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Text / TV / TV Recap / Season 6 Episode 7 Recap
The Americans: Moving parts
by Marion Stein · May 11, 2018
In an effort to save his marriage, if not his country, Philip joins Elizabeth's mission to rescue an illegal who the FBI has codenamed "Harvest". Henry confides in his "Uncle" Stan, which rhymes with Sam. And somebody needs to tell Paige that yes, it's the 1980s, but shoulder pads are not a good look for her.
We open with Henry at Stan's waiting for Philip to come over so they can all watch the big game or movie, but Philip has to explain to his son that there's been another travel agent emergency and he's going off to Houston to help Elizabeth, and he won't be back in time to drive him up to school, so maybe he should hitch a ride or something like the kids do.
Bye kid. We'll always have that Thanksgiving dinner your mom didn't even bother showing up for.
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Outside of the house, Stan talks to Phil, asking him if something is "going on". Philip tells him a truth, just not the truth. The business is dying, and he's been too embarrassed to even talk about it. Then he approaches Stan for a hug, which is sure to confuse a manly man like Stan and get him into a homosexual panic, thus throwing him off the scent.
Philip thinking, "Oh shit! I really don't have time to kill Stan right now. Better just hug him."
Philip arrives in Chicago, where Elizabeth is surprised he actually showed up. At first it's hard for them to even speak, but slowly they get back in the groove with each other, and while they don't have the sexy times (that we know of) they do get in bed next to each other at the same time and she touches him, like the way couples do when they've been with each other forever.
The next day, they discuss the logistics, and she opens up more, admitting that she feels better about their chances with Philip there. She even shows him the suicide pill. He tells her to flush it down the toilet. She won't. Nor will she tell him more about the mission. He asks her why she even told him about it. She tells him he's always asking her to tell him things. That's Elizabeth logic for you.
Stan is dropping Henry off at the home of one of his more well-heeled classmates. How could the KGB have missed out on this particular opportunity for the Jennings to make friends with all kinds of rich and powerful Americanski families that go there? No wonder those mokes lost the Cold War! (Or did they?)
Are Stan and Henry just chatting, or is Stan interrogating him? Or is there a difference when you've been at it as long as Stan? Henry mentions how it's been like this since he was a kid, with his parents getting a call from work, and taking off in the middle of the night. Stan asks if they ever stayed with family, and Henry tells him it was mostly just him and Paige. Stan mentions that time they went to stay with their mother's aunt after she had a stroke, and it's clear now to us that he's working Henry. Henry barely remembers "Aunt Helen" who he just met that one time, and is surprised Stan remembers it at all. Stan tells him he remembers because he was working crazy hours on a case, and when he finished they were all gone.
"Right, Aunt Helen, whom we never saw or heard mentioned again. I wonder whatever happened to good ol' Aunt Helen."
Viewers can probably remember even more strange childhood events. Paige and Henry were alone constantly, and sometimes in great danger, like that time when Henry saved both their lives by breaking a bottle over the head of a creep who'd given them a ride. Has Henry blocked this out? Or does he understand there are just some things you don't even mention to "Uncle" Stan?
In a show that's gotten so much right in terms of plotting, have they majorly screwed up by not having Stan figure this out several seasons ago, especially given how he was suspicious from day one?
The ill-fated mission that is the centerpiece of the episode is directed spectacularly well, and with more than a nod to Hitchcock. Like everything else this season, it manages to echo previous episodes, specifically other missions in which something, but not everything goes wrong. There are lots of moving parts here… in the form of vehicles. The plan also involves Norm, the man of a thousand faces, none of which anyone ever remembers, as well as Marilyn, plus a lot of Mexican day laborers AKA real "illegals" brought in as a faux construction crew.
But things don't go as planned, and after two FBI agents and both Harvest and Marilyn are fatally wounded, we get a sequence that's even yuckier than that time they stuffed Annalise's body in a suitcase. In a parking lot, Philip cracks open the glass to grab a emergency fire ax and chops off Marilyn's head and hands. No words are exchanged between Philip and Elizabeth, only gestures and nods. A woman walks through to get her car, as Elizabeth and Philip have a silent discussion about how to handle things. Possibly Philip is yelling telepathically, "Just wait! Don't kill her." They don't need to. She doesn't see anything, and drives away. Philip continues with the chopping. They pack up a bag that includes wigs, clothes, hands, head, and Harvest's empty suicide locket.
In an elegiac scene perfectly scored to Patti Smith's "Broken Flag", they drive to the lake where Elizabeth stuffs a brick in the bag and throws it into the water. Philip behind the wheel just looks sad.
Over at the FBI, Dennis breaks the news to Stan. Two FBI dead. No illegal. They're waiting for sketches (from the Mexicans) and more information. Dennis has lost that "can-do" spirit, and now believes everything that has to do with the Russians will turn to shit. It's Stan's turn to encourage him to continue the fight.
Stan pulls into his driveway, and looks at the still empty Jennings home. He does a quick break in and finds nothing, not even in places where we've seen them leave things. He gets so tantalizingly close, including looking at the circuit breakers and the light socket in the laundry room, and the dryer. Ah good times! But he doesn't look behind the dryer or remove the panel at the circuit breaker.
He looks at a photo, and seems to zero in on Elizabeth. Is he wondering if she could be the headless woman they found? And than we get special guest star Dylan Baker as William in a flashback, from when he was delirious and dying in the hospital and mentioned the other illegal, the "lucky" one with a couple of kids and a pretty wife, living the American dream.
Given that the FBI has been sitting on that particular tidbit for the past three years, couldn't they have gotten a little further along in their investigation? What about at the end of last season when they found the bug in Mail Robot and Dennis was looking to investigate Betty's death?
In fresh wigs on the plane back, Elizabeth is sketching the airplane window, and explains to Philip, "Someone is making me learn." They get home, and just for a second Elizabeth pauses in the hallway and you think her spidey-sense might kick in and she'll say, "Stan was here!" but she doesn't. Philip calls Henry, who apparently has better things to do than talk to his loser dad. And then Elizabeth tells him she's leaving for work again, and won't be back till the following night if she's lucky, which she hasn't been once this season. She leaves with no kiss, but she touches his face.
Erica isn't thrilled by the new sketch that Stephanie shows her. She's in a ton of pain, and doesn't want morphine because she knows she's running out of time, and she needs to keep sketching. What is Elizabeth getting out of these art lessons? Something is shifting, and while she still doesn't understand what Erica is talking about when she talks about "seeing," Elizabeth now seems to have a glimmering of awareness that she's been missing something.
Over at the FBI, Dennis looks exhausted, but Stan is here to help. Maybe he's shopping for a new bestie, since he's realizing the one he has may not be the guy he thought he was. Stan has an old box of files about the case six years ago when an illegal in Philly was killed, and his wife "disappeared right in front of us." Ah! Another one of those missions that involved a lot of moving parts from way back in the first season. It was also a mission that didn't end well for either side, and perhaps another portent of doom.
Elizabeth drops by the insurance agency, just to check in because she knows Philip is in bad shape. She actually notices Staves is gone. Then she goes to meet Paige. Does Paige actually wear the worst 1980s clothes ever made? Are they worse than Elizabeth's clothes? Or does everything just hang better on Elizabeth?
Paige's cover could be blown if she's arrested by the fashion police.
Elizabeth tells her about Marilyn, leaving out the gory details. Then she tells Paige she really does have a choice and could back out of this, but if she commits she commits for life because when you're KGB you're KGB all the way, from your first honeypot till they throw your head over a bridge loaded down with bricks. Paige commits because she really doesn't have much else going for her, and also she wants to "make a difference" and has completely bought into the propaganda fed to her by Claudia and her mother.
There's still room for Elizabeth to talk her out of it, something you may or may not scream at the TV depending on whether or not you care if Paige survives the season. It's startling that there's no maternal there there when Paige confesses that she has no friends, or that she only hopes to meet someone who could share her spy life so she won't be so lonely.
Elizabeth is the only one who could persuade Paige to choose another path, and that there's more than one way to "make a difference," but it would mean seeing the emptiness of her own existence, the waste it's been, and admitting she's only made things worse. If Elizabeth could see outside of herself, the way Erica keeps pushing her to, it would drive her mad. It's already ruined Philip.
So mom supports her daughter's decision to keep going, and treats her the way she'd treat any other asset or junior spy in training. She tells her that it's time for her to go get an internship in the state department. But won't it take a while to do that? Could this be a trick? A way to get Paige away from the day to day dirt, and just give her some busy work? Let's hope so for Paige's sake.
Meantime, Philip sits alone in Casa Jennings recalling that time three years ago when they were about to return to Russia, and he got Father Asset to marry them for realsies. Looks like the marriage thing is no hedge against loneliness. Elizabeth might have mentioned that one to Paige.
The American nightmare.
Three more episodes left. What do the titles tell us? Next week is "The Summit," followed by "Jennings, Elizabeth," and "START." The Americans is way too clever a show to kill off Elizabeth in an episode named for her, so I'm going to speculate (again) that she's not the one who dies. Furthermore, "START" is the name of a nuclear arms reduction treaty, not signed until 1991. Could we be in for another time jump? And maybe a prisoner exchange? The marriage ceremony flashback is leading me to double-down on my previous stated theory that one of them "gets to Moscow first" like the priest said and registers the marriage.
Tags: The American Henry neglectedThe Americans - HarvestThe Americans what does Stan know
Marion Stein
Marion writes television recaps and reviews for the Agony Booth, and books you can find over at Amazon.
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1 6 ounce package of chocolate chips.
ingredients that have been sifted together.
A little more affordable than some of my previous purse wants. Just a little.
Luck Brand, Abbey Road Hobo Bag in Teak. I love how soft and squishy it feels.
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Drain the pasta and transfer to a large mixing bowl, cool. Tip: add a little of the dressing and stir to keep the pasta from sticking to itself.
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Serve cold or a room temp and enjoy!
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Dice the tomatoes into bite size pieces. It might sound like a little extra work but I prefer to cut the top off the tomato and scoop out the seeds first. It keeps the dish from being too runny and my indigestion in check.
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text:
All posts in " Mass "
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Gotas de chocolate (no Brasil) ou pepitas de chocolate (em Portugal) são pequenos pedaços de chocolate. São frequentemente comercializados em formato arredondado com uma base achatada em forma de gotas. Estão disponíveis em diferentes tamanhos, contudo, em geral medem 1 centímetro de diâmetro. São utilizadas frequentemente na produção de guloseimas e pães, como nos cookies e panetones.

Origem
As gotas de chocolate foram produzidas pela primeira vez em 1937, quando Ruth Graves Wakefield da Toll House Inn, na cidade de Whitman, Massachusetts acrescentou pedaços de chocolate em barra a uma receita de cookie. Os biscoitos foram um enorme sucesso, e Wakefield chegaram a um acordo em 1939 com a Nestlé para adicionar sua receita para a embalagem do chocolate em troca de um suprimento vitalício de chocolate. Inicialmente, a Nestlé incluiu uma pequena ferramenta de cortar com as barras de chocolate. Em 1941, a Nestlé e seus concorrentes começaram a vender o chocolate na forma de gotas (ou "pedaços").

Chocolates
Ingredientes culinários

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Faithful Father, thank you for noticing and keeping record of the things I've done that are good and pleasing to you. Please help me to keep doing those things that please you, only better, that you may be pleased and glorified. In Jesus name. Amen.


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Dee and Daniel moved to a rented property (Greenacre), but sadly, after 6 months the vendor sold the property. The only choice left was to build on the rented land intended for the birds. Christmas 2009, Dee found Barn Close advertised. It was everything they wanted, but it was £365,000. In February 2010 they entered a tenancy agreement with an option to purchase with a 2 year contract. They only had one financial year to take the business from a tiny profit to a mortgageable position.
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text:
import resolveReference from 'src/view/resolvers/resolveReference';
import Model from 'src/model/Model';
import { isNumeric, isObject, isNumber, isObjectType, isString } from 'utils/is';
import runloop from 'src/global/runloop';
import findElement from 'src/view/items/shared/findElement';
import { set as sharedSet } from './set';
import makeArrayMethod from '../Ractive/prototype/shared/makeArrayMethod';
import { animate as protoAnimate } from '../Ractive/prototype/animate';
import { update as protoUpdate } from '../Ractive/prototype/update';
import getRactiveContext, { extern, findParentWithContext } from './getRactiveContext';
import { hasOwn } from 'utils/object';
import { ELEMENT } from 'config/types';

const modelPush = makeArrayMethod('push').model;
const modelPop = makeArrayMethod('pop').model;
const modelShift = makeArrayMethod('shift').model;
const modelUnshift = makeArrayMethod('unshift').model;
const modelSort = makeArrayMethod('sort').model;
const modelSplice = makeArrayMethod('splice').model;
const modelReverse = makeArrayMethod('reverse').model;

class ContextData extends Model {
  constructor(options) {
    super(null, null);

    this.isRoot = true;
    this.root = this;
    this.value = {};
    this.ractive = options.ractive;
    this.adaptors = [];
    this.context = options.context;
  }

  getKeypath() {
    return '@context.data';
  }

  rebound() {}
}

export default class Context {
  constructor(fragment, element) {
    this.fragment = fragment;
    this.element = element || findElement(fragment);
    this.node = this.element && this.element.node;
    this.ractive = fragment.ractive;
    this.root = this;
  }

  get decorators() {
    const items = {};
    if (!this.element) return items;
    this.element.decorators.forEach(d => (items[d.name] = d.handle));
    return items;
  }

  get _data() {
    return (
      this.model ||
      (this.root.model = new ContextData({
        ractive: this.ractive,
        context: this.root
      }))
    );
  }

  // the usual mutation suspects
  add(keypath, d, options) {
    const num = isNumber(d) ? +d : 1;
    const opts = isObjectType(d) ? d : options;
    return sharedSet(
      build(this, keypath, num).map(pair => {
        const [model, val] = pair;
        const value = model.get();
        if (!isNumeric(val) || !isNumeric(value)) throw new Error('Cannot add non-numeric value');
        return [model, value + val];
      }),
      opts
    );
  }

  animate(keypath, value, options) {
    const model = findModel(this, keypath).model;
    return protoAnimate(this.ractive, model, value, options);
  }

  find(selector) {
    return this.fragment.find(selector);
  }

  findAll(selector) {
    const result = [];
    this.fragment.findAll(selector, { result });
    return result;
  }

  findAllComponents(selector) {
    const result = [];
    this.fragment.findAllComponents(selector, { result });
    return result;
  }

  findComponent(selector) {
    return this.fragment.findComponent(selector);
  }

  // get relative keypaths and values
  get(keypath) {
    if (!keypath) return this.fragment.findContext().get(true);

    const { model } = findModel(this, keypath);

    return model ? model.get(true) : undefined;
  }

  getParent(component) {
    let fragment = this.fragment;

    if (fragment.context)
      fragment = findParentWithContext(fragment.parent || (component && fragment.componentParent));
    else {
      fragment = findParentWithContext(fragment.parent || (component && fragment.componentParent));
      if (fragment)
        fragment = findParentWithContext(
          fragment.parent || (component && fragment.componentParent)
        );
    }

    if (!fragment || fragment === this.fragment) return;
    else return fragment.getContext();
  }

  hasListener(name, bubble) {
    // if the owner is a component, start there because the nearest element
    // may exist outside of the immediate context (yield)
    let el = this.fragment.owner.component
      ? this.fragment.owner
      : this.element || this.fragment.owner;
    let base;

    do {
      base = el.component || el;
      if (base.template.t === ELEMENT) {
        if (findEvent(base, name)) return true;
      }
      el = el.up && el.up.owner;
      if (el && el.component) el = el.component;
    } while (el && bubble);
  }

  link(source, dest) {
    const there = findModel(this, source).model;
    const here = findModel(this, dest).model;
    const promise = runloop.start();
    here.link(there, source);
    runloop.end();
    return promise;
  }

  listen(event, handler) {
    const el = this.element;
    el.on(event, handler);
    return {
      cancel() {
        el.off(event, handler);
      }
    };
  }

  observe(keypath, callback, options = {}) {
    if (isObject(keypath)) options = callback || {};
    options.fragment = this.fragment;
    return this.ractive.observe(keypath, callback, options);
  }

  observeOnce(keypath, callback, options = {}) {
    if (isObject(keypath)) options = callback || {};
    options.fragment = this.fragment;
    return this.ractive.observeOnce(keypath, callback, options);
  }

  pop(keypath) {
    return modelPop(findModel(this, keypath).model, []);
  }

  push(keypath, ...values) {
    return modelPush(findModel(this, keypath).model, values);
  }

  raise(name, event, ...args) {
    let el = this.element;
    let ev;

    while (el) {
      if (el.component) el = el.component;
      ev = findEvent(el, name);
      if (ev) {
        return ev.fire(
          ev.element.getContext(
            event || {},
            event && !('original' in event) ? { original: {} } : {}
          ),
          args
        );
      }

      el = el.up && el.up.owner;
    }
  }

  readLink(keypath, options) {
    return this.ractive.readLink(this.resolve(keypath), options);
  }

  resolve(path, ractive) {
    const { model, instance } = findModel(this, path);
    return model ? model.getKeypath(ractive || instance) : path;
  }

  reverse(keypath) {
    return modelReverse(findModel(this, keypath).model, []);
  }

  set(keypath, value, options) {
    return sharedSet(build(this, keypath, value), options);
  }

  shift(keypath) {
    return modelShift(findModel(this, keypath).model, []);
  }

  splice(keypath, index, drop, ...add) {
    add.unshift(index, drop);
    return modelSplice(findModel(this, keypath).model, add);
  }

  sort(keypath) {
    return modelSort(findModel(this, keypath).model, []);
  }

  subtract(keypath, d, options) {
    const num = isNumber(d) ? d : 1;
    const opts = isObjectType(d) ? d : options;
    return sharedSet(
      build(this, keypath, num).map(pair => {
        const [model, val] = pair;
        const value = model.get();
        if (!isNumeric(val) || !isNumeric(value)) throw new Error('Cannot add non-numeric value');
        return [model, value - val];
      }),
      opts
    );
  }

  toggle(keypath, options) {
    const { model } = findModel(this, keypath);
    return sharedSet([[model, !model.get()]], options);
  }

  unlink(dest) {
    const here = findModel(this, dest).model;
    const promise = runloop.start();
    if (here.owner && here.owner._link) here.owner.unlink();
    runloop.end();
    return promise;
  }

  unlisten(event, handler) {
    this.element.off(event, handler);
  }

  unshift(keypath, ...add) {
    return modelUnshift(findModel(this, keypath).model, add);
  }

  update(keypath, options) {
    return protoUpdate(this.ractive, findModel(this, keypath).model, options);
  }

  updateModel(keypath, cascade) {
    const { model } = findModel(this, keypath);
    const promise = runloop.start();
    model.updateFromBindings(cascade);
    runloop.end();
    return promise;
  }

  // two-way binding related helpers
  isBound() {
    const { model } = this.getBindingModel(this);
    return !!model;
  }

  getBindingPath(ractive) {
    const { model, instance } = this.getBindingModel(this);
    if (model) return model.getKeypath(ractive || instance);
  }

  getBinding() {
    const { model } = this.getBindingModel(this);
    if (model) return model.get(true);
  }

  getBindingModel(ctx) {
    const el = ctx.element;
    return { model: el.binding && el.binding.model, instance: el.up.ractive };
  }

  setBinding(value) {
    const { model } = this.getBindingModel(this);
    return sharedSet([[model, value]]);
  }
}

Context.forRactive = getRactiveContext;
// circular deps are fun
extern.Context = Context;

// TODO: at some point perhaps this could support relative * keypaths?
function build(ctx, keypath, value) {
  const sets = [];

  // set multiple keypaths in one go
  if (isObject(keypath)) {
    for (const k in keypath) {
      if (hasOwn(keypath, k)) {
        sets.push([findModel(ctx, k).model, keypath[k]]);
      }
    }
  } else {
    // set a single keypath
    sets.push([findModel(ctx, keypath).model, value]);
  }

  return sets;
}

function findModel(ctx, path) {
  const frag = ctx.fragment;

  if (!isString(path)) {
    return { model: frag.findContext(), instance: path };
  }

  return { model: resolveReference(frag, path), instance: frag.ractive };
}

function findEvent(el, name) {
  return el.events && el.events.find && el.events.find(e => ~e.template.n.indexOf(name));
}

redpajama_set_name: RedPajamaGithub


text:
Pitaah
Pitaah - 2002
http://www.bollywoodbx.com/assets/uploads/old_files/films/41/2_191_lg.jpg
A bleak, God-forsaken hamlet presumably in northern India is the scene of the action. Avadh Narayan Singh (Om Puri) is the only God the villagers know ? significantly, Shikarpur is one rare Hindi movie village that does not have a temple of its own. The Thakur runs the place from the confines of his palatial mansion. One of his bonded labourers is Rudra (Sanjay Dutt) who makes the best of a bad bargain in the company of his wife, Paro (Nandita Das) and his three little children. When the two drunken, debauched sons of the Thakur rape his nine-year-old daughter, Durga (Tanvi Hegde), Rudra's patience runs out and, egged on by his tenacious wife, he wreaks vengeance on the perpetrators of the heinous crime.
Pitaah isn't about the trauma and anguish of a child injured in body and spirit or about the pain her simple-minded parents feel. Nor is it about the inability of the judicial system to provide moral succour to victims of feudal mayhem. It is essentially about the invincibility of a father scorned. And that's where Pitaah goes completely wrong. Too many contrived devices are allowed to mar the film's generally realistic tone. A mujra in a police station or the flashback of happier times - represented predictably by a joyous song and dance number ? seen through the eyes of a harried woman moved by the plight of her two hungry son are, structurally, totally out of sync here. To make matters worse, the body count is extremely high, as is the blood and gore quotient, attributes that deflect attention from what should have been the film's central concern, but
eventually isn't.
Sanjay Dutt Nandita Das Om Puri Mita Vashisht Jackie Shroff Sachin Khedekar
Mahesh Manjrekar


text:
Sat, Nov 24, 2001 - Page 16 News List
Wind blows unheralded Sandelin to the top spot
STORMING TO THE FORE Teeing off in the morning, the Swede took full advantage of the calm weather to shoot a six-under-par 66 and take the Asian Open lead
By Jeffrey Wilson / CONTRIBUTING REPORTER
Jarmo Sandelin putts on the second day of the US$ 1.5 million BMW Asian Open at the Westin Resort Ta Shee yesterday. The Swede carded a six-under-par at 66 to take the lead.
Strong, swirling winds blew familiar names to the top of the leaderboard after the second round of the US$1.5 million BMW Asian Open at the Westin Resort Ta Shee yesterday.
Jarmo Sandelin of Sweden carded a six-under-par 66 yesterday to put him at six under overall with Ryder Cup teammate Miguel Angel Jimenez of Spain a shot off the pace.
Fiji's Vijay Singh, Spain's Jose Maria Olazabel and Carl Pettersson of Sweden share third place another stroke back at four-under.
Sandelin is looking to put his disappointing last season behind him in Taiwan at the opening event of the 2002 European PGA Tour.
"It hasn't been a very good year," said Sandelin, who finished 100th on the 2001 European Tour Order of Merit. "I have always been very confident, even when I'm playing badly, because I know that when I play well I can beat anyone and that's driving me on."
After an even par round of 72 on Thursday, Sandelin started well yesterday.
"The key for me was a really good tee shot off the first. I hit a seven iron very close and made the putt," said Sandelin, who had six more birdies and a eagle on the par 5-sixth hole to go with three bogeys.
With tee times in the morning, both Sandelin and Jimenez took advantage of relatively calm conditions before the strong winds kicked up.
Jimenez carded a three-under 69 yesterday, one stroke better than his opening round.
"I'm continuing to go lower and lower. I hit the ball very well," said Jimenez, who started on the tenth hole. "I made birdie at the par 5 number 14 and the rest was very consistent with birdies at 1 and 2."
Among the players battling winds in the afternoon were Olazabel and Singh.
Olazabel recorded his second consecutive round of two-under 70, playing a steady round of two birdies and two bogeys yesterday as he focused on his play from the tee box.
"I'm hitting the driver much better this last couple of days," said the two-time US Masters champion. "I've been working on widening my back swing and trying not to shut the clubface on the way back."
Singh, meanwhile, was pleased by yesterday's two-shot improvement to a three-under 69.
"It was quite windy so I was comfortable with the way I played. A few more putts could have gone in, but that's the way it goes," he said.
Overnight leader Sebastien Delagrange of France fell back to one-over with a second round 77. New Zealand's Michael Campbell, the last big winner on the Ta Shee layout at the 1999 Johnnie Walker Classic, double-bogeyed the final hole to also sit at one-over.
The cut for the top 66 and ties fell at five-over par. Nine of the 12 Taiwanese players made it into the weekend, led by Chung Chun-hsing (鍾春興) at one-over.


text:
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Home About The Area Best Island in the World Twice
Ambergris Caye Declared "Best Island in the World." Twice.
We're not the only ones extolling the virtues of Belize's Ambergris Caye. Millions of travellers who voted in TripAdvisor's Travellers' Choice Awards agree, and have crowned Ambergris Caye the "Best Island in the World" for the second straight year.
"The beautiful Belize island offers the perfect blend of modern development and laid-back tranquility," wrote TripAdvisor of Ambergris Caye's virtues. "Reef divers drool over the Belize Barrier Reef and the Blue Hole, a 400-feet deep circle of limestone that teems with angelfish, elkhorn coral, cleaner shrimp and stalactites."
USA Today described Ambergris Caye as "Belize's tourism superstar, combining the laidback with the sophisticated for a chic-barefoot elegance vibe." Indeed, Ambergris Caye is a large part of Belize's growing popularity as a tourism hotspot.
Ambergris Caye Resort Development Opportunity
The 75-acre resort development property on Ambergris Caye for sale as part of the Casa Bay Belize real estate offering provides an unparalleled opportunity to take advantage of Ambergris Caye's rising prominence as a "tourism superstar." Featuring 1,200 feet of pristine beachfront on the doorstep of the Belize Barrier Reef, and located within an actual UNESCO World Heritage Site, this subtropical gem already has plans and preliminary approvals in place for a world-class eco-resort.
Coupled with a sister golf resort development on mainland Belize near Corozal, these properties are poised to become two of the hottest destinations in one of the world's most up-and-coming tourist markets.
If you've never been to Ambergris Caye, it truly is time to see what all the fuss is about. And if you're interested in investing in Belize's burgeoning tourism sector, contact us to request an investor's package and arrange a tour of Casa Bay's remarkable properties.
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The Liars' debut is a dirty, disorderly dance-punk record crammed with ear splitting vocals and throbbing bass lines. Listen in.
"They Threw Us All in a Trench and Stuck a Monument on Top"
Brooklyn-based Liars play the kind of genre-bending fusion of punk and ska that listeners might associate with the sounds of Ian MacKaye and Fugazi. While less politically minded, the Liars do maintain a similar sense of earnest aggression, and they boast a mix of playful irony and funky beats to boot.
With "They Threw Us ..." the Liars channel their high-energy live performances -- which threaten to come unhinged at any moment -- into their first full-length album. Frontman Angus Andrew's histrionics and ear-splitting vocals catalyze this chaotic blend of drum machines, caustic guitars and persistent, throbbing bass lines. "Loose Nuts on the Veladrome," which has the destructive capacity of early Jesus Lizard recordings, goes from rhythmic progression to complete structural meltdown and back several times over, held together only by Andrew's shouts and howls.
The album ends with the 30-minute "This Dust Makes the Mud," which appears to be a filler rather than the band's attempt at artsy instrumental experimentation in the vein of Godspeed You Black Emperor. Apart from this half-hour divergence, the Liars' debut is a solid, dirty, disorderly dance-punk record.
Liars: "Mr your on fire Mr"