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Live Catholic Tv on the internet.24x7
Catholic PRWire
INDIA (August 2, 2013) - In the year of faith,it is all the more meaningful,to annnounce to the catholic world,that a pioneering mass media communication by name ANBOLITV is on the internet by streaming tv.There are about 40,000 people in 80 countries watch this tv www.anbolitv.org
By this wire release it is made known to all those who are in this field could and should watch the various programmes of the online Tv.(live) Masses are relayed live.sermons on each day are video uploaded in youtube(c800 sermons)and in Gloria.TV.
It is requested that if you were to read this message,please keep in mind the command of the LORD,that you break this news to your friends kith and kin.
Following AnboliTv some have followed the path.Well and good.
If you were to watch Gloria.tv the sermons(daily) are on the video list.Daily around 500 people watch it in different countries. You may be one of a torchbearer to make this known to people.
Praise The Lord.
May the light of the Risen Christ be spread all over the world.
Founder& Director
Anboli Tv
South India
http://www.anbolitv.org , 605 007 IN
Thomas Antony - Founder & Director, 91 413 2600799
AnboliTv.org , Arulosai.org
Catholic Church
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A Fierce Green Fire: The Battle for a Living Planet: Sundance Film Review
The Bottom Line
Comprehensive overview of the global environmental movement reveals the scope of past accomplishments and the breadth of problems awaiting resolution.
Sundance Film Festival, Documentary Premieres
Mark Kitchell
Production company
Whitewater Films
PARK CITY — Environmentalism may just be the largest social movement worldwide – from saving tropical forests to protecting marine life and combating climate change, millions of passionate supporters in nearly every region of the globe are involved in advocacy activities.
Oscar-nominated filmmaker Mark Kitchell (Berkeley in the Sixties) winningly spans the broad scope of environmental history in this comprehensive doc, connecting its origins with the variety of issues still challenging society today. Broadcast exposure is likely with theatrical release a distinct possibility.
The first hour of the film covers a chronological retrospective of the American environmental movement and from the outset it's clear we've been here before: From John Muir and the Sierra Club to Greenpeace and save the whales, it's another whirlwind tour of the 20th Century eco-activist agenda. Initially the film's strengths are in examining the more marginal offshoots, including battles against toxic waste and environmental racism.
An in-depth segment on New York state's Love Canal neighborhood (built atop 20,000 tons of toxic waste) and community organizer Lois Gibbs, at the time a young mother and still a fiery activist, demonstrates the impact of citizen research and lobbying to affect social change. Sociologist Robert Bullard describes how the marginalization of African-American and impoverished communities exposed to hazardous chemicals motivated ordinary people to assert both their Civil Rights and their rights to healthy living standards in the 80s, leading to the emergence of the environmental justice movement. "There's no Hispanic air," says Bullard. "There's no African-American air. There's air! And if you breathe air -- and most people I know do breathe air -- then I would consider you an environmentalist."
Organizing the film into five chapters to highlight specific issues, activists and historical periods helps convey the densely layered content, but the film really excels in the second hour, tracing the internationalization of environmental issues beginning in the 80s and the ascendancy of climate change as the definitive game-changer worldwide.
A profile of murdered Brazilian organizer Chico Mendes, who unified forest communities to oppose ranchers and protect the resources of the Amazon, serves as a reminder that the conflicts over safeguarding the world's largest tropical forest continue today. Glimpses of the Ghandian-style Chipko "tree-hugger" forest defenders in India, Kenya's Greenbelt reforestation group and Bolivians opposed to the privatization of freshwater resources in the Andean nation reveal the diversity of global environmental initiatives today.
All of these struggles nearly pale in comparison to climate change, the one unifying issue affecting the entire planet. The ongoing challenge for polluting nations to reach viable, binding reductions to carbon emissions and implement alternatives to fossil fuels has been ongoing for more than 20 years without definitive progress, as indicators of a warming globe continue to proliferate worldwide.
Despite the combative attitude displayed by a noticeable number of experts interviewed, including 92-year-old conservationist Martin Litton (who contends that effective activists need to have "hatred in your heart"), the film's outlook is rather positive, even if the perspective is much unchanged after more than 50 years. Still primarily the domain of white, middle-class, college-educated men, the movement continues to seek a fully integrated approach to resolving ecological disruption.
Kitchell capably knits together the disparate strands of environmental history with first-person interviews, archival materials and news footage. Top scientists, activists, writers and representatives of leading nonprofit organizations provide both historical perspective and blueprints for future progress to protect the planet. Less attention is given to the expansion of radical environmentalism and the rise and implementation of sustainable development strategies, particularly in poor nations.
A trio of excellent editors assembles an impressive visual package, although the soundtrack's selection of distracting, sappy songs drains some of the impact. The film's title originates with a quote by pioneering American conservationist Aldo Leopold.
Venue: Sundance Film Festival, Documentary Premieres
Production company: Whitewater Films
Director-screenwriter: Mark Kitchell
Producer: Mark Kitchell
Executive producer: Marc N. Weiss
Director of photography: Vicente Franco
Music: George Michalski, Sonya Kitchell, Randall Wallace, Garth Stevenson
Editor: Ken Schneider, Veronica Selver, Jon Beckhardt
Sales: The Film Sales Company
No rating, 110 minutes
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A story about a dog!4.36 / 5.00 8,406 Views
Finger Painting
this art teacher is WHACK!!!!4.20 / 5.00 10,988 Views
TD-The First Day
Meeting new people on the first day can be a real gamble.4.14 / 5.00 6,381 Views
I read a fan fic like this once but you obviously did a better job. And I loved how you did Voldemort in this
And to all of you who are advertising websites in your comments I just want you to know that I think that's pretty disrespectful to the creator of this flash!!
its so damn awsome that i had to go to the toilet love the way u parodyed hakuna matata
Avada Kedavra(8)
It's rather catchy :P
BAHAHAHAHAHAAHAHHAHAHAHAAAAAH! *tries to breathe*
*and fails* HAKUN--- PFF! I mean AVADA KEDAVRA! xD IMO it's the most hilarious flash of the month (if not year), I'm just wasting my time watching it over and OVER AND OOOOVEEER! And please--- I mean I BEG YOU MAKE PARODY OF "BE PREPARED"!!! (and sry for such a lame post but my brain is M.I.A. right now).
This is great, I really like the movement when the costumes change for some reason. NZ PRIDE!!


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Visit these thriving college towns for a crash course in live music, craft beer, art, and history.
The Charlottesville Area
The Charlottesville Area Travel Guide
Articles about The Charlottesville Area
By Deb Hopewell
By Katrina Brown Hunt
What makes a town magnetic? Travel + Leisure readers voted for their favorite small towns—with beaches, mountains, vineyards, and personality to spare.
By Katrina Brown Hunt
Introducing the artists, foragers, pirates and shrine-builders who populate quirky small towns across the U.S.
By Deb Hopewell
Head for the hills: these cool mountain towns beckon with outdoor adventures, festivals, and local color.
By Beth Collins
By Sarah L. Stewart
Hotels in The Charlottesville Area
Built by a master carpenter on the edge of the University of Virginia campus in 1817, the eight-room hotel retains its Federal-era charm with carved fireplace mantels and four-poster beds.
Restaurants in The Charlottesville Area
Classic dishes like rack of lamb (paired with local wines) are served in an intimate period dining room.
Things to do in The Charlottesville Area
Tour this Jefferson-built institution.


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Schools welcome free milk scheme
No stigma, just milkSONIA BEAL
Relevant offers
Marlborough primary school principals are welcoming a scheme that offers school children a free daily serving of low-fat, long life milk, which will be available to pupils around the region by the middle of next year.
Marlborough school children will be among thousands across the country who will be given a 180ml pack of low-fat UHT, or long-life, milk under the Milk for Schools programme, launched by dairy co-operative Fonterra on Thursday last week.
Fonterra has emailed all 2000 primary schools nationwide for expressions of interest to opt into the programme, which also offers schools a fridge and help with recycling the packs.
Havelock School principal Ernie Buutveld was pleased the programme was being offered in all schools, which broke down any potential stigma from the hand-outs.
"The beauty of it is that schools don't have to meet any threshold," he said. There's no stigma attached - it's simply on offer."
However, it looked as though the programme was only for pupils in years 1 to 6, which left out the school's year 7 and 8 pupils.
Mayfield School principal David Nott said the school would consult with its board of trustees, staff and parents before deciding to opt into the programme.
Pupils would receive a double benefit, as the school also received free fruit as part of a Government scheme for which all decile one and two primary and intermediate schools could opt into. All Mayfield School pupils were given one serving of fruit each week day before morning tea.
Marlborough Principals Association president and Spring Creek School principal Andrew McFarlane said the school had lodged their interest, as anything that saved parents money and promoted pupils' health was positive.
Springlands School principal Gaylene Beattie said the school had expressed their interest in being a part of the programme and was waiting for further details.
Fonterra chief executive Theo Spierings said the programme's introduction to the regions would be staggered. The milk would be available first in Southland in term one next year. All regions would be provided for by term 1 2014.
The date the programme rolls out to Marlborough schools has yet to be confirmed, but all South Island schools enlisted would have the packs for distributing by the middle of the second school term.
- The Marlborough Express
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Is the region better served by having multiple events over one weekend or spread out throughout the year?Related story: (See story)


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PhotoZAP 44: Step Lively
"There's huge potential in the moment, but it is lost in the technical details."—Mark LentRead More
The Mark Of Ascendancy, Canon EOS IDS Mark II...
16.7 Megapixel 35mm full-size CMOS Sensor: Originally developed by Canon, this new super-high resolution CMOS sensor features a record-breaking 16.7 million effective pixels. The same size as 35mm film (36 x 24mm), it also brings out the full potential of Canon's professional EF lenses. From smooth gradations & wide ISO speed range to effective suppression of noise & false colors, this sensor meets the highest expectations of the most demanding professionals.
High Speed High Quality Digic II Imaging Engine: DIGIC II processes the massive data generated by the extra-large 16.7-megapixel imaging sensor at extremely high speed, resulting in high-precision images, natural color reproduction & highly responsive user-friendly operation.
Approximatly 4-FPS Continuous Shoting , for up-to 32 Shots: The accelerated image processing of DIGIC II combines with high-speed data reading from the imaging sensor to achieve fast continuous shooting at approx. 4frames per second for maximum bursts of 32 shots in JPEG Large (11 shots in RAW).
Remarkably Responsive Performance: The EOS-1Ds Mark II is ready to shoot just 0.3 seconds after turning on its power. More shots can also be taken in less time, thanks to a short shutter-release time lag, faster data writing to media, and a viewfinder blackout time of approximately 87 ms at 1/60 or faster shutter speeds. With the new EOS-1Ds Mark II, you'll be ready whenever shutter opportunities arise.
Refined Basic Functionality: Canon EOS-1Ds Mark II inherits a number of leading features from its EOS digital predecessors, including E-TTL II autoflash, an RGB histogram display, dual card slots (CF Card and SD Memory Card) & a 230,000-pixel high-precision LCD monitor. It also offers an ISO speed range of 100 to 1600 with selectable 50 & 3200 settings via extension menu.
Designed for Profesionals: The EOS-1Ds Mark II is based on the highly acclaimed EOS-1Ds, but satisfies the higher demands of today's professionals. Viewfinder coverage is 100%, since the effective area of its CMOS sensor is the same as 35mm film, & wide-angle lenses can be used in exactly the same way as on 35mm cameras. Simultaneous recording of RAW and JPEG image data, without any speed penalty, supports a highly efficient workflow. Moreover, shutter speeds range from 30 to 1/8000 sec., with an X-sync at 1/250 sec.
Durable Magnesium Alloy Body: The EOS-1Ds Mark II meets the demands of professional field photographers. Lightweight and highly rigid, its magnesium alloy chassis & external covers (top, front, rear & memory card slot covers) contribute to excellent durability and electromagnetic shielding. Moving parts are tightly sealed to ensure water and dust resistance on a par with the EOS-1Ds. And the exceptionally reliable performance includes a shutter durability of 200,000 cycles.
The Mark II is compatible with numerous advanced accessories.
Most Liked Positive Review
Magic in Your Hands!
Beyond my expectation; more power controls than I'd dreamed of. Switching from one memory card to the other, e.g., CF to SF, so esoteric that I do a work-around.
Most Liked Negative Review
too old and slow
technology in camera is old. no usb 2.0 back lcd small 2 inch. you would be better off to get the 1d mark iii
Reviewed by 23 customers
There are a ton of fantastic reviews of this camera online. instead of reviewing the camera I would like to review how I feel about the scary proposition of purchasing a used camera unseen from Adorama instead. Let me just say that once I received the camera all of my apprehension was gone. I don't know how the camera could have been in better condition. Adorama rated this a E+ The camera looked brand new and functions like new. There was no shutter count listed in the ad but this camera had 22K clicks. That is only 11% of its rated shutter life. Everything in the box looked untouched. I'm extremely (understatement) happy with this purchase and would have no issues buying used gear from Adorama again.
technology in camera is old. no usb 2.0 back lcd small 2 inch. you would be better off to get the 1d mark iii
Does well when used at weddings and any landscape or wildlife shoots where you need a full frame camera and the light is good whether that be outdoors or if you use on/off camera flash often. Outstanding image quality even after 8 years since its original release. It will never be a standout in low light or sports photography. If you are able to get your hands on one that has been well taken care of and is priced right then you can use the savings for one or two really good lenses. But, after not too much time you will not have any choice but to upgrade.
I have the 5d Mark II, 7D, 1d Mark III and I use L series lens but my 1ds Mark II is so greatest.
I was debating about purchasing this camera since it is relatively old technology given ther have been two more recent models released. But from my research the more recent models have real difficulty with focus issues. Thrilled I purchased this camera. Focus is a snap, the colors produced and metering of tricky light situations are truly remarkable. I have a 5d mkIi and a 7D and this camera out shines them both in difficult lighting situations. Sunrises and sunsets come out perfect with the large dynamic range this camera is able to produce. Battery is heavy and you need to fully exhaust it before recharging it is the only negative. While solidly built it is not excessively heavy, just a little heavier than a 7D with good glass on the front of it. A winner, if you are debating about purchasing, rest at ease you will love it.
Canons top of the line camera behind the 1Ds Mk3 is still one of the finest bodies for the money bought used!
I use it for all my digital shooting... liked my 1st one so much I bought a 2nd on!
I recently purchased the 1Ds Mark II through Adorama as a Demo.[...] I was quite surprised to see a low number of acuations because of it being a demo. When they say flagship and high-end camera, they aren't lying. I switched over from a Nikon D-80 and WOW, what a nice piece of equipment. I just got my new lens for this camera and this sucker rocks. An extremely fast shutter. Compared to my Nikon D-80 anyways. People who first set hands on this say how hard it is to get to know the menu and settings on this thing. It really isn't that bad. Once you read the users manual, it is a piece of cake. Nothing difficult to learn that I have found yet. This camera ROCKS!!!
Yes it is a brick. Yes it's controls are cumbersome. But compared to a 5D the 45 AF points and increased number of cross sensors are a big benefit as is the increased resolution. ISO 1600 is perfectly usable with post processing. I always shot with a grip so moving to the full size was no problem. The weather sealing gives me more confidence shooting in the sand, surf or a light rain. If you WANT full-frame but cant afford the 5D Mk II take a serious look at this camera. The E model I purchased here exceeded my expectations showing little wear but a new genuine canon battery would have been good to order then too
I was quite surprised at how few shutter movements this camera had. One scratch but that was all. I would gladly buy this camera again from Adorama!
"There's huge potential in the moment, but it is lost in the technical details."—Mark LentRead More
Adorama Photography TV presents: In this episode Mark goes over a very basic 3 light setup for those who are looking to buy their first portrait light kit.Read More
Adorama Photography TV presents: In this episode Mark tells us about his Canon E1 Hand Strap.Read More
Mark Wallace talks to Gene Lower, the official photographer of the Arizona Cardinals. Gene shares some of his tips for shooting sports.Read More


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Hurricane Kilo Crosses Dateline, Becomes Typhoon
The storm formerly known as Hurricane Kilo is now Typhoon Kilo. Well, sort of. The storm is trapped somewhere in the space-time-storm continuum, halfway between typhoon and hurricane, today and tomorrow, eastern and western Pacific. It's all very confusing for a storm that, rather than dissipating or taking a northward turn on its trek across … Read More
'Grey Swan' Hurricanes Pose Future Storm Surge Threat
Black swans are catastrophic events that no one sees coming, while "grey swans," as the are known, are extreme events for which there's no historical precedent, but that could still potentially be predicted. A new study takes this concept into the realm of weather and climate, finding that global warming might sharply increase the odds of grey swan… Read More
Climate Change Poses Risk to Great Barrier Reef Species
Species native to the Great Barrier Reef are more likely to face extinction through climate change than marine life elsewhere that can adapt by "invading" new regions, according to new research. The largest study to date on the impacts of climate change on marine biodiversity found that many species would cope by finding new waters. However,… Read More
Hurricane Danny Takes Aim at Drought-Parched Caribbean
The Atlantic just got its first hurricane of the season. According to the latest update from National Hurricane Center, Danny passed the hurricane test with wind speeds in excess of 75 mph. The storm is forecast to remain a weak hurricane and make landfall somewhere between Martinique and Anguilla in the eastern Caribbean Sunday night or Monday … Read More
Underground Desert Aquifers Could Hold Missing Carbon
Here's what we know: Carbon dioxide is building up in the atmosphere as the result of manmade emissions, trapping more and more heat and warming the planet. Here's what we're still working on: Of the excess CO2 that doesn't stick around in the atmosphere — about 60 percent of it — exactly how much gets pulled into various so-called carbon sinks … Read More
What Has Changed Since Climate Talks in Copenhagen?
This year will mark the most important negotiations on climate change since the 15th gathering of the Conference of the Parties to the United Nations Framework Convention on Climate Change talks in Copenhagen in 2009, COP 15. Those talks ended up with progress on several important fronts, such as getting developed and developing countries to… Read More
Rising Sea Levels Could Decimate Sea Turtle Nests
Rising sea levels could decimate sea turtle nesting sites around the world, scientists have warned, with the largest rookery site for green turtles increasingly at risk from being swamped by seawater. Researchers have tested the impact of seawater upon turtle eggs in an attempt to find out why so few hatchlings were emerging on Raine Island.… Read More
Are Countries Obligated to Fend Off Climate Change?
On June 24, 2015, a court in The Hague ordered the Dutch government to act faster in its duty to protect its citizens against the effects of climate change. This marks the first time the issue has been legally declared a state obligation, regardless of arguments that the solution to the global climate problem does not depend on one country's effort… Read More


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Transcript of "Media And Entertainment Whitepaper 090308"
1. Isilon in Production Driving Productivity, Cost Reduction and New Opportunities in Media and Entertainment An Isilon® Systems Whitepaper September, 2008
Contents Introduction .................................................................................................................................................. 3 The Digital Production Pipeline..................................................................................................................... 4 Creation & Editing......................................................................................................................................... 5 Costs and Risks.......................................................................................................................................... 5 Scale‐Up Storage Limitations ................................................................................................................ 5 Accelerate Creation and Editing ............................................................................................................... 6 Increase Productivity ............................................................................................................................ 7 Cost Reduction ...................................................................................................................................... 9 Take Advantage of New Business Opportunities................................................................................ 10 Rendering, Compositing & Encoding .......................................................................................................... 10 Near‐line Storage and File Management.................................................................................................... 11 Bringing it All Together ............................................................................................................................... 12 Exponentially Increasing Business Value ................................................................................................ 13 Conclusion................................................................................................................................................... 14 ISILON SYSTEMS 2
Introduction Create it. Manage it. Deliver it. It sounds simple. But within these three key media and entertainment processes are a myriad of moving parts, immeasurable man hours, and ever increasing challenges. The production (or post‐production) processes alone can entail hundreds of people working on thousands of gigabytes of HD frames, composites, 3D renderings and enormous encoded files. The completed media assets then require archiving and distribution. All of these core media processes—production, archive and play‐ out—have two key things in common: each relies heavily on the crucial element of storage and, if effectively streamlined and accelerated, each would significantly impact business value. This document will focus entirely on storage requirements in the media production process. Regardless of the segment of media and entertainment—broadcasting, animation, live action films, etc.—the production process can be further broken down into three main components: Creation & editing Rendering/compositing/encoding Focus Near‐line storage and file management We will examine the current challenges and drawbacks of using traditional "scale‐up" storage technologies in each of these components and how Isilon's clustered "scale‐out" architecture can significantly increase business value by: Increasing productivity Reducing costs and management overhead Enabling new opportunities ISILON SYSTEMS 3
The Digital Production Pipeline Media and entertainment companies have experienced quantum leaps in the ability to turn out high‐quality assets extremely quickly, achieving both economies of scale and production advancements not dreamed of even a few years ago. However, although productions that once seemed impossible are now everyday occurrences, the advent of next‐generation digital production processes have not come without headaches and complications. Digital media assets have quickly ballooned from hundreds of files consisting of just a few hundred megabytes to thousands of files at gigabytes in size, with single projects ranging into the terabytes. There are a variety of reasons for the explosive growth, from consumer demand, new devices and new delivery mediums (requiring media files to exist in multiple formats), to major advances in digital filming and VFX techniques. For the purposes of this paper, we need not examine all the various reasons for such growth. However, it is important to understand that, considering we are only at the cusp of the digital media era, more explosive, exponential growth is inevitable. To accommodate growth, the traditional method has been to "simply add more space". However, in this new era of digital media production, it's not that "simple": When managing large digital media files, traditional scale‐up storage technologies reach a point of diminishing return. Adding capacity will eventually overtax processor and throughput power, degrading overall system performance to unacceptable levels. And eventually, due to the fixed capacity ceiling of scale‐up storage, more space cannot be added to an existing file system, requiring a duplicate, disconnected island of storage. Each level of growth is compounded with another layer of complexity, requiring additional inconvenient steps and management overhead to what once seemed like a smooth, efficient process. As digital workflows become convoluted with layer upon layer of storage, human resources are taxed, escalating costs. Media professionals must spend time navigating IT based tools, data sets, file systems and volumes—rather than focusing on their creative work. A new breed of highly paid, specialized media IT professional is needed to design and manage proper storage systems and workflows. And, as storage complexity increases, even more resources are required to simply manage the data through the production pipeline (known affectionately as "data wranglers"). Therefore, the systems that enabled the initial breakthroughs in digital media have led to compound layers of storage that escalate costs, create bottlenecks and limit the ability to take on larger, more complex projects, rather than enable new opportunities. Storage should not add complexity and cost to digital workflows, but instead fully support them by presenting a single file system, requiring little management and dynamically scaling in any direction as business needs dictate. With this in mind, let's examine more closely the three main components of production (with an emphasis on creation & editing) and explore the ways Isilon's clustered storage solution can move beyond the bottlenecks created by traditional scale‐up storage systems to increase productivity, reduce costs and enable new opportunities. ISILON SYSTEMS 4
Creation & Editing [Note: As each media house has its own set of unique digital workflows, for the purposes of this document we will only consider the general steps, looking at specific workflows as examples only.] Creation & editing can be one of the most time and cost intensive functions performed in media production. Content must first be flawlessly ingested into high‐speed storage and then accessed by nearly every member of the editing team, necessitating clear, concise workflows and file logistics, as well as extremely high network throughput. Errors, misdirected files and "wait time" in this portion of the production process can quickly escalate costs and lead to missed deadlines. Costs and Risks Traditionally, ingest has required a completely separate, dedicated system consisting of expensive, high‐ performance storage. These proprietary storage systems usually require the use of unique file types, have limited capacity and require specialized management. Regardless of the specific system used, the ingest phase has been an inherent bottleneck as artists must wait until the file is completely ingested in real‐time before beginning work. Once ingested, there are two common methods for providing content to artists: a) use a multiple‐copy method to distribute the project to each editing station with its own direct attached storage (DAS) or b) provide a higher‐speed central repository that each artist can work from (NAS or SAN). When using the multiple‐copy method, large media files continuously traverse the network—bouncing back‐and‐forth between islands of storage. Once the editors have processed their separate copies of a project, the files must once again be sent across the network to a separate storage device for rendering. This method requires the time‐intensive movement of large data files, which increases exponentially as a function of the number of copies, the size of the file and the I/O limitations of the storage devices. This time expenditure not only results in longer production cycles for media assets, it also translates to paying expensive artists to simply wait… To alleviate the challenges of the multi‐copy method, a centralized storage repository may be employed. However, if this central repository becomes overtaxed, slowing to a crawl as artists, compute stations and backups all require access to the same system, production is again stalled. The primary issue with a centralized storage repository is the inherent limitations of scale‐up storage technologies, namely scalability and performance. Scale‐up Storage Limitations Traditional scale‐up storage architectures (DAS, NAS, SAN), are characterized by individual systems controlled by a single head, with an inherent fixed performance and capacity ceiling. As capacity grows, performance resources do not, becoming oversubscribed by the additional data access load and management, degrading overall storage performance. Regarding capacity, traditional NAS technologies are capped at 16TB per file system. At first glance this sounds rather large, but as media files continue to explode in size and number, ISILON SYSTEMS 5
these capacity limits are quickly reached. When feasible limits of either capacity or performance are reached, there is no easy method for expansion, equating to either: 1) Building an entirely new, larger system (an expensive "forklift" upgrade). Or, 2) Adding yet another separate island of storage, migrating data from one system to the next. Each island of storage reduces overall performance, increases management overhead and creates frustration and confusion among users as to exactly where the data resides. With either route, business is disrupted as the expansion of current systems often suspends operations until the upgrade is complete. And, the point at which an expansion is needed is usually the least convenient time to do so, in the midst of a major production. Therefore, using a traditional scale‐up technology such as NAS or SAN solves the limitations of DAS only up to the feasible scalability of such a device, at which point another layer of storage is required and similar bottlenecks appear. Each additional layer of storage, whether as DAS, NAS or SAN: One media house interviewed for Reduces overall storage performance this paper reported they have four full time data managers simply to Increases system management overhead monitor and manage usage across their central NAS repository. Increases network traffic Is unaware of other storage, requiring manual data balancing and management Decreases storage efficiency as large chunks of unused storage are locked away in silos Increases overall storage costs as more devices are needed Is difficult to scale and can disrupt business when expansion is required Accelerate Creation and Editing Isilon's clustered storage architecture—now in its 5th generation with the Isilon IQ X‐Series—sets the standard for scale‐out file storage and delivers all the benefits of centralized storage without the restraints and bottlenecks of traditional scale‐up storage technologies. Clustered storage, pioneered by Isilon Systems, utilizes highly synchronized peer "nodes" (unified by a fully distributed file system) to produce a single pool of storage with extremely high aggregate performance and availability characteristics, ease of use, low cost and inherently high levels of scalability. By simply adding nodes, Isilon's clustered storage architecture scales out on‐the‐fly, reaching capacity up to 2.3PB in a single file system with aggregate throughput of up to 20GB/sec. Each storage node contains processing power, memory, throughput and disk space. Therefore, when scaling an Isilon cluster, every aspect of the system is expanded—eliminating all the bottlenecks mentioned above. ISILON SYSTEMS 6
It should be noted that this single file system is not simply a namespace aggregation veneer over a complex set of independent volumes. It is a fully symmetric clustered storage architecture providing a single volume, where every storage node in the system is fully aware of its peers, functioning as if it were an enormous disk drive but without the risk of a single point of failure. Increase Productivity Isilon IQ provides a low‐cost, highly versatile system that can be used anywhere in the production process— particularly where high‐performance storage is required. Isilon IQ can serve as a direct repository for ingesting media files, can provide a single project file for editing, and can be used as primary storage and scratch space. When used individually for any of these functions, Isilon IQ provides an extremely scalable, fault tolerant, high‐performance solution with low management overhead. However, when used as the single storage repository throughout the entire creation & editing process, a new set of synergies emerge. Shorter Production Cycles The unique architecture of Isilon IQ provides significant time‐savings throughout the creation & editing process, resulting in much shorter production cycles. An Isilon cluster is a centralized pool of storage made up of individual, yet fully integrated and load balanced symmetric nodes—anywhere from 3 to 96. The cluster does not have a single head that all I/O must pass through; instead, every node acts both as an individual load‐balanced gateway for I/O, as well as a fully symmetric peer for storage. This eliminates the bottleneck of a single head with many disks behind it, allowing for an aggregate throughput of up to 20GB/sec. ISILON SYSTEMS 7
Time‐savings result from: Concurrent Workflows: Isilon IQ's architecture and resulting ultra‐high aggregate I/O allows for concurrent workflows without performance degradation. Artists are never waiting for the storage system to "catch‐up" while it is being accessed by other devices, as processes are no longer subject to the I/O limitations of a single head. Single copy and in‐place editing: Isilon is completely file agnostic, therefore, any client (e.g. Windows®, Mac, Unix) using standard network protocols can read and write any type of file on the Isilon cluster. And because Isilon IQ is not just an enormous single‐headed storage device, but a fully symmetric system, multiple parties can access a single, centralized file without performance degradation, allowing for true in‐place editing. Ingesting directly: The unique architecture of Isilon IQ and the OneFS operating system allow administrators to designate One company interviewed for this "access zones" to certain I/O processes, such as ingest or paper reported, were they able to rendering. This basically dedicates throughput and processing ingest directly to a centralized pool of power that will not be disrupted by other processes accessing storage it would give them an extra 3 the same pool of storage. A single Isilon IQ Accelerator‐x node hours per day. provides single‐stream throughput of 400MBs, and an aggregate of 700MBs. When using Isilon for ingest, rather than spending hours per day copying files to‐and‐from expensive primary storage, a single copy of the file is created just once for all purposes. Each artist can immediately access the ingested file, without waiting for files to be copied. When used in combination with certain third‐party workflow tools such as Sienna by Gallery, artists can actually begin work on a file while it is still being ingested, within seconds after ingest begins, saving innumerable hours. Single location for all projects: Trying to locate which disk or volume the correct copy of a file resides on is frustrating and wastes time. With a single pool of storage, files can be stored logically by project, rather than be subject to the limits of technology, such as physical disks, volumes and LUNs. Therefore, media professionals can focus on media creation and editing, not data management. Performance at scale: Isilon clustered storage scales linearly and independently, depending on specific business needs. In linear scaling, each dimension of the system—storage capacity, processing power, memory and throughput—all scale together. This means that as the system scales, overall performance is improved. This is accomplished through the addition of standard storage nodes. With independent scaling, processing power, throughput and memory can scale independently of storage and vice versa. This is accomplished by the addition of either accelerator nodes (Isilon Accelerator‐x, built for ultra‐high performance to boost the entire cluster), or the addition of storage expansion nodes (for systems that are more storage intensive, such as archive). The preconfigured nodes reduce IT time used for a) determining what components need to be scaled, replaced or upgraded, b) determining how that will affect other aspects of the system, c) reconfiguring the various file systems, d) performing the actual hardware upgrade. ISILON SYSTEMS 8
On‐the‐fly scaling: Both highly valuable media production time and IT time are saved as Isilon cluster configurations "Our whole production environment can be dynamically changed on‐the‐fly, without requiring simply wouldn't work without the large, a system redesign, or even a system re‐boot; all scaling high‐performance single storage pool that can be done while the system is online. This means that if Isilon gives us. Without it, we would've business needs change or a project exceeds original size never completed this movie."** estimates, precious production hours are not forfeited for –Howard Postley, CTO‐ an upgrade. All aspects of the system scale within 60 3ality Digital Systems seconds of powering on a new Isilon node. No other storage architecture allows this level of dynamic, instantaneous online scaling of a single file system. Cost Reduction When utilizing Isilon as the primary single pool of storage for creation & editing, numerous cost savings are realized. Reduce data and storage management overhead: Data wrangler efforts in the editing process are virtually eliminated. One Isilon customer reported that With a single pool of storage that is self‐balancing (even when their media IT headcount, supporting new nodes are added), the need to move data from one over 140 artists, was reduced from 6 to 3 due to simplified storage system to the other, either for load balancing or during management and not needing data normal production processes, is simply no longer necessary. wranglers. Additionally, the complication of managing multiple types and brands of storage is eliminated. Storage costs: The cost of storage itself is reduced and efficiency is increased, as all free space is available for use rather than locked away in inaccessible silos. The average utilization of DAS is only 25—30% and NAS is 60%—whereas the average utilization for an Isilon cluster is 82%. Network hardware and management costs: Without multiple copies of massive files constantly traversing the network, network load is significantly reduced, requiring less hardware. And, front‐ end switching technologies that attempt to load balance I/O are no longer required. [NOTE: A recent independent study by Forrester Research confirms that Isilon clustered storage provides significant cost savings for file‐based storage over traditional technologies, providing 125% RIO with a payback period of 5 months. See "The Total Economic Impact of Isilon's Clustered Storage System," found at www.isilon.com.] ISILON SYSTEMS 9
Take Advantage of New Business Opportunities Storage infrastructure should never be a limiting factor when considering new opportunities or building out new media workflows. With traditional storage, the inability to quickly scale both capacity and performance translates to saying "no" to last minute projects that would overtax current systems. It may also limit the ability to add new product lines or utilize new breakthrough effects and techniques—such as stereo imagery. Instead, storage should be able to flex, quickly and dynamically, as business needs dictate. The ability to add new nodes to an existing cluster in a matter of seconds allows for true "pay‐as‐you‐grow" scalability and flexibility. Therefore, administrators can respond to new demands for capacity or performance instantaneously, enabling the organization to more quickly adapt to new business needs, take on new projects and create new, groundbreaking productions otherwise impossible with traditional, difficult‐to‐scale storage technologies. In short, Isilon IQ's dynamic scalability, flexibility and record setting I/O capabilities enable truly concurrent in‐place editing of a single project file throughout the entire creation & editing process, reducing time, costs and management overhead—enabling media companies to do more with less. Rendering, Compositing, & Encoding Many Isilon customers utilize Isilon IQ as a mass storage system for high‐performance computing, such as render farms, compositing stations and encoding devices. Traditional storage architectures used for these workflows rely on a single high‐speed head and metadata server, often separate from the rest of the storage network. Up to a certain point, these metadata servers can be very fast, but once pressed beyond that point performance is quickly degraded, bringing the system to a crawl. And, if the storage behind the metadata server is not separate but shared with the editing process, not only is performance slowed, artists may be unable to access their files as the compute nodes all attack the same data set. Automated render queues can be employed to help with load balancing, but this leads to complex data logistics which inevitably absorb more time. There are a number of aspects of Isilon IQ's clustered storage architecture that make it ideal for high‐ performance computing environments: Dedicated throughput of 200MB/sec in every storage node and an aggregate of up to 20GB/sec. Accelerator‐x nodes provide integration with next‐generation 10GbE networking, enabling over 700MBps of aggregate throughput per Accelerator‐x node. ISILON SYSTEMS 10
The ability to scale a single‐file system, on‐the‐fly, up to 2.3PB: a) reduces the chance of an incomplete write, b) ensures no One Isilon customer reports that they single project has to be divided among volumes and c) ensures have over 1,000 render nodes hitting the same dataset at the same time current processes can continue uninterrupted while the system without performance degradation is scaled. and their render processes are now over 100% faster. With linear scaling, performance is increased as capacity is added. Built‐in redundancy protection ensures that if a drive or an entire node fails during a render or compositing process, the process can continue as scheduled. With Isilon's N+4 protection, up to four entire nodes can fail without losing access to data or disrupting a read or write process. Therefore, with Isilon clustered storage: Rendering/compositing/encoding jobs no longer need to be scheduled and queued based on storage limitations. Artists do not need to wait for one job to complete before another can begin. Nor do they need to determine what volume or drive a particular file resides on or where it should be written. Data wranglers are no longer needed to manually move files and processes from over‐taxed drives. No downtime is required when more space is added. And most importantly, heavy workloads with concurrent access patterns will not degrade the performance of an Isilon IQ cluster. Near‐line Storage and File Management Often, the same system that is used for rendering, compositing or encoding is used for storage of the completed project—awaiting either distribution to an archive/play‐out server or to a film‐out device. Or, if many projects are being completed at the same time, another near‐line storage system may be required to offload the completed files. In both instances, traditional storage systems have inherent bottlenecks that hinder the process and create unnecessary management headaches. One of the primary bottlenecks when utilizing the same storage device for both high‐performance computing needs (such as rendering) and near‐line storage is concurrent access. While the compute nodes either pull data from the server into local RAM, or write it back, other processes suffer, including providing access to completed projects. If a separate server is used to offload the completed projects, the same bottleneck occurs, just earlier in the process. Similarly, when using the same storage device for both high‐performance computing and near‐line storage there is a large divergence in access patterns. Traditional storage can be physically and logically tuned for ISILON SYSTEMS 11
various data access patterns, but once tuned, it is efficient at one type and inefficient at another. Therefore, near‐line storage is often moved to a separate device built specifically for short‐term storage of large files. Again, creating drag as additional servers means additional data moves, as well as more volumes, LUNs and file systems, all of which add complexity and management overhead. Whether near‐line storage is shared with the rendering/compositing/encoding processes or not, the system must be able to handle large amounts of data with ultra‐high availability, reliability and clear disaster recovery mechanisms. The cost of achieving the kind of protection required with traditional storage systems can be astronomical. Isilon IQ breaks these bottlenecks by providing: 1. A truly‐symmetric clustered file system: A single, seamlessly expanding shared pool of storage to hold all projects. 2. Up to 20GB/sec throughput: Enough bandwidth to avoid degradation during concurrent reads and writes. 3. Access zones: Administrators can carve out virtual portions of the cluster for specific access patterns, yet still utilize the same file system and data set. 4. Industry leading data protection: Unmatched availability and reliability with no single point of failure and multiple layers of hardware and software protection. Additional technologies are available for ultra‐fast backup and disaster recovery over LAN or WAN. 5. Low cost: Isilon clustered storage costs approximately 1/3 of traditional storage technologies. As an Isilon cluster can start with a minimum 3‐node configuration of 6TB and scale to as large as 2.3PB (with a 96 node Isilon IQ 12000), some customers first introduce Isilon as a near‐line storage device, designed to hold completed projects awaiting distribution or film‐out. However, Isilon is usually used for near‐line storage by default in conjunction with rendering/compositing/encoding functions, as it is a natural fit and no other storage is required for completed projects. Bringing it All Together To improve productivity and reduce costs, Isilon's clustered storage systems can be implemented anywhere within the production process: as a point solution, or for a particular high‐intensity sub‐process such as rendering. However, once the benefits of performance, scalability, data protection and ease of management are realized, customers quickly identify other areas where Isilon can be leveraged. As more aspects of the production process are moved to Isilon clustered storage, business value begins to multiply across the production cycle. ISILON SYSTEMS 12
The very architecture that makes Isilon IQ a perfect fit for creation & editing, rendering/compositing/ encoding and near‐line storage, "We approached Isilon and initially makes it ideal to handle all of those functions simultaneously purchased a mid‐sized Isilon IQ 6000i 20 terabyte cluster. Then we began adding without degradation. The primary reason a media organization more and more storage along with would not utilize the same storage for the entire production capacity and throughput. Today Isilon process is that traditional NAS and SAN solutions simply cannot manages 250 terabytes of Turner Studios' handle that level of concurrent processing (leading to over‐taxed post‐production data."* systems, hours of waiting and possible data/frame loss). Isilon IQ –Ken Brady, Director of Technical can. Operations and Digital Media, Turner Broadcasting System, Inc. Another reason an organization may not desire a single storage system is data protection—not wanting all data housed on a single system. Isilon emphatically answers the data protection issue with multiple layers of fault tolerance, no single point of failure, flexible N+4 protection that can handle an unprecedented 4 node failure without interruption, automatic preemptive warning and off‐loading of files from at‐risk disks, the shortest rebuild times in the industry and multiple backup options including ultra high‐speed offsite backup using Aspera for Isilon. When carefully analyzed, a single Isilon cluster provides better business continuity and a much higher level of protection than multiple, individual storage systems, and is much simpler to manage. Exponentially Increasing Business Value If we consider a point solution (such as ingest) as a single dimension of the production process, then an entire sub‐component (such as creation & editing) is a second dimension, and the entire media production process (the culmination of all components within production) is a third dimension. With each new dimension taken on by the Isilon system, the productivity, cost savings and ability to leverage new opportunities increases exponentially. Therefore, using a single pool of Isilon clustered storage for all aspects of media production multiplies productivity, cost savings and new opportunities across the entire production pipeline. Image and audio capture can be ingested directly to the very same system that is used for editing, without dropping frames. Editing can start immediately after ingest begins. ISILON SYSTEMS 13
Rendering and compositing can take place while artists are working on files without degradation, and the completed One Isilon customer reported being files can be stored on the very same system. able to produce 4 times as many HD Copies of files are not continually traversing the network. shots per week by using Isilon as the primary storage system for all Constantly balancing data across multiple file systems is not aspects of production. required. There is only one single file system to manage for the entire production process. Work is not stopped when more capacity or processing power is required. When Isilon clustered storage is used as the central repository for the entire production process, storage is no longer the bottleneck that limits the ability to take on larger, more complex projects, but instead once again enables breakthroughs and new opportunities by accelerating processes, improving productivity and reducing costs and complexity. Conclusion The fully symmetric clustered architecture of Isilon IQ provides an extremely scalable, low‐overhead solution with up to 2.3PB of storage and up to 20GB/sec of aggregate throughput, allowing media and entertainment companies to accelerate any portion of the media production process. When used as a central storage repository for every aspect of production, a synergy is created that multiplies benefits across the entire production process: Maximizing productivity Minimizing costs Enabling the ability to take on new opportunities Throughout the entire production pipeline, production cycles are shortened allowing for the completion of more projects in less time, artists are not paid to wait around for files to be copied, the cost of storage and the associated management overhead is reduced, network load is reduced, storage can be easily increased in a pay‐as‐you‐grow fashion and new opportunities that previously may not have been possible can now be easily taken on. Finally, although the topic of another whitepaper, Isilon IQ is able to take on the next dimension of media storage by providing a single pool of storage for all media and entertainment processes from production to archive to play‐out, at which point the benefits are once again exponentially increased. *See Turner Broadcasting System case study at www.isilon.com **See 3ality Digital Systems case study at www.isilon.com ISILON SYSTEMS 14
About Isilon Systems Isilon Systems is the worldwide leader in clustered storage systems and software for file‐based data, enabling enterprises to transform data into information and information into breakthroughs. Isilon's award‐winning family of IQ clustered storage systems combines Isilon's OneFS® operating system software with the latest advances in industry‐standard hardware to deliver modular, pay‐as‐you‐grow, enterprise‐class storage systems. Isilon's clustered storage solutions speed access to critical business information while dramatically reducing the cost and complexity of storing it. Information about Isilon can be found at http://www.isilon.com. © 2001‐2008 Isilon Systems, Inc. All rights reserved. Isilon, Isilon Systems and OneFS are registered trademarks, and SyncIQ, SnapshotIQ, SmartConnect and SmartQuotas are trademarks of Isilon Systems, Inc. ISILON SYSTEMS 15
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Originally written on NESN.com | Last updated 5/10/14
Texas Rangers starter Yu Darvish was even better than advertised against the Boston Red Sox. Darvish, who has solidified himself as one of the best pitchers in Major League Baseball in two-plus seasons since arriving from Japan, fell one out short of a no-hitter for the second time in his career Friday. The Red Sox's offense simply didn't have answer for the 27-year-old's impressive repertoire. "He was outstanding, obviously," Red Sox manager John Farrell said following Boston's 8-0 loss in Arlington. " … He was powerful. (He threw) a lot of strikes. He never gave in. Four pitches (were) working for him within the strike zone – it keeps our guys off-balance. But still, his slider is what makes him pretty special." Darvish was filthy right out of the chute Friday, striking out nine of the first 13 hitters he faced while the Rangers' offense knocked around Red Sox starter Clay Buchholz. Darvish was both overpowering and efficient, and everyone that stepped to the plate looked overmatched the second they stepped into the box, particularly when facing the right-hander's otherworldly slider. "He was throwing his fastball and he was locating it, so that made it even tougher," Red Sox second baseman Dustin Pedroia said. "When you get to two strikes and you know he hasn't whipped out his best pitch yet, there's a reason why the numbers are what they were." Darvish, who finished with 12 strikeouts, watched his perfect game get broken up with two outs in the seventh inning on an error charged to right fielder Alex Rios. Rios and second baseman Rougned Odor had David Ortiz's popup land in-between them, and the official scorer ultimately scored it an error, though it absolutely could have been ruled a hit. "I think it's one of the very rare times you see a ball never touched by someone that's ruled an error," Farrell said. "Typically, 10 out of 10 (times), that's a base hit." Darvish lost his perfect game on the strange seventh-inning play, but the favorable scoring kept his no-hitter intact. His bid for a no-hitter finally was broken up with two outs in the ninth inning when Ortiz singled past the Rangers' infield shift and into right field. Darvish exited after 8 2/3 superb innings in which he allowed just the one hit and two walks. "He was on his game early, and I think the one thing we were pretty well-aware of is how quick would he get the feel to his slider and the ability to throw it for a strike (and) the ability to expand the strike zone with it?" Farrell said. "He was able to rack up a number of strikeouts with not only the slider, but then you get guys looking for it and he was able to locate the fastball away from a couple of guys as well. That combination of being powerful and the secondary pitches (he has) — and the assortment of them — ends up being a night like tonight." Friday marked the second time in Darvish's career that he came up one out short of a no-hitter. He also lost a no-hitter with two outs in the ninth inning against the Houston Astros on April, 2013. But while a no-no certainly would have made Friday's performance even more special for Darvish, the Japanese product can take pride in being able to shut down a Red Sox's offense that typically is able to generate several scoring chances even when the unit isn't scoring runs. "He was pretty darn good," Pedroia said. "You can't dwell on one like this. You just tip your cap and come out tomorrow and try to score some runs to win the game."Filed under: Boston Red Sox, Ricky Doyle, Texas Rangers, Top Stories
PLAYERS: Yu Darvish, John Farrell, Clay Buchholz, Dustin Pedroia, Alex Rios, Rougned Odor, David Ortiz
TEAMS: Texas Rangers, Boston Red Sox, Houston Astros
TEAMS: Texas Rangers, Boston Red Sox, Houston Astros
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Ring (1991)
by Koji Suzuki
No current Talk conversations about this book.
I was ready to quit this book after the first 100 pages . . . the main character is horrible, his best friend despicable, the writing (or translation?) rather bland. My brother urged me to stick with it. In the end, I'm glad I did.
The end has some satisfying surprises. Ring is very interesting and picks up quite a bit about half-ways in. The main plot comes together very well with a mixture of supernatural and realistic elements. I was especially interested in the occult/parapsychology side of things and this novel did not disappoint on that front!
Asakawa is a journalist. When his teenage niece dies of heart failure at the exact same time as three other teens, he decides to investigate. Asakawa clearly doesn't care about the death of his niece at all, we're even told that he skipped her funeral! He drags his wife and baby daughter to her sister's house where he completely ignores the family's grief.
"Asakawa was lost in thought, and didn't want to be bothered. He wished his wife would act like her name, which meant "quiet." (p.47) What an ass!
His wife is completely blown away when he does thing like help with the dishes and lay their baby down to sleep showing that he never does this basic stuff!
And . . . it gets worse.
Turns out, Asakawa's best friend, the guy he hangs out, has beers with, can turn to in times of need and whom he feels free to share his emotions with is Ryuji - a serial rapist. WTF?!?!
Ryuji cheerfully admits to raping several women since they were in high school - in fact, the first time he told Asakawa was when they became friends. "Naturally, Asakawa never told anyone about Ryuji's crime." (p. 93) Really? Naturally?!
"There was something in the depths of [Asakawa's] heart that resonated with Ryuji's eccentricity." (p. 94) Yeah, rape is seen by our main character as an "eccentricity." ARE YOU FREAKING KIDDING ME?!
Well . . . like my brother said, you do have to read to the end. I'll try not to get too spoiler-y here, but there is a bit more too Asakawa and Ryuji then we see in the beginning . . .
Also, the overall plot, involving a mysterious "demon tape" - a VHS recording of part-abstract, part-real imagery that dooms the viewer to die seven days after seeing it is pretty damn cool. I, as well as many others, enjoyed the American remake of the film when I was younger (I still have not seen the Japanese version, but would like to.)
As we learn more about the tape's origins - a mixture of the surprisingly believable (kid staying at the cabin wants to record his favourite show while the parents watch something else, but sets it to a channel that broadcasts dead air in that region, where it picks up a weird broadcast) with the supernatural (psychic imprinting of photographs) - works really well!
I enjoyed the mystery of trying to uncover where this tape came from, and who the people in the recording were. As Asakawa and Ryuji travel across Japan trying to find answers, I found myself swept up in the story. The final plot reveals manage to work really well - I was impressed by how everything came together, and the reveal of the "charm" at the end made a scary amount of sense!
Plain old supernatural detective story. The story was engaging and redolent of that dark sense of quirk that seems to shape so much japanese fiction.
I think the translation might have made the prose somewhat clunky and banal but it's hard to tell.
The horror aspect of this was smothered almost completely by the investigation which at times seemed overly long and drawn out. This represents a great example of a movie being better than the book it's made from - both the Japanese and American versions.
Kazuyuki Asakawa launches a personal investigation into the unexplained deaths of four teenagers which leads to him a mountain resort where he watches the infamous tape that warns whomever watches it that they have one week to live. Asakawa now races against time to solve the mystery of the tape and save not only his life but those of his family too.
With the minimal use of description, Suzuki still is able to build tension slowly at first, but then on the reveal of the tape's contents, and afterwards one is hooked on the mystery and gradually-increasingly terror.
This was one of the few books that actually scared me at times and to be able to evoke such a reaction yet force me to continue reading alone merits commendation for Suzuki. Ring is one of the best, perhaps, of recent Japanese horror stories.
I love stories, especially science fiction, fantasy and horror, but I don't really care for movies. They are almost never as good as the book, and I'm always easily distracted when watching movies (or TV). So, I actually pick up books when I've heard the movie is pretty good. The same happened here. I actually have the DVD of the Japanese movie of Ring, but never watched it. I couldn't wait to read the book though, because I've heard many times that Koji Suzuki is a good writer, because I like Japanese novels (or at least, the ones I've read), and who can resist a nice supernatural horror tale?
Four teenager die unexpectedly, all at the same time. Reporter Kazuyuki Asakawa figures this out, and is intrigued. He starts investigating how this could have happened, expecting something like a virus that has infected all four of them. He finds out they spent a night together in a cabin in a resort, and when he spends the night in the same cabin, he finds a message from one of the teenagers not to watch a certain tape. Of course Asakawa does anyway, and that starts the supernatural race to figure out what the tape is about and how it could have caused four young healthy people to die.
This book was very good. The story (I read an English translation) is translated well, but keeps its Japanese style (in the way people act around each other, and descriptions of landscapes and houses). It made me feel like not only was I watching a story unfold, it happened in a different culture. I don't think this book would work as well in a different setting, because of the way people accept supernatural events. It is a very good horror story, one that doesn't have a nice ending with closure. I hope to come across other parts in the series in the future. Four out of five stars.
I was pleasantly surprised by this book. Liked to read it, it was quite a quick read.
I'm not very sure about the Haruki Murakami part in this book tough, I did not really recognize a lot of really surreal things that I found there. If I did compare to another writer, it was Stephen King, but then Japanese style.
Very nice to read, but it didn't give me the shivers or had me reading, reading, reading without thinking of anything else.
I'm looking forward to start in the next book of the trilogy, although I won't do that right away.
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Jason Pominville
PHT Morning Skate: Four Game 1s start it up tonight
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New York, St. Louis, Denver, and San Jose is where it's at tonight.
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This game might be a first round preview.
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Tonight on NBCSN at 8 p.m. ET.
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That ends L.A.'s six-game winning streak.
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Delivered another open-ice hit on Nino Niederreiter earlier in the game.
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No penalty on the play.
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Atomic Betty
Alternate Title: Atomic Betty: Guardian and Defender of the Cosmos
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Executive Producers: Kevin Gillis, Ira Levy, Philippe Alessandri, Peter Williamson, Trevor Bentley
Genres: Animated, Children, Family
Genres: Animated, Children, Family
Most Recent Episode
Franken Brain/Evil Idol
Aired: May 22, 2005
"Franken Brain" Robots who vacationed on Robot Paradise are returning home and then blowing up. When Atomic Betty finds out X-5 has gone to Robot Paradise, she and Sparky go to save him. "Evil Idol" Maximus throws a contest called "Evil Idol" in which villains compete to see who can destroy Atomic Betty first. Read More...Rate This Episode »
Program Synopsis
To her friends and classmates, Betty is a sweet and brainy little girl, but to the rest of the galaxy, she is Atomic Betty: Galactic Guardian and Defender of the Cosmos! Along with her co-pilot, Sparky, and trusty robot X-5, Atomic Betty defends the universe from the forces of evil, and makes it home in time for algebra.
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Nowhere in Gaza is safe from Israel's bombs, says a New Zealand activist living there.
The Israeli assault on the Gaza Strip is going into its seventh day, with officials signalling a land invasion could be imminent though they would prefer a diplomatic solution to end Palestinian rocket fire.
US Secretary of State Hillary Clinton is being sent to the Middle East for talks with Israeli, Palestinian and Egyptian leaders to seek a de-escalation of the violence in Gaza.
Palestinian rocket fire and Israeli air strikes have killed more than 100 people in the conflict.
Israel has been firing rockets into the Gaza Strip in an attempt to end months of rocket fire out of the Hamas-ruled territory.
Speaking via Skype while military drones could be heard hovering over her house, activist and freelance journalist Julie Webb-Pullman, who has been living in Gaza since June last year, said it was an "absolutely terrifying" place to be.
"We are being rocked by bombs every 15 minutes ... I was just woken up at 6am by a massive explosion that apparently killed three people.
"The whole building rocked so it must have been about 500 yards from my house."
Webb-Pullman said the reality of the attacks was far from what was being reported.
"Nowhere in Gaza is safe, people are being killed just walking down the street and you have to go to the shop and you have to do things like that. "
Three Israeli civilians and 108 Palestinians have so far been killed. Gaza officials say more than half of those killed in the enclave were civilians, 27 of them children, Reuters said.
Webb-Pullman said yesterday a group of people were targeted by an Israeli drone which killed a nine-year-old girl and her brother.
"It's a crime against humanity what's occurring, kids are being targeted, [Sunday] alone 31 people were killed - 10 of those children, six were women and five were babies and toddlers," she said.
"They are not military targets, they are civilians. Israel is committing war crimes plain and simple."
Webb-Pullman said a 30:1 ratio of Gazans being killed to Israelis made it clear "who was the aggressor in the matter".
Palestinians were being pushed into a corner, she said.
"And if you're pushed into a corner you do what you can. [Palestinians] will continue resisting with every last breath in their body, and if a person in Gaza is killed by an Israeli that just guarantees another 50 to replace them.
"Every time somebody is killed it enrages the population so much that anybody who was on the fence before then becomes extremely motivated to defend the blood of their dead."
New Zealand's Ministry of Foreign Affairs has confirmed only one New Zealander registered as being in Gaza, and has issued an "extreme risk" advisory warning all New Zealanders to leave the country.
Webb-Pullman said she wouldn't be going anywhere, despite two recent attacks on media buildings in the last two days.
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