text:
DH Lawrence Poem : Snake
A snake came to my water-trough
On a hot, hot day, and I in pyjamas for the heat,
To drink there.
In the deep, strange-scented shade of the great dark carob-tree
I came down the steps with my pitcher
And must wait, must stand and wait, for there he was at the trough before
He reached down from a fissure in the earth-wall in the gloom
And trailed his yellow-brown slackness soft-bellied down, over the edge of
the stone trough
And rested his throat upon the stone bottom,
And where the water had dripped from the tap, in a small clearness,
He sipped with his straight mouth,
Softly drank through his straight gums, into his slack long body,
Silently.
Someone was before me at my water-trough,
And I, like a second comer, waiting.
He lifted his head from his drinking, as cattle do,
And looked at me vaguely, as drinking cattle do,
And flickered his two-forked tongue from his lips, and mused a moment,
And stooped and drank a little more,
Being earth-brown, earth-golden from the burning bowels of the earth
On the day of Sicilian July, with Etna smoking.
The voice of my education said to me
He must be killed,
For in Sicily the black, black snakes are innocent, the gold are venomous.
And voices in me said, If you were a man
You would take a stick and break him now, and finish him off.
But must I confess how I liked him,
How glad I was he had come like a guest in quiet, to drink at my water-trough
And depart peaceful, pacified, and thankless,
Into the burning bowels of this earth?
Was it cowardice, that I dared not kill him? Was it perversity, that I longed to talk to him? Was it humility, to feel so honoured?
I felt so honoured.
And yet those voices:
If you were not afraid, you would kill him!
And truly I was afraid, I was most afraid, But even so, honoured still more
That he should seek my hospitality
From out the dark door of the secret earth.
He drank enough
And lifted his head, dreamily, as one who has drunken,
And flickered his tongue like a forked night on the air, so black,
Seeming to lick his lips,
And looked around like a god, unseeing, into the air,
And slowly turned his head,
And slowly, very slowly, as if thrice adream,
Proceeded to draw his slow length curving round
And climb again the broken bank of my wall-face.
And as he put his head into that dreadful hole,
And as he slowly drew up, snake-easing his shoulders, and entered farther,
A sort of horror, a sort of protest against his withdrawing into that horrid black hole,
Deliberately going into the blackness, and slowly drawing himself after,
Overcame me now his back was turned.
I looked round, I put down my pitcher,
I picked up a clumsy log
And threw it at the water-trough with a clatter.
I think it did not hit him,
But suddenly that part of him that was left behind convulsed in undignified haste.
Writhed like lightning, and was gone
Into the black hole, the earth-lipped fissure in the wall-front,
At which, in the intense still noon, I stared with fascination.
And immediately I regretted it.
I thought how paltry, how vulgar, what a mean act!
I despised myself and the voices of my accursed human education.
And I thought of the albatross
And I wished he would come back, my snake.
For he seemed to me again like a king,
Like a king in exile, uncrowned in the underworld,
Now due to be crowned again.
And so, I missed my chance with one of the lords
Of life.
And I have something to expiate:
A pettiness.
Posted by crazyrals on March 30, 2010 in literature, poem
Tags: dh lawrence, snake
Dil Se Lyrics : Satrangi Re
Tu Hi Tu, Tu Hi Tu Satrangi Re
Tu Hi Tu, Tu Hi Tu Manrangi Re…
Dil Ka Saaya Humsaaya Satrangi Re, Man rangi Re
Koi Noor Hai Tu Kyun Door Hai Tu
Jab Paas Hai Tu Ehsaas Hai Tu
Koi Khwab Hai Ya Parchhaai Hai Satrangi Re, Man rangi Re
Is Baar Bata Moonh-zor Hawa Thehregi Kahan
Ishq Par Zor Nahin Hai Yeh Voh Aatish Ghalib
Jo Lagaye Na Lage Aur Bujhaye Na Bane
Aankhon Ne Kuch Aise Chhua, Halka Halka Uns Hua
Halka Halka Uns Hua Dil Ko Mehsoos Hua
Tu Hi Tu, Tu Hi Tu, Jeene Ki Saari Khushboo
Tu Hi Tu, Tu Hi Tu, Aarzoo Aarzoo
Teri Jism Ki Aanch Ko Chhoote Hi
Mere Saans Sulagne Lagte Hain
Mujhe Ishq Dilaase Deta Hai
Mere Dard Bilakhne Lagte Hain
Chhooti Hai Mujhe Sargoshi Se
Aankhon Mein Ghuli Khamoshi Se
Mai Farsh Pe Sajde Karta Hoon
Kuch Hosh Mein Kuch Behoshi Se
Teri Raahon Mein Uljha Uljha Hoon
Teri Baahon Mein Uljha Uljha
Suljhane De Hosh Mujhe Teri Chaahon Mein Uljha Hoon
Mera Jeena Junoon Mera Marna Junoon
Ab Iske Siva Nahin Koi Sukoon
Ishq Par Zor Nahin …
Mujhe Maut Ki God Mei Soney De
Teri Rooh Mein Jism Duboney De
Satrangi Re, Man rangi Re…
Posted by crazyrals on March 29, 2010 in bollywood, lyrics, movies
Tags: ar rahman, dil se, gulzar, mani ratnam
don't indulge in duties that don't concern you
There was once a washerman who had a donkey and a dog. One night when the whole world was sleeping, a thief broke into the house. The washer man was fast asleep too but the donkey and the dog were awake. The dog decided not to bark since the master did not take good care of him and wanted to teach him a lesson.
The donkey got worried and said to the dog that if he doesn't bark, the donkey will have to do something himself. The dog did not change his mind and the donkey started braying loudly.
Hearing the donkey bray, the thief ran away. The master woke up and started beating the donkey for braying in the middle of the night for no reason.
Posted by crazyrals on March 28, 2010 in general
Ankhiyon Ke Jharokhon Se : 'Love Story' By Erich Segal
Its been exactly 40 years and 40 days since 'Love Story' was first published. The publication of this novel was more of an afterthought than a piece of original literary work. The movie 'Love Story' whose screenplay was written by Erich Segal, was later adapted it into a novel which would serve as a pre-cursor to the movie and help in promoting the film. Hence, the novel came out on 14th Feb, 1970 while the movie released later, in December of the same year.
The book went on to become a best-seller and the movie too was a huge hit, and some lines from the movie have achieved so much popularity that they are oft repeated in quotes and romantic write-ups, one of them being 'Love means never having to say sorry'. Although Erich Segal went on to write quite a few novels like 'Oliver's Story' [which was a sequel to 'Love Story'], 'Class' and 'Doctors' ; but none of them could match upto the success and fame of 'Love Story'. This is a book for keeps, the romance is so beautifully portrayed and with so much innocence and honesty.
As most of us have read the book or know the story, I shall not delve much into it. I would just like to pay a small tribute to writer, Erich Segal, who passed away earlier this year, on 17th Jan. It was a huge loss to the literary world. And people who have been affected by the book, directly or indirectly, must have sent a small wish up there; may his soul rest in peace.
Coming back to the post, when Rajshri Films decided to adapt the book into movie, Ankhiyon Ke Jharokhon Se was born. Keeping the tradition of family entertainers, this movie too matched the innocence and honest depiction of love. Sachin and Ranjeeta in lead roles excelled. And so did Madan Puri in a small cameo as Arun's dad. But the movie truly belonged to Sachin and Ravindra Jain; Sachin for his mature performance and Ravindra Jain for his wonderful music and lyrics.
With the backdrop of a college, the movie starts with a tiff/competition between Arun and Lily. This went on to become a formula for a whole lot of movies, where the guy-gal are up in arms against each other in first half hour and then coyly in love soon after they get to know each other well. Even to this day, movies have this formulaic approach.
Anyways, Arun is an extrovert guy with playful nature, and he is smart and intelligent. He happens to be rich and that also brings in a bit of arrogance. While Lily is a girl from a modest family, and they live with limited resources. When Lily tops the class, it hurts Arun's ego as he was the previous topper and now stands second in class; and this ego leads to the boy-gang ragging Lily with reference to her Christian background and lack of knowledge in Hindi literature.
Arun pushes her into a contest of sorts, in Hindi; that's when Lily matches wits with him in a doha duel where she chants dohas of Kabir and Rahim. The war of words, or should I say dohas is perfectly pitched where Lily makes Arun realise that arrogance is not a good quality and Arun ends the contest by saying that she should accept his friendship in all humility.
But this is just the beginning of the love story. Everything runs smoothly until the couple decide to marry. Arun informs his rich dad about his love interest, which has to now surmount cultural and religious differences. When Madan Puri visits Lily's house, I was scared it would be a repeat of the 'Bobby' scene of Pran embarrassing Premnath by talking of his riches, social status and cultural barriers. But this movie being a Rajshri Films, no such drama happens.
This is one of the most crucial and differentiating turning point in the novel 'Love Story'. While In the novel, Oliver's dad does not approve of the marriage ; Arun's dad is more than happy to go with his son's choice. This juncture also marks the difference between the book and the movie. In the book, Oliver's dad disowns him. Oliver and Jennifer get married and settle down. But their days of hardship have just begun. When they decide to start a family and are unable to, they visit a doc who diagnoses Jennifer's condition.
But in the movie, when all things are running smoothly Lily suddenly takes to bed. She had fallen ill before too, but no one knew the severity of her suffering. She is finally diagnosed of blood cancer and she has very less time left. This concept was later picked up in many a movie, with variations in screenplay. Most memorable being Hrishi da's Mili and Mani Ratnam's Gitanjali. And Erich Segal should be credited with this sensitive love progression in which one of the partners is terminally ill. The true test of love is when we can accept someone for who they are and stay with them despite their inadequacies; take them 'in illness and in health'; and be with them till the end of their lives. The movie epitomises the sacrificial nature of love and shows what selfless love is all about.
Arun's dad is very supportive of him, but Lily does not wish Arun to go through the trauma when she learns of her own illness. This is where the movie was a welcome change from the novel. In the novel, Oliver and Jennifer are strapped for cash and so he requests financial assisstance from his dad for her treatment; he still does not mention to his dad about her illness.
How Arun and Oliver deal with this situation forms rest of the story. How they unselfishly decide to show happy and fulfilling days to their loved-ones, despite knowing their condition and how they cope-up with life is not just romantic but tear-jerkingly sweet.
While the book explores the heartlessness of a person, Oliver's dad; it also shows to what extent a person in love can go, Oliver. Its a beautiful story of love and difficult times that it can make us go through. But its all worth it, if love is all a person seeks. Its better to live a short life filled with love, than a long one without it.
Posted by crazyrals on March 26, 2010 in bollywood, books, literature, movies
Tags: ankhiyon ke jharokhon se, erich segal, gitanjali, k3g, love story, madan puri, mani ratnam, mili, rajshri films, ranjeeta, ravindra jain, sachin
katrina kaif : latest brand ambassador of 'lux'
Posted by crazyrals on March 25, 2010 in bollywood
Tags: katrina kaif, lux
Kieslowski's genius : Tracing back '12B' to 'Sliding doors' to 'Przypadek'
And sorry I could not travel both.
And be one traveller, long I stood
To where it bent in the undergrowth
Its a grave irony that I want to discuss a movie about chance, but I start with a poem which is about choice. The above poem, The Road Not Taken by Robert Frost, is one which all of us face in our everyday life. Choices that are left to us and what considerations we take in making the right decision. The poem is not just about a road, thats just metaphorical for life. At every step we have a difficult decision to make; be it home, be it workplace. And we always leave behind an untreaded path, hoping that someday we would comeby it again. Somehow I believe that even if we get a chance to revisit the path, 99 out of 100 times, we would end up making the same choices that we made the last time around. Because man is a born free but bound everywhere by chains, we are slaves of the situation we are put in.
Kaminey too had this angle where Shahid mutters about how life is made/unmade not by what path we take, but by what we leave behind. That may or may not be true, but that's how life is; always giving us choices.
But, what happens when life does not give us that choice? What happens when destiny takes its own course? When we are left with 'no choice' but to go with whats offered to us. That's the tricky situation that Witek is stuck in Przypadek[Blind Chance]. When God makes the decision, we only have to bear the brunt of it or fightback the situation which was not of our making to begin with. Witek fights the battle, goes against odds and does what best he can do. Does it all turn out good for him? Does he come out unscathed and bitterless? Thats for you to watch.
Then took the other, as just as fair,
And having perhaps the better claim
Because it was grassy and wanted wear,
Though as for that the passing there
Had worn them really about the same.
In 2001, Jeeva directed a movie 12B starring Sham and Jyothika. The movie starts with Shakti preparing to attend a job interview. While Shakti is at the bus stop, waiting for the bus number 12B, destiny has other plans for him. He spots a charming girl, forgets all about the interview and starts pursuing her. Its obvious that he misses the bus. Is this going to be a life altering turn? Well, the director takes us through parallel series of events which shows us how Shakti's life turns out having missed the bus; and having taken the bus and attended the interview.
The guy who attends the interview, gets the job and an affable co-worker who ends up liking him. But Shakti is miffed with life because he could not get close to the girl whom he had spotted in the bus-stop. And the guy who misses the bus arrives late to the interview and finally lands up in a small time job at a garage. But he gets the girl of his dream, she loves him too. Will either of the turn of events change his life? A very interesting premise indeed.
Oh, I marked the first for another day!
Yet knowing how way leads on to way
But it comes undone when we realise that the movie was plagiarized. Just 3 years prior to this movie, came Sliding Doors in 1998. Gwyneth Paltrow's character Helen is caught in a dichotomy. The movie begins with her being fired from a job. And here's where the movie separates into two parallel worlds. One in which she misses the train in the tube station on her way home and other in which is makes it to the train.
Both scenarios have different outcomes and with their own set of complications. In the situation where she misses the train, she calls for a cab and while boarding in her purse gets snatched. She gets injured in her struggle to get back the purse and she finally lands in a hospital. This entire string of events gives her boyfriend enough time to fool around with another woman.
Had she not missed the train, she would have reached home in time and would've caught her boyfriend with his pants down, literally. This is shown in another sequence of events. And this is how the movie unfolds. Drawing parallels between the two lives separated by chance, where voluntary actions find no meaning as the characters are situation-driven. The bitter/sweet experiences of Helen is shown in both scenarios, the laughter and tears, romance and separation.
The movie was nominated in quite a few awards category, but many were unaware of the fact that the concept of the movie has actually been lifted from a Polish movie. In early 80's, Kieslowski made a fantastic movie titled Przypadek.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I,
Kieslowski handled a complex socio-political environment under the times of a totalitarian regime. He had the guts and gumption to fight the system and talk about it through his films. And another masterstroke was the fact that this movie had a 3-way sequence unlike Sliding Doors and 12B which handled just two. The very fact that he placed his hero, Witek, right in the center of a melting-pot situation speaks volumes about his conviction.
The movie actually tells the story of a strict communist regime through Witek. By taking Witek, played superbly by Boguslaw Linda, through three different paths, Kieslowski gives out the message that no one could've escaped brushing against the system. This political message is handled with subtlety where Witek, a medical student who is supposed to be apolitical, still gets embroiled in the affairs of the state and in different capacities.
Witek is made to face the system, first as a political activist who joins the communist party. This happens when he catches the train and meets an old war-horse of the commies. He sympathises with the ruling party and feels that as a youth its his responsibility to join the party and spread the message of communists. His girlfriend isn't happy with this, but he has applied already.
In another scenario, Witek bumps into a beer-drinking guy and is unable to catch his train. He gets into a fight with the police and is sentenced to community service. This drives him against the system and now he joins the anti-Communist party. So, now he faces the brunt while fighting against the system.
In the third and final scenario, Witek misses the train and goes back home with his girlfriend. He is happily married, settled and teaching medicine. He is truly unpolitical until a situation comes up in the college where he is forced to take sides. But does he?
The fantastic part of the movie is the climax. The build-up is superb, and in all three scenarios Kieslowski shows the hand of God in the end. Although the three situations were poles apart, the end is however the same. Whether Witek catches/misses the train, destiny follows him nevertheless. His final outcome, irrespective of the situation he is put in, is the same. What is that outcome? What is does destinty hold for Witek? Do watch the movie to know more.
Kieslowski's genius lies in the fact that he made a movie on the concept of parallel worlds when all of Poland was gripped in the non-republic regime. And his movie speaks of those times, tackling the very issues through a visual medium. His protagonist gets a chance, not a choice though, to revisit the same point from where his life takes a crucial turn; thereby partially fulfilling Robert Frost's words of taking the untreaded path. While other movies like Run Lola Run, Sliding Doors etc have been made on this concept, they fail to deliver a punch. The movies have either become a rom-com or a thriller or candyfloss, none of the writer/director explored the opporunity to go beyond the obvious. This is where Kieslowski's efforts are to be appreciated, for having thought of this concept in 1980's, while the next movie based on this concept came a good decade and a half later, taking wholesome inspiration from Kieslowski.
This post was first published on PFC
Posted by crazyrals on March 23, 2010 in movies, world cinema
Tags: 12b, blind chance, gwyneth paltrow, kaminey, kieslowski, Krzysztof Kieślowski, polish cinema, przypadek, sliding doors, the road not taken
movie reviews : love sex aur dhokha
As was expected, the movie has garnered awesome reviews from everyone. Its a path-breaking movie, so please go watch it. Don't go by the title, as the movie does not have any sex or sleaze and it isn't titillating either. Let me put down some snippets which will make it easier for you to decide on the movie.
From Rajeev Masand's review: Dibakar Banerjee's Love, Sex aur Dhoka is the most riveting Hindi film in recent memory. It's one of those films that grab your attention the momentyou've settled into your seat, and it doesn't let go till the very end. It's provocative, it's unsettling and occasionally disturbing too. But not for one minute in its roughly 108-minute running time does it allow you to so much as tilt your head down to look at your watch or your mobile phone.
You will be shocked, you will be startled, but walking out of the theatre, you know you have just seen what is possibly the most important Hindi film since Satya and Dil Chahta Hai. Not only does it redefine the concept of "realistic cinema", it opens a world of possibilities in terms of how you can shoot films now.
From Anupama Chopra's review: The film, with three inter-connected stories on love, sex and betrayal, is a grim, deeply unsettling and yet compelling portrait of urban India.
But the film is a worthy experiment created by one of Bollywood's most imaginative and original directors.
From Raja Sen's review: And so in an industry where our output is mostly infantile, Dibakar Banerjee has taken that much-nudged envelope, ripped it apart, and mailed out a magnificently tawdry postcard. He's made a film which lets Hindi cinema sit back, take a deep glug of adulthood, and wipe Haywards 5000 foam from its 'stache as it leers at the girl in stockings. Bollywood has just grown up the only way it could, with Love, Sex and Dhokha.
LSD, which features three very differently themed storylines seen through varied handheld, security and spy cameras, is so finely written that it avoids the obvious pitfalls expertly, and makes the treatment — that deliciously voyeuristic treatment — a completely organic part of the storytelling process.
Posted by crazyrals on March 20, 2010 in bollywood, movie review, movies
Tags: dibakar bannerjee, love sex aur dhokha, lsd
Funny Quotes From 'Side Effects' by Woody Allen
# The good people sleep better, while the bad ones seemed to enjoy the waking hours much more.
# The night was windy and dark, and Cloquet had a split second to decide if he would risk his life to save a stranger. Unwilling to make such a momentous decision on an empty stomach, he went to a restaurant and dined.
# It is impossible to travel faster than light, and certainly not desirable, as one's hat keeps blowing off.
# Interestingly, according to modern astronomers, space is finite. This is a very comforting thought – particularly for people who can never remember where they have left things.
# It should be recalled that when we talk of "life" on other planets we are frequently referring to amino acids, which are never very gregarious, even at parties.
# More than any other time in history, mankind faces a crossroads. One path leads to despair and utter hopelessness. The other, to total extinction. Let us pray we have the wisdom to choose correctly.
# True, science has conquered many diseases, broken the genetic code, and even placed human beings on the moon, and yet when a man of eighty is left in a room with two eighteen-year-old cocktail waitresses nothing happens.
# Can the human soul be glimpsed through a microscope? Maybe – but you'd definitely need one of those very good ones with two eyepieces.
# We know that the most advanced computer in the world does not have a brain as sophisticated as that of an ant. True, we could say that of many of our relatives but we only have to put up with them at weddings or special occasions.
# True, science has taught us how to pasteurize cheese. And true, this can be fun in mixed company – but what of the H-bomb? Have you ever seen what happens when one of those things falls off a desk accidentally?
# I often think how comforting life must have been for early man because he believed in a powerful, benevolent Creator who looked after all things. Imagine his disappointment when he saw his wife putting on weight.
# He believed everything in existence occurred by pure chance with the possible exception of his breakfast, which he felt certain was made by his housekeeper.
# Unfortunately our politicians are either incompetent or corrupt. Sometimes both on the same day.
# Figures tell us that there are already more people on earth than we need to move even the heaviest piano.
# I made a list of my faults, but could not get past : 1) Sometimes forgets his hat.
# Suddenly, and with a clarity one usually associates with LSD, my course of action became apparent.
# "In order to be a writer," Maugham continues, "one must take chances and not be afraid to look foolish. I wrote The Razor's Edge while wearing a paper hat…."
# She possesses a speech impediment so audibly juicy that to be near her when she pronounces a word like "sequestered" is equivalent to standing at the center of a monsoon.
# Connie Chasen and I had taken to each other in a way that would not be denied and one brief hour later were thrashing balletically through the percales, executing with total emotional commitment the absurd choreography of human passion.
# How does anyone ever stay married for forty years? This, it seems, is more of a miracle than the parting of the Red Sea, though my father, in his naiveté, holds the latter to be a greater achievement.
Posted by crazyrals on March 19, 2010 in books, literature, quotes
Tags: side effects, woody allen
shamita shetty … looking pretty in pink
Tags: shamita shetty
aamir khan aur remakes ki daastaan – part 1 of 2
Today, 14th March, is Aamir Khan's birthday. I wish him a very Happy Birthday.
I have wanted to write this article from a long time, to be precise after the release of Mann. Eventually, after the release and the super-success of Ghajini I have got down to writing it. There is something with Aamir and movie remakes, he has consistently been a part of movies which are remakes. Its definitely not his fault that he has featured in them, its the writer-director who were looking for a quick and readymade storylines and of course the producer for easy money. And let me also say that he is not the only star to feature in remakes, as we all know, but the quality of the remakes is what differentiates him from the rest. Why I have analysed him is because, out of the 40 odd movies that he has made, nearly 10 of them have been remakes which is like 25%. Let me go ahead and write down about these movies in a chronological manner of their release wrt Aamir's filmography.
1. It Happened One Night – 1934 : Clark Gable played the male lead Peter, he even went on to win the Oscar for the Best Actor. It was a
heart-warming movie with a smiple storyline. A small time reporter Peter is looking for a big story and he meets a high-browed lady Ellie
[Claudette Colbert] who has escaped from the clutches of her dad and is on the run to meet her beau. How they both make the journey from
Florida to NY, the small squabbles that they have and how they eventually fall in love with each other is what the movie is about.The
movie went on to win 5 Oscars; apart from Clark Gable, Claudette won the Best Actress, Frank Capra won the Best Director, it was awarded
the Best Movie and Best Writing/Adaptation.
The formula was a sure-shot success, and so in 1956 a movie named 'Chori Chori' starring Raj Kapoor and Nargis was released. Raj Kapoor
played the struggling reporter named Sagar while Nargis was Kammo. The highlight of this movie was the songs and especially the puppet-act of
Raj and Nargis. The movie had some brilliant compositions from Shankar-Jaikishan like 'Panchhi Banoo Udti Phiroon', 'Aaja Sanam Madhur Chandni Mei Hum', 'Jahan Mai Jaati Hoon Wahin Chale Aate Ho' and 'Rasik Balma'. SJ won the Filmfare for Best Music Director.
If you watch Mehmood's Bombay To Goa, you can see the same theme where Aruna Irani is trying to escape to meet her lover Shatrughan Sinha and is guided all the way by Amitabh Bachchan. But it was dished out in a different way, they changed the screenplay totally and added the
comedy angle to it. This occured to me just now, wonder why I did not think of it earlier.
Anyways, the person who did not deviate from the original screenplay was the Robin Bhat-Mahesh Bhat duo. They stayed faithful to IHON and
in 1991 came Dil Hai Ki Manta Nahin starring Aamir Khan as Raghu Jaitley and Pooja Bhatt as Pooja. Aamir exuded the same kind of charm
as Clark Gable. In fact, he went a few notches up in the emotional sequences where he could neither stop Pooja from meeting her lover nor
could he tell her that he has fallen for her. Aamir played the role with gusto beginning with the telephone-booth sequence, then the
request-for-lift scene and ending it with the elopement. The entire journey was fantastic, but the magical moment has to be the one where
he starts humming 'Hum Hain Rahi Pyar Ke' with a cigarette between his lips and Pooja in his arms. Only after this does he realise that he
has started liking Pooja. The movie received 4 Filmfare nominations, for Best Actor, Best Director, Best Comedian [Anupam Kher playing
Pooja's father] and Best Female Singer. Anuradha Paudwal took home the award for the title track, while the rest just remained nominated.
2. Breaking Away – 1979 : This was a really nice movie about a good-for-nothing dude Dave Stoller [Dennis Christopher] who has no aim
or ambition and leads a non-chalant life. His parents keep reminding him about his responsibilities but he just loves spending time with
his friends and riding the bicycle. He has a chance meeting with a beautiful girl Katherine [Robyn Douglass] and to make friends with her he fakes his identity to be a guitar playing Italian exchange student. While he is dating Katherine an entourage of Italian bikers happen to come to his town for a Little500 race. He loves watching them pratcise and shows his talent with the bicycle. He hopes to get close to them by showing that he can keep up to their pace, but he beats them in a friendly dash; but instead of lauding his effort they just push him into a ditch. That really breaks Dave's herat and he loses all respect for the Italian cyclists. He decides to take part in the Little500 race wearing the 'Cutters' jersey; referring to the lesser privileged people who are not able to complete their education but take pride in hardwork. He ofcourse goes on to win the race and create history. The movie won the Oscar for Best Writing, Screenplay; but it lost in the 4 other categories Best Director, Best Picture, Best Actress and Best Music.
In 1992, Mansoor Khan took a lot of inspiration from this movie and made Jo Jeeta Wohi Sikandar. I have used the word 'inspiration' because the movie was not a scene-to-scene remake. Lots of new things were introduced, but the plot, storyline and the spirit of the original was kept intact. Mansoor wrote a brilliant screenplay and dialogues by Nasir Hussain were really good, they breathed a life into the Sanjaylal character played by Aamir Khan. They retained the sub-plot of Aamir faking his identity and calling himself a Xavier student so he can go around with Devika[Pooja Bedi] and ultimately she gets to know the truth. The friendship of Sanjaylal and Anjali[Ayesha Jhulka] was handled with maturity and utmost honesty. Mansoor Khan introduced an emotional quotient attaching a prestige to the Annual Cycle Race and added the nostalgia of Sanjaylal's dad[Kulbhushan Kharbanda] having won the race once upon a time. And the burden of bringing home the cup rested on Ratanlal [Mamik], Sanjay's elder brother. But when Ratanlal is severely injured from an accident inflicted upon by the Rajput College boys, Sanjaylal takes it upon himself to bring home the coveted honor and take revenge against the Rajput College boys. The movie won the Filmfare for Best Film. Aamir was excellent in the movie, to say the least.
3. Houseboat – 1958 : This movie starred Carry Grant as Tom Winters, who works in the state department of Washington and Sophia Loren as
Cinzia who is the daughter of an Italian conductor. The movie is about Tom whose estranged wife dies in a car crash and he decides to raise the 3 kids, but the kids despise him. In his effort to befriend the kids he takes them to a concert, but the youngest kids get bored and goes out to have some fresh air and play his harmonica. The kid runs into Cinzia who has runaway from home after a small squabble with her dad. Cinzia is able to strike a chord with the kids and since she has nowhere to go, she accepts Tom's offer of being their housemaid/nanny. After some wandering around and having seen their travelling house [home on wheels] getting destroyed due to a speeding train; they finally move into a houseboat. Tom's sister-in-law who has a crush on him tries to woo, but slowly and surely Tom finds himself falling for Cinzia. How they get married and how the kids finally accept their dad and new mom is what the rest of the movie is about.
In 1993 a movie titled after a popular Dev Anand song released, the movie was Hum Hain Rahi Pyar Ke. It was again the combination of Robin Bhat-Mahesh Bhat who systematically copied the movie scene-by-scene. The only thing that they changed was that, the kids were Aamir Khan's nephews and nieces and not his own. And Aamir becomes the caretaker of the kids after the sad demise of his sister and brother-in-law in a car crash. They also introduced the character Mishraji [Mushtaq Khan] who had returned from Japan after getting trained in assembly-line production; and they made use of this by adding the twist of having to deliver the bulk order of 1 lakh shirts. Apart from this, rest of the movie remained faithful to the original. It was so faithful that the Cinzia character's Italian dialogues were translated to suit Juhi Chawla's tamil character Vyjayanthi. The concert, mouth-organ playing kid, taking the kids to visit the museum, Vyjayanthi's advise of treating the kids with maturity were all the same as in the original. All the kids did a great job, especially Kunal Khemu who went onto become an actor. Aamir was also the Assisstant Director of this movie, in fact this was the phase when Mahesh Bhat was considered to be the most busy director, so busy that he was supposedly giving instructions over the phone; that was the reason for Aamir to step-in as Assisstant Director. This did not stop the movie from winning the Filmfare for Best Actress, Best Film and Best Lyricist[Sameer].
4. Kramer Vs Kramer – 1979 : It was a movie about a marriage gone wrong and a divorce case ending up in a courtroom. Dustin Hoffman as
Ted Kramer, a workaholic from advertising industry marries Joanna Kramer, played by Merly Streep. One day when he returns home after being given a big assignment with a new client, he finds his wife walking away. She wishes to walk-out on him, leaving behind her son Billy. Now, its upto Ted to look after Billy. He does so with some help from Margaret, his neighbour. One day, as they sit around the park while the kid is playing, Billy has a minor accident and is bleeding profusely. Ted makes a mad rush to a hospital amidst the traffic and speeding cars. A year and half later, Joanna returns to seek custody of Billy and this is where a bitter court battle ensues. There is a lot of bad blood and lot of vicious remarks being made about Ted's carelessness in taking care of the baby. Finally, Joanna being a mom, wins the battle on emotional grounds and Ted is left alone. The movie won 5 Oscars, Best Actor, Best Actress, Best Director, Best Picture and Best Writing, Screenplay.
Mansoor Khan could not resist this movie as well. In 1995 he remade this movie and titled it 'Akele Hum Akele Tum'. He just changed the fields of interest, i.e., Aamir Khan as Rohit is a promising singer who sings for a club and awaiting his opportunity to sing in a movie. His love interest Kiran, played by Manisha Koirala, is learning classical music. She is a fan of Rohit and she makes it to one of his New Year shows where they meet and falling in love seems inevitable. Soon after the breezy romance they get married and realise that life is not easy. Kiran is ambitious and she is not willing to sacrifice her singing so she walks out on him, leaving Rohit with his son Sunil, played by Aadil. How Rohit and Sunil manage together and how Kiran comes back into their lives to reclaim Sunil forms rest of the courtroom drama. Aamir gave a very well restrained performance but the same cannot be said of Manisha. The movie had some good songs but was marred by plagiarism where Anu Malik lifted the famous Last Christmas song of George Michael. Also, there was a rubbish spoofing of Nadeem-Shravan duo; Shafi Inamdar and Harish Patel played the crook music directors Amar-Kaushal, who are after Rohit's composition. I am not sure whose idea it was, TIPS guys or Anu Malik but it was in bad taste. Anyways, the movie bombed at the box-office. Only Aamir and Adil's performance added some value to the otherwise dull movie.
5. Godfather – 1972 : How does one even start-off talking about a movie like 'Godfather'. I shall not go into the plot and drama because its totally unnecssary. And I will not be able to say anything that has not already been said.
In 1975 Feroz Khan paid tribute to Godfather with his version named Dharmatma. But he twisted the plot towards the second half, where instead of allying with his father and their forces Feroz plays against them. Feroz Khan repeated the same concept in Jaanbaaz and Yalgaar without much success. In 1992 a movie named Zulm Ki Hukumat was released. The movie starred Dharamendra as Pitamber Kohli and Govinda played Pratap Kohli aka Michael of Godfather. This was one of the first proper remakes of Godfather. The movie fared pretty well and I liked Govinda's perfromance.
Even after all this, we still had Aamir in line to pay tribute to Godfather. So, he acted his part in Atank Hi Atank which released in 1995. He played the role of Michael, which Al Pacino had played. In fact, it was quite fascinating to see Aamir with a moustache and his wet-hair all combed back, he looked like he meant business. This movie had Rajnikanth playing Sonny, I think the only time that Aamir and Rajni have ever worked together. But none of this could save the movie at the box-office.
Click here for part 2 of 2
Posted by crazyrals on March 14, 2010 in bollywood, hollywood, movies
Tags: aamir khan, akele hum akele tum, amitabh bachchan, anupam kher, atank hi atank, ayesha jhulka, bombay to goa, breaking away, carry grant, chori chori, clark gable, claudette colbert, cutters, dharmatma, dhkmn, dil hai ki manta nahi, dustin hoffman, feroz khan, frank capra, ghajini, godfather, houseboat, hum hain rahi pyar ke, it happened one night, jaanbaaz, jjws, jo jeeta wohi sikandar, juhi chawla, kramer vs kramer, kunal khemu, mahesh bhat, manisha koirala, mann, mansoor khan, meryl streep, nargis, Oscar, pooja bhat, raj kapoor, rajnikant, robin bhat, shankar jaikishan, sophia loren, yalgaar, zulm ki hukumat
RT @john_is_da_man: @RShivshankar Hey dude the army is ready to take over POK since Gujurat election time and only waiting for the gov appr… ==> 2 hours ago
RT @UrbanShrink: @RShivshankar Shivshankar just so you know Nehru is not alive, so you will have to dig his grave to get a response. But ma… ==> 2 hours ago
RT @Ingrid_Bergman1: Add to this godi media & the circuit is complete fr Adani. https://t.co/YJRlkSdexW ==> 4 hours ago


This page is under Development. Once we locate minutes of 2014 and prior Annual Meetings we will post them here. The Spring Voter Newsletter contains the agenda and background information sent to members prior to each Annual Meeting.


Are you in food service, retail, buying direct or seeking export?
Definition: award winning caramelised preparation of garlic using controlled temperature and humidity to produce tarry black cloves with umami flavours of sweet molasses. There are no additives, extra ingredients or preservatives, just pure garlic. Guaranteed NO garlic breath!
Synonyms: nothing quite matches it!
Usage: You can roll your roast in black garlic powder or slice a black garlic clove across your omelette to release the luscious flavour. Cloves won gold medals at the 2017 Sydney Fine Food Awards and the 2016 Australian Food Awards and a silver medal at the 2015 Sydney Fine Food Awards. More here.
"As executive chef for the International Convention Centre (ICC) Sydney, one of Australia's largest urban-based venues, you may think that I have little to do with regional communities. However, we have pioneered the development of a local supply chain by connecting directly with more than 87 farmers and local producers plus a directory of local winemakers. We aim to nourish not only our delegates, visitors and team members, but also the state economy."
"Growing up my mother did not use much garlic in her cooking so I had no idea how terribly allergic I was until I was at my future mother in law's home for the first time. Being European everything was laced with garlic. I was consuming the lot not wanting to appear rude. That night I was violently ill, this condition lasted for two days. So sadly garlic was out of the question.
You can imagine my husband's delight, being Austrian, to meet Jenny and Cathy at the Caravan Show in Sydney where we were introduced to Garlicious® Grown Australian Black Garlic.
Still I wasn't convinced and didn't want to chance being ill again. We however did buy some product for Andy to try.
Result …the food was wonderful and I had no reaction at all!


Norfolk robbery crime statistics in maps and graphs.
Annual crime rate in Norfolk county is 0.6, i.e. 0.6 crimes committed per annum per 1000 workday people. Compared to the national crime rate, Norfolk's crime rate is at 40%. Robbery crime makes up 0.7% of all crimes committed in the county. The total number of "robbery crime" is 477, and this number has increased by 24.5% when compared year-over-year in the period of March 2018 - February 2019.
Robbery crime rate is 0.6 crimes committed per 1,000 working people per annum. It's the 26. lowest crime rate out of 55 England and Wales' counties.
The total number of "robbery crime" is 477, and this number has increased by 24.5% when compared year-over-year in the period of March 2018 - February 2019. In the graph below, county are compared by crime rate and crime rate percentage change. Crime rate percentage change compares the county crime rate between March 2018 - February 2019 to the county crime rate in the previous 12 months. The size of the circle reflects the number of total crimes committed. The bigger the circle, the higher the number of crimes committed in the county.


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Artists›
Guitarists›
Ty Segall: Shut Up 'n' Play Yer … Koto?
When he plays guitar onstage these days, Segall's instrument of choice is the black Travis Bean TB1000S shown here.
Photo by Tim Bugbee/Tinnitus Photography
The garage/psych-rocker swaps his 6-strings for Japanese koto, Greek bouzouki, and other exotic instruments on the riff-heavy new album, First Taste.
Let's refrain from "burying the lead," so to speak, and begin instead with an uncanny revelation: There are no guitars on noted garage/psych-rocker Ty Segall's new album. None. And it's not a move he made by design—at least, not exactly. As Segall himself explains, the idea emerged from what he experienced as a mild crisis of creative necessity.
"I noticed that I was falling into patterns with my guitar playing," he says candidly. "I think that happens if you become too familiar and comfortable with an instrument. For me, it just felt like I was using similar voicings and chords all the time, so I thought I needed to play instruments I didn't know how to play, you know? Those are the instruments I literally learned how to play for the album, and I wrote songs on them for the first time."
Given his inexhaustible penchant for sonic experimentation, it all fits the profile for Segall, who over the past decade has churned out a rapidly expanding galaxy of genre-busting rock, ranging from the raw, throwback garage punk of his 2008 self-titled debut to the mind-bending sophistication of 2014's Manipulator, a deep study in psychedelic freestyling inspired by the likes of Jimi Hendrix's Electric Ladyland. But even a passing familiarity with Segall's recorded output reveals that not only has the electric guitar been a prime vehicle for his musical expression, it's actually the focal point of what makes him so compelling as an artist. So how did he pull off a complete switching of gears to make the album he chose so cheekily to call First Taste?
The answer lies in his selection of instruments, which includes a flute-like Japanese recorder, an electric Omnichord, a mandolin, and, most importantly, a Greek 8-string bouzouki (bought at a music store in Van Nuys, California, not far from Segall's new home in Topanga Canyon) and a 5-string electric koto (acquired while on tour in Japan). And while the bouzouki and koto might be, at best, distant cousins to the guitar, Segall still had to learn his way around them from scratch. Even so, when he told the members of his Freedom Band last summer that he wanted to track an axe-less album, they couldn't wait to get started.
"We wanted to really try to make this record sound differently than my other records," Segall says, also referring to coproducer Matt Littlejohn, who has worked with the band for years as its go-to sound engineer. "It was fun because it yields different song structures, chords, and changes. You're kind of writing blindly, and then you're mixing differently, too. Matt's ears are so great—he was a key part of all that."
"Taste," the album's marauding first single, encapsulates the approach. Over a hard-swinging beat that features Segall on drums in the left channel and longtime skin-basher Charles Moothart on the right, bassist Emmett Kelly lays down what amounts to a blown-out guitar lick to carry the rhythm. The song is a cacophony of percussion, with Segall shouting, almost sneering, the line, "Our salivating makes it all taste worse." But what really jumps out are the sitar-like stabs of the koto, routed through distortion and an array of unmistakably prismatic, perception-altering effects. It's an in-your-face introduction that retains all the sass, flair, and freaked-up genius of a Ty Segall production—just without the familiar crunch of an overdriven Gibson Les Paul Standard or Travis Bean TB1000S (the latter being his current go-to guitar on tour).
"The koto is really the star of the record," Segall asserts. "I'm just so stoked on the sound. When I was exploring different instruments, it was hard to find something that could replicate the harshness, or the gnarliness, or the wild style of a guitar, and the koto was the thing where I was like, 'Ah, here it is! This is the thing I can play that can replace the crazy electric guitar sound.' I mean, not fully, but it exists in that realm."
"I noticed that I was falling into patterns with my guitar playing. I think that happens if you become too familiar and comfortable with an instrument."
Segall ventures well beyond the boundaries of the realm on First Taste. "The Arms," one of the album's quieter numbers, adapts and transmutes a sound akin to early '70s Kinks, with the bouzouki (and what sounds like mandolin) front-and-center in the mix. By contrast, "Radio" bounces along over an insistent tom-tom beat, with a clean, effect-less koto buzzing in the background like a cicada on a hot summer day. Longtime bandmate Mikal Cronin bites Albert Ayler-like into the saxophone on "Whatever," a dark and funky groover that lopes along on the back of Kelly's stripped-down, distorted bass line, with Segall ripping a solo on the ever-present bouzouki. And then there's "The Fall," a tripped-out and frenetic anthem that features a harmonized koto surging and swirling insistently throughout. Overall, it's a weird and wondrous new direction for Segall—and it's pretty clear that he's not done pursuing it.
"We're playing all the instruments live, for sure," he says, relishing the challenge of playing First Taste on the road. "I think it's the best point in time right now, where I'm not fully fluent in these instruments, because I feel like if I get too familiar with them, it'll be less interesting. So I'm hoping I can squeeze out a few more songs before I fall into a routine with them. But now they'll always be in the studio to use on stuff in the future."
Were there any ideas you developed while making last year's Freedom's Goblin that bled into First Taste?
I feel like every record will inform the next one, and it's almost like a reaction to the previous record, in a new way. So I guess when I started working on new songs for this one, I just wanted to find different sounds, and then that turned into doing different things without the guitar—buying weird instruments and stuff.
TIDBIT: First Taste continues Segall's long-running working relationship with producer and engineer Matt Littlejohn, whom Segall basically considers part of the band.
And then the idea just became, "Well, what if there's no guitar at all? What if I just really try to find different instruments that can replace that sound?" So that became the idea. It wasn't the idea at first, and I had definitely written songs without that in mind, but that's what it ended up being. Freedom's Goblin is super guitar-based, and I think that's where it might have started. I wanted to change that whole approach.
Were you listening to Middle Eastern or East Asian styles of music at the time?
I'm always into trying to find new records. It's like the endless search to find stuff to listen to. So it was a combination of that, and actually getting back into writing on the drums, specifically with non-rock rhythms like funk, and African and Middle Eastern rhythms.With the stringed instruments, it was just about trying to get out of my comfort zone. When I bought the bouzouki, I had no idea how to tune it, but luckily it sounded in tune, and then I googled it to make sure it was correct. But the koto is really interesting, because it's got five strings, with a drone, so there's basically a low E, like a guitar string, and then the other strings are all high E, or even B strings. So there's a lot of weird variations that you can do. You can tune it so it almost works like an autoharp, where you press a button and a clasp locks down on the frets. It's at least two, if not three, octaves, so it goes really high, and you can't really form your own chords. It's just barring them, so it's weird because you can tune it all to one note, to a major chord or a minor chord, or to a seventh, or whatever you want. For this album, I mostly stuck with tuning the strings all to one note, and it became this weird, blurry, droney thing. I guess, to my ear, it sounds like a sitar.
How did you go about recording these instruments?
Well, with the bouzouki, we recorded it like an acoustic guitar. We had either two condenser mics, or a condenser mic and a ribbon mic, going through a compressor—like the classic acoustic guitar style. But the koto we recorded like I would record my electric guitar: either through my regular setup [a Fender Quad Reverb] or with a DI, which I like doing a lot just because it sucks the air out and has that fingers-on-your-face kind of a sound. And actually, the bouzouki has a pickup in it. I think it's a contact mic, so it sounds pretty awful, but if you blow it out and fuck it up, it sounds cool. The koto has a guitar pickup in it, too. I think someone hot-rodded that thing [laughs].
It sounds like you're running them through effects, too. What might you have used on the koto, especially on "I Worship the Dog?"
I've got a fuzz pedal I like to use called the Octave Clang. It's got a bit of a curve to the sound—like, it creeps. I mainly use that and the Fuzz War, both Death By Audio pedals. All over the record, though, is an Eventide H949 Harmonizer. That's the main effect. Usually, on all my other records, I'm using a [Roland] Space Echo or a tape echo, but I've become completely infatuated with the Eventide. It's the effect that Bowie used on [1977's] Low—just a crazy '80s[-ish] effect, but you can do really fucked-up, weird shit on it. All the weird, echo-y, spaced-out stuff is coming from that.
Is it true that you recorded most of the album at Panoramic House [an artist's retreat in California's Mount Tamalpais State Park]?
We ended up recording about half of it there. I did a little bit of what I did with Freedom's Goblin, which I really enjoyed doing, which is basically to book time with at least two studios, and then try to do multiple versions of songs, and then whichever version is the best one wins. It's not very fun for me to have a version of a song and feel like, "Oh, that's the only recording we have, so it has to go on there." Basically we recorded the whole record at my home studio first, and then we went up and did all these versions at Panoramic House.
"The guitar just sucks up all the midrange of a recording. It's this bright, trebly and midrangey thing, so without that, there's a lot more space."
And yeah, that place is the best. I mean, when you wake up, it's a 20-minute walk down to Stinson Beach. You make some coffee, watch the seals swim around, and then go up and record some music. Then you can go on a hike on Mount Tamalpais, you know? And the live room has these massive windows that overlook the beach, so while you're tracking you're just looking at waves. It's pretty amazing.
It's easy to imagine a place like that while listening to "Radio," which has a really uplifting, transcendent feel.
I really like that one, and what's weird about it is that the koto on every other song is completely fucked-up and blown out through a fuzz pedal, or triple-tracked in a psycho way, but "Radio" is actually what the clean koto sounds like. That was also the only song I started writing that was based on another idea. I took an element from another song I had written that never went anywhere, and then I did a version, with all synths, before I got the koto. What was really bizarre was when I got the koto, the scale was the same as the song I'd recorded. So it was perfect, in this weird, beautiful way.
In "Lone Cowboys," it sounds like you're playing the mandolin.
That's mostly the bouzouki. There is some mandolin overdubbed, like the lead part has some in it, but that was the first song I wrote on the bouzouki, and in a way it was the song that made me feel like I could actually do the record. After a while it was like, "Okay, I've figured out how to play this thing, and it sounds different." I'd never written a song quite like this, but in a weird way it was more melodic than one of my guitar songs, you know? I wasn't necessarily trying to be as melodic as that, but at the end, when I was finished with it, I really liked the song a lot. It's just about fucked-up people, basically, which a lot of my songs are [laughs].
Electric koto
Greek bouzouki
Luna electric bouzouki (live)
Suzuki Omnichord
Vintage Ibanez and Fender basses
1972 Fender Quad Reverb
Vintage Traynor solid-state bass amp
Death By Audio Fuzz War
Death By Audio Octave Clang
Death By Audio Apocalypse
Eventide H949 Harmonizer
Highland Dynamics BG2 compressor
Can you talk a little about the connection you and Matt Littlejohn have in the studio?
Matt has been our soundman for a long time now, so he knows the band better than anybody. If I were to say there's anybody besides the people in the band that I would trust, it would be him or Sam [Antoine "Sam" Ramadour, soundman for the band's European dates], because he's basically in the band.
So we had just been talking a lot about the vibe we wanted to cultivate. I've done a lot of recordings from the top down myself, and that yields interesting results. But when you work with someone else whose job is not only to check the tapes and your performances, but also to tell you, "You know, I think we can do that better," or "What about this?"—that's a very important role. I have a lot of fun just throwing stuff up against the wall, but occasionally I need someone to be like, "Maybe we should try that again." Matt is really great at doing that.
So you must have talked about how you were going to mix the album. This one seems like it had to be planned a little differently from your usual guitar-based sessions.
Oh yeah. It's almost like the bass is the guitar now. Instead of this low, groovy thing, for a lot of the songs we made it brighter and fuzzed-out, to hit some of those frequencies. I mean, "Taste" is a good example, because that line is mixed like it's a guitar, but obviously there's low end on it. It's the bass playing a guitar lick, essentially. "I Worship the Dog" is another one—it's more like a bright guitar line than a bass line. In general, I kind of like that style of mixing anyway, where the bass is more in the bright midrange, and the guitars are around it, in the same frequency realm. On the guitar recordings, there's the low end and the treble, which are more of the focus points. For me, the midrange on the bass is how I like to mix those instruments. It's kind of counter-intuitive, but it's just the way I've figured it out so it fits better.And that was another weird thing about mixing with the koto. I'm so used to mixing with loud electric guitar that we had to do this one differently. The guitar just sucks up all the midrange of a recording. It's this bright, trebly, and midrangey thing, so without that, there's a lot more space. You can cut the vocals a little more … there's a lot of cool things you can do that I wasn't used to experimenting with.
Did you intend First Taste to be interpreted as a bit of a rebirth—not just with your approach to music, but also in the face of all the adversity in the world?
Yeah, that's a good way to look at it. I mean, I think the rebirth vibe would be appropriate just in the sense of trying something new. But lyrically, the song "Taste" is pretty self-reflective, too—a bit more than just pointing fingers, you know? I mean, if I were to be critical about the world, I have to throw myself into that criticism. So definitely "Taste" is a harsh song about how fucked-up the world is, but I'm part of that as well.
The tailout section of "Whatever" is a little reminiscent of the end of Jimi Hendrix's "If 6 Was 9," with all those shrieking recorder sounds. Were you paying tribute there?
Uh, not intentionally, but that's fucking cool, for sure. I mean, I know exactly what you're talking about. But I was just excited by the idea of "What's the most obnoxious thing I could do?" Oh, it's that? Cool!
Ty Segall grabs his Luna electric bouzouki and leads his band through one of the new tracks from their latest LP, First Taste, at KCRW radio station in Santa Monica, California.
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Ty Segall ›
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Board-certified podiatrist Lindsay Mae Chandler, DPM, of Foot & Ankle Concepts Inc., is an experienced sports medicine and trauma care specialist. Dr. Chandler treats patients in the Santa Barbara and Ventura, California, office locations.
During her undergraduate studies at Butler University in Indianapolis, Dr. Chandler double-majored in chemistry and dance. After completing her program, she went on to earn her doctorate of podiatric medicine degree from the Dr. William M. Scholl College of Podiatric Medicine at Rosalind Franklin University of Medicine and Science in North Chicago, Illinois.
Dr. Chandler then went through both her internship and residency training at the University of Florida Health Shands Hospital in Jacksonville. She served as chief resident during her final year of residency.
Afterward, Dr. Chandler completed a comprehensive reconstructive foot and ankle surgical fellowship at the University Foot and Ankle Institute in Los Angeles. This highly competitive program is one of the few fellowships recognized by the American College of Foot and Ankle Surgeons.
Dr. Chandler is currently board certified through the American Board of Podiatric Medicine. She also holds professional affiliations with the American College of Foot and Ankle Surgeons, the California Podiatric Medical Association, and the International Association for Dance Medicine & Science, among others.
While Dr. Chandler is a go-to practitioner for sports and dance medicine, she also has special interests in foot and ankle reconstructive surgery and arthritis prevention, as well as trauma care that stems from an active personal life. As a formally trained classical ballerina, Dr. Chandler continues to stay active in ballet. She also enjoys yoga, running, and bicycling.


800 grams?…how much is that…what does that look like???? We've got you covered with a little photo gallery.
This is what I used in my breakfast for the week. Each bag is 454 grams (x2 = 908 grams) I split that over the course of 7 days giving me just under 130 grams each morning.
The first are 2 different sweet potatoes with a big difference in weight.
This little one was just 208 grams…that is a big variation for the same food.
And with out the core….that 34 grams your not actually eating.
These are some guidelines you can use if you don't have a way to measure your foods. Veggies that are a bit more dense Sweet Potatoes, Squash, etc are going to be heavier. Leafy greens are going to weigh next to nothing but they should still be apart of your intake.
There will be some more information hanging at the gym and stay tuned for our next blog/email with some helpful recipes.


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Q: How to show that any Legendre polynomial, over $[-1,1]$, is bounded by one in absolute value? I'm trying to show that the Legendre polynomials are bounded by 1 using:
$$P_n(x) = \frac{1}{\pi} \int_{0}^{\pi} \big[x + i\sqrt{1+x^2}\cos(\theta)\big]^n d\theta$$
i.e.
$$|P_n(x)| \leq 1$$
using
$$\left|\int f(z)\,dz\right | \leq \int|f(z)|\,dz$$
What I've got so far:
I've taken the absolute value of the polynomial to get:
$$|P_n(x)| \leq \frac{1}{\pi} \int_{0}^{\pi} [x^2 + (1+x^2)\cos^2(\theta)]^{n/2} d\theta$$
I've scaled $\cos(\theta)$ by $\sqrt{\frac{(x^2-1)}{x}}$ which gives me:
$$|P_n(x)| \leq \frac{1}{\pi} \sqrt{\frac{x}{x^2-1}}x^n \int_{a}^{b}\sin^n(\theta)d\theta$$
where $a/b = \cos^{-1}(\pm \sqrt{\frac{x^2-1}{x}})$
This gives me a recursion formula which isn't pretty once you've put in the limits.
Can anyone see a better way, or see where I've gone wrong?

A: Ok, thanks to @Jack D'Aurizio for the source, here's my answer.
Once you've applied the absolute value of $P_n(x)$ on both sides of the integral equation and taken that inside the integral sign and got the inequality, consider the integrand:
$$|x^2 + (1-x^2)\cos^2(\theta)|^{n/2}$$
$$-1 \leq x \leq 1$$
If $y = x^2 + (1-x^2)\cos^2(\theta) = x^2(1-\cos^2(\theta)) + \cos^2(\theta)$, then the minimum value of $y$ is $\cos^2(\theta) = 0$ as it is a quadratic centered on $x = 0$.   The maximum values of $y$ always occur when $x = \pm 1$ (as it is a quadratic) and this will always be with a value of $y = 1$ as the $\cos^2(\theta)$ terms cancel.
So $0 \leq |y|\leq 1$ therefore  $0 \leq |y|^{n/2} \leq 1$ so the integral between $0$ and $\pi$ can be at most $\pi$ (assuming a value of $|y|^{n/2} = 1$) and so $|P_{n}(x)| \leq 1$ .

redpajama_set_name: RedPajamaStackExchange


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Adenoids
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NHS at 70
Research, Uncategorised, UncategorizedBy systemmaster August 8, 2018 Leave a comment
No. It's true that the NHS is well-regarded when it comes to affordability and access for all. One US think tank, the Commonwealth Fund, which publishes a survey comparing 11 rich-country health systems every three years, rates the NHS top on those criteria – as well as strong on safety and reasonably efficient. The trouble…
Medical Advancements Since the Start of the NHS
ResearchBy systemmaster August 7, 2018
Here are some of the drugs and other scientific advances that have changed the face of medicine and saved millions of lives in the process during the lifetime of the health service.
– Antibiotics
Penicillin was discovered by Scottish scientist Alexander Fleming in 1928 and further antibiotic discoveries were made in the 1940s.
But the medical application and further development of antibiotics really took off in the 1960s, resulting in dramatic declines in death rates and serious ill-health arising from infection.
Heart & Cancer Kills More People in Developing Countries
Diseases such as cancer, heart disease and stroke are deadlier in the developing world than in rich nations. This is the finding of a new analysis from researchers at Imperial College London. The paper, published in the journal Nature, revealed that death rates in low and middle income tropical countries from so-called non-communicable diseases (NCDs), are higher…
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Tags:Bradley Bredeweg, Cierra Ramirez, Freeform, Jennifer Lopez, Joanna Johnson, Maia Mitchell, Peter Paige, Sherri Saum, Teri Polo, the fosters
Screenshot via YouTube
Freeform is ending "The Fosters" after a five-season run, according to the Hollywood Reporter.
The family drama will wrap up with a three-episode limited series airing in the summer. "The Fosters" also celebrates its 100th episode during the 10-episode, second half of its fifth season.
However, this isn't the end of "The Fosters" universe. Freeform has ordered an untitled, 13-episode spin-off series which will follow Callie (Maia Mitchell) and Marianna (Cierra Ramirez) embarking on their post-high school lives.
"First and foremost, we want to thank our fans — our supportive 'Fosters Family' — and Freeform for fostering this show," executive producers Joanna Johnson, Bradley Bredeweg and Peter Paige released in a statement. "It's been the privilege of our lives to get to shepherd this beautiful family through five seasons of love, laughter, heartbreak, tribulation, and triumph — and message to the world that DNA doesn't make a family, love does. All while allowing us to explore some of the most pressing social issues of our era. Now that the kids are growing up, it's time to take them out into the world, to see them make their way into adulthood, continuing their search for identity and love, and the pursuit of their dreams and purpose in this ever-changing world."
"The Fosters" followed the lives of moms Stef (Teri Polo) and Lena (Sherri Saum) as they navigate raising their blended family of adopted and biological children. Jennifer Lopez executive produced the groundbreaking series along with Johnson, Paige and Bredeweg.
The second half of "The Fosters" final season premieres on Jan. 9 at 8 p.m. on Freeform.
No LGBTQ role or film winners at 75th Golden Globes, despite multiple nominations
Officials: Shooter's widow knew he would do 'something bad'
Actor T.J. Miller reportedly sent transphobic email to trans movie critic
RuPaul covers Entertainment Weekly Pride issue
Transparent' star says transgender Maura would envy Caitlyn


Today I've managed to work my way trough 12 stands of Nurglings, I've got a fondness for these little blighters and are one of the main reasons I've started a Nurgle army in the first place.
They contain no less than 5 different brands: Games Workshop, Kallistra, Black Cat, Heresy Miniatures and Tales of War.
Somehow they fit together just nicely.
I had quite some fun mixing them and then lining them up for a factoryline styled paintjob, painting some green, some brown and some pale on each base so the whole ragtag look was kept fitting with the rest of the army.
Some bases have a lot of models, some not wich is just fine as it helps to give it all a 'swarmy' feel to the unit.
Also, this means that my entire Nurgle Army is ready and painted for the FUN tournament on the 12th of februari.
I can hardly believe it, I DID IT!!!!
I've painted up some markers for remain in play spells and I've got an objective marker to finish wich will be shown later this week but apart from that I'm ready to go, may the Chaos Gods give me good dice throws and solid victories!!
Nice job buddy, those mean little critters look very good!
Now some family pictures of the whole lot?
Nurgle has always been the most appealing of the 4 Chaos Gods and you did an excellent job displaying that!


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Tag Archives: Going
McDonald's Just Quietly Introduced Something That's Shocking Its Customers. It's Going to Shock Competitors, Too
January 6, 2019 12:01 pm|Comments (0)
Absurdly Driven looks at the world of business with a skeptical eye and a firmly rooted tongue in cheek.
Tastes are changing, which means McDonald's has to turn its vast tanker of frozen meat and fatty morsels in a new direction.
And almost a year ago, the chain announced that it's creeping toward making Happy Meals healthier.
Now, though, there's a new, quite astounding step.
I can already see parents delighting in the notion that their advertising-vulnerable kids can now eat a burger with no meat in it.
Sadly, not quite.
Instead, the chain is releasing the Happy Meal, featuring a wrap.
The wrap is a red pesto goujon tortilla wrap. Yes, it includes shredded lettuce. But, perhaps the greatest glory for McDonald's traditionalists is that it's still garnished with one of the world's great food groups — tomato ketchup.
This whole(some) thing is a mere 209 calories and has been approved by the Vegetarian Society.
What's not to love?
It seems that not everyone is moved by McDonald's wrapping itself in an eco-friendly future.
Noted bulbously extreme bloviator Piers Morgan was appalled. On Twitter, he screeched:
Oh FFS. It's supposed to be a HAPPY meal.
Oddly, McDonald's chose to reply. Morgan, you see, had also railed against bakery Greggs introducing a vegan sausage roll. Morgan called the bakery "PC-ravaged clowns."
Astutely, Greggs replied:
Oh hello, Piers, We've been expecting you.
For its part, McDonald's offered:
Like our pals at the sausage roll place, we've been expecting you. Don't worry Piers, you can still get McNuggets in your Happy Meal!
There's no news that this "progressive" Happy Meal is coming to the U.S.
It seems clear, though, that competitors will worry that McDonald's is suddenly making itself acceptable to the audience of the concerned.
I leave (almost) the last words to McDonald's.
After all, the most important thing here is that kids actually like its greener happiness. So yes, there's a toy involved too:
We've teamed up with Pokemon to bring you a little bit of fun in every box. Plus, you can now choose a Fruit Bag instead of Fries.
Yes, a Pokemon toy and a Fruit Bag instead of Fries.
What more could a child of tomorrow want?
Posted in: Cloud Computing|Tags: competitors, Customers, Going, Introduced, It&#039s, Just, McDonald&#039s, Quietly, Shock, Shocking, something, That&#039s
How Is Musk Going To Pay For Tesla's Chinese Gigafactory?
July 10, 2018 6:43 pm|Comments (0)
A boy sits in a Tesla car during a visit to a Tesla showroom in Beijing on July 4, 2018.WANG ZHAO/AFP/Getty Images
Fresh off hitting an elusive production target for the Model 3 electric sedan – and a weekend offer to help rescue the young soccer players trapped in a Thai cave – Tesla CEO Elon Musk popped up in Shanghai to unveil plans for his long-held goal of a massive Chinese plant. What wasn't mentioned was how Tesla will cover the facility's multi-billion dollar price tag.
Dubbed Gigafactory 3 the project envisioned for the Shanghai Lingang industrial zone will be able to build 500,000 electric Teslas a year, as well as all the batteries and motors they'll need, according to a city government statement provided by Tesla. The plant, which Shanghai said would be the largest foreign-backed industrial project in its history, could also cost as much as $ 5 billion, according to Robert W. Baird & Co. equity analyst Ben Kallo.
"That's a good starting point," Kallo said in a Bloomberg interview. "The biggest question right now for investors, bulls and bears alike, is how are they going to pay for it?"
Never one to think small, billionaire Musk is adding the project as Tesla continues to smooth out and accelerate Model 3 production after its tortured 12-month rollout. The company is already on the hook to continue funding its original Sparks, Nevada, battery Gigafactory, also a $ 5 billion undertaking, endless modifications to its main Fremont, California, plant, development costs for the Model Y crossover, a new Roadster sports car, its heavily promoted Tesla Semi and maybe a pickup truck. Oh, and if those capital costs weren't enough, it's also funding a self-driving technology initiative being done entirely in-house.
"As Laozi said in the Tao Te Ching, long journeys begin with small steps," Barclays equity analyst Brian Johnson, wrote in a research note. "And to Tesla's credit, today's announcement is that small step – but we also note that there will a long journey ahead (with needs for funding, plant location and construction, battery partners and supply chains) before locally made vehicles reach Chinese streets."
A formally attired Elon Musk, back row, center right, attends a ceremony in Shanghai to announce plans for a Tesla Gigafactory that's to open there in a few years.Shanghai Municipal People's Government via Tesla
Financial details of the project weren't mentioned at a press conference in Shanghai today, and a Tesla company spokesman declined to provide a cost estimate. The facility will be wholly owned and operated in Lingang by Tesla, and conduct R&D and local sales operations as well as manufacturing, according to a statement.
"It will be a state-of-the-art vehicle factory and a role model for sustainability," Musk said in a statement. "We hope it will be completed very soon," without elaborating.
Establishing a production foothold in China is essential for Tesla to grow in that market and avoid its painful tariffs on imported vehicles that would otherwise make Model 3 and other Tesla vehicles unaffordable for all but a few local buyers. Chinese government support for electric vehicles has made that market one that's too big to ignore, particularly for a company that wants to dominate global EV sales.
"Tesla's investment will further cement China's position as the undisputed global center for EV production," Michael Dunne, a longtime China watcher and CEO consultancy ZoZo Go, told Forbes. Potential financial support for the factory could come from Chinese internet search powerhouse Tencent, which bought a 5% stake in Tesla in 2017, or perhaps from the Shanghai government itself, Dunne suggested.
Given the complexity of setting up a major Chinese manufacturing hub, Gigafactory 3 may not ready to go until the early 2020s, Barclays' Johnson said, which could be a problem.
"While Tesla no doubt can enjoy some brand cachet in China as a tech innovator, which at least ensures a niche position, in the meantime local OEMs, European and US automakers are readying themselves for a speedy uptake of BEVs in China," he said. Volkswagen, General Motors and BYD have already laid out plans for large-scale battery electric vehicle sales in China, and new players including Byton, XPeng are also readying luxury models that would potentially compete for the premium buyers Tesla targets.
Undoubtedly, Tesla will have to raise further capital to pay for the plant, Kallo told Bloomberg. Like Dunne, he also thinks a potential partner will step in to help defray some of the investment expenses, much as Tesla battery partner Panasonic at the Nevada Gigafactory.
"I'm not saying Panasonic will be the partner but you'll see someone step in there," he said. "We'll hear more about that in the months ahead."
The target for a Chinese plant to have a half million units of production capacity matches Tesla's goal for Fremont, which it hasn't yet attained even with the burst of Model 3 production at the end of June. First-half production at the plant that also builds Model S sedans and Model X SUVs was 87,833 units. After numerous delays, Tesla said this month it was finally building that car, nominally priced from $ 35,000, at a rate of 5,000 units per week. Musk aspires to take that level higher, but the company hopes sustained production at that volume will allow it to generate sufficient cash to fund its growing list of initiatives and, for the first time, some form of profitability.
Musk has vowed that Tesla will be in the black in this year's third and fourth quarters, a tall order since it's only had two, non-consecutive profitable quarters since its 2010 IPO. If the company actually achieves that, raising money for the Chinese plant should be easier.
"The access to the equity markets is there if they have growth opportunities," Kallo said. "The important thing is the second of the year to actually show a return on this invested cap they've been putting in for the Model 3. Then investors will get comfortable with that and will be willing to finance other growth opportunities."
Posted in: Cloud Computing|Tags: Chinese, Gigafactory, Going, Musk, Tesla&#039s
Why I'll Be Using Xbox One Instead Of PS4 For All My Online Gaming Going Forward
June 19, 2018 6:06 pm|Comments (0)
Credit: Epic Games
I've put time, effort and money into my Fortnite: Battle Royale account, linked to my PS4. I've got the John Wick skin with the Glider to match. I've got Raven, Lightshow, Super Striker and a few more premium skins. I've got a fully-levelled Carbide and I'll have The Visitor as soon as some people land in Snobby Shores so I can kill them. I have a little home in the game, a locker where all my past achievements and indulgences sit in a nice little stack. When season 5 starts, however, I'm packing it in. I'll start a new account on my Xbox One and go from there. I'll do the same for all other games going forward.
Last week, Sony put its foot in it and has, after some apparent consideration, decided to leave it there. Epic Games released Fortnite: Battle Royale on Switch to expected fanfare, giving people who want to play the game on the go a much more accurate option than the excellent if lacking mobile port. The dream was clear: I could play Fortnite on PS4 at home, and then use my Switch when I was on the road or just out of the house. But that's not how Sony saw its dream, and it's locked my account out of ever playing on Switch. The company hasn't exactly been supportive of crossplay in the past, but this is the first time it's caused it any serious trouble.
With this looking hostility to crossplay lurking in the background, it leaves me wondering if I'll get left behind in other games if I start my account on PS4 if and when a Switch port appears. The Switch won't get every major game, but it will get some, and it doesn't appear that Sony has any intention of letting its platform play nice any time soon–it's also just easier to keep these things all in one place. The Xbox One works just fine, thank you very much, and I may as well just play here: watch the free market at work.
Am I certain to run into crossplay or cross-progression problems if I'm playing a game on PS4? No, I'm not. Crossplay is a relatively new phenomenon in the industry and not all that widespread. But Fortnite is instructive about how things can go wrong even if you didn't necessarily expect them to: when I first started playing I just booted it up on PS4 like I usually do, and it was fun when I found I could move my progression to mobile or PC. But I had grown accustomed to his, and so when I wanted to play on Switch I was pretty annoyed to find out I'd have to start my Battle Pass all the way over. It's not the worst problem, but it's one place where the Xbox One now has a clear, inarguable advantage. As a multiplatform player with the choice to migrate it feels like the only natural move.
Going forward, it just seems silly to invest time into levelling an account on Sony if crossplay might be in the cards sometime in the future, and I have to imagine some other multiplatform players are feeling the same way.
Right now, this isn't such a bee in Sony's bonnet. I already have a PS4 Pro, and so the company loses out on a small amount of PSN percentages if I buy my V-Bucks on Xbox Live. But that's now. If this continues to be a problem, this could be the reason that people choose to buy the next Xbox over the next PlayStation in what appears to be an increasingly crossplay friendly future. And that's not just a bee in Sony's bonnet, it's a hornet in its hat.
Posted in: Cloud Computing|Tags: Forward, gaming, Going, I&#039ll, Instead, Online, Using, Xbox
Mark Shuttleworth dishes on where Canonical and Ubuntu Linux are going next
June 8, 2018 6:00 am|Comments (0)
Mark Shuttleworth looked good at OpenStack Summit in Vancouver. Not only were his company Canonical and operating system Ubuntu Linux doing well, but thanks to his microfasting diet, he's lost 40 pounds. Energized and feeling good, he's looking forward to taking Canonical to its initial public offering (IPO) in 2019 and making the company more powerful than ever.
It's taken him longer than expected to IPO Canonical. Shuttleworth explained, "We will do the right thing at the right time. That's not this year, though. There's a process that you have to go through and that takes time. We know what we need to hit in terms of revenue and growth and we're on track."
In the meantime, besides his own wealth — according to the BBC, his personal wealth jumped by £340 million last year — he's turned to private equity to help fuel Canonical's growth.
And, where is that growth coming from? Well, it's not the desktop. Found as users — and Shuttleworth himself — of the Linux desktop, Canonical's real money comes in from the cloud.
Ubuntu remains the dominant cloud operating system. According to the May 8, 2018 Cloud Market statistics, on the Amazon Web Services (AWS) cloud, Ubuntu dominates the cloud with 209,000 instances, well ahead of its competitors Amazon Linux AMI, 88,500; Red Hat Enterprise Linux (RHEL) and CentOS's 31,400, and Windows Server's 29,200. As another data point, the executives at the OpenStack cloud company Rackspace told me that although their company had started with RHEL, today it's 60/40 Ubuntu.
OpenStack has been very, very good for Canonical, which is more than you can say for many companies that tried to make it as OpenStack providers or distributors. "With OpenStack it's important to deliver on the underlying promise of more cost-effective infrastructure," Shuttleworth said. Sure, "You can love technology and you can have new projects and it can all be kumbaya and open source, but what really matters is computers, virtual machines, virtual disks, virtual networks. So we ruthlessly focus on delivering that and then also solving all the problems around that."
So it is, Shuttleworth claims, that "Canonical can deliver an OpenStack platform to an enterprise in two weeks with everything in place."
What's driving Canonical growth on both the public and OpenStack-based cloud is "machine learning and container operations. The economics of automating the data center brings people to Ubuntu."
That said, "The Internet of Things (IoT) is still an area of investment for us. We have the right set of primitives [Ubuntu Core, Ubuntu for IoT and Snap contanizeried applications] to bring IoT all over the planet." But, it's "not profitable yet".
Shuttleworth thinks Ubuntu will end up leading IoT, as it has the cloud, "because a developer can transfer their programs from a workstation to the cloud to a gateway to the IoT. I want to make sure we build the right set of technologies so you can operate a billion things with Ubuntu on it." To make this happen, Shuttleworth said Canonical currently has just short of 600 full-time developers.
As for the desktop, Shuttleworth finds it a "fascinating study of human nature that Unity [Ubuntu's former desktop] became a complete exercise in torches and pitchforks. I'm now convinced a lot of the people who demanded its demise never used it." That's because, while "I think GNOME is a nicely done desktop," many Ubuntu users are now objecting to GNOME. Shuttleworth also had kind words about the KDE Neon, MATE, and LXDE desktops. Still, "I do miss Unity, but I use GNOME."
Shuttleworth would like to see the open-source community become "safer to put new ideas out into it." Too often, "it's obnoxious to someone else's labor of love."
That said, in business competition, Shuttleworth said, after people criticized him for calling out Red Hat and VMware by name in his OpenStack keynote speech, "I don't think it was offsides to talk about money and competition. OpenStack has to be in the room where public clouds are discussed and Ubuntu has to be in the conversation when it comes to cloud operating systems. No one has questioned the facts."
In a way, though, having given up on innovating on the desktop and on the smartphone market has been a blessing. "I can work with more focus on cloud and the edge and IoT. We're moving faster. Our security and performance story can be tighter because we can put more time on both them."
One thing that Shuttleworth believes Canonical does better than his competition is delivering the best from upstream to its customers. "Take OpenStack, we didn't invent a bunch of pieces. We take care of stuff people need by trusting the upstream community. People find this refreshing."
Canonical also succeeds, he thinks, because they eat their own dog food. "We learn stuff by operating it ourselves and not just developing it. We experience what it's like to operate many OpenStack and Kubernetes stacks. We then offer these complex solutions as a managed service, and that reduces the cost for users."
The result is a company that Shuttleworth is sure will lead the way in the cloud and container-driven world of IT.
Posted in: Cloud Computing|Tags: Canonical, dishes, Going, Linux, Mark, Next, Shuttleworth, Ubuntu
Sentiment Speaks: The Stock Market Is Going To Crash
May 6, 2018 6:01 pm|Comments (0)
Posted in: Cloud Computing|Tags: Crash, Going, Market, Sentiment, Speaks, stock
IDG Contributor Network: Going Interstellar With Microsoft Cosmos
August 4, 2017 8:10 am|Comments (0)
At Microsoft's Build developer conference last week, the company announced Cosmos DB, a new cloud database offering that, if you believe the hype, entirely changed the database game. Before reelecting on what this means for developers and organizations, it's worth taking a look at what Cosmos is.
Cosmos is a schema-free database service built with the aim of delivering high performance, fault tolerance, automatic indexing of data and truly globally distributed scalability. Cosmos is, at least in part, the evolution of Microsoft's previous DocumentDB offering. DocumentDB was Redmond's first foray into the NoSQL world. And while DocumentDB was a NoSQL choice in contrast to Microsoft's relation offerings, Cosmos DB is multi-modal, offering developers the options to store relational or non-relational data. Scott Guthrie, Microsoft's perennially red-shirted Executive Vice President of the Cloud and Enterprise group, described Cosmos as, "the first globally distributed, multi-model database service delivering turnkey global horizontal scale out with guaranteed uptime and millisecond latency at the 99th percentile."
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Posted in: Web Hosting News|Tags: Contributor, Cosmos, Going, Interstellar, Microsoft, Network
The Doomsday Vault Isn't Flooded But We're All Still Going to Die
It was a story that was too good to pass up. The Svalbard 'doomsday' seed vault had flooded because of global warming-induced high temperatures melting the surrounding permafrost. But according to one of the vault's creators, the reports are pretty overblown and everything's fine. Well, the vault's fine. The…
Posted in: Web Hosting News|Tags: Doomsday, Flooded, Going, isn't, still, Vault, Were
How The U.S. Military's Tech Is Going Green To Save Lives
March 8, 2017 10:30 am|Comments (0)
Refueling a destroyer or any other large piece of military hardware is incredibly dangerous because it leaves troops very vulnerable to attack, especially if it requires a huge convoy. U.S. troops have lost their lives trying refuel vessels that are ultra-dependent on oil. The Department of Defense knows this, and as…
Posted in: Web Hosting News|Tags: Going, Green, lives, Military's, Save, Tech, U.S.
By going private, Rackspace looks to fuel its cloud evolution
August 26, 2016 8:45 pm|Comments (0)
Rackspace, a company that was an early player in the cloud market, is being forced to evolve or continue to be left behind.
The cloud and web-hosting company announced today that it's being acquired by Apollo Global Management, a U.S.-based private equity firm, and will become a private company. It's a move analysts say will enable Rackspace to make big changes without worrying about an anxious or angry response from shareholders.
Under the $ 4.3 billion deal, Rackspace stockholders will receive $ 32 per share. The purchase is expected to be finalized in the fourth quarter, according to the company.
Posted in: Web Hosting News|Tags: Cloud, Evolution, fuel, Going, looks, Private, Rackspace
Going Hybrid: Expert Tips On How To Mix And Match IT Resources
August 4, 2016 7:20 pm|Comments (0)
By combining virtualization and the public cloud, companies get the best of both worlds in most, but not all situations.
Posted in: Web Hosting News|Tags: Expert, Going, Hybrid, Match, Resources, tips
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Announcing Our Kubernetes Enablement Offering
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VEXXHOST Is Running OpenStack Stein In Production On Day One Of The Release
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Infrastructure-As-Code 101
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Cloud Pricing 101: Public vs. Private
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VEXXHOST leverages the power of Arm processors and OpenStack with new virtual machine architecture offering
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This groundbreaking examination of the cultural exchange between early 20th century French and German artists illuminates new ways of understanding the development of Expressionism. Although the Expressionist movement is widely considered to have arisen out of a German aesthetic, it was actually as much a result of German artists' exposure to artists living and working in France, such as van Gogh, Seurat, Gauguin, Cézanne, Matisse, Picasso, and Braque. In fact, in its early days, Expressionism was assigned no specific nationality at all. This fascinating book focuses on the key exhibitions, galleries, and museum directors that helped disseminate styles and techniques of revolutionary French artists throughout Germany. Included here are French masterpieces seen not only by German artists in Paris but also in important galleries, exhibitions, and private collections in Berlin, Dresden, Munich, Weimar, and other cities. More than 100 paintings and works on paper are grouped to encourage an understanding of artistic influence and interchange. The volume also reflects new scholarship on issues of French-German relations and contributes to our understanding of the ways the visual arts are influenced by ideas of national identity and cultural heritage.


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Q: Making Visual Studio 2019 see the git repo present in source but not in the build dir (which has the sln file) I'm working on an existing, large open-source project that doesn't like in-source-tree builds. So its cmake-generated .sln file is placed in the build dir that has no .git anywhere in its parent directories because that .git is in the disjoint source tree.
\build
  \proj.sln
\src
  \.git

How do I make Visual Studio 2019 still see these "sideways" .git files? It can see the (C++ etc.) sources referred in the sln, of course, but nothing relating to git works inside VS2019 in this setup, by default.

I'm guessing I could mess with GIT_DISCOVERY_ACROSS_FILESYSTEM but I'm not sure it that would work with the way VS does git.
(And yes, the src dir is a git-cloned repo. I've made commits in it etc., but from the command line.)
And if I F1 (for help) the "Git Global Settings" in VS 2019... it goes to an oops page so that isn't exactly helpful. Ok, I found the actual VS doc/help for git. But it doesn't really answer my question.
If instead of opening the sln file, I open the directory of the source (src) from VS, then VS sees the git repo ok (current branch and what not) ... but I can't build anything, because VS can't see/find the sln file in this context. So, how do I "have my cake and eat it", i.e. have VS see the git stuff and allow me to build?

A: I've made VS see the git repo (from within the sln) by manually adding a .git file in the build directory with just this contents:
gitdir: X:/full-path-to-repo/.git/worktrees/src

I had forgotten to mention that the src was also a worktree, but that probably didn't make a diff (they also have .git file).
Unlike the GIT_DIR environment variable, this .git-file method of telling where there repo is, isn't ignored by VS's git implementation.
But there's a big problem with this (too)! VS now thinks it should add all those build object files to the repo! It thinks there are some 4,000 A-type changes :-( So, for this to be a real solution, I'd also need to able to tell it not do that somehow. (This might be ok for a smaller project, but writing filters for all those cmake-made files is going to be challenge in my case...)

Also, for an alternative approach if I install the cmake workload in VS and open the source folder again (instead of the sln), VS makes a big mess by immediately trying to do an in-source build (in an src\out subdir it created), and with completely wrong, auto-generated settings, like using Ninja for some reason when this project doesn't use it at all. (I suspect it did this because it could not find the out-of-source build dir, which had the right cmake cache.)

So it seems there are "miles to go" for VS to be fully useable with cmake projects like this, meaning that use out-of-source-tree build dirs. Apparently nothing really changed in the MS cmake approach in 8 years:

*

*It works in the context of Visual Studio's new "Open Folder" feature rather than their established project/solution workspace. So you will have to learn the new environment.

*There are additional settings files to override CMake configuration which will be a source of duplication and confusion.

*It used the Ninja build system by default. To change it to VS projects, you have to adjust it in a settings file.

*To launch the debugger for startup executable, you have to introduce a launch file.

A: For testing, try and launch Visual Studio from a CMD where you type first:
set GIT_DIR=C:\path\to\.git
cd C:\path\to\proj
.\proj.sln

(assuming the .sln extension is associated with devenv.exe)