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DVD / May 8, 2005
Team America: World Police – Unrated
Ben Simon
Paramount Pictures (October 15 2004), Paramount Home Entertainment (May 17 2005), single disc, 98 mins plus supplements, 2.35:1 anamorphic widescreen, Dolby Digital 5.1 Surround, Not Rated (original theatrically rated R), Retail: $14.98
[WARNING: THIS REVIEW IS OF THE UNRATED DVD EDITION OF TEAM AMERICA: WORLD POLICE. IT CONTAINS MATERIAL FOR MATURE READERS ONLY]
Korean dictator Kim Jong Il (re-imagined here as a twisted Bond-esque villain) is planning a mega-attack on the entire world, and the World Police's only hope of stopping him is to sign up an actor, Gary Johnston, and send him undercover (after all, that's what spying is…"acting"). When things go wrong and Gary jeopardises the mission, the TA:WP headquarters is infiltrated (by a detonating Michael Moore) and blown to bits. Gary returns and must "pass through the eye of the needle" with TA:WP head honcho Spottswoode in order to prove his trust and go after his team mates, now captured by Kim Jong Il. Meanwhile, the terrorists have recruited Alec Baldwin (who, as usual, is on the receiving end of much of the barbed wit, including a special end credit-only song worth sticking around for) and the members of the Film Actors Guild (the joke is in that acronym's initials), who provide an unwitting diversion while they carry out the mother of all atrocities. Will Gary make it on time? Will he be able to act his way out of this one? We're gonna need a montage…
The Sweatbox Review:
I'm sure glad we don't have strict genre labels on this site, or else I'd have to go ahead and call Team America: World Police an "action comedy adventure special effects drama musical extravaganza social issue piece animated with puppets". It's Thunderbirds-meets-Armageddon, by way of blending Jerry Bruckheimer explosion-fests with Broadway showtunes. If you take yourself too seriously, you probably won't – or can't, or won't want to – "get" Team America. Luckily, I don't take myself seriously at all. And I loved it.
Let me re-phrase that: I adored it, and for a while Team America was an obsession for me: working to an insanely tight deadline on one of my own film projects, the lines from the movie kept creeping out of my mouth. On speaking to others involved on my show, and asking for sound effects to be moved slightly in sync, it would be "a little more", or "f*** yeah!" – nothing remained untouched by the Team America mentality, and it certainly helped break the mood when things got sticky!
Team America: World Police is, quite simply, Trey Parker and Matt Stone's new masterpiece. In a way, the boys of South Park have "grown up" and delivered a bold piece of filmmaking that certainly will provoke conversations as well as tears of laughter. The project came about when Parker and Stone wanted to spoof Roland Emmerich's The Day After Tomorrow, whose script had fallen into their hands. They thought it was ludicrous and hysterical, and wanted to create a shot-for-shot replica that would show (as if it needed to be) how silly the film really was. Their weapon of choice? Puppets – the same "Supermarionation" kind that graced Gerry Anderson's Thunderbirds – and that would present The Day After Tomorrow in this different light.
But they hit a snag: South Park Studios is tied to a deal with Paramount, while The Day After Tomorrow script was signed to 20th Century Fox, who said it was "no deal" when they found out what Matt and Trey wanted to do with it. With a puppet extravaganza in their minds (the two hate working with "real actors") Parker and Stone were also denied their own chance to resurrect Thunderbirds itself when Universal made the equally-as-bad-as The Day After Tomorrow live-action movie of last year. And so a new challenge was set: hit the topics of the day head on, in puppet form, with an explosive take on the war on terror. The film is even more remarkable when one considers it was announced in March of 2004 and released just over six months later, made during the pair's break between South Park seasons.
Attacking just about everyone and everything, it's not just the terrorists that get the predictable jab in the arm from Matt and Trey, co-writing again here with secret weapon Pam Brady. Seemingly aware that the US is as derided in some circles as those who finish their lives to take others, the two put as much of the blame for current situations on their own country as well, with the Team of the title being a rambunctious lot who end up causing more mayhem and destruction as those deliberately planning it!
Though it came out last fall in the States, we had to wait until earlier this year to catch Team America in the UK. I saw it twice in one week, cracking up at the smallest of details and picking out the tiniest of references. It's not just the visual and comically written script of the film that had me in hysterics, but the way that some shots literally look as if they have been "stolen" on the sly – there are several takes where one can just imagine the puppet being lined up, the handler moving away and the camera whipped out, set up and shooting before any authorities knew the guys were even in the vicinity! It's this type of thing that had me laughing in tears, and the intentional humor (Kim Jong Il's "panthers" being possibly the most genius aspect in an otherwise genius film) was just icing on the cake.
True, Team America is certainly not for everyone – some of the group I saw it with felt the second half was much slower, and I have to agree, not that it makes it any less funnier. A weak point is the Michael Bay/Bruckheimer/Pearl Harbor-bashing song, which, though its sentiments are in the right place, isn't the cleverest of targets (the rest of the film does that so much better). On my visit to New York in February, we caught it two and a half times on the hotel's pay-per-view channel (don't ask about the "half" time, that was more down to copious amounts of alcohol and my colleague accidentally turning the thing off!) as well as several screenings of the Academy screener sent out for the film's consideration for the Oscars. But I have to say that I just find the film inexcusably funny, and it cracks me every time, from the obnoxious nature of the characters, to their line readings, which often strike the funny bone in their own right.
Those who don't like the scatter-shot humor of Parker and Stone's previous work (South Park, of course being their signature) won't get much out of this film, though those who couldn't compare it to the South Park: Bigger, Longer And Uncut feature in terms of quality may change their mind when they catch it again on disc. True, the songs aren't quite "up there" with BLU's hysterically spot-on parodies, and the script isn't as tight, but the sheer puppetry nature of the visuals is enough to get me going every time. And just check out those visuals (tagged "supercrappymation" by the boys)! Most remarkable of all is director of photography Bill Pope's attachment. As the cinematographer of the Matrix and Spider-Man sequels, he was itching to get away from the special effects blue-screens of those films and go for something a little more "real". I'm not sure he got his wish as regards to the script, but there's no denying the awesome set ups and attention to detail (puppets using puppets, the astonishing replication of Times Square, Lisa's Indiana Jones-styled dress, the Star Wars cantina, the incredible depiction – and destruction – of Paris, Spottswoode and his glass of whisky, always intact even when the base is blown to bits).
The film is being offered in two flavors: original theatrical (pass) and this Uncensored And Unrated edition. That's a bit of marketing speak actually, since this version is the original cut that Matt and Trey handed in to the MPAA for certification – only to have an NC-17 slapped on the film for its graphic sex scene. Team America: World Police was withdrawn and re-cut a number of times before an R rating could be secured, with the promise that the missing shots would be reinstated for DVD. And reinstated they have been – an extra minute of hysterically graphic puppetry in which the words "shower" and "golden", and "steamer" and "Cleveland" come to mind! It's not as if the shots have been added in – they were always intended to be there, and as such, I recommend this (original) cut of the film, and not the R-rated theatrical version.
Team America: World Police is going to be a massive hit on DVD, and is destined to become a big cult favorite over time, if not already by those who have seen it. The jokes come thick and fast and the film deserves multiple viewings to pick everything up, as well as the nuances and clever subtleties (yes, they are there!) in the dialogue and scenes. That Matt and Trey don't really end up taking any political side is not really the point: their commentary is on the world at hand and it's fairly easy to see where they sit if one wants to read between the lines. This film is NOT FOR KIDS, and only then should suitable mature adults view it, with minds as broad and open as anyone could ever expect. There's so much more I could ramble on about this movie, but in the end, and like all good films, it is beyond description and speaks for itself.
TA:WP is, simply, a hell of a fun ride, which sets out to offend as many as possible and wears that heart on its sleeve. Whether you are offended or not (and quite a few more obvious targets go un-checked) will be down to how outwardly serious you take yourselves. Yes, the issues are real (a premeditated flooding is a rare sombre moment, where the lack of humanity in real terrorist acts is taken seriously and provides a haunting sequence that struck chords even pre-tsunami disaster) and it could be argued that the humor is in poor taste. But isn't it just great that we live in a world where films that push the boat out like this can be made, whatever their personal views and worldwide acceptance? And isn't there some delicious irony to the fact that I was able to pick up the soundtrack CD to the movie on my trip to New York? Maybe, maybe not…but I do know that Team America: World Police is a very, very funny piece of satirical work from perhaps the best satirists working today.
Is This Thing Loaded?
Those who complained that Matt and Trey's South Park movie didn't come with a whole second disc full of features (a special edition is still rumored) will be pleased to hear that TA:WP is a disc packed with bonus goodies. I'll get the disappointment out of the way early – there's no commentary – since, as anyone who follows the South Park duo knows, the boys don't really like to comment on their work (and it's all pretty much covered by the materials here anyway). I should also point out, before continuing, that the extras themselves are pretty near the mark and contain plenty of clips from the movie, including its strong language.
The disc spins for the first time with an MPAA anti-piracy commercial (for all those who end up copying the disc and removing it anyway) as well as four skippable previews for nothing relating to the main feature other than a push for South Park Season Five (old news – when's the next one out?) and a trailer for a new movie starring the fool Sandler. The main menu plays the signature tune, America, F**k Yeah! loud and clear, so make sure that the sound is low, or that little ones are absent from the screening. The design reminded me of the James Bond 007 special editions, with revolving electronic gadgetry bringing to mind typical spy and espionage imagery, all carried out with the over the top brio and explosive action from the film – good fun!
In lieu of a commentary, we get one of the boys' usual mini-commentaries in the form of Team America: An Introduction, which lasts five minutes, and is recommended viewing after the main feature, as it gives away many of the best moments. Trey Parker and Matt Stone run you through the movie, sharing their ideas on the team, the film, the characters and their attitude toward actors. Seemingly made to promote the film back last October, it covers the reasons they wanted to make the film and cuts in a fair amount of action from the movie, though doesn't reflect how they feel post-release about the finished piece or the reaction it got.
A series of featurettes are next, going fairly in-depth on the behind-the-scenes production of the film. Building The World looks at what went into constructing the intricately elaborate environments (including a croissant-paved Paris!) that the characters walk through (and blow up). The twelve-minute forty-second clip centers on production designer Jim Dultz, who proclaims quite correctly that Team America "without question will be the biggest puppet movie ever made". Yep, he said "will be" and as such confirms that all of this material comes from during the rapid-fire shoot itself, which as mentioned above was squeezed in between South Park seasons for Matt and Trey. That the footage doesn't have the retrospective angle doesn't bother so much here, since it feels like we're placed right in the action with the crew, and it all feels rather exciting! Along with plentiful still photographs documenting the shoot, we get snippets of on-set shooting, which really show the scale, challenge and tricks used in putting it all together – thank goodness Paramount has seen fit to allow rewind and pause functions to work, since I stopped and re-watched several of these shots repeatedly to catch various things.
The eight-minute Crafting The Puppets takes a similar approach to the work put into creating the Thunderbirds-styled marionettes and the advances in technology that allowed the characters' faces to achieve much more believability than the Gerry Andersons of old could ever do. Going through the various stages, we hear from the puppet crew on how they approached the Design, Construction and Costumes of the characters. One part that had me rolling over laughing was where the sculpting of the celebrities was talked about, and where the real-life photos of those in question were pixellated out, though not without giving a fair idea of who they were targeting!
Pulling The Strings, running ten minutes, sees things through the eyes of the puppeteers, and the rehearsal and re-working required as Trey and Matt came up with new things everyday on set. There's tons of production footage mixed in with the talking heads, and this one really portrays the nuts 'n' bolts mechanics of actually making the thing. Best of all is the term used for the puppet servo controls that is nothing to do with, but may be very familiar to Disney fans: CAPS, here an acronym representing the Computer Aided Puppeteering System. But that's how far the computer goes in assisting the show – everyone here takes great pride in the fact that everything on film is "real" and not the result of CG tinkering.
The extraordinary participation of cinematographer Bill Pope is explored next, in Capturing The Action, which runs just over six-and-a-half minutes. Parker and Stone explain their surprise that Pope would want to "sully his career" by shooting their puppet movie, and their reasons for wanting such an established action film oriented director of photography on board. Pope reciprocates by describing how fed up he was shooting green screen elements in his recent films and the attraction of filming real practicals appealed to him very much. The three speak about how Matt and Trey lent on Pope for the technicalities and how Pope was pushed to rethink how he himself works, a fact exemplified by the way the miniature shoot was taken into account and allowed for shots that could never be achieved on a full-scale live-action set. Pope also goes into how some of the more elaborate set ups were shot, and how he saw the boys' take on the action genre manifest itself in the project.
Miniature Pyrotechnics looks at the amount of stuff blown up in Team America ("because if not, it'll just go collect dust some place"). All the techniques that go into exploding something and making it look "real" are gone into, including how to "control" fire so it looks like a huge fireball coming at you from down the street. Lots of on-set footage and run-downs from SFX supervisor Joseph Viskocil, who here used the same team as performed the same operations in movies such as Independence Day, Godzilla and Volcano, illustrating again that the trick to why the film looks so good is down to hiring the right guys. This clip runs just shy of five minutes.
The feature's villain gets the once over in the five minute Up Close With Kim Jong Il, showing the progression from concept to fully realized puppet lampoon of this real-life figure, whom everyone seems to be genuinely fascinated with. The trick of getting the puppet's glasses to look right on camera is touched on, demonstrating again the level of work that goes into seemingly simple aspects of production, as well as Trey Parker's wish that film fan Kim's signature song, Ronery, gets nominated for an Oscar so that he might be personally persuaded to come and sing at the Academy Awards. Sadly, of course, that wasn't to be, though the thought is intriguing!
With the 45-minutes or so of featurettes over with, we move on to a number of Puppet Tests. None of them here are placed in any form of context, though it is clear that they were created early on, possibly as proof of concept and to get everyone in the right frame of mind for filming the movie. First up is a Dressing Room Test that is a dry run for the scene in the movie when team head honcho Spottswoode approaches Gary to join up. It plays roughly in the same way and with the same script as ended up in the film, although there are several obvious changes, and I just wish that they'd left Spottswoode's line in after Gary asks if he's from Hollywood, since it's totally in keeping with his character and would have been yet another classic line. It's also nicely directed, offering a way cool drink pouring gag and suitably filmic entrance shot for Spottswoode.
As is mentioned in one of the featurettes previously, Spottswoode was the first puppet created and so he carries the prototype character work seen in the next collection of tests. An early mock-up set is the environment for some frankly bizarre moments where the puppeteers get to grips with the control of the character, attempting to sync their actions to a temporary voice track (likely Parker). The written material here directly references the attack on the World Trade Center and is a little more in the way of plot exposition than anything and it's clear why this didn't end up in the movie in finished form. The movement here is rudimentary, though it progresses as the clips play out and there are even some "real world" tests that are peculiarly amusing in themselves. All told, the tests run just over six minutes, and are presented in their original 1.33:1 full-frame ratio.
Proving that the unrated version of the movie isn't just a marketing gimmick where all the extra footage has been inserted back in, we're offered some Deleted/Extended Scenes and Outtakes, all presented in 2.35:1 letterbox. These moments, some of which popped up on the internet during the film's theatrical rollout, are all keepers, being a mixture of completed sequences and on-set flubs by the puppeteers and voice artists. Best of all are a Winnie The Pooh gag, Gary's Matrix-inspired fight inside Kim Jong Il's palace ("Ping pong, ping pong!"), which still feels like its "missing" in the film due to an abrupt cut, a silent shot of Parker directing the puppeteers on the set of the spoof Lease show, and a surprising spin on the UK's BBC News 24, complete with the graphical style used on that channel. Ten scenes are offered, with a handy Play All option running all the clips together for a total of six minutes playing time.
Coming near to the end now, and we're presented with six scenes in Animated Storyboards form. Taken from a video source, the clips run a combined twelve minutes and only the Paris opening reflects anything that ended up in the finished movie. The rest play more like deleted, or at least completely alternate scenes, including a flashback for Gary, and one set in Kim Jong Il's bedroom and featuring the "wubbly, wubbly" and scantily clad Lisa! As usual with initial storyboards, most of what plays left to right was eventually flipped in the final movie, and there are numerous script changes and different line readings, which make these very revised sequences even more hilarious and interesting to check out.
Finally, two Theatrical Trailers and the skippable previews from the front of the disc end the package. Both trailers work very well as comic pieces in their own right, especially the teaser, which announces the names of those who will be really, really annoyed when they see the movie! The second, fuller trail features more scenes from the movie, cut with typical panache in the style of those empty-headed action flicks the film so mercilessly apes. Both are presented in 1.85:1 letterboxed format, which reveals the film was shot, as with Pope's Spider-Man 2, to a negative with a slightly taller aperture than the 2.35:1 theatrical ratio, possibly for a fullscreen transfer, though it still clips the sides and there's no doubt from watching the supplementary footage that 2.35 is the correct, intended framing.
Sadly, this disc has no I.N.T.E.L.L.I.G.E.N.C.E. – there isn't anything added in the way of DVD-ROM material here, but all in all this is a pretty packed and nifty little collection of bonuses. Something on the post-production, especially the original music score and the songs, would have really added to the package, though this is more down to the materials being put together while the film was still in production more than anything else. However, there's an abundance of background material and information on the film here that really reveals, apart from the fun they had making it (and we have watching it!), what a real challenge it was and how the real-life team were able to pull off this amazingly intricate and detailed feat. If this were any other movie, it would be hailed as a technical masterpiece. Shame that some people couldn't get behind what was being presented to them to see that… oh wait – that's one of the themes of the movie!
A standard black keepcase, with those danged Paramount clippers on the sides. I never know whether to snap 'em off (thus making the case look broken) or keep 'em on, making the disc that much more fiddly to get to. Ahh, that this is the least of my problems, but it's a shame that other studios are picking up on this trend. No insert is provided, and interestingly the back of the sleeve doesn't spoil with any synopsis, allowing those who haven't seen the film yet to come to it completely afresh.
Ink And Paint:
The film's action-epic look of 2.35:1 has been preserved with a strong showing on disc, with 16×9 anamorphic enhancement that keeps the image clean and rock steady. The squeezing of the added material onto a single disc may not have been the best idea, but since we're talking about a created world as opposed to something with all the detail our real one has, there's a lot that can be gotten away with, and the false-perspective sets mean that nothing ever gets out of focus and therefore tricky for the compression to handle. Surprisingly, for such a new release, there are quite a few nicks and scratches here and there (if you're really looking for them, and I was) since this was shot on good old-fashioned film, but overall this is a pleasingly sharp image, with good black levels and bright contrast – I have to say it looked very crisp and cinematic on my SharpVision projector, with just the right amount of grain delivering a very film-like presentation.
Scratch Tracks:
As befitting a movie that spoofs the excessively bang, crash, wallop punch of those Jerry Bruckheimer flicks, Team America delivers the same deep bass rumbles and dynamic soundtrack one would expect. Dialogue is stuck front and center, but when the Team head into action, the world comes alive with multi-directional effects and whooshes that really put some real world action films to shame. No doubt the intention was to poke fun at those mixes in general, but what we have here really works well in a home theater set up. The subwoofer gets a thorough LFE workout, not least from Harry Gregson-Williams' score. A late replacement for South Park: Bigger, Longer And Uncut's Marc Shaiman, Gregson-Williams was brought in for that authentic sound, and as someone coming from Hans Zimmer's Media Ventures family, the music is as bombastic as it should be (Shaiman's songs, including the hysterical Kim Jong Il "want song" Ronery, remain in the film). The 5.1 track is the one to go for, but the 2.0 surround mix does its job well, for those who need it. A French (!) dub is also included, as are English and Spanish subtitles.
Final Cut:
Attacking all sides of the political war for and against terror, Team America: World Police is biting satire at its best, taking Trey Parker and Matt Stone's South Park humor to its logical conclusion. Targets are hit and missed, and the boys don't quite commit themselves to voicing a true opinion, but that the film treats everyone – including a Bush-styled US – equally surely says something. It's also, as with the South Park movie, a very clever parody of the kind of film it actually is, packing in all the clichés and moments that have come to epitomise the word "formula". And yet, Team America is so much more than all this: it's a riotous hour and a half that deserves multiple viewings, and is a great "audience movie" that will surely go down well with liberally minded guests at movie night parties. If I told you about a movie that raises some questions, pushes the boundaries and astounds with its frank content, you'd want to see that movie, right? Well, see Team America: World Police, and don't forget to make sure the kids are out of earshot. MAAATT DAAAMON!
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Summary: A discography of the recordings of guitarist/bassist/songwriter/singer Tom Stevens. Listed are releases by Magi, Tom Stevens, The Long Ryders, Danny & Dusty, Chris Cacavas & Junk Yard Love, and Jack Waterson, as well as compilation releases.
An extremely hard to find record. Recorded in one week during August 1976 at Uncle Dirty's Sound Machine, Kalamazoo, MI. Aerosmith / psychedelic sounds. A counterfeit European "reissue" of this LP was available on Breeder (RPR 001-lC-560) in 1986. An Italian CD issue, also unauthorized, was released on the Flash label (Flash 51) in 1997.
"Win Or Lose" b/w "Mama"
45 includes "Mama" not on the LP. Personnel same as above.
Recorded by Thom Wilson at Perspective Studios, Sun Valley, CA on 29 September 1982.
Missy Zizzo - backing vocals on "Telephone"
Pure guitar pop. Recorded & mixed in nine hours. Out of print. All songs written by Tom Stevens. Johnny Bethesda (bass) was a member of the Akron / L.A. punk band The Rubber City Rebels. Mark Cuff played drums for The Textones.
Gene Clark - additional vocals on "Ivory Tower"
Dave Pearlman - steel guitar on "(Sweet) Mental Revenge"
Phil Kenzie - baritone and tenor sax on "Tell it to the Judge on Sunday"
Zippo and Frontier/BMG CD releases include "The Trip" with same lineup, and the 10-5-60 EP, with Des Brewer on bass. Tom Stevens sang on and co-wrote Wreck of the 809 and Too Close to the Light.
Christine Collister - backing vocals on "If I Were a Bramble"
Stephen Wickham - violin on "If I Were a Bramble . . ."
Alan Dunn - accordion on "Child Bride"
Snake Davis & his Longhorns - horns on "WDAI"
Vic Collins - pedal steel on "WDIA"
Tom Stevens wrote and sang "Years Long Ago" and "You Just Can't Ride the Boxcars Anymore" and co-wrote/co-sang "South Side of the Story" and "Christmas in New Zealand."
Island issued Looking For Lewis And Clark (extended version) c/w Child Bride, South Side Of The Story, If I Were a Bramble And You Were a Rose Island 10IS237 (10") and 7" double-pack formats.
An Italian bootleg LP made from an audience tape, recorded on the State Of Our Union UK tour at Newcastle University, November 19, 1985.
A promotional LP containing interviews with the Long Ryders between the album tracks from State of Our Union.
Produced, engineered and mixed by Paul B. Cutler. "The Word is Out" produced & engineered by Rick Novak. Recorded February 1985.
Prima CD reissue contains extra track "Bend In the Road."
Read an amazing review from the Wilson Library Bulletin, November, 1985 here.
UK CD compilation w/ Danny & Dusty track "Bend In the Road." Personnel same as above.
Produced & engineered by Rick Novak, mixed by Paul B. Cutler.
The Long Ryders flexidisk, given away at live gigs.
Included with Bucketfull Of Brains issue 17. Encore From Hell features Sid reading his own bad reviews.
Baby We All Gotta Go Down appears on the compilation LP What a Nice Way To Turn Seventeen (Number 6, LP+magazine) This is a version of a song recorded live at the Mean Fiddler in London on 01 Dec 1985, originally recorded by Danny & Dusty. Issues of WANWTTS were a magazine with a full length vinyl LP.
David Hidalgo - accordion on "Light Gets In The Way"
Debbi & Vicki Peterson - backing vocals on "I Want You Bad."
Tom wrote and sings lead on "A Stitch in Time."
Prima Deluxe Edition contains four bonus tracks: Ring Bells - State of My Union (live) - Time Keeps Traveling - Baby, We All Gotta Go Down (live).
Tom plays bass and sings backing vocals on "Driving Misery" and "Truth."
Johnette Napolitano- backing vocal on "Truth"
Normal Records (Germany) reissued this CD with bonus tracks "Load Off Me," "Four Corners USA" and "Can You Hear," personnel same as above.
45 with Died Pretty's "Herr Godiva" on A-Side;7" in a sleeve given away with the Danish magazine Adventure.
Superfine - Jellybean Room - Rampage - Mary Beth - Road to Hell - The Exchange - When the White Boys (Get the Blues) - All the Same - I Could Be With You - Whose Dog?
John Thoman - slide on "Mary Beth," lead on"Lately"
Will Glenn - fiddle on "Road To Hell"
Luis Silva - bass, background vocals on "Heavy Hand"and "Lately"
Mark Siegal - lead guitar on "Heavy Hand" and"Lately"
Pat Thomas - drums on "Heavy Hand"
EFA version contains original mixes of "Mary Beth," "The Exchange" and "All The Same," plus a Jim Goodwin remix of "Heavy Hand."
Greg Sowders - drums, percussion, vocal on "Billy Jean"
Des Brewer - bass on "Brand New Heartache"
Larry Chatman - bass on "Greenville Trestle"
Cassette contains tracks listed above. CD omits "Is Anybody Going to San Antone," "I Want You Bad," "What Goes On" and "Greenville Trestle." Reviewed in 23 Feb 1989 issue of Rolling Stone.
Prominent violin and pedal steel in rootsy tracks as "17 Ways" and "The Ballad of Bobby & Betty" contrast rocking guitar on "The Upper Hand" and "Sad Sad Songs."
Read more about the Last Night sessions in the about Points Revisited piece.
Compilation CD, contains "The Ballad of Bobby & Betty" from Last Night and Jack Waterson's "Road To Hell" from Whose Dog.
All songs written by Tom Stevens. Recorded during eleven days at the Root Canal, Hollywood, CA. Originally slated for release by doggybag Records (distributed by Sony Germany). MAIA Records (E-mail: kctaper@aol.com) U.S. CD released October, 1995.
Compilation CD including the Long Ryders' I Had a Dream.
This compilation CD contains The Long Ryders' Final Wild Son from Native Sons. Other artists appearing include Los Lobos, The Beat Farmers, Steve Earle, Georgia Satellites and Jason & The Scorchers.
Tell It To The Judge On Sunday by The Long Ryders from Native Sons is included on this compilation of 1980s American guitar bands including The Dream Syndicate, `Til Tuesday, Green On Red and E.I.E.I.O.
A collection of Tom Stevens solo recordings from 1981-1989, including alternate versions and home demos.
Recorded early 1982 at Airport Studios, Burbank by Tom Stevens on Larry Stutzman's TEAC 3340-S.
Recorded 1983 at home on Normandie in Los Angeles.
Recorded 1988 at Larry's Pro Sound, Granada Hills, CA.
Recorded by Larry Stutzman and Jack Waterson.
Recorded 1989 at Allen Recording, Elkhart, IN.
Recorded by Scott Allen and Tom Stevens.
Looking For Lewis And Clark by The Long Ryders from State of Our Union is included on this compilation of 18 bands,along with REM, Los Lobos, The Dream Syndicate, The Blasters and Rank & File.
A compilation cassette of covers of Neil Young songs released by the Dutch Neil Young Fan Club. Included is Tom Stevens' version of Everybody Knows This Is Nowhere. Other artists include Crazy Horse, Sonya Hunter, Grant Lee Buffalo, Golden Smog, Matthews Southern Comfort, Bevis Frond, Type O Negative, Russ Tolman & The Great Danes, Linda Ronstadt, Walkabouts, Stephen Stills, Pat Thomas, Annie Lennox, Fever Tree, Locust Fudge, and The Byrds.
A forty-song, two-CD compilation on Polygram/Chronicles. Liner notes by David Fricke. Release date:July 21, 1998.
A 2-CD compilation of Neil Young covers, to benefit the Bridge School. Includes Tom's cover of Everybody Knows This Is Nowhere. U.S. distribution by Innerstate. Release date: April 20, 1999.
Bootleg CD from the FM broadcast of The Long Ryders' Bottom Line show, May 7, 1987, 2nd show. Cover a mockup of the Zippo "I Had a Dream" picture sleeve.
Swedish compilation includes Tom Stevens' Mustang Car from Another Room. Details here.
Swedish compilation includes Tom Stevens' Just One Night With You from Points of View. Details here.
Recorded live at The Bottom Line, NYC on May 7, 1987.
Back to the Tom Stevens' Insomnia.


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Exposure Suit
New to Scuba
Photo Gear & Techniques
Scuba Diving in Kimbe Bay
Kimbe Bay on New Britain is a biodiversity hotspot, offering incredible diving and one of the best-preserved WWII aircraft wrecks in Papua New Guinea.
By Don Silcock Dive Locations In the Water Nov 8, 2017
Kimbe Bay is to the large island of New Britain what Milne Bay is to Papua New Guinea's main island of New Guinea: a biodiversity hotspot that offers an incredible variety of diving. Scuba diving in Kimbe Bay also means the chance to visit one of the best-preserved WWII aircraft wrecks in the country.
New Britain is the largest of Papua New Guinea's 600-plus islands and is part of the huge 19,000-square-mile (50,000 square km) Bismarck Archipelago off the northeastern coast of New Guinea.
Kimbe Bay sits roughly one third of the way along the north coast of New Britain and is world-renowned for its incredible marine biodiversity. Nature Conservancy surveys on 78 sites in the bay have identified 860 species of fish, around 400 species of stony corals and 10 species of whales and dolphins.
To put that in a global perspective: in an area roughly the same size as California, scientists estimate that Papua New Guinea is home to almost 5 percent of the world's total marine biodiversity. Many birders visit as well because the highland rainforests are as rich in bird life as the waters of the bay are in marine life.
Visually the bay is quite spectacular, with a series of volcanoes dotting its long shoreline. In the bay itself are several dramatic seamounts, rising up from the depths. Those seamounts, combined with numerous excellent reefs and the incredible marine life, are what make scuba diving in Kimbe Bay so special.
How to get to Kimbe Bay
The only real option for getting to Kimbe Bay is by air from Port Moresby to Kimbe, the main town in the area and the provincial capital of West New Britain. Kimbe's airport is called Hoskins (HKN) and both Air Nuigini and PNG Air serve it regularly. Only Air Nuigini has direct flights.
Logistics in Kimbe Bay
The Papua New Guinea currency is the Kina and $1 USD will buy you about three of them. Most visitors to PNG get whatever Kina they may need at the ATM or currency exchange after arrival at the international airport in Port Moresby. There are a few ATMs available at the banks in Kimbe town, so you can also get cash there if you need to.
There are two options for diving Kimbe Bay — either land-based using day boats from the resort, or on a liveaboard. Either way you will end up at Walindi Plantation Resort which basically is scuba diving in Kimbe Bay.
Walindi has been operating since 1983, but has come a long way from the single boat and two bungalows that Max and Cecilie Benjamin started with. There are now 12 individual bungalows plus several Plantation Rooms to accommodate visitors, together with a central lodge, restaurant, swimming pool and small bar. The Benjamins' son Cheyne and his wife Emma took over operations at the resort from Max and Cecilie a few years ago. Walindi operates three day boats, each accommodating six to eight divers, with two dives per day being the norm and a third available on request.
The average time to most dive sites is around 40 minutes, but the more remote sea-mount sites take a bit longer.
Standout dive sites
Generally, the reefs in Kimbe Bay offer excellent diving, but an overall favorite is South Emma's. The site features a superb assortment of huge barrel sponges, beautiful red sea-whip gorgonians and vibrant soft corals.
To round things off nicely, there's a deep swim-through cave, and the top of the reef is coated in healthy hard corals. Schooling fusiliers and trevally regularly patrol the area.
Of all the incredible seamounts in Kimbe Bay, Bradford Shoals is the standout attraction. It's located on the very edge of the bay, with the seafloor some 5,000 feet (1500 m) below. Bradford rises from the abyss to within about 65 feet (20 m) of the surface and its reef structure is mainly flat plates of hard corals. These are home to numerous colorful, small reef fish. But a visit here is not about reef fish — surrounded by deep water and far from the nearest reef structure, Bradford acts as a magnet for big fish and pelagics. There are no guarantees, but you are almost certain to see large schools of barracuda, big-eye trevally, dogtooth tuna, unicorn fish and fusiliers, plus skittish whitetip reef sharks. Gray reef sharks cruise out in the current and hammerheads occasionally visit from the deep.
Dive on a WWII fighter plane
Finally, no visit to Kimbe Bay would be complete without a dive on what is possibly the most intact WWII aircraft wreck in Papua New Guinea. In a small bay, close to South Emma's reef, is a Japanese Mitsubishi Zero fighter, lying in just 56 feet (17 m) of water.
Research by Max and Cecilie Benjamin based on the aircraft's serial number established that Tomiharu Honda was the pilot. The plane went missing during the battle of Cape Gloucester on West New Britain on December 26, 1944. The wreck's location close to shore means that it's best to dive here when there has been no rain for several days so that the visibility is at its best.
Sitting on the sandy bottom, the plane is covered with a light marine growth and barnacle-like hard-coral growth on the wings and fuselage.
The three blades of the single propeller are still very much intact, covered with sponges and some colorful coral. Fish life is concentrated around the open cockpit.
Liveaboard diving
Walindi's liveaboard, the MV FeBrina, operates from the resort for about two-thirds of the year and from Rabaul at the eastern tip of New Britain for the rest.
From Walindi, FeBrina covers the remote Witu Islands northwest of Kimbe Bay and Father's Reef at the eastern edge of the bay. Those outer reefs offer some incredible diving on sites that are rarely if ever dived by other boats.
The highlight of a trip to the exceptional Witu Islands is Garove Island, which is the remains of a huge, sunken volcanic caldera. Diving the black-sand critter site at Wire Bay yields a tremendous assortment of critters and, on any given dive, you may see leaf scorpionfish, hinge-beak shrimp, Steinitz' shrimp gobies, numerous varieties of clownfish and lots of nudibranchs.
While at Father's Reef you will encounter what is probably the healthiest population of sharks in PNG. Shaggy's Reef the highlight of that area because of the dedicated shark feed that FeBrina conducts there.
From Rabaul, the FeBrina covers the remote south coast of New Britain – an area of Papua New Guinea that no other dive boats visit. There are numerous fantastic sites along the south coast, but the standout is West Entrance at Lindenhaven, a small village in the Gasmata area.
As its name suggests, the dive site is on the west entrance to the village. The corals and fish life are prolific and pristine because of the strong, rich currents that course through the entrance. Those currents mean that you can only dive West Entrance around slack tide, but the wait is well worth it.
When to Dive Kimbe Bay
Kimbe Bay's unique topography protects it from extreme weather, and its dive sites are accessible year-round, although conditions do vary. The best time of year to visit is from September to November, with calm seas and superb visibility typically over 80 feet (25 m) or May through June, which typically features calm seas and clear skies with almost no wind. Water temps vary from around 80 F (27 C) to 88 F (31 C)
Australian Don Silcock is based in Bali. He has dived many of the Indo-Pacific's best locations. His website offers articles and location guides to the places he has visited and the big animals he has dived with. Learn more about Kimbe Bay and Papua New Guinea in his complete guides.
Don Silcock / About Author
Don Silcock is an Australian now based on Bali. He is a passionate underwater photographer who has dived extensively in Papua New Guinea, Indonesia and many other locations across the Indo-Pacific. Don caught the big-animal bug a few ago after a trip to photograph the humpback whales of the Tonga and is now working his way through an expensive looking "to do" list. His images, articles and comprehensive location guides can be found on his website here.
More posts by Don Silcock
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Port Moresby for Beginners
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Scuba Diving in Milne Bay
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Dive Site: Port Moresby's Pacific Gas Wreck
The Pacific Gas tanker began life transporting liquefied gas from Australia, and has become one of Papua New Guinea's most storied dive sites.
Kimbe Bay: The Coral Crucible of Papua New Guinea
Some in the scientific community call Kimbe Bay in Papua New Guinea the coral crucible. With 400 species of coral, it lives up to that reputation.
Conservation in Kimbe Bay
Kimbe Bay, on the north coast of New Britain, is famous for its marine biodiversity. Conservation in Kimbe Bay is key to preserving this underwater wonderland.
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Dive Site: B-17F Black Jack Bomber Wreck, Papua New Guinea
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Diving the Aircraft Wrecks of Papua New Guinea
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Dive Seasons in Papua New Guinea
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Scuba Diving in Papua New Guinea: Tufi Dive Resort
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Scuba Diver Life
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redpajama_set_name: RedPajamaCommonCrawl


Today's installment of campaign-related news items.
* In mid-July, Barack Obama will be making an overseas trip to Europe and the Middle East. Though, for security reasons, there has been no announcement about visiting Iraq, one assumes it will be on the itinerary.
* There has been plenty of speculation about what Bill Clinton will do, or not, to support the Obama campaign. The ice may be thawing.
* Senate Minority Leader Mitch McConnell, R-Ken., acknowledged on CNN Sunday that he doesn't believe Republicans have any shot at reclaiming the Senate majority this cycle.
* Sen. Chuck Hagel, R-Neb., said over the weekend that he's going to continue to withhold his endorsement in the presidential race, and added that he no longer holds his party in high regard.
* SurveyUSA shows Obama leading McCain in Virginia by 2 points, 49 percent to 47 percent.
* SurveyUSA shows Obama leading McCain in Ohio by 2 points, 48 percent to 46 percent.
* While some recent polling showed Georgia looking very competitive, a new Rasmussen poll shows McCain leading Obama in Georgia by 10 points, 53 percent to 43 percent.
* Rasmussen shows McCain leading Obama in Mississippi by 6 points, 50 percent to 44 percent.
* Rasmussen shows McCain leading Obama in Texas by 9 points, 48 percent to 39 percent.
* Rasmussen shows McCain leading Obama in Arizona by 9 points, 49 percent to 40 percent.
* McCain is, for some unknown reason, running ads in parts of Iowa hardest hit by flooding, where plenty of families are living in FEMA trailers.


Most business owners today know how difficult the race against the competition is. You're constantly battling existing opposition and entrants, while trying to focus on your business operations. This is a challenge for many people, and it's one of the common causes of failure.
Thriving as a business owner in this digital age entails the use of cutting-edge tools that give you the advantage over competitors. One such tool is custom enterprise software.
But how do you effectively implement the development of such software? Here are some core tips to follow.
This seems like a very simple and obvious step, yet it's one of the most neglected strategies and has very dire consequences. After you decide to begin a custom enterprise software development project, it's best to contact a custom software development company and get a team of web developers. Once you do this, provide your team with details of the project so they can internalize it and get to work ASAP.
It's also advisable to work with just one representative from the web and mobile development company. This individual is tasked with helping and training the team where required. It's easier to get a professional from a web development company who is very comfortable with the tools you will need. This person should also be a good trainer.
Doing the step above means that you've checked one of many boxes. The next step is to create a plan. When we say you need an implementation plan, we're not talking about a general overview of the process. You actually need a step-by-step outline of the strategy. This will cover both the implementation and the integration and this way you can ensure that there are no lapses.
In doing this, be sure to ask questions about the rules governing the business, go through workflows and best practices and try to discuss all your ideas / fears with the web development company you will be dealing with. Also, one thing you should consider when doing this is that the software will most likely be rolled out in waves. This is the norm and will foster a smooth on boarding process for everyone involved.
When you're having talks with a custom software development company, it's only natural that discussions that involve other departments in your organization arise. The success of your custom enterprise software is hinged on the cooperation of every department, from sales to marketing to PR, and even IT.
So, if you're going to be working with a web and mobile development for such a project, it's best if you get the other members of your company onboard.
We just mentioned things that come up while you're holding a conversation with a custom software development company and this point is another common consideration. Will the enterprise software being developed work well with pre-existing systems? How smooth will the transition be? What additional components or installations will be required to bring this to fruition?
These are important questions to address with your web development company in the initial stages. It's a requirement that cannot be compromised as it's essential to the efficient and effective operation of your business. The bottom line is that you must ask your developer if the new enterprise software will seamlessly integrate with any system on the ground already.
An enterprise system is difficult to navigate for many professionals. Making one that requires constant maintenance will just make matters worse. When you're having that talk with the custom software development company, give convincing reasons why you need a product that isn't maintenance-intensive.
Let's take an off-the-shelf software application as an example. When you purchase such an app, you're buying it knowing full well that the support and maintenance you get is limited. Although there might be obvious advantages at first, the disadvantage becomes obvious when the shelf-life is over and you have no choice but to upgrade your subscription.
You're nearing the release stage of the project and we assume you're working with a web and mobile development company that is the crème de la crème. However, their excellent skills might not translate to perfection. As a result, it's important to regularly evaluate the custom enterprise software you've developed.
Evaluation is a chance for you to assess the full functionality of the software and to compare the results with the expectations. Essentially, you should check if the software actually improves productivity and by what margin? You should also be sure to confirm that your employees are comfortable navigating the tool. After all, it's a tool that will be used by most of them. If there are any objections or suggestions, now would be the best time to speak up.
Even though you're overwhelmed by the success of the product your custom software development company delivered, it's not time to rest on your laurels. Your ability to provide continued support will contribute to the eventual success of the implementation of the enterprise software.
The training should not be rigorous or strictly-structured. Simple seminars and regular training sessions will do the trick. Some companies opt for online videos and tutorial sessions. Also, remember the professional from the web and mobile development company we mentioned earlier? That alternative will also work.


We have dropped the single price of our Brown Gift Boxes by up to 50%!
We have also added many more quantity-based discounts so that you can get a better price for ordering large quantities.
Check out our Brown Gift Box range now.
Next post: Bank Holiday packaging inspiration!


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Notes from 3rd Nitrate Picture Show
Home Blog Notes from 3rd Nitrate Picture Show
The 3rd Nitrate Picture Show was recently held in Rochester, New York at the George Eastman Museum, from May 5-7, 2017. Film archivists, preservationists, historians and enthusiasts from around the world attended and viewed rare nitrate film, projected on the big screen at the Dryden Theatre.
Nitrate film, the primary commercial film stock in use until 1951-1952, is no longer allowed to be screened in movie theaters, due to it's flammability. Only four theaters in America currently have the equipment, authorization and expertise to safely project nitrate films, and none of them hold as extensive a nitrate-based film festival as the Dryden:
The Dryden Theatre at the George Eastman Museum in Rochester, New York.
American Cinematheque's Egyptian Theater in Los Angeles.
UCLA's Billy Wilder Theater, also in Los Angeles.
The Stanford Theatre in Palo Alto, California.
Brief history of nitrocellulose in film
Nitrate film owes its development to the creation of nitrocellulose, developed by French scientists in the early 19th century. This material was appreciated primarily because it was so flammable, which lead to its use in the manufacture of explosives and propellants, including a material known as Guncotton, known to blow up during the manufacturing process if not careful.
Lots of experimenting was going on to stabilize nitrocellulose for other purposes. Historians credit various scientists and inventors for transforming this material into a flexible plastic that would become known as celluloid, including English chemist Alexander Parkes and American inventor John Wesley Hyatt. Once refined, celluloid was being used everywhere – household goods, children's dolls and other toys, clothing, even billiard balls. And, yes, there were reports of billiard balls exploding if they were hit too hard!
From nitrocellulose to nitrate film
In 1851, with the development of the collodion wet plate process, we see the first and most enduring use of nitrate as a medium for early photography. This was nitrate film, but in its liquid form, which was referred to as collodion. It was the primary chemical in "wet-plate" photography, a complex process that used plates made of heavy glass or other stiff materials as film.
It's around 1888 that we begin to see those heavy glass plates replaced with sheets of lightweight and flexible celluloid, the true beginnings of nitrate film. George Eastman adapted its use to his early cameras and film projects in 1889. More years of trial and error eventually lead to large rolls of 35mm motion-picture film created from the nitrate-based celluloid sheets.
There was constant experimenting going on this era. Various sizes and shapes of film were constantly hitting the market. And during this time, some fires did occur due to the high volatility of the nitrate-based film stocks. At the end of the 19th century, regulations began emerging for projectionists and theater owners about how to safely project film for public viewing. Fireproof projection rooms with wall coverings made of asbestos and heavy, vault-like doors to the projection booth were a requirement — needless to say, film projectionists were doing hazardous duty back then!
From nitrate film to acetate film
It's also around this time that manufacturers begin to recognize and make film for the home market. Yet it was nitrate film, highly flammable, in the hands of amateurs. This worried the film manufacturers who knew the consequences of a home fire caused by their film would be dire. This concern lead to the development of Acetate film, otherwise referred to as "Safety" film stocks, which replaced nitrate film. By 1923, 16mm film shows up, chosen by Kodak so people couldn't run the flammable nitrate stocks. All 16mm film manufactured is Acetate "Safety" stock.
The major commercial studios continued to shoot their movies on nitrate film because it was considered a superior medium for holding the emulsion. By the early 1950's, Acetate had been refined and all the major movie studios had ended their use of nitrate film stock.
Nitrate film archives from around the world
At this year's festival at the Dryden, archives from around the world, including Japan, Russia, the Czech Republic and Sweden loaned prints from their collections. And many of these archives sent the custodians of these films to Rochester as well, partly because they had never seen their nitrate prints projected before—even though many of these prints had been in their collections for decades. That's how rare it is to actually see a nitrate-based film projected on the big screen these days.
I've worked with nitrate stocks on a daily basis for many years, including films that date back to the Silent Film era, but on this trip to Rochester, I handled a piece of film that was truly one-of-a-kind, a nineteenth-century treasure that has somehow survived to this day.
Rare 58mm wide nitrate film
Hard to believe a 120-year old piece of film could still be so viable and vital even now, but it is. A Gaumont Film Company shot scenes of Paris street life, circa 1898, in the rare "Chronophotographe" format—wider than the industry-standard 35mm, it was actually 58mm.
The unique 58mm size is a relic from the early days when 35mm was still not the big dog on the block and experimentation was everywhere, in size, format, materials, etc. This 58mm film is a reminder that the widescreen Cinemascope epics of the 1950's and the 70mm films and IMAX films that screen at certain theaters today are just part of the movie industry's long-running desire to get richer, larger images onscreen. Cinemascope used 35mm film, but "squeezed" the image using a special lens. Then, when it was projected, it was "unsqueezed" to create a wide image. Other formats, like VISTAVISION or IMAX, sometimes laid the film out horizontally, instead of vertically, to get a wider image.
58mm was not a popular or long-lasting format, but another stop along the way during a period of rapid experimentation and lack of standards. There have been other widescreen formats that existed for a brief time, including Magnascope, which used a large magnifying lens on the projector to widen the image and Cinerama, an ambitious format that used a unique camera that filmed onto three pieces of 35mm film simultaneously and then, three separate 35mm projectors working in sync would project the massive image onto a large, curved screen.
The 58mm film in these pictures can now only be viewed by hand or through a magnifying lens, as few 58mm film projectors were ever made, and none are available today.
This particular cinematic work does not seem to be based on a play or a script of any sort; it simply shows street life in Paris at the end of the 19th century. Most of what remains are a few shots of children playing and street traffic. It's unclear how much this format was used, but it was not very popular and its existence was brief.
One would have seen it, perhaps, in a French theater where one might have gone to see a magic show or other live stage performance. Perhaps it was used as part of a special effect – a stage actor might have been in front of the film as it was projected, interacting with it in some way. Or it was integrated into a magic show, something Melies, the great early French filmmaker would have done. His shows were filled with illusions—some live, some filmed, and some a combination.
This is a unique look at the constantly evolving art and craft of cinema that is worth preserving as long as possible for future audiences and historians. Many thanks to the folks at the George Eastman Museum for making this rare piece of history accessible.
Danny Kuchuck
Danny Kuchuck is a filmmaker, writer and archivist living in New York. He is a former film technician and project manager for LAC Group, and prior to that, PRO-TEK Vaults.
Latest posts by Danny Kuchuck (see all)
Film and photos lost, now found, part II - September 12, 2019
Film and photos lost, now found - May 6, 2019
Everything old is new again - March 11, 2019
Pandemic brings new life to old movies
Preserving remnants of nitrate film's heritage
Protecting valuable media assets from fire
"The Nitrate Picture Show: A Festival of Conservation" – Highlights of 2015 Event
"What lovely Nitrate weather!" – Virginia Keane, wife of Film Historian Kevin Brownlow From April 30 to May 4, 2015,…
Nitrate film preservation
Although not manufactured since the early 1950s, thousands of feet of nitrate-based film footage still exist in collections around the…


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Home > Asean > Corporate Directors to Convene in Geneva for World's First-Ever Global Cyber Forum
Corporate Directors to Convene in Geneva for World's First-Ever Global Cyber Forum
NACD to Host Global Boardroom and Cybersecurity Leaders to Elevate Cyber-Risk Oversight Practices
WASHINGTON, Jan. 25, 2018 (GLOBE NEWSWIRE) — The National Association of Corporate Directors (NACD), the authority on boardroom practices representing more than 18,000 corporate board members, today announced its 2018 Global Cyber Forum, which will be held April 17–18 in Geneva, Switzerland. This event recognizes the global nature of cyber threats and gives international scope to NACD's efforts to drive board members' greater understanding of, and role in, cybersecurity oversight.
An elite group of nonexecutive directors (NEDs) of multinational corporations, C-suite and managing-director-level executives, cybersecurity experts, global cybersecurity policy and law enforcement officials, and other thought leaders will attend the forum. Participants will examine leading board-level cyber-risk oversight practices and explore key themes that include cross-border law enforcement, the shifting global regulatory landscape, the impact of emerging technologies on cybersecurity, and leading practices in cyber hygiene. The forum will engage attendees in a cyberbreach simulation for interactive learning.
"As new threats arise amid increased global integration and connectivity, corporate boards need to be well-versed in their companies' vulnerabilities in order to be prepared in the event of a cyberbreach," said NACD CEO Peter Gleason. "Our primary goal is to provide NEDs and company leaders with practical information they can take back to the boardroom."
The Right Honorable Baroness Pauline Neville-Jones, DCMG; former top British diplomat and Advisor to Prime Minister David Cameron; Chair of the Bank of England's Cybersecurity Panel; Senior Advisor to Ridge-Schmidt Cyber; and Council Member of the UK Research Council
Olga Botero, Director and Chair of the Technology and Cyber Security Committee for EVERTEC Inc. and Former Chief Information Officer of Grupo Bancolombia
Greg Bell, Principal, Advisory Services, KPMG LLP
Anastassia Lauterbach, Director and Chair of the Technology and Innovation Committee for Dun & Bradstreet
Sara Grootwassink Lewis, Audit Committee Chair, Sun Life Financial, Weyerhaeuser Co., and PS Business Parks; Director, Leadership Board of the U.S. Chamber of Commerce Center for Capital Markets Competitiveness; and Trustee, Brookings Institution
Richard Spearman, Group Corporate Security Director, Vodafone Group PLC
Akhilesh Tuteja, Global Practice Colead, India Region, KPMG LLP
Jeff Brown, Vice President and Chief Information Security Officer, Raytheon Co.
Maya Bundt, Head, Cyber and Digital Solutions, Swiss Reinsurance Co. Ltd.
Shelley Leibowitz, Director of E*TRADE Financial and Former Group Chief Information Officer for the World Bank
Larry Clinton, President and CEO, Internet Security Alliance
Dani Michaux, Asia Regional Leader, KPMG LLP
Major General Koen Gijsbers (Ret.), Senior Advisor, Network Centric Industry Operations Industry Consortium; Former General Manager, NATO Communications and Information Agency; and Former CIO, Netherlands Ministry of Defence
John Hermans, EMA Regional Leader, KPMG LLP
William McCracken, Director of MDU Resources Group Inc. and NACD, and Former Chair and CEO of CA Technologies
NACD is proud to partner with KPMG for this event. Other partners include the Global Network of Director Institutes (GNDI), the Internet Security Alliance (ISA), and Ridge Global.
For more information about the forum, visit www.NACDonline.org/CyberForum.
About NACD
The National Association of Corporate Directors (NACD) empowers more than 18,000 directors to lead with confidence in the boardroom. As the recognized authority on leading boardroom practices, NACD helps boards strengthen investor trust and public confidence by ensuring that today's directors are well prepared for tomorrow's challenges. World-class boards join NACD to elevate performance, gain foresight, and instill confidence. Fostering collaboration among directors, investors, and corporate governance stakeholders, NACD has been setting the standard for responsible board leadership for 40 years. To learn more about NACD, visit www.NACDonline.org.
Susan Oliver
susanboliver@gmail.com
Ascom will showcase its Digistat suite of healthcare ICT solutions at Arab Health 2018
ผู้บริหารบริษัทยักษ์ใหญ่รวมตัวกันที่กรุงเจนีวาเพื่อเข้าร่วมงานสัมมนา Global Cyber Forum ครั้งแรกของโลก


text:
package Paws::Glue::LastCrawlInfo;
  use Moose;
  has ErrorMessage => (is => 'ro', isa => 'Str');
  has LogGroup => (is => 'ro', isa => 'Str');
  has LogStream => (is => 'ro', isa => 'Str');
  has MessagePrefix => (is => 'ro', isa => 'Str');
  has StartTime => (is => 'ro', isa => 'Str');
  has Status => (is => 'ro', isa => 'Str');
1;

### main pod documentation begin ###

=head1 NAME

Paws::Glue::LastCrawlInfo

=head1 USAGE

This class represents one of two things:

=head3 Arguments in a call to a service

Use the attributes of this class as arguments to methods. You shouldn't make instances of this class.
Each attribute should be used as a named argument in the calls that expect this type of object.

As an example, if Att1 is expected to be a Paws::Glue::LastCrawlInfo object:

  $service_obj->Method(Att1 => { ErrorMessage => $value, ..., Status => $value  });

=head3 Results returned from an API call

Use accessors for each attribute. If Att1 is expected to be an Paws::Glue::LastCrawlInfo object:

  $result = $service_obj->Method(...);
  $result->Att1->ErrorMessage

=head1 DESCRIPTION

Status and error information about the most recent crawl.

=head1 ATTRIBUTES

=head2 ErrorMessage => Str

  Error information about the last crawl, if an error occurred.

=head2 LogGroup => Str

  The log group for the last crawl.

=head2 LogStream => Str

  The log stream for the last crawl.

=head2 MessagePrefix => Str

  The prefix for a message about this crawl.

=head2 StartTime => Str

  The time at which the crawl started.

=head2 Status => Str

  Status of the last crawl.

=head1 SEE ALSO

This class forms part of L<Paws>, describing an object used in L<Paws::Glue>

=head1 BUGS and CONTRIBUTIONS

The source code is located here: https://github.com/pplu/aws-sdk-perl

Please report bugs to: https://github.com/pplu/aws-sdk-perl/issues

=cut

redpajama_set_name: RedPajamaGithub


It's little wonder, then, that Knightley has re-teamed with her P&P director Joe Wright twice since, first in the bloated Atonement and now the umpteenth adaptation of Anna Karenina. Their rendering of Leo Tolstoy's classic novel is opulent and earnest, an eager production that's more busy than bold. And while there's much to admire about Wright's aesthetic, you probably won't remember what they were a half-hour later.
In adapting Tolstoy's tale of romance, (in)fidelity and society set in swinging 1870s St. Petersburg, Wright situates the action within the tableau of a stage production, albeit one with a broad conception of space. Scene transitions pass between pulleys curtains and lighting rigs; actors are situated in front of flood lights; some outdoor scenes are conceived with painterly landscapes. It's a conceit that's initially off-putting, but gradually the staging devices become an object for artistic admiration, such as a horse race that appears to run from stage right to left and an exquisite ballroom dance scene as Anna (Knightley) and her illicit lover Count Vronsky (Aaron Taylor-Johnson) twirl amongst a crowd of onlookers literally frozen in time.
However, Anna Karenina is a story built on passion, which is something that frequently gets lost amongst the cinematic atmospherics. The literary Anna is a victim of cultural mores and desire so unbridled she allows it to compromise her marriage and social standing. While Wright and Knightley effectively convey that reckless abandon, what's missing is any apprehension for its provenance. Anna simply swoons breathlessly for Vronsky, whom Taylor-Johnson misplays as a preening scalawag who is not dashing nor all that desirable. Moreover, we simply asked to assume the reasons Anna has no love left for her older husband Karenin, well-played with slow-burn restraint by Jude Law. Part of the disconnect is a matter of age: Karenin is 20 years Anna's senior in Tolstoy's story while Law is only 12 years older than Knightley. Most of it, however, is a matter of perception. Vronsky does little beyond garble a few sweet nothings to make Anna so blindingly betray her marital and maternal vows.
Thus, so much of the 130-minute running time plays out like overcooked melodrama: think Douglas Sirk meets Max Ophüls meets Baz Luhrmann. That makes for good spectacle, but not necessarily compelling cinema.


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A&E,	Community,	Features,	Food,	Local Business	in Northern Liberties
A Night Out: A Restaurant Week for the Riverwards
By Max Pulcini | August 6, 2014
Philadelphians know their food, and I'm not just talking cheesesteaks, pork Italians and pretzels. While these Philly staples are what help define our city's flavor culturally, there is actually a food mecca growing under our feet. Restaurant moguls like Stephen Starr and Georges Perrier have built their dining-dynasties here, and events like Center City Restaurant Week and SIPS have helped make high-class cuisine and cocktails more accessible to the entire metropolitan area. But weeks dedicated to food and booze buzz aren't limited to the restaurants cast under City Hall's shadow anymore—from August 1 through August 10, SugarHouse Casino is organizing a restaurant week of its own, highlighting the neighborhoods of Fishtown, Northern Liberties and Penn's Landing. Dubbed, "Night Out Restaurant Week," the event features 14 nearby restaurants that will open their doors and offer three course lunch and/or dinner options at fixed prices.
"What's best for the community is what's best for SugarHouse," Wendy Hamilton, general Manger of SugarHouse, said. "We decided to help the city realize what's going on with our restaurants in these immediate zip codes. There are so many great places to eat, rest and drink in Fishtown, Northern Liberties and Penn's Landing, some of which are lesser known."
Lunches will cost either $10 or $20, while dinners will cost either $25 or $35. All restaurants will offer a dinner option, while select restaurants will offer lunch. The restaurants who are taking part in the event are: Lloyd ($25 dinner), Darling's Diner ($20 lunch; $35 dinner), Bar Ferdinand ($35 dinner), Chart House ($35 dinner), Circles Contemporary Thai Cuisine ($25 dinner), El Camino Real ($10 lunch; $25 dinner), Il Cantuccio ($35 dinner), Jerry's Bar ($35 dinner), Keating's River Grill ($20 lunch; $35 dinner), Moshulu ($20 lunch; $35 dinner), Pickled Heron ($35 dinner), The Refinery ($20 lunch; $35 dinner), Ristorante La Veranda ($20 lunch; $35 dinner), and Taste ($35 dinner).
"We were contacted by the SugarHouse and it seemed like a no brainer," Scott Coudriet, manger of Lloyd, said. "They want to do a restaurant week that we all kind of miss out on by not being in Center City. So we have these neighborhoods of Penn's Landing, Northern Liberties and us in Fishtown given the opportunity to come together and show the rest of the city what we're made of 'cause we are booming now. It's an awesome opportunity."
Lloyd (529 E. Girard Ave.) is a whiskey bar and one of East Girard's newer additions. Film aficionados may note the subtle reference to Stanley Kubrick's 1980 thriller, The Shining— the bartender (and all-time creep) of the film's hotel setting is named Lloyd, and some of the bar's signature cocktails carry movie references like The Overlook and the Jack and Wendy. Lloyd is also named after the bar's owner, Lloyd, who is Coudriet's father and a former teacher at Penn Treaty School.
Now when I think of a whiskey bar, I tend to think of a dark place to get a stiff drink that'll be my nightcap following a long day. Lloyd is out to prove that they are more than just that. But in a neighborhood that's quickly becoming a home to creative-forward artists, young professionals and some of the finest beer-forward gastropubs the city has to offer, Lloyd had to do something creative to make a name for itself.
"We weren't sure if the neighborhood would be receptive to a whiskey bar," Coudriet said. "There's been a gastropub and beer focus thus far in the neighborhood so we were testing the waters here with a whiskey focus and we've been really happy so far. People are drinking the cocktails, we are pouring a lot of whiskey, and we've recently started pumping out some food that the neighborhood hasn't seen quite yet."
For the Night Out Restaurant Week, Lloyd is offering a $25 dinner that includes a choice of heirloom tomato and watermelon gazpacho with cherry tomatoes and pickled watermelon rind OR barbecue chicken, corn and ramp fingerling potato skins. Second course options are a grilled marinated flank steak with grilled asparagus and aperol butter OR mushroom and goat cheese ravioli with fava beans and fennel nage. Finally, dessert options are bread pudding strawberry shortcake with vanilla whipped cream OR chocolate panna cotta with caramel corn and rhubarb puree. You can also expect the find special cocktail pairings for each course to complete each meal in the way that a gastropub pairs beers with food.
"We've always considered ourselves a bar with a quality kitchen rather then a kitchen with a quality bar," Coudriet said. "Our focus is definitely on the booze but we've now hired a chef who is incredibly good at presenting booze-friendly food. It's almost like how gastropubs serve food that is beer friendly, but we have an entire kitchen of food that's cocktail and whiskey friendly."
Much like how Lloyd has shown that it is more than just a whiskey bar, Darling's Diner (1033 N. 2nd St.) has demonstrated that they are more than a place for cheesecake, omelets and that brick of scrapple you crave at 3AM after a night of partying down 2nd Street.
"We are more than a diner," Joe Gatas, Director of Operation at Darling's, said. "We have a huge, full-service menu. We are nostalgic in a way and try to take you back to the fifties with our look."
Darlings started out with a recipe—John and Harry Arnold had figured out a formula for cheesecake that produced something far less heavy and thick than the New York Style most of us are accustomed to. Using Philadelphia Cream Cheese in it, the Arnolds made a pastry that was so light you could eat it with a meal instead of as a meal. This "darling of a cheesecake" launched the original Darlings Café on 2100 Spring Street and then the larger Darling's Diner in Northern Liberties. Today Darling's feeds the people of Philadelphia 24/7, making everything from burgers and sirloin steaks, to grits and wraps. Along with the comfort food favorites, Darling's also has a full-service bar featuring craft beers and wine.
"I think we are right there with the culinary experts," Gatas said. "We have a chef here and all of our food is 100 percent homemade, everything is fresh."
"It's all about how it looks," Jake Brehm, Darling's chef, said. "Presentation is everything; people eat with their eyes first then eat secondly with their mouths. If it looks like crap it'll mostly taste like crap. But if it looks good then everybody has it in their head that it's going to taste good. Nine times out of ten it does."
For Night Out Restaurant Week, Darling's is offering both lunch and dinner options: The $20 lunch features a first course option of: 5 wings in your choice of sauce; Caesar or house salad; fried green beans; OR a cup of soup. Second course options include: shrimp and grits; barbecue beef; buffalo chicken wrap; a quarter pound burger; OR Darling's veggie mozzarella sandwich. Third course option is your choice of cheesecake. The $35 dinner option features a first course choice of: jumbo crab cake; hummus; Buffalo chicken sliders; OR super green kale salad. Second course options feature: the Fishwich sandwich; the Polksa (Kielbasa and pierogies); barbecue steak and chicken; OR braised short ribs. Third course options are: your choice or cheesecake; the Brownie Explosion; OR a banana split.
Gatas is excited to be part of this new restaurant week and is optimistic that it can compete toe-to-toe with its more established brother downtown.
"This is the first year [of Night Out Restaurant Week] so people need to get used to it," Gatas said. "But knowing this area, people love their food here— I think that we can compete with [Center City Restaurant Week], give us a year and I think we will be outperforming that— I really believe that."
In addition to Lloyd, Darling's and the other local eateries participating in Night Out Restaurant Week, SugarHouse's in-house restaurant, The Refinery, is offering a $20 lunch and $35 dinner special, along with live music and $10 of free play on the casino floor to participating restaurant-goers throughout the event. Just bring your receipt in to the casino to redeem your play. SugarHouse is also looking forward to unveiling details on new restaurants opening up as part of the casino's new $164 million expansion project.
"We know who we are going to partner with, the lawyers are busy at work putting the details together so as soon as the last deal is signed, we'll come out with an announcement of the names and venues that are going to be added—it's all good stuff that will be welcomed by our clientele. For a long time, food was something that casinos relied on—gaming is a leisure activity so what makes more sense as a gaming amenity than being able to sit with your friends and have a nice meal."
Ultimately, Night Out Restaurant Week doesn't have to be better than its Center City counterpart. Like the neighborhoods the event encompasses, this new restaurant should strive to be unique—not necessarily standing above the rest but apart from it.
"There is a massive variety of bars and restaurants out there and something for everyone," Hamilton said. "It's different than Center City—these restaurants all lend to a different and unique flavor special to this neighborhood. I think the more people that come in and try these venues, the more they will keep coming here because it's a cool place."
fishtown,
local business,
Northern Liberties,
restaurant week,
Riverwards,


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Follow breaking news @lgbtqnation
Airline investigating after passenger finds luggage emblazoned with 'I am Gay'
81 Comments ↓
An Australian airline has apologized and said it is investigating how the words "I am gay" were spelled out in airline baggage stickers on a passenger's luggage on Sunday between his departure in Perth and his arrival in Brisbane.
A spokeswoman for Jetstar Airways said a thorough investigation would be conducted after the passenger, who has identified himself only as Aaron,tweeted a photo of the luggage, with the caption: "Utterly disgusted to find my luggage front and center on the @JetstarAirways luggage carousel looking like this."
Aaron described the incident on his blog, "One Sleepy Dad," and said he believes the incident took place in Perth, but the airline was unable to confirm this.
My suitcase was the first bag on the carousel. The entire flight's passengers were shoulder-to-shoulder looking for their bags and I'm pretty sure that most people would've seen mine rattling along the rollers.
I saw a big red case approaching and excused my way through the throng in order to retrieve it. I noticed some white bits on the side and turned back, apologising to the people who I had just pushed passed. "False alarm," I said to one gent. Then I realised that it actually was my bag and that the white bits were the sign you see in the image above.
I plucked the suitcase off the carousel and had many eyes look me up and down. I was taken aback by the slogan but thought I had thick enough skin to ignore the leering. My connecting flight was about to board so I had to speed through the terminal to check in with Qantas. As I dragged the case through the terminal, I looked back at the people I had passed and they too looked at me differently. My luggage was a scarlet letter.
Aaron, a straight father of two, said the incident has left him with a new found understanding ofhomophobia and the persecution LGBT people encounter daily:
I am a white heterosexual male. This trifecta of privilege means that I'm not routinely subjected to prejudice. But for a few minutes I got to walk in the shoes of a gay person in a public place. For no good reason I had had a slur marked over my luggage. I was degraded. I was shamed. I was humiliated.
For me, this was only a few minutes of one day of my life. If what I felt for those few minutes is extrapolated out every day over a lifetime, then I can fully understand why our gay friends feel persecuted and why they have such high rates of suicide. It is unacceptable.
It is said that words can't hurt you. That it is true. But it isn't the words that hurt, it's the intention behind them. "I am gay" was not emblazened across my luggage as a celebration. It was used as a pejorative. It was used to humiliate. It was used as a slur.
Aaron says he has been contacted by Jetstar and was offered "a very sincere apology."
"They are also conducting a 'serious' investigation that I am assisting them with," he said.
In the meantime, Twitter users have attacked Jetstar, describing the incident as "disgusting and unforgivable".
Connect with LGBTQ Nation.
The Nation's most followed LGBTQ news magazine.


Grew Up... the product of divorce. When she was twelve, Diane chose to stay with her father instead of her mother, and she's always felt she made the right choice. Even now, six years later, the two are very close and tell each other everything.
Living... in Seattle with her father. He runs the Golden Seasons nursing home and they lived a simple, idyllic life – until a few weeks ago, when her father came under investigation for fraud.
Profession... straight-A student. After graduating as valedictorian of her high school, Diane further makes her dad proud by winning a fellowship to England in the fall.
Interests... studying. It's not that Diane doesn't want friends, but her beauty and brains tend to intimate classmates from talking with her.
Relationship Status... seeing Lloyd Dobler. Diane really shouldn't have any social life right before she leaves for England, but Lloyd, a free-spirited kickboxer, is a breath of fresh air. He makes her feel secure and relaxed, and she's never felt so loved. But her father doesn't approve of their relationship, telling Diane that while she's going to a part of international think tanks, Lloyd's going to be kicking punching bags.
Challenge... keeping it together during her dad's investigation. Diane's flabbergasted when she hears the accusation – her dad's the most honest person she knows, and she figures it's all just a big mistake.
Personality... intelligent, serious, and painfully awkward. Diane might be a whiz at math proofs, but because she's spent so much of high school studying, she's clueless at social events. This causes her to come off as a "priss" to her former classmates, but Diane's got a warmer side she shows to her father – and, more and more lately, Lloyd.
Diane Court's popularity ranking on CharacTour is #2403 out of 5,000+ characters. See our top-ranked characters and read their profiles.


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Find more information in the official NC state site.


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Author Scott Kelly
novelist – psychological thriller
← 11. the numbers so far
10. Kill the Ghost →
Posted: April 19, 2017 | Author: scottkellywritesbooks | Filed under: Literature |Leave a comment
Who are you, really?
This is a picture of me at age fifteen. I'm thirty-two now. I feel very little connection to the teenager holding that guitar. Imagine it for yourself, and go younger if you need to. When you look at a picture of yourself at ten, what do you feel? Is that ten-year-old you?
Mentally, developmentally, socially – I'm a very different person than the teen in that fairly embarrassing picture. I don't know if that's me, except in the sense that we share the same timeline. We came from the same parents – the teen is bodily the same as myself, at least to a degree. Philosophers Eric Olson and Paul Snowdon define this as the "somatic criterion" for personhood, but we'll just call it "body identity."
So, I do share a body identity with the kid in that photograph. I mean, our bodies regenerate, and over the course of seven years we are basically rebuilt from scratch, but that's just a technicality. I share a continuum of body with that person; over time, we've shared the same cells. Case closed, right?
Maybe not. Let's draw on the sort of high-brow literary reference you've come to expect if you've read a few of these blogs. The movie poster for Freaky Friday.
Let's use the premise of this movie (a remake, I know, but I needed this tagline to make my point) as a philosophical thought experiment. These thought experiments are generally impossible fantasy, but they allow us to test our intuitions to determine if a concept still makes sense.
Read the tagline – it's clear, and obvious to the audience, that the bodies are not the person. It's also kinda sexually suggestive, but we'll ignore that. The movie would only confuse and annoy the audience if we believed the body was the person. If that were the case, there would be no "swap" in Freaky Friday. Lohan would just act like her mom, and Curtis would act like her daughter, but they wouldn't have changed places. So, the movie plays on intuitions that seem obvious to us – Lohan inhabits her mom's body, and vice versa.
But let's bring this higher up the intellectual ladder. One of the most important philosophers of the past five-hundred years, John Locke, defines identity in a form that fits what our intuition tells us when we observe the Freaky Friday premise. He defines our person by its psychological continuity. Meaning that when Lohan's psychological continuity – her experiences, memories, personality, etc – jumps into a new body, that new body serves as a host for Lohan. The body itself is only a husk.
Okay, fair enough – maybe we're our psychological continuity.
Except, what is that? Is it real?
To what degree are our psychologies shaped by our circumstances, by those who surround us, by our culture and society? If Scott Kelly had grown up in Pakistan, he would be unrecognizable from the Scott Kelly that exists today. The language, the culture, the society – it would all be so completely different that only the most basic and generic traits would be shared between us.
It could even be simpler than that. We all play multiple roles. When you're a parent, are you the same person as when you're a romantic partner? I hope not. Likewise for when you're at work being a professional, rather than at home Netflix binging.
Let's take these ideas of personhood to some extremes and see what we get. What if I faked my death? What if I abandoned the name "Scott Kelly" to such a degree that I could never answer to it again? My status, my various roles, my friends, my achievements, and those habits that might be used to identify me – all of those would be banished forever. I've already established that psychological continuity is far from concrete, so what happens when it's severed completely?
The majority of my psychological identity would be stripped away. The memories would exist, but my ability to be the person who created those memories would not. That person is now "dead." I would be my own ghost, in a sense.
So, we're back where we started. Who are you? Take a person and start stripping away what defines them. Body, name, memories, experiences, ideals, social identity, personality. They're all quite mercurial; none of these are solid foundations. So if you can only keep one piece, that cornerstone to a person's identity, which is it?
Or does it exist at all?
This is the philosophical backbone of my Keep the Ghost trilogy, the line of questioning that led me to create the plot and characters and write the series. I think I put it more succinctly in Shadow Box. Below, find a brief, spoiler-free scene in which Sean – the narrator, who was forced to fake his death and become a fugitive – is quizzed by Morgan, his guide, about who he is now that he's become his own ghost.
The world shifts on a boat; there is no stable point of reference. At all times rocking, sliding, floating. By focusing on Morgan, I can forget this—she sits at the opposite end of a twin bed from me, legs folded under her.
"This is my revolver," Morgan says, holding up a snub-nosed thirty-eight. "That one is yours." She points to my identical gun, which is tucked into a leather holster on the floor next to the bed. "Give it to me."
I lean across the bed, stretching past the circle of light shining through the little porthole window of our cabin. The gun is lifted to the sunbeam; Morgan's hand enters its glow as she takes the weapon.
Our two pistols are laid out on the sheets between us. Morgan opens the cylinder of each and shakes the bullets into a waiting hand before depositing them in her lap.
"This gun is mine, and that one is yours," she says. "I always recognize which one is mine by checking here." She holds up the revolver she's identified as her own—a pink smear of nail polish stretches across the grip. "I didn't wait until my nails were dry, once, and so it's got this little mark on it."
She begins to disassemble each gun, using a small screwdriver to remove the cylinder and grips, placing the parts on the bed in two separate collections.
"Let's say I do this," Morgan says, and picks up each gun's cylinder in her hands. She swaps the two, taking the gleaming, machined metal parts from one pile to the other. "Which one is my gun now?"
"That's still your gun," I tell her, pointing to her pile. "It's just got my cylinder in it."
This time she picks up the grips of the guns, and her nail-polish stained grip is traded for mine. "What about now?"
"Well, that's tricky," I say. "If I swapped these two while you weren't looking, you would think this was your gun."
"Except I'd be wrong?"
"Well, yeah. The frame hasn't changed, and that's the biggest piece."
"Okay, so it's in the frame." Morgan swaps the grips and cylinders so that each are in the piles from which they began. Then she picks up the steel frames—barrel, trigger and base—and swaps them. "Now?"
"I don't know," I answer. "I guess the frame is the gun, so we swapped. Even though you've still got your grip with the mark on it, and the old cylinder."
"And what if I sat here and switched every screw, spring, and pin in the guns, but kept the original frame?
"That's a good place to start," Morgan instructs. "So, how much of you needs to be swapped before you're no longer Sean Reilly?" She points to my head. "Everything about you is constantly changing, always rebuilding and adapting. Where is your frame?"
You can buy Keep the Ghost for $2.99 here, or just get my entire box set (including Keep the Ghost and its sequel) for $4.99 by clicking here.
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1.	Prayer is communication with/to God. When I pray, I tell Him how thankful I am for various things. (I can never be too thankful, especially because I cannot repay Him.) I make requests not really for physical things, but for help, wisdom, patience, self-control. etc I can pray anywhere. If I am standing at a fax machine at work, I can pray. If I am in my car, I can pray. I am encouraged that as of late, I am praying more. It might not be a huge change, but I can tell that it is more. I feel that I am recognizing that He is with me all of the time. He truly is a prayer away.
2.	What does it mean to devote yourself to prayer?
1.	Devotion to prayer can mean a few things. It can mean that you discipline yourself on a daily basis to set aside time specifically for prayer to God. (This is an area I am working on.) It can also be like I shared in the first question. I can devote myself to constantly be in communion with God. I go through my day noticing the tiniest of things and telling Him thank you. Devotion to me means that there is almost nothing that would keep you from doing a certain activity. So, it is great that we are not held down to a building or a time. We can pray whenever, wherever. He is just waiting to hear us.
3.	What would that devotion look like in the real world? 1.	It means more than saying, " I'll pray for you." It is about showing the love for God and using prayer as a tool .


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Shawn Fanning (Brockton, Verenigde Staten, 22 november 1980) is een softwareontwikkelaar en bekend als oprichter van Napster.

In 1999 ontwikkelde hij het muziekruilprogramma Napster. Dit was het eerste onder een breed publiek bekende peer-to-peer-bestandsuitwisselingsprogramma. Onder druk van de muziekindustrie is Napster in 2003 opgehouden te bestaan. Het Duitse uitgeefconcern Bertelsmann heeft de restanten van Napster overgenomen en zag zich tot in 2007 achtervolgd door schadeclaims.

Hierna richtte Shawn Fanning het bedrijf SNOCAP op, dat zich ook met online muziek bezighoudt. In december 2006 bouwde Fanning Rupture, een profielensite voor onder andere World of Warcraft-gamers.

Amerikaans softwareontwikkelaar

redpajama_set_name: RedPajamaWikipedia