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#1 in Best Things To Do in San Francisco
John Lund/Tom Penpark/Getty Images
Lincoln Boulevard, near Doyle Drive and Fort Point
Tours & Tickets
Price & Hours
Sightseeing, Free Type
1 to 2 hours Time to Spend
5.0scorecard
5.0Value
0.0Food Scene
5.0Atmosphere
How we rank things to do
The Golden Gate Bridge's vaulting, orange arches amidst the rocky seascape of the San Francisco Bay have made it one of the West Coast's most enduring symbols and the city's most popular tourist attraction. The bridge's name, "Golden Gate," actually refers to the body of water it spans (the Golden Gate Strait that connects the Pacific Ocean with the San Francisco Bay), and was built to make travel between San Francisco and Marin County an easier feat.
There are plenty of great spots to capture a snap of the majestic bridge. But if you want a truly postcard-worthy shot, head to the Golden Gate Bridge Vista Point, situated high on a hill overlooking San Francisco. If you have extra time, make sure to explore the Golden Gate National Recreation Area. The actual span of the Golden Gate National Recreation Area encompasses multiple places in San Mateo (south of San Francisco), San Francisco and Marin Counties (Alcatraz and Muir Woods included), but notable parts of this recreation area can be found just a stroll away from the Golden Gate. From the bridge, travelers will find some scenic, bayside trails, some of which lead to secluded beaches, including Kirby Cove and Black Sands Beach. If you really want a trek, journey to the Point Bonita Lighthouse for sweeping views of the bay, found at the very tip of the Golden Gate Strait.
Like many travelers who came before them, recent visitors were awestruck by the incredible architecture of the Golden Gate Bridge as well as the incredible views it affords. Some visitors made sure to point out to drivers not to turn right (heading towards the Marin County side) to the first lookout point, as it is crowded with tourists. Instead, venture into the hills for more space and greater photo ops. Travelers also suggested walking across the bridge for a scenic stroll (if it's not too windy or crowded). If you want to let someone else do the driving, consider signing up for an organized bus tour – many of which traverse the bridge.
The bridge is accessible all day every day by bus, car, bicycle or on foot. If you drive, parking is available but very limited and accessible on both the north and south ends of the bridge. The Northeast Side Parking Lot is free up to four hours, while the Southeast Side Visitor Parking Lot costs about $1 an hour. If you drive, you may be subject to a toll. Tolls are only assessed if you're traveling from Marin County into San Francisco. The tolls are taken electronically only and are $7.50 or $6.50 if you have a FasTrak account. For more information on how to pay your toll, and more about visiting the Golden Gate Bridge, visit its website.
Hotels near Golden Gate Bridge »
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More Best Things To Do in San Francisco
Museums, Zoos and Aquariums Type
Half Day to Full Day Time to Spend
Find Tours & Tickets
#2 California Academy of Sciences
Attention all traveling families: recent visitors said this is the perfect place to bring kids in San Francisco. The California Academy of Sciences brims with plenty of things to see, including an aquarium, a planetarium, a natural history museum and even a rainforest.
The Steinhart Aquarium is home to about 40,000 animals representing more than 900 different species, including a penguin colony from Africa, a swamp with an albino alligator, a shark lagoon and a separate 100,000-gallon tank that mirrors the ecosystem of the California coast. Meanwhile, the Osher Rainforest houses 1,600 animals, including 250 free-flying birds and about 100 reptiles and amphibians in its four-story complex. The Morrison Planetarium is known for its 75-foot-diameter screen, which screens "Tour of the Universe" shows daily. And the Kimball Natural History Museum boasts dinosaur fossils, an interactive science exhibit and a unique earthquake simulator.
Anne Petersen/Flickr
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#2 in Best Family Vacations in Canada
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Hans Christian Tomas Afredson (født 1. april 1965) er en svensk filminstruktør, der er bedst kendt for filmene Lad den rette komme ind fra 2008 og Dame, konge, es, spion fra 2011.

Alfredson blev født i Lidingö i Stockholms län.  Han er søn af komikeren, manuskriptforfatteren og instruktøren Hasse Alfredson.

Karriere
Alfredsons karriere startede i Svensk Filmindustri, hvor han arbejdede som assistent. Han var involveret i grundlæggelsen af den svenske tv-kanal TV4, hvor han arbejdede i underholdningsafdelingen. En af hans successer her, var den svenske udgave af Fangerne på fortet. Alfredson flyttede derefter over på Sveriges Television, hvor han i 1990 lavede børneserien Ikas Tv-Kalas. I 1994 instruerede han tv-serien Bert, der var baseret på bogserien om Bert. Serien blev i 1995 til spillefilmen Bert – Den siste oskulden, som Alfredson fik en nominering til en Guldbagge for bedste instruktør for.

Alfredson blev instruktør for den svenske komediegruppe Killinggänget i 1999. Jeg så at de var lidt sjovere end andre, og lidt grundigere sagde han. Hans første samarbejde med gruppen, var en række tv-film, inklusiv mockumentaryen Torsk på Talinn, der handler om en gruppe svenske ungkarle, der tager på bustur til Estland i håbet om at finde estiske kærester. I 2004 instruerede Alfredson gruppen i filmen Fire nuancer af brunt, der er gruppens eneste spillefilm. Filmen vandt fire Guldbaggepriser inklusiv bedste instruktør til Alfredson.

I 2004 udgav den svenske forfatter John Ajvide Lindqvist gyserroman Lad den rette komme ind. Efter at have læst romanen, ville Alfredson gerne involveres i at filmatisere den. "Der var en menneskemængde der bankede på hans dør for at få lov til at lave filmen, så jeg var nummer 40 eller sådan noget. Da jeg mødte ham, kendte han til mig i forvejen, og kunne lide hvad jeg tidligere havde lavet, og vi svingede rigtig godt sammen." Filmen fortæller historien om et 12-årigt mobbeoffer, der bliver venner med en vampyrpige i 80'ernes Blackeberg i Sverige. Udover at være instruktør, arbejdede Alfredson også på klipningen sammen med Dino Jonsäter.

Lad den rette komme ind fik premiere 26. januar 2008 ved Gøteborg internationale filmfestival, hvor Alfredson vandt festivalen nordiske filmpris. Filmen blev hurtigt en international success, med rettighederne solgt til flere end 40 lande, inden filmens biografpremiere 24. oktober 2008. Alfredson vandt sin anden Guldbagge for bedste instruktør for filmen.

International karriere
Efter at have færdiggjort arbejdet med Lad den rette komme ind, meddelte Alfredson, at han ikke ville lave flere film "i den nærmeste fremtid. I marts 2009 meddelte han dog at han ville deltage i en stor international filmproduktion. I juli 2009 fik Alfredson jobbet som instruktør på filmatiseringen af John le Carrés spionroman Dame, konge, es, spion, der blev produceret af Working Title Films' Tim Bevan og Eric Fellner. Filmen fik premiere ved Filmfestivalen i Venedig i september 2011. Alfredson var også oprindeligt instruktør på Nicole Kidmans kommende film The Danish Girl'', men hoppede fra, af ukendte årsager.

Referencer

Eksterne henvisninger

Filminstruktører fra Sverige

redpajama_set_name: RedPajamaWikipedia


The new web of Hoteles Mediterraneo features a series of exclusive offers available when booking directly through the web page. A flexible sales system that allows, in a convenient and simple way, to update the availability of the different deals depending on the time of the year. Customers can solve all of their questions via a real time chat.
After identifying the target audience based on geographical criteria, we have launched a SEM campaign (Google Adwords) through which we advertise special offers and the extra advantages of booking directly at the hotel website.
We use social media profiles of Hoteles Mediterraneo (Facebook, Twitter, Pinterest, YouTube) as a channel for closer communication and direct relationship with hotel customers, many of whom are faithful year after year.
Implementation of a pack of SEO actions aimed at improving the positioning of the web of Hoteles Mediterraneo in the main searches related to tourism in Peñiscola.


He sent us a link to a site that included this photo, and then managed to get us the coordinates so we could find it on Google Maps. We sat back and stared. It is rare for us to hear about a full-sized United States replica that is in plain site these days. We thought we had them all, dammit!
It was suspicious. When a new Stonehenge replica shows up, there is invariably an article about it in the local or regional newspaper. It's the kind of wacky thing papers love to put in the lifestyle section, and usually henge builders like to show their henges off. There was nothing at all online about this, although there seems to be some other megalithic structure/thingie in the car park of the Irish Cottage Boutique Hotel in nearby Galena, Illinois.
We added the new henge to our List of Large Permanent Replicas and sat back, hoping for more information to roll in. Surely the Clonehenge Faithful (an imaginary fan club we talk to a lot when no one's around) would get us more information! Right? Months went by and nothing,. Nothing, we tell you! A maddening silence of epic proportions. Dammit, humanity, you had ONE job!
We were interested, and one of his brilliant photos is at the top of his post, another below. BUT the mystery remains. We have scoured maps and done searches, but we can't even find the names of the people who live in the house closest to the replica, surely the first suspects we would like to interrogate. We don't know when this henge was built, who built it, why it was built, or what it's made of.
We can see from the aerial view that it consists of the sarsen ring and an inner trilithon horseshoe. It appears to be large, if not full-sized, and fairly new but not brand new, judging from the lack of a visible road by which the stones may have been hauled there.
Of course, the stones could have been lowered by alien space ships, but our doctor tells us not to think about things like that these days!
Someone has gone to the trouble of planning and building this Stonehenge replica in rural Illinois without seeking the spotlight, without any major news outlets picking it up, and without advertising. Why? Questions abound, my friends! But we have, alas, no answers, the definition of a mystery.
As for a score, hard to say, but it looks very nice. We award it a tentative 7 druids! For size and looks, mostly, and a little extra for the whole mystery going on.
If any of you live or visit nearby, please ask around for us and find out what the locals know! Why would you build a huge Stonehenge replica and not tell anyone about it? The force of the Stonehenge-building urge never fails to amaze.
Keep reporting those replicas, large and small. And until next time, friends, happy henging!


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Search Inspection.gc.ca
Canadian Food Inspection Agency
About the CFIA
Statement of Values
As employees of the Canadian Food Inspection Agency . . .
We value scientific rigour and professional and technical competence. These play a crucial role in our decision making. We do not manipulate science to achieve a desired outcome but acknowledge that other factors must be taken into account in this decision making.
The reputation and credibility of the Agency are vital to our ability to deliver our mandate. As such, we behave, internally and externally, in a way that trust is preserved.
We are proud of the contributions we make to the quality of life of Canadians. We value dedication and responsiveness from all employees day to day and, particularly, during an emergency.
We value competent, qualified and motivated personnel, whose efforts drive the results of the Agency.
To develop effective policies and strategies, we value the perspectives of the stakeholders who are affected by our decisions.
We maintain our regulatory independence from all external stakeholders. We have the courage to make difficult and potentially unpopular decisions and recommendations, free from personal bias.
We are committed to our physical and psychological well-being.
"Safeguarding the Canadian Public, Environment and Economy"
Each value has explanatory information in the form of supporting principles or intentions and concrete examples from the life and work of the Agency as follows:
Supporting Principles and Examples:
We have developed the "Risk Analysis Framework to Address Animal Health, Plant Health and Food Safety Risks within the Canadian Food Inspection Agency." This framework supports the Government of Canada's request for government organizations to establish systematic and holistic approaches to manage risks as part of an Integrated Risk Management Framework.
Through a strong framework of program, inspection and laboratory expertise we test for, and certify freedom from, for export purposes, animal and plant pathogens present in Canada. If required for export purposes, we also do so for animal and plant pathogens which are not present in Canada.
If we, as employees of the Agency, have a problem with the Agency or an individual within the Agency, we raise this internally.
We do not make derogatory comments regarding the Agency, especially in public places.
Open dialogue and debate on issues are appreciated and encouraged, but we support decisions once taken.
We do not engage in commitments beyond our mandate.
We respect the Agency's conflict of interest policies.
The Agency's Corporate Business Plan delineates our commitment to Canadians in five key areas: public health by protecting Canadians from preventable health risks; environmental protection by sustaining the plant and animal resource base; public security by promoting the security of Canada's food supply; economic growth by delivering a fair and effective regulatory regime; and good governance by providing sound Agency management.
The Agency's Rewards and Recognition Program recognizes and rewards employees for outstanding operational, scientific, technical or administrative achievements; difficult projects successfully completed; or valuable work consistently well done either as individuals or as a team. The President's National Awards specifically recognize exceptional service delivery, innovation and best practices, leadership and inter-branch partnerships for activities carried out day to day and during emergencies.
We are committed to professional development. We support learning and development programs that are relevant to the business priorities of the Agency as articulated in the Agency's Learning Policy.
We will exercise the flexibility inherent in CFIA staffing policies and staffing values to put competent individuals in place through an appropriate and efficient process.
We advise stakeholders of process, consult appropriately, inform them of our decisions and explain our reasoning.
We seek stakeholder input through a variety of mechanisms, including sector-specific advisory committees.
During emergencies, we establish ongoing dialogue with other government departments, the provinces, the industry and the public, and hold regular media technical briefings.
External stakeholders include all levels of government, consumers, regulated parties and various other interest groups.
When necessary, we detain product, we suspend and/or revoke licences, we close facilities, and we remove and dispose of infected materials (e.g. animals, trees).
We make these difficult decisions after an open exchange of information and opinion with those affected.
We do not act in a way that compromises or appears to compromise our regulatory independence.
We adhere to the purpose and principles articulated in our conflict of interest policy with respect to gifts, hospitality and other benefits.
We take responsibility for the impact of our behaviour on each other.
We protect all employees from job-related harassment from both external and internal sources.
If, during an emergency, the hours worked become potentially injurious to an individual's well-being, we ensure that there is support provided to find the necessary relief.
We take action to ensure that we are properly educated with respect to, and protected against, job-related hazards.

redpajama_set_name: RedPajamaCommonCrawl


text:
YOUTH: FA Cup second round date confirmed
Amy Nixon
FA Youth Cup second round details
Carlisle United youth team face a trip to Chesterfield's Proact Stadium on Tuesday 15 November in the second round of this season's FA Youth Cup.
United won 2-0 in the first round against FC United of Manchester thanks to goals from Max Cowburn and Luke Lloyd.
The Spireites came from behind to beat Walsall 3-1 in the first round thanks to three second half strikes.
Tickets for the game will be available on the gate and are priced at £3 for adults, £2 for over 65s and £1 for under 16s.
Chesterfield FC v Carlisle United, Proact Stadium, Tuesday 15 November, kick off 7pm


text:
Q: Automatically setting up encrypted partitions with Ansible I am looking for a way to set encrypted partitions with Ansible automatically on Ubuntu/Debian Linux servers.

*

*Assume a computer with an existing root filling up the whole disk

*Chop a piece out of this partition and make a new partition out of it

*Encrypt the partition using LUKS or Truecrypt

*Taking passphrase as input for the playbook
I am very new to Ansible, so if anyone could point me direction where to start (existing disk partition roles, encrypted disk roles and such). Can I drive fdisk with Ansible? How to make sure the role doesn't try to create the partition twice (when provisioning is run again).

A: Writing an Ansible role which does this is not as easy as it might seem when you want to do it right (e.g. idempotent and be robust). I know that because I just wrote/rewrote one :)
https://docs.debops.org/en/master/ansible/roles/cryptsetup/index.html
It is able to handle 2 of your 3 wanted features:

*

*Encrypt the partition using LUKS or Truecrypt

*Taking passphrase as input for the playbook. I did take a different path using keyfiles which did better fit my use case. Passphrases might be supported in the future. For now you can just write the passphrase to a file and specify that as keyfile.

I decided against including support to create partitions to the role itself to keep complexity down.

A: While I haven't personally wrote any playbooks to accomplish what you are trying to do, here are some resources which may be of help:
There are couple Ansible modules you can use to manage partitions:
lvol - Configure LVM logical volumes
lvg - Configure LVM volume groups
There maybe some more system modules that are useful to you found here
There isn't an ansible module specifically for fdisk, but you should still be able to run fdisk commands using the command or shell modules. If you go this route, you will have to figure out how to make it idempotent on your own.
If you're looking for roles, I would normally recommend Ansible Galaxy, but on a quick search, I was unable to find any roles there with relevance to what you are trying to do.
There are no Ansible modules I'm aware of specifically for using LUKS or Truecrypt, but you should still be able to run those tasks using the command or shell modules.
I was able to find a decent example of disk encryption in this playbook. The playbook handles the passphrase by passing it in as a variable. There are several ways you can approach handling variables in playbooks. I would recommend reading the Ansible docs on variables. If you are storing passwords as variables, you can also encrypt your variable files using Ansible Vault.

redpajama_set_name: RedPajamaStackExchange


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PETER OBI ATTENDS INAUGURAL SESSION OF THE PRESIDENTIAL ELECTION PETITIONS TRIBUNAL
Posted on May 8, 2019 by bestiaresgladiators	Leave a comment
The vice-presidential candidate of the Peoples Democratic Party (PDP) in the recently-concluded presidential election, Peter Obi, on Wednesday attended the inaugural session of the Presidential Election Petitions Tribunal in Abuja.
The petitions tribunal commenced its inaugural sitting on Wednesday morning.
Obi at the venue of the tribunal at the Abuja Division of the Court of Appeal sat in the rear row at the left side of the courtroom.
He is the only high-profile candidate in the disputed election spotted in the courtroom.
Obi's presence at the courtroom comes amid rumours that he is admitted at a hospital in Anambra after suffering a heart attack.
The media aide to Obi, Mr Valentine Obienyem, however, dismissed the rumor stating that those behind the report are liars.
ALSO READ: FORFEITURE SUIT AGAINST PATIENCE JONATHAN ADJOURNED TO MAY 24
The PDP and its presidential candidate, Alhaji Atiku Abubakar, had earlier filed a petition to challenge the outcome of the 2019 elections which the Independent National Electoral Commission (INEC) declared was won by President Muhammadu Buhari of the All Progressives Congress (APC).
Other petitions filed by other political parties and their presidential candidates include that of Hope Democratic Party, Ambrose Awuru against President Muhammadu Buhari.
Chairman of the opening session of the election tribunal is the President of the Appeal Court, Justice Zainab Bulkachuwa.
Also, on the panel is the chairman of the Presidential Election Petition Panel, Justice Abdul Aboki.


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The Cast of Nicki Minaj's New ABC Series Features Whoopi Goldberg
By Alison Nastasi
The cast of Nicki Minaj's new ABC series, Nicki, has been announced. Based on her childhood in Queens and her family's immigration from Trinidad in the 1990s, Nicki will star Fruitvale Station's Ariana Neal as Nicki (born Onika Tanya Maraj). Whoopi Goldberg joins the cast as Miss Martha, a neighbor. Selita Ebanks (Real Husbands of Hollywood) plays mom Grace, and Wesley Jonathan (The Soul Man) will be dad Vincent. McCarrie McCausland (The Originals) stars as Nicki's brother Jaylen. "I don't think I had a lot of discipline in my household. My mom motivated me, but it wasn't a strict household. I kind of wanted a strict household," Minaj told Sister 2 Sister Magazine of her upbringing in 2012. Minaj will be Nicki's executive producer, but will appear in the show — which will air on the newly rebranded ABC Family (to be named Freeform) in January.


The Shopper Science Lab enables GSK and retailers to take consumer research and model retail scenario's both virtually and physically with the goal of understanding and optimizing the consumer retail experience. The immersive experience includes an experience room with a 9x30 foot interactive touch panel screen enables the retail experience to be modeled, explored and tested virtually prior to constructing physical prototypes. Surrounding a central gathering area, there is a focus room plus a series of different simulated settings; a retail store, doctor's exam room, dentist's operating space, web tracking station and an exhibition/seminar space.
Visiting the Shopper Science Lab is about experiencing different stimuli to spark new creative solutions. These conversations are typically informal and the space has been designed in a manner to capitalize on these to then prototype and test the new solutions within the space.


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text:
Former Ghanaian President promises not to disappoint in next administration
The presidential candidate of the leading opposition National Democratic Congress (NDC), John Dramani Mahama, has assured that his next administration will not disappoint Ghanaians.
According to him, the inputs of Ghanaians on how governments should run the country have been expressed through the party's "speak-out sessions" across the country, which will guide the next NDC government to roll out an inclusive government for all.
Mahama, who made the remarks in Bolgatanga on Monday, 9 March 2020, during one of the speak-out sessions in the Upper East Region, said: "It is my personal commitment to everyone here today that the next NDC government will not let you down. As I have said, your thoughts, ideas and insights will be carefully considered and included in our manifesto processes and policies and programmes that we will implement when we come into government in 2021."
"I promise you, I will also use my many years of experience and learning to work and I will use a renewed determination and sense of purpose to serve all Ghanaians to the best of my ability without exception," local media reports on Tuesday quoted Mahama as saying.
The reports added that the former President lost the 2016 elections to President Nana Akufo-Addo and has relaunched his bid to recapture the presidential seat with a series of campaigns across the length and breadth of the country.
Related Topics:GhanaGhana National Democratic Congress (NDC)John Dramani Mahama


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Women's Suffrage Granted
Women's suffrage is the right of women to vote in elections.
Dates for the Achievement of Political Equality for the Women of Canada
Other Women and Men in Canada
Suffrage Granted by Country
New Zealeand was the first country to allow women to vote in 1893, with the last being Saudi Arabia which granted women the right to vote in 2011. The United States began allowing women to vote in 1920, after the ratification of the 19th Amendment to the Constitution.
* Australia - Australian women, with the exception of aboriginal women, won the vote in 1902. Aborigines, male and female, did not have the right to vote until 1962.
** Canada - Canadian women, with the exception of Canadian First Nation women, won the vote in 1917. Canadian First Nation, male and female, did not win the vote until 1960.
*** South Africa - South African women won equal voting rights in 1930; however, the voting was restricted to just white people until limited suffrage was offered to other non-black racial groups in the 1950s. Black citizens would not have full voting rights until the end of Apartheid in the 1990s.
**** Saudi Arabia - King Abdullah issued a decree in 2011 ordering that women be allowed to stand as candidates and vote in municipal elections, but their first opportunity did not come until Dec. 2015, almost a year after the king's death in January.


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Tag Archives: double
Free Friday Film: Dead Men Walk (1943)
"You creatures of the light, how can you say with absolute certainty what does or does not dwell in the limitless ocean of the night? Are the dark and shrouded legions of evil not but figments of the imagination because you and your puny conceit say that they cannot exist?"
—Prologue, Dead Men Walk
The name George Zucco stokes the deepest reserves of my film geek love. This classically trained Englishman, with his cultured, grave baritone speaking voice and his startling black eyes, indecently bulging forward at will, is a veritable institution in horror.
Despite a distinguished stage career and several notable supporting roles in big Hollywood productions, Zucco found much of his work among B-movie chillers from Universal and cheap Poverty Row shockers. No matter how tawdry the material or how small the part, his effulgent glee in playing mad scientists, wicked priests, and all-round nasty rotters makes his performances richly pleasurable.
Unlike many of Zucco's films, Dead Men Walk gave him substantial material that he could really sink his teeth into: a double role as an upstanding community doctor and his degenerate, occult-obsessed twin brother. The story starts with the funeral of Elwyn Clayton, as his brother Lloyd stands over the coffin. (Note to self: never name my child Elwyn.) Gee, Lloyd doesn't look too broken up. Suddenly, the town crazy lady bursts into the chapel and announces that the dead man doesn't deserve a Christian burial; he was an unnatural sinner. You know, I get the feeling that something's not right here…
Sure enough, later that night, vampire Elwyn has risen from his tomb, abetted by his servant, Zolarr, played by Dwight Frye. Because of course he's played by Dwight Frye. Who else would you call when you need a toady to the undead?
After feasting on a young maiden, Elwyn drops by his brother's office the evening after. It turns out—rather surprisingly—that the good doctor Lloyd actually killed his blasphemous brother. Or tried to, not knowing that his twin had attained immortal life as a vampire. Gloating over his power, Elwyn throws down the gauntlet, vowing a horrible retribution:
"You'll know that I am no intangible figment of your imagination when you feel the weight of my hatred. Your life will be a torment. I'll strip you of everything you hold dear before I drag you down to a sordid death. You'll pray you're dead long before you die."
Yeah, and you thought your sibling was a troublemaker! In all sincerity, Zucco's bald-ish, chortling vampire scares me almost as much as prime Lugosi. As Frank Dello Stritto wrote, "If Lugosi's vampire is something of a lounge lizard, Zucco's is a dirty old man." Indeed, he's the unassuming retiree down the street who secretly wants to suck your blood. His aged, commonplace appearance renders his ugly, mirthless chuckle and his desire to corrupt and destroy young women all the more appalling. He glows with malice.
Rather like E.F. Benson's chillingly ordinary vampire in "Mrs. Amworth," Elwyn is a stealth threat. In fact, I wouldn't be a bit shocked if the writer of Dead Men Walk was thinking of this particular image from "Mrs. Amworth" when dreaming up some scares: "I saw, with the indescribable horror of incipient nightmare, Mrs. Amworth's face suspended close to the pane in the darkness outside, nodding and smiling at me…. [W]hichever window I opened Mrs. Amworth's face would float in, like those noiseless black gnats that bit before one was aware." Like the titular vampire in Benson's tale, Elwyn is at his most creepy when hovering outside a victim's window, bathed in moonlight.
So, who's going to fight this menace? Surely we have some lovable Van Helsing figure, someone we can identify with and cheer on, right? Not exactly.
(Who knew Woodrow Wilson had an evil vampire twin? Which reminds me, does anyone want to greenlight my script for Woodrow Wilson: Vampire Hunter?)
While we expect the bad twin to be effectively spooky and awful, the "normal" twin in Dead Men Walk has a surprisingly grim side too. He murdered his brother, no matter how pure his motives might have been. The side of good isn't so spotless as we might hope, raising questions about the corruption inherent even in fighting evil. The element of fratricide lends gravitas and ambiguity to this dark, dualistic tale of sibling rivalry, a muddied, supernatural Cain and Abel.
Is Dead Men Walk a great film? Well, no, it was made at PRC, and it's not Detour. Directed by Sam Neufield, who's probably best known for the dorky-as-hell I Accuse My Parents, this movie wasn't worthy of its acting talent. The pacing definitely lags, and I'm phrasing that kindly.
Mary Carlisle turns in a likable performance, adding suspense to the story as we see her life essence waning under the vampire's influence. Alas, her love interest could barely choke out his lines. And Dwight Frye does not get enough to do at all. The visuals are appropriately shadowy—often to the point of blacking out parts of faces to suggest the depravity of the villains. Not everyone agrees with me, unfortunately, and some of the reviews elsewhere are just plain cruel. This movie was probably shot in less time than it takes to coax some of today's movie stars out of their trailers, so let's cut it some slack, okay?
If you love horror and derive comfort from snuggling up with a slightly creaky but very creepy 1940s horror flick, you can watch this one for free. And if you don't love that, I will totally haunt you after I'm gone.
This film is in the Public Domain, which means you can watch and download it at the Internet Archive, as well.
Posted in 1940s, Free Friday Film, Horror	| Tagged 1940s, b movie, classic, dead men walk, doppelganger, double, dwight frye, film, free, free film friday, george zucco, horror, mary carlisle, occult, poverty row, PRC, producers releasing corporation, public domain, sam neufield, twins, undead, vampire	| Leave a reply
The Gothic Note: Graham Greene on The Black Room (1935)
Graham Greene—yes, one of the greatest and most enjoyable writers of the 20th century—spent a good bit of the 1930s writing about movies.
And he was the kind of critic who makes me feel unworthy to be a self-appointed critic. His keen powers of observation and unflaggingly sharp ability to zero in on flaws, foibles, and mannerisms could reduce even the most egotistical of entertainment personalities into shuddering piles of fearfulness and remorse. Greene possessed an innate Geiger counter for pretense and commercial tripe. Nothing hindered him from laying into his cinematic victims with a withering British politeness and eloquence.
Which is all the more reason why, when Greene reviews a film favorably, we all ought to pull it off the shelves and give it a fresh look. And, wonder of wonders, when reflecting on the 1935 Karloff vehicle, The Black Room, our emerging novelist remarked in The Spectator:
"I liked this wildly artificial film, in which Karloff acts both a wicked central European count and his virtuous, cultured twin of the Byronic period."
Phew! We can all heave a sigh of relief. Foremost among Greene's reasons for liking the film, he points out that The Black Room affords Karloff a role not as an inarticulate monster, but as both a monstrous, yet pithy human being and a good guy. We get a richer sense of his range.
"Mr Boris Karloff has been allowed to act at last… [A]ny actor could have produced the short barks and guttural rumbles, the stiff, stuffed, sawdust gestures, which was all his parts required of him. A Karloff scenario must have made curious reading. Were those grunts phonetically expressed?"
As much as that last rhetorical question provokes the 1930s equivalent of an LOL, I'm going to have to take issue with you, Graham Greene. (Please don't haunt me! Wait… actually, please do.) Karloff can communicate an extraordinary amount through grunts and jerky motions.
Karloff: double trouble…
Nevertheless, I agree that 'tis a treat indeed to watch Karloff swing into full-on Richard III mode with his wily, sardonic delivery of Baron Gregor's lines. I also appreciate the louche physicality which Karloff explores in the part of a libertine, always lounging in a chair kicked back against a wall, his leg swung over the arm of the chair.
Karloff's Gregor: inventor of "chillin' like a villain"
As for William Roy Neill's handling of the script, Greene accorded the interpretation rather high praise… at the expense of another great horror director:
"The direction is good: it has caught, as Mr James Whale never did with Frankenstein, the genuine Gothic note. Mrs. Radcliffe would not have been ashamed of this absurd and exciting film, of the bones in the oubliette…
"…the scene at the altar when the dog leaps and the paralysed arm comes to life in self-defense,
"…of the Count's wild drive back to the castle, the lashing whip, the rearing horses, the rocketing coach, the strange volley of rocks with its leading cross and neglected Christ, the graveyard with owls and ivy. There is much more historical sense in this film than in any of… the 'scholarly' works of Mr Korda. A whole literary period comes to life…"
I am now going to critique this critique. Those of you with faint hearts may leave.
Dead men don't blog back, so I want to clarify that I am in no way deriding Graham Greene. Let's face it, though, his review does place a major limitation on horror, a limitation which runs the risk of oversimplifying the genre. He's implying that horror should necessarily be Gothic in tone. At least, it seems that he's taking a shot at Whale for abandoning the Gothic aesthetic. By contrast, Greene praises Neill and his "good" direction for remaining faithful to the literary tradition of Radcliffe and Lewis. His whole standard of evaluation hinges on a film's relationship to a specific heritage of terror. I don't think it should be that simple.
Indeed, I advise you not to read Greene's review of Bride of Frankenstein if you happen to be squeamish or if you, like me, simply love that movie—the write-up is about as dismissive as Greene gets. He didn't appreciate any of the camp elements, Whale's "devil's advocate" brand of empathy, or the piquant, looming bizarreness which Whale infused into talkie horror. Instead, the budding novelist kept hammering on the fact that the Bride just wasn't scary in the Gothic sense, when, frankly, I doubt that it was meant to be.
I differ from Greene, because I can't believe the aesthetics of horror are that clear-cut. Gothic—good. Departure from Gothic—bad. Now, I would argue that good horror may borrow elements from the Gothic, but it doesn't need to.
And, yet. Always this "and yet…" haunts me, like the specter of a murdered brother!
I have to admit that Greene does make a strong case for the validity of the Gothic mentality as the core of pleasurable horror flicks. Just to be clear, for me, Gothic atmosphere and style revolves around contrivances, like curses, unspeakable secrets, and twin brothers. The esthetic also requires a certain benighted, costume-y feel which Greene beautifully conjures in the quoted description above. Finally, I would argue that this type of horror is joined to a psychological primitivism, a lack of obvious self-consciousness.
If a man starts hitting on you in a graveyard, you may be in a Gothic novel.
Gothic horror relies upon the ghastly for its thrills: churchyards, stabbings, murderous brigands, hidden deformities, and gruesome ironies. One of my favorite such moments in The Black Room (spoiler alert!) has Baron Gregor assume the bearing and manners of the brother he's just killed while examining himself in the reflective onyx walls of the titular secret chamber.
There's also something about the Gothic that reminds me of Newton's Third Law of Motion. Much of the fun of this genre literature (and Jacobean revenge tragedies, for that matter) derives from some kind of prediction, equation, or vow that ends up getting fulfilled, rather creepily and often with a slight plot twist, in the end. As it does in The Black Room, the conclusion of which I won't disclose, but which you'll understand if you've seen it.
"I begin as I end." The family coat-of-arms and curse.
Another strength of Gothic horror as a genre resides in what I would describe as a lack of psychologizing. In place of tiresomely nuanced self-doubt, we relish heavy generalizations like Lust, Sin, and Innocence that dwell in the realm of the 18th and early 19th centuries. Like Walpole's The Castle of Otranto and Radcliffe's The Mysteries of Udolpho, The Black Room eschews the cumbersome self-analysis that we do get in more "modern" horror flicks, including some good ones, like the 1932 Dr. Jekyll and Mr. Hyde or Cat People.
That's not to say that The Black Room lacks elements that lend themselves to psychological analysis, or to interpretation in general. Take the film's use of mirrors as a means of suggesting moral doubling and division. Then there's the fact that Anton and Gregor came from the same womb and are destined to end up in the same oubliette. But still, you could plausibly watch this movie and get no sense of anything deeper than a fine little chiller.
It's entertainment in a rather pure, uncomplicated form, which is something that Greene and I both like and applaud. As someone who's spent a lot of time studying film, I am refreshed by a film that doesn't really want you to study or over-intellectualize it. I suspect that Greene disliked Whale's movies because he found them too up-front and pretentious in their attempts at exploring the ambitious themes of life, death, and man-as-God.
No doubt, The Black Room deserves a place in the pantheon of classic horror, with its smooth, sinister tracking shots and pitch-perfect screen adaptation of Gothic tropes. The film does revive a whole literary era of wedding feasts cut short and specters of guilt and evil returning—without the self-conscious fear of Freud poking at them with his cigar.
But, and here's where I diverge, The Black Room, despite its stylish qualities, does not herald a new era for horror as a genre, like the 1931 Frankenstein did with its jump cuts, its jarring use of sound, and its masterfully askew cinematography—askew to the point of abstraction at times. It surprises me that Greene, as a man who devoted so much of his time to pondering the fate of man's soul in the face of modernity, did not appreciate the cruel, nervous, decidedly un-Gothic edge that Whale's work adds to horror as a genre.
The "genuine Gothic note": a menaced maiden.
Brave new word: man menaced… by his own creation.
The Black Room is a brilliant relic, though. I cherish it as such, and I strongly recommend that you watch it. So, apparently, did Graham Greene.
Posted in 1930s, Horror	| Tagged 1930s, adaptation, ann radcliffe, black room, boris karloff, cinema, columbia, doppelganger, double, doubling, dungeon, frankenstein, gothic, graham greene, horror, james whale, karloff, literature, marian marsh, monk lewis, oubliette, psychology, spectator, thriller, twins, villain, William Roy Neill	| Leave a reply
Morality Play: Dr. Jekyll and Mr. Hyde (1920)
It's one of my absolute missions in life to get more people to watch silent films. Really, if, on my deathbed, I can say, "Well, I got more people to realize that The Phantom of the Opera is better without duets and Sarah Brightman," I will consider it a small victory against the forces of darkness.
Which is why it's kind of a disappointment to me to have to say that I do not consider Dr. Jekyll and Mr. Hyde a great silent film.
"I'm deeply hurt by your critique, Nitrate Diva. You wound me to my core."
First off, Jekyll's a bore. He doesn't have to be, as Fredric March proved, but here, the part, as written, comes across as such a saint that we, as audience members, almost want him to slip into degradation.
We get it. He's a nice guy. Could we please move onto the bordello now?
This is a problem since he takes frustratingly long to go over to the dark side. Then, once the transformation to Hyde finally occurs… the degenerate immediately takes the potion *again* and flips back to Jekyll. Um, yeah right. Once you've unleashed Hyde, he's going to go paint the town red. I don't buy for one moment that he'd say, "Gee, this is nice and all, but I better make sure that the process is reversible."
However, like many, if not most, of the movies I write about, this 1920 Barrymore vehicle, directed by John S. Robinson, harbors shining moments that redeem it from the dustbin of history and make it worth watching. Stay with me, folks.
So, Barrymore does oblige and scares the Hell out of us with that famous no-cut transformation scene. His facial contortions evoke fear, not in spite of, but rather because of the fact that there's no intervening makeup in that first shot. He's still recognizable, but evil has some how entered him. We get the feeling that his body is nothing more than a suit of clothes—it all depends on how it's worn, and by whom.
I would be very surprised if Kubrick's vision of Jack Torrence hadn't been shaped by this famous personality switch, in that it's the person behind the face, not so much the face itself, that we see warp before our eyes.
Even so, one does get the feeling that it would all work more effectively on a stage. Barrymore spooks us onscreen, but he could hold us totally captive if we were right there, watching it imminently happening. The cinematic medium numbs the visceral reaction, for this viewer at least.
For me, Nita Naldi's performance, not Barrymore's, stands out as the enduring, outstanding one. Something about this Irish-American gal from Harlem (born Nonna Dooley) combusts onscreen, in contrast to the static beauty of The Great Profile.
Okay, so Naldi slightly overplays Gina, the exotic Italian dancer, but every time I watch Dr. Jekyll and Mr. Hyde, I think about how much she could have run wild with the part. She really offers a subdued portrait of a woman on her way down—a dancer on the verge of prostitution who finally falls and doesn't get back up.
She's temptation incarnate, yes, but doesn't take it too far. She comes across as a full person who wants to make a living and have a bit of fun, but still has a sense of decency that can be violated. In the scene when she's first asked to vamp Jekyll, you can see several subtle emotional shades.
Left with Barrymore's older libertine friend, Gina broods.
At first, she's skeptical about the "assignment," then amused, then genuinely attracted (It's Barrymore, for Heaven's sake!), then hurt and ashamed when he spurns her. She also appears in perhaps the best scene in the movie: we find Gina after Hyde's discarded her and is already buying his next victim…
We've only seen the back of Gina's head at the other end of the dive, then she goes up to the bar, turns and glares at Hyde. In the close-up reveal, she looks like death.
I don't know what we expect at this point. Probably not any kind of repentance from Hyde, but we don't think it's possible for him to get worse. And then he does.
He grabs the young whore and Gina and drags them both over to a mirror, as if to say, "Well, duh, Gina, she's hotter. You can see for yourself!" This action chills us because we weren't anticipating it. Normal guys dump girls when their, ahem, needs are met, but Hyde's viciousness goes beyond selfishness. He shows that true evil isn't indifference, but outright sadism.
If March's Hyde (in the adaptation that came along just 11 years afterwards) gained anything from Barrymore's (although ol' Freddy was quite careful about taking it in a different direction), I would argue that the 1931 performance displays the same mocking politeness and deliberate desire to wound his victims in every way. For instance, after kicking Gina out, Hyde makes a little bow as gentleman would to a passing lady. March's Hyde also parodies the airs and fine manners of his kind counterpart as a way of showing how hollow these gestures of politeness are—when wickedness lurks beneath.
The really sad part of the scene I've described above, however, arises from the fact that the new girl goes with Hyde in spite of enough red flags to read as an S.O.S. to any sensible woman.
I applaud that realism. I mean, what's she going to say to the Madame? "But he seemed like a jerk!" I doubt that would fly. She's made her bed and now she's got to lie in it.
The film circles back multiple times to the idea of prostitution and of the woman in decline: consumed and then thrown away.
Right before Jekyll goes into the dance hall where he meets Gina, this shot of a random, grizzled streetwalker suddenly fills the screen. Robinson, the director, clearly wants us to cherish no illusions. No matter how prostitution starts, it ends up really ugly.
Now, this focus on vice was nothing new for cinema in 1920. In fact, the plot trope of young girls ruined by white slavery featured in several popular "problem pictures," such as The Inside of the White Slave Traffic (1913) and the much more ambitious feature, Traffic in Souls. Yet, these dramatizations morally hedged their bets.
On the one hand, they warned young girls not to put themselves in bad situations and exposed a social ill. On the other, they procured the kind of titillation that vicariously invading forbidden spaces like brothels or shady dancehalls automatically provides—without implying unnecessary sin on the part of the viewer.
Dr. Jekyll and Mr. Hyde plays on the same double code. For instance, consider this shot, of elegant men crowding into a doorway to watch Gina shimmy in her scant shawl.
Not only do we get the sense of the male gaze, but also of a cold, dehumanized, upper class male gaze. We can't see their faces. They stand as vaguely sinister icons of pleasure-seeking gentleman slummers. They visit the underworld, yet remain untouched by its cheapness.
They don't pay the real price of what goes on here, although they fuel the wickedness with their appetites and their money. And yet, aren't they just slightly more hands-on versions of the movie audience that's come to savor the spectacle of degradation—once removed?
A preachy, muckraking quality dates Dr. Jekyll and Mr. Hyde and infuses it with somewhat distasteful hypocrisy. Nevertheless, what I appreciate about the film resides in how it engages a tactile revulsion in its viewers. The emphasis on Hyde's hands stands out thanks to a close-up during the transformation…
Just looking at these hands, we can easily imagine what it feels like to be touched by them. They're scabby, scratchy, leathery, and all-round gross. Second only to Barrymore's obscene conical head, these hands translate the sexually predatory nature of Hyde. When he finally has his freshest filly alone, he pulls off her shawl and immediately palms her chest.
It's disgusting—because that tactile sensation has been cleverly foregrounded. We can practically feel Hyde's hands. The twitchy, avid motions of his fingers draw the eye to wherever his hand goes in a haptic manner—that is, his hand makes the eyes "touch" the screen and feel as though they're being touched. Skeeved out yet?
There's also another scene, which I would usually file under silly, if not for how much it resonates with me. Jekyll's sworn off the potion, but the potion hasn't sworn off him. It comes back to him in the form of a huge spider that crawls into his bed and re-injects him with its wicked venom. He spontaneously merges back into Hyde.
Hm. Addiction metaphor, anyone? Detox hallucinations? Perhaps because it's Barrymore and we all know how alcohol destroyed him, but this superimposed spider conveys the creeping violation of compulsive behavior that always comes back, whether you want it to or not, whether you can resist another moment or whether it vanquishes you. I also suspect that this scene inspired Ray Milland's bat hallucination DT's sequence in Billy Wilder's addiction picture, The Lost Weekend.
Again, the spider calls up a cinema-triggered indirect tactile sensation. I shudder, almost as though I can feel a spider scuttling along my skin.
In the end, I do recommend this silent—not because it's a brilliant horror film, but rather because it does interject some gritty realism and consciousness of self-abuse into horror. Many scholars have remarked that the genre works out hidden social and moral issues. Well, this one never gets too far away from them in the first place.
Posted in 1920s, Horror	| Tagged 1920s, addiction, analysis, barrymore, cinema, doppelganger, double, dr. jekyll and mr. hyde, haptic, history, horror, hyde, jekyll, john barrymore, john robertson, literature, mad scientist, movie, nita naldi, problem picture, prostitution, psychology, robert lewis stevenson, science, silent, silent film, tactile, vice, white slavery	| Leave a reply


in response to reader comment: prophet mohammed said " who ever changes his islamic religion, KILL him "
Prophet Mohoammed (PBUH) was the greatest person, the most peaceful person and full of wisdom. Whatever u human try to get down Islam, nothing will work, as this religion is protected by the almighty God, Allah. and it is growing fastest than any religion, by the help of his protection.


text:
<?php
namespace Customer\Form;
use Zend\Form\Form;
use Zend\Form\Element;

class UpdateForm extends Form

{
	public function __construct($name = null)
	{
		parent::__construct('UpdateCustomer');
		$this->setAttribute('method', 'post');

		$id=new Element('id');

		$id->setAttributes(array(
				'type'=>'hidden',

				'size'=> '16',
		));
		$customer_name=new Element('customer_name');
		$customer_name->setLabel('Name ')
		->setAttributes(array(
				'type'=>'text',

				'size'=> '32',
		));

		$address=new Element\Textarea('address');
		$address->setLabel('Enter Billing Address ')
		->setAttributes(array(

				'rows'=>'10',
		        'cols'=>'30',
		));

		$term=new Element('term');
		$term->setLabel('Term')
		->setAttributes(array(
				'type'=>'text',

				'size'=> '8',
		));

		$phone=new Element('phone');
		$phone->setLabel('Phone ')
		->setAttributes(array(
				'type'=>'text',

				'size'=> '16',
		));

		$fax=new Element('fax');
		$fax->setLabel('Fax ')
		->setAttributes(array(
				'type'=>'text',

				'size'=> '16',
		));
		$email=new Element('email');
		$email->setLabel('Email Address ')
		->setAttributes(array(
				'type'=>'text',

				'size'=> '64',
		));

		$customer_comment=new Element('customer_comment');
		$customer_comment->setLabel('Comment ')
		->setAttributes(array(
				'type'=>'text',

				'size'=> '32',
		));

		$send=new Element('send');
		$send->setValue('Update')->setAttributes(array('type'=>'submit'));

		$this->add($id)->add($customer_name)->add($address)->add($term)->add($phone)->add($fax)
		->add($email)->add($customer_comment)->add($send);

	}
	public function getPureData()
	{
		$data=$this->getData();
		unset($data['send']);
		return $data;
	}
}

redpajama_set_name: RedPajamaGithub


text:
Troy Deeney: 'Vincent Kompany is the league's best centre-back since Rio Ferdinand, but if I'm on form he'll have a tough day'
Watford striker Troy Deeney celebrates scoring against Wolves in the FA Cup semi-final Credit: PA
Jason Burt, Chief Football Correspondent
17 May 2019 • 9:00pm
Jason Burt
Follow your club now for first access to all our news, views and analysis
Troy Deeney says he is relishing a "real battle" with Vincent Kompany in the FA Cup Final.
The captains of Watford and Manchester City will go head-to-head at Wembley, with Deeney rating Kompany the best centre-half in the Premier League over the past decade since Rio Ferdinand.
"I haven't seen a better centre-half since Rio," the striker said. "Obviously [Virgil] Van Dijk is up there doing it now, but in terms of the 10-year span of Vincent Kompany, Rio Ferdinand was probably the last proper centre-half."
However Deeney is backing himself to unsettle Kompany and City. "I think if I play well they'll have had a very difficult day," he said. "If there's a lot of crosses in the box, as much as I really respect Mr Kompany, he would say it's not going to be an easy day… if I'm on my A-game it'll be a very difficult game for whoever's playing.
"Me and Vincent Kompany have got a lot of respect for each other, I think. I know I have for him, but based on conversations we've had, as well as I know, he knows that whenever we're going up against each other it's going to be a real battle. Because he's naturally physically strong, I enjoy a physical battle, and neither of us are ever going to back down from one another… we're definitely going to have a few battles and whoever comes out on top will have a massive impact on the game."
Newsletter promotion - football nerd - inarticle
Despite his appetite for the physical side of football there is much more to Deeney's game. "I don't mean to be disrespectful but I don't care what people say about how I play football," the 30-year-old said.
"My only bit of encouragement comes from when I come off the pitch and a player will say 'great game' or this, that or the other. That's different. I get called fat all the time. You crack on, and it is what it is. You can only change people's perspective by delivering on the pitch and that's what I'd like to think I've done for the large part of my career."
Vincent Kompany has just lifted the Premier League trophy for Manchester City Credit: Getty Images
Watford will draw inspiration not just from Wigan Athletic's FA Cup Final win over City in 2013 – and they are a far better team than Wigan who were relegated that year – but also what Deeney claims could be the "year of the underdog" given Liverpool and Tottenham Hotspur's remarkable comebacks in their Champions League semi-finals.
"You look at Spurs this season, underdog mentality going into the second legs, you would say that no-one really gave Liverpool a chance. So it could be the year of the underdog, who knows? We're not a bad outfit, we'll give anyone a game and on our day we can beat anyone. And that's what we need to do, we need to have our day and hope that Man City have an off day."
Deeney added: "It's not going to be career-defining for me. If I don't win a trophy everyone's not going to go 'oh, he's rubbish'. They think I'm rubbish anyway, so… We're going to enjoy it. We're not naïve, this is a massive, massive test, probably the hardest one, but if you want to win trophies, and get into Europe, then you have to play against the best."
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1) >"Individual Islamists may appear law-abiding and reasonable, but they are part of a totalitarian movement, and as such, all must be considered potential killers." I wrote those words days after September 11, 2001, and have been criticized for them ever since.< . ...Did you ever expect not to be criticized?
2) >Muslims should address this fear by developing a moderate, modern, and good-neighborly version of Islam that rejects radical Islam, jihad, and the subordination of "infidels." Since all Muslims draw their inspiration from Mecca and the Koran, can we reasonably expect a variety of opinion to come from a common sacrocanct source?


BEFORE YOU CAN create a great pitch, you first have to make a mediocre pitch. Don't worry about the quality of the first draft. Just write down all the information asked for in the Investor Pitch outline, get the facts down, and collect all the pieces. Then you can begin to iterate and make it better.
When I'm creating a first-ever pitch for my own startup or for the dozens of startups I help with each year, I don't fret over the story at this point. Nor do I worry about style. I simply go through the Investor Pitch outline, slide-by-slide, and drop in a few bullets of information on each slide.
Your first pitch deck is just a first draft.
You'll have plenty of time to edit the words later. Don't optimize the language in the first draft.
You'll be spending many hours tweaking the design later. Don't even bother with a template for the first draft. Black text on a white background is sufficient.
Keep it simple. Do it quickly. Expect to throw away most of it as you make it better.


text:
Subject: French President Sarkozy Calls for European Sovereign Wealth Funds to Protect Assets
URL: http://mney.co/1d35Bjz
French President Sarkozy Calls for European Sovereign Wealth Funds to Protect Assets
By Jason Simpkins, Managing Editor, Money Morning • October 22, 2008
By Jason Simpkins
Money Morning
Concerned about the recent decline in stock prices, French President Nicolas Sarkozy, yesterday (Tuesday) called for the creation of European sovereign wealth funds. The funds would be virtual carbon copies of the state-owned investment vehicles that have sprung up from Beijing to Abu Dhabi to disperse their respective nations' cash reserves in foreign assets.
Addressing the European Parliament, President Sarkozy implored his European contemporaries to embrace the current period of economic upheaval as an opportunity to restructure the global financial system. According to the Daily Telegraph, he also articulated the concern of many Western authorities that sovereign wealth funds, located primarily in Asia and the Middle East, could use their massive cash reserves to scoop up key foreign assets at extraordinarily low valuations.
"Stock markets are at historic lows. I do not want European citizens to wake up a few months from now and discover that European companies belong to non-European capital which has bought at the lowest point of the stock exchange," Sarkozy said. "I would ask that all of us consider how interesting it would be to set up sovereign funds in each of our countries – and maybe these national sovereign funds could now and again coordinate to give an industrial response to the crisis."
Sovereign wealth funds, or SWFs, currently control an estimated $3 trillion. That's already believed to be more than the $1.5 trillion to $2 trillion held by worldwide hedge funds (though some sources put the hedge-fund estimate as high as $5 trillion).
The International Monetary Fund (IMF) and other experts predict the state-run venture funds could control $12 trillion by 2015. But Money Morning Investment Director Keith Fitz-Gerald thinks the ultimate total will actually be much higher: Even now, he estimates that the total capital under the control of the "Global Cash Barons" is more likely to reach $20 trillion by the middle of the next decade. [To fully understand the growing power and influence of sovereign wealth funds worldwide, check out this Money Morning report: "Three Ways to Profit From Sovereign Wealth Funds: The Next Wall Street."]
Some of the most prominent funds include China Investment Corp., which holds an estimated $200 billion, and the Abu Dhabi Investment Authority, which controls as much as $875 billion.
Conflicts of interests have already cropped up with respect to international takeovers, most notably in the form of Bain Capital Partners LLC and Huawei Technologies Co.'s failed takeover of Marlborough, Mass.-based 3Com Corp. (COMS).
In September 2007, China's No. 1 network-equipment maker and Bain Capital launched a $2.2 billion takeover bid for 3Com. The deal stipulated that Huawei would receive a 16% stake in 3Com, leaving the rest to Bain. However, complications arose when the U.S. government expressed reservation about the deal and the possible breach of national security.
The fact that Shenzhen-based Huawei was founded by Ren Zhengfei, a former officer in the Chinese army, raised suspicion about the company's intentions for 3Com, which has its own ties to the Pentagon.
3Com's Tipping Point unit makes security software for the U.S. government, and policymakers worry that 3Com's networking technology would allow China to eavesdrop on U.S. domestic conversations. Another concern was that the company's encryption technology would make Chinese networks harder to tap.
Similarly, the year prior, Dubai Ports World – a United Arab Emirates-based maritime company – bowed to pressure from U.S. Congress and sold off its U.S. port operations to an American owner.
"There are a number of big French or European groups whose market value today is a third of what it was six months ago," Sarkozy said, expressing his reservations about the growing role of SWFs. "Yet, there exists in the world sovereign funds with considerable means," he said.
Europe's Dow Jones Stoxx 600 Index has lost nearly half of its value since peaking in June 2007.
Sarkozy deflected criticism from former European Trade Commissioner Peter Mandelson, who described attempts to exclude foreign competitors from European markets as a modern day, economic "Maginot Line," the highly touted, very expensive, and supremely ineffective defensive barrier erected in France prior to World War II as a deterrent to German intrusion.
"It is not a question of building a Maginot Line," said Sarkozy, "What you have to do is take into account the pragmatic situation, the markets are depressed."
Critics of Sarkozy's request point out that Europe lacks adequate funding to create its own SWFs. The funds that sprang from Asia and the Middle East in recent years have huge pools of foreign exchange reserves and petrodollars to draw from. European nations don't have these stockpiles of cash.
"We simply don't have the money," Joerg Kraemer, chief economist at Frankfurt-based Commerzbank AG (OTC ADR: CRZBY) told Bloomberg.
Sarkozy's proposal also "suggests that all foreign sovereign wealth funds are negative," Kramer went on. "That's an assumption I don't share."
Money Morning:
3Com Sues Bain Capital For $66 Million Failed Takeover
Daily Telegraph:
Sarkozy urges protection of companies from non-European takeovers
Sarkozy Calls for EU Funds to Buy Cut-Price Shares
French President Sarkozy Calls for European Sovereign Wealth Funds to Protect Assets | Jutia Group
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WOW, THERE GOES FREE MARKET CAPITALISM.
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Sheesha in Toronto is enjoyed by many looking to spend a relaxing (and yes, legal) night out. Its roots trace back to India, though now sheesha has arguably entered the mainstream worldwide. The practice of adding flavours, though, such as cherry, blackberry, or mint, is relatively new, and has really taken hold just over the past 20 or 30 years.
Sheesha (or shisha, narghile, mu'assel ) typically contains tobacco, but herbal versions are also produced (and available at some places listed below) which contain no tobacco or nicotine. Of course, the bubbling sound, gentle buzz, and overall sensation can be addicting in itself. Fortunately, there are several places in Toronto where you can indulge, along with a meal, coffee, or dessert.
At Bloor and Ossington, Sheesha Lounge and Coffee House is a restaurant, café, and sheesha lounge all meshed into one. On the restaurant end, Sheesha Lounge offers items such as gourmet pizza and goat cheese and chicken organic salad, the cafe boasts specialty coffees and pastries made on site, and then, of course there's the sheesha lounge in the back complete with hookahs imported from Syria and Egypt. Various regular flavours are available, or you can opt for "V.I.P. Sheesha," which uses distilled water and filtered ice for improved taste.
What Exactly is a Hookah?


Synchronizes a specified domain controller with all of its replication partners.
By default, if no directory partition is provided in the <Naming Context> parameter, the command performs its operations on the configuration directory partition.
Specifies the host name of a domain controller. For detailed syntax, see Repadmin.
The flags in the following list are supported.


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Fantastical dreams of something for nothing - Macleans.ca
Fantastical dreams of something for nothing
It's only proper students pay their fair share
by From the editors
Photograph by Roger LeMoyne
Last week voters in France and Greece turned their backs on fiscal discipline, preferring the illusion that it's not necessary to fix their own problems. As Senior Writer Michael Petrou explains in his story on the EU crisis ("Europe votes its troubles away," page 26), austerity and responsibility are not always the most attractive ballot options.
This week, university students in Quebec will put their own grasp of reality to the test. After several months of often-violent protests against planned tuition fee increases, Quebec students are voting on the government's latest proposal that maintains the hikes but creates a new and fairer system for student loan repayment. Early reaction from students opposing the plan suggests reality will once again be stymied. For now.
It is beyond debate that a university degree provides substantial economic benefits to the holder. The average after-tax income boost enjoyed by a university graduate is on the order of $15,000. Per year. Society at large may benefit from a well-educated workforce, but these gains are disproportionately weighted toward students themselves. It's only proper students pay their fair share.
With the province in a fiscal crunch, the Quebec government has decided post-secondary students should increase their contribution to 17 per cent of total education costs. Quebec, of course, currently has the lowest tuition in the country. After the proposed increase of $1,625 spread over seven years, and assuming other provinces maintain current policies, Quebec's tuition rates will end up higher than just one other province—Newfoundland. Adjusted for inflation, the new Quebec tuition rate will be no higher than what was in place in 1968. It's still a tremendous bargain.
Premier Jean Charest, a politician not known for his rigidity, has rightly declared the tuition increase to be "non-negotiable." In an effort to sway students, however, the province has already made numerous concessions. It has agreed to investigate the possibility of lowering extra fees charged by schools, create a university budget oversight body and switch to income-contingent loans.
To the extent tuition may pose a financial barrier for low-income students and their families (and a preponderance of research suggests it doesn't), the province has offered to make repayment proportional to post-graduation income. "The student who earns less will not have to repay as much," explained Raymond Bachand, Quebec's finance minister.
All told, it's a great deal for students. And popular support is strongly behind both Charest and the sense that students ought to pay a reasonable share of their own education.
In response, the loudest of the three groups purporting to represent students has made a series of nonsensical counter-demands. The group CLASSE wants to limit the amount of research that goes on at provincial universities, prevent schools from advertising and halt new construction. In other words, they want to put an end to competition, growth and the creation of new knowledge on campus. Not exactly a road map to a world-class education system.
CLASSE then ventures deep into economic absurdity by demanding the province institute a capital tax on financial institutions to raise $410 million and make tuition entirely free. Capital taxes are the least efficient of all forms of taxation. And with the province reeling from a $184-billion debt, the last thing Quebec's economy can afford is a massive new social mandate such as free tuition.
Quebec's students, as with Greek and French voters, have the right to make their views known at the ballot box as well as in public. And everyone likes the idea of getting something for nothing. But outrageous demands and fantastical dreams must inevitably collide with fiscal reality. The rest of the province is neither willing nor able to pay the full cost of a quality university education. The students have a good deal in front of them. It's time to get back to class.
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