled to have given Sofia a new functional room that's designed just for her."
Special Spaces' mission is to create dream bedrooms for children living with cancer. The focus is answering one question: Where does a child go when battling a serious illness to find peace and comfort? Their bedroom. "A bedroom is often the only personal space a child has to represent his or her unique personality," explains Amy Eiduke, Director of the Northern Illinois Chapter for Special Spaces. "For a sick child, that room should be a very special space of comfort and hope."
Sofia's room marks the 16th bedroom makeover that is in partnership with Coldwell Banker's Chicagoland offices. To-date, Special Spaces Illinois has created over 100 bedroom makeovers for children in-need, since inception in 2013.
To learn more about the Coldwell Banker Charitable Foundation, visit www.givehousing.com. For more information about Special Spaces, visit www.specialspaceschicagoland.org .
Coldwell Banker Charitable Foundation is a chapter of the Realogy Charitable Foundation, Inc. a 501(c)(3) public charity incorporated in Delaware (Tax ID# 20-0755090). The Foundation's mission is to better the quality of life in communities where Realogy Corporation/NRT LLC has a presence. To learn more about the Coldwell Banker Charitable Foundation and how to get involved with the organization's non-profit partners, visit www.givehousing.com.


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