That, by itself, is wonderful, for there are few people who remember that they have been to Faery or aught of all that happened to them in that state.
In truth we do not go to Faery, we become Faery, and in the beating of a pulse we may live for a year or a thousand years. But when we return the memory is quickly clouded, and we seem to have had a dream or seen a vision, although we have verily been in Faery.
It was wonderful, then, that Fionn should have remembered all that happened to him in that wide-spun moment, but in this tale there is yet more to marvel at; for not only did Fionn go to Faery, but the great army which he had marshalled to Ben Edair [The Hill of Howth] were translated also, and neither he nor they were aware that they had departed from the world until they came back to it.
Fourteen battles, seven of the reserve and seven of the regular Fianna, had been taken by the Chief on a great march and manoeuvre. When they reached Ben Edair it was decided to pitch camp so that the troops might rest in view of the warlike plan which Fionn had imagined for the morrow. The camp was chosen, and each squadron and company of the host were lodged into an appropriate place, so there was no overcrowding and no halt or interruption of the march; for where a company halted that was its place of rest, and in that place it hindered no other company, and was at its own ease.
When this was accomplished the leaders of battalions gathered on a level, grassy plateau overlooking the sea, where a consultation began as to the next day's manoeuvres, and during this discussion they looked often on the wide water that lay wrinkling and twinkling below them.
A roomy ship under great press of sall was bearing on Ben Edair from the east.
Now and again, in a lull of the discussion, a champion would look and remark on the hurrying vessel; and it may have been during one of these moments that the adventure happened to Fionn and the Fianna.
"I wonder where that ship comes from?" said Cona'n idly.
But no person could surmise anything about it beyond that it was a vessel well equipped for war.
As the ship drew by the shore the watchers observed a tall man swing from the side by means of his spear shafts, and in a little while this gentleman was announced to Fionn, and was brought into his presence.
A sturdy, bellicose, forthright personage he was indeed. He was equipped in a wonderful solidity of armour, with a hard, carven helmet on his head, a splendid red-bossed shield swinging on his shoulder, a wide-grooved, straight sword clashing along his thigh. On his shoulders under the shield he carried a splendid scarlet mantle; over his breast was a great brooch of burnt gold, and in his fist he gripped a pair of thick-shafted, unburnished spears.
Fionn and the champions looked on this gentleman, and they admired exceedingly his bearing and equipment.
"And you have come to this realm," cried Fionn, doubting his ears.
"For tribute and sovereignty," growled that other, and he struck the haft of his spear violently on the ground.
"It is no small boast," Cona'n murmured, staring at him.
"Give out your deed," Fionn commanded.
And so harshly did he speak, and with such a belligerent eye did he stare, that dismay began to seize on the champions, and even Fionn felt that his breath had halted.
"This son of Rona'n will not long be notable," the stranger asserted.
"He can outstrip the red deer," said Cona'n.
"He can outrun the wind," cried Fionn.
"He is not with us," Cona'n lamented.
"These notable warriors are never with us when the call is made," said the grim stranger.
"I will not hurt any of these people until you return," he said.
He had not gone a great distance from Ben Edair when he came to an intricate, gloomy wood, where the trees grew so thickly and the undergrowth was such a sprout and tangle that one could scarcely pass through it. He remembered that a path had once been hacked through the wood, and he sought for this. It was a deeply scooped, hollow way, and it ran or wriggled through the entire length of the wood.
Into this gloomy drain Fionn descended and made progress, but when he had penetrated deeply in the dank forest he heard a sound of thumping and squelching footsteps, and he saw coming towards him a horrible, evil-visaged being; a wild, monstrous, yellow-skinned, big-boned giant, dressed in nothing but an ill-made, mud-plastered, drab-coloured coat, which swaggled and clapped against the calves of his big bare legs. On his stamping feet there were great brogues of boots that were shaped like, but were bigger than, a boat, and each time he put a foot down it squashed and squirted a barrelful of mud from the sunk road.
Fionn had never seen the like of this vast person, and he stood gazing on him, lost in a stare of astonishment.
"All alone, Fionn?" he cried. "How does it happen that not one Fenian of the Fianna is at the side of his captain?" At this inquiry Fionn got back his wits.
"Yet tell it now," the monstrous man insisted.
Fionn, thus pressed, told of the coming of Cael of the Iron, of the challenge the latter had issued, and that he, Fionn, was off to Tara of the Kings to find Caelte mac Rona'n.
"I know that foreigner well," the big man commented.
"Is he the champion he makes himself out to be?" Fionn inquired.
"He can do twice as much as he said he would do," the monster replied.
"He won't outrun Caelte mac Rona'n," Fionn asserted. The big man jeered.
"I know how to do these things," the other man commented with a slow nod of the head.
"I will do that," the man replied.
When they came among the host the men of Ireland gathered about the vast stranger; and there were some who hid their faces in their mantles so that they should not be seen to laugh, and there were some who rolled along the ground in merriment, and there were others who could only hold their mouths open and crook their knees and hang their arms and stare dumbfoundedly upon the stranger, as though they were utterly dazed.
Cael of the Iron came also on the scene, and he examined the stranger with close and particular attention.
"What in the name of the devil is this thing?" he asked of Fionn.
Cael of the Iron grew purple in the face, and he almost swallowed his tongue through wrath.
But at this the Carl burst into a roar of laughter, so that the eardrums of the warriors present almost burst inside of their heads.
"I never run less than sixty miles," Cael replied sullenly.
"I don't care how it is done," Cael answered.
"Let it be done that way," said Cael.
These two set out then for Munster, and as the sun was setting they reached Slieve Luachra and prepared to spend the night there.
"I'Il build nothing," Cael replied, looking on the Carl with great disfavour.
The Carl stumped to a near-by wood, and he never rested until he had felled and tied together twenty-four couples of big timber. He thrust these under one arm and under the other he tucked a bundle of rushes for his bed, and with that one load he rushed up a house, well thatched and snug, and with the timber that remained over he made a bonfire on the floor of the house.
His companion sat at a distance regarding the work with rage and aversion.
"The tooth that does not help gets no helping," the other replied.
In a short time the Carl returned with a wild boar which he had run down. He cooked the beast over his bonfire and ate one half of it, leaving the other half for his breakfast. Then he lay down on the rushes, and in two turns he fell asleep.
But Cael lay out on the side of the hill, and if he went to sleep that night he slept fasting. It was he, however, who awakened the Carl in the morning.
Cael began to race then, and he was glad of the start, for his antagonist made so little account of him that he did not know what to expect when the Carl would begin to run.
"Yet," said Cael to himself, "with an hour's start the beggarman will have to move his bones if he wants to catch on me," and he settled down to a good, pelting race.
At the end of an hour the Carl awoke. He ate the second half of the boar, and he tied the unpicked bones in the tail of his coat. Then with a great rattling of the boar's bones he started.
It is hard to tell how he ran or at what speed he ran, but he went forward in great two-legged jumps, and at times he moved in immense one-legged, mud-spattering hops, and at times again, with wide-stretched, far-flung, terrible-tramping, space-destroying legs he ran.
He left the swallows behind as if they were asleep. He caught up on a red deer, jumped over it, and left it standing. The wind was always behind him, for he outran it every time; and he caught up in jumps and bounces on Cael of the Iron, although Cael was running well, with his fists up and his head back and his two legs flying in and out so vigorously that you could not see them because of that speedy movement.
Trotting by the side of Cael, the Carl thrust a hand into the tail of his coat and pulled out a fistfull of red bones.
Cael then began to move his limbs as if they were the wings of a fly, or the fins of a little fish, or as if they were the six legs of a terrified spider.
"I am running," he gasped.
"But try and run like this," the Carl admonished, and he gave a wriggling bound and a sudden outstretching and scurrying of shanks, and he disappeared from Cael's sight in one wild spatter of big boots.
He settled then to a determined, savage, implacable trot. He caught up on the Carl at last, for the latter had stopped to eat blackberries from the bushes on the road, and when he drew nigh, Cael began to jeer and sneer angrily at the Carl.
"Who lost the tails of his coat?" he roared.
"Don't ask riddles of a man that's eating blackberries," the Carl rebuked him.
"The dog without a tall and the coat without a tail," cried Cael.
"I give it up," the Carl mumbled.
"It's yourself, beggarman," jeered Cael.
"I am myself," the Carl gurgled through a mouthful of blackberries, "and as I am myself, how can it be myself? That is a silly riddle," he burbled.
"Not half a second will I wait," Cael replied, and he began to run towards Ben Edair as a lover runs to his maiden or as a bee flies to his hive.
"I haven't had half my share of blackberries either," the Carl lamented as he started to run backwards for his coat-tails.
He ran determinedly on that backward journey, and as the path he had travelled was beaten out as if it had been trampled by an hundred bulls yoked neck to neck, he was able to find the two bushes and the two coat-tails. He sewed them on his coat.
Then he sprang up, and he took to a fit and a vortex and an exasperation of running for which no description may be found. The thumping of his big boots grew as con-tinuous as the pattering of hailstones on a roof, and the wind of his passage blew trees down. The beasts that were ranging beside his path dropped dead from concussion, and the steam that snored from his nose blew birds into bits and made great lumps of cloud fall out of the sky.
He again caught up on Cael, who was running with his head down and his toes up.
And with that he incensed and exploded himself into an eye-blinding, continuous, waggle and complexity of boots that left Cael behind him in a flash.
"I will run until I burst," sobbed Cael, and he screwed agitation and despair into his legs until he hummed and buzzed like a blue-bottle on a window.
Five miles from Ben Edair the Carl stopped, for he had again come among blackberries.
He ate of these until he was no more than a sack of juice, and when he heard the humming and buzzing of Cael of the Iron he mourned and lamented that he could not wait to eat his fill He took off his coat, stuffed it full of blackberries, swung it on his shoulders, and went bounding stoutly and nimbly for Ben Edair.
It would be hard to tell of the terror that was in Fionn's breast and in the hearts of the Fianna while they attended the conclusion of that race.
They discussed it unendingly, and at some moment of the day a man upbraided Fionn because he had not found Caelte the son of Rona'n as had been agreed on.
"There is no one can run like Caelte," one man averred.
"He covers the ground," said another.
The messengers began to run through his tent at minute intervals calling "nothing," "nothing," "nothing," as they paused and darted away.
And the words, "nothing, nothing, nothing," began to drowse into the brains of every person present.
"What can we hope from that Carl?" a champion demanded savagely.
"Nothing," cried a messenger who stood and sped.
"A clump!" cried a champion.
"Nothing," cried a messenger, and was sped as he spoke.
Rage began to gnaw in Fionn's soul, and a red haze danced and flickered before his eyes. His hands began to twitch and a desire crept over him to seize on champions by the neck, and to shake and worry and rage among them like a wild dog raging among sheep.
"Where to, O Fionn?" said a champion humbly.
"To the hill-top," said Fionn, and he stalked on.
What do you see?" Fionn demanded of the watcher.
"What do you see?" said Fionn.
"I will look myself," said Fionn, and his great brow bent forward and gloomed afar.
"What can you see, O Fionn?" said the watcher.
"I can see nothing," said Fionn, and he projected again his grim, gaunt forehead. For it seemed as if the watcher stared with his whole face, aye, and with his hands; but Fionn brooded weightedly on distance with his puckered and crannied brow.
"What can you see?" said Fionn.
"I see nothing," said the watcher.
"I do not know if I see or if I surmise, but something moves," said Fionn. "There is a trample," he said.
"There is a dust," he said.
"I see a man," said the eagle-eyed watcher.
And again they stared, until their straining eyes grew dim with tears and winks, and they saw trees that stood up and sat down, and fields that wobbled and spun round and round in a giddily swirling world.
"There is a man," Cona'n roared.
"A man there is," cried another.
"And he is carrying a man on his back," said the watcher.
"It is Cael of the Iron carrying the Carl on his back," he groaned.
"The great pork!" a man gritted.
But the eagle-eyed watcher watched until his eyes narrowed and became pin-points, and he ceased to be a man and became an optic.
And they waited, looking no longer on that scarcely perceptible speck in the distance, but straining upon the eye of the watcher as though they would penetrate it and look through it.
"Are you sure?" said Fionn in a voice that rumbled and vibrated like thunder.
Then the Fianna gave a roar of exultation, and each man seized his neighbour and kissed him on both cheeks; and they gripped hands about Fionn, and they danced round and round in a great circle, roaring with laughter and relief, in the ecstasy which only comes where grisly fear has been and whence that bony jowl has taken itself away.
The Carl of the Drab Coat came bumping and stumping and clumping into the camp, and was surrounded by a multitude that adored him and hailed him with tears.
And he bawled, "Meal, meal!" until he bawled everybody into silence.
"For the inside of my mouth," said the Carl, "for the recesses and crannies and deep-down profundities of my stomach. Meal, meal!" he lamented.
The Carl put his coat on the ground, opened it carefully, and revealed a store of blackberries, squashed, crushed, mangled, democratic, ill-looking.
"What of the race, my pulse?" said Fionn.
Into the centre of the mess of blackberries he discharged a barrel of meal, and be mixed the two up and through, and round and down, until the pile of white-black, red-brown slibber-slobber reached up to his shoulders. Then he commenced to paw and impel and project and cram the mixture into his mouth, and between each mouthful he sighed a contented sigh, and during every mouthful he gurgled an oozy gurgle.
But while Fionn and the Fianna stared like lost minds upon the Carl, there came a sound of buzzing, as if a hornet or a queen of the wasps or a savage, steep-winged griffin was hovering about them, and looking away they saw Cael of the Iron charging on them with a monstrous extension and scurry of his legs. He had a sword in his hand, and there was nothing in his face but redness and ferocity.
Fear fell llke night around the Fianna, and they stood with slack knees and hanging hands waiting for death. But the Carl lifted a pawful of his oozy slop and discharged this at Cael with such a smash that the man's head spun off his shoulders and hopped along the ground. The Carl then picked up the head and threw it at the body with such aim and force that the neck part of the head jammed into the neck part of the body and stuck there, as good a head as ever, you would have said, but that it bad got twisted the wrong way round. The Carl then lashed his opponent hand and foot.
"Now, dear heart, do you still claim tribute and lordship of Ireland?" said he.
The Carl lifted him then and put him sitting into his ship. Then he raised his big boot and gave the boat a kick that drove it seven leagues out into the sea, and that was how the adventure of Cael of the Iron finished.
"Who are you, sir?" said Fionn to the Carl.
But before answering the Carl's shape changed into one of splendour and delight.
"I am ruler of the Shi' of Rath Cruachan," he said.
Then Fionn mac Uail made a feast and a banquet for the jovial god, and with that the tale is ended of the King of Thessaly's son and the Carl of the Drab Coat.
You might also enjoy other stories by James Stephens.


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The Comic Critic Reviews "Woman in the Window"
The Woman in the Window is a classic Noir film. You have the hero, who is also the anti-hero because his actions press against the rules of society. You have the femme fatale, whose appearance apparently dooms the hero. You have no-nonsense dialogue that's sometimes slangy but always has an edge of flirtation. And lastly, you have cinematography that is consistently clever in its use of stark, contrasting lighting and shadows. The Woman in the Window meets all of those qualifications. It also delves into a premise, set forth at the beginning of the film, on the moral selection that defines a killing as murder. From that point on, it's easy for the story to bring down a wrath-from-god judgment on the offender of the commandment: Thou shall not kill. The femme fatale can be seen as the alluring Eve offering the forbidden fruit that would lead to the breaking of yet more commandments. Our would-be-innocent hero is stepping along the edge of propriety and suddenly finds himself entangled in more than an academic exercise. Now, all that he is is at stake. The actors and actresses in this film provide all that is desired. The in-the-know audience sees beneath the poker face of Edward G. Robinson's character, and gets to enjoy the superb micro-gestures of his eyes and breath showing the stress his character is under. The Woman in the Window was directed by Fritz Lang, and he masterfully provides a double ending to the film. Lang admits the old trick. He argued that it was a compromise to the studio to comply with the Hayes Code, and still have a way for him to show one of the endings he wanted. He was proud that its construction was not just palatable, but entertaining, too. Certainly a laugh is generated when another potential femme fatale is introduced. Such an occurrence is highly unusual in Noir.
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Labels: #moviereview, Edward G. Robinson, Fritz Lang, I Watch Dead People, Movie Review, noir

redpajama_set_name: RedPajamaCommonCrawl


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Highlighting Mara Superior's formative years, the Artist Archives consists of the artist's earliest pieces, spanning the late 1970s to the 1990s. The enthusiasm and excitement that Superior had in the beginning of her career is reflected in these pieces, which embody her process of falling in love with reduced porcelain and the history of ceramics.
The Archives represent Superior's commemoration of her excitement for ceramic history: "I was so excited to be on this path; I used the word 'continuum', as I felt that I was part of this long history from 480 AD in China, to Meissen, to Me." Superior's first series, "Continuum", is self-referential – Ceramics about Ceramics- and the artist's self-described "off-the-charts enthusiasm" for the material.
In "Keramos", one of the artist's earliest, serious artworks; Superior connects her work to the Grecian urn and the Greek name for ceramics. On the piece are little samples of the various Greek forms: the amphora, the Krater, and various other vessel forms. "Meissen and Me" is another piece which ties Superior's work to art historical precedents and displays the artist's technical evolution as she addressed shapes and construction along with conceptual considerations. At first, Superior started with two-sided pieces, then came up with boxy shapes so she could control the curve and form of the piece with exactness. Moving in tandem with her ideas, the artist's slab forms provided the canvas upon which Superior's artistic visions could merge ceramics with the artist's painting background.
Mara Superior Artist Archives Continuum Series Statement


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Op-Ed Opinion Don't Let Anyone Sell You the Brooklyn Bridge
Op-EdOp-Ed Opinion
Don't Let Anyone Sell You the Brooklyn Bridge
By Senator Simcha Felder
Tuesday, May 24, 2016 at 3:43 pm | ט"ז אייר תשע"ו
The City Council really doesn't get it. There's a reason their new bag tax is so unpopular. It's not just the nickels, which will add up for many. It's the chutzpah.
Our form of government is intended to be of the people. No one understands that better than New Yorkers who elect officials to represent their values and needs. The last thing any of us want is a nannyocracy telling us what's good for us, what to believe and how to behave.
On Friday, I chaired a Public Hearing on the bag tax, which allowed my colleagues and me to bring in expert witnesses from every vantage point — manufacturing, the environment, sanitation, the city's impoverished. We listened as detailed testimony made it clear that New Yorkers are being bamboozled by the City's bag tax. The Council member who championed the tax (which he insisted on calling a "fee") was invited to address us and wasn't ashamed to admit that the true intention of the tax is not to do something constructive — rather, it's to irritate people into changing their behavior; to force people to support a cause that he and the liberal progressives who agree with him feel is important. "We know what's best for you," says the Council, "so we will punish you until you comply."
But this isn't an attack on Big Sodas, which many people don't drink anyway. This attack is on something everyone uses regularly.
What I already understood, and what was made even further evident at the hearing Friday, was that these people, if they could, would force us to stop using plastic bags entirely. Not just carry-out bags but anything they don't like: plastic cups, plastic spoons, even disposable diapers. Let everyone go back to using diaper services. But that's not feasible (today), so they picked the one thing they thought could get away with.
If the environment is really the issue, I suggested, then enforce recycling laws, which are already on the books. Recycling of plastic bags is already common, as experts testified at our hearing. Steve Stein of Environmental Resources Planning noted that a bag tax would have little, if any, additional impact on the environment. As Abraham Lincoln might have said, charging some of the people for some of the bags some of the time only fools the fools.
Moreover, plastic bags are further recycled by the many uses they receive from average New Yorkers. I know I use mine. And when people are done with their bags, there are receptacles available for recycling.
So it's clear: At the end of the day, recycling is not the issue. The arguments presented at our hearing from those pushing the tax quickly digressed into diatribes on climate change and wildlife concerns. "The trees in New York are filled with plastic bags," they said. These were people with multiple agendas, but they weren't speaking for common New Yorkers. Then I listened as testimony from those representing lower-income neighborhoods made it clear that they don't want government intruding into their lives. There are people who are genuinely strapped. To these New Yorkers, a nickel is a nickel. They don't want to waste money.
As for plastic bags hanging from trees, my colleague Assemblyman Dov Hikind noted that he's up and down Ocean Parkway every day and doesn't see them. So I went out and looked, too. If they were ever there, someone must have taken them down. Maybe the people seeing bags in trees are walking on their hands.
The people who pushed this bill want to pretend that this is a holy mission. It's not. It's just an aggressive, progressive liberal agenda. That's why it's so important to stop it.
Our City tries again and again to force people to do something that a small group demands is important. Their tactic: Drive people crazy until they give in. Today it's a nickel a bag, tomorrow it's something else. Yes, the ultimate goal is to irritate us.
The public is encouraged to fight the tax by signing the petition at https://www.nysenate.gov/stopbagtax.
The opinions expressed on this page are those of the individual authors and do not necessarily reflect the opinions of Hamodia.
Legitimizing a Fundamental Wrong
(Not) Following the Derech Avot
FAKE NEWS AT HAMODIA?
Command to the Living: Remember, Don't Forget
WHO WE ARE, Coercion comes in many colors.


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Do Consumers Need Protection from Consumer Protection?
As readers of this blog should already know, consumer-protection policies sometimes go wrong. Last week, I had the chance to attend a panel discussion about several examples, moderated by Timothy Carney at the American Enterprise Institute. Entitled "Uber competitive: How bogus consumer laws hurt taxis, toys, and braids" (you can watch the panel at the link), naturally the topic of CPSIA regulations came up. As Randall Hertzler of the Handmade Toy Alliance argued in his remarks to the audience, some of our CPSIA regulations have made competing or just staying in business much more difficult for small- and medium-sized firms making perfectly safe products. This ultimately gives consumers fewer choices and higher prices.
Even liberal Slate blogger Matt Yglesias agreed that health and safety agencies tend to under-estimate the costs and over-imagine the benefits of their work, leaving consumers with net losses. Matt was particularly concerned about pure compliance costs, the paperwork costs of figuring out the regulation and documenting compliance that do virtually nothing to make consumers safer but cost big companies money, small companies jobs or existence, and consumers choice and affordability.
The worst part may be that these costs actually lessen companies' ability to make consumers safer, because every dollar they spend identifying the hoops and deciphering just how to jump through them is a dollar they can't spend on innovation, including safety innovation. I have been dismayed by the repeated refusals by some at CPSC to consider the full effects of our rules before imposing them, and this habit is starting to get noticed outside the building. I hope these growing voices lead us to make our work better before Congress has to step in and force us to improve.


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14 Apr 2013 15 Apr 2013 BriShi
Second Night of Eric Clapton's Crossroads Guitar Festival
At night 1 of Eric Clapton's Crossroads festival, he opened the show with an acoustic set. So, on night 2 (April 13), fans showed up at the 7:30 pm start time in hopes of getting another early sighting of "Slowhand." And indeed he did begin the show – albeit without a guitar. Clapton, microphone in hand, started things off alongside Crossroads MC Dan Aykroyd, thanking the audience for coming and cryptically mentioning "This could be the last one, you never know." With that, he kicked off the second of two nights that saw some of the most well known six-stringers walking the earth collaborating with lesser known musicians. Both nights of the festival raised money for, and attention to, Clapton's Crossroads Centre in Antigua, a substance abuse clinic.
Clapton introduced slide guitar master Sonny Landreth. He wasn't the most famous name to grace the stage at the show, but his incredible slide playing was jaw-droppingly incredible. Speaking of jaw-dropping, another one of the most revered guitarists in the world today, Derek Trucks of the Allman Brothers Band, joined him during this set for an incredible slide guitar dual.
Clapton sideman Doyle Bramhall II then took to the acoustic sidestage to cover Jimi Hendrix's "Hear My Train A'Comin'" on an acoustic 12 string. He was then joined by John Mayer for an early emotional highlight of the show – a cover of Stevie Ray Vaughan's "Change It," which was written for Vaughan by his Bramhall's father, Doyle Bramhall I. The song's lyrics of redemption – "Get away from the blind side of life/Honey, I want you to be by my side/Me an' my back door moves ain't no more," seemed especially apropos: Vaughan himself struggled with drug dependency. Mayer, a longtime disciple of SRV's music, sang and played soulfully, as if the song was his own.
It was a heavy moment, and probably heaviest for Jimmie Vaughan – brother of the late Stevie Ray – who had to follow it. He took to the stage with his band and opened with "Six Strings Down," about his late brother ("Heaven done called another blues stringer back home"). Vaughan led his band – a decidedly old-school troupe all wearing suits and ties – through an incredibly tight set of no-frills blues, Texas-style.
Derek Trucks made his second guest appearance of the night with solo performer Blake Mills, and after that, Trucks' wife and bandmate Susan Tedeschi hit the stage with Los Lobos for their opening number, "Burn It Down" from their most recent album, 2010′s Tin Can Trust (she sang on the studio version as well). A ragged guitar workout, the band demonstrated their diversity by following that with a Cumbia song sung in Spanish, "Que Bonitos." From there, they showed even more range, kicking into the straight blues, as they were joined by Robert Cray for "I Want To Know." Cray then left the stage, and Clapton made his first appearance of the night with a guitar, joining the band for the title track of Tin Can Trust. Clapton left and then they went into their rave up "Don't Worry Baby" from 1984′s How Will The Wolf Survive?
Allman Brothers Band members Warren Haynes and Derek Trucks then took to the acoustic stage as a duo, leading off with "Old Friend," from the Allmans' most recent album, 2003′s Hittin' The Note. Then they were joined by Gregg Allman for the pointedly appropriate Neil Young song, "The Needle And The Damage Done" – a short, dark tale about the consequences of drug abuse… something that many of the musicians performing, and workers from the Crossroads clinic have seen all too often. They finished with Gregg's classic, "Midnight Rider," a song he's recorded with the Brothers and as solo artist. Their acoustic trio take on the song split the difference between his two versions.
After that a collection of country superstars – Vince Gill and Keith Urban, along with Albert Lee – opened with "I Ain't Living Long Like This," a song written by Rodney Crowell and first recorded by Emmylou Harris. Gill, Urban and Lee practically melted their fretboards by the time the song was done. For their second song, Albert Lee took lead vocals for a take on Ray Charles' "Leave My Woman Alone." From there, Keith Urban, having covered The Beatles the previous night, took a swing at the Rolling Stones' "Tumbling Dice." They then closed with the Dire Straits' "Setting Me Up," a song which Lee had previously covered (and which, in another lifetime, Gill might have played with Mark Knopfler – he reportedly turned down an offer to join that band).The three artists shared vocals and all showed off some tasty fretwork.
Taj Majal and Keb'Mo' then took the stage as an acoustic duo, both playing dobros for Robert Johnson's "Walking Blues." They followed that with "Diving Duck Blues." Keb'Mo' took the mic for another blues number "Who's Loving You Tonight?"
One of the newer big names in blues, Gary Clark Jr., who played a solo acoustic set the previous night, was next. This time, he played with his full band, cranking out "When My Train Pulls In," from last year's Blak And Blu. The young guitarist/singer got a lot of of attention for his show stopping performance at Crossroads in 2010. Since then, he has played nearly every major American festival, and even has performed for the President twice in the past two years. A lot has happened for this artist since that 2010 appearance, and when he took the stage at the Garden, he did so with with authority; he and his band played with a fury that demonstrated why so many fans are so excited about this up-and-coming bluesman. His short set featured one other song, the Prince-like soul ballad "Please Come Home."
Jeff Beck was next: he had a three piece backing band – bass, drums and violin , and they started out with two instrumental jams. While Clapton was the most well known ex-Yardbird at The Garden, Beck is probably the most adventurous, and his guitar playing is just as distinct. After his two instrumental pieces, singer Beth Hart joined them for the Willie Dixon classic "I Ain't Superstitious" (which Beck recorded with his original Jeff Beck Group), followed by "Goin' Down." Hart, a force-of-nature singer, helped the band to raise the roof. The day before, she told Radio.com that it's a huge honor to play with Beck, and that it was a big thrill to be performing at the Crossroads Festival. It's notable that, while there were few women gracing the stage throughout the weekend, Beck had three in his four person backing band.
Buddy Guy, who played with his full electric band the prior night, was next up, playing acoustic guitar and backed by a second guitarist and a drummer. He started with "74 Years Young" (updating the lyrics to "76 years young") from his most recent album, 2010′s Living Proof; when he sang "I feel like I'm 21 – I'm 76 years young!" the crowd roared. He then went into John Lee Hooker's "I'm In The Mood."
After that, it was time for the main event. There were rumors that Clapton would host a special guest during his set, and that was no hype: Keith Richards was with him when he took the stage, singing lead and playing guitar on "Key To The Highway" to the delight of the audience. "It's great to be back in New York City," he said, after the song. "Now we're gonna rock it up," and the band then launched into a ragged take on Chuck Berry's "Sweet Little Rock And Roller." Clapton doesn't play that wild brand of barroom rock and roll very often anymore, but he was all smiles backing Richards on the tune. If indeed, Clapton plans on retiring from touring when he hits 70 (as he recently told Rolling Stone), one hopes he does at least one tour with the Rolling Stone in his band. Richards brought out the best in the legendary guitarist.
Richards left the stage and was replaced by the famously stage-shy Robbie Robertson for "He Don't Live Here No More," from Robertson's most recent album, 2011′s How To Become Clairvoyant (which Clapton contributed heavily to). Then, Robertson dedicated the next song "to some dearly departed friends," going into Bob Dylan's "I Shall Be Released." His former group, The Band, recorded that song, and likely he had his former bandmate, Levon Helm (who passed away last year) in mind.
Clapton's next guest was Andy Fairweather-Low, who'd joined him the night before; after two songs on the mic, he left, and Clapton sang his first song of the night, Derek & The Dominoes' "Got To Get Better In A Little While." Next was "Crossroads," the song after which he named the clinic benefiting from this weekend's performances. He followed that Robert Johnson cover with another one, "Little Queen Of Spades."
Throughout his set, he didn't just hand over the mic to others, he also shared solos with his band – guitarist Doyle Bramhall II and keyboardist Chris Stainton got instrumental spotlights. It was another manifestation of the generosity Clapton has shown in recent decades as he often lends his name and talents to albums by artists without nearly the name recognition that he has. And of course, there's the fact that he contributes lots of money, and seemingly limitless time and energy to the Crossroads clinic.
Clapton revisited one of his biggest radio hits, Cream's "Sunshine Of Your Love" next, splitting lead vocals with Bramhall. With that, keyboardist Paul Carrack (formerly of Squeeze and Mike & The Mechanics) took the lead vocals for "High Time We Went," a Joe Cocker song. A veritable guitar army – Haynes, Clark, Trucks, Landreth, Guy, Majal, Los Lobos' David Hildago and Cesar Rojas, Cray and Robertson, among others joined the stage to trade solos. 13 year old Buddy Guy protégée Quinn Sullivan took an extended lead as Clapton and company grinned, knowing that even if they do retire, blues guitar playing looks to be in good hands for years to come. Clapton thanked the audience and contradicted his earlier message, saying "See you in three years!" Perhaps after watching the incredible performances at the show he curated, he's reconsidering ending the festival. And after watching the "76 years young" Buddy Guy, he may be reconsidering that retirement thing, too.
Learn more about the Crossroads Centre, and contribute to it, here.
All photos by Larry Busacca/Getty Images
Crossroads Guitar Festival
Published by BriShi
View all posts by BriShi
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Your body hears all your thoughts, whether they are conscious or unconscious. If you have negative thoughts or emotions, your body can express them as physical pains or symptoms.
Unresolved issues, fears and suppressed sadness and anger—your body registers them all.
When we are in a particular circumstance, paying attention to the messages our bodies send can help us decode feelings we may not even be aware of having.
Here are seven examples for decoding their important messages for healing and how you can respond with loving kindness to yourself.
They say our stomach or bowels are our "second brain," processing not only food but also information from our environment. Digestive problems can indicate an inability to "digest" or absorb what is going on around you, or a reluctance to accept what is really happening.
The Message: "I can't stomach this."
Loving Response: "I have the power of discernment and choice over every aspect of my life. I determine which thoughts and emotions I need, and which can be let go." Feelings may be real, but you always have the ability to take a step back and recognize which thoughts and emotions serve you and which don't.
Your neck is the bridge between your head (logic) and your body (feelings). Energy blockages in the throat or neck area can lead to feelings of restriction, lack of choices or even feeling suffocated. Conflict between your intellectual knowing and your heart's desires can leave you feeling confused or powerless, and decision-making becomes difficult.
The Message: "I feel suffocated and overwhelmed by life."
Loving Response: Opening to the joy in life is a powerful antidote to blocked or contracted muscles. Tell yourself, "I completely forgive myself. I love my life and look forward to the future. While I value my knowledge and intellect, I promise to listen closely to my heart and allow myself to be open to life's beauty and pleasure."
Your hips, legs and feet are how you move forward in life. Negative 'heavy' feelings about how we've carried ourselves through life, or painful events of the past often settle into our lower body. Your legs, calves and feet store much of your trauma, resentment, jealousy, and emotional pain, both past and present, especially in regard to your family.
The Message: "I don't feel supported in my journey or with my needs."
Loving Response: "I release the past and set down this heavy weight. I will step lightly into the world, even as I believe the world receives me with open and loving arms."
The back represents our support system, how we carry ourselves through life and the way we carry on with life. Pain or spinal weakness in the upper back can indicate feelings of being unloved and lacking emotional support. Your mid-back correlates to your stomach, digestion, liver, gall bladder, adrenal gland, and reproductive organs. Middle back pain can represent carrying the weight of the past; guilt and feelings of being stuck or not being heard. Lower back pain, including the tailbone, can affect the reproductive organs, hips, large intestine, immune system, kidneys and bladder. The consequences of your childhood and insecurities about family issues show up in this area of your body.
The Message: "I feel insecure and anxious. I am afraid of success. I have to turn my personal power and happiness over to others."
The Loving Response: "I love and approve of myself. My inner child is safe and cared for. When I look around me, I see that all of life is here to support me and I am never alone. The world is eager for me to succeed and will help me whenever I ask."
Joints are structures that connect two or more bones in your body. When they lose fluid or become injured, pain and inflammation are the result. Joint pain can represent rigidity or stubbornness. Pain in the knees, hips or pelvis can result from a fear of moving forward, making a mistake or becoming re-injured by things or people who have hurt you in the past. But inflexibility is really a fear that, if you don't hold your ground, you will be perceived as weak.
The Message: "I feel like I am not on solid ground. I fear taking a stand and feel difficulty taking my next step."
The Loving Response: "I trust life's process. I will allow life to flow through, and be open to receiving love, letting the miracle of my life's purpose reveal itself."
Your liver and gall bladder help all your other organs work together harmoniously. If your liver or gallbladder becomes constricted, energy slows. This creates a backlog of energy that can erupt as anger, irritation, impatience and frustration. When such emotions are not healthily channeled, they also compromise your liver's ability to do its job of filtering toxins.
The Message: "I am angry and hurt but cannot let my feelings out for fear of disapproval, so I will shut them down."
The Loving Response: "I am wise and loving toward myself. I am allowed to take as much time as I need to process my feelings and act on decisions that are for my highest good."
Auto-immune disorders such as Lupus, Chronic Fatigue and Fibromyalgia result from your body attacking itself. The body sends mixed messages, confusing the neural impulses and turning the immune system on where it doesn't need to be activated.
The Message: "I am not being honest or fair to myself. I am not giving myself what I need to feel safe, secure and happy with my life."
Loving Response: "I vow to love and accept myself, completely, just as I am. From now on, I will move forward with clear, unequivocal instructions from my higher self to trust my own decisions." Unconditional love is a powerful stimulant to the immune system.
Whenever you find yourself feeling negative emotions, take the time to tune in and listen closely to what your body, and heart, really want you to know!
To learn more about body wisdom, tune in for energy coach, intuitive healer and acupuncturist JaWol (Banya) Lim's monthly webinar series The Art of Self-Healing.


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Fantasy Bob's last cricket match of the season today, weather permitting, brings to him that familiar feeling. Another season barely started and it is over. Gone the glorious expectancy of May, the high thrills of June, the langours of July and the soggy stirrings of a since-records-began August which the weathermen will be reporting for years to come. All gone and only the scratched scorebooks, limp-rain-soaked pages to record those triumphs and disasters and everything in between.
The Kiss by Klimt
For some reason best known to himself FB has always associated the end of the season with the fin de siècle. A French term literally meaning the end of the century, but used more generally to mean the end of an era or period. Sometimes synonymous with inertia, ennui, degeneration - all the things FB displays on the cricket field at this time of year - or any time to be truthful.
But in many parts of European fin de siècle is also associated with particularly dynamic periods in culture. Vienna particularly. (Or AhVienna as Midge Ure might have it.) Fin de siècle Vienna - the period of the last hurrah of the Habsburgs and after had a flowering of culture which really prepared the way for the 20th Century. Sigmund Freud, Gustav Mahler, Arnold Schoenberg, Ludwig Wittgenstein, Gustave Klimt, Oscar Kokoschka and many others all at some point made their mark in these years. These are Test Match Quality players. Vienna was described as the research laboratory for world destruction. Art, music, philosophy, architecture all took distinctive modern turns. If it moved there was a Viennese school. It it didn't move there was a Viennese school. All except in cricket where there was a major failing of nerve. This is beyond comprehension.
For there is evidence that cricket was known in fin de siècle Vienna. It was played by British workers who happened to be there - gardeners and such like it would seem for the most part. The second oldest football club in Austria is actually the Vienna Cricket and Football Club - it was founded in 1894 and was the first winner of the Habsburg Challenge Cup in 1897, the precursor of the Austrian National Cup competition. It was locally known as the Cricketers and enjoyed some success before it merged with AC Victoria Wien in 1911.
This was a slow start for cricket in Austria and it wasn't until after the second world war that it emerged again when it was played by members of the allied forces - this was of course the time of the aptly named Third Man. The fin de siècle had been and gone.
The Austrian Cricket Association was established in 1981 following the re-introduction of cricket to Austria in 1975, with the founding of Vienna Cricket Club. Since 1992 it has been an affiliate member of the International Cricket Council, and it is one of the founding members of the European Cricket Council. The Austrian national team now plays in Division 4 of the European Championship and there is a thriving club scene heavily concentrated on Vienna. And strudel and sachertorte will be served at tea - that would be worth anyone getting a fixture. Good luck all Austrian cricketers.
Batting For World Peace
More on the champions
Help Ma Fantasy Boab
Champions!!!
Motown CC
England v Dravid - a final word
Philadelphia Freedom
Songs of Cricket
A cricketers' guide to the Edinburgh Festival
Would that it were, would that it were.......
Invisible Gorillas
The Third Test
Thanks, Johnners
What goes up............
Never laugh on a misfield
Batty design
Six or out
Another fit of the giggles
Yorker length


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Afonso Celso Ribeiro de Castro (Campos dos Goytacazes, 10 de dezembro de 1911 – Rio de Janeiro, 21 de agosto de 1980) foi um advogado, desportista e político brasileiro.

Foi deputado federal e candidato a senador pelo Rio de Janeiro.

Era filho de João Carlos Ribeiro de Castro e Rita Carvalho de Castro. Formou-se advogado pela Universidade Federal do Rio de Janeiro em 1936, e foi procurador da Caixa Econômica Federal.

Trajetória desportiva
Foi campeão brasileiro de remo na prova do dois sem. Competia pelo Clube Internacional de Regatas participou das Olimpíadas de Berlim em 1936, na prova do dois sem.

Trajetória política
Prefeito de São João da Barra (1939-1941) e diretor da Escola Industrial Henrique Lage em Niterói (1941-1943) foi oficial e chefe de gabinete da interventoria fluminense e secretário de Viação e Obras Públicas.

Filiado ao Partido Social Democrático (PSD), foi eleito deputado estadual em 1950 e 1954, e deputado federal em 1958, renovando este último mandato pelo Partido Trabalhista Brasileiro (PTB) em 1962. Deposto João Goulart em 31 de março de 1964 e outorgado o bipartidarismo migrou para o Movimento Democrático Brasileiro (MDB) e foi reeleito em 1966.

Em  1970 disputou uma cadeira no Senado mas não foi eleito, Disputou um novo mandato em 1974, quando sofreu um derrame às vésperas do pleito, sendo então substituído por Saturnino Braga.

Naturais de Campos dos Goytacazes
Remadores do Rio de Janeiro
Remadores olímpicos do Brasil
Remadores nos Jogos Olímpicos de Verão de 1936
Deputados estaduais do Rio de Janeiro
Deputados federais do Brasil pelo Rio de Janeiro
Prefeitos de São João da Barra
Membros do Partido Social Democrático (1945)
Membros do Partido Trabalhista Brasileiro
Membros do Movimento Democrático Brasileiro (1966)
Alunos da Universidade Federal do Rio de Janeiro

redpajama_set_name: RedPajamaWikipedia


Please fill out your answers to the questions below as openly and honestly as possible. Once you submit your questionnaire, you'll get the link to schedule a call where we will determine if you are a great fit for our program and then if it's the perfect fit, we will get you set up for a New Client Case Review with Dr. Kan!
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Your immune system is designed to protect you from foreign invaders such as microbes and toxins.
Autoimmune disease occurs when your own immune system is attacking your body. Common autoimmune diseases include Hashimoto's thyroiditis, rheumatoid arthritis, lupus, multiple sclerosis, celiac disease and approximately 120 other types of autoimmune disease.
According to American Autoimmune Related Diseases Association, up to 50 million Americans suffer from autoimmune diseases, and this number is on the rise. Putting this in perspective, heart disease affects 22 million and cancer affects 9 million. So there are more Americans suffering from autoimmune disease than heart disease and cancer combined.
Conventional medical treatment for autoimmune disease is limited to powerful immunosuppressant drugs that have serious side effects. In fact, most autoimmune patients are not prescribed these drugs because the risk outweighs the benefit. This approach, however, does not address the root cause.
Current medical approach also looks at autoimmune disease at the organ and tissue level. Hashimoto's thyroiditis is treated as a thyroid disease. Rheumatoid arthritis is treated as a joint disease. Multiple sclerosis is treated as a nervous system disease. However, ALL AUTOIMMUNE DISEASES ARE THE SAME DISEASE. The commonality between all autoimmune disease is the IMMUNE system attacking one's own body. Therefore, successful management of autoimmune disease must address the underlying triggers and root cause of immune over activation.
Autoimmune disease is a multifactorial condition.
There is no one smoking gun, but rather a complex interplay between genetics and our environmental. However, by addressing the key leverage points in the body that affects the immune system the most, we can tip the odds in our favor. Since at least 70% of your immune system resides in the gut, focusing on gut health will give us the biggest bang for the buck in terms of improving gut-immune axis function and reducing inflammation.
Leaky gut is a state where your intestinal lining becomes too permeable. Undigested protein and toxins may leak out of the hyper-permeable intestinal tract on a cellular level, leading to malabsorption and inflammation. This can become a vicious cycle of immune over activation and sets the stage for autoimmune disease. Leaky gut can be healed by removing processed foods, sugar, gluten, among other reactive foods. Nutrient deficiencies such as Vitamin D and glutathione may also need to be supplemented. Finally, environmental toxins and underlying infections may need to be identified and eradicated so they do not continue to trigger autoimmune flare ups.
There is a better way!
Proper autoimmune management requires first identifying the root causes such as food sensitivity, leaky gut, environmental toxicity such as heavy metal toxicity and pesticides, chronic infections such as viral infections, gut infections, SIBO, candida and parasites, and stress.
An effective program includes nutrition counseling and coaching to create sustainable nutrition intake, specific supplementation based on lab tests, targeted detoxification to reduce toxic burden, and lifestyle strategies to modulate stress response and enhance physical fitness.
Have your doctors done all of this in one integrated program that has been used with over 5,000 clients?
If you are still struggling with autoimmune symptoms despite your current treatment, it's time to experience the NeuroMetabolic Integration difference!
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Information on this site is purely for educational and informational purposes only. Information presented on this website is not meant to diagnose, treat, prevent or cure any medical condition. Our care does not replace you seeing a medical practitioner or the need for medical treatment. Statement presented on this site has not been approved by the FDA. Testimonials and results shown on this website are unique to those individuals and does not guarantee results for you.


Why we need wedding guest bloggers and vloggers?
Getting Married Soon has many couples every day using our service and it would be great if wedding suppliers give them advice in planning their special day.
Why would you want to be a wedding guest blogger or vlogger?
Share your knowledge with bridal couples planning their weddings and help them out!
Create industry credibility and be seen as a wedding authority.
Create link authority to your website from our website.
Create awareness about you and your business if you are a wedding vendor. If you are a bride or groom, then you can share your insightful story.
Targeted readers that care about weddings.
Your author byline tells your story. It can include a link to your website and tell your professional or personal wedding experience.
What types of articles are we looking for in our blog and vlogs?
An article that helps brides and grooms to plan their wedding.
Among the blog categories, the articles could be DIY, How-To's, Lists, etc. The more original and eccentric the article is, the better chance it has of being published. Each article must be a minimum of 300 words and a minimum of one photograph of which you have legal rights. However, the more of each, the better chance for publication. All articles must only be posted on Getting Married Soon.
If you want to do a vlog, then the vlog must be between 60 seconds and 2 minutes in length with an introduction to yourself and your business being less than 20 seconds. The file must be less than 1 gigabytes.
From who do we accept guest blog articles and vlog articles?
You must be a wedding professional located in the UK.
If you are interested, just email gmsoonhelp@gmail.com, with your blog or vlog, and if accepted, it will be promoted across the Getting Married Soon network.
← How to choose a wedding venue.


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Home Bandila: The Story of the Philippine Flag
Bandila: The Story of the Philippine Flag
by Merci Melchor
It took three women less than a week to sew. It was given to a man leaving Hong Kong aboard the ship McCullough, bound for Manila. Several weeks later that man, Emilio Aguinaldo, became the first president of the Philippine Republic. And the piece of cloth he carried home was unfurled on June 12th, 1898, before a jubilant crowd in Kawit, Cavite.
Merci Melchor and Auri A. Yambao's BANDILA: The Story of the Philippine Flag relives the historic events and battles that helped shape our flag, from the founding of the Katipunan to the "banner dear" we honor today. Within these pages young readers will discover that the story of the Philippine flag is, in truth, the riveting story of our nation.
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Cigar smoking is a social event that gives us the chance to connect with others from all different walks of life. If your local cigar shop is anything like mine, on a daily basis we solve the world's problems, and then we start all over again the next day. During these sessions we have a tendency to share cigars we like with each other. In the spirit of this sharing, Southern Draw has taken our No. 4 Cigar of 2015 and released a limited production Code Duello Kudzu box pressed perfecto, that comes in pairs of two made specifically for sharing with our fellow BOTL/SOTL.
Pre-Light: The Southern Draw Kudzu unique looking box pressed figurado. The dark brown chocolate brown colored wrapper has a slight oil sheen to it, but to the touch the wrapper feels a tad dry. There are no real prominent veins to the cigar's Ecuadorian Habano Oscuro wrapper.
From the wrapper of the Southern Draw Kudzu there is a strong barnyard and leather aroma with just a hint of coffee. Due to the shape of the cigar there is no unique seen from the foot. The cold draw is very easy and allows through flavors of leather, cashews and pepper.
Burn: The burn on the Kudzu is can be a bit uneven at times, especially around the bulge in the first third of the cigar, but most of the time it corrects itself with no need to break out the lighter. As I've said in the past, it is appropriate that the brand uses "draw" in its name since the Southern Draw Kudzu (in any size) has a perfect draw. The ash clings well to the foot of the cigar for a good deal of time, but when it is ready to fall it's going to fall, so watch your clothing.
Flavor: Immediately on lighting up the Southern Draw Kudzu Code Duello there is a bpepper good deal of black and white pepper. As the pointed tip of the cigar burns into the body of the cigar, there is a fair amount of cocoa and earth, as the pepper dies down somewhat. On the retrohale there is a strong mix of cocoa and spice during the first third of the cigar. When the cigar burns into the second third there is a slight uptick in the spice and black pepper. A great mix of dark espresso and chocolate dominate the second third of the Kudzu, while leather and cedar remain in the background. During the transition to the final third of the cigar, the black pepper begins to become even more prevalent, but does not overpower the cocoa, cedar, earth and spice that was already present. The Southern Draw Code Duello Kudzu finishes with cocoa, earth and pepper being the most prominent flavors.
Overall: The Southern Draw Kudzu Gordo was our No. 4 Cigar on our Top Ten Cigars of 2015, so I was quite excited when I found that there was going to be an expansion of the line. The Code Duello Kudzu is a great full bodied cigar with fair amounts of cocoa, cedar, spice and pepper to it. Personally, I love the Southern Draw Kudzu, and I didn't think that it could get any better, but I think that they've managed to find a vitola that lets the cigar shine more than it already did. Some may find the idea of buying two not to their taste, but when it's broken down the price is only $10.99 each, which is quite reasonable for what you're getting. I'd recommend trying the Code Duello Kudzu to anyone who enjoys flavorful full bodied Nicaraguan cigars. Once you've had the chance to smoke it, you may decide to keep the second one for yourself. This cigar has all the hallmarks of a cigar that should age well, if history is any indicator they won't last long enough in my humidor to find out for sure.
Pairing: When pairing the Kudzu with a drink, I find that a nice sipping well really compliments the cigar. The Ron Zacapa 23, Zafra 21 and Kirk & Sweeney 12 are all excellent choices to go with the Southern Draw Kudzu. For the scotch drinker, almost anything from the Dalmore Distillery will go nicely with this cigar.
Cigars for this review provided by Robert and Sharon Holt of Southern Draw Cigars before August 8, 2016. No request for review was made. Though we greatly appreciate their generosity, it in no way changes the way this cigar is reviewed. At Toasted Foot LLC we are committed to providing impartial cigar reviews.


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Tag Archives: personal ads
Blind Date (2007)
Posted on July 5, 2010 by carlosdev
An uneasy romance.
(Variance Films) Stanley Tucci, Patricia Clarkson, Thijs Romer, Gerdy De Decker, Georgina Verbaan, Robin Holzhauer, Sarah Hyland, Peer Mascini. Directed by Stanley Tucci
A relationship is a fragile thing. It requires nurturing and growth in order to survive. Sometimes, events happen which put this fragile existence in jeopardy. In those instances, a couple has to be willing to go to extreme lengths to make things work.
Don (Tucci) owns a rundown bar (although it's never specifically said, we assume it's in Amsterdam) and periodically takes to the small stage to perform a desultory Vaudeville-like magic act, usually to be met with disinterest. People go to this bar to drink and maybe hook up; entertainment is not really on the minds of any of the barflies who frequent it.
He is married to Janna (Clarkson), someone he has spent much of his adult life with. The marriage is a lifeless one, it seems; they are trying to spice it up with a series of blind dates arranged through personal ads. In each date the two take on different personas, trying to find two that mesh well. However, reality intrudes on each date as their problems peek through the façade, causing each date to end badly, inevitably.
It's a simple premise, and only two gifted actors could make this work. Tucci wrote and directed this movie based on a 1996 movie by the late Dutch director Theo van Gogh, who would be murdered by Muslim extremists in 2004 for making a film critical of Islam. Tucci has chosen to take that movie and strip it down to a bare frame, shooting on two sets over the course of seven days, utilizing many of van Gogh's regular crew to do it.
The results are mixed. The movie at times has a stagey feel, like you're watching the filmed version of a stage play. I get the distinct impression that Tucci as a director was deliberately going for that feel, and to be honest, I think that it makes some of the movie ring false. The powerful dialogue and plot might have been better served in a more natural setting, but that's just me.
What makes this movie worth seeing are the performances of Tucci and Clarkson. Their characters have both been wounded deeply and are struggling to find a way to co-exist and both of them are very well aware that they may be clutching at phantoms that don't exist. The actors have to portray people playing different roles, only accidentally allowing their true selves to peek through. This is the kind of acting that requires great discipline, much preparation and a whole lot of talent. Fortunately, these are two of the better actors working today, people who elevate every movie they're in but very rarely get lead roles.
There is some voiceover narration from the couple's daughter which helps to explain the goings on (and it is much needed) but other than that all the lines (other than background chatter) are spoken by Clarkson and Tucci. Fortunately, Tucci has written compelling dialogue that is not only interesting but gives a good deal of insight not only into the hell these two characters are in but also into the nature of failing relationships in general.
This is a very intimate film in the sense that it delves deeply into the deepest, most private parts of a marriage – and I'm not necessarily referring to the bedroom, although sexuality is touched upon at times. This is about the emotional sanctuary that a married couple provides each other, and what happens when that sanctuary is eroded. It's very difficult to get it back once it's gone.
This is not a movie for everybody. It is painful and awkward at times and the emotional places it visits can be very traumatic for those who have been in similar situations. It also requires a certain amount of focus from the viewer to pick up on the nuances, and a willingness to be in a quiet, still place. Still, if you're willing to commit to the movie, you may find that you get a good deal out of it. What that might be is totally up to you.
WHY RENT THIS: A very powerful look at two people trying to save their marriage in an unorthodox way. Tucci and Clarkson deliver strong performances.
WHY RENT SOMETHING ELSE: This is a very emotionally complex movie without a good deal of language; less cerebral viewers may get bored.
FAMILY VALUES: There is a great deal of sexual tension and a fair amount of foul language. These, along with the very adult subject matter, should make this off-limits for kiddies.
TRIVIAL PURSUIT: The role of Don was originally offered to Tony Shalhoub but when he had to drop out due to schedule conflicts, Tucci decided to take the role himself.
NOTABLE DVD EXTRAS: None listed.
TOMORROW: The Skeptic
Posted in DVD Review	| Tagged Amsterdam, bar, based on a European film, Blind Date, cinema, crumbling marriage, DVD Reviews, Films, magic act, married couple, movies, Patricia Clarkson, personal ads, role playing, Stanley Tucci, Theo van Gogh, Variance Films, voiceover narration	| Leave a reply


So I love a weekly trip to Dealz! Today I went in to get some treats for my brother's new pup but to say I got slightly sidetracked is an understatement. Dealz had some serious 'must haves' for me today so here's a quick run through of what I got and found!
Twistables!!! Twistables can be pricy but €3 is a pretty good price for a regular pack! 24 pack is €6.
These Twistables are the funky ones with the more unusual colours. A gold and silver Twistable always goes down a treat!
These foam letters and numbers are a must have for my junk art station. They also feature at my finger play station too!
These diamonte stickers and sparkly number and letter stickers were something I discovered when attempting to make my wedding invitations last year (a task I really wouldn't recommend!!!) and what I had left over, naturally I brought to school and added to my Junk Art station. It was lovely to watch the little ones spelling out names and words on their creations! More of the same please!
I'm a divil for collecting puppets and how could you pass this little guy?? Won't be hard to find a use for him!! I thought he'd be nice for Three Blind Mice!
Animals masks.... I'm thinking 5 Little Monkeys!
Dealz is always great for adding to your small world resources.....especially when most are €1.50!
And some police cars....easily made into garda cars!
You can never have enough cars!!
I thought a bus would be a nice addition to our small world vehicles!
I have these in my room already, they're handy for storage and for when we are using a shop for role play!
Now this is one of my Dealz favourites....this is the sand I've been using for the past two years in my room! It's excellent and only €1.50 for a bag....three bags are enough for the average sandpit! I'll be stocking up again once I've access to my room!
All of these items were in Dealz at the Omni in Santy today!


Guaranteed Best Prices You will find!
In response to customer demand, TEMP-AIR began to manufacture TOPAZ in 1999. These portable air conditioners are made in the USA in Temp-Air's Burnsville, Minnesota corporate headquarters. Topaz manufactures an incredibly versatile array of air conditioners, along with accessories designed to make them adaptable to your specific situation.
Topaz portable AC units are designed to work with industrial, commercial, educational, and construction applications, both as a regular source of air conditioning and a supplemental or emergency back-up cooling solution. Common uses include office buildings, schools, server rooms, data centers, computer labs, storage areas, factories, lobbies, and more.
Power capacity of the Topaz line varies from 14,000 BTU (medium-sized areas and normal ambient temperatures) to over 77,000 BTU (very large areas and extreme or sensitive environments). They are also designed to cool quietly and efficiently, using sophisticated innovations built to adapt to the environment and redirect the operating configuration to save on energy consumption. Topaz air conditioners are made to be acceptable for office settings in terms of noise level and will not distract from day-to-day activities.


in Anchorman 2: The Legend Continues. One look at Good's audition tape, and it's easy to see why the gorgeous actress beat out dozens of others for the part.
We've got an exclusive, behind-the-scenes clip of Good reading lines with Ferrell, and the chemistry between the two stars is palpable. The film also uses comedy to tackle issues of interracial relationships to hilarious effect.
Check out our exclusive peek at Good at her most vulnerable below, and don't forget to grab Anchorman 2: The Legend Continues on DVD and Blu-Ray on April 1 — and the DVD extras are no joke. Blu-Ray owners will get three versions of the film: the theatrical cut, an unrated version and an extended R-rated cut with 763 additional jokes. And that's not including an additional five hours of bonus content like deleted scenes, commentary and more.


Extract of sample "Active and Passive Listening At Workplace"
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一開始對陰陽熱瑜伽我並沒有很多的想法,但心裡是決定要去上一堂的,因為就個人的瑜伽練習而言,我覺得我要試過才能決定喜不喜歡。其實我懂很多同學無法捨棄那個「熱度」還是選擇了去加熱區,畢竟汗水在那猛滴跟結束後那大汗淋漓的快感真的是不可言喻。 那天進教室後我也是做了我一貫的簡單伸展然後進入我放空的模式等老師進來。就這樣除了室溫,我進入了我的"routine ", 我驚訝的發現做完第一個呼吸式我就是已經滿身汗了,到了半月式的second set其實我就已經發現我的後彎好像又下去了一些。再到了standing head to knee, 坦白說我跟平常一樣爆汗且非常喘!來到站立拉弓式,我感受到我的重心站的比平常穩些,我的後腳應該比平常又踢上去了些,背的弧度跟手抓腳的地方似乎也是在對的角度,我心裡想口令中的上下連成一線大概就是這個感覺了,心裡又是一陣驚奇。 做完地板動作,我心裡是激動的,每個動作我都做的比平常更好些, 我心裡一直想發生什麼事了?Did that just happen? Did I just do that? 都是一些很細微的進步,可能只是腳多踢上去了1公分,可能是身體跟脖子又多往後了1公分,但是這些身體的感受對我來說非常明顯! 對於這堂新體驗,我最初唯一預期的是少了加溫,我想我的柔軟度應該沒有平常那麼好。但一堂課下來,我發現我比平常更柔軟,身體更輕。不是說不加熱比較簡單,因為我一樣熱一樣喘!做熱瑜時可以明顯感受到熱氣包圍著全身,但這天我的熱是從我的身體由內往外發的,我的汗也是瘋狂的噴!這堂課下來的感受我真的覺得驚奇又驚喜。我個人認為這樣的收穫是平常熱瑜練習累積下來的成果。一點點外在條件的改變,好像是給了我機會用不同的方法去感受自己的身體。我一樣熱愛熱瑜伽,也會持續堅持我的練習,但時不時我還是期待安東妮提供其他驚喜課程,我相信每堂課都是特別的,所有的感受再細微都是成長。 身體熱熱的,心裡滿滿的,I had a great practice!! Namaste.
One of my new year's resolutions was to put an end to almost a year without exercising, I had undergone a couple of gynecological invasive surgeries and I didn't know where to start. After hearing only good things about Bikram yoga I decided to give it a try. I liked it from the first time, although it was hard and HOT, the entire class I felt this sense of being doing something necessary and good for myself.
I've been practicing 5-6 days per week for almost three months. After the first three or four classes I felt I was getting some sort of handle on my health and my mind. The very first change was in my sleep-wake cycle: I'd go to bed earlier, sleep like a baby and wake up with a clear head. Later, I noticed that my digestion had improved, as if my stomach was learning how to work better, making me feel less hungry and more conscious about what I ate. However, the most remarkable change became evident only after one month of practice, when during a check-up visit to my gynecologist he asked me what was I doing, as for the very first time in two years he didn't find any sign or symptom that required further treatment or follow up. This, more than anything made me realize that Bikram yoga managed to get my whole body to work.
I work hard on improving my yoga practice to get even more out of it. Besides the changes I've mentioned, my biggest motivation to do it is just how good it makes me feel with myself.


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Indian bishops approve action plan for Dalits
Caste discrimination is still evident, even in the Church. A country-wide policy recognises Dalits in their intrinsic human value. Twelve of India's 19 million Catholics are Dalits. The State does not recognise them the same rights and privileges as other Dalits.
New Delhi (AsiaNews) – The Catholic Bishops' Conference of India (CBCI) has approved a plan to improve the conditions of Dalits within the Catholic Church in India.
The lengthy document – the work of many priests and lay men and women of goodwill at the diocesan and local levels – seeks to end the centuries-old traditional caste discrimination against Dalits (untouchables). The issue deeply touches the Church in India as well. Most of its members are Dalit: 12 out of 19 million.
For the bishops, the starting point is the fact that "the term 'Dalit' does not indicate a negative connotation or a caste identity. It rather seeks to restore an affirmative, humanizing and empowering identity which is a demand of our faith."
For the prelates, "Dalit Christians keep alive the vision of God's reign for justice and love. They boldly call upon the Church to place justice and love, the core values of the Bible, at the heart of its mission."
The bishops' historic plan was adopted at an meeting at the CBCI Centre, New Delhi, in the presence of CBCI President Card Baselios Cleemis, and Union Finance Minister Arun Jaitley.
In the forward to the document, Card Baselios Cleemis writes, "India is a cradle of many civilizations and religions. Great sages envisaged a common human family and recognized the ray of the Divine in all human beings. Unfortunately, there are also blots in the Indian society such as casteism and untouchability."
"In the context of the State's social and transitional justice paradigm," the bishops believe in "the ethical imperative to devise [a] vision-inspired roadmap in building the kingdom of God". This stems from the existence of many forms of discrimination that Dalits suffer in India, especially Christian Dalits.
In the paper's acknowledgment, Mgr Anthonisamy Neethinathan, chairman of the CBCI Office for Scheduled Castes and Scheduled Tribes, explains that whilst Hindu, Sikh, and Buddhist Dalits benefit from Dalit-specific advantages and policies, Christian Dalits are deprived of "means to livelihood such as economic benefits, job opportunities, denying political representation, shunning them legal protection given under SC/ST Prevention of Atrocities Act (1989).
The latter is based on Presidential Order, 1950, in para 3, which stipulates that "no person who professes a religion different from Hinduism, Sikhism and Buddhism shall be deemed to be a member of Scheduled Caste".
Even though the Indian Constitution outlaws the caste system, the latter still underlies a widespread feeling of social superiority linked to origin. This is evinced by widespread anti-Dalit violence, like rape and murder.
Every 18 minutes a crime is committed against a Dalit. Every day, 3 Dalit women are raped, 11 are beaten, and 2 Dalit houses are burnt. Overall, 37 per cent of Dalits live below the poverty line; 54 per cent of their children are malnourished; 83 per thousand children born in Dalit community die before the first birthday; and 45 per cent of Dalits are illiterate.
When Dalits are admitted to higher educational institutions of repute, and this is hard to do, they commit suicide at a high rate.
Christian Dalits experience the same discrimination. Something far worse, the bishops acknowledge, is the discrimination that occurs even within the Church, especially at the level of the religious and lay leadership.
For the prelates, untouchability has remained widespread ever since the first Jesuit missionaries arrived. For the latter, "Caste was considered to be a social factor to be tolerated in the effort for evangelization." Now however, "there is need to address these issues urgently".
Changes must be made in education, access to economic resources, and jobs. This can be done through Caritas India, which can promote and finance works and projects.
What is more, the Church must be more welcoming to Dalits, and support the rising number of vocations and give them greater room in its higher echelons.
All this has to be done within one year of the promulgation of this policy, a deadline the bishops set for each diocese with respect to the plan's application.
As part of this, the prelates suggest, local priests and believers ought to take advantage of the contribution of people and organisations "of goodwill", acknowledging the value of Dalit cultural heritage through a process of inculturation (including liturgical ceremonies).
The final goal, they stress, is to start a "process of metanoia (repentance) and experience the Easter joy, radically transforming our minds and hearts individually, collectively and structurally."
dalits
bishops' conference
Church leads the way in helping Vietnam cope with its educational emergency
Growing unemployment in the Philippines, also due to corruption and waste
In Mosul 81 children meet the challenge of their First Communion
Shanghai church draws Korean pilgrims
An ancient church becomes home to two Protestant communities.
Pope: asking Jesus 'if you will' is a challenge and an act of trust
Pope to Lutherans: ecumenical dialogue to deepen the 'standing together' of the baptized
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You are here: Home / Reviews / Paterson Movie
Paterson Movie
June 9, 2019 by Christopher Gronlund 3 Comments
Most movies about writers end with the kind of victory movies have conditioned us to expect: publication and awards…the writer we watched grow getting everything in life many believe comes to writers when they finally decide to publish. (As though it were that easy.)
Paterson is not that movie — and because of that, I loved it.
Paterson has been out long enough that it's not spoiling it if I say, "It's about a guy who drives a bus in Paterson, New Jersey. He has his daily routine — and some of that routine is writing poetry in a notebook. Not much more happens than that."
So many movies with that start would end up like this: Paterson finds a mentor…maybe a street-wise poet who drags Paterson to a poetry slam. Paterson takes his knocks, but rises up to become the ruler of the scene, being praised as the best when he crushes a rival poet in act three. (Because there must always be a rival poet, right?) Maybe it ends with him heading off to drive a bus in New York City, with the unwritten finale that he will take the Big Apple by storm as well.
If the movie does well: Paterson II!
Instead, it's about a guy with a day job who writes when he can.
There is a little twist in Paterson, and I won't spoil that for you. But it's to ruin nothing to say the movie ends with a daily routine: Paterson getting up to go to work.
It might sound boring to many, even with the little twist that leads to what could be a forced scene were it not all so beautifully handled. The whole movie is like a weird dream, this thing that could easily slip from melancholy to depressing…but never does. Looking at some reviews, many people found it too slow a movie for their tastes. To each their own: that's one of the things I loved most about it.
In Paterson (the movie and the character of the same name), there is a realistic hope: not of riches and fame, but that the daily routine fuels the protagonist's love of writing. It's a reminder that we are not alone, going to work and doing the things we love doing in our spare time. Maybe nothing more ever happens, other than the routine of work and writing.
But if you claim to love writing that much, is that so bad, doing the thing you love doing at least a little bit every day?
Sure, for many (myself included), the big dream is doing the thing we love full time. With that, though, come certain conditions: others having a say in what you write; fans demanding you appease them, or else they will rush to change (dot) org and start a petition to have you do what they want; critics pulling out their knives.
There is something to be said for simply telling the stories you wish to tell and having a handful of people who understand your goals as a writer read them.
Honestly, were money no object, I don't think I would ever try publishing a thing.
And that's why I loved this movie…
The Beauty of Days
Even when I had day jobs I hated like few have ever hated a day job, I loved writing more. These days, I don't hate my day jobs, but they are still not how I want to spend my days.
But there are realities in what we choose and what we do. Sure, I could go off and live in the woods on the super cheap and write, but I like seeing my friends…and I'd not expect my wife to share in wanting a life in the wild. I like the little creature comforts we have.
I could complain that life isn't fair — that I've worked harder and smarter than so many others who have "made it," but…I know life is not fair like that.
And so…I may not drive a bus like Paterson, but I wake up, write a bit, and get ready for work. I write on my lunch break in a back corner of a crowded cafeteria. I sometimes write in the evenings if my wife goes to bed early. Weekends usually afford me even more time to write.
In it all, there is a certain beauty. I may never write full time (in fact, that's the most likely reality for most writers), but that doesn't mean I'm prevented from doing this thing I love.
Paterson captures the beauty in doing something you love in spite of time and the responsibilities of life getting in the way. Tomorrow I will wake up at 5:30 in the morning, and my day job will take up most of my waking time.
If you're lucky, though, you wake up and do your thing.
And if you love writing enough, you figure out where it fits inside the slow rush of days.
I've not seen that handled better than it is handled in Paterson. And I suspect I never will…
Jack Taylor says
Thanks, Jack! I thought it was a great movie.
This: "In Paterson (the movie and the character of the same name), there is a realistic hope: not of riches and fame, but that the daily routine fuels the protagonist's love of writing. It's a reminder that we are not alone, going to work and doing the things we love doing in our spare time. Maybe nothing more ever happens, other than the routine of work and writing.
Wonderfully expressed. I love to write, but I have no passion for it, as you do. I love how much a part of you writing is.


This cliche has been repeated so often, people live by it without considering how it affects their results (or lack thereof). Can you think of many people who are recognized greats because of of how much they limited their greatness? I can't either. Learn today how quantity is what you really need, especially to break through in today's crowded spaces.


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Annelies Schilhan (born 12 March 1936) is an Austrian former figure skater who competed in ladies' singles. She was a three-time Austrian national champion (1952–1954) and finished 16th at the 1952 Winter Olympics. She placed fourth at the 1954 European Championships. She belonged to EK Engelmann in Vienna.

Results

References

Austrian female single skaters
Figure skaters at the 1952 Winter Olympics
Olympic figure skaters of Austria
1938 births
Living people
Figure skaters from Vienna