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Nashville Signs 2016 Second-Rounder Girard
Defenseman Inks Entry-Level Contractby Nashville Predators @PredsNHL / NashvillePredators.com
Nashville, Tenn. (September 28, 2016) - Nashville Predators President of Hockey Operations/General Manager David Poile announced Wednesday that the team has signed defenseman Samuel Girard to a three-year entry-level contract.
Preds Split Preseason Doubleheader with Panthers
Nashville Falls 4-1 Before Finishing with a 2-1 Victoryby Brooks Bratten @brooksbratten / NashvillePredators.com
The Nashville Predators went 1-for-2 in their first preseason action, as they travelled to South Florida on Tuesday, falling 4-1 in their first outing with the Florida Panthers before finishing the night with a 2-1 victory over the same opponent.
More important than the score, the six periods of hockey in one day afforded the opportunity for the coaching staff and management to see almost every player in camp in a game situation, a benefit when it comes to evaluating the talent pool.
There were high and low points, but that's to be expected in the first games, as Head Coach Peter Laviolette explained.
October 1: Skate of the Union at Bridgestone Arena
Get Set for the 2016-17 Season with Preds Players and Executivesby Nashville Predators @PredsNHL / Nashville Predators
Hockey is back in Smashville! Join us this Saturday, October 1st for a full afternoon of events leading up to the first preseason home game in Smashville! The afternoon festivities will include a special unveiling you will not want to miss, annual Skate of the Union address featuring Preds players and Executives, plaza party and more.
The Preds are also hosting a PENCIL Foundation and Nashville Predators Foundation School Supply Drive and encourage fans to bring new notebooks, notecards and glue sticks to donate prior to the game.
Preds Set for Preseason Doubleheader in Florida
First Exhibition Games Provide Chances for All Involvedby Brooks Bratten @brooksbratten / NashvillePredators.com
As the Nashville Predators travel to Florida to face the Panthers for a preseason doubleheader today, there won't be any points at stake, no chances to move up or down in the standings.
However, an exhibition game certainly doesn't lack importance to those directly involved. It means plenty for a player trying to prove his worth to the organization, and just as much to the coach tasked with helping to make that final decision.
When the Preds take the ice at 2:30 p.m. and 6 p.m. (CT) at the BB&T Center - which can be heard on 102.5 The Game and the Predators Radio Network - don't expect the level of urgency to drop considerably from that of a regular-season contest.
Predators Reduce Roster to 57
Sawchenko Released from Amateur Tryoutby Press Release @PredsPR / Nashville Predators
Nashville, Tenn. (September 26, 2016) - Nashville Predators President of Hockey Operations/General Manager David Poile announced today that the club has released goalie Zachary Sawchenko from his amateur tryout.
Nashville's training camp roster is now at 57 players: 32 forwards, 20 defensemen and five goaltenders. An updated roster is available here.
The Predators will open the preseason tomorrow with a doubleheader at the Florida Panthers (2:30 and 6:00 p.m. CT). They then travel to Columbus on Thursday to face the Blue Jackets at 6:00 p.m. Nashville will host its first preseason game of the 2016-17 season on Saturday, October 1, against the Tampa Bay Lightning.
Preds Training Camp Day Four: Scrimmage Time
Players Get Taste of Game Action Ahead of Upcoming Preseason Gamesby Brooks Bratten @brooksbratten / NashvillePredators.com
Fans of the Nashville Predators came out to the Ford Ice Center in droves on Sunday to get an autograph, snap a photo with Gnash and see firsthand many of the future Preds show their stuff in a gold and white scrimmage.
Behind goals from Eric Robinson, Tyson Spink and Jack Dougherty, the gold team topped team white by a 3-1 final. Colton Sissons tallied for white in the first game action many of the players had been a part of since last spring.
"The battle level just spikes up right away," Sissons said of the scrimmage. "You get those puck battles in the corners and there's not too many bodies out there, so we're double shifting a little bit and getting our lungs back. That part of it is great, and I think just getting that mindset when things are happening pretty quickly now and just getting back to that game feel is important."
Video: Colton Sissons discusses the Preds scrimmage
Preds Training Camp Day Three: Nice To Meet You
Defensemen Carle, Weber Look To Earn Their Spot in Preds Lineupby Brooks Bratten @brooksbratten / NashvillePredators.com
As the first day of official on-ice practices commenced at Nashville Predators training camp, much was the same.
The familiar sounds of skates, sticks and pucks colliding with ice and glass, Head Coach Peter Laviolette pushing his players to give it all they have - that's what happens this time of year at Centennial Sportsplex.
But there are always changes, too, including some new faces on the receiving end of their coach's instruction.
Ribeiro Meets Offseason Challenge Head On
Forward Focused on Defense, Faceoffs During Summerby Thomas Willis @TomAWillis / NashvillePredators.com
A Game Seven loss in mid-May to the San Jose Sharks stung a little more for Nashville Predators center Mike Ribeiro. He wanted to do more. He should have done more.
A healthy scratch in Games Three and Four of the Round Two series, the veteran center's furthest trip into the postseason in eight years didn't go how it was supposed to. Didn't go how he wanted it to.
Two points in 12 playoff games in 2016 were the numbers suddenly being used to define Ribeiro's season. Not the 50 he recorded in 81 regular-season games, good for the third-highest total by a Preds forward, and the 10th occasion in his 18-year career he'd hit at least the half-century mark. But the Montreal native knew he'd overcome the sudden spiral in his career, because that's what his career was. Too small to play in the NHL, too one-dimensional to consistently produce, too old to still compete. He'd heard them all before, and he'd challenged the narrative forced upon himself every time.
Preds Training Camp Day Two: Need For Speed
Predators Look to Be One of League's Faster Teamsby Brooks Bratten @brooksbratten / NashvillePredators.com
It may seem obvious. If one hockey player is faster than the other, a competitive advantage is almost certain. But as the game continues to evolve, the collective speed of an entire team may just be the most important attribute when it comes to building a winning squad.
Predators General Manager David Poile seems to believe that's the case when reviewing the moves he's made over the past few seasons.
The hiring of Head Coach Peter Laviolette, who prefers to run an up-tempo, offensive system, was the start. With the acquisitions of younger, faster players like Ryan Johansen and P.K. Subban over the past eight months, that trend is continuing.
Poile Expects the Unexpected in Training Camp
Preds General Manager Knows Anything Can Happen As Camp Unfoldsby Brooks Bratten @brooksbratten / NashvillePredators.com
David Poile should know this team better than anyone. After all, the Nashville Predators general manager, entering his 19th season with the club, is the only GM the franchise has ever known and has spent the past few seasons constructing a team he believes will be a contender.
But he's also been around long enough to know that the only thing that's certain in training camp is the uncertainty that comes with it.
"If I've learned anything over the years, we're very optimistic, but you just don't know what you have until you start playing," Poile said. "We made some significant changes last year. The team is going to be different, how we play is going to be different, our chemistry, our culture, our identity; we have to start figuring that out and getting that in training camp."


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Measuring Improvements in your swimming efficiency
By Mike Koerner, USA Swimming and ASCA Certified Coach
Greetings and welcome to a new and exciting year of Triathlon training. Although the temperatures are finally getting to the winter norms here in Chicago that certainly should not stop you from getting yourself ready for another new triathlon season. Throughout the last year, I have written several articles designed to help improve your swimming efficiency. Whether they were about drills to improve your stroke technique, creative workout ideas to simulate open-water swimming in the pool, or ways to increase your swimming distance per stroke, all these articles had the same end state in mind; getting through the water faster with less effort thus setting us up for a quicker overall race.
While introducing all these novel ideas it occurred to me that I have yet to provide something just as important. Feedback: How can you expect improvement if you have no way of measuring improvement. Or, to put it simply: "Inspect what you expect." This article is going to cover the ways that you can measure improvement in your swimming.
There are several ways that you can measure improvement in your swimming efficiency. These range from the very easy to the slightly more complicated. Only a couple require some rudimentary math. The first way to measure or gauge improvement in your swimming is simply by time. Can you swim a certain length or set of intervals faster than you could previously? We measure this by using a Test Set. What a test set does is allow you to see improvements in your swimming fitness and perhaps some improvement in swimming speed. It goes something like this: Swim a given distance or interval set and record the times, comparing them to a previous time for that same distance or interval. Faster time or faster average time equals improvement. Here are a couple of examples: After a good warm up swim 500 yards as quick as you can for time. Record the time, and also calculate your average time (or split) per 100. Compare this to a previous effort. Repeat this test approximately every four to six weeks throughout the training cycle and see the improvement. Another test set is to swim a set of either 5 or 10 100 yard swims with a rest interval of 15 seconds between each 100. Record the time for each 100 and then come up with the average time. This is what is known as your T-pace. You can then use this information to develop your interval set for your swimming workouts. (Developing a complete swim training program and designing workouts for triathletes goes beyond the scope of this article.) Once again, perform this test set every four to six weeks and you should see an improvement in your T-pace as the season progresses. Both of these examples will give you some insight into improvements in your swimming fitness but, they only tell half the story. What they won't tell you is whether or not you are becoming a more efficient swimmer or whether or not your stroke technique has improved. You can make the assumption that this is true based on an improved T-pace but, that could simply be a result of increased strength and endurance. To really know whether or not you are improving your technique and efficiency you need to make a couple of additional measurements. You need to learn how to calculate your distance per stroke and your stroke cycle. These calculations, coupled with T-pace will tell you whether you are getting faster and whether you are more efficient. The calculations are relatively simple and you can use them during your daily training sessions without having to collect significant amounts of data. Additionally, these calculations provide instant feedback on stroke efficiency during any stage of a workout.
Distance per Stroke; by definition refers to the distance a swimmer travels during each stroke cycle. Distance per Stroke (DPS) is calculated as the number of yards/meters your body moves forward during one stroke cycle. Let's quickly define a stroke cycle. A stroke cycle includes two arm strokes, one with the right, and one with the left. Putting this simply, you are going to calculate the distance you move for each rotation of your arms. There are several ways to calculate DPS. The most accurate method is to use video to measure the distance your body moves forward during one stroke cycle. This would require access to video equipment and someone else to help you out. The most common way to calculate DPS is to count the number of stroke cycles required to complete a known distance, such as the length of a pool, and divide that number into the distance. For example, if it took you 20 stroke cycles to cover 40 meters, then your average DPS would come out to 2.0 meters/per stroke cycle. {40/20=2.0}. How is this useful? By knowing the distance you cover for each of your stroke cycles you can count your strokes and see if that number increases or decreases. The best way to use this in a workout is simply to count your stroke cycles during the workout. For example, I will use 500 meters as the given distance. Count your strokes for one length of the pool (25/50 meters depending on pool size) for every 100 meters you swim until you reach 500 meters. Did the number of strokes per length of the pool increase or decrease? If your stroke cycle increased, you were becoming less efficient per length or your distance per stroke was decreasing as you swam the required distance.
Stroke Rate refers to your cycling or turnover rate and can be expressed as the number of stroke cycles you take each minute (cycles/min) or the time required to complete one stroke cycle (time/cycle). The way to calculate stroke rate is, using a stopwatch, time one stroke cycle. This number will be expressed as time per cycle (time/cycle). An easier and more accurate way to do this would be to time two or more cycles and then find the average by dividing the number of cycles into the time. {ex. Three stroke cycles = 3.30 sec, divide the time by 3 to calculate a result of 1.10 sec/stroke cycle.} Stroke rate can also be expressed as stroke cycles per minute. The values are calculated by dividing the average time per stroke cycle into 60 seconds. Here is the example: You complete three stroke cycles in 3.2 seconds, you divide that by 3 and you get 1.067 sec/stroke cycle. To calculate stroke cycles per minute you take 60 seconds and divide that by your 1.067 sec/stroke cycle and that will give you 57 cycles per minute. This cycle per minute (57) is the number we are after. Stroke cycles per minute is a good way to tell how you performed over a given distance, if your stroke cycles per minute increase over a given distance we are using more effort to cover that same distance and thus we are less efficient. Never fear, if this math seems somewhat intimidating, most swimming stopwatches now have the capability of calculating stroke cycle per minute with just a touch of a button.
Putting it all together. Now that you are able to calculate your distance per stroke and your stroke rate you can use these calculations to provide accurate and instant feedback on your swimming efficiency as well as your endurance. Combining your T-pace along with your distance per stroke you can see if you are going fast and efficient or whether you are going fast but not efficient. By knowing these things you become aware of what you need to focus on to improve your swimming technique. The calculations now provide that feedback mechanism during your workout to alert you to degradation in your technique. If your DPS decreases or your stroke cycle increases per length you know that you are swimming less efficiently. This is most likely caused by a breakdown in technique coupled with some fatigue. The issue of fatigue is tackled by endurance training and strength. The breakdown in technique is tackled by performing the stroke correctly, this adjustment you can make during your workout. The goal is to perform the distance or interval at the same speed (T-pace) while not letting your DPS decrease or stroke rate increase. Here is what I mean; if your DPS is decreasing you are not staying long in your stroke, generally caused by swimming flat without rotation or not finishing your stroke. You can counter that by thinking of torpedo drill and the rotation of the hips. If you rotate your hips your stroke should lengthen and DPS should increase. Additionally, if you think about push drill, you will ensure that you are pushing your hands past your hips and finishing your stroke thus increasing your DPS. It is also assumed that by increasing your DPS you are decreasing your stroke rate.
As you can see from just that example, the calculations of distance per stroke and stroke cycle provide you instantaneous feedback on your efficiency. By identifying a loss of efficiency during your workout you can quickly apply the appropriate countermeasures or techniques during the workout and once again measure them for expected results. The cycle is complete. You now have two additional measurements to gauge your improvement in swimming efficiency both during and after your workout. Armed with this knowledge, and the previous articles on drills and techniques you will be able to design better swim workouts focusing on the areas you need to improve all the while becoming faster and more efficient. Until next month, Happy Swimming!
Coach Mike is a USA Swimming and ASCA Level 2 Certified coach who coaches competitive triathletes and swimmers from the Age Group ranks up through Masters. Additionally, he is the Director of Swimming at Break Through Multisport Inc. You can reach Coach Mike at email@example.com with any questions or comments.
Works Cited/Further Reading
Maglischo, Ernest W., Swimming Fastest, Human Kinetics, 2003.

subset: commoncrawl


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R.I.P. Pavol Demitra and Members of Lokomotiv
As most have already learned, a tragic plane crash occurred this morning involving the roster of the KHL hockey team Lokomotiv. Of the individuals on board there currently are only two survivors, as reported by Yahoo! Sports. Several former NHL skaters were on board including former St. Louis Blues forward Pavol Demitra.
What a sad and tragic summer this has been. It seems like every other week there is a new report that completely shakes you when you read it and lingers with your thoughts long after you close the story. In what has been the most rocky summer for NHL fans in recent memory, today just adds to the already tragic hockey summer.
Most of us are unfamiliar with a majority of the names on the plane that went down aside from maybe a handful of guys, but we shouldn't just mourn the players we know. Keep your thoughts not just with the families of Pavol Demitra and the other former NHL players but with all of the staff and plane crew that were also on the plane today.
Demitra's name is the most prominent for those of us in St. Louis as he skated with the Blues between the 1996-97 season and the 2003-04 season, leaving only after the NHL lockout. His time with the Blues ended after 494 regular season games, but Demitra made a lasting impression which has many Blues fans feeling very somber today.
From a statistical angle, Demitra was an extremely productive skater. He tallied 204 goals during his time with the Blues to go along with 289 assists.
Demitra always seemed to keep his nose mostly out of trouble on the ice which earned him the Lady Byng Trophy in 2000 after he spent just eight minutes in the penalty box.
Today's news struck a chord with me as Demitra was a skater I always loved to follow as he moved around the ice. He was a member of some of the best St. Louis rosters we have seen and was an easy pick for many children as their childhood favorite.
My hope is that the NHL will take time to remember those lost today when the season begins in October. Here in St. Louis, I sincerely hope the Blues decide to do something to remember Demitra, a player that had a major impact on the fan base and community for many years. Whether it is retiring his number or some other tribute, I think it'd be appropriate to have something done within the Scottrade Center for fans to see, like what the St. Louis Cardinals have done after Daryl Kile's and Josh Hancock's untimely deaths.


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Treatment and Sanctions for SVJ Offenders
The literature notes that effective treatments exist for institutionalized and noninstitutionalized delinquent juveniles (see table 4). A meta-analysis of experimental and quasi-experimental intervention programs for reducing the recidivism of SVJ offenders showed that the most effective programs for noninstitutionalized offenders involve interpersonal skills training, behavioral contracting, or individual counseling. The most effective programs for institutional offenders involve interpersonal skills training, cognitive-behavioral treatment, or teaching family homes. The effect of intervention is greater when the duration of treatment is longer.
Most SVJ offenders slow down their rate of offending after correctional interventions. However, alternatives to secure confinement are at least as effective as incarceration in suppressing recidivism and are far less costly. Juveniles who are transferred to the adult court are more likely to be incarcerated but also more likely to reoffend. However, because of the inadequacy of research designs, the relative effectiveness of juvenile and adult court dispositions is unclear.
Existing research on intermediate sanctions such as electronic monitoring and community tracking suggests that availability of and participation in treatment are associated with lower recidivism. Unfortunately, many offenders never receive treatment.
When considering appropriate treatment and sanctions for SVJ offenders, the severity of the presenting offense, the risk of recidivism for serious offenses, and the individual needs of the juvenile offender must be taken into account along with the following factors:


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The 2003 Ford Mustang Mach 1 is a car built from years of passionate
Mustang enthusiasts. Ford gave the public a sneak peek of it's ability
to honour the past Mustang lineage with the 2001 Bullitt Mustang.
This Mach 1 is primarily a 2003
Mustang GT with a Cobra 4.6 liter 4 valve DOHC V-8 motor and
upgraded suspension and interior/exterior features. The Mach 1 was
produced in limited numbers ensuring it's legacy as a collectable
car of the future.
The C-pillars feature a unique trim appliqué that gives the roofline
a subtle throwback appearance. To enhance the low-to-the-ground
appearance, the car features another classic Mach 1 trait, an air
dam extension, painted low-gloss black. A low-gloss black stripe
runs the length of the side just above the rocker moldings. For
2003 Mach 1 cars were offered in Black, Dark Shadow Grey Metallic,
Torch Red, Zinc Yellow, Oxford White and the Mach 1 only Azure Blue
Sitting inside Mach 1 is a blast from the past. The seats have
increased lateral support and are trimmed in one-of-a-kind "comfort
weave" black leather that is reminiscent to the material that
was unique to the original Mach 1.
The center stack and shifter bezel are painted in a gray accent
finish and highlighted by an aluminum shift boot ring and aluminum
shifter ball. The accelerator, brake, clutch and dead pedals are
polished aluminum. The gray-backed instrument cluster features unique
retro-look dials. Mach 1 comes standard with the Mach 460 six-disc
in-dash CD changer audio system.
Mach 1 is powered by a 4.6-liter, 32-valve, dual-overhead-cam V-8.
The engine makes use of specially calibrated cams, a modified upper
intake to accommodate the ram-air system, a forged crank (cast crank
in automatic transmission application) and performance exhaust manifolds
to produce 320 horsepower.
The vehicle is lowered one-half of an inch and is equipped with
a firmer suspension for improved handling. The handling package
includes new front and rear coil springs with adapted load and rate,
Tokico struts and shocks, unique stabilizer bars front and rear
and added frame rail connectors to stiffen the body.
Thirteen-inch front rotors and performance calipers provide excellent
stopping capability. The calipers have a black-anodized finish and
are visible through 17-inch Magnum 500 wheel spokes. Mach 1 comes
standard with anti-lock brakes and traction control.
In 1969, the Mach
1 was one of three new Mustang models. It featured fastback
body, an aggressively raked air dam, rear spoiler, "comfort-weave"
leather-trimmed seats and the now-famous "shaker hood scoop"
mounted directly onto the carburetor and fitted through an opening
in the hood.
Break Down Mach 1 by Color
Black - 1611
Dark Shadow Gray - 1595
Zinc Yellow - 869
Azure Blue - 2250
Torch Red - 2513
Oxford White - 814


text: The The Brain wiki last edited by YourNeighborhoodComicGeek on 08/30/13 07:30PM View full history OriginTen years before his own death a French scientist experimented upon the mind of a superior ape and, through secret teaching methods and shock treatments gave it a genius IQ of 178. The scientist named this ape Monsieur Mallah. When the scientist died, the intelligent ape removed his brain and transferred it into a sophisticated receptacle which was connected to a vast computer network. Now virtually immortal, the Brain organised the Brotherhood of Evil to advance his aims of world conquest.Major Story ArcsDoom Patrol and Teen TitansWhen the first Brotherhood of Evil disbanded after many battles with the Doom Patrol, the Brain assembled a second team that fought the New Teen Titans.OutsidersAfter coming in to conflict with Nightwing's Outsiders, The Teen Titans, and Batgirl (Cassandra Cain) the Brain is killed by Gorilla Grodd during the events of Salvation Run.RotworldHowever, the Brain appears to have returned in the New 52, confronting Supergirl. He is seen being cradled by Monsieur Mallah who has allied with Gorilla Grodd during Rotworld. Unfortunately, Brain is killed again but by Frankenstein's hands not Grodd'sOther MediaTelevisionTeen TitansThe brain is coming!He appears as the main antagonist in the final season of the series, voiced by Glenn Shadix . Being the leader of the Brotherhood of Evil (Madame Rouge, Monsieur Mallah, General Immortus and tens of super villians). He acts behind scenes coordinating the brotherhood.His principal plan is to capture then freeze the teen titans all over the world, so he stole one of the transmitters of the team, with the help of Madame Rouge disguised as hot spot, he manages to imprison most of the titans less Beast Boy, Pantha, Más, Jericho and Herald, which plan an strategy to free the entire group.He has telekinetic and telepathic powers. Nevertheles he is weak and vulnerable in his physical form, so he needs the protection of Monsieur Mallah in order to avoid any attack.Batman: The Brave and the BoldMessage from the Brain.He appears in episode "Journey to the center of the bat!", Controlling Chemo he took possession of a nuclear warhead. His attempt to destroy Bialya City was frustrated by Batman, that had been infected by chemo´s virulent organism but Atom and Aquaman manage to destroy the infection from within batman´s body. Cured Batman destroyed Brain´s mechanical arms and beat him.Young JusticeBrain appears along with Monsieur Mallah in the episode "Alpha Male". Mallah and Brain use an army of animals mind-controlled by the collars. Mallah uses a special trap to capture Captain Marvel, then attacks Young Justice, assisting the mind-controlled animals. They were defeated by Young Justice, but escaped.


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Hi this is a group where we can talk about cinema buzz,about actors,actress,directors,music directors gossips,marriage details,birthday,part..........
Tag: Cinema talkies,kollywood buzz,hollywood buzz,Bollywood buzz,Cinema gossips
Vijay Tv Anchor DD(Divyadarshini) Vs Srikanth Ravichandran Reception Photos
Vijay TV Anchor DD alias Divyadarshini Vs Srikanth Ravichandran Wedding Reception Photos Popular ijay TV Anchor DD alias Divyadarshini -Srikanth Ravichandran Wedding Ceremony held on June 29, 2014. Divyadarshini who got married to her long [..]
Rajinikanth's Kochadaiyaan Movie Review
Rajinikanth's Kochadaiyaan Movie Review Kochadaiiyaan is an upcoming motion capture 3D period film directed by Soundarya R. Ashwin and written by K. S. Ravikumar, which was released today after some huge rounds of promotions. The film will feat [..]
Actor ramarajan and nalini's son wedding and reception photos 2014
Actress Nalini's Son Arun Wedding & Reception Photos: Actor Ramarajan and Nalini Son Arun and Pavittra's Wedding was held on 25th April 2014 at Ragavendra Kalyana Mandapam in Kodambakkam..Actors T Rajendar, Radha Ravi, Seetha, S [..]
Actress Amala Paul to marry Tamil director Vijay in June 2014
Actress Amala Paul to marry Tamil director Vijay in June 2014 Yes, Amala Paul is indeed getting married to A.L.Vijay, Amala Paul's mother Annice Paul has just confirmed the rumors. Amala's mother has revealed that the engagement will take [..]
Kochadaiyaan Audio Launched On March 9,2014 Photo Album
Rajinikanth and Deepika Padukone starrer Kochadaiiyaan audio has been launched in Sathyam Cinemas, Chennai on Sunday(March 9) Soundarya, daughter of superstar Rajnikanth, Sunday said that her directorial debut 'Kochadaiiyaan' is a tribute to [..]
Vijay TV anchor ramya wedding photos and videos
Hi all, VJ ramya is one of the most popular TV anchors, ramya intends to continue her work after marriage..Ramya get married with ajith jayaraman on feb 21st 2014.Check here wedding and reception photos of Vj ramya. [..]
Actress bhavana going to get marry soon
Hi all, Actress bhavana got introduced on malayalam movie and later she came to tamil her 1st movie in tamil is Sithiram Paysuthadi and she did so many movies in tamil like deepavali,jayam kondan,Koodal nagar, Rameshwaram.. After that [..]
Veteran film-maker Balu Mahendra passes away on feb 13 2014
Hi all, Veteran director Balu Mahendra passed away at a hospital in Chennai on Thursday (13 February). He was 74. The ace filmmaker was admitted to the Vijaya Hospitals after he suffered a heart attack and underwent emergency [..]
Actress Meera jasmine to marry with anil john on feb 12,2014
Hi all, The most expected mollywood celebrity wedding of 2014 on febraury 12. Actress Meera Jasmine has been in the gossip columns for a long time after her love failure. Now as on 29 December 2013 there are confirmed reports that M [..]
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Browned Bulk Pork Sausage RecipeRead Reviews Be the first to add a review
To save time when making meals, our Test Kitchen suggests brown several pounds of bulk sausage at a time. Drain well and store in a covered container in the refrigerator for no more than 2 days. Use in a variety of dishes for truly tasty meals!
- 2 pounds bulk pork sausage
- In a large skillet, crumble sausage. Cook over medium heat until no longer pink; drain. Yield: 5 cups.
Originally published as Browned Bulk Pork Sausage in Leftover Makeovers 2006, p32
Reviews for Browned Bulk Pork Sausage
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text:
on February 10, 2013 - 1:00 AM
Massage, acupuncture can benefit one's health
While I appreciate inquiry into how government spends money, I was disappointed by the article, "County massages cost taxpayers $1.3 million." In this piece, massage and acupuncture were mistakenly and misleadingly equated to cosmetic surgery. The National Institutes of Health's National Center for Complementary and Alternative Medicine categorizes both as generally safe with limited side effects when provided by qualified practitioners. It reports that both may benefit some people.
I would love to see a News piece that addresses the cost benefit of massage and acupuncture as preventive medicines, including estimates of the reduction in sick leave, surgery and pain relievers, the latter two of which can have serious side effects. Furthermore, they are both of value if they improve the quality of life of people battling cancer or chronic pain. Wouldn't it be wonderful to find that spending $1.3 million on massage and acupuncture had a significant return on investment in the health and productivity of county workers? Now that would make a great headline.
Grace Friel


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If you haven't been to The Paper Bag Trick yet, make sure you do because there is a good lesson about showing the paper bag empty. I used the same principle in the Instant Origami Magic Trick. The $19.95 that I wrote on the bag is not there just as decoration. It gives me the motivation to shake out the bag as if I am looking for something else in there. I mean, surely for $19,95 I would have got more than two pieces of paper? So what I am doing is proving to you the bag is empty without actually saying it.
Why is that important? Because as soon as you say the bag is empty, you trigger a subconscious thought in your audience's mind that it is probably hiding something. You've immediately put your audience on alert, which makes it all the harder for you to do your deception.
I first got this idea from a Jay Sankey trick, which now I think about it, is called Instant Origami...oops! .. He can have it back if he really wants. His version used the thumb tip. A small piece of paper goes into your fist and voila! a small paper crane is resting in your hand. So there is another version you can do.
My intent here is to give you examples of how the Pop! change bag can be a terrific utility device. The one prop can be used in many different ways. This is something professional magicians look for in a trick. It means you have to pack and carry less. It also means that when your bags get lost in transit, you can make an emergency show up from bits you can find in the supermarket and hardware store. You will hear this sort of story from cruise ship magicians who have set sail and then been informed they are needed to do an extra, completely different show. They have only the ship to hunt around for impromptu props. Simple and easy saves the day here.
See more tricks like the origami magic trick back at Julian's Magic School


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03/01/2009 – COGIC Western Florida Jurisdiction chooses MPINETS to provide website maintenance, system administration, and custom programming for its international website.
I just want to take a minute to express how very much I appreciate EVERYTHING you have done for me over the years. I feel like you are part of the family and have more than earned my loyalty. I know I can be demanding. Sorry!!! Thank you for everything. So grateful to have you on the team!
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My husband cheated on me. I discovered he had sex several times
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My husband cheated on me. I discovered he had sex several times with the another women. He also admitted to flirting with other women at bars. I have gone to some therapy with him at church. We are working it out. However when I am having sex with me I fill up with anger and almost go numb. I can laugh with him during the day, but when it comes to sex I shut down. He wants me to enjoy him but it is not the same. What am I to do? Will I ever enjoy him again? Will I ever be able to get over this situation?
When I discovered he was cheating I was about 6 months pregnant. I had a very rough first trimester and was very sick off and on. When I discovered the affair I actually spoke to the women who had no idea he was married. She was actually set up with him by one of my husbands good friends. My husband says he was up happy with our marriage and living situation (we lived in my family's home and he often felt like less than a man). Since then we moved and have our own place. We have 3 children now and are trying to work it out. I still have trust issues. I cannot believe the one I love would be so intimate with another.
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Dr. Michael
replied 5 years ago.
Hello. I believe I can be of help to you with this issue.
Are you still in therapy at this time? And, is it helping? If so, how? If not, please elaborate.
How long ago
the affair occur and how long did it last? How did you find out?
You husband has not doubt tried to reassure you (verbally), but have the two of you talked about what he can do or needs to do to rebuild your trust i.e., specific actions, behaviors etc. For example, no private cell phone lines, no private email accounts and no passwords you don't know about; no financial accounts you don't know about, etc.?
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replied 5 years ago.
Thank you.
We have somewhat stopped therapy since I gave birth to our third child 2 months ago. We still attend church and talk and pray together. It did help. We learned we need to communicate more and that I cannot change him, has helped me a lot. The affair went on for about 2 months. He was "hooked up" with this girl because he needed someone to talk to. He ended up lying to her and said he was not married had no children and lived in a different town. He hung out with her in a bar and went to her apartment. He would have me to believe he was at work. I discovered this because I had a feeling he was messing around. He happened to leave his work cell phone at home and I discovered her number called her and she was just a shocked as I was. He could not deny it. The first thing he said to me was I was unhappy. He since has cut off his friend that hooked him up and for a period of time cut off everyone. We are slowly getting back in touch with some of his friends. He is more open, no blocks on his cell phone, and I use it often. I don't believe there are anymore things going on but the facts from the affair cause me to question and doubt, since I was fooled once.
Dr. Michael
replied 5 years ago.
O.K., this is a really good start. It is his actions, the things he is willing to do to prove that his words of reassurance mean something, that can eventually allow you to trust him again. If it was all words, but few actions, then you would be justifiably more pessimistic and worried.
You may have learned what you needed to from couples therapy---if it has resulted in the two of you talking more. I would like to suggest an immovable, non cancel-able date night for the two of you, once per week. Were I him, I would suggest to that he express different forms of non-intercourse affection toward you e.g., back rubs, foot-rubs, hugs, etc., that don't "lead" to intercourse. Your brain needs time to associate nonsexual affection like this with simple feelings of enjoyment; when you have intercourse, images of the other woman and concerns about "why" he did what he did will contaminate the situation. So I would have him focus on non-intercourse ways of providing you with pleasure, and vice versa.
You are still recovering from the shock of what he did. For women, sex means something a bit different very often, then it does for men and in your case, your surprise and worry regarding how he could possibly be so intimate with someone else, really reflects these differences. For him, and for many men, having sex as he did may not be more complicated than feeling isolated, lonely, not communicating well with one's spouse, and then simple opportunity, where "one thing leads to another". So your husband lacks some level of emotional maturity because he doesn't yet appreciate how you feel about what he did, the true depths of feelings you had about his behavior; and, it will take time for him to learn and understand it. But there is a good chance he will 'get it". The other immaturity issue is honesty and full transparency, which you appear to be working on and he seems to be learning.
So, overall, it will take some time before you will not feel angry about the sexual issues in your marriage. You will get over it most quickly if your husband ACTS in the ways that prove he is trustworthy----it may take months or even a year or two of consistent proof before you'll believe he's trustworthy again. Also, if he is willing to be affectionate toward you in nonsexual ways, this can help---you will need to give him feedback about this---maybe show him this post. It can get better for you over time and actually, everything you describe about your situation really is quite optimistic, in terms of the duration of this affair, the resolution of it, your improved communication, and his actions aimed at proving he is open and transparent about his actions going forward.
I hope this information is helpful to you. Let me know if I have overlooked any aspect of your question.
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replied 5 years ago.
Thank you that was helpful, I however shut down and don't want to talk to him for days after having sex. I don't want to talk to him about is because I just hope I will get over it. I hate bringing up the affair its like opening up the deepest wound. What can I do, when I shut down? How can I open up?
Dr. Michael
replied 5 years ago.
It would appear that the "emotional side" of your brain, which is still terribly hurt, insulted and stunned by his actions, needs to have a talk with your "rational side of your brain; the rational side can objectively understand why men do stupid things like this, and can make decisions about what, if anything, this guy will need to do to earn your trust again.
In your latest post, you provide a perfect example of this emotional versus rational conflict going on inside your head. On the one hand, you emotionally shut down for days after having sex with him (emotional brain) . But on the other hand, the rational side of your brain realizes that doing things like bringing up the affair again and opening up the wound is not helpful, not rational, not constructive. One of the things we do in therapy is allow the client to verbally express these contradictory aspects of their thinking and literally argue, negotiate etc., until a reconciliation is reached.
I might want to go back to therapy for a visit or two to deal with this specific problem i.e., the struggle you are having with the anger, hurt and frustration you experience that is triggered by having sex. You may find it helpful to more fully explore what it is you are thinking and feeling before and during sex. For example, you may experience images in which you visualize him having sex or wonder if he touched the other woman the way he does you; you may be making personal comparisons of sorts. You may want to give more detailed thought to exactly what it is you are thinking and feeling, before, during and after and write this in a journal. Such an activity can help reduce anger and frustration because we gradually get desensitized to what we are thinking and feeling if we confront it very directly, in fine detail. Talking to a therapist alone about such issues also helps reduce the emotional power they have over us.
The other issue you may want to talk to a therapist or your husband about is the general concept of 'compensation'. You remain angry with your husband following sex and won't want to talk to him for days. A rational, logical and reasonable question you may want to ask yourself is, "what exactly do I want that would allow me to give up my anger?" That is, exactly how could your husband compensate you for putting you through all of this? Maybe you feel you don't want to have sex at all for a month or two and you should only have it again once you decide you desire it or he deserves it---after compensating you for his personal affronts to you.
I'd now like some feedback from you about these two ideas----revisiting exactly what it is you think and feel before, during and after sex that could help you understand better what it is and what might remedy it; and doing this to help desensitize you to the emotional trauma of the experience of this affair. And, the idea of contemplating what compensation is due you from your husband----because you are obviously angry and feel you deserve better treatment than you received from him. What else can he do to compensate you and allow you to give up your anger, and forgive him?
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replied 5 years ago.
Before sex, I am talking to him and laughing. I often want to end the night there because I know what will come next. Sometimes I am in to it. Other times he can touch me in a certain way and I cover my face hold back the tears and hope it ends soon. I even compared it to being raped. Its
to say this is a man I use to be all over. Even when the affair was going on we had date night and sex was fine. I am use to enjoy when he touched my breasts for example but I imagine him with her and I die all over again. It is to the point where I would rather not have sex with him. When its over I cover my face, cry, or just fall fast asleep. I just put myself in another place and imagine my self doing something else or thing about my day or to do list. See he is a great dad, he really shocked me, I thought we were doing good. I guess I want from him more communication, nonsexual touch, hugs, gentle kisses (he is usually grabbing me and pushing is tounge down my throat) he is very attracted to me but I feel so ugly. I am so far gone I don't know what he can do. I like the idea of date night. Its tough with three small kids, but I would like for him to plan nice evenings, from top to bottom, get a sitter and even if we have no money just a walk in the park is enough for me.
Your advice is great thank you so much.
Dr. Michael
replied 5 years ago.
Your last post was WONDERFUL. You have gained some insight into all of the details about having sex with your husband and can put your thoughts, feelings, wants, visual imagery, etc. Each sentence of your post would give a clinical psychologist who does couples therapy great clues as to how to help you. I hope you can share information from these posts with your husband. I would personally, ask him to back off and not ask for intercourse with you until he has interacted with you enough times, in enough ways, that you actually enjoy being touched, given a back rub-----receiving the nonsexual interactions with him. No oral sex or French kissing right now. What you are saying is that if he wants to compensate you for his actions, he needs to respect how hurt you are, and that sexual intercourse is a conditioned trigger for a great deal of emotional distress for you. Compensation involves going through a lot of nonsexual interaction with you and not pressing the intercourse issue right now; it also means taking you on dates EVERY WEEK, even though it is tough to do with you children.
My best wishes to you. Let me know if you have any other questions or concerns about this matter, please.
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replied 5 years ago.
Thank you so much we will work on that. If anything comes up I wish to think it over with you. I honestly feel much better. Your right thinking it through and talking it out (between my two sides, rational and emotional) works great. Thanks for this exercise.
Have a great weekend.
Dr. Michael
replied 5 years ago.
My very best to you. Feel free to write back to me in the future if you have any new questions.
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Interview: David Fincher discusses 'The Social Network,' 'Fight Club,' and the digital age
The last interview of the year was, as it turns out, one of my favorites.
David Fincher's offices aren't in the part of town you'd expect, and from the outside, you'd never realize one of Hollywood's most in-demand filmmakers was working there. On the Thursday before the end of the year, a small group of journalists were invited to spend some time talking to Fincher about the upcoming Blu-ray release of his latest film, "The Social Network." An early copy of the Blu-ray was messengered over so I could check it out before sitting down with him, and I took that seriously, since there's no reason to ask him a question that he answers in the film's supplemental section. I also noticed that they beep him for language several times on the commentary, and also once when he gave out Aaron Sorkin's e-mail address. In the following interview, Fincher is not, in fact, beeped, so be warned.
I watched the film with his commentary track, and then watched the feature-length documentary on the making of the film that was put together by David Prior. It's an excellent look inside the development and creation of the film, and I highly recommend it for anyone who wants an unvarnished look at big-budget studio filmmaking.
As I prepared to head into the conference room to chat with Fincher, I saw Steve Weintraub from Collider on his way out. He ran his interview just before the New Year break, and it's interesting how there are a few quotes that Fincher worked his way around to in both interviews, things that are very obviously on his mind. We covered a lot of different ground, though, and reading his, then reading mine, you get a good portrait of where Fincher's head is at right now.
In his conference room, he's got a blow-up print of a quote from Alexander Walker's response to his original infamous "Fight Club" review, and I couldn't help but laugh when I read it:
"It is not simply the unbelievable brutality of the film that caused critics to wonder if Rupert Murdoch's company, 20th Century Fox, which produced it, knew what it was doing. The movie is not only anti-capitalist but anti-society and, indeed, anti-God."
At the time, Fincher laughed about the outraged reviews, and was quote in response to Walker's piece saying, "Fuck, I'd like to put that on a one-sheet. I would! I read that and I was like, 'I'd go see that movie in a heartbeat.'" It's that quote he confronts every time he sits in his conference room, and when I read it, I laughed. I told him about the e-mail Ebert sent me after I published my review of the film originally, telling me "You fell for that macho wheezy porn trick."
Fincher grumbled, "Fucking Ebert," as we took our seats, and just like that, we were off. "That movie is just not violent enough to have created the stir it did, you know?"
"I understand," I said. "I had visceral reaction the first time I saw it, and I would imagine if you had the opposite version of that reaction, it would shake you up."
"Well, first of all, that movie was sold in such a kind of a retarded, salacious way, so it was already like the context was being abused. Instead of it being satire, it was sold like it was for underground fighting what "Fast and the Furious" was for street racing." He shook his head, irritated. "It not that we were advocating that, and the position is fairly well stated in the movie that Tyler's…"
He caught himself getting revved up and he laughed. "You know, I was very cautious to say that this Nietzschean uberman is a great idea for high school seniors and college sophomores, but it doesn't really work in the real world beyond that, you know? And that's kind of what the movie's talking about. And the thing is, Chuck… have you ever met Chuck?"
That would be Chuck Palahniuk, the author of Fight Club. I told Fincher I have not met him, but have corresponded a bit with him online. "He's so fantastically broad-minded, and he has such a huge world view that for people to misconstrue that's what it was just shows you how incredibly closeted and narrow their thinking was," he said.
I had prepared some general topics for discussion based on the commentary and the documentary, and this look back at the outrage around "Fight Club" actually led right into one of the questions I had prepared. I told Fincher how impressed I was with Brenda Song in the behind-the-scenes material. "She's on fire. She's amazing. Like just a great presence. And you guys took some heat over her character in the film. And when you get criticism on something like that being anti-Asian or anti-woman or something like that, and then you turn around and you look at how strong she is as a performer and the choices that she's making on-set and how she gets the role completely and understands what she's playing, does that…are you able to shake off that kind of an attack because you know how completely ungrounded it is? Or do you feel like that's criticism that, okay well now somebody said this and now I have to respond to this?"
Fincher considered it for a moment. "Did I respond to that? I don't know that I did."
I replied that Aaron Sorkin had definitely addressed the criticisms, and Fincher sighed. "Yeah," he said, "I told him… look, I never felt that that was worth responding to. You can't look at anything from every angle."
I responded that "The Social Network" is a film about how things look from several angles and how elusive truth can be when you're talking about people and personality. "Besides," I said, "does showing something in a film automatically mean you're endorsing it or in any way glamorizing it? Is it simply possible to show something? I mean it goes into that idea that all film characters have to be likeable or that your lead always has to be a guy you like."
Fincher leaned forward at this point, and you can tell when he's engaged by a question. He digs into it. In this case, I obviously poked at something that was on his mind already. "That's the perception of people who are trying simply to separate you from the money in your wallet. Yes, if what you're doing is trying to…if I'm just trying to get you to go into a theatre and give me your money, then I've got to be thinking in terms of what are you going to want to see nine times out of ten? What's the kind of stuff you like? If you don't look at movies that way, if you don't look at a movie as this is just supposed to separate somebody from their ten bucks and you think of it as something other than just a diversion for people on any given night of the week, then I think you're…then you're doing something else. And so to address people who are criticizing something on the basis that it doesn't fit the mold of well, 'That's not very entertaining.' People who say, 'I actually was kind of disturbed by that.' And my problem is, I'm going to say, 'I'm so happy.' You know? That's what it was designed to do. You know, the whole notion that Mark Zuckerberg is unlikable is…I mean I don't even dislike him on '60 Minutes'. I question whether or not he's the guy who should be speaking on his own behalf, but I question that with a lot of people, you know? So that isn't making him an asshole to me. I actually think he's fantastically compelling. In the way that I think that Rupert Pupkin is fantastically compelling and Travis Bickle is fantastically compelling and Jake LaMotta is fantastically compelling."
I laughed. "Your'e naming some of my favorite characters from my favorite movies. People that I'm endlessly interested in as I watched them."
He nodded, enjoying himself at this point. "And that was the theme. I find that when somebody gives you a script like this and you read it and they say to you, as Amy did, 'We're making this movie. We're making this movie. And, sure, there are some caveats. It has to be made for X,Y, and Z,' but when you counter that with, 'Well, I would make this movie but don't come crying if it's not Russell Crowe. And know that I can't make this movie for $20 million. It's going to cost double that. And you better be prepared to green-light it right now because if we're not shooting by September, I'm not making this movie.' And when you have this moment in time where somebody says, 'We want you,' and you say, 'I want to do it but I'm going to set up some hurdles for you'. And she says, 'I can jump those hurdles.' And you go, 'Okay, great.' That's when somebody comes along and says, 'Is he likable?'"
Fincher paused, shaking his head. I agree with him. That question is the bane of my existence as a writer. Fincher continued, "It's like, 'Let's go back to that original thing which is we're making this movie.' You know what I mean? I feel odd about this because I see what Aronofsky went through in order to get 'Black Swan' made, or you know how they had to cut the budget in 'The Fighter' back, and I know that these movies get made in this way where it's like they almost get made in spite of the circumstances surrounding the business in that period of time. And I wish I could say that we had to struggle, but you know, Scott Rudin said, 'It's the best script I ever read and I want you to do it,' and I said, 'I'll read it tonight.' And I read it and I was like,'Holy shit. Aaron Sorkin hit it out of the fucking park. And I didn't know any of this stuff and I can't imagine being anything other than endless interested in listening to these people talk. And I think you're going to be able to find a fantastic cast of kids that maybe you've never seen before, which there's nothing greater than going to a movie and having a revelation like that.' And the studio says,'When can you get started?' I feel bad for everybody who had the Sisyphean effort of getting their movie made, but we didn't. We were like on God's highway. All the lights were green."
That hasn't always been the case, of course. When I moved to Los Angeles in the summer of 1990, "The Curious Case Of Benjamin Button" had already been in development for a while. That was a rock a lot of people tried pushing up a hill before David Fincher finally figured it out. "Yeah, and it was a drag," Fincher said. "It wouldn't have gotten made without three or four people at both Warner Brothers and Paramount who looked at it on paper and said, 'It doesn't make any sense but by all means.' So even when you have that support, it can be really difficult because that was a movie that could have cost $100 million more than we spent on it and so it was tough. That movie was tough. This movie wasn't a cake walk but you know, when you have a script like this you get to go to work going… there's that line in… was it Ira Levin's 'Deathtrap'? Where he says, 'It's so good even a talented director can't even fuck it up.' That was this."
Most conversations about "The Social Network" by necessity come back around to Aaron Sorkin's script, and it looks in the behind-the-scenes material like Sorkin was a major presence on-set for the film. "That's what you get with Aaron. You can't send him away," Fincher said. "That's television. The writers have control because in Aaron's case, the pages don't come out of his hand until he comes out of his trailer, you know, comes out of his office. And to be honest, I've never worked that way before and there were things that I disagreed with him on, like what was going on or the level of complexity of what was going on. But, you know, I think he's a voice just as the same way that Justin's a voice and that Andrew was a voice and Armie was a voice."
Just mentioning Armie Hammer bent the gravity of the conversation in that direction, and Fincher professed to being a converted fan of the young actor. "We searched high and low to find a Winklevoss who wasn't a punchline. We needed a guy who could go, 'Because we're gentlemen of Harvard,' and we would go, 'That's interesting,' instead of going, 'You fucking dope.' That's the key. That's what took four months to find. To find that guy where you go, 'Okay, he could be a Kennedy and he's chiseled and he has an air of good breeding without the arrogant condescending side.' I needed somebody who, for all of his advantages, he's got to be able to overcome his upbringing."
I commented how much I enjoyed the tension between Fincher's sensibilities and Sorkin's that seemed to be a big part of the reason "Social Network" works. "I met Aaron a couple of years ago when he was just out meeting people and it was after 'Charlie Wilson's War,' and I had read that script. I don't remember why. I think Pitt wanted me to read it. And I read it and then Mike Nichols got involved, and I remember seeing the movie and having, you know, nothing but appreciation for the verbal dexterity of it. And feeling like… I'm probably more of a fascist than…" He stopped, laughing at his own description of himself. "I like to think that I'm sort of a Sean Penn fascist. Sean has this great thing where he says, 'It's not that I'm for gun control. I just want people who think like me to have the guns.' I think if there was anything that Aaron and I kind of differed on, in terms of how we were thinking about the film, he was much more comfortable with the 'Revenge of the Nerds' being the kind of muscle, that it was like these are the disenfranchised, these are the outsiders, these are the guys with their nose pressed against the glass watching the cool people finger bang. And I felt like, that'll get you through Facesmash, but there's something else to this guy that is way more than vaginal retribution."
It's interesting watching a guy as smart as Fincher struggle to find the exact way to phrase something. I sort of think if he could sum it all up in two sentences, he wouldn't have made a 120-minute film to explore these ideas. "This is about… this is about… this is a guy who… you know, it's kind of like I made this joke and it's haunted me now. But I believe that you're one of the people who will understand what it's intended to say, which is I wanted to make the 'Citizen Kane' of John Hughes movies. That's not to say we're making 'Citizen Kane.' But specifically, the 'Citizen Kane' of John Hughes movies. So, yes, it is a coming of age movie. They are kind of dorky teens figuring this shit out between them. And there's no real intervention on behalf of adult society, you know? It's kind of like they're forced to figure it out for themselves."
One of the things that I've always been fascinated by is the history of how filmmakers have approached the technical issue of shooting one actor playing a pair of twins. There's the basic can't-go-wrong techniques of something like "The Parent Trap," but over the years, we've seen variations like the aiming-for-invisible approach of Cronenberg's "Dead Ringers" or the in-your-face-what-the-hell impact of Zemeckis on the "Back To The Future" films. As I asked Fincher about it, he seemed bemused at my interest in this particular topic, and when I mentioned the Cronenberg and Zemeckis examples, he said, "Well, come on… there's a lot of motion control in 'Dead Ringers,' to be fair."
And he's right. There is. But Cronenberg never oversold the trick. He just tried to build a space where Irons could give two very real performances, where a lot of times, people oversell the trick to make sure you notice it. The reason I'm so impressed by "The Social Network" is that when I saw the film for the first time, I didn't know Cameron and Tyler were played by the same person. I just accepted it completely. I thought they found twin brothers to play the part. "I love that," Fincher said. "Here's the trick. If you're backing out of a technique, you're going to get fucked every time. If you say, 'Well, we'll just do it all blue screen, it's all going to be blue screen.' Eventually people look at 500 blue screen shots, they're going to get it. If you're working forward from 'I've got 19 arrows in my quiver. I know I can do it split-screen. Sometimes we put the element that should have been rotoscoped, and instead of putting it in the middle of the… we would shoot that blue screen, instead, so you just keep changing it up so that people never have a chance to get used to looking at one thing. 'Okay, well, look at the front of his collar. That looks like green screen. It looks like it's fringing a little bit. Okay, now look at his hair.' There are so many things that you can fuck yourself on when you go, 'This is how I'm going to do it.' When you go in and go, 'Look, I'm going to stage the scene. I'm going to look at it. If we have to, we've got a 4'x6' blue screen we can bring in. If we don't, we've got somebody who can roto it. If we have to do a move on it, you know, bring in a motion control camera and do that. But for the most part we're going to figure it out later.' Because I know what elements are going to be needed given what the technique is and so I can just go, 'You know what? When he slides the thing over, I'm going to flip the whole table. So that's fine. So he's just going to do this, so I just need you at that point that you slide the paper over and you just have to look down, I'll cue it, we'll hear it playback and you'll hear it actually slide across and I'll just remind you to look down at it.' We did a lot of that kind of stuff where we just wing it, you know? But, you know, it's a digital universe. It's a different thing than a hard matte line on 'The Parent Trap.'"
Josh Pence is the guy who played the other Winklevoss, giving Armie Hammer someone to play off, a real acting partner. Defining what he gave to Armie for the film and what he gave to David requires a more limber definition of "performance" than we've seen in the past. "That was the hardest conversation, having to say to somebody, 'I don't want anybody else but you to be here so I can chop your head off and you can get no fucking credit. I need you to work as hard as you've ever worked, though.' It's hell on that guy because no one will ever recognize him." I talked to him about the way some actors and SAG react to performance capture and motion capture, making public statements about how all of this technology is going to replace actors. "That's just actors who haven't done it yet," he said.
I agree. If anything, I think it just gives actors more tools to bring to the table. "Let's put it this way," Fincher said, "there was a time and place where everyone agreed however stupidly that we were going to find twins And we looked and we looked and we looked and we looked and we looked. And then finally I said, 'We're not going to find twins. And I think this guy Josh, if he'll agree to do it, and I think Armie could play both the guys and then Josh can play the body and I think that will work.' And the studio said, 'Oh my God. How much is that going to cost? I mean you're talking about all this stuff.' I think it ended up costing a little over half a million dollars more, which they were shocked by. They were like, how's that possible? You know what I mean? That's the day and age we live in. We found stuff like we brought out motion control cameras and we had Armie walk into a room and be the A side of it and we'd take what we like. And Josh will be there. And then we'd have Armie walk in and be Josh and do the same thing. And what we'd end up doing was once you track the background against itself, you don't need motion control because you've got the same books, same bookcases. All that stuff's there. It's going to register to itself. The only thing you have to make sure of is that the guy doesn't go over where he's supposed to be, because all you need is, you know, a matte line around him of the background printed through itself. So you end up with this thing where you have, you know, in some cases you take the camera, flip it on its side and shoot vertically and go, 'Just don't let that motherfucker break the line,' and then wherever he was, reconcile the background and then sometimes at the top or the bottom, you'd have way more extra than you'd need. And you'd find the background, track that and then just go in and roto that. And it can be a really sloppy roto. It's easy."
What I love about Fincher's work is just how much technical control he has over his image, but how organic his films feel in those spaces he creates. It's hard to do. Guys who design their films as meticulously as Fincher risk leeching all the life from the stories they tell, but he manages to make it work. "My background in visual effects is always how you give that guy what it is that he wants and how to make it exist in the real world. Like how do you make it as real as you can possibly make it? And again I think, I'm not saying a different way of working because some composers write music to be heard, and some composers write music to support the film. Some actors want to be noticed and some actors are perfectly happy to be part of something bigger. When you're talking about putting an ensemble together and as much as you love Rashida Jones and this and that, the question is, "Are you going to be okay being an extra for fucking 12 days of shooting? I mean you are literally going to be handed a piece of paper and you're going to tuck them into things and you're going to write things on a fucking Post-It note. That's what you're doing. Are you okay with that?' You know? Because you want that person. You want that face. You want that voice when she finally speaks, you want somebody who's a fucking Harvard graduate, who's like… this is somebody. She's a formidable actor. And so you're cobbling all this stuff together. How do I make this world as real as I can make it or make it support the most realistic interpretation of this wholly unreal script where everybody has a 162 IQ and they're ranting at each other, you know, at 50 mph. I look at that as what you're juggling. That's what your job is. That's where you start."
When I saw "The Social Network," it was one of the very first screenings of the finished film, and Fincher was already on a plane on his way to Sweden to start work on "The Girl With The Dragon Tattoo. I asked him if he ever watches the work of his peers, and if so, whose work inspires and impresses him. "I don't watch as many movies as I should or as many as I used to or as many as I'd like to." It's a common complaint with filmmakers. He explained that he likes to build momentum on a film and not have outside thoughts get in the way. "Part of what you're doing is intention based and part of it is response based. You know, you have an intention for what the scene's about like how he should sound when he says this and how that line should be read and no one can do it the way you have in your head. So then it becomes whoa, that was interesting. It's not what I had in mind but that's useful. Like there's stuff that Jesse would do that I would look at and go, it's not what I saw but that's in the movie. Like when he gets flustered and stuff, I would go well I really didn't see Zuckerberg as a guy who's flustered like that and yet there's something about it that's kind of so human. Like great, you know? So part of it is you're trying to cage the amoeba. But also part of it is allowing it to take you places and, you know, I'm probably… I'm always impressed by shit that I didn't have to be there for, you know? I watched the opening titles of 'Black Swan,' and I go, 'Fuck. She's doing that. She's doing that.' And there's all the lens flares, and… I hate hand-held, but I thought that it was exactly right. And it was like the sound of the shoes squeaking and then whatever was going on with that slightly compressed shutter thing, I don't know… there was something out of phase or frequency on it. It was just like all of a sudden you weren't aware of a camera as much as I was just aware of like her skin and her muscles, you know? And I'm seeing her ribs and I'm seeing this effort. And you know I'm always one of these people, I try not to watch a movie star's eyes because it's so easy to be seduced, you know? You don't want to, like, don't get caught in the headlights. Don't be a deer. You know, you want to be able to kind of see how they're occupying this space. And as I'm watching, I don't know what I would have thought in dailies. I might have thought, 'Oh, should I have cut her upper shoulder a little bit more?', you know what I mean? There's something that you have when you're not involved with it and you just go, whoa, it's so exciting. I like that aspect of it but then there's also other things, you know, where I've been involved in projects that get made by other people and you go see the movie and you just go, 'What the fuck? All these people tell me my movie sucks? Look at that!' You know?"
The regatta scene, cut to the Trent Reznor arrangement of "Hall Of The Mountain King," is one of the film's most striking moments. It was also the last thing that FIncher filmed on July 4th, 2010. I told him that putting off a sequence like that to the end of the shoot is always a crap shoot, and in Rinzler's phenomenal The Making Of 'The Empire Strikes Back' book, Lucas kept putting off Yoda until the very end of the shoot, never knowing for sure if he'd work. Fincher laughed. "Can you even imagine how fucking balls out George Lucas was at that point in his life? He stakes his whole house, takes his entire bank account, pushes it to the center of the table, and says, 'Yoda is a Muppet.'" He started laughing again. "'I need 10,000 pounds of fucking baking soda. Get me the best stop-motion guy in the world. And get me Frank Oz.' You go, dude. That's so sick."
I asked what Fincher would have done if the regatta had been rained out or cancelled or if something had gone wrong with the shoot and they just didn't get it. He smiled, then put on a fake sad face. "I would have cried and cried and cried." As I laughed, he continued. "No, we shot for five days. We shot the actual Regatta for two days. We shot the day leading up to the finals and we shot the day of the finals. What I didn't understand was, you know, there's 100 boats or 300 boats to begin with and then they're in these heats and then people start going away. So you have 250,000 people on the first day and by the time it's done it's down to the 16 races that are going to define the finals. You're talking about the stands are filled with a couple thousand people. So we watched and my God it's like the Superbowl and then like the next day it's like half the Superbowl and the third day it's like a quarter of the Superbowl. The problem with that scene was not what are we going to get? The problem with that scene, and I shake my fist at Aaron jokingly was like, fuck you man. How can you write a scene in a movie that comes in the middle of a race if we don't understand the importance of it? We don't understand where we are. It's not like 'Rocky.' The guy's been training. Suddenly you see him in the ring with Apollo Creed. That makes sense."
He shook his head as he continued. "It's like you don't know where you are. You don't know what the stakes are. You don't even know how sculling works. And I honestly couldn't shoot live-action material. Like all the stuff with the guys rowing in the boats was shot with Reds on the camera mounts, so all the crowds advancing, all that stuff is CG. But we couldn't do the motion capture because we couldn't tile it in. We didn't have enough time. We had to finish something in like nine days. I got sick and we ended up having to go a day over and I needed the oar lock shots. So Bob Wagner went out shot all the shots in the last day. I got on a plane and by the time I landed in L.A. the footage had been sent over the Internet and they were cutting it upstairs. So we had two days to go, and we had a piece of music. We're cutting to a piece of music and then we went okay, time to put it all together. And it was thousands of photographs and thousands of frames and mattes had to be generated."
Finally, I asked Fincher about his longtime habit of using David Prior as the guy who puts all the home video materials together for DVD and Blu-ray. "Did you see his movie?" Fincher asked. He's referring to this:
And the answer is, yes, I've seen it, and yes, it's great. Prior is a talented guy, and he's been with Fincher for a while now. I asked if he feel comfortable at this point just letting Prior shoot everything, because not many filmmakers are able to relax enough for that. "I'm going to sound remiss as a control freak," Fincher replied, "but there are certain things I just turn over to David. For example, there's some stuff in the documentary that shows me berating some boom operator, and Scott Rudin called me and was like, 'Do you want to be seen doing this?' And I said, 'Should I ever do that again? Probably not. It's probably not nice and unnecessary, so maybe it's a good thing it's on the DVD. Maybe now I'll fucking remember. And Prior was like, "Look, you should show movies being made. People need to see a real document on the things, how it got made."
I mentioned how little patience I have with most studio-safe EPKs, and he nodded. "That was something that we always say. 'As long as you're not doing an EPK.' I hate that stuff. And I also think it's wholly fraudulent. It's a fucking circus, man, you know? And it's a bunch of trucks and a bunch of people shoveling shit and it goes from one city to the next and you do the best you can and you know the most important thing is make sure none of the trapeze artists die."
I told him that my favorite part of the documentary was how much time is spent listening to the way Fincher speaks to his actors. He's far more theatrical than many film directors, and I think he offers his actors some real insight and support in the conversations we see on the disc. "I've never seen anybody else direct, so it's a weird thing. I've seen Steven Spielberg, a little, and Wolfgang Peterson to a certain extent and a couple of other people, but I don't really… I've never really been on anybody else's set so I don't really know. I kind of feel like you've got to make your own way, and you need to be willing to change it up. When you're at a table with six 25-year-olds, it's a really different thing than when you're opposite Morgan Freeman. You know, Morgan Freeman's not bad at his job. You know there are certain great things about working with people you've never worked with before. And there's also really great things about working with people you have worked with before because you don't even have to say words. I like the way that I work and on certain things that Prior photographs that I'm embarrassed about… oh, well. Blu-ray will probably live on to be the most accurate document of what the movie was."
As we wrapped up and I packed away my laptop, we talked about the Blu-ray of "The Game" that should be coming in spring of 2011, and we talked a bit about the days of laserdisc, when we would look at CAV transfers of films and think "This is as good as it's going to get," and we talked about how much he hopes he can get "Heavy Metal" made with cohorts like James Cameron and Guillermo Del Toro, something that he describes as "very cool" but that has been difficult to get off the ground so far. It was a great conversation, and a nice way for me to wrap out last year and kick off this year publishing.
"The Social Network" arrives on DVD and Blu-ray on January 11.


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SCHEDULED: The March 1 release of Jennifer Lopez's new album, Rebirth – her follow-up to 2002's This Is Me ... Then – will be a double hitter, simultaneously coming out as a standard audio CD and a DualDisc (with a DVD on the flip side), Billboard reports. On the DVD will be interviews, in-studio footage and the video for her first single "Get Right," which is MTV's No. 1 clip this week. Lopez's primetime MTV special is set for Feb. 14, while the first week of March should see her on Today and The Ellen DeGeneres Show. "Rebirth" includes collaborations with rappers Fat Joe and Fabolous.
FILLED: Judge Rodney S. Melville abruptly ended the first phase of jury selection in Michael Jackson's child-molestation trial on Tuesday – a day ahead of schedule – after quickly finding a pool of about 250 people willing to serve on the case. "I think we have enough," Melville told the attorneys and Jackson before dismissing them shortly before noon and adjourning court until next Monday, when prosecutors and Jackson's attorneys will begin questioning the would-be jurors more closely.
ENGAGED: Access Hollywood coanchor Nancy O'Dell, 38, recently said yes to marrying business executive Keith Zubchevich, 35, PEOPLE reports in its new issue. This will be the second marriage for both. The couple, who have dated for nine months, have not yet set a wedding date.
VISITED: Barbara Walters, 73, reported on The View Tuesday that when she visited her friend Martha Stewart, 63, at the Alderson federal prison in West Virginia last weekend, "she looked very well – she has lost 20 lbs. and is in very good spirits." Walters also said that the domestic diva, who will be released next month before serving five months of house arrest as part of her sentence for obstructing justice, "teaches yoga (and) said she misses absolutely nothing material." In addition, "She said she loves scrubbing the floors in the bathroom," Walters added.
NOMINATED: Usher picked up a leading five nominations Tuesday for the Soul Train Music Awards, in such categories as best male R&B-soul album for Confessions, and best male R&B-soul single for "Confessions Part II." "My Boo," his duet with Alicia Keys (whose The Diary of Alicia Keys is also up for best R&B-soul album by a female), also earned him and the soul diva a nomination. Sexy newcomer Ciara garnered four nominations, including best female R&B-soul album and best R&B-soul or rap by a new artist. The awards will be presented Feb. 28.
SELECTED: Former President Bill Clinton was picked by United Nations Secretary General Kofi Annan on Tuesday to be Annan's special envoy to countries affected by the Dec. 26 tsunami in Southeast Asia, reports The New York Times. In a statement, Clinton said he looks forward to assuming the post once he returns from a visit to the devastated area with the first President Bush later this month.
BOOKED: Wrestling star Lex Luger (real name: Lawrence Pfohl), 46, has been arrested for DUI and other charges after being spotted by a Cobb County, Ga., police officer when he stopped on the side of Interstate 575 on Monday morning, slumped over the steering wheel of his vehicle, reports the Associated Press. Pfohl woke up and drove away but the Cobb County officer called authorities in neighboring Cherokee County for assistance, said Nicole Ebbeskotte of the Cherokee County Sheriff's Office.
ARRAIGNED: Lynn Anderson, 57, has pleaded not guilty to shoplifting a Harry Potter DVD from a Taos. N.M., supermarket and punching a police officer last month, AP reports. Anderson's lawyer entered the pleas on behalf of the country singer. Taos County Magistrate Betty Martinez allowed Anderson to seek medical treatment out of state after the pleas were entered. Brigitte Ursula Lotze, Anderson's lawyer, said the singer deserves the prayers of Taos residents.
SPOTTED: Disappointing news from Pennsylvania. Wednesday being Groundhog Day, furry little Punxsutawney Phil climbed out of his hole in the morning – and saw his shadow. According to legend, this means the rest of us are still stuck with six more weeks of winter. As the crowd of humans outside Phil's hole erupted into a chorus of boos, the nation's weathermen advised not to blame the messenger.
In Brief
Lopez Does Double Duty for Rebirth
Tony Barson/Wireimage


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Several months ago, I got together with two other extremely talented ladies Margaret Bedikian of Three Apples Events and Leah Proctor from Zinnia and Co. to do three completely separate style shoots. We did one in the morning at The Inn At Wild Rose Hall, the afternoon was spent doing this one at Vista on Seward Hill, and the last was done at Barr Mansion (here is a taste of that one). Each of us took our vision and ran with it. The first was a tea party and while we all brought something to the table (so to speak) the real vision came from Margaret. This one, I call it Sinatra, was mine. It was inspired by a Frank Sinatra song and I wanted to give it that dark and dreamy feel. Understated with gold, black and cream, it screams class and sophistication without having to really say it at all. We used place settings, glassware and flatware form Antiquaria's collection. LOVE it! Margaret and I went on a shopping spree to Gilda Grace for some detail touches and re-sale shops for the rest. The candle stick, turned single cream rose bud stand was my favorite. Leah spray painted magnolia leaves in gold for the rich luxurious backdrop for Anitquaria's flatware. Seamless. The golden draped chair ties add drama to Vista on Seward Hill's already dramatic look. Gilda Grace Collections' high fashion wedding collection was perfect and added that final touch to this already drama-laden experience. This is exactly how I imagined it. I hope you enjoy it as much as we did putting it together! You can also find a "how to" on ruffled.com <click>
She-N-He Austin Wedding Photography and Design specializes in making your day…YOURS. We capture your wedding just the way you see it. We're a husband and wife team with backgrounds in Graphic Design/Art Direction and Commercial/Editorial Photography respectively. We bring to you a unique perspective that is romantic, modern and timeless and 15 years experience shooting all over the world. Call us and tell us all about your big day. We're listening. 512-351-9314
Venue – Vista on Seward Hill / Coordinator – Three Apples Events / Cake – Blue Note Bakery / Flowers – Zinnia and Co. / Rentals – Premiere Party Central / Dress - Gilda Grace Collections / place settings-flatware-glassware – Antiquaria


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Our classes typically run 1 hour with time for a warm up, technique drills and instruction, followed by a workout and a cool down activity. You can expect the workout of the day (WOD) to range from 10-30 minutes and sometimes it may even be shorter! CrossFit is very different from working out alone, you will be encouraged and congratulated by people you may not know (yet). You may see people with wildly different abilities and levels of fitness doing the same things with different amounts of weight. You can expect to be sore the next day, this is a good thing… it means you got a useful workout! We scale and modify all activities up or down to challenge you at your current level (yes you can do pull ups). You can also expect to meet some new people that all are searching for the same thing… increased functional fitness in a motivating and positive environment.
Visiting CrossFitters!
We love having crossfitters from other boxes stop in to WOD with us! If you travelling up or down I-5 stop in because we are about 3 minutes from there off HWY 22 (exit 253, go West). You have a couple options for payment: $15 drop in fee (or a punchcard for longer visits), or buy a shirt! We have an exceptional box and you will love the space and equipment options (and of course the amazing trainers). See you soon!
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Nov 8th - Gobbler Gauntlet @ Eugene CrossFit
Wear athletic shoes and apparel. Arrive 10 minutes early and introduce yourself to the other participants, start stretching (as best you know how). There is a basic warm up written on the white board... just start doing that and class will start at about 5 after.
Thanks for reading and we can't wait to see you at CrossFit Salem getting in the best shape of your life in a fun supportive environment!
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• Research, academic framework, and theoretical insights on reclaiming the city, public spaces, urban streets, and urban infrastructure.
• Built projects, case studies, practical methodology on urban revitalization.
• Works that focus on urban sustainability, where new sensitivities to the design of public spaces contribute to a sustainable urban and social environment.
• Works that focus on urban planning/management perspectives, community based activities and strategies, and other interdisciplinary issues.
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Interested participants are invited to submit an abstract, not exceeding 500 words. All abstracts and papers must be written and presented in English. They will be subject to a process of blind peer review.
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The Malayalam slang term for a beggar, or a mooch. You can call anyone that is annoying or useless this name. Malayalam is a South Indian language.
Yo check it, Rob is comin here for money I'm sick of that thendy!
Beküldő: Detroit Malu Joe 2003. október 23.
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At Jazz Fest 2009, Chef Susan Spicer demonstrated this recipe from her ookbook, "Crescent City Cooking."
Makes 6 appetizers or 3 entrees
2 tablespoons olive oil
3 cloves garlic, peeled, thinly sliced
1 pound medium shrimp (21-25 count), peeled, deveined, heads kept intact
½ teaspoon crushed red pepper
4 tablespoons dry sherry or white wine
½ teaspoon smoked Spanish paprika
Salt and pepper
2 tablespoons butter
1 tablespoon chopped fresh basil
Heat the oil in a 12-inch skillet over medium-high heat. Reduce heat to low, then add garlic slices and cook until light golden brown. Use a slotted spoon to remove the garlic slices from oil and drain on a paper towel.
Return heat to medium-high. Add shrimp and crushed red pepper and cook for two to three minutes, until the shrimp turn pink. Lightly salt the shrimp, then carefully add the sherry or wine and smoked paprika and mix well. Return garlic slices to pan, swirl in butter and cook one more minute, stirring to combine. Add the basil, toss or stir ingredients to combine and adjust seasonings to taste. Serve immediately, preferably with good, crusty bread to sop up the warm sauce.


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eBay's (NASDAQ: EBAY ) commerce developer platform, X.commerce, has hired Glenn Hasen to manage day-to-day operations of the sales organization for Magento, eBay's e-commerce software.
As VP of global sales and channels, Hasen will oversee merchant adoption, successful customer adaptation, and customer retention. He has more than 25 years of experience in sales, business development, services, and channels in areas such as big data, the cloud, applications, and mobile. He's served as president and CEO of several technology software companies.
In the press release, Magento co-founder and CEO Roy Rubin said: "We are delighted to welcome Glenn to the Magento family. The depth of experience that he brings to the sales team will help us foster greater collaboration between our key stakeholders as we double down on our commitments to merchants, partners, and developers