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Mike Leach's lament: Tech was 'too geeked up'
NORMAN — Oklahoma coach Bob Stoops insists there are no tricks to shutting down Texas Tech's explosive spread offense, which his team has done several times since 2000. He claims there was no creative genius in his team's 65-21 rout over the No. 2-ranked Red Raiders on Saturday night before a record crowd at Owen Field. The No. 5-ranked Sooners used a straight-forward approach. We know this because confirmation came from the other locker room. Sipping a cup of coffee, an impressively composed Mike Leach explained what had just transpired in front of a national television audience. "You know exactly what Oklahoma is going to come out in," said Leach, who was OU's offensive coordinator in 1999. "You know exactly how they're going to line up. They're going to shift around a little bit. Their scheme is the same it always is. They work on their technique and their execution. They have great technique and great execution with great athletes. They don't spend a great deal of their time trying to fool you. Offensively, we don't either." The Sooners held the explosive Red Raiders to 271 yards and 14 points through three quarters Texas Tech gained 135 of its 406 total yards in garbage time, after OU had extended its lead to 65-14 early in the fourth. Leach said his team tried hard, which was the good news. The bad news was it tried too hard. "Oklahoma has been in a lot of games like this. We've been in a few of them," Leach said. "We have to learn from this experience. We wanted to win very badly, and we tried too hard, just tried too hard. We needed to relax more than we did." As Leach continued to get peppered with questions, he playfully took complete control of the interview session and started asking and answering his own questions. Leach: "Oh, my gosh. Were you surprised that they lined up with two safeties?" "No, I wasn't." Leach: "Were you surprised they went with the four-man front and sometimes they'd go with the three-man front?" "I mean, this is going to amaze some of you so hold onto your seat, but no, it didn't surprise me a bit." Leach: "Was I surprised that these big monsters were good at using their hands and getting their pads low, and if they had half a chance they'd slam into your quarterback?" "No." Leach: "Did I feel we were fooled today?" "No. Never." Leach: "Do I think we fooled them?" "No." Leach: "Did they execute better than we did today?" "Yes. OK?" Leach feels the same about Oklahoma football as he did when he was a staff member. "OU did what they always do," Leach explained. "It's one of the things I respect about them defensively. I know it's fun for you (reporters) to act like there's this elaborate bag of tricks. That's always puzzled me about the media. I defer to how coaches believe how football works, understandably so. I'm very biased that way. "Coaches believe football is a game of practice, patterning stuff over and over. Execution, generally speaking. Guys in the media think it's this bag of tricks and fooling one another that ultimately makes or breaks a football game. That's not the case. "The thing is, when you play somebody that good, you've got to play in control. We did against Texas. We did against Oklahoma State. We didn't against Oklahoma, and I regret that. "I'm going to search why we were too geeked up." John Rohde: 475-3099. John Rohde can be heard Monday-Friday from 9-11 a.m. on New JOX 930 (AM).


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After news of an agreement came to light earlier this week, the Mariners made official their signing of free-agent catcher John Buck to a one-year contract on Thursday afternoon. According to sources, Buck will make $1 million next season.
"Everybody we talked to about him, I heard nothing but really good things," said general manager Jack Zduriencik. "He's a true pro and great teammate."
Buck will likely serve as the backup to touted catching prospect Mike Zunino. Although Zunino is presumed to be the Mariners' catcher of the future, there is no guarantee that his path won't have bumps or setbacks. He's played in just 52 major-league games, hitting .214 with five homers and 14 runs batted in, and he missed almost a month with a broken wrist. Before that, he'd played in just 83 minor-league games. He was fast-tracked to the big leagues because of Jesus Montero's failures.
Buck, 33, has appeared in 993 major-league games as a catcher in 10 seasons. In 2010 with the Toronto Blue Jays, he earned All-Star honors, hitting .281 with 20 homers and 66 RBI while posting an .802 on-base-plus-slugging percentage.
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To make room for Buck on the 40-man roster, outfielder Carlos Peguero was designated for assignment.
Peguero's DFA loomed this offseason. He was out of Class AAA options and would have had to make the big-league roster out of spring training, which seemed unlikely.
Peguero still has power potential, but hasn't quite figured how to use it at the major-league level.
There was also the issue of Peguero's wife being charged with federal wire fraud after racking up more than $150,000 in charges on Felix Hernandez's wife's credit card. Her case is still pending. The Mariners have 10 days to trade, outright or release Peguero.

subset: commoncrawl


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Posts Tagged: jackie kennedy Results 2
First RBG, Now Jackie O — Natalie Portman is On a Roll
Oscar Award-winning actress Natalie Portman will portray Jackie Kennedy in a movie about the first four days in the life of the former first lady after the assassination of her husband President John F. Kennedy.
Carolina Herrera Store Opens Near Tel Aviv
Fashionistas were out in force last week at the opening of the first Carolina Herrera store in Israel. The Jerusalem Post reports that they drank champagne and ate hors d'oeuvres as they shmoozed and checked out the merchandise in the spacious and tastefully appointed space on the top floor of the Ramat Aviv Mall in the tony suburb just north of Tel Aviv.


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Research and review articles in medicinal chemistry and related drug discovery science; the official journal of the European Federation for Medicinal Chemistry
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Prizes and awards 2016 Across the scientific community, talented groups and individuals are shaping the future of the chemical sciences. For over 140 ...
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Li-Wei Qin, Cello
'Mr. Qin has a great deal going for him, including a meltingly beautiful tone, flawless centered intonation and an ironclad technique' - New York Times
An exclusive Universal Music China Artist, Li-Wei Qin has appeared all over the world as a soloist and as a chamber musician. After achieving great success at the 11th Tchaikovsky International Competition where he was awarded the Silver Medal, Li-Wei has since won the First Prize in the prestigious 2001 Naumburg Competition in New York. "A superbly stylish, raptly intuitive performer " (Gramophone Magazine, January 2015) was the description of the cellist's Elgar and Walton concerti recording with the London Philharmonic.
During the 14/15 season, Li-Wei will make his debut with the La Verdi Orchestra Milan and Los Angeles Philharmonic Orchestras, he will also perform at the Konzerthause Berlin and return to the Adelaide Symphony, Shanghai Symphony, China and Auckland Philharmonic Orchestras.
Li-Wei has enjoyed successful artistic collaborations with the Rundfunk-Sinfonieorchester Berlin and Janowski, NDR-Sinfonierorchester Hamburg and Hrůša, Konzerthausorchester Berlin and Tabachnik, Basel Symphony Orchestra and Bringuier, London Philharmonic and Briger, BBC Symphony and Van Steen, BBC Philharmonic and Totelier, BBC Scottish Symphony and Brabbins, Osaka Philharmonic and Belohlavek, Hong Kong Philharmonic and Van Zweden, China Philharmonic and Yu Long, Sydney Symphony and Tan Dun, Melbourne Symphony and the late Viotti, and Sinfonia Varsovia and the late Lord Menuhin. Li-Wei has also appeared with chamber orchestras such as the Kremerata Baltika, the Munich, the Zurich, the Australian Chamber Orchestras.
In recital and chamber music, Li-Wei is a regular guest at the Wigmore Hall and for the Lincoln Center Chamber Music Society, New York. He has appeared at the BBC Proms, the Rheinghau, the City of London, the Schlewigs-Holstein and the Mecklenburg Festivals. Li-Wei has collaborated with musicians such as Daniel Hope, Nabuko Imai, Misha Maisky, David Finckel, Wu Han, Vladimir Mendelssohn and Peter Frankel, among many others.
Li-Wei's recordings on Universal Music/Decca include the complete Beethoven Sonatas, Works of Rachmaninov with pianist Albert Tiu, Dvořàk Concerto with Singapore Symphony Orchestra and conductor Lan Shui and Elgar/Walton Concerti with the London Philharmonic. Most recently, courtesy of Universal Music, Li-Wei's 2013 live concert with the Shanghai Symphony and Maestro Yu Long has been released on Sony Classical.
Born in Shanghai Li-Wei moved to Australia at the age of 13, before accepting scholarships to study with Ralph Kirshbaum at the Royal Northern College of Music, Manchester and with David Takeno at the Guildhall School of Music and Drama, London. In 2002, Li-Wei received the Young Australian of the Year Award. Other major invitations included appearances at both the 2008 Beijing Olympics (New Zealand Symphony), 2012 London Olympics and the Davos World Economics Forum (Basel Symphony Orchestra).
Prior to teaching at the YST Conservatory, Li-Wei was a professor of cello at the Royal Northern College of Music, Manchester. He is also a guest professor at Shanghai and Central Conservatory of Music in China. Li-Wei plays a 1780 Joseph Guadagnini cello, generously loaned by Dr and Mrs Wilson Goh.


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Franklin will have to buy and knock down a former convenience store to make way for the city's first roundabout, but officials aren't sure whether they will have to spend more tax dollars to do it.
The city plans to build a roundabout at the oddly shaped intersection of Main, Walnut and Clark streets and Oliver Avenue to improve traffic flow in the area. The roundabout would solve problems motorists have reported with seeing other vehicles because the roads intersect at diagonals and would reduce wait times at the stoplight for 12,000 drivers who use North Main Street daily.
The city is starting the process to get the roundabout approved, but officials are not yet sure whether it will cost more.
The construction cost for the North Main Street project is $4.4 million, and 80 percent is being paid for with money from a federal grant. The Franklin Redevelopment Commission is paying the rest, which is about $880,000.
But the city can't use the federal grant to buy property needed for the project, including the former Village Pantry site, which closed this year. That means the city will have to pay to buy the store site and other pieces of property needed for the roundabout, as well as 20 percent of the costs to demolish the store.
The city would have had to buy part of the parking lot to reconstruct the intersection and make minor improvements, which was what was included in the city's original plan. Now the city will have to buy the entire property in order to make room for a roundabout, Crossroads Engineers vice president Trent Newport said.
The redevelopment commission has set aside $520,000 to pay for engineering and buying land, but it's unclear whether that amount will be enough to buy the former convenience store property.
Neither Newport, city engineer Travis Underhill nor Mayor Joe McGuinness had an estimate for how much the Village Pantry site will cost. The assessed value of the property, which is what the county uses to calculate tax bills, is $150,000. The city will have to get two appraisals on the property and can't pay more than the average of those two.
Engineers and city officials will negotiate with the owner to purchase the building. But first, the city must get public comments from residents, which is required because the project design changed when the roundabout was added, Newport said.
McGuinness thinks a roundabout would benefit drivers and make the intersection safer but wants to hear what residents think of the project.
"I do believe that is a troubled intersection. It's a difficult intersection to navigate with a vehicle and the multiple streets that go into it," he said.
A roundabout would help keep all drivers moving instead of having them sit through long waits at the stoplight and could reduce accidents, Newport said.
"This intersection is kind of confusing. There may not be a lot of traffic on those legs, but they sit there, and there is a long wait because of those five legs," he said.
Road construction costs are expected to be similar whether the city puts in a roundabout or keeps the same the intersection design, Newport said.
Construction crews will have to demolish the former convenience store, and 80 percent of those demolition costs can be included in the federal grant. The project also would include building a central island for traffic to drive around. But the city won't have to pay to install a new stoplight or do as much paving with a roundabout, which makes the price similar, Newport said.
"The difference between the roundabout and doing something else is very minimal," he said.
City residents will have opportunities to talk about the roundabout during an upcoming public comment period and information meeting.
A copy of the current construction plans will be available at city hall, 70 E. Monroe St. for a 15-day public comment period ending June 15. The city also will have a public information meeting to discuss the roundabout in June or early July. A date for that meeting has not yet been set, Newport said.


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Dreamin' about it. Just sayin'...:bigwine:
New kiosks this year are Hawaii, Portugal, Caribbean, and Scandinavia.
I want to Eat To The Beat with Big Bad Voodoo Daddy again...
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Dreamin' about it. Just sayin'...:bigwine:
New kiosks this year are Hawaii, Portugal, Caribbean, and Scandinavia.
I want to Eat To The Beat with Big Bad Voodoo Daddy again...
Nice. I like having new booths, and even new choices on old booths! On the other hand I would be crushed and soooooo disappointed if they didn't have the escargot in the p'tite brioche at France! :(
We originally were not going to be there during F&W, but with the schedule change we will get a chance to do it. Looking forward to the new booths. And yes Tink if they took the Escargot away that would be a real shame.
If I remember correctly from last year, the full menus should be coming out later this month. Looking forward to it! :yes:
I'll be there the first weekend. Some of the fam is coming down and want to go again (they were here last year for the last weekend).
We'll be there the first weekend too. Can't wait!
Originally Posted by Johnie, post: 257340
WHOO-HOO! Meet ya at the Rose & Crown! LOL! :mugs:
:tongue: I'll probably be there or watching Off Kilter!
:sorry: Doesn't look like we'll be making it to the F&WF this year.
I'm thinking about signing me & the fam up for one of the seminars. I don't remember though if we were planning on going on Sunday (which would be a Dessert seminar) or Monday (not sure if they will even have one).
I'll keep you updated! :yes:
(lifted from disneyfoodblog.com)
New Menu Items
Hawaii Booth
Kalua Pork Slider with Sweet and Sour Dole Pineapple Chutney and Spicy Mayonnaise
Tuna Poke with Seaweed Salad and Lotus Root Chips
Seven Tiki Mai Tai
Kona Longboard
Pipeline beer
Caribbean Islands Booth
Ropa Vieja (Braised Beef) with White Rice
Jerk spiced Chicken Drumstick with Mango Salsa
Frozen Dragon Berry Colada
Frozen Rock Coconut Mojito
Portugal Booth
Calamari Salad with Olives and Smoked Paprika
Portugal Wine Bar
Scandinavia Booth (returning this year)
Swedish Meatballs with Lingon Berries
Xante Sunshine Cocktail made from Xante pear and Cognac Liqueur
Canada Booth (an old favorite)
Introducing: Apple Ice Wine as a new menu item this year
Desserts at the Festival
(Not sure if these will be the three desserts served at the dessert booth, or if these will be at regional booths)
White Chocolate Macadamia Mousse with Dark Chocolate Pearls
Tres Leches Verrine
Pastel de Nata
Other Menu Items Slated For The 2011 Festival
Shrimp on the Barbie with Pepper Berry Citrus Glaze (Australia?)
Seared Sea Scallop with Kumara-Red Curry Puree and Apple Radish Salad
Ocean Spray Craisin Bread with Butter


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I messed up the axle for my hub. I found it hard to screw back a locknut and forced it in and now it is stuck on the axle. Because of this, the spacers, bearing cones etc... on that side of the axle are stuck there too. I am able to remove because the other side parts can be removed fine.
Since this is an old nothing special kind of bike, It's really not worth buying a new wheel, nor will it be worth my time buying a new hub and putting in the spokes.
Getting to the point:
If I bring the Axle and it's parts to the LBS, might the repair shop have this or compatible item to sell? As well as spacers, bearing cones etc...?


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Nintendo DS Games
Articuno/Zapdos/Moltres for Pokemon PlatinumHome / Nintendo DS /
This page contains Pokemon Platinum Hints for Nintendo DS called "Articuno/Zapdos/Moltres" and has been posted or updated on Dec 13, 2010 by turtleboy.
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Boxshot & Details
- Developer: Game Freak
- Publisher: Nintendo
- Genre: Role-Playing Console-style RPG
- Release: Mar 22, 2009
- ESRB: Everyone
Talk to Professor Rowan and get National Pokedex. Go to Pal Park and talk to Professor Oak. Go to Eterna City and find Professor Oak. He will mention that these birds have been sighted. Marking Map App Is needed. All three will be level 60
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Mendo, I agree with your earlier review that this movie sucks, but I think there are some more points you could have mentioned.I disagree with you about the role Mary plays, but then it's been a long time since I have seen the whole movie, so I don't remember those details. I also think the whole Mary question doesn't impact my major complaints about the movie: 1. Leaving aside the question of story structure, at its heart the whole movie depends on George phrasing his suicide wish as "I wish I had never been born". This is terrible Hollywood - similar to an over-the-top villain telling the hero "I will make you suffer so that you wish you had never been born". Impossible. Certainly pain can make somebody wish to die right now, or to wish that the villain had never been born / developed differently. But unless somebody suffers from clinical depression (different than normal being depressed) a normal person would remember the good times in their lifes. And since the moment we meet George, he rescues his brother and then stops the chemist, he should always remember that.Esp. since his plan - killing himself so that the life insurance money can set things right/ provide his family - is at least on the surface rational. (I don't know if life insurance companies at that time had still the provision of not paying in case of suicide or already stopped that practice, but since George wants to jump into the river, it can be called an accident instead).What would the angel have done for the last 30 min. if George had simply said "I see no other way out, this will solve the problems, so although I had good times so far, now the black is overwhelming and I will die" instead of being overdramatic? He wouldn't have had a handle for an alternate version of the town.2. Because Capra, for being supposedly unconventional, still choose a classic one-hero (George) one-villain (Potter) type of story, George is basically dumb in addition to good-hearted. I disagree with Mendo that the citizens deserve what they get by relying on George to solve their problems - they may not have all options. But George acts not like a democratic citizen, he follows Potters philosophy only with a different sign in front. Like Potter, he apparently believes that the normal citizens can't handle things themselves, because once his only brother takes a different path than taking over the Savings & Loans, George should realize how stupid it is to rely only on family connections of blood, and start educating 5 smart teens (choose some women or blacks, be progressive, George!), or writing an ad for a young person. Groom your successor for 5 years and then you can retreat into a nominal position and follow your own dreams.I think the justification was that the Savings and loans made so little profit that George couldn't afford to pay external (non-family members), but that's obviously bullshit. For one, if they are worried about federal inspectors for the lost money at the end, that means federal regulations. Obviously, a director working 50 hrs/ week without pay would go against regulations.But that aside, a bank not making enough money to pay decent wages for a director is inept. A decent bank that finances affordable houses (Baileys) instead of exploiting people with 20% loans (Potter) will still make a modest win instead of outrageous win, but a 5-10% profit at years end for a bank is completly possible. (And I know that from reality - we have not only green and ethical banks, but for over a hundred years, we have local savings Sparkassen belonging to the community with modest gains and cheaper loans, who still made profit and paid wages).Esp. since in that scene about the takeover where George is "tricked" into accepting the post as director (postponing his dreams), the bank does have a board of (old white men) directors/ shareholders. If they can afford this, they can afford a wage for George, which means they can hire somebody for the daily decisions and George making long-term decisions.3. Related to 2: If George wants to help Bedford Falls long-time, he needs to rely not only on his own power of good (the authoritarian principle, where power is good as long as good people wield it). Instead, he needs to install structures like community savings and loans which will grant cheap loans and do public projects like houses because it's written in their statues regardless of who's in charge. So he needs to found an association of savings and loans and campaign for Washington (or find somebody to do that). He's not the only person concerned with helping people in the country - maybe the only one in Bedford Falls, but once he starts looking elsewhere, he will find others to help him, meaning he can take time off before burning out.Aside: Mendo, you said Potter was believable as real person. I wonder, given that he was such a cut-throat, why he was still modest and living in Bedford Falls. He should have made a small fortune by now with exploitative loans (as bankers with payday loans and the like do in real life), and even if George thwarts his plans to take over and own the whole town, he should have left and retired with his fortune elsewhere.4. Related to 1: Because George doesn't have a real depression, since he's a fucking hero several times over and knows it, the real message at the end is: if you aren't a hero who saved two lives and helped a whole town several times over, what reason have you got to live? Who will care if you didn't change a whole reality?It's a brutal blow for any depressed person in the real world.The economic problem - that Potterville is vibrant, while Bedford Falls has affordable housing, but nothing else and will thus fall into decline and poverty a few decades later - has been analyzed in depth elsewhere on the net, so I don't mention it extra.
*sigh* Michael, you are usually pretty good at paying attention to details, and yet somehow I think that, like it or hate it, you missed the point of IT'S A WONDERFUL LIFE, which may be skewing your opinion. George Bailey is a pretty good guy, our protagonist, who is unhappy and bitter because he never got to go exploring the world as he had planned. He's the one with a problem that needs to be solved, and it basically revolves around his attitude--he has no appreciation of his genuine achievements and how his life has made a difference. His marriage to Mary isn't a loveless one, just not one he had planned on.On the other hand, there are legitimate complaints to be made about the movie's story. For one thing, Pottersville is a happening place with bars, nightclubs, and a busy night life (yeh!), whereas Bedford Falls is boring and dullsville, where the sidewalks roll up at night. In Bailey's alternate life, for some bizarre reason, Mary becomes a bespectacled librarian. Why? There's nothing about her marriage to George which would have improved her eyesight. Mr. Potter is a realistic character, but he is also a racist ("bunch of garlic eaters"), something which Italian-American Capra was particularly sensitive to.Because the ending of the movie works on an emotional level, you're unlikely to change people's opinions of it. If people cared about real logic, there are lots of popular movies that wouldn't be so popular.
Thing is, Dennis, that first paragraph, that's kind of the entire problem. According to this movie George Bailey is the one with the problem that needs to be solved and.... well, according to this movie that problem is that he thinks he matters. He wants to be an individual, with his own goals, his own ideas, his own experiences; he wants to go out on his own and do what he wants to do without having to worry about everyone else.And, according to this movie, the lesson he needs to learn is that he's not allowed to have that, because then everyone else would have to actually be responsible for their own lives and fates and they are clearly not capable of handling that. Therefore, as the one useful person in the town, his destiny is -according to Capra- to sacrifice everything he is and everything that he will ever be so that all the mindless creature-things can live the way /they/ want.
So, to sum up for the people who still don't get it:George has let himself get pulled into the trap of thinking he has to take care of everyone and now he can't live his own life -he can't even DIE- because without him everything will fall apart. That doesn't make him a hero, that makes him a slave.Old Man Potter might be a thief and a royal class asshole, but he's not the one making George's life a living Hell.Nope, that's the rest of the town. They don't love George, they just rely on him. They're a bunch of brainless morons who would kill themselves off out of sheer stupidity if it weren't for George. Don't get me wrong, you'll never reach a point in your life when you don't need any help at all, but you should at least reach a point where you can basically take care of yourself. These people have not, because they all depend on their "hero" for everything. To borrow the old cliche: if you give a man a fish you feed him for a day, if you teach a man to fish you feed him for a lifetime.And what about the angels that "save" George? Is the implication here supposed to be that his life is what God wants for us? That, more than simply being our brother's keeper, we are to be his slave? That we are to sacrifice everything we are in the name of taking care of imbeciles who clearly don't deserve it? If that is what God wants for us then he's kind of a prick and should be rebelled against, not worshiped.Now, does that make It's A Wonderful Life a bad movie? Maybe not. It's entertaining, so it's not too horrible. Also, it makes people happy and I can understand why. They think it's a vision of a world where people care about each other, where things work out because people make them work out. Except...wait, no it's not. Aside from George, who in that town is trying to make things work out? No one! If they were, maybe George wouldn't have wanted to kill himself.So, yeah, It's A Wonderful Life is passable as a movie, but as a moral lesson it's complete garbage.
The ribbon I get, but what's with the green wig?
No one can say.
Like you, I am full of questions on the subject. Yet, oddly enough he pulls the wig off.Oh, and one more thing: Do more reviews, you! We miss ya!
Thank you! I have hated this movie for years, and it's great having someone agree with me for once! Merry Christmas just for that. XD
And to you, as well!
"Flashbacks are not supposed to be long."Sorry Mendo my friend, but I can't agree with you there. Rashomon, Citizen Kane, The Man Who Shot Liberty Valence, Godfather 2, Raging Bull, Sunset Boulevard, The Usual Suspects and Stand By Me all point to the contrary. A flashback is a tool and like any tool it can be used in multiple ways and one such way is as a framing device. There's nothing inherently wrong with that, if you ask me.
Hmm. Actually Rashomon and Citizen Kane, Usual Suspects, Stand By Me which I have seen are done rather well. WITH Rashomon you have several different perspectives, so it's basically several people telling different versions of the same story. IaWL really might have worked better chronologically...
Ok, so can someone check on Mendo on the 26th? I'm worried he'll wind up hanging from the rafters wearing an elf costume.
And that would be considered a bad thing?
You, sir, are worse than Hitler!Well, no, of course that's not at all true, I just wanted to use that Simpsons quote, and this seemed like a good opportunity. I do think you are being unduly harsh on "It's a Wonderful Life", but Joshua in the video makes most of the arguments I would make in its favor, and if they didn't convince you then, I don't see why my rehash would convince you now. It's not a truly great movie, but I just don't think it's the crapfest you seem to perceive.What's most interesting to me is how the canon of "classic" movies changes over time. As you noted in the essay, IaWL was a flop when it premiered and was forgotten about for a couple of decades, until overexposure on TV turned it into a classic. "The Wizard of Oz" was moderately successful on its first release, but it wasn't until it began airing on TV that it really caught on. "Ace in the Hole" was a flop for Billy Wilder in 1951, but modern, more cynical critics and audiences have grown to appreciate the film's dark tone. What failures of today will be hailed as classics in 2040? Will future audiences thrill to the "Atlas Shrugged" trilogy? Will they appreciate the subtle humor of "The Oogieloves"? Will M. Night Shyamalan move back to being considered a good director?Anyway, enough of such depressing thoughts. Hope you have a happy Christmas season, and I look forward to seeing your reviews in the new year.
Well, there's also the possibility that they will slip into oblivion, like a lot of things that don't withstand the test of time. I mean, I certainly hope that people won't be dancing to "oldies" like Kesha in fifty years. We can only hope.
I also think media in genneral just works differenlty today then back then. Back then, it was extremely limited what a person could be exposed to, namely, what the TV-stations decided to send, and that would become the only thing viewers would have a familiarity with. Today.. we can be exposed to WHAT-EVER WE WANT! and how much of it we want, there's much more stuff, it also means that we wont ever again have such big hits as "Beatles." or some-thing, where it's just universally acknowledged that they are "The thing." because we have a whole new way of communicating now, and reviewing and trashing and so on, more things are getting made and more things are forgetten easilyer, nothing new is recognised as being. "The thing." any-more, more smaller sub-cultures lifes and strives, it's a whole other world of entertainment media. So yeah.. that wont happen.
Oh, it's certainly possible that all the films I mentioned will just be forgotten rather than being reappraised as masterpieces. And in the case of Ke$ha's music, I would gladly pay money to help the forgetting happen. Most movies/TV/books/video games/music/(insert your favorite media here) are going to be forgotten eventually, both good and bad; my point was that it can be hard to predict which works will survive, based only on their popularity at the time of their creation.Sofie raises a good point about the fragmentation of mass media making it much harder for anything to be universally loved. I am old enough to remember when VCRs first became popular. It was an amazing time: you could watch whatever movie you wanted, at home, whenever you wanted! And of course the Internet has vastly accelerated this trend. As a consumer, I benefit from this greatly- I can fill my Netflix queue and stream (or Hulu, Amazon Prime, etc., or my iTunes library...) with just about anything ever made, no matter how obscure or "cult" it may be. I can watch nothing but 1950s science fiction films, or listen only to trance music, if I want, without ever seeing or hearing anything else. But I can't help worrying whether we are also losing something as a society by not having these cultural touchstones that absolutely everyone has seen, and (almost) everyone enjoys. I certainly don't want to go back to the pre-Internet days, when choices were very limited and it was difficult to find anything even slightly outside the mainstream. But I think we shouldn't forget about the downside. We may never have a future society where "Atlas Shrugged" is a beloved holiday classic; but we may very well have a future where your casual mention of "The Avengers" draws blank stares and "Never heard of it" from 90% of the general population.
I have a distant, deceased relative who won the Pulitzer Prize for fiction in the '70s, had a beststelling novel, was published frequently in "The New Yorker," and was married to another famous writer and she is almost completely forgotten today. Most of her work is out of print now.
Well, at least she got to live her dream. Hell, I hope someday these videos help my career as a novelist...
You can always write short shorties and fan fiction first. The stories can connect in a loose way.That something I am doing:)
I hope so too. The big challenge of getting a signal through all of the noise in the media landscape.
You know what, when I look at what I do as an entertainer. I do feel it's much more about the here and now than some supposed future. I am making videos, here and now, and I am amusing some people, here and now, it matters to people here and now, and that's amazing. Some of you may remember some points, find them interesting, go out with those point, tell them to other people, and they find them interesting, and boom, it mattered. My grandmother was a very famouse dancer when she was young, she met tons of famouse people for her time, were in movies, got invited to so many countries, were on stage. And well.. no one knows who she is now, of cause they don't. I don't know who most of the people are in her scrap-book, except for the fact that clearly the photos looks very important and posh, and those stage folders are for real plus the traveling pictures of exotic places and her standing there in a little skirt. So well, coolest scrap-book ever! And my granma loves telling about it, it was a huge adventure for her back then. And it's part of what really inspired me to do what I am doing today. So honestly, I don't mind all that much, only the fewest things will become "immortal classics." but the stuff we liked will still affect the world in some way, you'll see. I know for certain all my favourite things has affected my own writing and performance style, and then i'll go out and spread that, and hopefully effect some-body else.
Thank you for a very thoughtful and beautiful reply. Your grandmother sounds like a very inspirational person to have in your life.
She's a funny lady to talk about, and I am going to be able to tell stories about her for all of my life. Very prim and prober, walking around in a mink fur coat. and states very clearly what she thinks. "How undecent! I would never allow my child to do that! not good behavior." <- said she after my cousins child pointed tounge at some-one. I never forget the time she called me after a party and one of the first things she said to me. "You've gained weight." ..... thanks granma. But she is also a great person whom really cares a lot for us, and really supports me in all what I do. She's met up to both my concerts and my theatre plays to see it, and praises it for long times after, for a long time said I ought to be out there and do it on the bigger stages, because I am just a kind of person meant to be out there. (I don't think she always realise how different the stages are from her time, that it's all about movies now.) But she's great, I love her a lot.
Blip is a stage for you now!
For now me lad, for now ;) I still use the stage, i'm going to be in a play at April, I hope to exspand this to other things and well, some-thing tells me this is going to be a great year :)
Kehsa has hits and misses. She pop\('')/. And it could go the other way where everyone listening and liking the same thing:).
M. Night is a good director. I like about all of his movies. Even Airbender was alright as a stand alone movie. We just have to see what happens I guess:).
M. Night does have two films to his credit that I would call "good to great": The Sixth Sense and Unbreakable. Both of those are good, solid, well-made entertainment. But I think he has gone seriously downhill since then. Signs was a good, atmospheric film for much of its length, but the end seemed kind of silly, and the aliens' decision to run around naked on a planet mostly covered in water, despite water being deadly to them, retroactively ruins the believability of the earlier part of the film. (I've heard it argued that the "aliens" are actually demons, and only holy water is deadly to them. This is wrong- the glasses of ordinary tap water that the little girl left all over the house had the same effect.) The Village felt like a bad episode of The Twilight Zone*, where everything is just the set-up for a lame twist ending, and while The Happening had a fairly decent premise, the execution was off, and the lead actors didn't feel convincing to me. I haven't seen Lady in the Water or Last Airbender, but overall critical consensus on both has been pretty damning, and I am not very inclined to spend my limited free time watching movies I don't expect to like. (I did watch your review of Airbender, and while your review was well done, it did not increase my desire to see the film.)Anyway, back to my point: M. Night is not a truly terrible director- I don't think he would have gotten two good films by accident. But he seems to have lost his way artistically, and unless he makes a couple more films of Sixth Sense/Unbreakable quality, future generations of film fans are likely to think of him as "mediocre-to-poor director who managed a couple of good films". You clearly don't agree, and that's fine- after all, it would get pretty boring (both in Agony Booth comments, and life in general) if everyone had the same opinions and tastes. I certainly hope that he is able to make additional good films; but after several failures in a row, will Hollywood trust him with another major picture?*Note: There are many fine episodes of The Twilight Zone, some of which are still famous in pop culture ("It's a cookbook!"), but there are also some that did not work nearly so well and have been justifiably forgotten.
Personally, I'm still holding out hope for After Earth. It looks pretty promising...
Wasn't this already on here b...oh who cares.I would really like someone to remake this film but with a devil instead of an angel showing how things would have turned out. Really put a spin on things.
There was a movie with Kenua Reeves that was like that.
What has always bothered me about this movie is Mary's fate in the alternative time line. Because George never existed not only does she end up a spinster but gets homely to boot. Apparently being a librarian is a fate worse than death. Wasn't she dating Sam Wainright in the normal timeline? If she ended up unhappily married or, shockingly for 1946, divorced from Sam it would have made much more sense. As filmed it makes Mary appear as though she has no life apart from George and that directly contradicts EVERYTHING ELSE in the picture! Mary's mom hates George and wants her to marry Sam who is prosperous and seems to sincerely adore her daughter. George has no prospects, no wealth, and seems to resent Mary. What mother would like their daughter to marry a guy with those three attributes? Donna reed is as you wrote in your review "Smoking hot" but George, who is definitely not gay, isn't even turned on by her! Why in the world is she even interested in him? He apparently doesn't even want to just jump her bones. No wonder George is so frustrated and bitter he SHOULD have married Violet. That said there IS much to admire in "It's a Wonderful life" apart from its story. The cinematography is first rate and Jimmy Stewart's frustrated George is some of the best acting in his career. Lionel Barrymore as Potter ALMOST steals the movie. Donna Reed is always great to look at and is luminous in even the plainest of clothing. Most of the admittedly large supporting cast are first rate actors. "Alfalfa" From the "Our Gang" comedies even shows up as the date Mary dumped to dance with George.
I'd be so happy as a librarian. That is my DREAM job if I wanted to go to library school. Mmm. Libraries... Books. Nerdiness!
Hot loving in the stacks!
I'm sorry you don't like this movie, but I love it. Its just one of those movies that makes me feel good about things. Maybe its because I like the innocence, and the fact that it gives hope to people, with the importance of helping people, and I really like the note from about no man is a failure who has friends.Sure its dated, and will have its flaws, but I love the sentiments of the film. Its just a really good movie to put on when I want to forget the cynicism of the world, and I hate to say it, well not really, it does the trick.
My brother refuses to watch this movie out of sheer obstinance. The decision was made that year (some time in the 90s, I think) when the copyright was up on this movie and about fifteen different stations showed it about thirty times, including AMC which ran it for, like, 36 hours straight (you think I'm exaggerating, but I know someone here remembers that). He avoided it out of mule-headedness, while I watched it out of morbid curiosity. He made the better choice.edit: about the specific video, your audio levels are kinda low
Yeah, I've noticed that in a couple videos. I'm not sure how to fix it, since I'm mixing it as high as it will go without sounding fuzzy. I'll figure it out, though.
Ah, yes. I know the article already said everything I intended to say about the film, but it was always intended as a video, and now that it's finally made, it feels good!
The original needed a nice shout-out to Blazing Saddles.
And Taxi Driver!
Heh. Back when SNL was still funny.
I thought I was the only one who hated this movie. It makes me annoyed. And why is it so bad to be a library? And this poor dude had to spend his whole life in that crappy town instead of getting to travel the world. Also it was annoying that that rich dude took all of that money and no one arrested his old butt! I hate this film!
I have never seen more than two or three minutes of this film, nor have I ever watched any specials which rip it's plot off. That being said, Mendo, I applaud your rebel stance on this film and your being able to make effective arguments to support your position. Your opinion regarding the banker reminds me of the landlord in Rent; the man just wants what is owed him. And Mary being the villain? Well, yeah, I can see that. Manipulating someone to give up their dreams so you can selfishly live out your own does seem pretty evil.
Mary would not be out of place on Degrassi, now that I think of it...
The biggest flaw with Mary is the 'Mary becomes a spinster librarian in the alternate reality'. Donna Reed is not someone who is given the go by in any reality.
I noticed in the credits you said this was ad-libbed. I guess I felt like it suffered a little bit from you having already written a thorough essay (going by your description, I didn't go read it) about the film and not wanting to re-explain yourself. So I was left wondering why you were doing a video about something you didn't want to discuss. Then I wondered why I was bothering to watch something you didn't want to bother with. I'm not trying to be a downer or insult you, just describing my reaction as I watched this video. As I've written before, I've enjoyed your past videos, but I won't re-explain why here -- you can go see my more thorough examination of your work at http://www.justkidding.net/noreallinkypoohere.pdf
Just want to clarify in retrospect that when I said "something you didn't want to bother with" I was referring to your not wanting to fully explain your reaction to the film in a way I could understand through watching the video rather than reading the essay. I do recognize that you and your collaborators put a considerable amount of work into constructing this video and regret that the way I phrased that did not give you credit for that. I was just frustrated that you called the film an "unmitigated piece of shit" and didn't really back that up, particularly given that whatever one's opinion of the script, the craftsmanship put into this film seems to mitigate against that description.
I'm stuck here in the Charlotte Douglas Airport because Useless Air has aircraft made of glass and break easily. They also lie more than insurance salesman and change their bording gates on a whim. What does this have to do with "It's a Wonderful Life?" Both suck. Cheap shot but Torgeaux be mad. I have never been able to sit through this movie without squirming. Even at the age of eight I couldn't watch it. It made no sense at all to me. It pissed me off and it still is pretty creepy. When I was a kid my family used to gather to watch it. Somewhere about 15 minutes in I would excuse myself to go to the bathroom, sneak into my parents bedroom where the second set was and watch "The Twilight Zone" or anything even remotely funny. I have never connected the dots as to why I was creeped out until you did the review of it. Now it makes perfecct sense and No I'm still not going to watch it.
So if the movie had opened shortly before George snapped and ran off to the bridge, and the next 90 minutes or so were told in flashback, finally returning to the present for a happy ending, that would have made some huge difference in the quality of the film? I get that you don't like the characterizations (even if I don't agree with some of them), but I don't see a big flaw in the structure. And as for the characters, what does it matter if only the banker feels genuine? This was Old Hollywood, characters were types first and individuals second-at-best. Are you judging this film by current standards or by the standards of the time?Also, it might help your argument if you could point out some similarly sentimental movies that you DO like, particularly from the same time period, to show where you felt they succeeded where IaWL failed. Sullivan's Travels? The Bishop's Wife? And speaking of long flashbacks, what about Double Indemnity? And though I feel it's lazy to name-drop it, what about Citizen Kane?
I'm pretty sure Mendo is saying there's really no reason to tell it in flashback AT ALL, just tell the story chronologically. Go through George's life linearly, then when he has his crisis, introduce the angels. You could have them show up throughout the movie if you didn't want to just spring it on the audience in the last 1/3 of the film, I suppose, but that's a whole other issue. Point is, yeah, the flashback/framing story structure is completely unnecessary.Here's the bit that bugs me: George saves his brother from dying and the brother (Henry?) goes on to save a bunch of people or kill Hitler, or something really amazing in WWII. But if George wasn't there, he dies... why? There are, like, five other boys in that scene, ad we can assume they'd be there even if George never existed. Are we supposed to believe none of them would have jumped in to save their friend?
That's essentially what it does already: tell the story of George Bailey's life in chronological order, just with minor narration by the angels at the beginning. I'll grant you that if would have been terrible had they just jumped into the story of his life and only dropped the angels in at the bridge, but I think the use of flashback is fitting. It's basically a twist on A Christmas Carol: you see a man in the present with a terrible life on the brink of ruin (considering where Scrooge was going), supernatural beings show him key events of his life to remind him where he came from as a person (in George's case, the positive impact he had on others, even if he hadn't really thought of it), and he grows and changes as a result of it. Now, IaWL doesn't frame the story this way, and while I think it would have helped had it done so, I don't think it has that great an effect on the overall story. The super-happy ending is a bit of a stretch, but it's Capra, and it's post-war. You should make some allowances for popular sentiment at the time, just like you should make some allowances for how so many characters in 1930s films break into song for no conceivable reason, or how so many characters in 1970s films have unspeakable fashion sense.As for Harry drowning, well, speaking from personal experience, children tend to instinctively run away from any dangerous situation if they are unsure what to do. Maybe they wouldn't have wanted to abandon Harry while he was in danger, but they may have been too scared at seeing him in the water to risk themselves to save him. He was a friend, not family. Maybe they would have felt safer running off to find an adult to help him (and themselves), not appreciating that Harry didn't have the luxury of time. We see throughout the movie how remarkably selfless George was, and we know how he especially loved and felt protective of his brother, so I think we can assume he was like that all his life - maybe he wouldn't have thought twice about risking himself to save him. It's over-the-top, sure, but these sentimental heroes are always too good to ring true. But just because that character type isn't in fashion these days (where every hero has to be either brooding or an anti-hero), that doesn't make them un-believable.For the record, I don't think IaWL is that great of a film. I've seen it once, and that's all I want to see it, so I'm not defending it due to love or anything. I do understand where Mendo's coming from as far as goes Mary and the constant barrage of abuse George has to suffer, and I don't think the movie quite pays it all off at the end. It reminds me of those "battered wife" Lifetime movies that spend 90% of the time showing a woman running away from a guy or getting beaten up, raped, or almost killed, only for the movie to give the audience a mere five minutes of a happy ending where the woman triumphs over the lunatic or he kills himself accidentally or whatever. Insufficient payback for a movie that lives and breathes on disturbing the audience with one horrific event after another. Just like those movies are almost masochistic in their dramatic focus, IaWL is a bit of a passion play, setting poor, sweet, unsuspecting George up for one tragedy after another. It's rough, and it's forced. But it's not a bad movie. It especially isn't a badly-made movie. It's just a little dated, a little too forced, in that way sentimental movies always are.
"I'm pretty sure Mendo is saying there's really no reason to tell it in flashback AT ALL, just tell the story chronologically. Go through George's life linearly, then when he has his crisis, introduce the angels. You could have them show up throughout the movie if you didn't want to just spring it on the audience in the last 1/3 of the film, I suppose, but that's a whole other issue. Point is, yeah, the flashback/framing story structure is completely unnecessary."I think you just demonstrated why flashback was used, though. Introducing a fantastical element like angels in the middle of a story that otherwise has no supernatural aspects is a really bad idea that tends to destroy the audience's suspension of disbelief. If angels are introduced, they *have* to be introduced sometime near the beginning.
Dammit I want to go to Magfest.. why do I have to be this piss poor? Next time.. next time i'll bloody be there! 2014, wooh! .... -_-; Nice video, there was some pretty funny bits, I think Joshua was my favourite cameo here actually.
Yes, Sofie, but what do you think of It's A Wonderful Life? Have you ever seen this schmaltzy bit of Americana? And was it at all comprehensible to a Dane? How does the movie play to someone who (presumably) has not been bludgeoned over head with the propaganda that it is a timeless and heartwarming classic?
Well, like every-one else i've also grown up with countless and countless re-hatches of the plot in different TV-shows, and always enjoyed those. For some reason it's always fun seeing a character you know being pulled out of reality like that and see how the other characters would cope without him/Her. and it always ends up being a great motivator. I first saw this movie when I was 18 to be precies, so nope, it wasn't stuffed down in my throat.But I have to admit, this movie understands how to tug at all the right heart strings and leave an emotional impact.Is it a manifactured feeling by the end? sure. But so is all movies if you come down to it. Mendos problem about the flash back being so long I think though.. is very essential for the flashback to work.You need to have intimidate familiarity with the main character and the town before the alternative reality can have any emotional impact what so ever, and to gain that intimidate knowledge well.. we simply have to spend a lot of time with them! The reason why all serials can jump straight ahead to the. "You never existed part." is because, those are serials! We all ready know the main character from countless of adventures and we all-redy know the univers, one must assume a person sitting down for such a special follows what-ever show we are talking about. A movie how-ever, does not have that luxury, and thus needed to take all that long time to set up the ending climax, and it worked, it genuinly tugs on the heart strings, you feel sorry and desperate with the man, and because you felt so sorry and desperate with him, the ending is just so damn happy. So well, sorry Mendo. The thing about Christmas movies in particular is that they can get away with all this cheesy stuff we hate in movies at all other times of the year. So well, it has a stamp of approval from Sofie.
I think the problem with the flashback structure is it gives away too much of the story, too early, then loses the thread of that for an hour or so before getting back to the point. It would be interesting to see how it played if instead of presenting the angels and the fact that Gorge tries to kill himself at the beginning, you just have one of the angels (not identified as such, yet) narrating, "This is the story of George Bailey. Just an ordinary man. But sometimes just an ordinary man can be more important than anyone realizes. Especially himself." Then present the life of George as it is, with a surprise 2/3 of the way through when everything goes wrong and he decides to kill himself. Suicide presented as the beginning has little impact because your know he's the main character and it won't happen. Having it come up after you've gotten to know the character, hopefully care about him, and see what brought him to this, is quite a bit more distressing. Which makes the emotional high when things work out even better, and helps gloss over the fact that the banker never gets called on what he tried to pull.
Moppet – "The sad thing is, the conspicuously subdued response to their deaths would make more sense if they were African-America...
rtpoeman – "Please hold while I transfer your call...."
neutralParadox – You know, with an ending that bad, I think I have an alternate theory: Either Brannon Braga, or Michael de Luca have a f...
CaptainCalvinCat – Aaactually it's Daniel BrÜhl. With an Umlaut. ^^
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Booze For Charity
I was a spectator at the Macallan Ice Ball Plunge at this year's Tales of the Cocktail when I was struck with an epiphany. The booze industry is even more philanthropic than I thought. Almost every person in the industry that we know has donated time, booze, classes, swag and more. Even DOTW has gotten into the act, sponsoring the Martini Luge at the Silicon Valley Humane Society's Fur Ball and donating multiple classes as fundraising items.
Eddie & Jimmy Russell to Help Bring Soldiers Home for Father's Day
Father-son distillers partner with Operation Once in a Lifetime to raise funds to send servicemen and women home for Father's Day. During the month of June, Russell's Reserve will donate a portion of its sales to Operation Once in a Lifetime (OOIAL). The donation will help OOIAL provide financial assistance to allow men and women of the armed forces the opportunity to fly home and spend some much deserved time with their families.
Having spent
Findlandia Vodka: Drink a bottle, plant a tree
Drink up, the earth needs you to! Now when you drink, you can say you're doing it to help the environment.
Finlandia has some specially marked bottles that can be redeemed for a donation to plant one tree in your honor, through non-profit Trees for the Future. So drinking one bottle of vodka means adding one more tree to the planet.
In stores, look for bottles of Finlandia original, lime, mango, wild berries, grapefruit, and … Read more
Tide Loads of Hope: Help Those in Need and Get a Cool T-Shirt
The folks over at Tide have been helping disaster victims get clean, Loads of Hope, and we thought we should let all of you know about this cause. Started as a result of Hurricane Katrina, the Tide team helped those with out basic comforts like clean clothes.
Tide Loads of Hope has washed over 35,000 loads of laundry for over 20,000 families. We were there after Hurricane Katrina, the Southern California wildfires, the Iowa floods,
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Forum-- tour the art deco marvel
Forum--a marvel in historic preservation.
Michelle Leon
Restaurateur Jim Ringo--also of Ringo --has lovingly restored the space at 40 South Seventh Street, most recently occupied by Goodfellows, into a wonder of historic preservation. In the '20s, the space was occupied by the Saxe Theater, a large movie house, and in 1930 became the Forum Cafeteria. In the '70s, the building was remodeled; however, every tile and fixture was numbered, cataloged and stored. The current incarnation of Forum is a tile-by-tile, fixture-by-fixture re-creation of the original Forum Cafeteria. While the atmosphere is pure vintage, the menu has modern takes on old classics--like Lobster Mac-n-Cheese--and classic cuts like rib eye and lamb chops are given a new spin. See the beauty of Forum's space and dishes in this slideshow.
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Wish I had a nickel for every story about vagus nerve stimulation that trumpeted it as a treatment for depression.
This week, Medicare rejected Cyberonics implantable nerve stimulator, saying the device, the VNS Therapy System, hasn't been shown to be necessary. The $25,000 device is already approved for epilepsy. Cyberonics wanted to expand its use.
Bloomberg News reports The Food and Drug Administration approved the device in 2005 to treat depression, overruling 20 agency advisers who urged rejection.???
On the Cyberonics website the company boasted of dozens of news stories from across the country over the past two years, with headlines such as:
"Implant can relieve depression: VNS Therapy is proving beneficial."
"Omahan says she's proof device zaps depression."
"Emerging from the depths of depression."
"The Pacemaker for the Brain" is Saving Lives."
"Up from hopelessness."
"Implanted device helps fight drug-resistant depression – Giving new hope"
Among the media reporting the potential for the device:
U.S. News & World Report
Saturday Evening Post
Reuters Health
Arizona Daily Star
San Antonio Express News
El Paso Times
Corpus Christi Caller Times
Toledo Blade
Omaha World Herald
Chicago Tribune
KSAT, San Antonio
WMUR Manchester, NH
WCCO, Minneapolis
KETV, Omaha
KUTV, Salt Lake City
KSL, Salt Lake City,
WBZ, Boston
WCBV Boston
WISN, Milwaukee
WKYC, Cleveland
KTBS, Shreveport
KOMO, Seattle
Each one of those news organizations owes it to their audience to play up the Medicare rejection of the device as prominently as they promoted the potential in the giddy glory days.
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The Consumer Credit legislation is designed to support people's access to credit, ensure fair treatment for consumers from lenders, and prove safeguards to help prevent people from getting into unsustainable levels of debt. The Consumer Credit Act 1974 established a fairer, clearer and more competitive market for consumer credit.
Consumer Credit Regulation now with the Financial Conduct Authority
The Financial Conduct Authority's (FCA) aim is to prove stronger protection and better outcomes for consumers. FCA regulation now applies to any firm or indivual offering credit cards and personal loans, selling goods or services on credit, offering goods for hire, or proving debt counselling or debt adjusting services to consumers.
The legislative changes see the FCA take on responsibility for more than 50,000 firms who have existing credit licences. The FCA wants to ensure that consumers are given enough information to make informed choices, that the market is competitive and offers loans that meet customer needs, and that those in difficulty are treated fairly. The key elements of the proposed consumer credit regime are:
- Affordability checks for every credit agreement to ensure that only consumers that can afford a loan can get a loan.
- All advertisements and other promotions must be clear, fair and not misleading. The FCA will be able to ban misleading adverts.
- Firms that do higher risk business and pose a greater risk to consumers will face a tougher supervisory approach. Specific rules for the payday sector have been proposed and include:
- Limiting loan rollovers to two;
- Limiting the number of attempts by a payday lender to use CPAs to pay off a loan, to two;
- Information on where to get free debt advice will be given to every borrower that rolls over a loan; and
- Clear risk warnings to be displayed on all adverts and promotions along with more information about debt advice.
- Consumers will continue to have access to the Financial Ombudsman Service, but there are currently no plans to include consumer credit in the scope of the Financial Services Compensation Scheme. The FCA will keep this under review.
- A robust authorisation gateway to ensure that any firm or indivual authorised to do consumer credit business is fit and proper, and that firms have suitable and sustainable business models.
- Dedicated supervision and enforcement teams will crack down on poor practice, money laundering and unauthorised business. Firms that break the rules may face detailed investigations and tough fines.
Peer to peer lending platforms must give borrowers explanations of the key features of the loan - including the key risks - before an agreement is made, and assess the creditworthiness of borrowers before granting them credit. A 14 day cooling off period will allow the borrower to withdraw if they have a change of heart.
Want to know more? There is more information about the changes and how they will affect businesses on the FCA website, where businesses can also sign up for email updates.
Code of Practice: Bills of Sale
The Government announced in 2011 that the 'Bills of Sale' money lending industry is now working under a new Code of Practice. Lenders will also prove customers with a plain English information sheet explaining how bills of sale work, and what the customer can expect from the lender.
A bill of sale is used to secure a loan on a consumer's personal property, typically a car. Concerns were raised that this form of loan could lead to consumer harm. As a result, the Government consulted on whether any action was necessary.
Added consumer protections from the new Consumer Credit Act came into force on the 1 February 2011, and the OFT will monitor the industry under the Irresponsible Lending Guance, which will have a positive impact on consumer rights for bills of sale loans. In summary, the Code of Practice says:
- borrowers who are in arrears will be able to hand over the car in full settlement of their debt and will not be liable for any shortfall between the outstanding debt and the value of the vehicle;
- the option of making balloon payments* will only be available to business customers who can prove evence that they will have funds to make the final repayment;
- the bill of sale must be registered with an asset finance register so that the public can check whether a vehicle has a bill of sale registered against it;
- charges to be imposed on borrowers in arrears must be disclosed at the pre-contractual stage and must only cover the lender's costs;
- if a borrower gets into difficulty, lenders must conser proposals for alternative payment arrangements and will repossess the car only if attempts to arrange alternative payment arrangements fail; and
- lenders will take all reasonable steps to ensure that repossessed cars are sold for the highest obtainable market price.
Balloon payments are small initial repayments covering only the interest, with the capital to be repa in a single final payment.
New regulations implementing the Consumer Credit Directive apply to a loan taken out under a bill of sale. They will give consumers new rights and impose new requirements on lenders:
- Lenders will have to make a reasonable assessment of whether a borrower can afford to meet repayments in a sustainable manner.
- Lenders will have to explain the key features of the credit agreement to enable the borrower to make an informed choice.
- Prospective borrowers will be given an information sheet setting out all the relevant information about the credit agreement.
The information sheet will be in a standard format for all lenders so borrowers can easily compare the costs of different loans. (The proposed new information sheet for bills of sale will complement this by setting out the key features of a bill of sale).
Consumers will have an absolute right to withdraw from a credit agreement within 14 days, paying back only the money lent and any interest accrued over that time.
Consumer Credit Act 2006
The Consumer Credit Act 2006 updates and amends the Consumer Credit Act 1974, establishing a fairer, more transparent and competitive credit market. It does this by:
- Strengthening consumer rights by enabling consumers to challenge unfair lending agreements and making it possible for disputes to be resolved more easily;
- Improving consumer credit regulation by strengthening and improving the licensing system fo consumer credit businesses, requiring consumers to be proved with minimum standards of information, and through targeted action to tackle unfair practices; and
- Increasing the effectiveness of regulation by extending protection to all types of consumer credit and creating a more suitable regime for business.
Please note: This information has no legal force and is not an authoritative interpretation of the law, which is a matter for the Courts. It is intended to help businesses to understand in general terms, the main features of the legislation. The information is not a substitute for the legislation and you should refer to the text of the legislation for a full statement of legal requirements and obligations. Where appropriate, you should seek your own independent legal advice.
For further detailed information go to the Financial Conduct Authority's website.


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Local Stages Kept Things Interesting in 2013
Rick Pender
0 Comments · Monday, December 23, 2013
How was 2013 as a year for plays and musicals in Cincinnati? From where I stand — or sit, since I'm most often in a seat at one of our local theaters — it stacked up pretty well.
Around The World in 80 Days (Review)
Entertaining, Charming and Heart-Warming
Stacy Sims
1 Comment · Monday, December 9, 2013
Ensemble Theatre Cincinnati opened a revamped version of the delightfully spirited Around The World in 80 Days on Dec. 4 to a full house. The production is exactly what you would hope for from a family-friendly holiday show.
by Rick Pender
Posted In:
at 09:28 AM |
Stage Door: Solid Choices
Several great choices for theatergoing this weekend. At the top of your list should be Rapture, Blister, Burn at Ensemble Theatre Cincinnati. I was at the opening of Gina Gionfriddo's 2013 Pulitzer Prize runner-up on Wednesday, and it's another fine example of the kind of excellent production we've come to expect from ETC. Lynn Meyers has a knack for finding exactly the right actors for her shows, and she's assembled a perfect cast for this one, the story of a twisty relationship between three one-time college friends. Two women, played by Jen Joplin and Corinne Mohlenhoff, were roommates back then, and Mohlenhoff's character had a charismatic boyfriend. She went off to a renowned academic career and Joplin's character ended up marrying Don, played by Charlie Clark. Twenty years later they're back in close proximity, and neither woman is feeling fulfilled by her life. Don is a willing player in trading places, which makes for some amusing drama. Mohlenhoff's character offers a summer seminar in feminism, film and pornography which plays out some interesting theorizing among the show's female characters about the roles women play. It's a great stew of talking and experimenting, which takes some interesting turns along the way. Definitely watchable and entertaining. Onstage through Oct. 27. Tickets: 513-421-3555. At the Playhouse you'll find Martín Zimmerman's much more serious Seven Spots on the Sun, a story set in a Latin American nation torn asunder by civil war. (CityBeat review here.) We see the drama played out between several characters whose lives are tragically intertwined and who struggle to understand how to continue in light of past decisions and tragedies. It's a powerful story that offers small glimmers of hope, not to mention some magical turns that lead you to speculate about fate and hope. Zimmerman is a playwright whose name will become increasingly familiar in the future; the Playhouse is offer his script in its world premiere. Onstage through Oct. 27. Tickets: 513-421-3888. If you're looking for a different kind of theater experience, check out New Edgecliff Theatre's annual fundraiser, "Sweet Suspense," back for its sixth year with a one-time performance on Sunday evening. Playwright Catie O'Keefe has adapted Mary Shelley's classic monster tale of Frankenstein into a radio adaptation, complete with creepy sound effects. Since NET is homeless this season, the event is happening at Know Theatre at 7:30 p.m. The "sweet" part of the evening is a dessert buffet at intermission with treats from many local bakeries, including Holtman's Donuts, the hot new sweet shop on Vine Street in OTR. Tickets are $35 (hey, it's a fundraiser) for adults, $20 for kids 13 and under. Seating is limited, so ordering tickets in advance is advised: 513-399-6638.
Curtain Call
Finding a Niche in Local Theater — and Seeking More
Rick Pender
0 Comments · Wednesday, July 17, 2013
In recent columns I surveyed Cincinnati theater companies that came and went during the past 20 years. Some stumbled because their founders had more passion than management expertise; others simply lacked the focus to keep audiences coming back. The truth is it's hard to identify a niche and settle into it
Theater on the Horizon
Rick Pender
0 Comments · Wednesday, June 26, 2013
Several slots for the 2013-2014 season have been filled in by local theaters as the current season finishes.
by Rick Pender
Posted In:
at 08:00 AM |
Ensemble Theatre Announces Remainder of Season
Cincy Playhouse veterans Ed Stern and Michael Evan Haney to stage shows
If you enjoyed "great theater in a great theater" at the Cincinnati Playhouse in the Park during past seasons, you'll be pleased to learn that Ed Stern, former producing artistic director, and Michael Evan Haney, whose tenure as associate artistic director ends on June 30, have both been engaged to stage shows at Ensemble Theatre Cincinnati (ETC) for its 2013-2014 season. Haney will stage Nina Raine's Tribes (Jan. 29-Feb. 16, 2014) and Stern will co-direct the world premiere of Raymond McAnally's Size Matters (May 7-25, 2014); the playwright is also an actor (he co-starred in ETC's production of Mrs. Mannerly last fall) and he will be the solo performer of the one-man show.Tribes is about Billy, the deaf son of an outspoken family obsessed with self-expression. He has adapted to his family but not vice versa. Then he begins to connect with the deaf community, and his family resents his new "tribe." The show uses spoken and sign language as well as surtitles so audiences can fully follow the action. The show has been a hit in New York (where it won the 2012 Drama Desk Award for outstanding play) and London, where it debuted in 2010 at the Royal Court Theatre. It's only been seen at a few theaters in the U.S. including the La Jolla Playhouse and the Guthrie in Minneapolis. As usual, ETC's Lynn Meyers is ahead of the curve in picking up great new works, and it's a good bet that Haney will make this a fine production. (Haney remains connected with the Playhouse as one of three artistic associates; he will direct A Christmas Carol as well as the world premiere of Anna Ziegler's A Delicate Ship during the Playhouse's 2013-2014 season.)McAnally's comedy, Size Matters is even newer, of course, as a world premiere. It's about a "big guy," living in a crowded city and getting work based on his weight. McAnally, an actor who's weighed more than 280 pounds since he was 18, explores the impact his weight has had on who he is: It's apparent to him that "size matters" much of the time, but not always. The show about body issues and self-confidence is based on true events. Stern will co-direct with ETC's Meyers.The balance of ETC's season was announced earlier: It opens on Sept. 4 with Jon Robin Baitz's Other Desert Cities, andincludes Gina Gionfriddo's Rapture, Blister, Burn, the holiday musical Around the World in 80 Days and Katori Hall's The Mountaintop about Martin Luther King Jr. Find more details here.
Swimming in the Shallows (Review - Critic's Pick)
Rick Pender
0 Comments · Saturday, June 8, 2013
The 2013 Fringe has provided a final showcase for a half-dozen talented performers to shine in their own light in a production of Adam Bock's absurdist comedy.
by Rick Pender
Posted In:
at 08:52 AM |
Stage Door: Stock Up
Nothing new onstage this week, but lots of good work continues as we head toward the summer when theater gets scarce. Now's the time to stock up. This is the final weekend for Cock at Know Theatre. (Some publications call it The Cockfight Play, but Cock is Mike Bartlett's actual title for his play.) It's the story of a man who thought he was gay but now finds himself powerfully drawn to a woman. (CityBeat review here.) His former lover and his new passion both push him to make a choice, and he's torn. It's a great piece of theater, fueled by strong acting and interesting staging. Tickets: 513-300-5669. Ensemble Theatre's production of The Marvelous Wonderettes: Caps and Gowns is off and running — and on its way to being another box-office hit for ETC. It's the same four spunky gals who audiences loved back in 2010 (in ETC's best-selling show ever), with new tuneful glimpses into their high school graduation in 1958 and a wedding reception in 1968. Talented singers, individually and as a quartet, make this a fine evening's entertainment. If you've seen it before, you know the drill — and you're probably ready for more. Tickets: 513-421-3555 James M. Cain's novel of crime and deception, Double Indemnity, continues at the Cincinnati Playhouse. (CityBeat review here.) If you think you know this show from Billy Wilder's 1944 film (one that defined the noir genre), you're in for a treat: While this production adopts the elements of terse narration, tough guys and sexy dames, the playwrights tell the story differently for the stage. And the Playhouse stages it inventively — one might even say cinematically. Tickets: 513-421-3888. Shakespeare's Measure for Measure is a strange piece, a comedy with a deeply disturbing story about hypocrisy. (CityBeat review here.) A judgmental official condemns men for their licentious behavior, then turns around and propositions a virtuous woman pleading to spare her brother. This troublesome tale is interspersed with comic moments as minor characters wend their way through a time of sordid behavior — in Cincinnati Shakespeare's production it's been moved to Prohibition-era America. If you're a Shakespeare buff, this one is worth seeing, since it's not often staged. (It's been 18 years since it's been presented locally.) Tickets: 513-381-2273 x.1. The musical Sister Act, based on the Whoopi Goldberg film from 1992, continues at the Aronoff. (CityBeat review here.) It's an evening of silly fluff, but the touring production, onstage through Sunday, is polished and entertaining. The plot is implausible, but it's a framework for some great singing and an eye-popping series of set pieces. Tickets: 800-982-2787. If you prefer a musical with a little more grit, head to Dayton where the Human Race Theatre Company is presenting next to normal at the Victoria Theater. This Rock musical about a paranoid schizophrenic mom and the damage her affliction imposes on her family is a powerful show, one that Cincinnati's Ensemble Theatre gave a well received production in 2011 that was revived a year ago. The show was an unusual winner of the 2010 Pulitzer Prize for drama. It's onstage in Dayton through May 19. Tickets: 937-228-9360.
Curtain Call
Is ETC Doing — or Overdoing?
Rick Pender
0 Comments · Wednesday, May 8, 2013
"If something is worth doing, it's worth overdoing," proclaims one of the spunky gals in the current iteration of The Marvelous Wonderettes at Ensemble Theatre Cincinnati this month. ETC apparently agrees, since this is the fourth consecutive year it has staged one of Roger Bean's retro shows featuring music from the '50s and '60s.
by Rick Pender
Posted In:
at 08:50 AM |
Stage Door: Shake It Up
Cincinnati Shakespeare Company opens its production of the infrequently staged Measure for Measure tonight. Director Brian Isaac Phillips says, "We have discovered a lot of satire and wit as we explore the biting social criticism in this play. The behavior of these characters … is like a dark comic mirror, held up to nature. Shakespeare has written a play that begs us to examine modern day decadence and hypocrisy." Phillips has set the production in the corrupt and hypocritical Prohibition Era, to "give modern audiences a context for the actions and the characters' deeply held opinions." It's onstage through May 26. Tickets: 513-381-2273 x.1. The Marvelous Wonderettes are back at Ensemble Theatre Cincinnati with another sequel to the 2010 show that set box-office records. This time the theme is "Caps and Gowns" — which means graduation (in 1958) and a wedding (in 1968). The quartet of girl singers are lively and sometimes harmonious, although each one has her quirks and pet peeves. The spread of a decade allows a range through two distinct periods of Rock & Roll, one innocent, the other a bit more knowing. ETC has reunited three of the four actresses who've played these parts before, and the fourth slot – filled by Leslie Goddard — is a petite stick of dynamite in cats' eye glasses. The show opened on Wednesday, and it will surely be a hot ticket again — ETC has already extended it by two weeks beyond its original closing date. Tickets: 513-421-3555. I went to see Sister Act, based on the Whoopi Goldberg film from 1992 about nuns and disco, with low expectations. I was pleasantly surprised: This is a solid production of a very silly show, with some genuine talent in the leading roles, and plenty of energy in the ensemble. The music (by composer Alan Menken, who also wrote Little Shop of Horrors, Beauty and the Beast, The Little Mermaid, Newsies and many more) is entertaining, the production looks great — lots of glitter and sequins — and some moments of touching emotion (cliched, but moving nonetheless). Don't expect anything profound and you'll have a good time. It's onstage at the Aronoff Center. Tickets: 800-982-2782. If you're in a darker mood, check out Double Indemnity at the Cincinnati Playhouse. It's a stage version of a noir classic, a pair of lovers plot to murder her husband and score a big insurance take (boyfriend is an insurance salesman). But things don't quite work out as planned. Very stylish imagery and actors who get the hard-boiled tough-guy style of story-telling from the 1940s. Paul Shortt's cleverly designed set moves the action quickly from scene to scene using two turntables, so it's almost like a movie with "wipes" from once setting to the next. Tickets: 513-421-3888.
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PRE-ADOLESCENCE Introduction: Characterization of the age from eight to twelve—The era of recapitulating the stages of primitive human development—Life close to nature—The age also for drill, habituation, memory, work and regermination—Adolescence superposed upon this stage of life, but very distinct from it. The years from about eight to twelve constitute a unique period of human life. The acute stage of teething is passing, the brain has acquired nearly its adult size and weight, health is almost at its best, activity is greater and more varied than it ever was before or ever will be again, and there is peculiar endurance, vitality, and resistance to fatigue. The child develops a life of its own outside the home circle, and its natural interests are never so independent of adult influence. Perception is very acute, and there is great immunity to exposure, danger, accident, as well as to temptation. Reason, true morality, religion, sympathy, love, and esthetic enjoyment are but very slightly developed. Everything, in short, suggests that this period may represent in the individual what was once for a very protracted and relatively stationary period an age of maturity in the remote ancestors of our race, when the young of our species, who were perhaps pygmoid, shifted for themselves independently of further parental aid. The qualities developed during pre-adolescence are, in the evolutionary history of the race, far older than hereditary traits of body and mind which develop later and which may be compared to a new and higher story built upon our primal nature. Heredity is so far both more stable and more secure. The elements of personality are few, but are well organised on a simple, effective plan. The momentum of these traits inherited from our indefinitely remote ancestors is great, and they are often clearly distinguishable from those to be added later. Thus the boy is father of the man in a new sense, in that his qualities are indefinitely older and existed, well compacted, untold ages before the more distinctly human attributes were developed. Indeed there are a few faint indications of an earlier age node, at about the age of six, as if amid the instabilities of health we could detect signs that this may have been the age of puberty in remote ages of the past. I have also given reasons that lead me to the conclusion that, despite its dominance, the function of sexual maturity and procreative power is peculiarly mobile up and down the age-line independently of many of the qualities usually so closely associated with it, so that much that sex created in the phylum now precedes it in the individual. Rousseau would leave prepubescent years to nature and to these primal hereditary impulsions and allow the fundamental traits of savagery their fling till twelve. Biological psychology finds many and cogent reasons to confirm this view if only a proper environment could be provided. The child revels in savagery; and if its tribal, predatory, hunting, fishing, fighting, roving, idle, playing proclivities could be indulged in the country and under conditions that now, alas! seem hopelessly ideal, they could conceivably be so organized and directed as to be far more truly humanistic and liberal than all that the best modern school can provide. Rudimentary organs of the soul, now suppressed, perverted, or delayed, to crop out in menacing forms later, would be developed in their season so that we should be immune to them in maturer years, on the principle of the Aristotelian catharsis for which I have tried to suggest a far broader application than the Stagirite could see in his day
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From David Cameron yesterday came the 33rd Conservative leader's speech I've listened to in the conference hall.
I've heard higher flights of oratory, funnier jokes, crueller gibes at opponents, cannier attempts to win applause. But I can say of Mr Cameron's speech what I could say of too few of those: this was a speech whose heart was in the right place. It was a speech, too, whose politics was in the right place.
It was too long — they always are. It did not start well. The more common complaint about leaders' speeches is that they get off to a


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Ok we have had a thread on what walks are there from resort to resort
so what resorts can you walk to from each Park?
epcot you can walk to the boardwalk from think you can reach the yacht club from epcot too.......... my memories going think its my age
From MK you can walk to ContemporaryOriginally Posted by ukwdwnut, post: 31843
From EPCOT and DHS you can walk to Swan/Dolphin, Yacht and Beach Clubs and Boardwalk.
From AK - Nowhere
From DHS - Nowhere
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To the world you may be one person, but to one person you may be the world. - Heather Cortez
When the power of love overcomes the love of power the world will know peace. - Jimi Hendrix
Disney Hollywood Studios is within walking distance from the Swan, Dolphin, YC, BC and BWI/V.
OKW is within walking distance of DTD as is SSR.
Can`t remember about signposts Mick but the walk from MK to the Contemp is fairly obvious...leave the park and turn left and you can`t miss it!Originally Posted by ukwdwnut, post: 32056
At Epcot, walk towards the UK at World Showcase and shortly after that you will come across another park entrance/exit on your right. This is the "rear" entrance to and from the Boardwalk called the International Gateway.
The walkway to DHS can be found to the left of the Swan/Dolphin complex. [Walk around the lake in a clockwise direction from that "rear" entrance and you`ll come across it easy enough].


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Nick Jonas and Tov Lo - Close [Video]New Video from Nick Jonas and Tov Lo.
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