text:
{fmt}
=====

.. image:: https://travis-ci.org/fmtlib/fmt.png?branch=master
   :target: https://travis-ci.org/fmtlib/fmt

.. image:: https://ci.appveyor.com/api/projects/status/ehjkiefde6gucy1v
   :target: https://ci.appveyor.com/project/vitaut/fmt

.. image:: https://oss-fuzz-build-logs.storage.googleapis.com/badges/libfmt.svg
   :alt: fmt is continuously fuzzed att oss-fuzz
   :target: https://bugs.chromium.org/p/oss-fuzz/issues/list?colspec=ID%20Type%20Component%20Status%20Proj%20Reported%20Owner%20Summary&q=proj%3Dlibfmt&can=1

.. image:: https://img.shields.io/badge/stackoverflow-fmt-blue.svg
   :alt: Ask questions at StackOverflow with the tag fmt
   :target: https://stackoverflow.com/questions/tagged/fmt

**{fmt}** is an open-source formatting library for C++.
It can be used as a safe and fast alternative to (s)printf and iostreams.

`Documentation <https://fmt.dev/latest/>`__

Q&A: ask questions on `StackOverflow with the tag fmt <https://stackoverflow.com/questions/tagged/fmt>`_.

Features
--------

* Replacement-based `format API <https://fmt.dev/dev/api.html>`_ with
  positional arguments for localization.
* `Format string syntax <https://fmt.dev/dev/syntax.html>`_ similar to the one
  of `str.format <https://docs.python.org/3/library/stdtypes.html#str.format>`_
  in Python.
* Safe `printf implementation
  <https://fmt.dev/latest/api.html#printf-formatting>`_ including
  the POSIX extension for positional arguments.
* Implementation of `C++20 std::format <https://en.cppreference.com/w/cpp/utility/format>`__.
* Support for user-defined types.
* High performance: faster than common standard library implementations of
  `printf <https://en.cppreference.com/w/cpp/io/c/fprintf>`_ and
  iostreams. See `Speed tests`_ and `Fast integer to string conversion in C++
  <http://zverovich.net/2013/09/07/integer-to-string-conversion-in-cplusplus.html>`_.
* Small code size both in terms of source code (the minimum configuration
  consists of just three header files, ``core.h``, ``format.h`` and
  ``format-inl.h``) and compiled code. See `Compile time and code bloat`_.
* Reliability: the library has an extensive set of `unit tests
  <https://github.com/fmtlib/fmt/tree/master/test>`_ and is continuously fuzzed.
* Safety: the library is fully type safe, errors in format strings can be
  reported at compile time, automatic memory management prevents buffer overflow
  errors.
* Ease of use: small self-contained code base, no external dependencies,
  permissive MIT `license
  <https://github.com/fmtlib/fmt/blob/master/LICENSE.rst>`_
* `Portability <https://fmt.dev/latest/index.html#portability>`_ with
  consistent output across platforms and support for older compilers.
* Clean warning-free codebase even on high warning levels
  (``-Wall -Wextra -pedantic``).
* Support for wide strings.
* Optional header-only configuration enabled with the ``FMT_HEADER_ONLY`` macro.

See the `documentation <https://fmt.dev/latest/>`_ for more details.

Examples
--------

Print ``Hello, world!`` to ``stdout``:

.. code:: c++

    fmt::print("Hello, {}!", "world");  // Python-like format string syntax
    fmt::printf("Hello, %s!", "world"); // printf format string syntax

Format a string and use positional arguments:

.. code:: c++

    std::string s = fmt::format("I'd rather be {1} than {0}.", "right", "happy");
    // s == "I'd rather be happy than right."

Check a format string at compile time:

.. code:: c++

    // test.cc
    #include <fmt/format.h>
    std::string s = format(FMT_STRING("{2}"), 42);

.. code::

    $ c++ -Iinclude -std=c++14 test.cc
    ...
    test.cc:4:17: note: in instantiation of function template specialization 'fmt::v5::format<S, int>' requested here
    std::string s = format(FMT_STRING("{2}"), 42);
                    ^
    include/fmt/core.h:778:19: note: non-constexpr function 'on_error' cannot be used in a constant expression
        ErrorHandler::on_error(message);
                      ^
    include/fmt/format.h:2226:16: note: in call to '&checker.context_->on_error(&"argument index out of range"[0])'
          context_.on_error("argument index out of range");
                   ^

Use {fmt} as a safe portable replacement for ``itoa``
(`godbolt <https://godbolt.org/g/NXmpU4>`_):

.. code:: c++

    fmt::memory_buffer buf;
    format_to(buf, "{}", 42);    // replaces itoa(42, buffer, 10)
    format_to(buf, "{:x}", 42);  // replaces itoa(42, buffer, 16)
    // access the string with to_string(buf) or buf.data()

Format objects of user-defined types via a simple `extension API
<https://fmt.dev/latest/api.html#formatting-user-defined-types>`_:

.. code:: c++

    #include "fmt/format.h"

    struct date {
      int year, month, day;
    };

    template <>
    struct fmt::formatter<date> {
      constexpr auto parse(format_parse_context& ctx) { return ctx.begin(); }

      template <typename FormatContext>
      auto format(const date& d, FormatContext& ctx) {
        return format_to(ctx.out(), "{}-{}-{}", d.year, d.month, d.day);
      }
    };

    std::string s = fmt::format("The date is {}", date{2012, 12, 9});
    // s == "The date is 2012-12-9"

Create your own functions similar to `format
<https://fmt.dev/latest/api.html#format>`_ and
`print <https://fmt.dev/latest/api.html#print>`_
which take arbitrary arguments (`godbolt <https://godbolt.org/g/MHjHVf>`_):

.. code:: c++

    // Prints formatted error message.
    void vreport_error(const char* format, fmt::format_args args) {
      fmt::print("Error: ");
      fmt::vprint(format, args);
    }
    template <typename... Args>
    void report_error(const char* format, const Args & ... args) {
      vreport_error(format, fmt::make_format_args(args...));
    }

    report_error("file not found: {}", path);

Note that ``vreport_error`` is not parameterized on argument types which can
improve compile times and reduce code size compared to a fully parameterized
version.

Benchmarks
----------

Speed tests
~~~~~~~~~~~

================= ============= ===========
Library           Method        Run Time, s
================= ============= ===========
libc              printf          1.04
libc++            std::ostream    3.05
{fmt} 6.1.1       fmt::print      0.75
Boost Format 1.67 boost::format   7.24
Folly Format      folly::format   2.23
================= ============= ===========

{fmt} is the fastest of the benchmarked methods, ~35% faster than ``printf``.

The above results were generated by building ``tinyformat_test.cpp`` on macOS
10.14.6 with ``clang++ -O3 -DSPEED_TEST -DHAVE_FORMAT``, and taking the best of
three runs. In the test, the format string ``"%0.10f:%04d:%+g:%s:%p:%c:%%\n"``
or equivalent is filled 2,000,000 times with output sent to ``/dev/null``; for
further details refer to the `source
<https://github.com/fmtlib/format-benchmark/blob/master/tinyformat_test.cpp>`_.

{fmt} is 10x faster than ``std::ostringstream`` and ``sprintf`` on floating-point
formatting (`dtoa-benchmark <https://github.com/fmtlib/dtoa-benchmark>`_)
and as fast as `double-conversion <https://github.com/google/double-conversion>`_:

.. image:: https://user-images.githubusercontent.com/576385/69767160-cdaca400-112f-11ea-9fc5-347c9f83caad.png
   :target: https://fmt.dev/unknown_mac64_clang10.0.html

Compile time and code bloat
~~~~~~~~~~~~~~~~~~~~~~~~~~~

The script `bloat-test.py
<https://github.com/fmtlib/format-benchmark/blob/master/bloat-test.py>`_
from `format-benchmark <https://github.com/fmtlib/format-benchmark>`_
tests compile time and code bloat for nontrivial projects.
It generates 100 translation units and uses ``printf()`` or its alternative
five times in each to simulate a medium sized project.  The resulting
executable size and compile time (Apple LLVM version 8.1.0 (clang-802.0.42),
macOS Sierra, best of three) is shown in the following tables.

**Optimized build (-O3)**

============= =============== ==================== ==================
Method        Compile Time, s Executable size, KiB Stripped size, KiB
============= =============== ==================== ==================
printf                    2.6                   29                 26
printf+string            16.4                   29                 26
iostreams                31.1                   59                 55
{fmt}                    19.0                   37                 34
Boost Format             91.9                  226                203
Folly Format            115.7                  101                 88
============= =============== ==================== ==================

As you can see, {fmt} has 60% less overhead in terms of resulting binary code
size compared to iostreams and comes pretty close to ``printf``. Boost Format
and Folly Format have the largest overheads.

``printf+string`` is the same as ``printf`` but with extra ``<string>``
include to measure the overhead of the latter.

**Non-optimized build**

============= =============== ==================== ==================
Method        Compile Time, s Executable size, KiB Stripped size, KiB
============= =============== ==================== ==================
printf                    2.2                   33                 30
printf+string            16.0                   33                 30
iostreams                28.3                   56                 52
{fmt}                    18.2                   59                 50
Boost Format             54.1                  365                303
Folly Format             79.9                  445                430
============= =============== ==================== ==================

``libc``, ``lib(std)c++`` and ``libfmt`` are all linked as shared libraries to
compare formatting function overhead only. Boost Format is a
header-only library so it doesn't provide any linkage options.

Running the tests
~~~~~~~~~~~~~~~~~

Please refer to `Building the library`__ for the instructions on how to build
the library and run the unit tests.

__ https://fmt.dev/latest/usage.html#building-the-library

Benchmarks reside in a separate repository,
`format-benchmarks <https://github.com/fmtlib/format-benchmark>`_,
so to run the benchmarks you first need to clone this repository and
generate Makefiles with CMake::

    $ git clone --recursive https://github.com/fmtlib/format-benchmark.git
    $ cd format-benchmark
    $ cmake .

Then you can run the speed test::

    $ make speed-test

or the bloat test::

    $ make bloat-test

Projects using this library
---------------------------

* `0 A.D. <https://play0ad.com/>`_: A free, open-source, cross-platform real-time
  strategy game

* `AMPL/MP <https://github.com/ampl/mp>`_:
  An open-source library for mathematical programming

* `AvioBook <https://www.aviobook.aero/en>`_: A comprehensive aircraft
  operations suite

* `Celestia <https://celestia.space/>`_: Real-time 3D visualization of space

* `Ceph <https://ceph.com/>`_: A scalable distributed storage system

* `ccache <https://ccache.dev/>`_: A compiler cache

* `CUAUV <http://cuauv.org/>`_: Cornell University's autonomous underwater
  vehicle

* `HarpyWar/pvpgn <https://github.com/pvpgn/pvpgn-server>`_:
  Player vs Player Gaming Network with tweaks

* `KBEngine <https://kbengine.org/>`_: An open-source MMOG server engine

* `Keypirinha <https://keypirinha.com/>`_: A semantic launcher for Windows

* `Kodi <https://kodi.tv/>`_ (formerly xbmc): Home theater software

* `Lifeline <https://github.com/peter-clark/lifeline>`_: A 2D game

* `Drake <https://drake.mit.edu/>`_: A planning, control, and analysis toolbox
  for nonlinear dynamical systems (MIT)

* `Envoy <https://lyft.github.io/envoy/>`_: C++ L7 proxy and communication bus
  (Lyft)

* `FiveM <https://fivem.net/>`_: a modification framework for GTA V

* `MongoDB <https://mongodb.com/>`_: Distributed document database

* `MongoDB Smasher <https://github.com/duckie/mongo_smasher>`_: A small tool to
  generate randomized datasets

* `OpenSpace <https://openspaceproject.com/>`_: An open-source astrovisualization
  framework

* `PenUltima Online (POL) <https://www.polserver.com/>`_:
  An MMO server, compatible with most Ultima Online clients

* `quasardb <https://www.quasardb.net/>`_: A distributed, high-performance,
  associative database

* `readpe <https://bitbucket.org/sys_dev/readpe>`_: Read Portable Executable

* `redis-cerberus <https://github.com/HunanTV/redis-cerberus>`_: A Redis cluster
  proxy

* `rpclib <http://rpclib.net/>`_: A modern C++ msgpack-RPC server and client
  library

* `Saddy <https://github.com/mamontov-cpp/saddy-graphics-engine-2d>`_:
  Small crossplatform 2D graphic engine

* `Salesforce Analytics Cloud <https://www.salesforce.com/analytics-cloud/overview/>`_:
  Business intelligence software

* `Scylla <https://www.scylladb.com/>`_: A Cassandra-compatible NoSQL data store
  that can handle 1 million transactions per second on a single server

* `Seastar <http://www.seastar-project.org/>`_: An advanced, open-source C++
  framework for high-performance server applications on modern hardware

* `spdlog <https://github.com/gabime/spdlog>`_: Super fast C++ logging library

* `Stellar <https://www.stellar.org/>`_: Financial platform

* `Touch Surgery <https://www.touchsurgery.com/>`_: Surgery simulator

* `TrinityCore <https://github.com/TrinityCore/TrinityCore>`_: Open-source
  MMORPG framework

`More... <https://github.com/search?q=fmtlib&type=Code>`_

If you are aware of other projects using this library, please let me know
by `email <mailto:victor.zverovich@gmail.com>`_ or by submitting an
`issue <https://github.com/fmtlib/fmt/issues>`_.

Motivation
----------

So why yet another formatting library?

There are plenty of methods for doing this task, from standard ones like
the printf family of function and iostreams to Boost Format and FastFormat
libraries. The reason for creating a new library is that every existing
solution that I found either had serious issues or didn't provide
all the features I needed.

printf
~~~~~~

The good thing about ``printf`` is that it is pretty fast and readily available
being a part of the C standard library. The main drawback is that it
doesn't support user-defined types. ``printf`` also has safety issues although
they are somewhat mitigated with `__attribute__ ((format (printf, ...))
<https://gcc.gnu.org/onlinedocs/gcc/Function-Attributes.html>`_ in GCC.
There is a POSIX extension that adds positional arguments required for
`i18n <https://en.wikipedia.org/wiki/Internationalization_and_localization>`_
to ``printf`` but it is not a part of C99 and may not be available on some
platforms.

iostreams
~~~~~~~~~

The main issue with iostreams is best illustrated with an example:

.. code:: c++

    std::cout << std::setprecision(2) << std::fixed << 1.23456 << "\n";

which is a lot of typing compared to printf:

.. code:: c++

    printf("%.2f\n", 1.23456);

Matthew Wilson, the author of FastFormat, called this "chevron hell". iostreams
don't support positional arguments by design.

The good part is that iostreams support user-defined types and are safe although
error handling is awkward.

Boost Format
~~~~~~~~~~~~

This is a very powerful library which supports both ``printf``-like format
strings and positional arguments. Its main drawback is performance. According to
various benchmarks it is much slower than other methods considered here. Boost
Format also has excessive build times and severe code bloat issues (see
`Benchmarks`_).

FastFormat
~~~~~~~~~~

This is an interesting library which is fast, safe and has positional
arguments. However it has significant limitations, citing its author:

    Three features that have no hope of being accommodated within the
    current design are:

    * Leading zeros (or any other non-space padding)
    * Octal/hexadecimal encoding
    * Runtime width/alignment specification

It is also quite big and has a heavy dependency, STLSoft, which might be
too restrictive for using it in some projects.

Boost Spirit.Karma
~~~~~~~~~~~~~~~~~~

This is not really a formatting library but I decided to include it here for
completeness. As iostreams, it suffers from the problem of mixing verbatim text
with arguments. The library is pretty fast, but slower on integer formatting
than ``fmt::format_int`` on Karma's own benchmark,
see `Fast integer to string conversion in C++
<http://zverovich.net/2013/09/07/integer-to-string-conversion-in-cplusplus.html>`_.

FAQ
---

Q: how can I capture formatting arguments and format them later?

A: use ``std::tuple``:

.. code:: c++

   template <typename... Args>
   auto capture(const Args&... args) {
     return std::make_tuple(args...);
   }

   auto print_message = [](const auto&... args) {
     fmt::print(args...);
   };

   // Capture and store arguments:
   auto args = capture("{} {}", 42, "foo");
   // Do formatting:
   std::apply(print_message, args);

License
-------

{fmt} is distributed under the MIT `license
<https://github.com/fmtlib/fmt/blob/master/LICENSE.rst>`_.

The `Format String Syntax
<https://fmt.dev/latest/syntax.html>`_
section in the documentation is based on the one from Python `string module
documentation <https://docs.python.org/3/library/string.html#module-string>`_
adapted for the current library. For this reason the documentation is
distributed under the Python Software Foundation license available in
`doc/python-license.txt
<https://raw.github.com/fmtlib/fmt/master/doc/python-license.txt>`_.
It only applies if you distribute the documentation of fmt.

Acknowledgments
---------------

The {fmt} library is maintained by Victor Zverovich (`vitaut
<https://github.com/vitaut>`_) and Jonathan Müller (`foonathan
<https://github.com/foonathan>`_) with contributions from many other people.
See `Contributors <https://github.com/fmtlib/fmt/graphs/contributors>`_ and
`Releases <https://github.com/fmtlib/fmt/releases>`_ for some of the names.
Let us know if your contribution is not listed or mentioned incorrectly and
we'll make it right.

The benchmark section of this readme file and the performance tests are taken
from the excellent `tinyformat <https://github.com/c42f/tinyformat>`_ library
written by Chris Foster.  Boost Format library is acknowledged transitively
since it had some influence on tinyformat.
Some ideas used in the implementation are borrowed from `Loki
<http://loki-lib.sourceforge.net/>`_ SafeFormat and `Diagnostic API
<https://clang.llvm.org/doxygen/classclang_1_1Diagnostic.html>`_ in
`Clang <https://clang.llvm.org/>`_.
Format string syntax and the documentation are based on Python's `str.format
<https://docs.python.org/3/library/stdtypes.html#str.format>`_.
Thanks `Doug Turnbull <https://github.com/softwaredoug>`_ for his valuable
comments and contribution to the design of the type-safe API and
`Gregory Czajkowski <https://github.com/gcflymoto>`_ for implementing binary
formatting. Thanks `Ruslan Baratov <https://github.com/ruslo>`_ for comprehensive
`comparison of integer formatting algorithms <https://github.com/ruslo/int-dec-format-tests>`_
and useful comments regarding performance, `Boris Kaul <https://github.com/localvoid>`_ for
`C++ counting digits benchmark <https://github.com/localvoid/cxx-benchmark-count-digits>`_.
Thanks to `CarterLi <https://github.com/CarterLi>`_ for contributing various
improvements to the code.


text:
Mahmoud Ahmadinejad's Dear Donald
"Four years is a long period, but it ends quickly," wrote the former Iranian president to Trump.
Former Iranian President Mahmoud Ahmadinejad (above) sent a letter on Sunday to Donald Trump | Spencer Platt/Getty Images
By Helen Collis
Iran's former President Mahmoud Ahmadinejad on Sunday sent a 3,500-word letter to Donald Trump, offering advice and striking a surprisingly conciliatory tone, given the recent tensions between Tehran and the new American leader.
Ahmadinejad, a hardliner who left office in 2013, praised Trump's winning election camapign last year as having "truthfully described the U.S. political system and electoral structure as corrupt," according to a copy of the letter published by Iranian media and reported on by the Associated Press.
The former Iranian leader gave the letter to the Swiss embassy in Tehran, which represent U.S. interests.
"Four years is a long period, but it ends quickly," he wrote by way of advice. "The opportunity needs to be valued, and all its moments need to be used in the best way."
In the letter, Ahmadinejad decried U.S. "dominance" over the United Nations, as well as American meddling in the world that has brought "insecurity, war, division, killing and (the) displacement of nations," according to AP.
In the wake of Trump's order to ban travel to the U.S. by citizens from seven majority-Muslim nations, including Iran, that was blocked by American courts, Ahmadinejad urged the new president to "value respect toward the diversity of nations and races."
Ahmadinejad didn't mention Iran's nuclear program, which has been at the center of the country's disputes with the U.S. this century.
Kremlin breaks with Trump on Iran
Trump bans, Iran profits
By David Patrikarakos
Trump administration announces new sanctions against Iran
By Louis Nelson
More from ... Helen Collis
Estonia and Latvia remove Russian ambassadors as tensions rise
Germany ready to let Poland send Leopard tanks to Ukraine: foreign minister
Scholz upbeat about trade truce with US in 'first quarter of this year'
Poland ready to build 'smaller coalition' to send tanks to Ukraine without Germany
White House sets additional sanctions against Russia's Wagner Group
By Hans von der Burchard, Nicolas Camut and Gabriel Rinaldi
Germany moves to send battle tanks to Ukraine
By Hans von der Burchard
German government faces growing rift over Scholz's reluctance to send Ukraine tanks
By Gabriel Rinaldi and Hans von der Burchard
Diplomacy Foreign policy Middle East U.S. foreign policy
Iran United States
Donald Trump Mahmoud Ahmadinejad

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text:
International Relations: Home
Covers international law, institutions, theory of international relations, foreign policy, international political economy, environment, human rights, food security, national security.
International Data and Datasets
Environment Toggle Dropdown
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Peace and Justice Studies
by Julia Frankosky Last Updated Apr 9, 2019 244 views this year
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by Julia Frankosky Last Updated May 14, 2019 8183 views this year
Background Reference Resources
American Foreign Relations since 1600 by Robert L. Beisner; Kurt Hanson (Editor)
Call Number: MSU Reference, 1 East, E183.7 .A52 2003
A thorough update of the standard bibliography of American foreign relations literature from colonial times to the present day. * Nearly 20,000 fully annotated bibliographical entries on topics such as the Mexican Revolution, pan-Americanism, wartime diplomacy, the German threat, and more * A preface clearly outlining the updated features of the book * Three analytical indexes to guide users to entry information, contributors, and significant individuals * Biographical studies on individuals such as John Barrett, William Jennings Bryan, and Theodore Roosevelt
The Concise Oxford Dictionary of Politics and International Relations by Garrett W. Brown; Iain McLean; Alistair McMillan
This bestselling dictionary contains over 1,700 entries on all aspects of politics and international relations. Written by a leading team of political scientists, it embraces the multi-disciplinary spectrum of political theory including political thinkers, history, institutions, theories, andschools of thought, as well as notable current affairs that have shaped attitudes to politics.Fully updated for its fourth edition, the dictionary has had its coverage of international relations heavily revised and expanded, reflected in its title change, and it includes a wealth of new material in areas such as international institutions, peace building, human security, security studies,global governance, and open economy politics. It also incorporates recommended web links that can be accessed via a regularly checked and updated companion website, ensuring that the links remain relevant.The dictionary is international in its coverage and will prove invaluable to students and academics studying politics and related disciplines, as well as politicians, journalists, and the general reader seeking clarification of political terms.
Encyclopedia of American Foreign Policy by Thomson Gale Staff (Contribution by)
This revised version has been expanded with 44 new essays, all written by respected post-Cold War scholars who bring the latest perspectives to their topics. General category coverage includes concepts and doctrines, policymaking, commerce and science, human rights and arms control.
International Relations: the Key Concepts by Steven C Roach; Martin Griffiths; Terry O'Callaghan
Call Number: MSU Main Library, JZ1160 .G75 2014
Now in its third edition, International Relations: The Key Concepts, remains an important resource for anyone interested in international politics. Comprehensive and relevant, it has been fully revised to reflect the most important themes and issues in international relations in the post-9/11 era. Featuring new entries on: The Arab Spring, Responsibility to Protect, Governmentality, Postcolonialism, Neoliberalism, Global Financial Crisis. With suggestions for further reading and a useful guide to websites, International Relations: The Key Concepts is an ideal aid for students and newcomers to the field of International Relations.
The Oxford Companion to International Relations by Joel Krieger (Editor, Series edited by); Craig N. Murphy (Editor); Ayse Kaya
International Relations has long been a core discipline within Political Science, one of vast importance for understanding social, cultural, economic and political exchanges across national boundaries. Every dimension of human experience falls within the scope of the field, making itapplicable to psychologists, historians, anthropologists, and others across a wide swath of academia. The two-volume Oxford Companion to International Relations would be one of the first reference works to make this field clear and comprehensible to both specialists and non-specialists. Entries are mostly thematic in content, rather than site-specific, permitting the work to have value and currency for years to come. The numerous theories and applications of IR are comprehensively covered, as would controversies related to the field, prominent figures, and ways IR has shapedpolitical history. There are revised and updated entries derived from the Oxford Companion to Politics of the World, while the rest would be newly commissioned and authored by the foremost IR scholars around the world. New entries cover institutional developments (for instance, the creation andoperation of the International Criminal Court, the governance of the Internet, and the various changes in the international monetary architecture since the beginning of the economic crisis); significant events that were not covered in the older volume (the wars in Afghanistan and Iraq, thechallenges facing new democratic regimes in Eastern Europe and Africa); and advances in IR scholarship, especially in the fields of terrorism and international security. Fifteen interpretive essays are interspersed throughout the A-Z text, encouraging further scholarship and dialogue betweenreaders.
The Oxford Companion to Politics of the World by Joel Krieger (Editor)
The world has seen dramatic changes since the publication of the first edition of The Oxford Companion to Politics of the World in 1993. In the post-Cold War world, globalization now offers wealth and opportunities on a broader scale, as well as greater international harmony, but threatens toreinforce the advantage gap between wealthy and poor regions and intensify environmental degradation. Conflict and squalor--expressed in brutal brushfire wars, epidemics, and chronic underdevelopment--vie with equally dramatic accounts of growth and democracy associated with a liberal politicalorder and the global diffusion of trade, investment, and communications. Drawing on the breadth of the first edition, this major new edition reflects the changing world with a reassessment of many of the core themes of the Companion, and new articles on the people, concepts, and events that have shaped the world since 1993. The second edition includes biographies ofKofi Annan, Tony Blair, Bill Clinton, and Gerhard Schroder; articles on events such as the Rwandan Genocide and the war in Kosovo; and coverage of international trade developments such as NAFTA and the World Trade Organization. Eighty-seven of the 672 articles in the Second Edition are completelynew; most others are thoroughly revised. This edition also features a substantial new set of articles, a dozen essays on critical issues written by influential figures. Recognizing the importance of including varying viewpoints, the editors have commissioned these essays to provide an informed and often passionate debate oncontroversial topics. Discussions include Lani Guinier and Glenn Loury on Affirmative Action; Francis Fukuyama and Milton Fisk on the Limits of Liberal Democracy; and Lloyd Axworthy and John Bolton on the United Nations. The contributors discuss nearly every nation in the world, including extensive information on institutions, political parties, leaders, and the sources of political mobilization and conflict. The volume also includes biographies of more than seventy-five political leaders and thinkers who haveshaped the contemporary political world. Articles include detailed discussions of critical historical developments and events, concepts, international law, and organizations. The Oxford Companion to Politics of the World, Second Edition is an accessible, timely, thought-provoking, and comprehensivereference that captures the complexity and vitality of contemporary world affairs.
The Oxford Encyclopedia of Foreign Policy Analysis by Cameron G. Thies (Editor)
Call Number: MSU Main Library, JZ1160 .O94 2018
This two-volume encyclopedia brings together leading scholars to provide the most comprehensive and up-to-date resource on foreign policy analysis ever produced. In over 100 peer-reviewed entries, readers will find authoritative overviews of the theoretical, methodological, and substantiveareas of interest in the realm of foreign policy.Theoretically, The Oxford Encyclopedia of Foreign Policy Analysis examines traditional approaches derived from international relations, such as realism, liberalism, constructivism, and feminism. It also reviews the domestic politics approaches to foreign policy analysis so frequently used in thissubfield, including two-level games, veto players, and diversionary theory. Middle-range theories are also surveyed, including role theory, securitization theory, and other conceptual innovations, such as path dependency and emotions. Additionally, approaches grounded in political psychology anddecision making are explored in depth, including entries on beliefs, crisis decision making, the use of analogies and metaphors, and many others.Methodologically, the essays examine the state of the literature and provide guidance for readers on archival research, historiography, the use of counterfactuals, discourse analysis, simulations, and agent-based models, as well as quantitative methods. The Encyclopedia also surveys the major actorsinvolved in foreign policy, from society to governmental and global actors. The work also informs readers on the kinds of strategies, tools, and techniques employed by actors through entries on the use of force, arms control, diplomacy, foreign aid, mediation, negotiation, peacekeeping, andsanctions, among other topics. Finally, it covers important substantive issues in foreign policy, including climate change, ethics, immigration, maritime piracy, nuclear proliferation, and terrorism. Readers seeking in-depth, foundational essays on both core and emerging topics will find comprehensive examinations of the vast and growing literature in foreign policy analysis.
The Oxford International Encyclopedia of Peace by Nigel Young (Editor)
"Finding peaceful solutions to the world's increasingly complex problems will be a huge task, which must also be based upon knowledge, experience and research. I hope that this important new Encyclopedia will reach a global lay audience as well as policy makers and academic experts andencourage many thousands of readers to study further and work harder for the peace on which our whole future depends." -From the Foreword by His Holiness the Dalai Lama This innovative, multivolume encyclopedia charts the interdisciplinary field of Peace Studies, offering a comprehensive survey of the full range of historical, political, theoretical and philosophical issues relating to peace and conflict. All major figures are covered, as well as major events,organizations, theories, and much more. Each entry is signed by a leading scholar in the field, contains a bibliography for further reading, and is cross-referenced with other useful points of interest within the encyclopedia. In addition to A-to-Z entries, the Encyclopedia also includes a peacechronology, key documents and appendices.Key subjects covered include: world leaders (Mahatma Gandhi, Margaret Mead, Cesar Chavez, Martin Luther King, Jr., Lucretia Mott); major events (Cuban Missile Crisis, Dayton Accords, Good Friday Agreement, Lebanon Hostage Crisis); organizations (Greenpeace, League of Nations, United Nations, Savethe Children, International Committee of the Red Cross); theories (Civil Disobedience, Conscientious Objection, Feminism and Peace, Power and Nonviolence Theory, Eco-Pacifism, Gay Rights); and current events (Chemical and Biological Weapons, Human Rights, War Crimes, Terrorism).
Routledge Handbook of Ethics and International Relations by Brent J. Steele (Editor); Eric Heinze (Editor)
Ethics and international Relations (IR), once considered along the margins of the IR field, has emerged as one of the most eclectic and interdisciplinary research areas today. Yet the same diversity that enriches this field also makes it a difficult one to characterize. Is it, or should it only be, the social-scientific pursuit of explaining and understanding how ethics influences the behaviours of actors in international relations? Or, should it be a field characterized by what the world should be like, based on philosophical, normative and policy-based arguments? This Handbook suggests that it can actually be both, as the contributions contained therein demonstrate how those two conceptions of ethics and international relations are inherently linked. Seeking to both provide an overview of the field and to drive debates forward, this Handbook is framed by an opening chapter providing a concise and accessible overview of the complex history of the field of ethics and IR, and a conclusion that discusses how the field may progress in the future and what subjects are likely to rise to prominence. Within are forty-four distinct and original contributions from scholars teaching and researching in the field, which are structured around eight key thematic sections: philosophical foundations international relations theory international security and just war justice, rights and global governance international intervention environment, health and migration global economics religion and ethics Drawing together a diverse range of scholars, the Routledge Handbook of Ethics and International Relations provides a cutting-edge overview of the field by bringing together these eclectic, albeit dynamic, themes and topics. It will be an essential resource for students and scholars alike.
The SAGE Handbook of the History, Philosophy and Sociology of International Relations by Andreas Gofas (Editor); Inanna Hamati-Ataya (Editor); Nicholas G. Onuf (Editor)
The SAGE Handbook of the History, Philosophy and Sociology of International Relations offers a panoramic overview of the broad field of International Relations by integrating three distinct but interrelated foci. It retraces the historical development of International Relations (IR) as a professional field of study, explores the philosophical foundations of IR, and interrogates the sociological mechanisms through which scholarship is produced and the field is structured. Comprising 38 chapters from both established scholars and an emerging generation of innovative meta-theorists and theoretically driven empiricists, the handbook fosters discussion of the field from the inside out, forcing us to come to grips with the widely held perception that IR is experiencing an existential crisis quite unlike anything else in its hundred-year history. This timely and innovative reference volume reflects on situated scholarly practices in a way that projects our collective thinking into the future.
Columbia International Affairs Online (CIAO)
Indexes and selectively publishes post-1990 scholarship and reports on international affairs. Provides full-text access to relevant Columbia University Press titles and many recent journals, papers from university research institutes and non-governmental organizations, foundation-funded research projects, and conference proceedings. CIAO also has links to international affairs centers, institutes, and other resources; U.S., international, and foreign govenment sites; environmental studies web pages; and news media services.
International Political Science Abstracts
This database contains over 282,000 records from over 1,000 journals published throughout the world from 1951 to the present. Approximately 8,000 new records are added to the database each year. The abstracts summarize the source articles. Articles in English are abstracted in English; those in other languages are abstracted in French, with all titles translated into English.
PAIS International
Information in PAIS International and PAIS Archive covers topical public and social issues and the making and evaluating of public policy. Worldwide in geographic scope, PAIS International and PAIS Archive indexes publications in English, French, German, Italian, Portuguese, and Spanish that deal with public affairs.
PAIS Archive is a retrospective database supplementing PAIS International containing more than 1.2 million records covering the years 1915-1976.
Peace Research Abstracts
Peace Research Abstracts includes bibliographic records covering essential areas related to peace research, including conflict resolution, international affairs, peace psychology, and other areas of key relevance to the discipline. The index contains more than 267,000 records, which are carefully selected from the most important sources within the discipline.
Offering access to U.S. foreign and domestic policy papers and gray literature, PolicyFile is updated weekly with abstracts and links to the latest reports, papers, and documents from think tanks, research institutes, and agencies.
Political Science Complete
Political Science Complete™ (PSC) contains full text for over 530 journals, and indexing and abstracts for more than 2,900 journals (including top-ranked scholarly journals), many of which are unique to the product. PSC has a worldwide focus, reflecting the globalization of contemporary political discourse. The database also features over 340 full-text reference books and monographs, and over 38,000 full-text conference papers, including those of the International Political Science Association (Description as of January 2012).
Subject Guide
Julia Frankosky
Subjects:Government Information, Law, Political Science, Public Policy
Next: Country Profiles >>
Last Updated: May 21, 2019 10:29 AM
URL: https://libguides.lib.msu.edu/ir
Subjects: International Studies, Political Science
Tags: food security, foreign policy, human rights, international political economy, national security, political science


Anyone who opts to take the life of a tyrant is often driven, not just by a strong moral conviction but also by a conviction that his action may prompt the masses into rebellion against the oppressor.
It is in this light that we have to view the individual actions taken several times against Mussolini by the anarchists. The series opened with Gino Lucetti from Avenza on 11 September 1926 and his attempt in the Porta Pia square in Rome. Lucetti hurled a bomb at the car carrying Mussolini from the Villa Torlonia to the Palazzo Chigi. The device, however, bounced off the Duce's car and went off only when the vehicle had long since passed.
As he was arrested, Lucetti stated: "I did not come with a bouquet of flowers for Mussolini. I also meant to make use of my revolver if I failed to achieve my purpose with the bomb." At the end of his trial he was sentenced to 30 years in jail whilst another two anarchists, considered his accomplices, Stefano Vatteroni and Leandro Sorio, received lesser sentences.
The bids by Michele Schirru and Angelo Sbardelotto, however, never got beyond good intentions in that they were arrested before they could carry out their plans.
Schirru was picked up on 3 February 1931 and sentenced to death by a Special Tribunal before being shot on 29 May. Sbardelotto, who had travelled from Belgium, was captured on 4 June 1932, confessed his intentions, was sentenced to death and shot on 17 June.
In our chronology of the attempts on Mussolini's life we have deliberately left out the incident that occurred in Bologna in October 1926 and credited to 15-year-old Anteo Zamboni, the son of anarchists; he was stabbed to death on the spot by the fascists surrounding the fascist leader. The whole episode is obscure.
"Many believe that it was one of his own retinue that fired the revolver shot that grazed Mussolini's jacket and that young Zamboni was sacrificed to divert any possible suspicion from the fascists." Others, however, do credit the attempt to the youth, for want of "…sufficiently credible evidence of the thesis of 'sham assassination attempt' really planned by extremist fascists who intended to force Mussolini's hand".
"It is utterly pointless to debate what the assassination bids might have brought the country to. Their failure triggered no collective movement but the many arrests that followed, the trials and the sentences handed down, based on various expedients, show that the attempts helped to keep public opinion alert and to give heart to anti-fascists and to the labour movement opposed to the regime.
Populists are the new enemy. Turin, October 2018.
Adapted from Prisoners & Partisans: Italian Anarchists in the Struggle against Fascism (1999). Photographs courtesy of Joel Schalit. Published under a Creative Commons license.


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text:
"""
Checks that iterable metaclasses are recognized by pylint.
"""
# pylint: disable=missing-docstring,too-few-public-methods,no-init,no-self-use,unused-argument,bad-mcs-method-argument

# metaclasses as iterables
class Meta(type):
    def __iter__(self):
        return iter((1, 2, 3))

class SomeClass(metaclass=Meta):
    pass

for i in SomeClass:
    print(i)
for i in SomeClass():  # [not-an-iterable]
    print(i)

redpajama_set_name: RedPajamaGithub


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text:
Super Jackpot Licence Terms and Conditions
bingo means a lottery scheme where consideration is given for a chance to win a cash prize or prizes by being the first to complete a specified arrangement of numbers on bingo paper from numbers selected at random.
bingo hall means a type of charitable gaming site where a charitable organization conducts and manages a lottery scheme under the authority of a licence issued by a municipality or by the Registrar.
bingo paper means a device of pre-printed numbers on disposable paper, cards or books or reusable hardboard or plastic cards.
Board of Directors means the individuals elected or appointed to manage the affairs of the licensee.
bona fide member means a member in good standing of the licensee who has other activities, beyond conducting lotteries, within the organization. "Members of convenience" whose only activity is to assist with the Super Jackpot, are not considered bona fide members.
books and records means documents outlining financial details of lottery events and includes, but is not limited to, ledgers, sub ledgers, cheque books, cheque stubs, deposit books, deposit slips, bank statements, cancelled cheques, receipts, invoices and control sheets.
charitable gaming site means a gaming site where a charitable organization conducts and manages a lottery scheme under the authority of a licence issued by a municipality or by the Registrar.
Gaming-Related Supplier means a person who manufactures, provides, installs, tests, maintains or repairs gaming equipment or who provides consulting or similar services directly related to the playing of a lottery scheme or the operation of a gaming site and who is registered under the Gaming Control Act, 1992 and Regulations.
gaming site means premises or an electronic channel maintained for the purpose of playing or operating a lottery scheme.
Hall Charities Association means an association formed by all the licensees conducting bingo and other lotteries within a charitable gaming site.
hall rental means payment made by the licensee to an Operator of a bingo hall registered under the Gaming Control Act, 1992 from event proceeds, calculated per these terms and conditions.
For the hall rental received, the Operator provides goods and services to the licensee for the conduct of the event which include, but are not limited to, bingo paper, security, storage, gaming equipment, office equipment, materials, space, utilities and employee services.
licensee means an organization which has been issued a licence to conduct a lottery under Section 207 of the Criminal Code of Canada and includes a Hall Charities Association.
licensing authority means a person or authority specified by Lieutenant Governor in Council as a licensing authority for purposes of section 207 of the Criminal Code of Canada.
Operator means the operator of a gaming site registered under the Gaming Control Act, 1992 and Regulations.
Registrar means the Registrar of Alcohol and Gaming.
Regular Bingo licence means a licence permitting the conduct of bingo where the total prizes for any one (1) event does not exceed $5,500.
Super Jackpot means a separately licensed bingo game run in conjunction with a Regular Bingo event. The prize is awarded based on completing a specified pattern within a designated number of numbers drawn. The designated number increases from event to event until the prize is won.
Every Super Jackpot licence issued is subject to the Regular and Special Bingo Licence Terms and Conditions (3011) and the Lottery Licence Terms and Conditions (4240) except as stated otherwise in the following terms and conditions and may be subject to audit and investigation by a licensing authority. A breach of any term and condition can result in the cancellation or suspension of the licence or in prosecution.
It is a condition of each licence that:
(1) General
(10) Books and records
(11) Banking and financial
(12) Reporting requirements
(2) Staffing - Hall Charities Association
(3) Staffing - other
(4) Conduct of the event
(5) Bingo paper sales
(6) Advertising
(7) Prizes
(8) Proceeds and expenses
(9) American currency
(1) General ›
Search Super Jackpot Licence Terms and Conditions


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Crypto Unlocked is an online trading app which supposedly allows its users to generate significant returns on their investments in cryptocurrencies. Allegedly, the software allows traders to buy and sell crypto assets when the time is right. It even makes promises that newcomers can use it and trade like professionals even if they don't have any prior experience, knowledge or education in online investments.
According to the anonymous team that is behind the creation of Crypto Unlocked, it is a powerful solution which runs on algorithms to deliver the best possible trading results. As a trader, it is possible to use the fully optimized functionalities of the robot or trade manually using the signals generated.
So what does Crypto Unlocked really have to offer? Are traders going to lose anything by using it? My investigation has revealed that Crypto Unlocked is a scam, yet another bogus trading system that is out there to steal your investment funds. I have provided further details in this comprehensive review, so continue reading to learn the shocking facts about this malicious trading software that only appears to be genuine. Instead of proceeding with it, if you want to trade cryptocurrencies, consider the proven-to-work Crypto CFD Trader assisted-investments system.
Crypto Unlocked paved its way into the market promising to help traders benefit from the opportunities presented by the online cryptocurrency trading markets. Their team wants traders to believe that it is easy to generate solid revenue just by sitting at home and working only about 20-30 minutes a day. They say that traders can use the signals produced by their software and make the right investment decisions.
In fact, all the processes related to making investments are assisted by the software. Traders only have to customize the settings and the software will initiate the trading process. But from the information I have gathered about Crypto Unlocked, I don't see anyone who has actually benefited from it. I can safely assume that the software has failed to meet the trading expectations of its users.
How Does Crypto Unlocked Operate?
It was also imperative for me to find out how Crypto Unlocked works to deliver on the results promised. So from my investigation, I have managed to unveil the actual working mechanism of this so-called trading software.
The purpose of Crypto Unlocked is simply to make traders sign up for an account and deposit funds with a broker they recommend. Traders must, however, note that the brokers assigned by Crypto Unlocked require a minimum deposit of $250. They are also not reputable. So depositing funds with a broker that already has a poor reputation in the industry is definitely risky. If traders lose their funds, they cannot complain to any authorities and recover the lost amount.
This is exactly what the people running the Crypto Unlocked scam are doing. As soon as traders deposit funds with an unregulated broker, they get their commission and forget about the trader. The trading software that is supposed to scan the financial markets and look for good trading opportunities executes trades randomly. It makes losing trades fast and the trader loses his investment capital. By the time, traders find out that the entire setup is a scam, they have already lost their funds.
Why is Crypto Unlocked A Scam?
There are a number of reasons for believing that Crypto Unlocked is a scam software. First of all, traders don't have any control over the investment process. Traders can only choose the amount per trade. Traders don't have any idea about how many trades the software will perform in a day. What this suggests is that no matter how much traders deposit, the software will wipe out their entire trading account very fast.
Furthermore, risk management tools and features are unavailable. There is no way traders can control the level of risk they are subject to when trades are being performed. Even the promo video of the software has been designed in a funny way. The signals that are displayed are for Forex trading and not cryptocurrencies. It looks like the team was in a hurry when creating the video and they didn't pay attention to the purpose Crypto Unlocked is supposed to serve. Even their website is highly unprofessional and contains typos and grammatical errors all over the place.
Now looking at the testimonials, it can be clearly seen that they are fabricated. Stock images have been used to make them look real, but it is not helping prove anything in any way. Basically, there is no evidence that Crypto Unlocked works to produce the desired results. I have come across complaints which are an obvious indication of it being a scam.
It is advisable to stay away from Crypto Unlocked because it not only has scam connections, but the software itself is malicious. Traders must build a solid strategy before they start investing in cryptocurrencies. While not every software is worthy of praise, there are some which actually work. Traders must carry out their own research and look for a software that has the potential to meet their specific trading requirements.
Hi Collin, I was thinking of investing some money in Bitcoin Loophole. Is this a scam? I would be disappointed if it was. Anyway, I would like to invest in A BITCOIN trader, but which one is safe and secure???
Hey Shona! The Bitcoin Loophole is a very good choice for trading online. You can read my full Bitcoin Loophole Review and see for yourself.


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text:
Jeffrey Ford – Editor of Avengers Endgame! Civil War! Captain America! Family Stone!
November 27, 2020 November 24, 2020 Spoiler Country 0 Comments avengers, media guest
https://chtbl.com/track/1731E//dts.podtrac.com/redirect.mp3/scpod.net/podcast-player/18413/jeffrey-ford-editor-of-avengers-endgame-civil-war-captain-america-family-stone.mp3
Download file | Play in new window | Duration: 00:35:25 | Speakers: Jeffrey Ford, John Horsley, Kenric Regan
You know we love us some Marvel movies here at Spoiler Country! And today we got to sit down and chat with the editor of 8 of the MCU movies, Jeffrey Ford!
Find Jeffrey online:
Jeff Ford Interview
[00:00:00] Kenric: all right, guys. Welcome back. And today on the show, it's going to be super fun because I don't know. Maybe you're the one or two people that saw Avengers end game in the movie theater. Maybe, you know, the family stone with Sarah Jessica Parker.
I don't know. You might. I do actually love that movie. Maybe you're a big fan of the Avengers, age of Ultron and. And civil war. I don't know. maybe not. But if you are, then we're going to talk with you. Editor Jeff Ford right now today. Jeff. Thanks for coming on.
Jeff Ford: Hey guys. Happy to be here.
Kenric: So man, you have been editing for quite a while now. And if I just go by what is online, I believe the yards with it, with the director, James Gray was your first. Major movie
Jeff Ford: that's right. Yup. For Miramax back in the back, we started that in 1998 and James and I went to film school together. So we've been friends forever and that's how I got on that picture.
So he, I really owe him my career. He got me started and he's a great man and [00:01:00] great director. I'm a big fan of him.
Kenric: You've worked with some major directors. I mean, just off the cusp, Billy Ray, David Ayer, Michael Mann. Joe Johnston, Josh Weeden, Shane black. I mean, the list goes to the Russo brothers.
The list goes on and on what's the, I mean, do you just like drive into work and go? I can't believe I'm doing this for a living.
Jeff Ford: pretty much, I mean, I've wanted to do this since I was a little kid. I mean, I started making super eight movies when I was, you know, in fourth or fifth grade, I grew up in, went to high school in Portland, Oregon, actually.
And I was down there, you know, most making movies, a super eight. Spiderman movies when I was in fifth grade with my friends, the, a Spiderman costume. Yeah. And we'd come up with these stories and we'd do Jeezy special effects. And, you know, it was ridiculous, but I feel like I kind of have been doing the same thing since I was then, you know, I feel like, you know, when the day we did.
Yeah. The first day Tom Holland was on the set on civil war and I was, we were shooting. I was like, Oh my God, I can't believe it. I haven't changed. And it's, and you know, since I was in fourth grade, so [00:02:00] it's a dream come true. I'm really lucky. Yeah. that I met the people that I did and the career that I have, because I really love doing it.
But yeah. Getting to do that, getting to work in the Marvel cinematic universe was I didn't expect it was going to happen. I didn't plan for it to happen. Ben and I got, you know, just, it just it's been really awesome.
Kenric: Were you a big comic book fan growing
Jeff Ford: up? Yeah, I was a big fan and I collected quite a bit.
and, I was more of a DC guy only in that when I collected both Marvel and DC, but I was really into the DTO Neal Adams, Batman run in the mid seventies, the Rasic will thing and all that stuff. I love that stuff. I loved. You know, I was a big Superman fan and they kinda got into filmmaking.
Cause I was so into the 1978 Superman by Richard Donner. and I think I was a comic book, nut and reading a ton of comic books. But then that movie came out. Of course I had to see it to see how they deal with that character. And I, it blew my mind cause it was so beautifully made. It was so real. And it was so there was no, it was dealt with the character was handled with respect and it blew my mind and [00:03:00] I said, Oh my God, I, movies are.
As vivid and amazing as comic books. And I really got into science fiction and fantasy movies at that point. and then years later I got a chance to work with Richard Donner on another movie when I was an assistant, I couldn't believe it. It was like, I, you know, I told him, I'm like, dude, you don't understand I'm here because I went to see your movie in 1978.
And I have been a big fan since. And, and I, you know, I thanked him for everything. Cause he really is the grandfather or the godfather of modern,
Kenric: superhero movies.
Jeff Ford: Yeah. I mean FYGI and I talk about it all the time. That's the movie that lit the fuse and said, Oh my God, that's how you do it.
You do it not take it. You take it straight up and any, and if you look at that movie, look at that cast, Marlon Brando, gene Hackman, you know, Ned Beatty, Christopher Reeve, incredible actor, Margot, Kidder, all those people. Great cast like that. Wasn't a slumming CLA cast. It wasn't ball. They went full on and they got great performances and Donner's just, you know, awesome at bringing stuff to life.
So anyway, that's how I got that's how I got
Kenric: lit up. Hunter was so that [00:04:00] Superman was so good. I think that came out in. 77
Jeff Ford: Christmas, 78,
Kenric: 78. So I saw it in the theater. Yeah. And then I remember, but I re so I don't remember. I remember going and I remember flashes of it, you know what I mean? Going and all that kinda stuff.
And I remember Superman to coming out and we, and I remember me and my brother, cause we only lived like a half a mile away from the Redwood cinemas and Bremerton, Washington. And we walked down to the Plaza. And it was just a strip mall and it was just, you know, it's a tiny theater now, right. There's only like three or four screens in it and they're all.
Not very good. but I love it. Right. I wouldn't trade those memories, but I remember waiting to go see Superman too in the line going all the way out the theater down the brick wall to the rock wall in the back theater parking lot and all the way down to the pizza hut. And I know that means nothing to you, but it's
Jeff Ford: no, it totally does.
I mean, I was in a, you know, I grew up in Troutdale, Oregon. Which is, you know, on the East side of Portland. And it's basically the same thing. It's like, you [00:05:00] had to get there at 6:00 AM to get a spot in line for the summer releases, if you wanted to see them on opening day. And it was like, you had to skip school that day to be in line.
You could not get an advanced ticket deal. that was not the way it worked back. Then.
Kenric: Those for me are so good for superhero movies that, yeah. when I watched the man of steel, I was upset. Not because I thought Henry Cavill was a great Superman. Don't get me wrong. Yeah. But I was like, why you read that?
You basically recreated Superman too with the man of steel. You know.
Jeff Ford: Yeah. I think the thing that Superman did that Donner did, that was unique. And I think the Marvel cinematic universe does it really well. Is there somehow it's connected to contemporary culture. In other words, it's really kind of vibing on what we're an anxious about and Donna did it.
In 78, because you were dealing with, you know, we'd just been through the sixties, he's in the seventies, the country was kind of in a, it was in a new space, old ideas where we're different. It seemed kind of like they were [00:06:00] receding. The fifties were kind of receding and Superman came in and said, look, I got here.
Here's some ideas. Here's some things that we think about. but morality and duty and honor, and, you know, moral choices and things that you do when you do the right thing. And those ideas were kind of like the, I think the country was looking for that stuff and looking to S to have a way to express that.
And I think Marvel, the Marvel movies were really a bit of an echo of the countries, you know, reaction to nine 11 and what happened to us. And we all felt kind of, there was this sense of fear and there was a sense of, you know, that they sort of super-villain plots. We're now kind of coming to life.
And I think the way they dealt with it straight up, just look at Ironman one it's so. Dealing with the echoes of what happened in nine 11. I really think they tapped into that contemporary cultural Zeit Geist in a way that in the same way, the Donner did not an accident. I think it's about just being, you know, receptive to what's going on around you.
Kenric: Yeah. Yeah. Yeah. I think that's a good point. I like, when I think of the Marvel movies, the one thing I noticed, I don't know, a lot [00:07:00] of people talk about, they can feel formulaic, but I'm like, I don't know, man, from. director. There's a definite different feel to what you're watching.
Oh, for sure. You know, when you did, when you worked on the first Avenger, What was your guys' feelings going into that movie? Cause that, because cap they've tried it captain America a couple of times, and I just felt like they always fell flat on their face. Like it's just not to take any away from the people that worked on that stuff, because I don't think anybody walks into it saying, I want to make a crappy captain American movie.
I think everybody tries their artists. Right. But it felt like that movie and Chris Evans really just, you guys capture the essence of it, who captain America was and made me, like, I was never a captain America fan. Like I was never into the comic books. I've read the comics. I was like, eh, he's just so much of a boy scout.
Wasn't really into it. That movie made me a fan. Well,
Jeff Ford: I have to give most of the credit to that, to Evans because he really thought deeply about that character and he knew how to express it. any, he worked really hard over the arc of that character over the years. [00:08:00] And I know he, it meant a lot to him to be somebody, you know, to having a fresh, but legit interpretation of it.
And Joe Johnston was also huge in setting the tone. And I think it was, you know, it was, the movie was a little bit more, you know, it was, it was a little more Winky and self referential, and almost, it was a little more comic booky when I started working on it, then it ended up being, I think, and then certainly cap's arc with the Russo's evolved into something that was very interesting.
You went from this guy who was sort of the straight up company, man. and then all of a sudden he becomes, you know, he becomes sort of, he switches to like counterculture and sort of a way when shield falls in winter soldier, and then by the end, he's, you know, he's gone rogue and he's having to, he's having to take the other side.
And I think that arc, that Chris plays, you know, of a guy who was a true believer that found out that, you know, maybe asking some questions about who you're serving and how you represent that as a good thing, but maintains that moral center. That's a really interesting arc. For a character.
And I think he did [00:09:00] beautifully over all those films. but I said first Avenger was interesting because it was, you know, it was, there was a little bit of a, we were, you know, we're kind of going for a Raiders, lost art kind of vibe with it. but in the same way that Raiders is this sort of crazy movie, serial fantasy adventure movie, it still has this incredibly grounded, main character who has a real moral center.
And a lot of, you know, he's really facing up against, you know, an existential threat. For the whole country with the Nazis. And so we want to cap to be in that same space that, you know, Harrison Ford was in. It's just that you're dealing with this kind of crazy, over the top fantasy adventure, but at your core, you're dealing really with some basic relatable human, you know, questions.
Kenric: Ah, that makes a lot of sense. When you were working on those movies, did you harken back to some of your comic book reading days and feel like. How do I set this tone? Cause I know that I want to feel, I want to feel this when I'm seeing this, you know what I mean? You know what I'm saying?
Jeff Ford: Yes.
I think, I mean, one of the things that I. I probably was more, it was [00:10:00] more about remembering films than comic books only because the Marvel movies are so they're highly yeah. Influenced by obviously the comic book, but they're also incredibly influenced by the films of Lucas and Spielberg from the seventies and eighties.
And you know, that whole, basically, you know, everything that was released from like 77 to 83, you know, and we talk about those movies all day long there. And so, and we all grew up on them and. And I, it's not so much about imitating them as it is appreciating how they were crafted to create these incredible.
You know, this incredible reality that rang true for so many people in the audience and how those directors like Spielberg and Lucas, but also like John Carpenter and, people like that really handled, you know, those characters, that were almost fantasy science fiction, comic book characters.
So I think I probably leaned more on my experience as a film. Unenthusiastic then than a comic book reader. Although I will say that the notion of comic books being a continuing evolving narrative, that would jump between titles [00:11:00] and go rangy for a whole year. And you'd have to read, you know, 12 issues is something to find out.
Like I remember flashed at a run. Well, of who killed Iris Allen. And it went on for like a year. And then at the end you found out, you know, that professor Xoom, spoiler killed her. And like, I remember reading that for a year going, Oh my God, who killed her? And, it was you know, like twin peaks or something where there was a mystery that got you through this narrative.
and for the Marvel movies, we did a lot of that technique, which is there's this mystery it's being slowly doled out over the course of all these movies. We kind of know where we're going to go. And all of a sudden when you get there, the satisfaction is really intense. That was the. That was the storytelling technique that we borrowed from comic books.
Kenric: I love it. So in one of your interviews that I did some research on and I think it was with, is it avian or avid? the Bo avid. Yeah. Avid. Yeah. And you talked about you're on your you're part of pre production as an editor. You're a part of pre production script writing, being on visual effects, managing the sound crew, you know, and you really emphasize motion, picture sound.
[00:12:00] And I'm kind of hoping because I love movies. I mean, I absolutely love that's my favorite medium of everything. You know, I never had the guts to get to jump in like, like obviously you did. And I don't think I have the passion like you did when it came. Cause I, I wasn't bringing out a super eight and trying to make films when I'm.
Eight nine years old, you know what I mean? Right. I'm appreciating them and I love reading scripts and all that kind of stuff. But when I'm able to get somebody like you on, I always like to see what is your day to day process and how do you feel about not feel, but how do you walk through a sequence?
Like I understand you have a macro sequence of events happening, and sometimes it's easy to do to get down to the micro, but you can't forget the macro and I'm kind of hoping you can. Kind of steer us through a day to day of Jeffrey Ford editing any movie.
Jeff Ford: Oh, well, I mean, it's different depending on what stage of the process you're in.
I mean, movies are basically, they get it nowadays. Modern films are made, in a little bit different way than they were originally made, but they can still pretty much be [00:13:00] broken down into three processes, which is pre production and post and pre production is your planning phase where you write the script, you do storyboards, you previsions, you lay it all out.
You just. You get the big picture laid out. So you know where you're going and you have a map and you have a guide and you can, then you can break that thing down into little bite sized pieces, break it up, schedule it, figure out when you're going to shoot stuff out of order.
Cause you know, the whole story ahead of time. And that preproduction process is critical once you, if you plan well, you can do great with a movie. And if you planning is really a huge part of a successful film and that includes casting, which is literally the most important thing. I mean, I think you can have a great script and it can suck if you don't cast it right.
And you can have a shitty script and it. And get a cast in there that makes it saying, so casting, writing those things happen in pre production and then production takes place where you go out and you shoot the material that's going to make up the movie. That process is crazy. You don't have time to think you have so much to get through in each day.
And that's when you're dealing with the actors, you're telling the story. With the acting and camera angles and cinematography, all of that. If you've planned it, right, production goes well. And [00:14:00] while we're shooting, we're editing at the same time, everybody always is surprised when I tell them that. But basically, you know, whatever we shoot on Monday, I look at it on Tuesday and edit on Wednesday.
So by the end of the day, Wednesday, whatever we shot on Monday was cut. Is that the
Kenric: digital aspect of everything? Now it is.
Jeff Ford: It is, but it's also, it's been that way for a long time. I mean, even film days when I started, we were working on film and it was still the same way. You maybe not, didn't get it put together quite as quickly with as much Polish sound and picture, but you wanted to get that scene cut together, because if you still have that cast and you have a problem, you can go back out and get some more if you need it.
So cut, cutting along with cameras, they call it is really critical to make sure that you help the director kind of. Yeah. If they want to watch it, some directors don't want to look at stuff during production, but most of them do. And so I cut right along with camera. Our team kind of works along with camera to get stuff cut.
We talked to them about what we think we need. We talk about it collaboratively and figure out what else we want to shoot. Sometimes the story doesn't make sense. We ask for clarification, when you're shooting on a as longer schedule, you can go back and knock some of that stuff out. If you have the cats.
You know, there's easy ways to do it. [00:15:00] And then once the movie is shot, you've got an assembly, but the movie's not really ready to look at it yet. Do you have an assembly? Usually that assembly is not that great. You watch it and go, Oh my God, what am I going to do? Because you haven't engaged all the great storytelling techniques that you can add when you're cutting it.
Kenric: Music and
Jeff Ford: sound. Yeah. Visual effects, all that stuff is still in rough form. So the movie evolves slowly over the course of, you know, for an Avengers movie, it takes about a year and maybe a year and three months for iron man three, it was less than a year. I mean, some of these movies, basically the Marvel movies take about a year, from production to post pre it takes place the year prior, but once you go into production, it's about a year from the first day of shooting to the delivery.
Kenric: So that's really interesting because I. when you hear preproduction post, you know, and all that stuff, it's, it gets confusing for somebody who's doesn't know anything when they're, when you're reading an interview, when you're reading, what's going on in the movie and you want to know how, where are they at what's right?
Because you get excited, especially these types of it's movies that you've been working on lately that, you know, the fan [00:16:00] base is rabid. You don't want me to get super excited. They want to know what's going on. And it's interesting to go through that amount of stuff. I totally want to geek out on you because I want to know how do you cut it from the camera taking the video to, it's got to go up into some type of cloud that allows you to go to your workstation and pull that back down and then the half ready.
Jeff Ford: There's no internet involved
Kenric: well
Jeff Ford: on kids were, we're always afraid of hacks. So everything's pretty much done with. You know, drives and stuff. We'd actually, none of our systems are connected to the internet. We obviously transfer data sometimes, but it's interesting cause it's, this stuff is shot.
It's shot, you know, say it, say we shoot on Monday, whatever's done at the end of the day and I'm on. I can be on set. I can look at the video playback. Everybody's looking at that. And then that goes that night, Monday night, it goes to a colorist who balances the color out. For the day sort of make sure everything's technically set.
the sound gets added to the picture. It gets digitized into the avid overnight. Then my assistants break it down on Tuesday morning, split it up into scenes, organize it [00:17:00] for me, put it together in a way that I can get through the material quickly. And then Tuesday afternoon, I. I start watching what was shot on Monday and, and breaking it down and making decisions.
and that process just repeats itself every day, until we're done. Now, remember sometimes we have on Avengers end game and infinity, where we had sometimes four units going on in any given day. So sometimes the stunt unit was shooting. There was a mocap unit shooting. There was a splinter unit shooting and main unit.
So, Oh
Kenric: God,
Jeff Ford: it's crazy. It was not
Kenric: crazy.
Jeff Ford: Yeah. We have months of film to go through.
Kenric: You talked about motion, picture sound being probably just about the most important thing. And that editors need to really, especially new editors need to understand motion, picture sound, and that they shouldn't be concentrating on it.
Why is that so important? And how does that affect a film?
Jeff Ford: Well, I mean, sound is really important because Mo everything is really about rhythm. It's about music. It's basically your, you know, the thing that keeps you hypnotized when you're watching a movie, it's the same thing that keeps you hypnotize when you're dancing or listening to a piece of music and you lose yourself in it, it's [00:18:00] rhythm.
And so if you can, and rhythm is visual, but it's also. Obviously auditory has a huge impact and there's a rhythm that interacts picture and sound interacts in a rhythm. And if you can learn to control that's how you create those magical moments. And you can look at, you know, the Avengers movie is there's, you know, everybody remembers the moment they stood up and cheered because that theme started playing, you know, that Alan Sylvestri theme.
And it's because we've led you up to a point where you're ready for it and you're expecting it. And then when it breaks, you feel that. That cathartic moment that it comes out. It's all about balancing that with rhythm and the lack of music. And then presenting the music. It's either allowed sound effect in rhythm and a fight makes you feel the hit, all those things are, techniques that you can learn to manipulate it.
It's just sound has it as unbelievable will impact. And I really, right now I'm mourning the loss of being able to go to the movies because of COVID because one of the things I love about movie theaters is an incredible sound experience that just overwhelms you and you feel so immersed. And when people talk about the excitement [00:19:00] of going to a movie.
A lot of times, it's because, you know, when you're watching something at home, you know, the dog's barking in your face and do dishes and somebody, you know, you can't focus and you can't go into that dream world of being in a movie. And that's why I love sounded. It allows me to immerse myself in the picture and, you know, remember to the actors acting will most of their performance, you know, obviously they do incredible visual performances, but those lines of dialogue and that th the nuance and the things that they say that all comes through the soundtrack.
Kenric: Yeah. It's, you know, it's funny. Cause you're talking about the, when the crowd, like you go to the theater and you hear the crowd actually literally cheer in the theater and I saw it. Right. Yeah. And the first time was opening. Yeah. Right. Because you had to see it and it was , there's two scenes that really got everybody and they're all, and they're almost back to back.
And the ones that were the whole place erupted is when captain America picks up. Oh, yeah, here, everybody freaks out. And then when you hear a Falcon say on your left, everybody freaked [00:20:00] out. Yeah. And I remember on the third time I saw it, you could tell the whole crowded already seen it, but you could feel the buildup for that scene.
And everybody freaked out even more. The time when I saw it, when I know everybody in the theater had already seen it in the theater, and I think it comes from like what you were just saying.
Jeff Ford: It is. And I mean, you know, that sequence took a long time to tune to get it just right. And we tested it and tried it out and got different ways and different reactions.
And it was very delicate and ended up coming together because of Alan's incredible cue, but also the way. That we balanced it out before that. And I remember we went to see that movie in LA the night it opened, and it was Kevin FYGI and the Russo brothers and the Markus and McFeely, the writers and Trinh Tran, our producer and me and a bunch of other people on a, you know, we all went down to Westwood in LA and we went to the, we had a little, you know, a few seats carved out semester.
There's two, actually. And we were in the back of the theater and it was, you know, it was near UCLA and it was like a good crowd on the opening night. And that. That there was [00:21:00] no roof on that theater man. They were going nuts at every single hit. And I was like, and we all walked out of there going, okay.
There is never going to be anything like this in our lives. That the feeling of being so connected with those people was so awesome. And we felt so proud of being able to give them that experience because you know, this is the thing, you know, it was funny cause, People say what you know are superhero movies, cinema.
And I say, what? So cinema is really at its core or about going to the movies together and having that communal experience and that emotional connection. and, you know, you can, some people hate them. Some people love them. It's all good. Everybody can have their opinion. And I get as excited as the next guy, seeing a drama.
I mean, I love movies in general, but the communal experience, the idea of being an audience that's, that's a, when you're an audience member, that's a unique. Job you have, and your job is to be with your people and you experienced something together that nobody else is in that room with you guys that like, that's the moment.
And that's why I love movies. And I really hope people remember when they can go. They can go [00:22:00] again. that's out there for them. Cause it's not the same watching at home or on your phone. It isn't.
Kenric: No, it's not at all. I love going. I love the experience going in the movie. I've. Always been, let's go to the movies, like what's going on, let's go to the movies.
Right. I remember watching arachnophobia and the movie. Oh yeah. I saw it. And that was a big seller. So that opening night, and I remember everybody, like everybody from my school was there and the girls jump and it was just like, Oh my God, I love this. You know, I fell in love though, seeing man too. And I remember me and my brother went, saw E T and then we snuck across and snuck into a clash of the Titans.
Right. Our mom was super religious and she didn't want us to see clash of the Titans.
Jeff Ford: Oh, right. that had some, some Menotti parts.
Kenric: Yeah. Had some naughty parts in it and she just, but it was a lot of fun. Let me tell ya.
Jeff Ford: I liked that movie
Kenric: when you're a, yeah. I love the old movies, man. I just got done.
So we're having, Kelly Johnson on. And he's a big, artist, right? And he's done, he's kind of [00:23:00] done the definitive Batman in the nineties. Where is art? Art is artists ability is ridiculous. And, but he loves doing horror. And in the eighties, in the late eighties, he won an Eisner award for his run on dead man.
And. So I was w so I had them on, we were talking to him and I started talking. we ended up chatting for like three hours. Cause we just went off and I was like, Hey, when you want to come back on and we'll talk about horror movies. And we're talking about the classic horror movies though, the universal horror movies.
So the last couple of weeks I've been, I've watched Dracula daughter of Dracula, Frankenstein, bride of Frankenstein, ghost of Frankenstein and the Wolf man so far. And then I still have the black lagoon and I love those old movies. The Frankenstein ones are stupid.
Jeff Ford: They're amazing. The James whale ones.
Yeah. They're incredible. and God, it's, they're amazing. And I've shown my kids those too. And it's like, they're so good. They have such great tone.
[00:24:00] Kenric: The Frankenstein ones. Yeah. Specifically those first two are so good. And I laughed so hard because in bright, a Frankenstein is such in our culture in society and in our psyche as a whole.
I thought I saw it. Right. You know what I mean? Cause yeah. But I sure were watching them, like I've never seen this. I've never actually sat and watched this.
Jeff Ford: The 1933 King Kong is pretty awesome too. Actually, that's a really great one too. That's like really influential to a lot of pictures.
Kenric: Oh, it's so good.
But. The fact that the bride is only in it for like the last five minutes of the movie, you know, but it's so good. But I was laughing because all I could think of is wa watching it was young Frankenstein by Millbrook's. Sure. And how much of young Frankenstein, how much of that movie actually had the stuff from Frank Wells?
Right? I was like, like the sheriff, I didn't know. That was an actual character from. The Frankenstein movies
Jeff Ford: it's really meticulously recreated in that. It's pretty amazing.
[00:25:00] Kenric: Is there any movies you've worked on that people really should know about that you feel like? Well, it didn't get the play it should've got it.
Jeff Ford: well, I mean, I, you know, they're all like, you know, I feel really proud of a lot of the work that I've done. I've got been very lucky to work with Rick great filmmakers. I mean, you know, th the movie I did with James Gray called the yards, the Mark Walberg and Joaquin Phoenix, and Charlie steren was, we made that in 98, 99, 2000, it came out.
It was a really incredible movie, shot by Harrison Avitas is one of the great cinematographers, no longer with us, but that movie, I think is one I'm extremely proud of. And I, I also, and I don't think a lot of well saw it, you know, it didn't get much of a release. Right. And, the other one that, and kind of popped back up again recently, and I watched a little bit of it.
It was cause of making them around on Netflix is his public enemies, that movie I did with Michael Mann. And yeah, I really, I think that movie also got a little, but have a short shrift, if there's some really amazing filmmaking in that movie that Michael did. and that was really an exciting project to work on.
I think there's some amazing stuff in that movie. really beautiful camera work tonalities, but also some great [00:26:00] writing and some incredible performances in it by, by Deb and Marianne coach yard and bale. Who's just crazy good in it
Kenric: feels good and everything. It's kind
Jeff Ford: of good in everything.
That's crazy.
Kenric: So what, so how much of the interaction with the actors do you have?
Jeff Ford: It depends. I mean, you know, I've done, I've known Nevins for a long time, because I did a movie called street Kings together with canneries before the Marvel world. but since I've been cutting all the cap movies and Avengers movies, I feel like I, you know, I know him pretty well.
and, when you've worked with people over the years, you kind of, you know that you get to know them a little bit. There's, You know, some other actors you just don't ever really get to interact with. Cause they're just not that way. Or you don't spend a lot of time. It really depends on the movie.
It depends on the director and the energy of it. So I'm
Kenric: curious on one hour photo, if you had a chance to interact with Robin Williams?
Jeff Ford: I did. Yeah, he was really great. He's a huge, well, he was a huge comic book fan and really into anime and yeah. I remember, we went up to Vancouver to loop him for that movie.
And we spent a day with him doing his voiceover and stuff. And [00:27:00] we talked a lot about comic books and anime, and he, he's a really, he was a really incredible person, just an amazing talent. and, you know, I mean, I, it was such a privilege to get to work with him. He invited us to his, he did the stand up concert at LA after we shot the movie and he invited a bunch of us to come backstage and then see the show of just amazing window in.
and to see a legend, you know, like that, build a performance. He's an incredible actor. He was, it was just a great human being. It was really a privilege to work with him. And I loved working with Mark romantic too. He's a, there's an underrated director. If there ever was one, a few, if you haven't seen his movies, I highly recommend you checking out.
not only when our photo, but he did a movie called, never let me go. And, he did, Few episodes of our, I think he did he supervised and directed one episode of this show called tales from the loop, which is on, Amazon now, which is beautiful series that he did.
Kenric: Oh yeah. I just remember when our photo came out and it was so counter of what you would expect from a Robin Williams movie.
Jeff Ford: Sure. Yeah. Yeah, no, he was making a change. [00:28:00] Yeah.
Kenric: Well, it kind of popped up cause he was so different in Goodwill hunting and so good in that dramatic role. And then he turns and does. A one hour photo. And I just remember people freaking out thinking, Oh my God, he did such a great job. And they wanted to see, or
Jeff Ford: yeah.
You know, he was an incredible comic. Everybody knew him, his Mork and all this stuff, but he was a classically trained actor. He went to Julliard, he was Christopher Reeve's roommate at Juilliard. They were, they, you know, so he, you know, had the chops and, and really could do it when he needed to do it.
And he was an incredible performer. Well, that's
Kenric: cool. Well, Jeffrey, thank you so much for coming on. I know that
Jeff Ford: I got so fun.
Kenric: Yeah, it was quick, right?
Jeff Ford: Yeah, let's do it again. I would love to
Kenric: please. I'm like, I'm not kidding. I could literally talk to you for hours. if you would ever give me the chance.
Jeff Ford: might totally do another one. Let's do it.
Kenric: Okay, cool. So, maybe we come up with a good subject matter because. I feel like we could go over the Marvel movies, but I feel like at some point you're going to get sick of talking about Marvel movies with me. So I want to get into things. I mean, cause I can literally geek out on you with editing. [00:29:00]
we're starting to get into video ourselves. And so of course we're complete amateurs. We don't know what the heck we're doing. and I purchased final pro X and but I know that Ava is another good one. but I think that's a little bit out of my price range, especially for what we're doing.
We don't, we're not doing giant movies. Right. We're we want to, yeah. We're doing like a YouTube channel and we want to create some cheesy commercials, like, Like back in the eighties, there's this guy named Jack Roberts up in Washington that had this furniture store and he would always a joke.
Yeah, wait. So we want to kind of mimic that kind of thing. And then we want to do, and our tagline is for the country and an oceans of podcasts. We are . So we want to do this cheesy, like morning show kind of thing. Did you ever watch
Jeff Ford: watch what
Kenric: community.
Jeff Ford: Oh, yeah. I love community. Yeah. The Russo's show.
Kenric: Yeah. And there was, yeah, so they had this whole thing with Troy and Abbott, the characters where they would make their morning show and they'd be Troy and Abbott in the [00:30:00] morning. And I'm like, my God, I want to do that. So me and my buddy coast want to do something, not exactly that, but something similar where we're doing, we have a fake interview thing set up, but in the background, every time we're talking, I want.
Like, when we say certain words, I want an image of cathedral flashing through just the, you know, commercial thing. And then, so we're trying to figure out how to break through. Cause we have all this, I mean, do we have all this amazing content, like spoiler verse? So we have a net, we started a network called dot com and we have like 14 different podcasts that all come to us.
And we have staff, writers are writing stuff out and we have, and we don't charge anything cause we don't know what the hell we're doing. So we're trying to figure out how to market, how to get everything out so that we can, you know, but we have all this amazing content and it's like, how do we get the word out?
That people are some, you know, we're getting good listens, don't get me wrong. Right. But I feel like we should be getting a lot more. And so it's like
Jeff Ford: 10th. Cool. I'd love to come back. So let
Kenric: me know. Let's [00:31:00] do it. Oh man. Alright.
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He didn't see her face straight away, yet something deep inside him said it had to be her. In college, he'd often stared at this girl's long blonde hair from a few seats behind in the lecture theatre, while far below them a maths professor droned on about matrices. He knew the shape of her head and neck, had observed her tie up that hair, amazed at the beauty of the fine, straight filaments, the way the strands slid like silk over one another, yet held as one tight rope. When she was an infant her mother had clearly decided ever cutting such hair would be a sin, and she'd concurred. She plaited it, put it in a ponytail, tied it up around a clip made of what seemed to Danny like a piece of wood and two chopsticks, or simply a spare pencil. Sometimes it splayed out across her shoulders like a cascade of spun gold. Now it was pulled up in a silver clasp, to reveal the nape of a long, fine neck, and soft-skinned shoulders.


ES 936 (Cat. No. 4022) has been withdrawn from sale for commercial reasons.
Mechanism-based inhibitor of NAD(P)H:quinone oxidoreductase (NQO1). Induces growth inhibition in human pancreatic carcinoma (MIA PaCa-2) and adenocarcinoma (BxPC-3) cell lines with IC50 values of 108 and 365 nM respectively. Also inhibits TNF-α-induced E-selectin protein expression in human bone marrow endothelial cells. Exhibits no effects on other cellular reductases or levels of acid-soluble thiols.
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