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John Wick: Chapter 3 – Parabellum See's The John Wick Series Continuing To Slay
Posted By NerdInTheBasement	on May 20, 2019 in Long Reviews | Leave a response
What a wonderfully out-of-nowhere creation this John Wick series has become. Not based on any pre-existing source material, the first movie was quietly filmed in 2013 and didn't start its marketing campaign until two months before its October 2014 debut. It was flying so far under the radar yet it ended up becoming a sleeper hit and deservedly so, it was a blast of an action movie that made good use of both Keanu Reeves and well-shot action sequences. Nearly five years later, John Wick has turned into a full-blown saga that continues onward with John Wick: Chapter 3- Parabellum (that title is the worst thing to emerge from this series) and manages to maintain the level of quality that made the first two movies such joys.
John Wick: Chapter 3 – Parabellum hits the ground running, literally, from the ending of the second John Wick film, which saw John Wick (Keanu Reeves) killing a fellow assassin in the Continental hotel. By doing so, he's broken a cardinal rule of this world of assassins (the Continental is supposed to be the one place assassins are safe and sound) and the punishment for that act is that John Wick has been ex-communicated. Now a fugitive with a $14 million bounty on his head, every assassin in New York City wants his head. This means John Wick is on the run while the likes of Continental manager Winston (Ian McShane) and the Bowery King (Laurence Fishburne), suffer consequences from the hands of The Adjudicator (Asia Kate Dillon) for helping out John Wick in the past.
There's so much to adore about these John Wick movies but one thing I really enjoy about them is how they don't get bogged down in world-building. These films occupy an alternate reality where assassins are everywhere and have an intricate system of rules in place that (supposedly) keep things running harmoniously. Instead of taking up the runtime of these films explaining every last detail about how everything works, the John Wick movies, including Parabellum, take a cue from the original Star Wars movies and just let cool things pass by the viewer without explaining every detail about those cool things. Just looking at the Mos Eisley Cantina or The Continental captures the imagination and they don't need any more of a complex explanation for their existence than "Sometimes aliens and assassins need a place to chill".
This eschewing of extraneous explanations is most notably seen in how these films graciously refuse to offer up a convoluted explanation for how the assassins keep doing their business in public without attracting the attention of New Yorkers. Passerbys just seem to treat the assassin's like another wacky thing that happens in New York City, a brilliant way to allow John Wick and company to duke it out in New York spaces during the real reason anyone comes to these films: the action sequences. The exceptional editing, cinematography and stuntwork from the original two John Wick movies has been more than preserved for Parabellum. There's such an absorbing slickness to the manner in which Parabellum films its assorted fight scenes, one that gets you so invested in what's happening on-screen that you'll only begin to appreciate the camerawork wizardry once it's all over.
Also carried over from prior installments is a level of grisly creativity that ensures no action sequences is truly the same. Though John Wick maintains a consistent sense of assured ruthlessness, the most giddily lethal sequences of violent hand-to-hand combat in Parabellum see Wick always finding new weapons relevant to whatever environment he's in that he can use to take out his foes. If Wick is in a horse stable, for instance, you can bet he won't just use a gun here, he's gonna use the horses themselves to dispatch adversaries. An antique shop, a library, a motorcycle chase scene involving swords, John Wick is like a gruesome version of MacGyver (one not played by Will Forte) in how he takes any items around him and just turns them into deadly weapons.
The action is just top-notch in John Wick: Chapter 3 – Parabellum, though the only problem with its level of quality is that its absence in a stretch of the second act focused on Wick traveling to find a high-ranking member of the organization he works for is certainly felt. It's a segment of the story tied directly Parabellum's central character journey for Wick, which focuses on him looking for some kind of direction and purpose in the wake of so much tragedy. It's an interesting place to take the assassin but this particular part of that journey could have either used more action or memorable characters for Wick to encounter.
That slow part of the story is an anomaly rather than the norm throughout Parabellum, which otherwise moves at a solid clip under the direction of Chad Stahleski. Stahleski, having now directed three movies in this action-packed universe, is clearly comfortable here and it shows in his confident direction that keeps finding new creative ways to capture John Wick taking out people in violent ways. Keanu Reeves exudes a similarly assured presence in his third go-around as John Wick. It's a both a good sign for this character and a testament to Reeves as an actor that John Wick hasn't devolved into a self-parody in this third outing like so many other action movie heroes did in their third adventures. Instead, Keanu Reeves is still compelling, John Wick is still awesome and Wick's pit bull companion is as adorable as ever!
Posted in Long Reviews
NerdInTheBasement
NerdInTheBasement (A.K.A. Douglas Laman) is a man of cinema, pure and simple. He loves good music, good food, good friends and the vocals of Idina Menzel. He does movie reviews, news pieces, editorials, occasional TV coverage and is well-known for writing like he's running out of time.
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Just wanted to say a quick hello...I just recently found this forum and after checking out some of the threads I figured I would become a member and introduce myself.
My name is Eric and I've lived in NJ almost all my life (except for 4 years in the Navy), I'm an avid camper that spends as much time outside as I possibly can.
I have always wanted to learn guitar...life just has thrown other opportunities in the way!
I hope to chat with you more!


Kate Merrick Podcast: Girls' Club Book Series!
Kate is wonderful. I found our conversation stimulating, delightful, fun and inspirational. She encourages so many women to love God and to pursue Him with their whole heart. She is also a model to me of how to make radical decisions to discipline myself to cut out those things in my life that keep me from experiencing life at its fullest.
Kate has experienced great loss as she lost her precious Daisy to cancer and yet her testimony brings compassion for others who have experienced great loss but also hope for a way forward.
Joy and I just loved our conversation and thought about it for quite a while afterwards.I so hope you'll enjoy it, too.
Friendship with deep women who call us to follow hard after Christ and who help us to learn what that means is so very important to us, which is why we wrote Girls' Club.
Kate knows much about the importance of having girlfriends in times of joy and sorrow.
Kate is wife to Britt Merrick and mom to Isaiah Harley, Daisy Love, and Pheodora Sunshine. They have planted Reality churches in California and have spawned churches all over the US and even in London near me. .
She's authored two books: And Still She Laughs and Here, Now (due April 2, 2019!) You can find Kate here on Facebook: Kate Merrick, Author.
Enjoy the podcast—and be sure to order your own copy of Girls' Club! Many people are already receiving theirs a bit early. Hope you are inspired and encouraged by our stories.
Newer PostHaley Stewart Podcast: Girls' Club Book Series!


For companies working with government entities it is imperative to be 100% compliant with national legislature. Among the top concerns for your company are incidents with malware and the inappropriate use of IT resources by staff.
While the first concern is effectively addressed by a comprehensive multi-layered security solution, the second requires raising cyber awareness among employees with training from cybersecurity professionals.


Friday evening at the old slaughterhouse in Hamburg, now renamed Knust and a small rock-club. The audience of less than 200 waited patiently through the opening act Chris Cacavas for Steve Wynn and The Miracle 3 to take the stage. But at last the lights went down, 1-2-3-4 and "Death Valley Rain" was played as the first song. I was surprised to hear this as opener due the dark mood of the song. Then followed the first of 7 songs from the new album "…Tic…Tic…Tic". After that a few well known songs before the first major surprise of the evening, a brilliant version of Dylan's "Blind Willie McTell". I heard Steve play this song when he toured with John Wesley Hardin back in 1998, but this version was far superior. By now Steve owned the audience and played 6 new songs in a row. The band surely loved to play the songs – and we loved to listen. Just as I thought it couldn't get any better Steve played "Nothing But The Shell" with the famous reference to Neil Young. When he plays in Denmark we all shout these words, in Germany, I think I was the only one who did that… The set ended with the normal showstopper "Amphetamine" – more wild guitar and heavy drumming. The first encore let us into a premature Halloween feast, and then Chris Cacavas joined for the hymn "There Will Come A Day" which made me almost cry. Partly because it's a beautiful song, partly I knew this was the last song of the evening. But we can all be mistaken as Steve hasn't finished rocking. "The Days Of Wine And Roses" and as much stage show as you get with a 4 (or 5) piece rock band. Heavy interaction between bass and drums and the guitars. At one point Steve jumped into the audience quickly followed by guitarist Jason Victor and a mike, and played on for a few minutes in front of the stage while Linda Pitmon, Erik Van Loo and Chris Cacavas stayed on the stage and provided the rhythm section. And then it was over – or not quite, the band just couldn't stop and came back for a 10 minutes "John Coltrane Stereo Blues". After almost 2 hours the band finally left but only for a brief moment as they all came to the bar and talked to fans and friends. How they manage to sign records and listen to more or less intelligent remarks from the audience after such a show I can't understand, but it only shows how much they appreciate the fans – and the appreciation is surely mutual!
If you get a chance, go and see Steve Wynn live. The tickets are normally cheap and you are guaranteed to get an evening full of rock'n'roll.


Is it a tool? Is it a reference point? It's both, claims Airmic technical director Paul Hopkin talking to Insurance Times.
Leading insurers are apparently eager for reference. ACE, AIG, AXA, RSA and the sprawlingly named Zurich have all apparently agreed to report back to Airmic on how they measure up.


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Actor Benjamin Ayres (left) poses with Allen and Karolin at Harrison Hot Springs Resort. He stayed at the resort while filming "Long Lost Christmas" in Agassiz-Harrison for the past two weeks. (Instagram/@benjaminayres)
VIDEO: Actor Ben Ayres chats about upcoming Hallmark movie, filming in Agassiz-Harrison
Ayres stars in 'Long Lost Christmas', premiering Nov. 19
Adam Louis
It was the surprise seen around the world – millions of times, as a matter of fact.
Actor Benjamin Ayres was in town to film one of Hallmark's Christmas movies this year, "Long Lost Christmas." Recently, he posted a short video on social media surprising some onlookers checking out the decorations along Pioneer Avenue. The spectators immediately recognized him, much to the delight of everyone involved.
Ayres said the video has since received more than 2 million views on TikTok and nearly as many on Instagram.
"That was a really wonderful video," Ayres recalled. "I had just broken for lunch. I knew that we were going to be filming for another 10 to 15 minutes. I walked across the street walk past them, and I was like, 'That's so cute that they're watching.' I put my phone on and I walked up and just said 'What are you filming?'"
RELATED: PHOTOS: Christmas (filming) comes early to Agassiz-Harrison
Ayres said he wasn't sure how the onlookers would react.
"That could have gone the way that I thought, which is they turn around and go 'Oh, it's a Hallmark movie,'" he added. "I would have said was like 'Do you know who's in it?' and they would have been like,' I have no idea' and I would have just played along. I've never done that, just turn my camera on and walk up to somebody."
Ayres' "Family Law" co-star Jewel Staite ("Firefly) convinced him to join TikTok. While his videos drew in a few thousand views, the Agassiz encounter with fans, in his words, "blew up."
"I think it's such an honest reaction," Ayres said. "It's super quick. What I love about it is it's really brought all these Hallmark fans from all over. I wish I would've kept it going because even the husband was like, 'Oh, I know all your movies!'"
Kamloops-born Ayres has been in about 13 films in the Lower Mainland. He now lives in Toronto.
RELATED: It's Christmas in July on many B.C. movie sets as Hallmark boosts production
"(Agassiz-Harrison) has been one of my favorite locations to film, to be honest," Ayers said. "People are so kind here; everyone is so nice."
Ayres said there are many Hallmark fans in the area and the cast and crew have been welcomed with open arms.
While he'd been to and filmed in Agassiz before, Ayres had up until recently never been to Harrison Hot Springs.
"Of course, I've known about it my whole life and I didn't realize kind of what it was, or just the natural beauty of this whole location and this quaint little (community), Agassiz included," Ayres said. "They work splendidly well, for a Hallmark film, because there are so many locations we can use between the two. The backdrop is magnificent."
"Long Lost Christmas," which also stars Taylor Cole ("Surrogates," "Making Spirits Bright" is among the more dramatic of Hallmark's offerings this year.
"It's about a girl who lives in a big city and she just lost her father," Ayres said. "She discovers that there might possibly be an uncle that she didn't know about, and she kind of decides to do some sleuthing and drives to the small town where she thinks potentially this uncle might live."
While unraveling the secrets of her long-lost family, the protagonist might just find love along the way.
"Long Lost Christmas" premieres on Hallmark Movies & Mysteries Nov. 18 at 10 p.m. EST (7 p.m. Pacific).
@adamEditor18
adam.louis@ ahobserver.com
Check out highlights from the video interview with Ayres on our website, www.agassizharrisonobserver.com.
AgassizArts and EntertainmentHarrison Hot Springs
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Family, culture influence flavours for Greater Victoria bakers in T.V. competition

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Oldschool Sunday: FLYBANGER
November 5, 2017 June 10, 2018 Pat 'Riot' Whitaker
(By Pat 'Riot' Whitaker, Lead Journalist/Writer, RiffRelevant.com)
Starting out under the name Jar, a band formed in Vancouver circa 1995 or so with vocalist Garth Allen and drummer Rob Wade, the band achieved a dedicated loyal following. That following and their rise as a highly sought after support act in the vast Canadian expanses culminated in several record releases for Jar. A pair of releases were issued under the Jar name, they were 1997's self-released "Harsh And Discord" and 1998's Factor Records-released "Knott Skull".
1998's Knott Skull helped get the band the attention of several record companies but the band soon learned of other acts also using the Jar name. They adopted the name Flybanger while still consisting of Allen and Wade alongside members Bryan Fratesi (guitar), Tom MacDonald (bass, guitar, vocals) and Chris Smith (bass).
Now working under the Flybanger name, the 5-song Outlived EP was issued though Gotham Records in 2000. The EP, along with the fact that Flybanger were sharing stages with bands from Hatebreed and Orange 9MM to Sepultura, landed the band the attention of Sony Music.
Now signed with Columbia/Sony, the industry machine went to work and brought in mega-producer Matt Wallace (Deftones, Mushroomhead, Faith No More) to work with the band. Before going into the studio to begin work on their debut full-length as Flybanger, Chris Smith exited the band. Wallace called in one of his contacts at the time, Faith No More guitarist Jim Martin, to play parts on the album which freed up MacDonald to handle both guitars and bass.
In 2001, Flybanger unleashed their mammoth full-length outing, "Headtrip To Nowhere" for the label. By all accounts, this record was a smash success with fans of hard rock, alternative and nu metal as well. Several singles were culled from the record including an old Jar standard, "Cavalry", as well as songs "Radical" and "Blind World". The latter was also included on the soundtrack for the motion picture Dracula 2000.
The band toured heavily for the album, sharing concert and festival stages with such acts as Corrosion Of Conformity, Clutch, Soulfly, Nickelback, Sevendust, Filter, Judas Priest and more. Yet as quick are they ascended, Flybanger reached their breaking point rather quickly and disbanded in 2003.
In 2005, Rob Wade (drums) and Garth Allen (vocals) joined Kill Rhythm, a band started by Rob Thiessen (formerly of Noise Therapy). In March 2009, following the breakup of Kill Rhythm both Wade and Allen turned their focus to the heavy acoustic rock project, Thick Of It.
In the fall of 2010 Rob and Garth decided to put together a new version of Jar and do some shows just for the hell of it. They enlisted ex-Annihilator bassist Russ Bergquist and former Kill Rhythm members, guitarist Holly Mcnarland and drummer Chris "Weasel" Gorst.
In 2013, the band released an album under their original name of Jar containing re-recordings of several of their older songs. The band released an album under their original name of Jar containing re-recordings of several of their older songs. Flybanger however, remain inactive by all accounts.
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Columbia Records, Factor Records, Flybanger, Gotham Records, Heavy Rock, Kill Rhythm, Metal, Oldschool Sunday, Rock, Sony Music, Streaming, Thick Of it, Video, YouTube
About Pat 'Riot' Whitaker
Formerly known as Dragon so you probably already know my deal. METAL & ROCK! Nearly 40 years involved in it, every style, genre & sub genre you can imagine. I'm as real as it gets... come put me to the test.
View all posts by Pat 'Riot' Whitaker →
Drummer Deen Castronovo (G//Z/R, Ex-Journey) Tapped For THE DEAD DAISIES
Three CULT OF LUNA Releases Getting Limited Vinyl Re-Issues


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Question: What Kind Of Noun Is President?
Is weekend a common noun?
What is the most used noun in the English language?
What is the means of leadership?
What is leadership Oxford?
Which noun is president?
Which type of noun is leader?
What are nouns give 10 examples?
Is the common noun?
Is talent a common noun?
Is leadership a verb or noun?
Who are the 7 angels of God?
Is Dream a common noun?
What type of noun is him?
What type of noun is Angel?
What are five common nouns?
What are the 10 types of noun?
Is Angel a boy or girl?
What did angels really look like?
Is weekend a proper noun.
A proper noun usually doesn't need the article.
But the phrase "Memorial Day weekend" is not a proper noun.
Instead, it contains a proper noun that is being used to modify a common noun, "weekend"..
For those who think the world is obsessed with "time," an Oxford dictionary added support to the theory Thursday in announcing that the word is the most often used noun in the English language.
Leadership is the art of motivating a group of people to act toward achieving a common goal. In a business setting, this can mean directing workers and colleagues with a strategy to meet the company's needs.
The New Oxford Dictionary of English defines leadership as: 'the action of leading a group of people or an organization'; 'the state or position of being a leader' (NODE, 2001). … Many others have defined leadership in terms of behaviors, traits, competencies, activities and results of leaders.
The word 'president' can be used as either a proper noun or a common noun.
As detailed above, 'leader' is a noun. Noun usage: Follow the leader. Noun usage: We elected her team leader.
List of NounsNoun TypeExamplesSingular Nouns name one person, place, thing, or idea.cat, sock, ship, hero, monkey, baby, matchPlural Nouns name more than one person, place, thing, or idea.cats, socks, ships, heroes, monkeys, babies, matchesPossessive Nouns show ownership.Mom's car, Beth's cat, the student's book8 more rows
A common noun is the generic name for a person, place, or thing in a class or group. Unlike proper nouns, a common noun is not capitalized unless it either begins a sentence or appears in a title. … Usually, it will be quite obvious if a specific person, place, or thing is being named.
Common nouns give a name to a general type of person, thing, object, place, concept or feeling. … Concepts — peace, justice, talent, religion.
Leadership is a Verb, Not a Noun.
Seven angels or archangels correspond to days of the week: Michael (Sunday), Gabriel (Monday), Uriel (Tuesday), Raphael (Wednesday), Selaphiel (Thursday), Raguel or Jegudiel (Friday), and Barachiel (Saturday).
The nouns in this sentence are: Dreams — Idea, Abstract. District — Thing, Common noun.
He, him, she and her are singular third person pronouns. He and him are the masculine forms.
a spirit that in some religions is believed to live in heaven with God. In pictures, angels are shown as people with wings. Be an angel and get me a cup of coffee….angel Definitions and Synonyms singularangelpluralangelsJan 13, 2016
Examples of a Common NounPeople: mother, father, baby, child, toddler, teenager, grandmother, student, teacher, minister, businessperson, salesclerk, woman, man.Animals: lion, tiger, bear, dog, cat, alligator, cricket, bird, wolf.Things: table, truck, book, pencil, iPad, computer, coat, boots,More items…
10 Types of Nouns That You Use All The TimeCommon Noun.Proper Noun.Abstract Noun.Concrete Noun.Countable Noun.Uncountable Noun.Compound Noun.Collective Noun.More items…
Angel is a given name meaning "angel", "messenger". In the English-speaking world Angel is used for both boys and girls.
In the Book of Ezekiel, the prophet's vision depicts them as having four faces: that of a lion, an ox, an eagle, and a human. They have straight legs, four wings, and bull hooves for feet that gleam like polished brass.
Quick Answer: Which Composers Did Beethoven Influence?
How is Brahms similar to Beethoven? Brahms'
Quick Answer: How Was Music A Part Of African Life?
Where did African music come from? Major and minor
What Is Brighton Beach Famous For?
What should I wear to Brighton Beach? You can choose
Why Is Saturday The Last Day Of The Week?
Why is Sunday the last day of the week? Sunday was
Quick Answer: What Is Your Name Games For Kindergarten?
Who am I what am I game? Who Am I. is a guessing game


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What's every bodies thoughts on revenue sharing --- I'm thinking get rid of it and if you want a team get out and raise your own money. For year the teams from town have been riding on the backs of any team that are making few bucks.
Easy enough to say that when you're fine as a community to be putting the fundraising needs of your senior men's hockey team front and foremost over the fundraising needs of youth and kids organizations in your area. There's only so much disposable income to go around and despite the population on the Avalon and in the greater St. John's metro area there are piles of organizations looking for fundraising dollars and most people in this area are going to give their five dollars to a girl guide selling cookies instead of a senior men's hockey team.
Some of the top leagues in the world operate on a revenue sharing system. Look at the NHL, probably the top sports league in the world with the most parity, you don't know who's going to win on any given night because teams are on such an even playing field because of revenue sharing. And alas here we are taking about getting rid of revenue sharing. Always said Newfoundland was 15-20 years behind the rest of the country.
"Front and foremost over ther fundraising needs of ther kids" is you doubling down on your biggest lie yet. The money raised by the canteen by Minor Hockey during Cats games is their biggest fundraiser. Cats don't take s cent. Your biggest lie.
That was Breakersfan2019 who brought that up.
And you repeated the accusation.
Find the post where I said that.
It was literally a cut and paste from the second post in this thread.
Please provide proof that I specifically said anything about canteen money in any of my posts.
I will ask you once again. Please find the post where I specifically said anything about canteen money.


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O2N2
Publish Date: Jan. 1996
NEWBERT
By Michael Menduno
Disguised as a mild-mannered Hawaiian dive guide in the early seventies, 46-year-old picture maker Chris Newbert has revealed worlds that no one has seen before. and, according to Newbert, "they're real." Just like his two award-winning very fine-art coffee table books: "Within a Rainbowed Sea" (1984), now in its eighth printing, and "In a Sea Of Dreams" (1994), co-authored with life partner Birgitte Wilms. No fooling mother nature here.
What makes your images so off-world?
Style is part of it. So much of underwater photography today is people imitating other people. There are not very many unique voices out there. So much is underwater photojournalism, which again does not feature the marine life so much as the sport. But I think that gets very old. You've seen one diver holding a pufferfish, you've seen them all. I've tried to explore the aesthetic qualities of the subject matter, and have tried to find unique perspectives.
That no one had seen before?
I think I've created something different—I'm not saying it's better or worse. In the world of underwater photography, it's distinctive, so I think that's attracted attention. I like to think that I place a high value on the technical qualities of the work, so I think there are elements in it that have made it appealing to a broad spectrum of the public—not just the diving world.
There's a look that some of your images have, as if the fishes—the life on the reef—were just frozen in space-time. You don't see that in other people's work. How do you describe that?
I like to portray that cornucopia of life found on the reefs, so I like to get as much life into the picture as possible. Technique-wise, for the big reef shots, I think what I do well is the lighting. The technique involves manual strobe photography with differential lighting ratios and the use of diffusers and various other techniques to balance lighting across a wide swath of reef, particularly where the subject matter may be at different distances from the camera. It's not something someone's going to be able to do when they set everything on TTL and just drop it down in the water and start poking the camera here and there and pressing the shutter. It requires a studied approach to photography.
Different from the surface?
There's very little that differentiates underwater photography from land photography. The reason why most people aren't better underwater photographers is because they're severely lacking in their fundamental knowledge of photography. They never bother to practice. They're so obsessed with taking great photographs, they never become good photographers. They never take that step-by-step learning process that any skill requires.
Photo courtesy of Chris Newbert
Is it a matter of shooting a lot of pictures?
Thousands, and ignoring the subjects. A lot of people will never press the shutter release unless they're faced with an interesting subject. I've maintained they will become a better photographer if they go down and shoot rocks, just rocks—or anything. You don't need a great subject. The most famous picture by Edward Weston—who's probably my photographic hero—is of bell peppers on his kitchen table. Most people would overlook bell peppers, but he was such a master of photographic technique that his bell pepper photographs transcended the subject matter and became sensual works of art.
It's not enough just to find a subject; you have to think the photographic process through, from lighting angles, to shadow-ratios, to points of focus, etc. My whole approach to photography is that of making photographs rather than taking photographs.
Talk to me about how you make those ultra-macros.
If you look in Within a Rainbowed Sea, there's the genesis of those images, way back fifteen years ago—the parrotfish eyes, the octopus eyes, and things of that nature. I think my technique evolved with it. In the new book, In a Sea of Dreams, these pictures employ a very, very flat lighting technique and that enhances the graphic nature of the picture. Flat lighting, equal lighting ratio, shadowless lighting. That means that the two strobes utilized are of equal power, equal distance so that there is no shadow produced in the photograph. That one's a very flat, graphic look to the picture. If you were to introduce shadows into those off the sides of the gills, you'd have a very different look. I'm not saying it would be better or worse; it would just look very different. I think the kind of look that those have, that people have trouble trying to articulate what it is they're seeing, I think in large part revolves around that lighting technique.
What role does your equipment play?
Technique is, of course, the ultimate in importance, but you still need the equipment that will allow you to do it.
Are you a gearhead?
The opposite. I'm far less equipment-intensive than my colleagues. I'm still using the same basic stuff: Canon F-1 cameras and Ikelite housings for close-ups, which a lot of professionals and serious amateurs laugh at. I think they're the superior for close-up photography. People tend to think that if you spend enough money on equipment, you'll have pictures that will reflect the price of the camera. The two don't equate necessarily.
Unfortunately, so much of the equipment available—past, present and probably future—is designed by engineers, not underwater photographers. It has a great potential of being more of an encumbrance than a creative tool. Though any good camera can take a good picture, the way some of this stuff is designed, engineered and produced makes it difficult for the photographer to capture that image the way they want.
I'm not presently doing any darkroom work. I used to do a lot of it. But we moved from Hawaii to Colorado a couple of years ago, and although we built a big darkroom into the new house, I still haven't had time to set it up because we've been chasing our tail with a million other projects. Doing my own darkroom color printing was a very, very vital part of my evolution as a photographer because when you make your own prints of your work, all of your shortcomings and all of your technical errors on the original photograph are magnified when projected on the easel.
You told me at the tekConference that we were at the dawn of the era of the big yawn in photography. What did you mean?d
I think we're witnessing the beginning of the death of photography as a meaningful medium. We're still at the embryonic stages of digital imaging, but imagine a few years hence, the technique will be so refined that even a trained eye won't be able to determine that all the elements were scanned in. Be that as it may, the picture will look spectacular.
Once this becomes commonplace, advertisers and editors will be keep upping the ante of the threshold of excitement on photographs until eventually nobody will give a damn because it's not real to begin with. If two manta rays are good, let's put in six, let's put eight manta rays in this shot—hey, why not a couple of hammerheads. The sky will be the limit. That final image never existed in reality, and the public will just plain get bored with the whole thing. Legitimate, honest photography will be so far down on the dazzle scale that it will fail to excite the public at all.
You're saying that fiction will be more exciting then what we're calling reality?
What magazine editor or art director for a commercial product is not going to succumb to the siren call of digitization when they know they can make a more commercially viable product? Eventually, we'll have every conceivable photographic element on CD-ROMs somewhere. What will the role of the professional photographer be at that point? There won't be one. Rather than paying a professional to go out and take the shot, someone will patch together whatever they need, make whatever spectacular image they're looking for.
Is it real or digerati? Is it enough to divulge that the image has been created on the computer?
Disclosure is only one important element of it, but it doesn't solve the era of the yawn, because who cares? It'll be like the MTV world in stills. After you see so much of it, it's like enough already.
I wonder if people said the same thing about painting when cameras were introduced?
It's absolutely not the same. What they [the digerati] are doing is creating images that, for all intents and purposes, identically replicate a photograph. A photograph never replicated a painting. Those two never competed with each other; they serve different purposes, although eventually they could both be collectible art. But the whole point of digitization is to make it look like an original photograph. That is the problem. I've seen ads from a company that will take family photographs and remove the divorced spouse, add somebody new in, and end up with pictures that look real. Look at where this thing is going. We now have family photos that represent the true history of our family as it existed at a specific date in time. This won't happen any more. This whole essence of photography, which is truth, honesty, has been lost; it's been taken away.
What is the market today for fine art underwater photography?
It's a limited market. I got my start doing gallery shows, which was very fortunate in terms of the evolution of my career. If I started with editorial work for dive magazines, it would have led me to a style of photography featuring divers in action and that whole genre—the underwater model with the matching makeup and all this gibberish. Instead, I was photographing subject matter based on the aesthetic qualities of the marine life with the goal of turning out prints which I would then display in galleries and private showings. So it very much suggested a certain type of approach to photography that was very important in my eventual publishing career doing books like "Within a Rainbowed Sea" and "In a Sea of Dreams," which I consider photographic art books rather than diving books.
Aimed at a broader audience?
You've got to take pictures that transcend the subject matter. Of course, fine art color photography always had a disadvantage insofar as color photography is a very volatile medium that previously did not have any archival final form. As a result, everything had to be priced more as decorative art than fine art. There's always been a separation between color photography and black-and-white fine art photography.
When you say archival, do you mean that the film would degenerate over time?
Right. Not only the original film, but any print form previously known—with one exception—would deteriorate with age. The color would shift and eventually fade away, as opposed to black-and-white photography, which can be made, for all intents and purposes, archival and permanent. The one form of color printing that is truly archival—tricolor Carboro printing—was heretofore so exorbitantly expensive, that just to have the prints made was not an option. It's made from layers of pigment generated from the color separations which are laid down just like oil paint on the chosen substrate—acid-free paper or whatever. It was an archival form of print generated from an original photograph. Now these processes have been updated and modernized so that Carboro prints, which now go under the name of Evercolor, are much more affordable than they were.
How about storing the image digitally on CD-Rom?
That's not a form that would be collectible in the fine arts world. It's got to be made in a presentable print form that can be shown to a buyer who will want to purchase it for their own private gallery or decorative scheme.
Your books have such extreme quality. Do you use a special printing process?
It's not so much a special process; it really comes down to a tremendous financial commitment by "Ocean Realm" [magazine] to reproduce the images with the very finest of papers, the very finest of color separations, and the most expensive inks. The original scans are ultra-high-density scans, like one gigabyte per image, which are then greatly reduced for the final image. The color separations for the new book ["In a Sea of Dreams" ] were done by the same company that did the color separations for Within a Rainbowed Sea. They're more artists than they are technicians. Many things have to be redone over and over and over in order to try to approximate, as closely as possible, the original.
We printed both books in the United States with Dynagraphics in Portland, Oregon. Wy'east Color in Portland and Seattle did the color separations. You pay a lot more to work in the United States; you might spend 30% more to get that extra 10% of quality. You have to have the commitment to spend the money necessary to get it done right.
You have created a lifestyle around your work. You have your books, photographic tours. What's a day in the life of Chris Newbert like?
"Deda" [Birgitte Wilms] and I don't have set routines because we're involved in book publishing. We have a stock photography business, and we have our tours. Those are the three key elements in our lifestyle, and what we do on a day-to-day basis is dependent on what's most pressing. We also answer a lot of requests for photographs from various publications around the world; that always takes a big chunk of time.
What role does Birgitte play in your work?
Birgitte and I met eight years ago and have been married for six years. Probably five to six years ago, she started dabbling in photography. Now she's a full-fledged partner, and I respect her work tremendously. Her role is primarily photographic. I think the new book is far superior for having her work in it.
She's a Danish citizen, so English is her second language, so she doesn't participate so much in the writing of the books or any articles we might do. Although she does function as a critic, reading it through and expressing her likes and dislikes.
How much time do you spend in the water?
We average ten trips a year—long duration, two-to-three week trips—so we're traveling six months out of the year, either directly or peripherally related to the tours. The rest of the time, we stay home and do the tremendous amount of administration that goes into running the trips. We are fortunate in that we only run trips where we want to go; to the areas that we feel represent the best diving in the world or the most exciting photography. We don't run trips just because we can make money on it.
Let's talk tech.
I tend to dive deep and long, but I'm doing it with standard [recreational—ed] equipment. I do a lot of decompression diving; sometimes several dives in a day. I do tremendously long shallow-water stops. Over thirty years of diving, I've never been bent.
Naturally, I'm keeping a keen eye on the evolution of consumer rebreathers, which I think will be a tremendous asset to photographers. The total silence is magnificent.
Have you spoken with Howard Hall or other photographers who are using rebreathers?
I haven't spent time with Howard, who's the only one I know who's used them extensively. I've spent some time talking with Bob Hollis [Oceanic founder & CEO—ed.] about his unit, which I'm very excited about. When I'm working close to a lot of marine life, every time you exhale, it scares them. I just have to believe that rebreathers are going to be a tremendous asset.
Mix?
I haven't explored nitrox; I'm not comfortable with the depth limits on it because very often I find myself having to go deeper. But I sure do admire the extended bottom time. I think that as nitrox mixes start to become available on dive boats, I will be very interested in it. Nearly everything I'm doing is on live-aboard dive boats.
Do you always carry your camera?
Always. I don't always shoot, but I will hardly ever dive without it. But I go many dives and don't take a single picture, or don't even feel compelled to. A lot of the time I don't get any photography done because I'm busy diving, exploring the reef. I always want to see what's up ahead, particularly when we're diving new and virgin areas that no one's ever been on before. I get a tremendous satisfaction out of going 100 yards farther off the reef and seeing what's out there, knowing that no one else has ever seen it.
Newbert Off Line
aquaCORPS #2 SOLO June 1990
Photographer Chris Newbert has become somewhat of a legend in underwater photography circles. His distinctive camera work has graced the pages of National Geographic Magazine and many other publications, including his book "Within a Rainbowed Sea."
aquaCorps (AC): There's this rumor floating around the industry about you hanging at 200 feet/ or so alone in the middle of the night with a big light shining down, waiting to photograph creatures that come up from the depths. What's the story?
Chris Newbert (CN): It's an absolutely false rumor. The truth is, it was a very small light. Actually, the basic facts as outlined are quite true. I was doing some open ocean drift diving, going out maybe eight to ten miles from shore into water about 5,000-10,000 feet deep. I would stop my boat and descend to 200 feet to shoot and then gradually work my way back to the surface. I would go as deep as that and basically drift in the open ocean with the boat unattended just above my head.
At night, the deep sea scattering layer would migrate vertically towards the surface. I would only dive on dark, moonless nights, because only on the darkest of nights would the creatures come close enough to the surface to photograph. By "close enough," I'm talking about the first 200-foot layer. Whereas on a bright night with a full moon, the animals might only come up to 300-400 feet deep.
Were you on a line?
No, actually I wasn't.
What were you shooting? Large pelagics? Sharks?
There's no point in trying to film large pelagics out there. You can see them during the day under much more favorable photo conditions. I was looking for things that were unique to that environment and time of day-the migration of animals in the deep scattering layer that occurs only at night. Generally these were small things: larval forms of life; little fish, pelagic octopi or seahorses; or flying fish at night.
Why solo?
Well, you have better interaction with animals when you're alone than when you're with another person. My feeling is you're always going to have better animal activity, more intimate contact with aquatic life. I would also say, I dive alone because I'm a photographer. All photographers have to admit, if they're honest, that they dive alone. That is, they don't perform their half of the bargain in the buddy system. You're not paying attention to your buddy; you're paying attention to your photography.
Do you ever feel afraid working like that?
The scariest part is when you're still on the boat and you're thinking about going in, and the lights on the shore are 10 miles away and the water looks dark and cold. But once you're in the water, it doesn't feel that different from any night dive. You have no sense of depth, really. You're surrounded by black so you can't tell that it's 10,000 feet to the bottom or 100 feet to the top; 10 miles to the shore or 10,000 miles to Japan. You're just in a black void and your perception extends only as far your underwater light.
God knows what's lurking over your shoulder. You could turn your head around and you wouldn't see it. All you can see is what's in that beam of light. So it was actually fairly tame. I suppose if I was out there and something huge showed up that started chasing me around I'd be damn afraid. But the concentration required by photography, to a large extent, keeps your mind from wandering. So much of your attention is drawn toward all the things around you. You just put the fear out of your mind, and that's easily done by your fascination with the more important things—the real things. Not abstract fears, but the concrete things.
The deep scattering layer is a layer of phytoplankton that migrates in depth in response to changes in light intensity, inducing the creatures that feed on it to migrate as well.
If you enjoyed this interview, below are all other interviewees:
STEVE GERRARD
CARLOS EYLES
Blue Water Hunter
GARY GENTILE
Deep Wreck Diver
SHECK EXLEY
Exley On Mix
LAD HANDLEMAN
Commercial Mixed Gas Pioneer
KEVIN GURR
Reprogramming the Future
BILL STONE
PHIL NUYTTEN
Think Hard
HOWARD HALL
Natural History film Maker
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Leaked HTC Nexus Sailfish Renders Show Device From Multiple Angles With Key Details
By Ramish Zafar
With 2016 about to come to an end, only a couple of flagship devices are expected to be launched this year. Out of these, it's been the iPhone 7 and the iPhone 7 Plus which have seen the majority of leaks so far. Cupertino's flagships for 2016 won't change much in terms of design. They will however bring a couple of new features on board. These will last the company yet another calendar year. Today's post however is about Google's upcoming Nexus devices. Today, some more alleged renders of the Nexus Sailfish have surfaced, which once again display a rather unorthodox design.
The HTC Nexus Sailfish Surfaces In More Alleged Renders Showing Several Design Details
When it comes to leaks, it's been the HTC Nexus Sailfish which has seen the majority of leaks so far. Out of the two devices expected this year, it'll be Sailfish which will cater to those with budget constraints. The past couple of years have witnessed an evolved approach for the lineup from Google. Last year's Nexus 6P and 5X managed to deliver on both high and medium tiers quite effectively.
Information so far suggests that the Nexus Sailfish will also deliver in similar areas. The device will come with Qualcomm's Snapdragon 821, coupled with 4GB of RAM on board. This will be supplemented by a 1080p screen and a 12MP rear camera. All of this for an alleged $499 price tag will end up making the device quite an effective offering indeed. Some more alleged renders of the device have crossed our path today. Take a look at them below.
Courtesy of folks over at China, today's alleged render set provides quite a bit of design details for the Nexus Sailfish. The device's back comes with the similar half-glass, half-metal approach which has been rumored earlier as well. However, the presence of a metal chassis for the Sailfish jsut might not stand true. The frame doesn't appear to be different from its overall form. Therefore, all those rumors about a metal frame won't bear any fruit. At the bottom you'll see a speaker grille and at the top you'll see an earphone jack.
There appear to be no buttons or other assortments on the device's left. At the right you'll see the power and the volume buttons. Screen size for the Nexus Sailfish is rumored to be 5 inches. There's no way of confirming that by looking at today's renders. They do stand in line with what has surfaced previously so we just might be inclined to believe that they're the real deal. As always, things will become more clear as we progress through time. Thoughts? Let us know what you think in the comments section below and stay tuned for the latest.


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Becoming a social media ambassador is to lend your voice to a cause. It costs nothing but can lead to greater impact, reach and support for beneficiaries. We believe that education is key to ending the cycle of poverty, but to do so takes time and a lot of support.
Any LIKE, SHARE or COMMENT on our social media channels could have a positive impact on the project.
If you would like to become an ambassador for Amandla Development please contact comms[at]amandladevelopment.org. We can support you with content, ideas or anything else you might need. We believe networking and sharing the cause is one of the best ways to support the youth of Philippi. So please do get in touch, every effort counts!
THE TASK IS HUGE - BUT NOT IMPOSSIBLE
• Like many poor communities in South Africa, Philippi has a school dropout rate of over 50%
• For every 10 students who enter the system in Philippi, only 2 will qualify for university
• Youth unemployment is over 70%
• Every 1 in 5 people have HIV
It's no wonder many students struggle just to get to school, only to lose hope and drop out. That's why we need as much help as possible.
MULTIPLY REACH
Help us to multiply our Social Media Reach. By sharing our posts, writing comments, liking or sending news to specific networks. Sign up for your Newsletter below to keep up to date.
Write an article, create a post, make a video, share something funny or meaningful...there are many ways to get involved. For more information contact comms[at]amandladevelopment.org
ENGAGE NETWORKS
Make a presentation at your company or university, host a fundraising event, run a race, or use your unique skill to increase engagement. You could actively get involved and act as part of the team. Please don't hesitate to send us your ideas. Every thought is valuable.
Of course, donations are always welcome. Every bit counts.
If you are interested, please sign up for our Newsletter here.
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Kumar Srinivasan
Vice-President, Scientific Partnering and Alliances and Site Head, R&D Boston at AstraZeneca
About Kumar
Kumar Srinivasan is a highly accomplished business development executive with an impressive record of success in both pharma and biotech settings. He has a broad cross-functional background in business development, licensing, R&D, new product planning, finance and strategy, and is an effective leader of multidisciplinary teams. Kumar joined AstraZeneca in April 2012 to head up business development for the newly constituted AstraZeneca Neuro group and was promoted to his current role in March 2013 as Head of Scientific Partnering & Alliances. In his most recent external position, Kumar was Chief Business Officer at Probiodrug AG, then a private venture funded German company developing novel treatment for Alzheimer's and inflammatory diseases. Prior to joining Probiodrug, Kumar was Vice President, Global Business Development at Wyeth Pharmaceuticals, where he headed up business development and licensing activities for pre phase 2 opportunities for several therapeutic areas.


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This joy that I have
The world didn't give it to me
The world didn't give it, the world can't take it away
The Resistance Revival Chorus, a collective of more than 70 women and non-binary singers have announced their debut album This Joy to be released on October 16th via Righteous Babe Records. The album features original compositions along with protest classics and was recorded in New York City with GRAMMY-nominated producer Tiffany Gouché. The album is 100% created by women, non-binary artists and features special guests Rhiannon Giddens, Valerie June and Deva Mahal. Righteous Babe's Ani DiFranco says of the Chorus: "The RRC is like an antidote to silence and submission. In this age of division and hopelessness, let us listen to their collective voice and get lifted. Let us remember who we really are."
To coincide with the release of their new album, the chorus have released their Geneva Peschka directed video for title track "This Joy," with animation from Jenny Scales, edited by Maximilla Lukacs. The song, composed by Shirley Caesar, produced by Tiffany Gouché and Abena Koomson-Davis - who's also singing lead vocals - "This Joy" perfectly captures the chorus' musical manifesto of finding joy through protest. Says Koomson-Davis, "In recording this album, I was reminded that embracing one another in melody, harmony and rhythm is practice and preparation for the kind of word we want to live in...if we are willing to listen to each other deeply."
This Joy was recorded in New York City over the space of several months, with the chorus working around Covid-quarantine, and taking to the streets to protest for BLM. "Working with the chorus last year was one of the most healing and rejuvenating experiences I've ever had in my life.It was simply love manifested," says Tiffany Gouche. "You can feel the joy and sincerity in their hearts through each and every record. I am truly blessed and humbled by this experience and look forward to anything that pertains to them."
The Resistance Revival Chorus is a collective of more than 70 women and non-binary singers, who join together to breathe joy and song into the resistance, and to uplift and center women's voices, especially the voices of black women and women of color. Members are touring musicians, film and television actors, Broadway performers, solo recording artists, gospel singers, political activists, educators, filmmakers, artists, and more, representing a multitude of identities, professions, creative backgrounds, and activist causes. The Resistance Revival Chorus was founded in the wake of the 2017 Women's March and strives to center women in music and address how historically marginalized women have been in the music industry. They've backed Ke$ha at the GRAMMYs, performed on The Tonight Show with Jim James, sung Spanish lullabies to detained migrant children outside a New York holding facility, and been shouted-out on Twitter by hometown hero Alexandria Ocasio-Cortez. When they're not performing on stages like Carnegie Hall and the Apollo, The Resistance Revival Chorus regularly hits the NYC streets, advocating for social justice across the spectrum. From standing in solidarity with the Movement for Black Lives and calling to defund the police, The Resistance Revival Chorus has been involved in many activist causes including reproductive rights, the anti-muslim ban, Climate Change, LGBTQIA+ rights at PRIDE and attending the March For Our Lives. The RRC brings music to the movement.
Shop more Resistance Revival Chorus merch on their website!
Resistance Revival Chorus Feat. Meah Pace - I Hope (Single)
Resistance Revival Chorus - All You Fascists Bound To Lose (Single)
Resistance Revival Chorus - Ella's Song


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Algerian Girls Have Their Weddings Before the Age of Two
Algerians pride themselves on celebrating their female new-borns as much as males, if not more
Fatma Hamdi — Algeria
The popular proverb in the Algerian East says, "The father of a girl is blessed," because girls can be a source of sustenance. Some families celebrate female babies as well as male ones, if not more. Many Algerians boast about the customs that honour girls.
In the centre of the city of Annaba, 600 km east of the Algerian capital, the women of one of the ancient families in the city gather, adorned in traditional dress. They walk among the members of a female singing group, led by a woman carrying a two-year-old girl in a beautiful traditional dress.
The scene of the street where the traditional Ottoman 'hammam' is located harkens back to the time when women celebrated the first bath that girls had in the hammam. This tradition was known as "the first solitude". It is also known in Annaba as 'the bath of the angels', or as other families call it 'the first bath'. It is a traditional ceremony performed by the family of a girl of about two years, during which females in the family and their friends are invited to the hammam where the celebration takes place.
A Girl is a Livelihood
Houria Hashemi Rashedi is a professional hairdresser who organises celebrations for the families of Annaba. Relying on her knowledge of customs in the city, she informs families of what is permitted or forbidden during the celebration. The first bath is the right of the girl over her family if they are well off.
Houria tells Aljazeera Net, "Unlike most families, this custom suggests that families are proud of the female child." She adds that women dress a girl of around two years of age in what is known as 'fouta', a special towel for the hammam. Party items including henna and showering tools are also brought. Upon reaching the entrance of the hammam where the party is to take place, a band performs religious chants and traditional songs amid the ululations of the women invited to the 'first solitude.'
The girl, in whose honour the ceremony is held, is entered into the bathing hall and, according to Houria, an egg is broken on her head. During the ceremony, she is surrounded by the young girls of the family who carry candles. Breaking the egg symbolises her exit from one stage of her life and entering another.
Customs and rituals
The girl's mother supervises her bathing. The female invitees also bathe amid ululations, and they open the girl's trousseau, which includes a towel, sabots and bathing items. The mother also distributes symbolic traditional gifts to the invited young girls.
According to custom, the hammam is perfumed with incense and perfumes and covered with sweets. Some families work on applying henna to the girl. Then, she is given a golden anklet along with a chain bearing the palm of the hand as well as a golden chain of a fish.
According to custom, the anklet, the palm of the hand, and the fish chain prevent the evil eye. That is why the women in some of these ceremonies repeat the phrase "a fish goes and a fish comes" in order to repel evil spirits, according to custom.
Celebrating the Female
Houria Hashemi Rashidi points out that this custom is like the 'aqeeqah' for the male, in which an animal is sacrificed and food is distributed to female relatives and neighbours as a gift and charity. This is a celebration of girls and a belief that they are a livelihood.
Lunch is brought to the invitees in the sitting room in the hammam, accompanied by tea and various traditional and modern sweets. Women take pictures with the girl to keep them as souvenirs until she grows up.
Photojournalist Zina Canon Dembri tells Aljazeera Net, "Many Algerian families still adhere to this custom. In fact, this custom has returned strongly over the past five years".
A band known as Suria chants religious songs, hymns and prayers for Prophet Muhammad, may peace be upon him. According to the families that practise this custom, they celebrate girls from a young age to teach them to be proud of themselves and of being female.
Source: Aljazeera.net (Original Content -Arabic)
Gold Anklet Jewelry


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Usually when someone gets robbed, they don't tend to react with love or kindness. Anger, bitterness, and shock are usually the feelings that are displayed.
But in Lou Williams' case, it was different.
Let's go back to 2011. This is when Lou began to tell his tale to the Philadelphia Daily News.
Lou had his car parked in Philly on Christmas Eve. He was in the neighborhood of Manayunk when he was approached by a man with a gun.
Normally, this is where people would freak out. But Williams calmly talked down the robber. When the robber figured out who he was, everything changed. Lou described that when the guy knew what Lou did for the city of Philadelphia, he decided not pull the trigger.
"A guy tried to rob me but decided not to because of what I do in the community."
Afterward, the then Philly star even treated the guy to McDonald's, where they no doubt discussed things even further.
Lou told the Daily News:
"There's crime everywhere. I was debating whether to pull off to help the guy. The gun was already out. He did all the talking, and we came up with a solution before I could really say much. I treated him to McDonald's."
What was supposed to be a hardcore robbery, turned into McDonald's with a fan. Quite a story of patience and love from one of the best pure scorers in the NBA.
McDonald'sPhillyPhiladelphia 76ersLou Williams


Jeremy has navigated the production world for more than 20 years — managing teams, projects and vendors to bring concepts to life.
He realized his passion for production in 7th grade and has been perfecting the craft ever since. His leadership sense and his ability to navigate the ever-changing technologies of production have kept him at the forefront of large-scale projects encompassing dozens of mediums and experiences. Whether he's executing logos on the sides of airplanes, creating experiential designs or helping re-brand an entire company, Jeremy is a go-to partner.
Two come to mind: 1) Giving Walmart its "spark." This workstream had it all: beautiful lookbooks, trailer art, interior signage, photo shoots, grocery bags and everything in between. 2) Working with Southwest Airlines to help them wear their heart on their sleeve. Painting bold graphics on their fleet of aircraft and engraining their cultural spirit into everything from in-flight magazines to pretzel packages.
The love of design, print, and problem-solving...and a lot of coffee. It's mostly coffee.
At home with my wife, daughter and dog enjoying a lazy breakfast.
What's changed the most about the industry / work / clients?
Things have gotten a lot quicker. This immediacy has pushed people to focus on digital and less on the intimacy and romance of ink on paper. But every now and then we have an opportunity to work with a client to create something very special. Those projects are always the most rewarding for me.


Pacifica Del Mar reflects the soothing calm of its ocean location. Perched high atop the Del Mar Plaza, the sophisticated restaurant offers a stunning visual Pacific feast to accompany Chef Christopher Idso's delightful gastronomic feats. The menu features elegant California-inspired creations that manage to be both light and clean, while still imparting a deep satisfaction. Mouthwatering options like the Barbecued Sugar-Spiced Salmon with Chinese beans and mustard sauce, Moroccan Spiced Prawns, and Filet Mignon with potato-white cheddar gratin, make for delightful dining dilemmas. Sample from Pacifica Del Mar's Wine Spectator-distinguished wine list to help make the decision-making process that much more enjoyable.
Pacifica Del Mar's expansive enclosed patio allows diners to savor spectacular unobstructed views of the Pacific Ocean. At sunset, sea and sky converge to offer a seemingly endless expanse of color and enchantment. The restaurant is inconspicuously perched on the upper level of the Del Mar Plaza, and takes full advantage of its prime location by serving its coastal cuisine in three distinct dining spaces that compliment the breathtaking scenery.
The seductive color variations of the deep sea are captured in the elaborate lighting that bathes the bar area in rich tones of blues, reds, and purples. Pacifica also has two distinct dining spaces: the indoor dining room and outdoor patio. Passing the large aquarium and two steps that lead up to the dining room from the bar, visitors are greeted by a vibrant and sophisticated dining space. Four large abstract light sculptures line the back wall of the room and may remind diners of the course the sun takes over a drifting tide. The patio space is minimally decorated, yet equally stunning. The railings and overhangs separate and frame the Del Mar coastline like a great painting hung on a gallery wall. Clear plastic coverings also hang down to shield diners from the wind as they feast. We were lucky enough on the night of our visit to procure a table on the bustling patio, and quickly realized views from the center of the room are suitably spectacular.
The first menu diners may reach for is Pacifica's impressive wine list. It has been honored with The Wine Spectator's "Award of Excellence" every year since 1992, and offers patrons a truly staggering selection to choose from. The thickly bound book separates varieties by "White" and "Red," "By the Glass," "Featured Winery," and "Half Bottles." New World charm permeates the menu with California based wineries mingling among Australian and New Zealand brands. The result is a truly thoughtful collection of wine that compliments the food menu with a well-defined perspective and scope of interest.
Our meal this evening opened with a sampling of Pacifica's famous soup. On the menu for years, the Japanese Clam Chowder is a dish that draws many visitors to return. This rich chowder is not to be confused with the New England icon; for while the savory broth is home to delicate bites of fresh clam, the broth itself is a blend of shitake mushrooms, and has no cream. Crunchy slices of water chestnuts contrasted against the smooth chewiness of the large pieces of mushroom, and offered a delightful play on texture. Tastes of sweet and peppery scallions grabbed attention from the intense savory richness of the broth, and complimented the hint of soy sauce in the background. This chowder is both a fine introduction and a satisfying meal in its own right.
The next course of our meal consisted of three appetizers our server recommended: Dungeness Crab Cakes, a Roasted Chino Farms Beets salad, and Spicy Calamari. The Dungeness Crab Cakes arrived on a long rectangular plate dashed with artful brushstrokes of a green remoulade butter sauce. Between the two cakes sat a refreshing arugula micro salad that juxtaposed the bitter notes of the herb against slightly sweet hints of onion and apple. The cakes themselves were a fine illustration of textural balance – the crunchy outer layer broke away to expose a moist center of lump crab meat held together by a subtle mix of breading and herbs. The taste was light, mild, and showcased the sweeter notes of the crab meat.
The sea-dwelling counterpart to the salad was the large bowl of Crispy Calamari we were next served. Staring into the slanted white bowl that was reminiscent of an oyster shell, we were struck by the immense portion size of the lightly breaded rings. Accompanying the dish were two dipping sauces: a spicy Vietnamese fish sauce, and a red pepper aioli made with hot mustard. Each sauce coaxed out subtle elements of the calamari. For example, the Vietnamese sauce was mildly sweet and complimented the squid's natural flavor of the sea. The aioli sauce played more to the character of the calamari breading, and gave a kick to the crunch.
Pacifica's menu is a true homage to the sea, so we decided to try two of its famous seafood dishes and one carnivorous delight. The Pacifica's Barbecued Sugar-Spiced Salmon is presented, like the star it is, on a pedestal of garlic mashed potatoes and Chinese long beans, supported by a ring of fried wonton. The spicy sweet rub is similar in taste to a Jamaican jerk spice, and I was pleasantly surprised to discover that the sweet intensity of the spices actually enhance the underlying meaty flavor of the fish. The long beans were roasted in a fermented black bean paste iconic of Chinese cuisine – such discreet details are found throughout the menu, and are a thoughtful nod to Asian fare.
While Pacifica takes deep pride in its seafood selections, it is equally capable of preparing a magnificent steak. The Filet Mignon is served with a white cheddar potato gratin and broccoli, in a savory Zinfandel sauce. The steak was surprisingly moist, smooth in texture, and deliciously satisfying. In an effort to steal the spotlight from its mate on the plate, the potato gratin steps up to seduce patrons with layers of thinly sliced potato, subtle slivers of garlic, and a palate-pleasing crust of cheddar.
The last entrée we tried transported us to Southern Asia, and we savored every moment of the excursion. The Pan Roasted South African Seabass, which was first soy-glazed, was accentuated by a green curry-coconut sauce. The silky and invigorating spices also glazed a sticky sushi rice cake, and complimented the side of Chinese bok choy leaves. The delicate flakes of sea bass were intoxicatingly silky, and stood up surprisingly well against the vibrant sauce.
Anyone could have stepped away at this point from the meal perfectly satisfied and content, but not us. No, our commitment to the cause inspired us to take one final look at the menu, dessert menu that is, and order the Dessert Tasting Trio: a sampling of the Bon Bon, Burnt Cream, and Meyer Lemon Cheesecake. The Meyer Lemon Cheesecake had a light and creamy texture, and the hint of lemon peaked out to tickle the tongue. The Burnt Cream is Pacifica's take on classic Crème Brulee, and it proved to be a fine tribute. The crust was thin, crisp, and tasted of caramel; the concealed custard was thick, rich, and silky smooth. The two contrasting elements married for truly seductive bites. Lastly, the Homemade Bon Bon was a mad genius concoction of a small amaretto cookie encircled by vanilla bean ice cream, which was then dipped in Belgian chocolate, walnuts, and a berry coulis. A bite into the layers revealed the real magic – the amaretto warmed the mouth as the ice cream gently melted. The firm chocolate shell offered a slightly bitter base to the sweetness, and the berry coulis was just another fine point to appreciate.
Thinking back, it is difficult to separate the satisfying meal I savored at Pacifica Del Mar from the spectacular views I enjoyed. Every dish had a unique perspective of flavor, and each glance out the window revealed an original color palette. That complete melding of the senses is what makes a dining experience at Pacifica stand out from the competition.
Corkage Fee: 18.00 | Per 750ml bottle.
Main Dining Room | Happy Hours 5 p.m. - 9 p.m.
Main Dining Room | Happy Hours 4 p.m. - 6:30 p.m.
Main Dining Room | Dinner 4 p.m. - 10 p.m.
Main Dining Room | Lunch 11 a.m. - 4 p.m.
Main Dining Room | Brunch 11 a.m. - 2 p.m.
Does the restaurant have an ocean view?
Yes, Pacifica Del Mar is one of San Diego's most popular Costal Ocean View Restaurants. Breathtaking views from the patio and inside.
Does the restaurant have a bar area?
Yes, in fact, Pacifica's Bar features an International Vodka Bar which serves more than 75 of the world's finest vodkas.
Do you use sustainable seafood practices?
Yes, Pacifica Del Mar supports sustainable, local and organic practices whenever possible?
What is the Breeze Café?
Pacifica Del Mar's Breeze Café is a private covered outdoor patios with an Ocean View that holds up to 72 guests for a sit down dinner, or 85 guests for a cocktail receptions.
The Pacifica Del Mar bar area and outdoor patio space are fully accessible; the indoor dining space has two steps leading up to it.
Does your restaurant have a fish tank in the dining room?
Monday-Friday: 5:00pm-9:00pm Saturday-Sunday: 4:00pm-10:00pm. This is a sample menu only. Prices and availability may be subject to change.
Monday-Friday: 11:30am-2:30pm Saturday-Sunday: 11:00am-4:00pm. This is a sample menu only. Prices and availability may be subject to change.
Saturday-Sunday: 11:00am-1:30pm. This is a sample menu only. Prices and availability may be subject to change. Prices include one complementary glass of champagne, Pacifica bloody mary, mimosa or juice.
Two-course preset menu offered until 6:00pm. Choose one featured item from each course. This is a sample menu only. Price and availability may be subject to change.
Want to have a great lunch or dinner with a good service,exceptional food and a view of the Pacific like no other in Southern California! Make sure to hit this place when your in the area!
Don; I dont know what you're talking about..your taste [I guess] is not up to Pacifica's calibur; I'm sorry for you. Pacifica's is a wonderful place to eat! Great/fun food & beautiful/romantic ambiance. Enjoy!
I attend Pacifica quite often and I must say I'm equally impressed each time.. The atmosphere is always very lively and fun.. There is a great bar lounge area to just grab a drink and relax. My favorite is dinning outside along the window admiring the beautiful view.. The food is always spot on.. Japanese clam chowder and the sugar spiced salmon are two of my favorites.. On occasions they have half priced bottle night.. I got my favorite pinot noir Gary Farrel for $40 which is only 5 above retail(usually 80 on the menu) So definitely call and see when they offer that.. Wait staff is great very attentive and friendly.. bathrooms are easily wheelchair accessible..
We reserved a table overlooking the ocean to celebrate a birthday. They seated us right away at one of the best tables in the restaurant. The excellent food and service added to the beautiful sunset setting, even though the restaurant was packed with diners. We were allowed to relax and enjoy our fabulous meal with no sense of being rushed in order to seat the next customers. Our server was attentive without being overbearing-- just the right balance. All in all, it was a perfect evening and absolutely everything we hoped it would be. Thanks Pacifica! After all these years, you've only managed to get better at everything you do!
My wife and I, along with another couple, enjoyed a very special evening at Pacifica Del Mar on May 28th. The dinner was to celebrate my wife's birthday and the restaurant staff went above and beyond to make it memorable. Although the restuarant was quite busy, the evening started for us with the waiter holding an excellent table for us...providing us with a spectacular view of the sunset on the Pacific. Our entrees consisted of Ahi Tuna(2), Mussels, and Shrimp Tagliafelle (sp?). All were wonderful with our friends raving it was the best seafood they had ever eaten (and they have eaten a lot!). We had a variety of appetizers and truely loved them all. We did not sample the desserts as we had ice cream and cake planned at home. I would consider ourselves fairly experienced and disdcriminating diners and we all agreed the dinner at Pacifica Del Mar was one of our best dining experiences.
Great food, great ambiance and our waiter Coop was the best. Coop made the experience for my young family of 5 the best! We'll be back soon.
For my first time in this resturant, it is one of the best dining experiences I have had in San Diego.
Pacifica Del Mar never fails to give us a superb evening with great food, beautiful view, and wonderful service. It is truly a Del Mar icon--one we send friends and visitors to. Dining on the patio is a Southern California treat. An evening spent sitting at the bar discussing wine with the bartender is also enjoyable. Always a pleasure to be at Pacifica!
Perfect stop along the way.
Heading to a concert in San Diego the Pacifica Del Mar restaurant proved to be the perfect early dinner stop along the way from Costa Mesa, CA. All we could hope for and more. We will be back.
This was our first visit and we throughly enjoyed the dinner. The service was excellent. The food was prepared well - nice appearance, quality and flavor.
25th Anniversary dinner was great!
We celebrated our 25th anniversary at Pacifica Del Mar and dinner was great with great service.
If you are looking for a romantic night out, not sure this is the place. Decent view from the patio, but super noisy. If you go there for dinner, bring your ear plugs.
We went for Valentine's Day, hoping for a romantic meal. We were willing to spend quite a bit of money and never really treat ourselves. The food was completely average and we were seated 2 feet away from another couple so we could overhear all of their conversations. We dont mind spending $140 on a meal for 2 if it's amazing. This was comparable to Applebees. Keep in mind we didnt have anything but 2 glasses of wine and the prefixed menu. No dessert even for the price.
It was ok. The view was very nice, between all the heads trying to see the sunset. I felt a little smashed between one table and the next and the pole our table was pushed up against. Nothing really stood out regarding the food or drinks or waitstaff. It was nice to eat outside. We took the time to have a nice meal together and that is what it was, a nice meal. Nothing more.
The qualify of food really varies...one evening food is great, other times not so good. For the price one would expect a quality dining experience every time. My impression is the owners rely upon its location more than its food.
Fine view, good entree. They were out of several wines, brought the wrong appetizer, forgot the side, served luke-warm flavorless cappucino and after calling that to their attention also had to ask that it be replaced. Don knows what he's talking about.
Pacifica Del Mar has such a great opportunity to be a star in San Diego's food scene, and it falls terribly short. We wanted it to be good, we tried to find the good in it, and it was tough. Fried calamari appatizer (waiters reccomendation) was basic, not bad. Comes with a simple red pepper aoli, same thing you get in 90% of restaurants that have calamair. Nothing to write home about (as was the rest of the dinner). Hearts of rommaine salad was poor at best. Bland dressing, could have done better at home. Had the lobster and the sea bass. Sea bass came out raw (had to be sent back). Lobster and rice pillaf was similar to wedding food. I suppose the best way to describe the food at Pacifica is unimaginative. Service was very good, attentive, personable. All in all it seems Pacifica has been around so long that they don't seem to try to do anything than the basics to retain customers, but they fell short of winning any new ones.
Inattentive, disinterested service. Uncomfortable seating. Overpriced – 3 scallop appetizer for $12.00! Catfish totally overpowered by its sauce – no fish necessary. There are far better choices than this.
Couldn't use my certificate again!
Made a reservation, showed up but couldn't use my certificate AGAIN? Embarrassing. Manager said I can only use it inside and upstairs. What's the difference. Good food though.


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Q: Array not getting to cellForRowAtIndexPath I am trying to parse an XML document and load the array into a table view.
In init I call initializeDatabase, which makes a URLRequest and Connection.  Then I make a call to parseXML, which parses the document.  All that seems to work well.
When done I want to load the results array into a table view.  Not happening.
I have placed NSLog statement in each method to track this down, including the table view data source methods.

2011-02-01 07:29:17.770 Project[1664:207] initializeDatabase:
  2011-02-01 07:29:17.814 Project[1664:207] numberOfSections
  2011-02-01 07:29:17.815 Project[1664:207] results in numberOfRowsInSection: (null)
  2011-02-01 07:29:18.560 Project[1664:207] Connection was made
  2011-02-01 07:29:18.562 Project[1664:207] connectionDidFinishLoading:
  2011-02-01 07:29:18.562 Project[1664:207] parseXML called
  2011-02-01 07:29:18.563 Project[1664:207] parserDidStartDocument
  2011-02-01 07:29:18.564 Project[1664:207] parserDidEndDocument:
  2011-02-01 07:29:18.564 Project[1664:207] results: "ProjectData: 0x4e461b0"

The cellForRowAtIndexPath was not called. I'm not sure why.
Any ideas?
Kurt

A: It sounds like you need to run the method reloadData on your table view after you have parsed the data. Reload data makes the table view ask its datasource how many rows it should display. The table view does this automaticlly on viewDidLoad, but in your case you don't have any data to display at that point. Therefor in parserDidEndDocument, run [tableView reloadData];
Other solutions, make sure both the delegate and datasource is set to right instance.

A: You could also use an NSArrayController and bindings. Set the contentArray to the array of parsed data, and bind the VALUE of each column. Make sure the dataSource on the tableView is NOT set to anything. You wont have to call reloadData each time now.

redpajama_set_name: RedPajamaStackExchange


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Palestine and the Press
The problem with the Gaza disaster appeal video is that it focused itself on the Palestinians as victims rather than being a call for peace. This is not new. The media's focus on the Palestinians as victims has been a considerable part of the problem over the last 30 years.
During the First Intifada, when children threw stones at Israeli soldiers, pictures were beamed around the world and it became the biggest media story of the day, but the effect on both Israel and the Palestinians was disastrous. The need of western-world television viewers and magazine readers was to share the suffering of a small people, but children in the West Bank and Gaza found themselves with a choice of going to school or going to where the western press scrum were gathered and be a hero before cameras that told their story to the whole world. Perhaps a billion dollars worth of media was made out of that story, by Reuters, AP and the BBC, but I doubt if the Palestinians received a single penny of that money.
The Israelis, meanwhile, were still believers in free press in those days. Their view was that the Intifada was a movement by the Palestinians to find their own identity. They allowed the cameras in and put their side of the story believing that their openness would be recognised and appreciated as compared to the policies of their barbaric Arab neighbours. However, their reputation throughout the world was ruined by these protests and a whole generation of Israelis grew up unsure of themselves and the purpose of their country in this part of the world.
Egypt had refused to take back the Gaza strip in the peace deal done with Sadat, while Jordan was hardly queuing up to take responsibility for the West Bank. The system of proportional representation meanwhile meant that the 10% vote of the religious right gave them the power to decide which of the two main parties would form a government, and their demand was that no biblically important land should be given up even if the Palestinians were capable of forming a government. And so the lack of political decisiveness led to the incremental crackdown on Palestinian rights, which were perceived as weakness by the Palestinians whose violence grew in direct proportion.
By the time I revisited Israel in the 90s, I came out of the airport to find that the Israelis were organising Palestinian taxi drivers into a slow lane and Israeli taxi drivers into a fast lane. This was due to the policy to deny the Palestinians the benefits of the Israeli economy. Following the '67 war the Israelis had opened the borders to give the Palestinians free movement of goods, capital and labour. Relatives in Gaza visited relatives in West Bank for the first time in living memory.
Palestinians found prosperity through their new construction jobs and Israel's need for a cheap source of labour was satisfied, so the Palestinians pretty much built the state of Israel during the 1970s. But the spontaneous acts of Palestinian violence; the stabbing of a woman at a bus stop, another in a street market, more, made the Israelis fear that they'd let a demon they didn't understand into their society.
It's said in the Middle East that the Israelis' cannot govern Arabs because of their western sensibilities. They refer to the murder of 7,000 Kurds by Saddam, which cemented his authority, and also the Syrian town of 10,000 inhabitants which was bulldozed by Assad, the population buried beneath the dust. The Israelis were never capable of imposing the authority in such a way, so cracked down tentatively and increasingly, never quite believing that there would ever be peace but never being able to find a solution other than more soldiers.
We used to have discos in the bomb shelters in my Kibbutz in the mid 80s. These shelters were about the size of a village hall with high ceilings and the bare concrete walls that would bounce back the sound of the loud rock music so that it was like being in one of the actual speakers of the sound system.
The number of Israeli casualties from Kassam missiles over the last year has been so small that you'd think these missiles were fireworks; they're not. The low casualties are due to the preparedness of the Israeli people. Most of the Israeli casualties happened when missiles were being fired infrequently. Once Hamas announced the end of the cease fire and began systematically firing missiles Israeli casualties stopped happening. This is because half a million were now living underground.
It's difficult to imagine how peace can come for these peoples, but it's important to recognise that the international media has played its part in creating the conflict. If the charities wish to raise money for this cause they should make a film about the hope of peace rather than a film that dwells on the victimhood of a tiny people.
This entry was posted on Tuesday, January 27th, 2009 at 4:30 pm and is filed under AAA My Best Articles, International Development, Military & Foreign Policy.	You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
5 Responses to Palestine and the Press
"The problem with the Gaza disaster appeal video is that it focused itself on the Palestinians as victims rather than being a call for peace"
It's a video from a charity designed to deal with humanitarian crises about a humanitarian crisis, asking for money to help people. It's not the work of a pressure group, it's the work of somebody trying to raise funds to directly save lives which are endangered.
danmccurry says:
I totally agree, James. But the video you've seen is the one they edited over three days to make it more acceptable after the BBC rejected the first one. Can you remember anything in the press or on TV that said portrayed the Palestinians other than their victimisation or their violence?
I totally agree, James. But the video you've seen is the one they edited over three days to make it more acceptable after the BBC rejected the first one.
I don't believe you are correct, there. Is the latter the one that was aired on Channel 4 and was available on YouTube?
Can you remember anything in the press or on TV that said portrayed the Palestinians other than their victimisation or their violence?
I don't quite understand this question. If you are talking about people who reported that Hamas launched rockets well yes, no mainstream news source has failed to make mention of that. I think what you might be looking for is balance but I'm afraid that the situation is fairly unbalanced: under twenty Israelis have died and over 1200 Palestinians.
Unless for some reason you imagine Israel life to be worth a vast amount more than Palestinian it is understandable that the coverage focuses more upon the latter than the former.
You must be right, James. 200 suicide bombers and 1000 Israeli deaths, I suppose you'd describe this as a call for dialogue.
Do you want newspapers to report the news or recent history?


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Romsdalsbladet (The Romsdal Gazette) was a newspaper published in Åndalsnes, Norway. It appeared for only two years, in 1947 and 1948. The paper was published by the company Romsdalsk Reising L/L and it was edited by Eirik Moen (1912–2002). The paper was discontinued because of printing difficulties.

References

Defunct newspapers published in Norway
Norwegian-language newspapers
Mass media in Møre og Romsdal
Romsdal
Publications established in 1947
Publications disestablished in 1948

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Words Without Weapons is a 2Funky Arts project that uses lyricism and music as a vehicle for exploring issues surrounding violent and knife crime. The project has provided local young people aged 12-19, who are at risk of offending or re offending, with a range of creative opportunities to explore such issues, between September 2011 & April 2012.
Two rounds took place at Highfields Centre and Quad Studios, culminating in showcases at The Music Cafe and Thread Nightclub. 2FA employed one lead artist for each round – Wavey and Bizzi. The project has been very popular and including distribution of CD's, has reached over 1000 people!
-Acquire skills in Mcing performance and lyric writing.
-Examine and challenge popular lyrics that promote violence.
-Explore victim perspectives and consequences of knife and violent crime.
-Put together their own tracks for performance and distribution in a CD.
-Perform in a community showcase.
-Additionally, role model artists who have relevant experience (either as previous offenders or as members of affected communities) perform at showcases and promote anti-crime messages. Such artists have included the likes of Shystie and English Frank.
Words Without Weapons is supported by The Home Office Communities Against Gangs, Guns and Knives Fund.