text:
#ImWithHer – And Here's Why
By Jillian Stacia
Today I witnessed one of my personal heroes, Hillary Clinton, become the presumptive nominee for the Democratic Party. I am absolutely ecstatic to witness such an important moment in history.
But I'm also disappointed. And a little sad.
Because even though I am 100% thrilled about this, many people, particularly in my generation, are not. Since election season began, I've been asked time and time again about why I support Hillary. I've been accused of "betraying my generation" and being "manipulated by the media" and having been "brainwashed by the establishment."
I could go into detail about why I support Hillary as a politician. I could describe why I support her as a feminist. But mainly, my admiration for Hillary comes from my respect for her as a person.
When I first took an interest in Hillary, it was during Bill Clinton's impeachment. While everyone was focused on the President, I was mesmerized by the First Lady. Imagine, I thought to myself, having to go through that kind of pain in front of the entire country. I watched in awe as she stood by her husband, head held high. She never flinched.
Even at nine, I was blown away. In that moment, I saw strength and dignity and grace.
Most of the public, however, disagreed. The media said horrible and unfair things. If I had been her, I would have been destroyed. I'd still be in my cave, hiding and avoiding all contact with the outside world.
Not Hillary.
Instead, she spent the next ten years fighting back. Fighting the media. Fighting her reputation. Fighting the very establishment she is now accused of embodying. She fought for years, relentlessly and gracefully, just to get a seat at the table.
I've often thought about why she does it. Why does a woman who is repeatedly mocked and criticized in the media continue to put herself in that kind of situation? I have to believe it is because she truly feels called to serve, that she loves this line of work, and that she is committed to helping others.
I watched in horror and disappointment and rage when she was, once again, the center of sexist remarks during the 2008 election. I couldn't believe the rude and degrading comments, the way the media criticized her voice, her outfits, her hairstyle. The way reporters mocked her on air. The nutcracker doll with her face on it.
I remember thinking, what more can this woman possibly go through? How much more criticism can she possibly take?
And then she came back, eight years later, to run in this election. Except this time, she wasn't the outsider, she was the establishment. She was "just another politician". She was accused of not representing the people.
Well, I can't speak for all of the people, but she sure represents me. She represents a woman who has been through hell and back, who has fought her way through personal, cultural, and institutional sexism. Who has been kicked and insulted and degraded time and time again. Who has never backed down.
She is resilient. She is strong. She is graceful. More than that, she has taught me to be resilient and strong and graceful in a culture where sexism still very much exists.
That's the kind of leader I want. That's the kind of person I want in the White House.
Regardless of your political affiliations, I hope you can challenge yourself to think of Hillary Clinton in a different light. Instead of focusing on her as a politician, take a moment and think about the woman behind it all: a brave, strong, fearless leader who never stopped fighting. If you can do nothing else, at least respect the fact that she never gave up.
Jillian is part of the Contributing Writer Network at Thirty On Tap. The views and opinions expressed in Contributing Writer articles reflect those of the author and do not necessarily reflect the official policy or position of the site.
To apply to become a Contributing Writer, click HERE
{featured image via flickr / by jamelah e.}
Posted in: feminism, lifestyle, politics | Tagged: democrat, election 2016, hillary clinton, politics, president, voting
16 Things Only Long Distance BFFs Understand
10 Gems Of Witchy Inspiration For Your Closet And Home


text:
Questa voce raccoglie le informazioni riguardanti il Mumbai nelle competizioni ufficiali della stagione 2016-2017.

Maglie e sponsor

Rosa

Risultati

I-League

Stagioni delle società calcistiche indiane

redpajama_set_name: RedPajamaWikipedia


A delegation from the Economic Commission for Africa recently met with President Ellen Johnson Sirleaf to discuss continued collaboration between the Government and the ECA.
The meeting followed the signing last year of a Memorandum of Understanding that aims to provide technical support to the country in its quest for economic and social transformation and launch the implementation plan for agreed programs.
The ECA delegation of experts was led by Isatou Gaye of the Capacity Development Division, which is responsible for the overall supervision and support of programs being implemented under the MoU.
President Sirleaf, who met with the ECA team at her foreign ministry office in Monrovia, said she was delighted by the presence of the team which was in the country to launch the implementation of the MoU, especially as the country is prioritizing improving agricultural productivity, taking advantage of the value chain and using it as the basis for Liberia's structural transformation.
The discussions also focused on the country's development plan or agenda for transformation which should be in place by August this year.
President Sirleaf expressed hope and optimism as the teams move into the implementation phase of the MoU, adding she appreciated the ECA and the hard work it is putting into working with her government and others in Liberia to ensure the country manages to transform its economy without leaving anyone behind.
"We hope that your timeframe will enable us to achieve this strategic realization," President Sirleaf said, as she commented on the ECA's implementation plan and highlights of the team's findings that had been presented by Ms. Gaye.
The delegation met with various stakeholders, including Finance and Development Planning Minister Boima Kamara, who is the focal point for the implementation of the MoU; officials from the Ministry of Agriculture and Liberia's Institute of Statistics and Geo-Information Services (LISGIS).
"The work we are doing with Liberia in the context of the MoU will be a success in the sense that we see commitment on all sides of government and at the ECA," she said.
"We have already mobilized the international expertise required and will continue to do so. We are also working with the UN Country Team in Liberia that's already very involved in the development process in the country." -(APO).


text:
Toon Talk Articles- Jamie Orrell
Yohan Cabaye From Lille's double winning team Yohan Cabaye who was the first to make the move across the channel to the Premier League. And it was Newcastle who won the race for the Frenchman's services in a deal worth around €5million. Cabaye could be integral to Newcastle next season and is charged with filling the Kevin Nolan shaped hole in Newcastle's ....
Captain Colo
After a shaky start to his career on Tyneside no-one would have believed that one day Fabricio Coloccini would be Newcastle United captain. But the Argentine will lead the team into the 2011/12 campaign after a staggering turnaround in form. Some will argue that Coloccini was the scapegoat at times during the Magpies' infamous 08/09 season as they slid out of the Premier League ....
A Legend In The Making
On 25th February Cheik Tiote signed a six and a half year deal at Newcastle seeing off interest from Europe's elite clubs. Amazingly, less than 10 years ago he was still playing barefoot on the streets in Africa. Tiote arrived on Tyneside to an indifferent reaction from the Geordie public. Just seven months later he has emerged as a vital cog in the black and white machine. ....

redpajama_set_name: RedPajamaCommonCrawl


The city's rich heritage allows visitors to take a journey through the history of Catalonia.
A leap in time brings us to the age of Catalan Mediaeval, where the exceptional collection of historic buildings which includes the Ensemble of the Churches of Sant Pere constitutes an exceptional element of historic artistic Catalan heritage and covers a continuos period from the Iberian era to the present.
Walking around the city and guided by skilled professionals, the visitor will discover the most complete Mediaeval Terrassa heritage. An exceptional route visiting the churches of Sant Pere (a historic ensemble comprising three churches) with remains of the Visigothic bishopric of Egara, the High Mediaeval and Romanesque wall paintings and the Gothic.
In the monumental ensemble, unique in our country and in Europe, we emphasise the period of the ancient Episcopal See of Ègara (centuries V – VIII).
Founded around the year 450, the Episcopalian area and the Cathedral of Ègara have experienced several transformations with the step of the centuries, considering the ensemble like an artistic and cultural referent of the first centuries of the Christianity and one of the main pre-Romanesque and Romanesque monuments of Catalonia.
The ensemble is formed by three churches Sant Pere, Sant Miquel and Santa Maria and it is beside the Park of Vallparadís.
Beside the ensemble of the churches of Sant Pere, in the same Park of Vallparadís we find the Carthusian Castle of Vallparadís (originally from the twelfth century). It became a Carthusian monastery in the fourteenth to fifteenth centuries.


The San Francisco Giants held an open house event Wednesday to showcase new food offerings at AT&T Park.
SAN FRANCISCO (KGO) -- The San Francisco Giants held an open house event Wednesday to showcase new food offerings at AT&T Park.
"We get it. This is not the cheapest place to eat at a game, but we like the food we're offering here," Giants President Larry Baer said.
As the Giants paint it this is the natural evolution of ballpark food in a culinary city that can be traced back to the garlic fries experiment.
"I wouldn't say they were a risk, but we took a chance on them," an AT&T Park representative said.
Now garlic fries are the leading seller every day. This year the park is adding popcorn shrimp, ice cream, and organic chicken from a local company called Organic Coup.
Here's @TheOrganicCoup … the 1st organic chicken in MLB.
"This is our entire 2017 fiscal budget in marketing. It's a play, a branding play," Dennis Hoover with Organic Coup told ABC7.
Roughly 3.3 million customers are almost guaranteed through the spring, summer, and fall.


VW called it "the most powerful, most exciting and most comfortable".Need to sell it ASAPNew built engine with empi exhaust system muffler, new ignition coil, spark plug wire set, new carburetor, empi air cleaner,New oil change.New battery.Ceiling in excellent condition.Hard to let go after 15 years.Doesn't run. With the current engine you can drive it to 75/freeway.Clean titleFirm on price.
1970 Volkswagen Panel Bus - MUST SELL!
2nd owner CA Car relocated to TX. Too many toys to keep up with, must sell.
VW Vanagon GL No Reserve. Must Sell. Local Pick Up.


How do we remember in the digital age? In this visually arresting new work, Sadler's Wells New Wave Associate Alexander Whitley and digital artist Memo Akten join forces at the cutting edge of dance and motion-responsive technology in this new production presented in partnership with Platform Theatre at Central Saint Martins.
Opening up questions about learning and memory in relation to artificial intelligence, Pattern Recognition furthers a line of enquiry drawing on Whitley's interests in philosophy, technology and design which seeks to redefine the boundaries between dance and other art forms. A former Choreographic Affiliate of The Royal Ballet and recently commissioned by Rambert, BalletBoyz and Birmingham Royal Ballet, Whitley has developed a rapidly-growing reputation for ambitious and intricately-crafted work. Featuring an original score by Scanner and Oliver Coates, Whitley will be performing alongside Natalie Allen (Sydney Dance Company).
Pattern Recognition has been commissioned by Sadler's Wells, co-commissioned by DanceEast and co-produced by Hessisches Staatsballett/Staatstheater Darmstadt & Hessisches Staatstheater Wiesbaden (Germany) and MA Scène Nationale –Pays de Montbéliard (France) with additional support from Arts Council England, Trinity Laban Conservatoire of Music and Dance, Goldsmiths University of London, Jerwood Space, Middlesex University and Greenwich Dance Agency. The New Wave Associates programme is supported by Esmée Fairbain Foundation. Alexander Whitley Dance Company is supported by PRS for Music Foundation.


Download a series of lesson plans or Design Sprints to introduce students to components of the design thinking process or to begin fully engaging students.
Due May 15, 2019: Have a story to share of student-driven change? Submit students' stories to Design for Change USA for a chance to represent the USA at the annual Be the Change Conference, to be held in conjunction with World Children's Day in Rome this November https://designforchange.us/.


text:
Stackvis is a command line tool and JavaScript library for visualizing call
stacks.  For an example, see
http://us-east.manta.joyent.com/dap/public/stackvis/example.htm.  This approach
(and the code for the SVG-based flamegraph) is based heavily on Brendan Gregg's
[FlameGraph](http://github.com/brendangregg/FlameGraph/) tools.

## Synopsis

Profile a program for 30 seconds:

    # dtrace -n 'profile-97/pid == $YOURPID/{ @[jstack(80, 8192)] = count(); }' -c "sleep 30" > dtrace.out

then translate the DTrace output into a flame graph:

    # stackvis < dtrace.out > flamegraph.htm

Or, create the flame graph and share it on Joyent's Manta service:

    # stackvis < dtrace.out | stackvis share
    https://us-east.manta.joyent.com/dap/public/stackvis/298c9ae2-aec8-4993-8bc9-d621dcdbeb71/index.htm

## Details

The default mode assumes input from a DTrace invocation like the above, and
produces a D3-based visualization in a self-contained HTML file.  You can
explicitly specify input formats:

* "dtrace" (the default)
* "collapsed" (more easily grep'd through)
* "perf" (from the Linux "perf" tool)
* "stap" (from SystemTap)

as well as output formats:

* "collapsed" (see above)
* "flamegraph-svg" (traditional SVG-based flame graph)
* "flamegraph-d3" (the default)

For example, to read "collapsed" output and produce a SVG flamegraph, use:

    # stackvis collapsed flamegraph-svg < collapsed.out > flamegraph.svg

This module also provides the "stackcollapse" and "flamegraph" tools, which are
essentially direct ports of the original FlameGraph tools.  You can use them by
first collecting data as above, then collapse common stacks:

    # stackcollapse < dtrace.out > collapsed.out

then create a flame graph:

    # flamegraph < collapsed.out > graph.svg

This approach is a little more verbose, but lets you filter out particular
function names by grepping through the collapsed file.

## API

The command-line tools are thin wrappers around the API, which is built upon a
simple internal representation of stack traces and a bunch of Readers
(lib/input-\*.json) and Writers (lib/output-\*.json) for various intermediate
formats:

- input-dtrace.js: reads stacks from the output of a DTrace profiling script
- input-collapsed.js: reads data in the form used by the "stackcollapse" tool,
  where function offsets are stripped out, common stacks are collapsed, and
  there's one stack per line.
- output-collapsed.js: writes stacks in above "collapsed" form
- output-flamegraph-svg.js: writes stacks as a flame graph SVG
- output-flamegraph-d3.js: writes stacks as a flame graph HTML file using D3

Client code shouldn't load these directly.  Instead, require 'stackvis' and use
lookupReader and lookupWriter:
```javascript
var mod_stackvis = require('stackvis');
var dtrace_reader = mod_stackvis.readerLookup('dtrace');
var collapsed_writer = mod_stackvis.writerLookup('collapsed');
```
The main operation is translating from one representation to another (e.g.,
DTrace output to a flame graph) using pipeStacks() (which requires a Bunyan
logger):
```javascript
var mod_bunyan = require('bunyan');
var log = new mod_bunyan({ 'name': 'mytool', 'stream': process.stderr });
mod_stackvis.pipeStacks(log, process.stdin, dtrace_reader, collapsed_writer,
    process.stdout, function () { console.error('translation finished'); });
```
This example instantiates a new dtrace_reader to read DTrace output from
process.stdin and then emits the result in collapsed form to process.stdout
through the collapsed_writer.

## Adding new readers and writers

It's easy to add new readers (for new input sources) and writers (for new types
of visualizations).  See lib/stackvis.js for an overview of how these interfaces
work.

## TODO

- See about dealing with multiple "silos" of a single flame graph that are
  essentially the same, but differ in exactly one frame.
- Experiment with flame graph coloring.  Current options include random,
  gradient, and time-based.  Another possibility is to use hue to denote the
  module and saturation to denote the size of a frame relative to others at the
  same level of depth.

redpajama_set_name: RedPajamaGithub


Discography of American Historical Recordings, s.v. "Columbia 40024-D (10-in. double-faced)," accessed April 18, 2019, https://adp.library.ucsb.edu/index.php/object/detail/197370/Columbia_40024-D.
Columbia 40024-D (10-in. double-faced). (2019). In Discography of American Historical Recordings. Retrieved April 18, 2019, from https://adp.library.ucsb.edu/index.php/object/detail/197370/Columbia_40024-D.
"Columbia 40024-D (10-in. double-faced)." Discography of American Historical Recordings. UC Santa Barbara Library, 2019. Web. 18 April 2019.
24500Malolo / ǂc Johnny Noble. Lihue / Annie Koulukou.
500 Columbia: 40024-D (W149855 (matrix), W149856 (matrix)).
7001 Koulukou, Annie, ǂe composer.
7001 Noble, Johnny, ǂd 1892-1944, ǂe composer.
24500Lihue / ǂc Annie Koulukou. Malolo / Johnny Noble.
500 Columbia: 40024-D (W149856 (matrix), W149855 (matrix)).


text:
import * as T from "../actions/ActionTypes";
import { IDefaultAction } from "../actions/Actions";

const INITIAL_STATE: boolean = false;

/**
 * Reduce the configured state of the app
 */
export default function configured(state: boolean = INITIAL_STATE, action: IDefaultAction): boolean {
    switch (action.type) {
        case T.APP_CONFIGURED:
            return true;
        default:
            return state;
    }
}


text:
//
//  SDLDialNumberResponse.h
//  SmartDeviceLink-iOS

#import "SDLRPCResponse.h"

/**
 The response to SDLDialNumber

 @since SDL 4.0
 */

NS_ASSUME_NONNULL_BEGIN

@interface SDLDialNumberResponse : SDLRPCResponse

@end

NS_ASSUME_NONNULL_END


Ballarat Health Services Digital Repository: Development of a staff vaccination program-all that glitters is not gold.
Title: Development of a staff vaccination program-all that glitters is not gold.
Abstract: Introduction: The introduction of the National Safety and Quality Health Service (NSQHS) Standards in 2012 and Standard 3: Preventing and Controlling Healthcare Associated Infections prompted Infection Prevention and Control (IPAC) to review its current staff immunisation program. Methods: IPAC analysed the current immunisation programs strengths, weaknesses, opportunities and threats (SWOT). This highlighted a number of opportunities for improvement. These included the development of a business case for EFT to coordinate the revised staff immunisation program, the adoption of a 'no evidence no start' policy for all new employees, a review of the current policy and the development of a documented system of vaccine refusal. Results: Historically December to February is the busiest time for staff health processing due to the commencement of new graduate nurses, Interns and Hospital Medical Officers. With the implementation of the new program, in 2015-2016 IPAC processed 255 new staff over an average of 11 days processing time – from paperwork being received to clearance given. In comparison to 2014 – 2015, 155 new staff were processed taking an average of 9 days, this representing a 65% increase in staff numbers. Conclusion: It has now been 21 months since the implementation of the revised staff immunisation program. Whilst we have been able to implement a robust staff immunisation program during this time there remains a gap in existing staff members immunisation status and staff not returning for follow-up vaccinations as requested. This demonstrates the need for increased resources to administer this program to full effectiveness.


This week will be even more eclectic than usual. First, nostalgia, with the late Deborah Turbeville's vision of Versailles, and, after forty years, the release of Eikoh Hosoe's Ordeal by Roses, taken a few months before the suicide of Yukio Mishima. Stephen Shames' wonderful documentary book about the Enfants du Bronx, a report of the London Art Fair by the team from the Galerie Voie Off in Arles, and a presentation of one of the most important photo festivals in Asia, Chobi Mela in Bangladesh. We'll also be unveiling the names of the two winners of the Prix HSBC pour la photographie 2015, not to mention exhibitions from Sabine Pigalle in Geneva, Assaf Shaham at the Yossi Milo gallery in New York, Jasper de Beijer in Istanbul, and Anne De Gelas in Paris.
And who knows, maybe we'll change things around if something great comes up—and it always does. In fact, every day we have to discard almost two-thirds of the information we receive.


text:
Q: Replace state on Ionic link click I'm using Ionic and I have a template with a code like this:
<ion-item ng-repeat="model in models" href="#/app/ctrl/{{model.id}}">
    {{model.name}}
</ion-item>

When I click the link, the state is changed to another view. Everything is fine.
But how do I replace the current view with the new one without keeping it on history?
I have the following code, which works in a controller:
$ionicHistory.currentView($ionicHistory.backView());
$state.go('app.products', {location: 'replace'});

But I don't know how to achive the same clicking on the link.

A: According to this docs site you can try this:
<ion-item ng-repeat="model in models"
          ui-sref="name.of.state"
          ui-sref-opts="{location: 'replace'}">
    {{model.name}}
</ion-item>

redpajama_set_name: RedPajamaStackExchange


Description: This is a simple puzzle game, where you have to move 3 different sheeps and guide them to exit. Play this game with total of 15 levels.
Instructions: Use Arrow keys to move or jump. Press 1, 2 or 3 to change the sheep.


House Financial Services Committee Chairman Barney Frank plans legislation to subject the Federal Reserve to a "complete audit" without encroaching on the central bank's monetary policy independence. He's teaming with Texas Republican Ron Paul in the effort. Former Federal Reserve Bank examiner Mark T. Williams, who teaches finance in the School of Managment, can comment.


text:
RED ROCK RESORTS, INC.
These Corporate Governance Guidelines (these "Guidelines") have been approved by the Board of Directors (the "Board") of Red Rock Resorts, Inc. (the "Company") to assist the Board in the exercise of its responsibilities and to serve the interests of the Company and its stockholders. These Guidelines should be interpreted in the context of all applicable laws and the Company's Certificate of Incorporation, bylaws and other corporate governance documents, including the charters of the standing committees of the Board (the "Committees") and the Company's Code of Business Conduct and Ethics. These Guidelines are intended to serve as a flexible framework within which the Board may conduct its business and not as a set of legally binding obligation. These Guidelines are subject to modification from time to time by the Board as the Board may deem appropriate and in the best interests of the Company and its stockholders or as required by applicable laws and regulations.
General Statement of Purpose: The Board of the Company and its Committees will have supervisory authority over the Company and its controlled subsidiaries.
I. Board Membership
1. Size of Board. Subject to compliance with the requirements of the Company's governing documents, the Board will periodically review the size of the Board and may, from time to time, increase or decrease the number of directors constituting the Board to the extent determined necessary or advisable by the Board in consideration of the existing and future operations of the Company.
2. Independent Directors. To the extent required by the listing criteria of the Nasdaq Stock Market ("NASDAQ"), the Board will have a majority of directors who meet the criteria for independence required by the NASDAQ. In addition to the foregoing requirements, Audit Committee members are subject to heightened independence standards pursuant to the rules of the NASDAQ and the U.S. Securities and Exchange Commission. The Board must affirmatively determine, based on all of the relevant facts and circumstances, whether each director satisfies these criteria for independence and will disclose each of these determinations.
Each independent director of the Board shall promptly notify the Chairman of the Board of any developments that may impair such director's independence. If a conflict exists with respect to a particular director and cannot be resolved, such director should submit to the Board written notification of such conflict of interest and an offer of resignation from the Board and each of the Committees on which such director serves. The Board need not accept such offer of resignation; however, the submission of such offer of resignation provides the opportunity for the Board to review whether the continuation of such individual's membership on the Board or any Board Committee is appropriate.
3. Director Selection and Board Membership Criteria.
The Nominating and Corporate Governance Committee, as one of its responsibilities, recommends director candidates to the full Board. Nominees for directorship will be identified by the Nominating and Corporate Governance Committee in accordance with the criteria set forth below and any other criteria that may be identified by the Board or a Committee, if appropriate, and in accordance with the procedures set forth in the Nominating and Corporate Governance Committee's charter.
(a) Background. The Board seeks members from diverse professional and personal backgrounds who combine a broad spectrum of experience and expertise with a reputation for integrity. In evaluating the suitability of individual candidates (both new candidates and current board members) the Nominating and Corporate Governance Committee, in recommending candidates for election, and the Board, in approving (and, in the case of a vacancy, appointing) such candidates may take into account many factors including: personal and professional integrity, ethics and values; experience in corporate management, such as serving as an officer or former officer of a publicly held company; experience in the Company's industry and with relevant social policy concerns; experience as a board member of another publicly held company; and practical and mature business judgment. This assessment will include an individual's independence, as well as consideration of age, skills and experience, and diversity of the members of the Board, in consideration of the needs of the Company.
(b) Simultaneous Service. The Board does not believe that its members should be prohibited from serving on boards of other organizations and has not adopted any guidelines limiting such activities. However, the Nominating and Corporate Governance Committee may take into account the nature of and time involved in a director's service on other boards and/or committees in evaluating the suitability of individual director candidates and current directors and making its recommendations to the Company's Board and stockholders.
(c) Financial Literacy. Directors should know how to read and understand fundamental financial statements and understand the use of financial ratios and information in evaluating the financial performance of the Company.
(d) Expectations. Each Director will be expected to:
dedicate sufficient time, energy and attention to ensure the diligent performance of his or her duties;
comply with the duties and responsibilities set forth herein and in the bylaws of the Company;
comply with all duties of care, loyalty and confidentiality applicable to directors of publicly traded corporations organized in our jurisdiction of incorporation; and
adhere to the Company's Code of Business Conduct and Ethics, including, but not limited to, the policies on conflicts of interest expressed therein.
4. Retirement.
(a) Term Limits. As each director is subject to annual election by stockholders, the Board does not believe it is the best interest of the Company to establish term limits at this time. However, the Board believes that it is important to monitor overall Board performance. Therefore, subject to compliance with the Company's governance documents, the Nominating and Corporate Governance Committee shall review each director's continuation on the Board annually. This will allow each director the opportunity to conveniently confirm his or her desire to continue as a member of the Board.
(b) Change in Job Responsibilities. The Board expects directors to notify the Board promptly upon a significant change in their business position, including, without limitation, retirement from the position on which their original nomination was based. It is not the sense of the Board that in every instance the directors who retire or experience a change in the position they held when they joined the Board should necessarily leave the Board. The Nominating and Corporate Governance Committee will, however, consider any significant changes in the business position of Board members and may, in certain cases, consider requesting that the director submit his or her resignation from the Board if, for example, continuing service on the Board by the individual is not consistent with the criteria determined necessary for continuing service on the Board.
II. Board Leadership:
1. Chairman of the Board. The Chairman of the Board shall be elected by the Board. Currently, the Chairman of the Board is the Chief Executive Officer of the Company. However, the Board believes that the Company and its stockholders are best served by maintaining flexibility to have any director serve as Chairman of the Board, including the Chief Executive Officer and, therefore, believes that a permanent policy on whether the Chairman and Chief Executive Officer positions should be separated or combined is not desirable.
2. Lead Independent Director. In order to maintain the independent integrity of the Board, however, if the Chairman of the Board is not an independent director, the Board may appoint as Lead Independent Director an independent director or the chairman of the Nominating and Corporate Governance Committee. The Lead Independent Director's responsibilities shall include: (a) presiding over executive sessions of the Board and over Board meetings when the Chairman of the Board is not in attendance; (b) consulting with the Chairman of the Board and other Board members on corporate governance practices and policies, and assuming the primary leadership role in addressing issues of this nature if, under the circumstances, it is inappropriate for the Chairman of the Board to assume such leadership; (c) meeting informally with other outside directors between Board meetings to assure free and open communication within the group of outside directors; (d) assisting the Chairman of the Board in preparing the board agenda so that the agenda includes items requested by non-management members of the Board; (e) administering the annual board evaluation and report the results of such evaluation to the Nominating and Corporate Governance Committee; and (f) assuming other responsibilities that the non-management directors might designate from time to time. If the Chairman of the Board is an independent director, then the foregoing responsibilities will be performed by the Chairman of the Board.
III. Board Procedures and Practices:
1. Directors' Duties. The Board is elected by stockholders to provide oversight and strategic guidance to senior management. The basic responsibility of the directors is to exercise their business judgment to act in what they reasonably believe to be in the best interests of the Company and its stockholders. In discharging that obligation, directors should be entitled to rely on the honesty and integrity of the Company's officers, employees, outside advisors and independent auditors. The Board selects and oversees the members of senior management, to whom the Board delegates the authority and responsibility for the conduct of the day-to-day operations of the business.
Directors are expected to attend the annual meeting of stockholders, Board meetings and meetings of Committees on which they serve, and to spend the time needed and meet as frequently as necessary to properly discharge their responsibilities. Directors are expected to review meeting materials prior to Board and Committee meetings and, when possible, should communicate in advance of meetings any questions or concerns that they wish to discuss so that management will be prepared to address the same. Each director's attendance at, and preparation for, Board meetings and meetings of Committees on which they serve shall be considered by the Nominating and Corporate Governance Committee when recommending director nominees.
2. Board Meetings.
(a) Selection of Agenda Items. The Chairman of the Board (in consultation with the Lead Independent Director, if any) establishes the agenda for Board meetings although each Board member is free to suggest the inclusion of items on the agenda.
(b) Distribution of Materials. The Company shall distribute written materials sufficiently in advance of meetings to permit a meaningful review by the directors.
(c) Number of Meetings. The Board will meet at least quarterly. In addition, special meetings may be called from time to time as determined by the needs of the Company's business. At least twice a year, all independent directors shall meet in executive session without management directors and any other members of the Company's management present.
3. Director Compensation. The form and amount of non-management director compensation will be determined by the Board upon the recommendation of the Compensation Committee. The Board is aware that questions as to directors' independence may be raised when directors' fees and emoluments exceed what is customary. Similar concerns may be raised when the Company makes substantial charitable contributions to organizations in which a director is affiliated, or enters into consulting contracts with (or provides other indirect forms of compensation to) a director. The Board will critically evaluate each of these matters when determining the form and amount of director compensation and will ensure that such payments do not violate the applicable independence requirements of the NASDAQ.
4. Director Orientation. Each new director, upon joining the Board, will be provided with an orientation session regarding the Board and the Company's operations. As part of this orientation, each new director shall have an opportunity to meet with members of senior management of the Company.
5. Assessing Board Performance. The Board will conduct an annual self-evaluation to determine whether it and its Committees are functioning effectively. The Nominating and Corporate Governance Committee will receive comments from all directors as to the Board's performance and report annually to the Board with an assessment of the Board's performance, which assessment will be discussed with the full Board.
6. Access to Officers, Employees and Advisors. Board members have reasonable access to the Company's senior management, any other employees, and any Company advisors. It is assumed and expected that Board members will use their judgment to be sure that this contact is not distracting to the business operation of the Company. Board members who wish to have access to such persons may coordinate such access through the Chairman of the Board, Lead Independent Director or the corporate secretary or may contact such persons directly.
7. Board Communication Policy. The Board believes that management should speak for the Company and that the Chairman of the Board should speak for the Board. In order to ensure compliance with applicable securities laws and to avoid the potential detriment to the interests of the Company, its stockholders and other constituencies that could result from inconsistent communications, the members of the Board will not respond to media inquiries or make statements to the media regarding the Company and its business without consultation with, and approval by, the Chairman of the Board or the Board.
Notwithstanding the foregoing, the Audit Committee and the independent directors have or will establish procedures to enable anyone who has a concern about the Company's conduct or about the Company's accounting, internal accounting controls or auditing matters to communicate those concerns though a reporting hotline and other means which will allow the information to be provided to the Audit Committee, the Lead Independent Director, or the independent directors as a group.
8. Board Authority. The Board and each Committee have the power to hire independent legal, financial or other advisors as they may deem necessary, without consulting or obtaining the approval of any officer of the Company in advance.
9. Confidentiality. The Board believes maintaining confidentiality of information and deliberations is imperative. Information learned during the course of service on the Board is to be held confidentially and used solely in furtherance of the Company's business.
10. Code of Conduct and Ethics. The Company has adopted a Code of Conduct and Ethics and other internal policies and guidelines designed to support these guidelines and to comply with applicable law. The directors are expected to comply fully with that Code and any other applicable policies and guidelines.
IV. Board Committees. The Board will have at all times an Audit Committee, a Compensation Committee, and a Nominating and Corporate Governance Committee. Each of these Committees shall consist solely of independent directors. Committee members will be appointed by the Board upon the recommendation of the Nominating and Corporate Governance Committee with consideration of the desires of individual directors. Each Committee shall have its own charter, which will set forth the purposes, goals and responsibilities of the Committees as well as qualifications for Committee membership, procedures for Committee member appointment and removal, Committee structure and operations and Committee reporting to the Board. The charters will also provide that each Committee will annually evaluate its own performance and will be posted on the Company's website. The Board may, from time to time, establish or maintain additional Committees as necessary or appropriate.
V. Executive Officer Evaluation, Compensation and Management Succession
1. Executive Officer Evaluation and Compensation. The Compensation Committee reviews and approves the Company's compensation policies and programs so as to support the Company's overall business strategy, including recruitment of executive talent. Further, on an annual basis, the Compensation Committee will review and approve corporate goals and objectives relevant to the compensation of the Company's Chief Executive Officer, evaluate Chief Executive Officer performance in light of those goals and objectives and determine and approve Chief Executive Officer compensation levels based on this evaluation. The Compensation Committee shall also oversee the compensation of other executive officers.
2. Succession. The Board (or a Committee delegated by the Board) will work on a periodic basis with the Company's Chief Executive Officer to evaluate the Company's succession plans upon the Chief Executive Officer's retirement or in the event of an unexpected occurrence.


Digital Designer and Food Enthusiast.
"The house bowl of Hinodeya Ramen is truly wonderful. Loved the chew of the noodles and rich, savory broth - all perfected with a heaping scoop of the chili garlic condiment, Tabera. WinstonWanders.com"
"Quality cooking with a classic French point of view. Everything was outstanding, but we especially loved the Oxtail Agnoloti, Onion Panisse, Frites, Cauliflower, and Duck a'Lorange. WinstonWanders.com"
"Incredibly delicious cooking going on here. Literally everything we had was excellent, but don't miss the stand-out Lobster Gigli, Spaghetti Nero, or Potato Gnocchi pastas. WinstonWanders."
"This old-school style of upscale seafood restaurant is on the pricey side, but there's no denying the deliciousness of their food. Definitely don't miss the Venison Tartare starter. WinstonWanders.com"
"Love the wide range of dumpling styles offered. Really enjoyed the Tom Yum Goong XLB, Seafood Gyoza, and Lamb Xi'an Dumplings with a pot of hot freshly brewed Pu'er Tea. WinstonWanders.com"
"This is the real deal. Yes, that's grandma cooking. Garlic noodles, tender beef, 5-spice chicken, & hearty noodle soups are all excellent. Don't miss their comforting crab Bun Rieu. WinstonWanders.com"


text:
Charity Shops in Gateshead
Find Charity Shops in Gateshead on the Northumberland Gazette directory. Get reviews and contact details for each business including phone number, postcode, opening hours and photos.
Changing Lives Charity Shop
41 Jackson Street, Gateshead, Tyne and Wear, NE8 1EE
Arthritis Research Charity Shops
5 Blandford Street, Sunderland, Tyne and Wear, SR1 3JP
Salvation Army Charity Shops
The Riding, Newcastle upon Tyne, Tyne and Wear, NE3 4LQ
The Salvation Army is an international Christian church worshipping and working in 125 countries and has more than 800 local...
Oxfam Shop
227-229 High Street, Gateshead, Tyne And Wear, NE8 1AS
British Heart Foundation Charity Shop
16 Sidgate Eldon Square, Tyneside, Newcastle Upon Tyne, Tyne And Wear, NE1 7XF
Charity Shops...
The Salvation Army Charity Shop
2 Brinkburn Street, Newcastle Upon Tyne, Newcastle Upon Tyne, Tyne And Wear, North East, NE6 2DH
St Cuthberts Charity Shop
172 Front Street, Chester le Street, County Durham, DH3 3AZ
St Oswalds Hospice Charity Shop
175-181 Shields Road, Newcastle upon Tyne, Tyne and Wear, NE6 1DP
St Clare's Hospice Charity Shop
41 Grange Road, Jarrow, Tyne And Wear, NE32 3JY
505 Stanhope Road, South Shields, Tyne And Wear, NE33 4QX
Willow Burn Hospice Charity Shop
94 Front Street, Stanley, County Durham, DH9 0HU
Charity Shop...
The Rspca Charity Shop
200 Shields Road, Newcastle upon Tyne, Tyne and Wear, NE6 1DU
Y M C A Charity Shop
53 Bedford Street, North Shields, Tyne and Wear, NE29 0AT
Parkinsons UK
215 Vauxhall Bridge, London, NE12DD
We're the Parkinson's charity that drives better care, treatments and quality of life. Together we can bring forward the day when...
* Charity Shops
St Oswalds Hospice
Fact Fighting All Cancers Together Charity Shop
Charity's Place
117 Chester Road, Sunderland, Tyne and Wear, SR4 7HG
196 Chester Road, Sunderland, Tyne And Wear, SR4 7HE
Shaw Trust - Charity shop - Newcastle
20 Nun Street, Newcastle upon Tyne, Tyne and Wear, NE1 5AQ
Shaw Trust is a national charity working to create brighter futures for the people and communities we serve. We support people by...
antiques, bric a brac, charity shop, clothing, pre loved, pre loved clothing, second hand, second hand clothing, second hand shop, vintage clothing
Sunderland & North Durham Royal Society for the Blind charity shop
17-18 Waterloo Place, Sunderland, Tyne and Wear, SR1 3HU


text:
, född 23 oktober 1975, är en japansk tidigare fotbollsspelare.

I april 1995 blev han uttagen i Japans trupp till U20-världsmästerskapet 1995.

Källor

Japanska fotbollsspelare
Spelare i Kashima Antlers
Spelare i Vegalta Sendai
Födda 1975
Levande personer
Män
Personer från Aomori prefektur


Betsy A. Fischer is a member of the Collaborative Professionals Group of Southeast Louisiana, the International Academy of Collaborative Professionals, the Jefferson Parish Family Law Association, the Covington and the Jefferson and Louisiana State Bar Associations. She is also a member of Alpha Chi Omega, Delta Sigma Pi, Phi Alpha Delta and the past president of the Greater New Orleans Alumnae Panhellenic. She is a qualified Domestic and Juvenile Mediator.


Gearing up for Comic Con, original art at booth #136!
in this glimpse of the silk screening process at Holy Mountain Printing.
Only a few printed, expected to sell out at the New York Comic Con!
« NEW YORK COMIC CON 2018, Only A Few Days Away!


text:
.`, "dateCreated": "11/17/2016 18:35:43", "url": "https://www.idtdna.com/pages/support/faqs/how-do-i-separate-double-stranded-from-single-stranded-oligos-while-still-getting-good-recovery", "author": { "@type": "Organization", "name": "Integrated DNA Technologies" } } } } ); document.querySelector('body').appendChild(jsonStructuredData);
How do I separate double-stranded from single-stranded oligos while still getting good recovery?
The best way to distinguish and separate double-stranded oligonucleotides from those that are single-stranded is by running them on a non-denaturing electrophoresis gel. At IDT, we would use a 12-15% polyacrylamide, 1X TBE gel. The lack of denaturants (e.g., urea, SDS) keeps the double-standed oligos intact. You can then excise this product band from the gel and extract the oligonucleotides from it. Please note, however, that no matter how careful you are, you will lose some yield during the extraction process. Electrolution will return the most full length product from the gel. Though, not quite a effective as electroelution, dialysis can also be used. For additional information on electrophoresis protocols, visit www.protocol-online.net.
oligonucleotide


Have you tried working with your team on a central file, but failed due to similar user name restrictions? If so, here's the solution.
Note: If you're signed to Autodesk 360, you'll see the same Autodesk ID as your username.


>> Jon Kuperman: WebHS, but since this is local, I'm just gonna use my house tools. They also happen to be my favorite. So yeah, probably just do a performance audit to start off and do Run audit. It does the refresh for me in the background, and then it starts compiling all that information.
[00:01:15] Is there anything that I could do in an hour that's gonna make a massive improvement on load time? So when this is loading, it has all these cool little pieces of information, again, some of those stuff, like Google's been collecting a lot of data on mobile use, on Internet speed, on the percent of the world that's online.
[00:01:31] And the more you read about that, the more it's like, okay, well, how does my site look on a 2G connection? Wow, 30 seconds to load. It's these kinda things, where if you're building something, especially if you're in social network or you're building a very public app that you want the world to use and it's that slow, that's gonna be a really big barrier to entry for people.
[00:01:52] Cool, so it's loaded. I've got 71 out of 100. That's passing, right? I think I'm proud of that, great. So yeah, first meaningful paint at 270 ms, that really isn't that bad. The problem, if we look at the screenshot here, is that none of the images are there, and the images are pretty vital to this experience, right?
[00:02:13] They also move things around, move the page around. So the first interactive is also really not bad, 520 ms. So what we've seen with the screenshots, right, is that there's nothing along here, and then boom! The HTML and CSS, they load really quickly, and that's great. And for a split second there, you're able to click around, do something like that.
[00:02:36] And then we start getting into trouble here. We start loading these big images in. They're not coming in asynchronously, and it just blocks up the thread again. So you get a little moment where you can be interactive, and then for the rest of the whole time with the audit, it was not interactive.
[00:02:50] It even says, your page took too long to load. So that'd be a big thing is making sure that the site stays interactive at this point, and we do that a couple of different ways. Offscreen images, I really like this. So it's just like you have these images.
[00:03:04] The user can't even see everything you're loading. You're literally making them wait for stuff they can't even see. It might be a little misleading, cuz probably, what we should do is just size down these images. They're not fully offscreen. They're just partially offscreen, but it's good information. Properly sizing images.
[00:03:22] So again, these percentages are huge, right? You could size these to be the space they're actually taking up, and you would save 50, 60, almost 70% here. Has enormous network payloads. The total was 9 megabytes. That's totally, totally unacceptable. It's huge, I think people are always throwing numbers away.
[00:03:45] But I've heard, I think, people from the Chrome team talking about. I might get this wrong, but I think it's around 250 KB or something like that for your critical render. And that will be after GZIP so you have more room to work with. But anyway, we should try to get it a lot smaller, like Mark was talking about before with frontendmasters.com, where they inline stuff.
[00:04:05] They have this really critical bundle, send that down to page loads. And then they start doing their work, right, cuz at that point, the user is happy. They can see stuff, they can read stuff. Now you can load in those images and polish up the experience. So yeah, these images are huge.
[00:04:18] They took a super long time to come through. And I think if we go back over, there's some other tools that can help with this audit. So if we go to the Elements panel and we look inside of these images, you get this cool thing. So it shows you how big the image is currently on the screen right now.
[00:04:34] And it shows you how big the image is that you're sending down. So our max screen width is 1280 pixels, but we're sending down a 4700 pixel image, right, so it's huge. So the things that we'd wanna do here to fix this. We'd wanna, first of all, take all those images and size them down to be the correct size.
[00:04:52] Then we'd wanna run them through some kinda image optimization, which is gonna, whenever you make images and whenever you edit them with programs, they leave behind all this meta information, like its name, its size, last modified date, all this stuff that you use in your file system. But the web doesn't need that, so you can strip all that out and get big savings.
[00:05:09] The next thing we'd wanna do is go to our server and GZIP everything, right? You'd wanna compress everything that you have. There's some really cool websites out there that can help you see how many of your things are being compressed. They really should all be. It's usually pretty easy to enable compression on your site.
[00:05:24] So if you're using something like PHP and you have an Apache config, there's just a GZIP Apache plugin that you can install and just be like, GZIP all the things. If you're using Node, whatever framework you're using, there's definitely a compression plugin for. So if you need express, there's one that's called compress.
[00:05:41] And you just do app.compress and it just compresses everything. So for those unfamiliar, GZIP is a compression format that the browers can decompress. And so that means that it's just a way that you can make files smaller on the server and the browser knows how to make them back into regular file when they come down.
[00:05:58] So you get these huge savings for free. There's a bunch of really cool proposals now. There's more compression formats that we can use. So some people may have heard of Brotli, or there's one new one. I think it came up in the DevTools Audit. I can't remember what the other one is called, but there's a few different ones.
[00:06:14] Those are all great. Whatever your server can support would be totally awesome. I think the newer ones are a little bit better, but doing it is just such an order of magnitude better than not doing it. So finding some way to compress all your stuff on your server should be a pretty huge win.
>> Jon Kuperman: We can get a bunch of other information about, like things that we could just be doing better. But I would say, typically, the biggest thing that you're gonna see is stuff is too big.
[00:07:11] Same with CSS, if you can split it out and load the rest. And then on top of all that, you should also just make sure that you're compressing everything. So really, the name of the game with a lot of that load performance stuff is just getting as little as you need to send and compressing it as much as possible.
[00:07:26] Yeah, I like this statistic. 75% of global users around 3G or worse connections is when you start thinking about how slow that really is, or if it takes five seconds to load on this great connection, it's gonna take a lot longer to load. So again, you could use HTTP/2 if your server, your CDN supports it, again, with these vulnerabilities that we can remove, things like that.
[00:07:48] Those are all wins there. Again, not chasing for the perfect 100, but just seeing how much stuff we could probably knock out in a day, right? We can add compression, shrink the images, remove their metadata, and remove unnecessary scripts. We can probably do that in an afternoon and get huge wins out of that.
[00:08:03] Any questions on the auditing tools?
>> Jon Kuperman: Somebody put it in chat. Zopfli, that's exactly what I was thinking of. That's the new compression. So there's GZIP, and then Brotli, and then Zopfli, I don't know how to pronounce it. But they're all great. It's just up to what your server supports.
[00:08:57] So finding some kind of build system that can do dead code elimination. There's a bunch of really great courses on Frontend Masters around Webpack. Webpack's a really powerful bundling tool that can really help you, like dead code eliminate, split your modules out, really help you get your website going really quickly.
[00:09:12] I highly recommend those courses.


text:
Ask a Book Question: #72 (Books on the Silver Screen)
Ask a Book Question Screening Room
Editor May 21, 2009 | 15 books mentioned 10 7 min read
Kathy wrote in with this question:
Our book club is focusing on books made into movies. We read fiction, no murder mysteries. I would like to keep either the book or the movie fairly current. Beloved is as far back as I would like to go. I thought about Wonder Boys and then heard The Mysteries of Pittsburgh is now a movie. We read Homecoming so we will probably do The Reader. My idea about books to movies is to compare the two mediums so I suppose the movie adaptation would not have to be topnotch.
Three of our contributors had some recommendations for Cathy. We'll start with Emily, who covers both fiction and memoir:
The Diving Bell and the Butterfly: This beautiful, lyrical movie, directed by American painter and filmmaker Julian Schnabel, was based on a 1995 memoir written by the French journalist Jean-Dominique Bauby. Bauby was 43 and the editor-in-chief of Elle magazine when he suffered a massive stroke and fell into a coma. When Bauby awoke from the coma, he could only move was his left eyelid. His memoir, from which Schnabel's movie takes its name, was written using the French language frequency-ordered alphabet. An assistant slowly recited the special alphabet (the letters ordered by frequency of use in French) over and over again, and Bauby blinked when the assistant reached the correct letter. He wrote his book letter by letter, blink by blink, composing the whole in his head. The memoir recounts both the anguish of being locked inside a corpse (the diving bell of the title), and the liberating pleasures of the imagination (the butterfly) that allowed Bauby to escape the confines of his prison-like body. Schnabel's movie is breathtaking – one of the most visually lush, visceral film experiences I've had in a long time. It is also a testament to the power of the imagination.
Oscar and Lucinda (1988 novel by the Australian novelist Peter Carey, also the winner of the Booker Prize for that year; 1997 film adaptation by Gillian Armstrong with Ralph Fiennes and Cate Blanchette): This is another beautiful movie, and though I haven't read this novel of Carey's, I loved Jack Maggs and The True History of the Kelly Gang. Oscar and Lucinda is the story of Oscar Hopkins (Fiennes), a young Anglican priest, and Lucinda Leplastrier (Blanchette), a young Australian heiress who buys a glass factory. These two lonely eccentrics meet sailing to Australia and discover that they are both obsessive and gifted gamblers. The crux of the story concerns the transportation of a glass church made in Lucinda's factory in Sydney to a remote settlement in New South Wales. Carey's novel was influenced by the 1907 memoir Father and Son by the literary critic and poet Edmund Gosse. Gosse's book recounts his painful relationship with his father, the self-taught naturalist and fundamentalist minister, Philip Henry Gosse. Gosse Sr. is the model for Oscar's father.
This Boy's Life (1989 novel/autobiography by Tobias Wolff; 1993 movie starring Leonardo DiCaprio, Ellen Barkin, and Robert De Niro). Wolff's memoir of his growing up is by turns funny and horrifying and very much in the tradition of Gatsby-esque self-reinvention. The book follows the wanderings of adolescent narrator and main character, Toby Wolff (who, inspired by Jack London, changes his name to Jack) and his hapless mother (who has a thing for abusive, damaged men). After an itinerant existence driving around the country (usually fleeing or in search of one of his mother's bad-news boyfriends), Jack and his mother settle in Chinook, Washington where Jack's mother marries Dwight. Dwight (De Niro in the film) turns out to be a vicious, tyrannical bastard once Jack and his mother are settled into his household. Wolff's prose is strong, lean, and unsparing and De Niro, Barkin, and DiCaprio all give impressive performances in the adaptation.
For another excellent film/novel pair also in the dysfunctional family vein (and also starring Leonardo DiCaprio), check out Peter Hedges' 1991 novel What's Eating Gilbert Grape? Hedges wrote a screenplay version of the novel for Lasse Hallstrom's 1993 adaptation, starring Johnny Depp and Juliette Lewis. The cinematography by the legendary Sven Nykvist is spectacular, as is Leonardo DiCaprio's performance as the mentally challenged Arnie (he earned an Oscar nod for it). For a third paring in this vein, consider Augusten Burroughs' memoir Running With Scissors, and the excellent film version of the same name (with Brian Cox, Annette Bening, Alec Baldwin, Gwenyth Paltrow, and Evan Rachel Wood). Finally, for an English book/movie take on the eccentric/dysfunctional family, there's Dodie Smith's novel I Capture the Castle and the film version of the same name (with Bill Nighy and the lovely Romola Garai, who is also in the film version of Atonement).
If you're in the mood for American Beauty-esque lambasting of the American dream, consider Revolutionary Road (movie) or Little Children (movie). Both film versions star the gifted Kate Winslet, and both tell the tales of the sadness and frustration hidden away in grand colonial homes surrounded by green lawns and picket fences. Little Children also features a smashing book group discussion scene. The book under discussion is Madame Bovary and if one wanted a primary and a secondary text to read alongside the movie, Flaubert's novel might make a nice complement. For a third slightly different take on the deceptions of American family life, consider David Cronenberg's deeply disturbing and violent (but masterful) A History of Violence (2005), based on the 1997 graphic novel of the same name by John Wagner and Vince Locke. The movie stars Maria Bello, Viggo Mortensen, and Ed Harris.
Possibly my favorite adaptation of a novel is the late Anthony Mingella's 1999 The Talented Mr. Ripley, based on Patricia Highsmith's 1955 novel. Its ensemble cast – Cate Blanchette, Jude Law, Gwenyth Paltrow, Philip Seymour Hoffman, and Matt Damon – is one of the finest ever assembled, and the tale is a darker version of Gatsby myth: Tom Ripley, played by Matt Damon in the movie, decides that he wants the leisured life of his rich friend Dickie Greenleaf, no matter what the cost. Tom's worshipful longing for well-made clothes and objects, travel, culture – a charmed, leisured life – is a kind of strange love story, and one of the most affecting and infectious depictions of desire I know. You want Tom to win even as he reveals himself to be utterly amoral and self-interested. Mingella's reading of his source text gives Highsmith's book a more tragic cast than I found the novel to have, and it also draws out homosexual undercurrents that I think Highsmith was more subtle about, but his version is just as captivating as the original. The movie is also a gorgeous period piece – necessary for a story about the irresistible power of material beauty and comfort.
Don't be put off by the title of this last one: Wristcutters: A Love Story. This 2007 movie directed by Goran Dukic is based on a short story called "Kneller's Happy Campers" by the Israeli writer Etgar Keret (available in translation in the collection The Bus Driver Who Wanted To Be God and Other Stories). Basically, it's about where you go after you commit suicide. But it's not gothic or heavy-handed or overdone. The place that you go is pretty much like our world, only slightly cruddier and more run down – kinda how I imagine things were in Soviet states (scarcity, disrepair). After committing suicide, Zia (Patrick Fugit) finds himself in this world and befriends fellow suicide and former Russian punk band member Eugene (played by Shea Whigham), whose character is modeled on Gogol Bordello front man Eugene Hutz. Zia hears a rumor that his former girlfriend has also committed suicide and so is now in their alternate world, and Zia sets out to find her, accompanied by Eugene. Their adventures include an encounter with a self-proclaimed messiah (played by Will Arnett, GOB from "Arrested Development") and another with a quasi-magical camp leader (played by Tom Waits). There's a touch of Beckett about this movie, but there's also something quietly humane and understated about it. It's refreshing to see the afterlife imagined in such mundane terms.
Lydia offers three movies she prefers over the books they were based on and two books she believes were done disservice by the movies made about them:
The English Patient – It is not Michael Ondaatje's fault that Ralph Fiennes and Kristin Scott Thomas are basically the dreamiest couple possible. Maybe it's because I saw the movie first, but I wasn't as thrilled about the book. I know a number of people who completely freak out over Michael Ondaatje, but I completely freak out over tans and taciturnity.
I have read that people take issue with the movie version of Schindler's List because it, in its Spielberg way, glamorizes The Holocaust. I get this, because I think he made, in a weird way, such an intensely watchable film; it does follow a traditional Hollywood arc, and sometimes I find myself thinking, "Oh hey, I'd like to watch Schindler's List," just as I might think, "It's been a while since I watched High Fidelity." That's kind of weird. But it is an incredible story, and I think that the performances of Liam Neeson, Ralph Fiennes, and Ben Kingsley (if you want to see range, by the way, watch this, then Gandhi, then Sexy Beast), are absolutely magnificent. The book is not particularly well-written, but it got the job done.
Speaking of poorly written books that make great films, did you read The Godfather? Remember the tasteful subplot wherein the lady is always on the hunt for well-endowed gentleman because of a rather startling aspect of her physiology? How surprising that Francis Ford Coppola chose not to include that pivotal plot point. Jesus.
Possession – This movie is a joke, which was disappointing because the novel is so wonderful. Whatever it is that is between Gwyneth Paltrow and Aaron Eckhart is the opposite of chemistry. It's like giblets removed from a chicken, sitting coldly in their bag.
Brideshead Revisited – Why someone would think it necessary to improve upon Waugh, and then Jeremy Irons, is beyond me. Everyone is very pretty in this movie. That is all that can be said on the matter.
And Edan rounds things out with a pair of picks:
Jesus' Son by Denis Johnson – I love this collection of loosely-linked short stories because it manages to be simultaneously masterful and raw, and because the drug use in the book doesn't feel cliched, but instead weird and terrible and sometimes wonderful. The narrator of these stories is known as Fuckhead (played in the film by Billy Crudup), and all of these stories pay witness to moments of lucidity and beauty in a world that is otherwise incoherent and uncaring. The movie, I think, does the same. It also highlights the humor of the book: for instance, Jack Black takes Georgie, the pill-popping hospital orderly from "Emergency," to a whole other level. Other cast members include Samantha Morton, Helen Hunt, Dennis Hopper, and even a cameo by Miranda July! It would be fun to discuss how the film takes on the adaptation of an entire collection, rather than a single story, which is a more common practice.
Notes on a Scandal by Zoe Heller – This novel is darkly funny and disturbing, and the story is told in a series of diary entries by dowdy high school teacher Barbara Covett (played in the film by Dame Judi Dench), who befriends colleague Sheba Hart (played by Cate Blanchett), and becomes privy to Sheba's extramarital affair with one of her students. I absolutely loved this novel, but felt ambivalent about the movie, which has a much more serious tone – probably because it loses Barbara's wicked commentary on the world around her. It also focuses heavily on Barbara's lesbian obsession with Sheba – in a way that screams obvious, even campy. Still, the film has been lauded by many, and the upsetting aspects of the book are even more so when watched on screen rather than imagined. (And, plus, Cate Blanchett's cheekbones alone are worth watching for 2 hours.)
If you have any suggestions, let us know in the comments. Thanks for the question Kathy!
Editor This is the byline used for site announcements and for articles by more than one Millions contributor.
Inter Alia Screening Room
Inter Alia #18: Julia Child and the Ethical Appeal
Garth Risk Hallberg August 19, 2009 | 15 books mentioned 5 4 min read
Prominent among my childhood memories is the voice of Julia Child. Or rather, the voice of my father imitating Julia Child. Ours was (you'll be shocked to learn) a PBS household, and the pseudo-Julia arias he would deliver while making Chicken Dish – in that swooping, fluty, Childian soprano – were guaranteed to crack me up, as was his Maggie Thatcher. (Come to think of it, they were pretty much the same impression). And so this year, when the first posters for Julie & Julia began to appear, I thought I knew what I was in for: some laughs, some game-fowl, and Meryl Streep trilling, "Save the liver!"
What the movie and the attendant retrospectives of the real-life Julia Child suggest, however, is less a figure of fun than a figure of liberation. In a country that has never quite outgrown its Puritan pedigree, here was a woman fearless about all things sensual: food, sex, and her own big, lovely body. Seen in this light, Mastering the Art of French Cooking amounts to a kind of manifesto in defense of pleasure. I don't own that particular book, but Julie & Julia sent me back to Child's slightly less-famous opus, The Way to Cook, which had been sitting neglected on a shelf in my kitchen. And Julia Child turns out not only to have been a kind of unfussy feminist; she was also a terrific writer.
It's not often we think of recipes as a form of literature, but they are as formally exacting as the Spenserian stanza (and, as anyone who's ever ruined $40 worth of lamb knows, the stakes are higher). The Way to Cook is a model of clarity and pragmatism. Moreover, it offers a master class in rhetoric.
In my freshman comp classes, we talk about the three classic rhetorical appeals: logos, pathos, and ethos. Most any piece of rhetoric makes all three appeals simultaneously, but a good rhetor will emphasize one or the other. The first two are fairly easy to grasp; the pathetic appeal (a.k.a. the appeal to emotions) is the mode of contemporary advertising, and is thus ascendant in American discourse. (Death panels, anyone?) Other voices will attempt to correct for widespread abuse of pathos by focusing on the logical appeal (a.k.a. the appeal to reason). Thus, we get liberal pundits reasoning themselves blue in the face: But there are no death panels in these bills! Alas, in cooking, politics, and other inexact sciences, head does not always trump heart. To mediate between the claims of each, we must look to that mysterious creature: ethos.
As I understand it, the ethical appeal has to do with establishing the speaker's credibility, or the attractiveness of her persona. One approach might be simply to flourish one's expertise. But, in our postmodern age, the conspicuous display of expertise too easily gives rise to charges of elitism. (Charges which, because they are essentially pathetic, are impossible to rebut.) Contemporary masters of the ethical appeal – among them David Foster Wallace, Jane Jacobs, and my quondam dentist, Dr. Bob Cargill – use the vast resources of voice to make us want to trust them. And how do they do this? By trusting us. By respecting our intelligence. By making a point of showing all their cards and giving a fair assessment of the strength of the overall hand. And above all, by acknowledging that we have the freedom to disagree.
Notwithstanding that overweening title – The Way to Cook – the power of Julia Child's ethical appeal is that rather than seeking to bully or lecture or intimidate or dazzle us (which, of course, she could) she writes as though we are working in the kitchen alongside her. She allows that there are different approaches to cooking; she frequently suggests that, in her experience, some complication is necessary and some is not. And she does all this with constant, gentle humor. Here is her introduction to game birds:
Since all birds roast in about the same manner, and simmer, sauté, and stew in almost the same way, you'll find them grouped together that way here, for the most part. It makes more sense, it seems to me; then you have the theory and practice for each technique, whatever your bird happens to be. Actually, it would make even more sense to group the beasts along with the birds . . . but I have resisted carrying logic that far.
Compare to Martha Stewart, a fine writer and cook but an imperialist of logos if ever there was one. Here's a classic example, first noted by Anthony Lane, of Martha's single-minded, logical pursuit of the very best:
Locate an area in advance with tender, young, organically grown grass that has not yet been cut. . . . It is best to cut it very early in the morning while the dew is still evident.
It is evident that Martha has lost sight of her context – a recipe for baked ham – and thus of her audience. How much she presumes about us: our lives, our patience, our willingness to go along with her harebrained schemes! Her ham might taste just as good as, or even better than, Child's, but the cook will feel too humbled, or even belittled, to enjoy it much.
I would suggest that the same principles of ethos that make The Way to Cook so effective – mastery lightly worn and a pronounced solicitude for the reader – might translate well to other fields. Even, perhaps, to literary criticism. A truly great critic has two jobs – to judge and to persuade – but some of our most polished logicians seem sometimes to forget the ethical appeal entirely. Aspirants to the throne of E.M. Forster and Leslie Fiedler could do worse than to study The Way to Cook. Julia Child's voice on the page proves as indelible as her voice on the tube.
[Image credit: foodista]
Garth Risk Hallberg | 15 books mentioned 5 4 min read
Ask a Book Question
Ask a Book Question: The 41st in a Series (Inflating print runs)
C. Max Magee August 2, 2005 | 15 books mentioned 2 min read
Ask a Book Question: the Nineteenth in a Series (The Case of the Missing Sequel)
C. Max Magee May 12, 2004 | 15 books mentioned 2 min read
Films You Haven't Seen Yet…The Sequel!
Joe Griffin August 16, 2011 | 15 books mentioned 7 3 min read
Hey! How excited are you about seeing Real Steel 2? Are you stoked? Are you drooling with anticipation to see what happens next to those memorable characters? No? Well I'm not a bit surprised. Real Steel (part one) is a forthcoming Disney/Dreamworks film starring Hugh Jackman about a washed up former boxer who trains a robot to excel in the sport. From what we've seen, it looks like a cross between Short Circuit and The Champ. The filmmakers are so confident in Real Steel that they've already begun work on a sequel. Sit back and think about that for a minute or two: a film you haven't seen yet (and possibly haven't even heard of) has a sequel in development. It's the most depressing thing I've heard since the 1-2 punch of Cars 2… in 3D.
You might think that Real Steel 2 is an exception. You might think that, even by the standards of Hollywood conservatism gone mad, work on Real Steel 2 is a damning, individual act of hubris. But it's far from the only example. On numerous occasions (that we know of), studios have started work on sequels to films that haven't even been released, and in some cases aren't even finished. And we're not just talking about three-part stories like the Lord of the Rings or Girl with the Dragon Tattoo films.
It used to work like this: if a film was a hit and a follow-up was appropriate, then, and only then, would we see a sequel. So we saw second chapters to The Godfather, Jaws, and Raiders of the Lost Ark, but not to Cabaret, Network, or (sadly) Young Frankenstein.
Then, sometime around the 80s and 90s, it became a case of making sequels to films (usually surprise hits) that didn't really feel like they needed one. Hence, Father of the Bride Part II, Teen Wolf Too, and Grease 2. Thankfully they drew the line before Large Man Tate and Beaches: The Revenge.
Surprise hits put studios in an awkward position; the dilemma isn't whether to desecrate the original with a shoddy follow-up (they will), but what to do with a film that has no sequel-friendly ending. The solution is as ingenious as it is crass: now studios don't bankroll individual films – they green-light franchises.
As well as Real Steel 2, follow-ups were planned for The Hangover, for Sherlock Holmes, for The Hunger Games and The Amazing Spiderman, as well as for Green Lantern before part-one was released. What's more – even the mediocre reviews and disappointing box office didn't change plans for Green Lantern 2. Like the eponymous robot in The Terminator, these sequels seem to be unwelcome, unstoppable machines with no "off" switch.
It seems once a studio decides on a franchise, nothing can stop it – not bad reviews (Cars), disappointing numbers (Superman Returns), or bad reviews combined with disappointing numbers (Hulk). A possible, and deeply cynical, explanation is that the studios don't want to waste all that money that they spent on creating brand awareness; they've splurged a fortune telling us what a Green Lantern is, and they'll be damned if they're going to spend it all over again on a whole new character. Not only is this insulting to you, the filmgoer ("you'll eat what we feed you"), but also to the filmmakers themselves ("your film is not a stand-alone product").
So what can be done? It used to be the case that you could vote with your feet – don't see a film and they won't make a sequel. But now it's too late for that. All we can ask you to do is avoid any films that might have a franchise in mind, and eventually, with a hive mind, nudge the trend back to character-driven, stand alone films. Good luck with that.
Joe Griffin | 15 books mentioned 7 3 min read
Another pairing is Atonement by Ian McEwan, I thought the movie would slaughter the book and while it did over emphasize the romance, it was beautifully done. I think comparing the two, what aspects were strengthened, what were glossed over would be an interesting discussion.
Adaptation (that is, the one with Nicholas Cage, Meryl Streep, and Chris Cooper, and somehow connected with The Orchid Thief)?
No Country for Old Men.
R. T. says:
In spite of Kathy's cut-off date for book-movie combination, I would urge her (and everyone else) to consider Flannery O'Connor's WISE BLOOD and John Huston's film version of the O'Connor novel. Except for a few minor distractions in the film, Huston's rendering of Hazel Motes' journey to and experiences in Taulkinham are superb.
Great book club idea. FIGHT CLUB and WAKING THE DEAD may be worth consideration. THE NAMESAKE and BROKEBACK MOUNTAIN also (and other Ang Lee films like THE ICE STORM and SENSE AND SENSIBILITY). Then there are of course all the EM Forster novels — HOWARD'S END, A ROOM WITH A VIEW, A PASSAGE TO INDIA. And THE REMAINS OF THE DAY. (Once you start thinking about it, the list goes on and on…!)
I'm always pleased when a movie made from a book is almost as good. Mysterious Skin by Scott Heim is well made, the writing in the book is very cinematographic; I suppose that helps. – doni-marie
The Fight Club DVD actually features a very interesting dialogue between the screenwriter, Jim Uhls, and Chuck Palahniuk. They watch the movie together and discuss everything ranging from where and how each of them writes to why Uhls made the changes to the book that he made. A great resource for anyone interested in adaptations.
Lydia Kiesling says:
I am totally cheating and continuing my list of likes in the comments. yes on no country for old men. i saw the movie before i read the book, and it blew my mind, so that when i did get around to reading the book it felt almost irrelevant. yes sense and sensibility. lovely ang lee. Empire of the Sun I didn't read, but I really like the movie. High Fidelity too. Minority Report. I am really eager to see the miniseries of Dance to the Music of Time because those books, lumped together, are among my top-five all-time favorites. I actually liked the book Bridget Jones' Diary even though it has high heels on the cover (or their equivalent), but I thought the movie was only middling, Hugh Grant notwithstanding. This could go on for days. Thanks for the suggestions Edan and Emily!
carfossil says:
I'm surprised Stanley Kubrick wasn't brought up here – Nabokov's "Lolita" and Clarke's "2001: A Space Odyssey" come to mind, as the authors both collaborated directly with Kubrick on bringing the works to the silver screen. "A Clockwork Orange", "Paths of Glory", "Spartacus", "Dr. Strangelove", "The Shining", "Full Metal Jacket"… come to think of it, most Kubrick films are also novels/novellas/stories!
Fun book club idea, it'd be a blast to see this morph into the amazing film club it could be as well.
Millions Fan says:
The Secret Life of Bees – Sue Monk Kidd – our book club just read the book and watched the film last night – and did a compare. Would be interested to see what you think?
How could you leave out The Virgin Suicides and Requiem For a Dream?
Ask a Book Question (#58): Books for Fans of Deadwood
Emily Colette Wilkinson February 12, 2008 | 15 books mentioned 7 2 min read
Missing Roger Lodge
Pete Croatto May 5, 2011 | 15 books mentioned 1 4 min read
One of the questionable perks of working from home is that you become intimate with daytime television. I can confirm that between the hours of 6 a.m. and 6 p.m., a majority of ESPN's programming consists of two well-dressed idiots yelling at each other. Yes, Dear is just as unfunny as you've been told. Contrary to previous reports, MTV and VH1 play music videos.
I am also certain that daytime TV is not what it once was. During my first bouts of unemployment in 2001 and 2002, I was floored by the variety bestowed upon me. I was supposed to be sending resumes, but the process was unorganized and uninspired. Job searching was boring and fruitless. Television provided endlessly entertaining options, especially dating shows. I got hooked.
The day began on the lighter side with TLC's A Dating Story, which was bubbly and benign and almost always featured couples from Philadelphia. A few hours later, after I had eaten lunch and sent out cover letters destined to be ignored, I would strap in for Blind Date and Shipmates. This was by far the highlight of the day until the blessed late afternoon appearances of The Simpsons and Seinfeld.
Blind Date was the gold standard for what I call on-the-scene (OTS) dating shows. These should not be confused with the likes of The Millionaire Matchmaker or The Bachelor, which rely on a braying force of personality and a fairy tale-inspired train wreck, respectively. All OTS dating shows share similar qualities—the couples have never met before, volatile reactions and hot tub canoodling are encouraged—but Blind Date's versatility was unmatched. The Roger Lodge-hosted half hour could function as comedy, thanks to the writers' constant stream of biting blurbs and thought bubbles that appeared during the action. And it was an illuminating look into the single person's mindset, thanks to the sage advice of Therapist Joe, a cartoon head sporting a pipe and bow tie that popped up during some calamitous social gaffe. Plus there was a good chance a nubile, fame-hungry babe would strip down to a bikini in front of a national audience.
Shipmates eschewed any notion of substance. Hosted by Chris Hardwick, formerly of MTV's Singled Out—a show that introduced two troubling elements of the mid-1990s: Jenny McCarthy and guys wearing leather vests without shirts—I am amazed Shipmates never resulted in a homicide. The show featured two people whose first date stretched over a three-day cruise. I prayed that the couple hated each other, so I could relish the growing tension. I was rarely disappointed.
There were other shows during that time. On MTV's Room Raiders, which still pops up occasionally, a contestant chose their date based on the candidates' three bedrooms. It turns out that women are most comfortable in homes free of dust and porn. That shouldn't have been a revelation, but it was. I had a brief, unpleasant affair with The Fifth Wheel—two guys and two girls date each other, and then another contestant arrives—until I noticed that "the fifth wheel" was always a bisexual nymphomaniac straight from Cinemax late night. Eventually, I became saddened watching it: This poor, oversexed girl had parents. (Another side effect: The Fifth Wheel inspired MTV's unholy Next.) I don't like being weighed down by morality when I watch TV, so I opted for elimiDATE, where four guys or girls would vie (i.e., embarrass themselves) for the attention of a single suitor. It was amusing late-night fare and it contributed to one of my favorite TV moments. elimiDATE aired on Long Island's TV 55, right after the 11 o'clock news. Every evening, anchor Richard Rose would be forced to announce the show's upcoming arrival. His delivery took on the defeated tone of a hostage video.
In what should come as a surprise to absolutely no one, I was not dating regularly at this time. I watched dating shows the way that sci-fi obsessed teens would watch Star Trek or The X-Files, like it was a magical world that I could only dream about. I manufactured this warped self-esteem, and I'm still not entirely sure why. It took a decent job, buying a condo, and not scheduling my day around fake boobs and strangers' public embarrassment for me to venture into the dating scene.
When I did, I discovered that those rudderless afternoons and evenings served a purpose: They previewed the roulette of rejection and weirdness that is dating. There was the time on Blind Date when a bored female dater glanced at her wrist and mentioned that it was time for her to get going. "That's not a watch," the man replied. One episode of elimiDATE concluded with a woman praising a guy for being nice and then casting him aside for those qualities. I distinctly remember a man on A Dating Story going the Michael Scott joke-a-minute route and feeling immense pity for him and his companion. For every hot tub tryst or tequila-infused make-out session on the Fifth Wheel bus—which I wouldn't have entered wearing a Hazmat suit—there were five testosterone-draining atrocities.
Though the aggravation of this social ritual wasn't a complete surprise, it was still draining, which is why Can't Get a Date came along at the perfect time. Premiering on VH1 in 2006, the show featured a never-seen narrator (the show's creator, Stefan Springman) who would accompany an unlucky-in-love New Yorker and mold him or her into form. All the lessons and work—which took place over three months, according to Springman—culminated in a date. The show's beauty was that even if there was no love connection, the people were happy with themselves, which is a dater's biggest asset. Nobody wants to buy anything from a salesman who hates his product line. Can't Get a Date was indispensable because it offered hope, not punch lines. I wasn't surprised when Springman told me he doesn't watch TV—or that VH1 dumped the show for Flavor of Love.
I wish non-prime time programming followed this educational model, instead of relying on Skip Bayless or straight-talking judges. I know I benefited. My fiancée and I are marrying in August. As far as I know, there's no reality TV show that chronicles the life of a roller skate-skinny, sweet college professor and a sarcastic, bearded freelance writer. What happens next? Stay tuned.
(Image: Abandoned Bouquet of Red Roses on Street from pinksherbet's photostream)
Pete Croatto | 15 books mentioned 1 4 min read
Ask a Book Question: The 42nd in a Series (Garcia Marquez and Kawabata)
C. Max Magee January 21, 2006 | 15 books mentioned 1 2 min read
Ashok writes in with this question about a pair of "magical realists:"I heard that Gabriel Garcia Marquez's Memories of My Melancholy Whores can be read as a continuation of a Yasunari Kawabata novel. Can you tell me which is that novel?Kawabata was the first Japanese Nobel Laureate in literature (1968), and while not considered a "magical realist" like Garcia Marquez, Kawabata was known for the surreal quality of his writing. A brief bio is available here. For several critics, Garcia Marquez's latest novel echoes Kawabata's 1961 book House of the Sleeping Beauties, though nobody that I saw described Garcia Marquez's book as a "continuation" of Kawabata's. The pre-pub review in Library Journal describes a "situational resemblance" between the two books, while a review in the Washington Times calls Whores "something less" than Beauties. In a chat with Michael Dirda of the Washington Post (scroll way down), an anonymous reader even went so far as to suggest that Garcia Marquez plagiarized Kawabata, an idea that Dirda dismisses:Anonymous: I have read all the praise for Garca Marquez's "Memoires of my sad whores" in the Books Section of the Post, in particular the review by Marie Arana. Nowhere I have seen the reference to Yasunari Kawabata's "The House of the Sleeping Beauties." Garca Marquez himself said that that would be a novel he would like to have written.Question: Being the two stories so close to each other, Kawabata's obviously preceding Garca Marquez's, when a homage turns into plagiarism? ThanksMichael Dirda: Writers always borrow or steal from each other. G-M acknowledges Kawabata's work, just as Zadie Smith in On Beauty acknowledges E.M. Forster's Howards End. But the books are still their own. I suspect that Kawabata's book will outlast G-M's.So, clearly there is some relationship between the two books, and hopefully some Garcia Marquez fans have been introduced to Kawabata as a result.
C. Max Magee | 15 books mentioned 1 2 min read
If You Haven't Seen 'Billions' Yet, You Should
Sonya Chung July 9, 2019 | 15 books mentioned 8 min read
There's more to it than the least common denominators of the prestige drama: it's demonstrated the adaptability of a live organism evolving with our times.
Sonya Chung | 15 books mentioned 8 min read