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No bond for Denver man accused of killing neighbor
DENVER - A Denver man accused of wounding his wife, killing his neighbor and using makeshift explosives will remain in jail.
A judge denied bond 31-year-old Daniel Abeyta on Tuesday.
He's accused of wounding his wife, Autume Estrada, and killing neighbor Sandra Roskilly on Aug. 16. After the shootings, he was shot by police after they say he shot at a propane tank with gunpowder on top.
Abeyta is charged with first-degree murder after deliberation, using an incendiary device during a murder, first-degree assault and child abuse. There was a child in Abeyta's home when Estrada was shot.
A hearing to determine if he'll stand trial will be held Oct. 7.


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Avg.Rate: BRL 112.00 - 210.00
Rating: 0
Avg.Rate: BRL 227.00
Featuring free WiFi throughout the property, Leopoldo Hotel offers accommodation in Guanambi. Guests can enjoy the on-site restaurant.
You will find a 24-hour front desk at the property. 자세히
Avg.Rate: BRL 81.00 - 135.00
© 2017 by discount-hotel-selection.com.
Created with love, devotion and pixie dust.

subset: commoncrawl


text: Photos (1) Map and Directions Street View Commute Time Walk Score Driving Walking Transit Get Directions Close No driving directions were found. Please adjust your search. To: Cc NE 11-73-6-W6 ..., Sexsmith, AB From: Via: Directions turn left on street 4 minutes 2.5 miles Driving Directions - View this Property Today CC NE 11-73-6-W6 ... - Excellent location. High visibility lots with highway on 2 sides. Rail spur access available. Power, gas and phone available. Paved roads and street lights. Highway frontage. No municipal water & sewer. Various size lots to choose from. This lot is listed for $150,000.00 per acre. Property Details ID: L081920 Storeys: 0 Style: Other New Construction: No Status: Active County: Canada Features Other Fireplace Present - False Transaction Type For sale Listed By RE/MAX GRANDE PRAIRIE


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Kurtley Beale calmly slotted a 77th minute penalty to hand Melbourne a 32-31 Super Rugby win over Western Force in Perth, as Australia's two battling franchises played out a seven-try thriller.
The teams occupy the bottom two places in the Australian conference but came into the game in varying form with the Rebels off the high of beating the Crusaders last week while the Force returned home after disappointing South African losses to the Cheetahs and Sharks.
The teams combined for seven tries up until the 45-minute mark with Cadeyrn Neville crossing twice for the Rebels and captain Gareth Delve and Cooper Vuna once as the visitors secured the four-try bonus point in the first half.
However, the Force scored two five pointers of their own in the first half through Napolioni Nalaga and Ben McCalman, and when Alfie Mafi came on at half-time he immediately scored after the break to bring the home team to within six.
It took just two and-a-half minutes for the Rebels' opening try and it came to Neville after 14 strong phases.
It was then 14-3 after 20 minutes when Mark Gerrard brilliantly set up Delve's try for Melbourne.
Nalaga did respond for the Force after breaking through two Rebels defenders but the Rebels had the first half answers when a dumbfounding dummy saw Neville again break through the Force defence.
McCalman benefited from a Will Tupou breakthrough to then score a try in the 30th minute, but again the Rebels responded through Vuna before Mafi gave the Force the ideal start to the second half.
It was down to penalties the rest of the way and it was Kurtley Beale who nailed the last one of the game for the Rebels out wide from about 40 metres in the 77th minute to secure his team's second consecutive win.
It takes the Rebels to a 4-7 record to be on the same wins as the Waratahs with a game in hand while the Force slips to just two wins from 12 games in what is turning into a horror campaign for the Perth-based franchise.


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Of all the holidays celebrated worldwide, no single day is more loved by the UTG staff than Halloween. With the arrival of October, the time has finally come to begin rolling out a plethora of features and special announcements we have prepared in celebration of our favorite day, including the one you're about to read.
31 Days Of Halloween is a recurring daily feature that will run throughout the month of October. The hope and goal of this column is to supply every UTG reader with a daily horror (or Halloween themed) movie recommendation that is guaranteed to amplify your All Hallows' Eve festivities. We'll be watching every film the day it's featured, and we hope you'll follow along at home. If you have a suggestion, contact us and we may include your favorite scarefest in an upcoming column!
Day 24:The Faculty (1998)
Imagine your least favorite teacher from high school. You know the one I'm talking about; the one that made an ass out of students to prove a point and threw in a VHS of Bill Nye the Science Guy when he didn't feel like teaching class. He likely wore black shoes with a brown belt, drank an unreasonable amount of Diet Pepsi throughout the day, and had a voice like a pencil sharpener. That jerk also probably scheduled exams for Friday and marked you absent if you walked in just as the final bell was ringing. Oh, and let's not forget the time he sent you to the office for wearing your hood up indoors, which, let's face it, is a stupid rule to begin with. Okay, can you picture him in your head?
Perfect. Now imagine that guy with tentacles, rows of razor sharp fangs, and plans to systematically eradicate the human race, and you pretty much have The Faculty.
Written by Kevin Williamson (Scream 1 and 2) and directed by Robert Rodriguez (From Dusk Till Dawn, Machete), The Faculty centers around a group of students who all attend the same unusually violent high school (Seriously, I don't get it–the first five or ten minutes is pretty much a montage of kids beating the shit out of each other). Though all outcasts in their own right, the main characters start out as either strangers or enemies but are slowly brought together as their teachers and coaches start acting slightly "off." Following the discovery of a "new species" on the football field, things go from bad to worse, and, as you probably guessed, this unlikely group of heroes must band together to stop an extraterrestrial force from multiplying and conquering the world.
True enough, the plot line of The Faculty may not get high marks in terms of originality, but this film is still a gem. First and foremost, it does an absolutely phenomenal job at stoking one of the most basic human fears: being totally alone. As the film progresses and (spoiler alert) more and more students and faculty fall under the control of slug-like aliens that crawl into their ear and hijack their bodies, the main characters are left questioning who can be trusted, and who is a grub. This uncertainty creates a wonderful sense of danger even during the film's more passive moments, and aside from propelling the story forward at breakneck pace, keeps the audience on the edges of their seats until the credits begin to roll.
On top of that, everyone and their freakin' grandmother is in this movie, including Josh Hartnett, Elijah Wood, Robert Patrick, Jon Stewart, Salma Hayek, Christopher McDonald and even Usher, just to name a few. Admittedly, the amount of notable actors starring in a film may not be the most effective way of determining a movie's worth (i.e. New Years Eve, Movie 43 *gag*), however I consistently found myself chuckling at all the cameos, especially once they all starting getting dismembered. And if that last statement wasn't enough of an indicator, there is no shortage of gnarly deaths throughout the film's 104-minute runtime.
Few will deny that high school can be a scary place, but The Faculty takes this notion to the extreme. What's more, it does so relentlessly, leaving little room for the audience to catch their breath amidst stomach-turning gore, occasional, well-placed campiness, and excellent, practical monster effects. Count me in.
Editorial written by: Kyle Florence
Last year's Day 24 film: The Orphanage (El Orfanato)
Kyle Florence
Latest posts by Kyle Florence (see all)
- UTG PREMIERE: Vulture Whale – 'Aluminium' - May 20, 2016
- UTG PREMIERE: The Pinx – "Southern Gent" - May 10, 2016
- UTG TRACK-BY-TRACK: Right On, Kid! – 'On The Brighter Side Of Things' - April 27, 2016


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Home > World News > Article
Japan, the United States and South Korea will demand that North Korea scrap all its nuclear facilities when diplomats meet next to try to resolve the year-old crisis over its moves to develop nuclear weapons, a newspaper reported yesterday.
The report by the Yomiuri newspaper suggested the three allies had no plans to restart a recently suspended project to build a pair of nuclear reactors to generate badly needed electricity for the impoverished communist state.
Citing unnamed Japanese government sources, the newspaper said senior officials from the three nations had agreed North Korea should not be allowed to "operate nuclear facilities even for power generation or other civilian purposes" as long as Kim Jong Il remains the country's leader because of the possibility they could be used to develop weapons covertly.
The allies will demand that North Korea agree to "dispose of" all its nuclear facilities at the next round of six-nation talks to end the standoff, the report said.
Any future energy assistance will be limited to providing help with the construction of non-nuclear thermal power plants, the newspaper said, adding that the policy had been decided at a series of meetings through December.
The report came a day after news that North Korea had invited a delegation of US nuclear experts to visit its main nuclear complex next week. The visit would be the first by outsiders to the site since United Nations monitors were expelled at the end of 2002.
In November an international consortium led by the United States, Japan, South Korea and the European Union announced it was halting work on a pair of light-water reactors under construction in North Korea as part of a 1994 deal under which North Korea agreed not to develop nuclear weapons.
The consortium agreed to a one-year suspension of the $US4.6 billion ($A6.14 billion) project, though a US State Department spokesman said at the time it had "no future" in Washington's view.
Phone calls seeking comment on the report from Japan's Foreign Ministry rang unanswered today, the last day of a week of New Year's holidays.
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|750 sq. ft.
|Property type
|Minimum Stay
|4 nights
Relax in this open 750 sq. ft., sunny apartment within a historic brownstone. Enjoy it's rich amenities including: a luxury pillow-top queen bed, hypo-allergenic pillows, high-thread count linens, free Wi-Fi, a flat screen TV, fully appointed kitchen, and on-site washer and dryer. Conveniently located in Brooklyn's Stuyvesant Heights historic district. Steps away from restaurants, cafes, art galleries, groceries, and boutique shopping. Minutes away from Prospect Park, museums, movie theaters, and trendy Fort Green, Clinton Hill, Williamsburg, and Downtown Brooklyn. Hop on the A train and you're 20-30 minutes away from all major NYC's vacation, dining, leisure, government, arts, entertainment, and sports attractions. Ideal for weekend getaways, extended layovers, business or group travelers, vacationing families, in-law escape, and short term lodging.
This apartment is absolutely a gem with just about all you will need to enjoy your stay in New York. I have other apartments all within the same area and if you are traveling with a large group, I can accommodate up to 60 adults. Come enjoy a new standard of vacationing in style without breaking your wallet.
For groups of 3 or 4, we added a queen sized futon bed in the living room along with the sofa. Note that the sofa is NOT a pull-out bed.
Spacious, 1 bedroom, 1 full bathroom, sleeps 4
Management was great to work with. Stayed for a week over New Year's and was very happy with the apartment. Warm, mostly quiet, and very close to stores, restaurants, and the A and C subway. The apartment was well furnished with all the basics, and groceries were a short walk or a delivery away. If you're looking for a place to stay in Brooklyn, this is a great choice.
We stayed in this apartment for six nights while in the city for a wedding and really enjoyed it. There are great restaurants in the area, a good little supermarket about a block away and the A train is close, although we didn't utilize it - we used Uber most of the time we were there due to the heat and humidity (we're wimps from Seattle!)
The place was comfortable and clean with everything you would need for your stay. I would definitely recommend!
Very comfortable, charming, absolutely LOVED the area, safe and everyone was so nice and accomodating. Very clean and quiet. Very easy to get to subway to manhattan. Charming neighborhood filled with lovely brownstones and friendly people. Prompt refund of security deposit. Improvements: another set of sheets, another stool or two for the breakfast bar would be great! Oh, and appreciated the nice towels : ) Highly recommended!
The apt is all it is advertised to be and the staff is very helpful. The place is clean and i was very satisifed...
The place is all it is adbvertised to be and the staff is very friendly and helpful.....
The place was everything it was advertised to be and more. The staff is very accomodating and i would recommend this to anyone.....
We do not provide tours of my rental apartments. This is, in part, because they are almost always occupied by other guests. Also, for the privacy and security of our guests, we do not disclose the physical address of the location until you have booked the apartment. Brooklyn is very large borough and it is the responsibility of the guest to ensure that this area is right for them and their needs before booking. If you are unfamiliar with the location, the nearest cross-streets are Bainbridge Street and Lewis Avenue. The apartment is 1 and 1/2 blocks away from the A express and C local subway lines at Utica Avenue, and 15 minutes from Manhattan.


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Do you diet alone? If you have a significant other, does he/she join you in your quest for healthy eating? Do you feed your children super healthy foods? My personal experience has been that I am usually alone in my weight loss strategies. So today, I have a Honey Granola Yogurt Parfait for One just for all of you sole dieters.My kids often roll their eyes at my veggie laden plates and my fruit and cheese desserts. I get my revenge when I bring out parfaits like this one. Their eyes get big and they ask where the rest of the parfaits are hiding. I smile sweetly and tell them that they are healthy, gluten free and have no refined sugar. I am such a balloon burst-er. I do hope that someday, they want to eat less colored sugared cereal and more fruit and yogurt. Until then, I can only be an example and have the healthy foods available.
- ¼ cup gluten free granola (Kind or Udi's)
- 2 Tbsp fresh/frozen raspberries, strawberries, or blueberries
- 1 5-6 oz container plain Greek yogurt
- 4 tsp honey (locally made, if possible)
- In a glass or bowl, layer ⅓ of the ingredients in the order listed.
- Repeat twice more, ending with a drizzle of honey on top.
- Eat immediately.


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Packers run game has plenty of fans
Offense sees benefits if Starks can repeat last week's effort
Green Bay — In the afterglow of James Starks' 123-yard rushing performance in the Green Bay Packers' wild-card playoff victory over Philadelphia, receiver Greg Jennings broached a touchy subject:
The absence of a consistently effective running game this season.
Starks had only the second 100-yard game by a Packers running back and the first since Brandon Jackson rushed for 115 against Washington in Week 5.
"As an offense you're supposed to be able to run the ball to pass," Jennings said Wednesday. "That's why there's play-action fakes. Sometimes, jokingly, we talk about how we don't see how defenses fall for our play-action when we really didn't have an established run game.
"Now that we do, it's definitely going to add another dimension that we've not been lacking . . . but we've been lacking."
The Eagles played mostly seven in the box, and it will be interesting to see how the Atlanta Falcons defend Starks in an NFC divisional playoff game Saturday night.
"When you establish a standard of performance, it's important to hold yourself to that standard, and that's the way we'll move forward with James," said coach Mike McCarthy.
In the Nov. 28 meeting between the Falcons and Packers, Starks was inactive and Jackson gained only 26 yards in 10 carries. Quarterback Aaron Rodgers ran for 51 yards in the 20-17 loss.
"Last time, I was the leading rusher," Rodgers said. "Hopefully that's not the case again."
Hold on: The issue of James Jones' latest drop has been a hot topic in the locker room for two days, and his fellow receivers have come to his defense.
As Jones patiently answered questions about his drop that would have gone for a 63-yard touchdown against the Eagles, Jennings leaned over and playfully made excuses for him.
"This ain't no joke, man, because I've heard about that drop," Jones said.
McCarthy revealed this week that Jones has been playing with a painful thumb injury. But injury or not, Jones was the first to admit it was a catch he should have made.
"We're hard on each other with the semi-difficult catches that you don't make," said receiver Jordy Nelson. "The easy ones that you drop, there's nothing you can say. . . . Obviously, you know it's unacceptable. We'll try to get you to forget about it as soon as possible because you have to move on."
Shouldering the load: After the Philadelphia game, rookie right tackle Bryan Bulaga had a large bag of ice on his right shoulder, but he insisted it was nothing serious.
He's still maintaining it's not a serious injury, but he will be wearing a brace underneath his pads to protect him.
Bulaga was the only player wearing shoulder pads at practice Wednesday because he needed to get used to wearing the brace. He insisted it would not cause him to play any differently.
"I did (it) back in college," Bulaga said. "When I had surgery on my left shoulder (in 2007) I had to wear a brace. It's a totally different deal."
Asked what the brace would prevent his shoulder from doing, he said, "Externally rotate out and get caught in a funky situation. It keeps your elbows in a little more and keeps everything a bit tighter so you're not getting out in a vulnerable position."
Bulaga laughed when asked if it would force him to keep his hands inside and avoid drawing holding penalties.
"Probably will," Bulaga said. "May have to do it for both. I'm not worried about it at all. I feel fine. It's football."
Fully gassed: By his own admission, defensive end Cullen Jenkins did not finish very well Sunday against Philadelphia.
He had missed four games with a calf injury and didn't return to practice until the week of the Eagles game, so he wasn't exactly in football shape when returned. He wasn't supposed to play much but took 31 snaps, second most among the defensive linemen.
"I felt awful," Jenkins said. "I hadn't been out there for over a month. In that fourth quarter, I started cramping up. I almost pulled my hamstring, and that's when I knew, I need to take it easy."
Jenkins sat out practice Tuesday to give his calf a rest, but he worked out on the elliptical stair-climber and the stationary bike.
"Our big thing is to work on cardio," Jenkins said, adding he hoped his second game back would be a lot better than his first.
Injury update: Donald Driver (bruised knee) was a full participant in practice and looked good, according to McCarthy.
"I don't have any concerns about Donald Driver's availability for the game," the coach said.
Safety Atari Bigby (groin) and fullback Korey Hall (knee) also got on the practice field, although they didn't do everything.
"They're both improving," McCarthy said. "They're both pushing to play in the game. We'll see how the full week goes."
The news wasn't as good for linebacker Frank Zombo (knee) and backup center Jason Spitz, who suffered a calf strain in practice Tuesday. Neither practiced Wednesday, and McCarthy described Zombo's chances of playing as "fading" and Spitz's as "questionable to doubtful."
Lori Nickel of the Journal Sentinel staff contributed to this report.
Packers Blog
The Journal Sentinel's beat writers provide the latest news, notes and analysis on the Packers.
"Old School Packers" reprises a notable game or event in franchise history with the original newspaper accounts from the Milwaukee Journal and Sentinel.


text:
Depression Linked to Hormonal Contraceptives »
"Women who use oral hormonal contraceptives are at increased risk of developing depression, and adolescents seem most vulnerable, results of a large study suggest.
"Women should generally be informed about this potential side effect wi"...
Read the Depression Linked to Hormonal Contraceptives article »
(levonorgestrel-releasing) Intrauterine System
Skyla (levonorgestrel-releasing intrauterine system) contains 13.5 mg of LNG, a progestin, and is intended to provide an initial release rate of approximately14 mcg/day of LNG after 24 days.
Levonorgestrel USP, (-)-13-Ethyl-17-hydroxy-18,19-dinor-17α-pregn-4-en-20-yn-3-one, the active ingredient in Skyla, has a molecular weight of 312.4, a molecular formula of C21H28O2, and the following structural formula:
Skyla consists of a T-shaped polyethylene frame (T-body) with a steroid reservoir (hormone elastomer core) around the vertical stem. The T-body has a loop at one end of the vertical stem and two horizontal arms at the other end. The reservoir consists of a whitish or pale yellow cylinder, made of a mixture of LNG and silicone (polydimethylsiloxane), containing a total of 13.5 mg LNG. The reservoir is covered by a semi-opaque silicone membrane, composed of polydimethylsiloxane and colloidal silica. A ring composed of 99.95% pure silver is located at the top of the vertical stem close to the horizontal arms and is visible by ultrasound. The polyethylene of the T-body is compounded with barium sulfate, which makes it radiopaque. A monofilament brown polyethylene removal thread is attached to a loop at the end of the vertical stem of the T-body. The polyethylene of the removal thread contains iron oxide as a colorant (see Figure 10).
The components of Skyla, including its packaging, are not manufactured using natural rubber latex.
Figure 10. Skyla
Skyla is packaged sterile within an inserter. The inserter (Figure 11), which is used for insertion of Skyla into the uterine cavity, consists of a symmetric two-sided body and slider that are integrated with flange, lock, pre-bent insertion tube and plunger. The outer diameter of the insertion tube is 3.8 mm. The vertical stem of Skyla is loaded in the insertion tube at the tip of the inserter. The arms are pre-aligned in the horizontal position. The removal threads are contained within the insertion tube and handle. Once Skyla has been placed, the inserter is discarded.
Figure 11. Diagram of Inserter
Last reviewed on RxList: 1/3/2017
This monograph has been modified to include the generic and brand name in many instances.
Skyla FDA Prescribing Information
Additional Skyla Information
Report Problems to the Food and Drug Administration
You are encouraged to report negative side effects of prescription drugs to the FDA. Visit the FDA MedWatch website or call 1-800-FDA-1088.
Women's Health
Find out what women really need.


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Players take a beating and you can't blame them for trying to make the most money they can....while they can. There's no guarantees to how much longer his career will last.
These guys have to think about their lives after football and what's best for their families. I don't want him to go but can't say I fault him here for testing the market.


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Gee murphy1, this is so nice. The best I spy I have seen.
Welcome to the Quilting Board!
Gee murphy1, this is so nice. The best I spy I have seen.
"Take your needle, my child, and work at your pattern ... It will come out a rose by and by. Life is like that ...one stitch at a time, taken patiently."
*Oliver Wendell Holms
great job! That will definitely fit any color scheme for a new baby.
Cindy Stowe
Very nice! I've never seen the pattern before - I like it. Thanks for sharing.
Lovely quilt. Thanks for the instructions. I will be going through some scraps and start the hunt for more fun fabric. It will be fun to look for fabric as I'm going shop hopping soon. Thanks again for the tutorial.
What a great quilt. You did a terrific job with the pattern and colors. Thanks for sharing the site.
This is terrific! I love seeing all the different styles of I spy quilts. Now if only I would finish mine...
aka Chicken McLittle
If it's true we learn from our mistakes, I'm going to be a genius!
I love this I spy!! It has LOTS to look at!! Great jpb!! Thanks for the inspiration!!
When life gives you lemons, make lemonade.
I've made lots of I spy quilts, but I really like yours! Thanks for sharing the link as well.
"You can't help that. We're all mad here." - The Cheshire Cat from Alice in Wonderland.
I've been collecting, too. Thanks so much for this idea! Love it!
Sewing: Cheaper than therapy!
Oooooh, I love it. Thanks for sharing. This is on my to do list.
so many quilts to make, so little time.


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Aishwarya Rai Bachchan fans throng in thousands to get a glimpse of their favourite star in Kochi on August 19.
The actress was there to inaugurate the first Kalyan Jewellers stores.
A special stage was made anticipating a large crowd outside the store for her to address the fans before she went ahead with the formalities of the launch of the store.
Aishwarya looked stunning in an off white lehenga by Abu Jani and Sandeep Khosla later in the evening she also attended their book launch.
She inaugurated the store along with Malayalam superstar Dileep.


text: A lifetime, generation, and musical life cycle ago – aka in the '90s – Ming was part of an experimental hip-hop group you might have heard of: Ming + FS. The duo used breakbeats as the foundation for most of their work, but was best known for eschewing musical boundaries and resisting tidy little labels, freely incorporating elements of house, electro and drum 'n' bass into their music. They affectionately dubbed this smashed-up style "junkyard," a moniker that got picked up in dance music press, and on their own releases (like 1998's "Junkyard Drum 'n' Bass"). Over the course of their decade together, Ming + FS played over 1,000 shows in the United States andabroad; released four albums, a series of EPs, and countless 12 inches and remixes. In 2006, Ming parted ways with FS to open his own company, Hood Famous Music (HFM). "When I was with Ming+FS, the industry wanted everything to be in a bucket, genre-specific," he says. "I wanted to stay in music, but not the same type." Fast forward five years and Ming has stepped right back into the remix ring, churning out re-works for pop icons and upstarts that incorporate an even broader palette of sounds. He turned Beyonce's "Who Runs The World" into an electro-meets-dubstep anthem, framed around Diplo's now legendary beat. He stripped down Lady Gaga's "Telephone" to a slapped bass and plucked guitar before building to a rock-propelled danceepic. And for the Black Eyed Peas' "Rock That Body," he chose swirling, dubby synths and bass, and warped vocal treatments. Armed with a newfound sense of liberation, over two decades' worth of production know-how and tools, and inspiration from dance music's bevy of new champions, Ming is looking toward the musical future he always dreamed of. But the sweetest part of all for this musician-by-blood is just being back in the mix. "I've got something to say – again," says Ming. "I felt like it had been said and done. Now I have my voice back."


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Cheap Thrills is playing as part of the New Zealand International Film Festival. Craig (Pat Healy), reeling from a day of bad news, heads to a bar and has a chance meeting with an old friend, Vince (Ethan Embry). The two of them have a chance meeting with a couple of strangers, and things just get weirder from there.
Director E.L. Katz sat down with NZ Herald Online film blogger Dominic Corry and Incredibly Strange programmer Ant Timpson to Cheap Thrills, and a whole lot more.
Dominic Corry: Evan, your film Cheap Thrills rocked my world. Did you set out to comment on class culture or class conflict rather?
E.L. Katz: No, I don't think that that was, like there was no initial like thesis, like this is what we have to do, this is the political stuff we have to like comment on. I think a lot of that stuff is just kind of going to fall into place if you have two rich people and two poor people playing this game.
But essentially I think what I was thinking about a lot was tone and, you know, the concept of partying and fun and having that also turn into something really violent and horrible, but to keep a party atmosphere. I think it was more of a weird, you know, it was actually more of an atmosphere that I was kind of thinking about more than anything overtly political.
AT: Well I think it's something that's accessible to everyone. You've been in a bar, everyone's been in a bar, everyone's had a drink bought by maybe a stranger. I think if you're in a lot of bars weird stuff does happen, you know. It's not a big leap to think of someone saying for twenty bucks would you do this shot of something.
EK: Then the weirder shit becomes more possible.
AT: I mean I would probably hit Hugh for fifty bucks straight away, you know.
EK: Totally, for sure.
DC: So the point was not so much to comment on societal mores but to get to the pulpy extremities at some point?
EK: I think there's certain things that I have against certain societal mores for sure, but that's just me. But it wasn't something that I set out to do. It's like I think reality shows, even though occasionally me and my wife might watch them when my brain is completely f**ked and I want to decompress, it's just sadistic, dumb, monkey shit and it's funny that that's such a big part of, you know, what's being produced right now.
DC: Was the original title of this film Fear Factor - The Movie? (Laughter)
EK: It was Money for Something. I think in some ways there's like reality shows, I think they're pretty sadistic. I think, but I think beyond that we are pretty sadistic and if anything maybe I'm more influenced by seeing how people deal with peoples' public sort of embarrassments on YouTube or, you know, just on the Internet. How it's kind of fun to see somebody self destruct.
AT: In a way money doesn't actually have to come into the equation.
EK: No, it's not just money.
AT: In a sense, because people are doing a lot of this extreme stuff just for the fame. For notoriety.
EK: Totally. We want to see people hurt themselves, we like to see people look stupid and, you know, and I think it's really easy to push that further, and it's very easy for us to become casually cruel. And I think as humans it's not all just money. It's like I think we like to watch other people be worse off than us, you know.
AT: And also I'm kind of interested in the aspect of it, as an alpha male which I think all of us have bits of us in it, dealt with the fact that you kind of want, you don't want to let the person down that you are impressed by in a way. Who seems to be more onto it than you are in many areas, and you kind of want to please them. So it's not necessarily about a fiscal obligation, it's kind of like there's an inherent, deep insecurity that we always want to look better and cooler amongst people who seem to have their shit together.
EK: Completely, and I think it's funny, it's not, it is a very male perspective, you know, this film. And that's just where I come from, so it's just understanding, you know, what it's like to run around with a bunch of other idiots and the kind of social dynamics that come into play.
DC: Are you a parent?
EK: Not yet, next couple of years I'm sure it'll happen.
DC: Right, because I find this film interesting, I could easily see it coming from the mind of a parent worrying...
EK: I've been asked that, I've been asked that many times but I'm an older brother, I have two younger brothers...
DC: You know what it's like to have those kind of responsibilities.
EK: I've been a camp counsellor, I've had kids almost like fall off boats. So it's like I have at least a hint. But I think I understand at least family fear with having two younger brothers. My mum passed away when I was six, so I kind of had to raise my younger brother while my dad worked, and in many ways I kind of had to take on the dad role. So I understand that feeling of...
DC: Familial obligation.
EK: Yeah, and basically feeling that, you know, it's like I remember killing a rattle snake when we were in Rochester because it like...
DC: I was going to say were you living the Winter's Bone lifestyle?
EK: Well, we lived in Rochester which is like not, you know, listen when I was younger it was a nice suburb.
DC: That's where Xavier's School for Gifted Youngsters is.
EK: Sure, not anymore. Everything's foreclosed and, you know with the Kodak museum. You know like I get that and I guess I understand just the fear of having the people that you care about suffering and you being responsible for it. So it's like, you know, I totally get somebody being put in a position where they have to do really horrible things to kind of be the good guy. And that's kind of something that I, it happens to people you know.
HS: When you were writing it did you give much thought...
AT: He didn't write it...
EK: Actually I did rewrite it but I couldn't take credit because I'm a member of the Guild. But it was a collaborative effort, you know, there was another writer, David Chirchirillo that did a lot of...
DC: You've got to change about 75% or something if you're the director aye, before you can take credit.
EK: We never submitted it to the Guild because I would've had to have been paid more than half the budget and, yeah.
AT: Which was not going to happen.
EK: No, I worked on the script before I shot it because at first it was kind of like I'd never directed something before, and for the longest time the document itself was very outside of me. And it was like okay, at some point I have to realise this in a way that seems actually like real.
It took me kind of sitting down a little but and f**king with it and playing with it to actually start to imagine things in my head. And until you can actually place yourself there and see a movie you can't really, you're just pretending that you're making a movie.
DC: Well that's the essential role of the director isn't it, is to take the story on board and to interpret it. Just getting back to the realistic aspect of the film, I was worried, I mean I wasn't worried because I like Very Bad Things, but I was worried that it would just become this one-upmanship, more and more crazy kind of thing.
And what was most pleasantly surprising about Cheap Thrills was that it didn't take these huge leaps. Everything was incremental and realistic to a degree. How challenging was it to make the decision, every decision each character made feel organic to that moment?
EK: I think what's been incremental is the aggression between the two friends towards each other, and in some ways how far they're willing to go. But not necessarily the extremity of what they're doing, it's just, it's kind of more in their behaviour. Because if anything, you know, we felt like it would really, you know, it's not Saw, it's you know, if you just have them cutting off an arm or a leg, at that point you're not connected to it at all. It's just, it is just gore porn.
But it felt like if you could just have people being pushed, that's what Violet and Colin want them to do, they want them to f**king hate each other so they can eventually [spoiler removed]. But pretty much all of their work is to make them treat each other worse and worse. And if anything that felt really organic and easy to do because, you know, you understand how you can piss people off, you can understand social dynamics. And it's like if a guy keeps whacking you on the back, even if it's friendly at first, by the end of the night if you kind of twist things a little bit it's easy for that to lead to a fist fight, you know. So if anything that was easy.
HS: What I was going to say before was that idea of, and not writing it maybe you don't know but, I wonder how much thought went into the set up, the premise. Like of the scenario that the guy found himself in, for him to do that, do you know what I mean? Like did you worry about if it was...
EK: No because I think there's a shorthand to it, and I think, you know, even in, like when we were in South Korea when you see him get fired and her murmurs in the audience, like they understand, like this is like f**ked, you know, he's in trouble, you know, and if anything it's like, yeah, it might even be like, you know, it's almost like coincidental to a crazy degree how many bad things happen to him in a row.
But like I really wanted to load that up in a way, so people get it, they understand why he's doing what he's doing and you know, you have to understand why he's there in the first place.
DC: Do you think the world is more, or the film going audience is more amenable to stories about economic desperation these days?
EK: Yeah, I think it's universal, but I think it always will be. I don't think we're ever going to figure that out. I don't think that we reach a point where the world's economy has been wonderful and every country's doing fantastic. I think movies about underdogs that are struggling to pay the rent -
AT: It's not a response to Wall Street.
EK: Exactly, it's not, it's just somebody's always f**king struggling, like that problem doesn't go away ever.
AT: I think the balance that the film gets really well is the, because it's such an easy thing to fall into a really mean spirited series of events, and it's got that underdog appeal.
The tone of it is really spot on and I think that's a really hard thing for a lot of directors to get, and I think you do it really well in the film Cheap Thrills. That it actually rides that balance between pulling the audience in, turning them on to the hook, and then not losing half your audience with how far you go.
Because I know that you want to push buttons, and I know for a first film you want to make some noise and have a film that's recognised because in this clutter day and age there are so many indie films being made everywhere. To stand above you've got to maybe push a few buttons, but you don't want to push too many because you end up with a film that backfires on you in a way.
EK: And it's also about me, you know. I think I'm like, you know, I think I'm a nice guy. I think I have, you know, obviously I have fun with really f**ked up stuff in movies, and I was raised on stuff that's edgier. But like I didn't want to go beyond just because, and none of this stuff in this movie felt like I was stepping outside of my own, you know, comfort zone. And I didn't want to.
DC: Were there any films that you had in mind when you were approaching this?
EK: Yes, a lot of the Scandinavian thrillers, you know, a lot of like the Haneke stuff, you know, I think a lot of European dark comedy to dramatic thriller, you know. Stuff that's sort of stepped down and...
DC: Like Funny Games maybe?
EK: Funny Games, obviously Funny Games is a huge influence..
AT: You know what it reminded me a little bit was After Hours.
EK: I love After Hours.
DC: Yeah, totally I got that, I got that, totally.
AT: Because it all happens at night, and it's like after a certain time of night...
EK: People do crazy shit.
AT: Yeah, it's an open playing field, things can go, escalate really quickly in the right scenario. It's like alchemy, if things all start clicking into place your night can turn into like one of the craziest nights of your life really simply you know.
EK: The thing is it's like we, like our reality is one thing, and it can easily shift, and it really doesn't take that much. And if you're partying and if you're having fun, and if you're drunk you don't know what you can do, you can do anything.
Like really, you can kill somebody. Like there's people that go out to the bar and they hit somebody and they had a bottle, and they've killed a dude. They didn't set out, they're not that person, that's not who they are. And it could be any of us, it could be something that's a teacher.
AT: It's a weekly thing here. (Laughter)
EK: People do bad shit. Good people do bad shit.
AT: Is that a tag line on the poster?
EK: Yeah exactly! People do bad shit.
DC: Well I guess to me, I'm interpreting this film as good people do bad shit but sometimes other people like to give them that opportunity. So there's an aspect of kind of sadistic enabling going on.
EK: There's cruelty porn I think in our world, and I think people get off on it. I think we get off on it, and I'm not better than anybody else. I'll watch dumb shit and there's something inside of all of us I think that, it makes us feel better. It makes us feel more safe if we're not the one that's f**king up and it, you know.
AT: It's like rubber-necking.
EK: It is, yeah. We see something. But like for me, it was funny, I was influenced by films, I was influenced of aesthetics of making things naturalistic because that helps I think sell more absurd and fantastic elements. But it was really, it really was just trying to get an atmosphere of partying and cruelty at the same time and like trying to keep both going at the same time. And seeing if I could have something that's consistently funny but awful.
Because I hadn't seen a lot of movies that play with that tone as much recently, and you know, it felt like a good, it felt like me going to parties in high school. You know, you get, you know, I got beat to shit at a part in high school, had blood running out of my nose and people were dancing round and drinking beer. And I'm like okay, this is what it's like, this is what life is you know. And it's not, it's not always cinematic. I think sometimes you just draw from getting the shit kicked out of you, you know.
DC: Well you're finally getting it out now.
EK: There you go, it took me to New Zealand, that's awesome.
DC: I don't think anyone at this table would deny that experience.
AT: It's funny because New Zealand's got such a drinking culture that if anywhere's going to associate with things getting out of control with alcohol quickly it's probably this country in a way. Because there's a binge mentality.
DC: Yeah, there is but it does lack the Machiavellian nature of this film a little bit and that. Which is why I think I'm worried about this film giving drunk New Zealanders ideas a little bit.
AT: Hey, let me ask you this, we're thinking about putting money up on the screening on Friday.
DC: Oh yes. Yes, yes, yes.
AT: A hundred dollars, how far do you think a Kiwi would go, a buzzed audience member hyped up on energy drinks...
DC: Start by saying ten bucks to eat this jalapeño, and get the person that's willing to do that, and then start going okay, fifty dollars...
AT: Escalate it.
EK: That's smart.
DC: To show everyone your cock and balls, and then maybe like bring out a homeless person and...
HS: This may not be a spoiler, but the moment when you kind of flipped it and it was, you started high and then you started going how low would you go, do you know what I mean?
EK: I think that was my one overtly capitalism joke. But it wasn't, like that, I don't think that was, I think that was a pretty obvious satire of like people lowering the prices. Yeah, like negotiating themselves into nothing.
DC: It's the brutalist bit of the film!
EK: My dad had a used bookstore and he ended up going up against, among others, Barnes and Noble, Borders, Amazon, and it's a war of attrition. And it's basically you cut yourself down so low that at some point you're like we're not even in business.
Like this is, what are we doing, I don't even understand the game anymore. You're fighting for f**king scraps.
DC: I thought it was going to get to a point where Pat Healy was paying...
AT: That's the DVD extra, it's like a man bites dog ending where the camera pulls back and Evan's offering money to the actors. Like it's real dog shit, eat it.
EK: I think all of us run home feeling like Pat's character because ultimately, like you know, I did this movie and I felt like shit at the end. Like the actors felt like shit, everybody felt like shit, they'd sort of demeaned themselves. So it's like, you know, it's not just, it's not like everybody's outside of it, it's not like everybody's just like observing and look how smart we are.
It's like you're physically there, you're physically embarrassing yourself and taxing yourself.
DC: And even beyond that the scariest thing about this film is how everyone watching it at some point goes hmm, maybe, you know, maybe I would do that.
AT: You know the one thing that it didn't go, that I thought kind of like would've been really kind of shocking, even maybe with a bit better known, cast, even though they're quite well known names, is if there was full nudity involved. And there was like whoa, it's kind of like, it would be so raw to see people expose themselves like that, because you know it's a low budget film.
And I kind of thought like, but you know what, when you're not paying anyone how the hell are you going to go to those levels.
EK: It was one of those things that, it wasn't in the script that there was nudity. But I think that, you know, people wanted nudity but ultimately I kind of liked at least, like his wife shows her breast, it's like a quick, you know, you blink and you miss it. But ultimately as much as, you know, there's one version where yeah, they're completely naked and having sex, but I kind of like that she's still sort of armoured, you know. Because she's in control.
AT: I'm thinking more about your male cast being completely stripped.
EK: Well there's some balls in it actually. Ethan shows his nut sack. Yeah, if you brighten up your TV you'll see some nut sack.
HS: This doesn't matter at all to the discussion but I am curious. How did the couple [in Cheap Thrills] get their money, how did he get his money?
EK: I think his dad was rich.
AT: Who, [David] Koechner?
EK: I don't think Koechner works, I don't think he has a job.
AT: He's like Hugh Grant's character in About a Boy.
EK: Yeah, totally. I don't think he has tonnes of job skills. I think he's been doing this since he was young and now he's just a little older.
AT: He could be like a hedge fund manager, but he doesn't come across like that.
EK: I think he spends his time just hanging out, you know, he's chilling.
HS: Because I, maybe I was over analysing it, and maybe that's the thing with films these days, you are constantly trying to be cleverer than the writers while you're watching it. And going okay, what is it? Is it going to turn out that this couple were actually behind this guy losing his job, you know what I mean?
AT: Oh right, the whole Big Brother, yeah, manipulation.
EK: There was like, and I was never behind this, but some people were trying to push saying what if they didn't own the house at all. But I'm like who cares, it has nothing to do with it. I'm like who gives a shit, that doesn't mean anything.
AT: Right. Yeah, like they all go down and there's people that...
EK: There's people that are tied up under there. I'm like who cares.
AT: That actually would have ruined it, it would've ruined it anyway. You want it to be like an organic thing of people, both sides unsure of how far it's going to go. Because if it's all pre-planned right through it's kind of like what's the point of the film.
EK: No it's crazy, because who could imagine that it's going to work out that way.
AT: You don't know what, you don't want the end game to be known, the characters to know everything.
EK: Like Koechner and Sara Paxton's character, they're surprised when Pat comes back in to keep the game going.
HS: That was really interesting, I was like what's going on here. I was trying to work out how you could get him back in the story. Like he's gotta come back in, how are you going to do this. That was good.
EK: (Laughter) Well that was another thing...
DC: It's interesting how little Sara Paxon says in the film, you know.
EK: In the first draft of the script she said nothing. And I actually was okay, that's too much. How do I like, how do I still make it kind of weird that she doesn't talk that much, but still, it's sort of circling reality. And there's like some, you know, if there's like some rich dude and she's just in the corner texting, you know.
DC: That's what I was going to say, the key point in the film for me was when stuff's maybe about to end and then you see her texting and he gets the text, and he sort of snaps into action a bit, David Koechner. She's kind of the puppet master a bit.
AT: Did you know that she was texting him?
DC: I didn't when she was doing that, but when I saw him go "so", I was like okay, so she's pulling the strings here.
EK: She's sending him directions. Yeah, but at first you think she's just self absorbed.
AT: Facebooking.
EK: Exactly, yeah. So it's like I think people know that person, so when they see Koechner doing his shit it seems like okay this is the rich guy, this girl's kind of bored, whatever. Like you understand. They don't seem that weird, you know. By the end they're super weird. But they're a good couple.
HS: They are, but you don't think at the beginning, in the bar scene you don't think they're a good, I don't know, to me I thought there's some, almost like she was being held hostage or something, you know. She seemed so aloof that there was no possible way that...
EK: The one, the one like, the one moment that's like a tender moment is like they just creepily touch hands.
HS: Yes, and the close up of that.
DC: That's right.
EK: When the guys are fighting each other over [spoiler removed]. That's like a plan is coming together, like you know, she's just been made happy. I think everybody understandings, like, killing themselves to make their girlfriend or wife happy. You know, you go pretty far, so that was kind of what I channeled...
AT: She's the quintessential bored girlfriend who tries to get into, the boyfriend to get into fights in bars right. She's like the uber version.
EK: Totally.
DC: David Koechner who's amazing in this film isn't known for his dramatic work.
EK: No, but he was just in Behind the Candelabra for a moment.
DC: Was he, I think I missed him in that.
EK: Yeah, for one moment. I think he's giving some sort of legal advice or something.
DC: Oh no, that's right coz he, yeah he is, because Steven Soderbergh did the same thing he did with The Informant, where he cast like stand up comics in the supporting roles.
EK: Totally, yeah.
DC: I read this great interview with Joel McHale where he was like I got that call from Steven Soderbergh for The Informant and was like okay, my career's at this new level now. And then he turns up and like, you know, all these other stand ups are there.
EK: That's amazing.
DC: What I was going to ask though is were you concerned that his comedic prowess would make this film harder to take seriously? Or did you want him to bring that comedic value?
EK: I loved it, but I also knew that like when I talked to him about it, you know, his idea was no I'm playing this straight. So he's funny, but he's not cranking it up you know. I was happy that if anything it's a bit of a relaxed, it's funny what he's saying but he's not doing a lot of, he's not sweating for a laugh at all. And like I just knew that he, you know, he had a really interesting vibe.
And it's also context too, it's like you can have a really funny guy but if you shoot it hand held and you're not trying to film it like a comedy, and if the lead guy looks bruised up and tired and real, even if the guy's mugging it's going to feel if anything more weird. You're not going to know how to think, because it's not shot like Very Bad Things even.
So it's not even shot like a normal black comedy. It's shot more like indie drama. It creates a bit of like a, I don't know how I'm supposed to take it so maybe I'll laugh because he said something funny. And I think that's the best way for people to sort of process it.
AT: Did he come to set in character?
EK: No, he came to set, well the thing is, it was really tough because we had to shoot, I like to shoot pages of dialogue and not cut. So at first everybody was a little bit like what, wait there's no, when is the close up happening. I'm like no, no, no, we're filming everything, just go.
And you know, it took a little warming up but people eventually were like okay, I'm going to kind of mix it with the improv, I'm just going to go with it and live it. And it was more fun, and it's like Pat said, you know, the [spoiler removed] scene was when he told me, it's like you know, it was fun to finally get to play pretend and not do everything in segments. Because the scenes are so long that you only have one choice.
It's like you have to kind of be there, and that was good. And I think ultimately Pat Healy got very physically invested in it, to the point where he was really, you knowing, going through some painful shit. Like when [spoiler removed], like he really, you know like he went to a f**king bad place, really bad place. And it was something that you can't, you can't guess what's going to happen. You don't know.
You just film it all, and you just let people go and do whatever their process is, you just let them do it. And you know, you kind of, you have to stay out of the way. You know, in many ways it's like I think a lot of directors are really focused on amazing shots. And I don't know shit about amazing shots, so all I can do is, like, I really like actors, I want them to be able to do their thing and not step on their feet with a bunch of track and a bunch of shit.
So it's like this is not going to be my show reel as a visual, aesthetic kind of guy. I don't have that. All I can do is let these guys really come to life, and that's what's fun for me.
DC: That's equally show reel appropriate I think, if you can show that you can let actors do their thing without saying I'm Brian De Palma-ing up a storm here.
EK: It's my first feature, and it's like, it's my first feature and I'm working with actors that have been doing it for like twenty-something years. You know people that have worked with Werner Herzog and I'm like I'm not going to come in and put you in a box. I don't have that...
DC: Oh yeah [Pat Healy] was in Rescue Dawn aye.
EK: Yeah, he was in... Magnolia, yeah, he made Julianne Moore cry, you know, like in that pharmacy scene. He was the pharmacist that made her cry.
DC: Oh my god, [bangs table] are you kidding me?!
EK: He's a really good actor, and you know, the best thing you could do is give people a good script and just put them together and let them run into each other. And that's what's fun, you know. It's cool seeing people work.
DC: As a film fan I have perceived that American indie cinema is getting a lot more genre friendly. Would you agree with that assessment?
EK: I think it is. I think it's also, it's a bit pragmatic because for the VOD model which is sort of replacing a lot of things, yeah, you need to have those same elements that have always gotten people to see films. But I do think that all the press has kind of helped because now we have a lot of outlets that promote the movies. And I think there's just, it's kind of self generating now, you know.
People are learning from each other, film festivals and websites and all this stuff, it's very easy to access other peoples stuff. And we all get influenced, you know. I was very influenced by Ben Wheatley. I wouldn't have seen his stuff if it wasn't for...
DC: He's my f**king hero.
EK: ...VOD, and you know, honestly him in Down Terrace, like casting all these comedy guys was what made me go like okay, I really think I should get somebody funny for this movie. I thought it was a really interesting affect.
DC: Are you going to be here for >A Field In England?
EK: I'm leaving right before, which I'm totally pissed. But Wheatley is one of my favourite filmmakers right now and I think what he's dong in genre is really exciting. And you know, in the States I know we have some cool shit, but I feel like there's a lot of great stuff still coming from all sorts of countries, you know.
DC: Do you feel like there's a camaraderie or even a support model among young American indie filmmakers?
EK: I think to an extent, for sure. You know, I think like Adam Wingard, he sat down and actually did some editing on the movie at one point.
DC: He's like the fulcrum for a million different things at the moment.
EK: He is and he gave me, he got me my composer - Mads Heldtberg - who worked on You're Next. But we've worked together...
DC: And you mentioned Ti West had some connection.
EK: Ti West helped me get Pat Healy, he's helped me get Sara Paxton. You know, it's a small scene and I think there are different sectors of it.
DC: I like the genre sector of it.
EK: For sure, but it's just opened up too, because we had, you know, there was the guys that were doing a bit more of just indie drama, mumblecore whatever, like Joe Swanberg. But when he started collaborating with horror filmmakers I think that was kind of fun. You know, I think you get some interesting different perspectives.
DC: Yeah, well to me I've always loved indie films, but whenever they dabble in genre topics, to me it's like this is what I want from genre films, naturalism, believability, and the studios are not delivering in this front.
EK: There's no interest in that shit. The thing is for me I've always been raised on, you know, I have a Fulci tattoo but I also love Bergman, like I grew up on all sorts of f**king filmmakers so I'm just a film fan. But I always knew that I would never shoot just a drama. Everything that I do, I don't think I'll ever just end up in drama.
I think if it's drama it's got to be with guns. You know, I'm always going to end up in a space that's sort of genre, but the stuff that I watch is fucking everything. I think, you know, when I first saw Habit by Larry Fessenden it was like a real eye opener. It was because it was this kind of step down, realistic New York, almost Bukowski story but the guy happened to have f**ked a vampire or whatever. And I thought that was so interesting, and it was shot like a drama and I really liked that.
DC: He was such a turning point, Larry Fessenden, for the indie model becoming more genre. [Ant returns] I was just saying to Evan that I liked how the indie model in America is a lot more genre friendly now. Do you think that's true, that they are leaning more genre?
AT: Who's leaning more genre?
DC: Well just the fact that films like, people like, and you were saying like Joe Swanberg who used to be more part of the pure mumblecore then moving into more genre stuff, and people like Ti West and Evan Katz himself, there just seems to be the kind of films that would get this sort of attention didn't used to be so genre friendly. And I love that they're getting more like that because that's what I want from genre films, naturalism and believability and surprising aspects which the studio genre films just aren't delivering.
AT: It's kind of a loaded word in a way, genre. I think it's more the fact that people find interesting material that they can work with and play around with and it's not specifically sticking to the tropes of a standard genre.
DC: Yeah, but the early 90s independent scene would have looked down upon a horror.
EK: I think so.
DC: Or a sci-fi. There wouldn't have been such an egalitarian attitude, or a viewing of these guys are artistic directors. Whereas now it feels like they're a core part of the emerging artists of America, but they're still making horror films.
AT: They're the ones that grew up on that material, and people like Evan were exposed to Korean new wave when they were really young, and their exposure. Basically what's happened is that the audience has grown up along with the young directors, they're way more savvy with what's available.
They know the history from a certain period really well. And I think in some ways it's depressing because they... it was such a short amount of time that they're not willing to actually step out of that period from 90 to now. It's very hard for them to watch a 50s film or whatever because a lot of the stuff is recycled, no matter how extreme. All it is is the levels of sex and violence might be up, but the material itself has been around a long, long time.
EK: Yeah, it was like you get that first wave of Park Chan-wook and you know, that stuff was really bold when it came out. I think you're right that in some ways it is Americans finally following suit.
So it is sort of another wave of something that initially has kind of already run it's course. But at least if it's starting then maybe it'll do more interesting, it'll go beyond that, you know. But I think it is kind of cool that it's like, you know, for a while I felt like the only American genre that was coming out that would be indie would be like a horror comedy that's just an Evil Dead throwback or something like that. You know, it was just like a horror fan jerk off fest.
AT: Like if you talk about pushing buttons to get emotional responses with extreme material it's gone as far as it can. Unless you kill someone for real on camera, things like Serbian Film are as extreme as most audiences can handle.
So it's done, what's the point of doing it? What people relate to is interesting stories, stories well told with characters that they can relate to. I mean that's at the heart of it. If you base any film, no matter what genre you're in, with that core like material that works, it doesn't matter where you take them, they'll go with you.
EK: I agree, I think you can't push an envelop anymore, that's done.
DC: That's true, but I also think that, I just love that the stigma of a Twilight Zone-esc story is gone now. And that that used to be considered hacky in an independent context, and now it's just the way things are going. And someone my age, I grew up on those films too and I love seeing it in the films that I'm consuming.
AT: But now you're seeing films like Can't Hardly Wait crossed with Scream or whatever. You know, like you're getting hybrid material, but also you don't have the benefit of long form storytelling which is why TV suddenly is now the hottest thing around because people have all these long stories to develop characters to, and people are responding to that really well.
So films have to rely on sometimes gimmicks, and Cheap Thrills does have a gimmick. It's an awesome gimmick, but at it's heart there's a hook and a conceit that people can relate to really quickly.
EK: There's a drive in movie theatre pitch. And the thing is I think I've always embraced, you know it's funny, it's like other elements of it kind of almost deceiving myself that there is that. But gimmick, I'm kind of thinking more about it in these other terms of like how it feels to me, like the atmosphere.
But it's a big part of doing a low budget movie, you need to have one sentence that sums it up. You need to have something kind of controversial to some extent or at least a question that the audience has to think about and answer. You know, but that's just part of low budget film making and I think it's always been, you know, since the Corman days, what's the big idea for the small movie. That's fine, you know, but I do feel like when you think about it Breaking Bad if anything is more of an important piece of genre work than almost any other feature that's come out.
DC: It's breaking the ultimate taboo, unsympathetic protagonists.
EK: Yeah, and it's amazing that that's a huge hit.
AT: And you've got to in a way, not to make a giant leap, but you've got a Travis Bickle kind of anti-hero in the fact that it's someone who's so kind of charismatic in a way, that people can associate with. And Travis could be either character.
DC: Yeah, and it's also important to remember that, and I'm just reminding myself more than anything, that the films that we most celebrate from the most recent golden age of cinema like the early 70s, a lot of them were total genre movies. Like Godfather and The Conversation and even Taxi Driver. It's a vigilante movie, but it's also an art film. I just feel like the more immediate, pertinent films coming out now from young filmmakers are leaning a bit in that direction, and just as an old school nerd I love it.
EK: Like Drive even, it didn't make tonnes of money but if that's even in the public, you know conscious, it's not just in film festivals, you know.
DC: Yeah, and then every time I sort of even begin to think there might be nowhere left to go I see a film like Computer Chess which completely blew my mind. Have you seen this film Evan?
EK: I really want to.
DC: Oh my god, it had it's last screening last night here.
AT: They made it for you specifically.
DC: I really feel like they did. Honestly I didn't know anything, I went in, I've never had a film convince me I was watching a documentary when it wasn't. And I honestly, for the first half an hour I was like this is found footage, yeah, but then I realised it wasn't when it started getting trippy. But it was so well, you've seen it right?
AT: Yeah, it's great, I love it.
DC: God, I couldn't believe that was Mitch from Days and Confused. I was like they've done a really good thing by casting no actors you've ever seen before, and then it's like the lead from one of my favourite movies was in it. And I didn't spot it.
AT: They're all part of that mumblecore, early start.
DC: They hate that term though aye. I've interviewed the Duplass' and John C Riley and they both almost hung up on me when I mentioned the M word.
EK: Whatever, It kinda helped promote it for a while. People use it to ridicule it but they also use it to give it a bit of spotlight.
AT: It's like the Splat Pack. Who were the Splat Pack, do they even exist anymore.
ET: I don't think so.
AT: Was there one?
DC: Yeah It was James Wan, Eli Roth, Rob Zombie and Darren Bousman.
EK: Alexandre -
DC: Yeah, Alexandre Aja the high tension guy. Yeah, but it's kind of over now.
AT: If you could have your own group, your own rat pack...
DC: Ethical core.
EK: I wouldn't have any. I have friends who do this shit, but I think as soon as we all bunch ourselves up into one thing then we're sort of limiting ourselves in a lot of ways. It's cool to know people and it's cool to be influenced, but I think let's just do our own shit. I had somebody ask me if I was part of a new Splat Pack in South Korea. They were like are you part of the Splat Pack, and I'm like what? I never got a membership card or anything, so I think I'm not.
AT: When we promote ABCs 2 that's what we're going to say, he's one of the Splat Pack.
DC: There's got to be some term, it'll be like the indie Splat Pack on some level. Like the Split Pack. Anyway, but in conclusion I'd like to say Cheap Thrills is an awesome film Evan and it's been nice to meet you and I can't wait to see what you do next.
AT: In conclusion I'd like to say it's on at 9:30pm, Sky City on Friday. Evan will be there.
-NZ Herald Online


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Napa East Collection Large Riddling Rack
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The feelings of joy and sorrow do not exist from their own side. Although they exist as conceptual imputations, you cling to them as existing from their own side. Feelings...
Dalai Lama
Nourishment of the Contemplative
December 28, 2012
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Awareness of Feelings
December 14, 2012
"That which is seen and that which is touched are of a dream-like and illusion-like nature. Because feeling arises together with the mind, it is not [ultimately] perceived."—Shantideva
There is nothing...
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Realizing Emptiness
November 30, 2012
Since emptiness, from between positive and negative phenomena, is a negative phenomenon and, from between affirming negatives and non-affirming negatives, is a non-affirming negative, when it appears to the mind...
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The Perfection of Wisdom
November 20, 2012
How things appear and how they actually exist differ greatly. A person engaging in practice of the perfection of wisdom does this kind of analysis and then examines how things...
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The Perfection of Effort
November 16, 2012
Effort is crucial in the beginning for generating a strong will. We all have the Buddha nature and thus already have within us the substances through which, when we meet...
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Re: Bigger Chance for Assassins Creed Rep?
LJPvonzity wrote:
Liam_C1991 wrote:
Think there was a thread made for this yesterday. And I think it's possible for an AC rep to appear in this game but i don't think they deserve to be. In my opinion that's only a small step up from the likes of batman and mario.
I'm glad you say your opinion, but I think you went way too overboard of comparing an AC reps chances to Batman and Mario. An AC rep can still have a chance with it's PS3 exclusives from the upcoming game and past games.
Yeah I was saying they had a chance. I just don't think they belong. And I didn't mean they are as unlikely as mario and batman. I was saying they're one step up. The way i see it is there are 5 types of characters:
1. Very Likely - Characters that have a long and close history with PS and have been influential to the brand (E.g. Crash)
2. Likely - 1st Party characters whose series' still have no rep (E.g. Chimera)
3. Possible - 3rd party characters that appear on all of the consoles (E.g. Ezio)
4. Unlikely - Characters who are exclusive to other consoles (E.g. Mario)
5. Very Unlikely - Characters who are mostly associated with another medium (Batman)
I personally think that as there are probably only a few spots left then only the 1st 2 should be let in.
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Viacom-owned MTV has recently rolled out "Think MTV," a new community interaction site oriented toward student activism. Imagine "Facebook" with a social-activist theme. Exploring the site quickly reveals that MTV's notion of social activism has a decided liberal tint.
The home page lists a dozen major areas for potential activism. Click on "Politics" and -- what do you know! -- the first photo that pops up is one of John Edwards looking pensively toward the future. Three videos on political themes are displayed. The only one from a named author is by . . . Kanye West [the rapper who during the 2004 election famously claimed that "Bush doesn't care about black people."] Other celebrities involved with Think MTV: Bono, Jay-Z, Brad Pitt, Leonardo DiCaprio, Chris Rock. Do you detect a trend?
Back to the issues menu. The subheadline on "Environment" reads: "Don't be remembered as the generation that knew about the environmental crisis and did nothing to stop it." At MTV, there's obviously no debating that we are in a crisis.
Go to the "Education" issues page, and for some reason the photo [seen here] of Bill Clinton appears. Note to MTV: shouldn't Bill be over on your "Relationships and Sex" page? Well, go there, and find a video described as "a short PSA about it being just A-okay to be gay! No need to have fear about who you are and just live to be the person you want to be! Enjoy!"
The symbol for the "War and Peace" issue is a dove So where's the hawk? Click through, and in the section on Iraq you'll find links to six anti-war organizations to join, but just one organization in support of our troops and policies.
I invite readers to go to the Think MTV home page and poke around. You're sure to be able to supplement my list with other examples of the site's leftist tilt.
Bottom line: in MTV's mind, there really is only one kind of social activism -- the left-wing kind. And remember, this is a site explictly for young people. Unless you're a student or a recent grad, you need an invitation to join. So think of this not simply as Facebook with an activist edge, but as a not-so-subtle form of indoctrination for kids who wander in. Think MTV = think like a liberal.


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Backers of Pebble, the innovative Kickstarted E-Ink smartwatch that is months behind its shipping date, just got a further dose of bad news. The $10,000,000-earning watch's creators just posted a holiday e-card on their Kickstarter page stating they won't be shipping by Christmas.
The company's card comes at the end of a longer status update from the aspiring watchmakers, after news about new color options and SMS/iPhone capabilities. Designed with cheery holiday colors and featuring a poem written with a lighthearted tone, the image may have sent initial hope to its over 68,000 backers. But in its fourth line, the card dashes any excitement with an announcement of yet another delay for the eagerly anticipated watch.
Below the image, Pebble's team gives a slightly more official notification of the setback.
Unfortunately we will not be able to ship out Pebble in time for the holidays. As a tiny act of compensation, we'd like to offer you this little holiday card. I know it's not a Pebble, but I do hope that you can tell from these updates that we're quickly moving towards the moment when Pebble will finally be on your wrist.
It's another black mark for one of the highest-grossing campaigns in Kickstarter history. Since completing with over $10 million in May of this year, hopeful backers have yet to see their products. An initial promise to ship in September passed without fulfillment; reports in October stated that Pebble's lead designer was "stuck in Asia" to work with manufacturers on getting the watch completed and shipped.
And now, they're offering a printable card as a holiday peace offering. Comments stemming from the announcement range from understanding to downright angry.
No information on a new deadline has been released.Go Back to Top. Skip To: Start of Article.


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Internal Data Reports and Publications
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The Institutional Research Office is charged with the creation and maintenance of the Institutional Fact Book. This is comprised of frequently requested information and is updated annually.
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IPEDS Data Feedback Reports
The Institutional Research department is responsible for the completion of all IPEDS surveys, in a timely and accurate manner. This is a mandatory requirement for all institutions that participate or are applicants for participation in any Federal financial assistance program authorized by Title IV of the Higher Education Act of 1965, as amended.
2006 Data Feedback Report
2007 Data Feedback Report
2008 Data Feedback Report
2009 Data Feedback Report
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2011 Data Feedback Report
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The Director of Institutional Research is Northern's liaison to the WV HEPC (Higher Education Policy Commission) concerning official reporting and a member of WV DPAC (Data Policy Advisory Council). The IR office is responsible for the accuracy and integrity of all official institutional data submitted to all external entities.
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Look us up online.
A quick college profile is available at various external sites. These sites are frequented by prospective students and parents when searching for a college. Access these by clicking on the links below. (Please note these are external to WVNCC)
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Depilatories: Nair and others are good for the legs. You really should test out some on a patch of skin first. The hair should be at least 1/4 inch long but not longer than 1/2 inch. Depilatories last about 7-10 days.
Waxes: Waxing involves a warm or cold gooey substance being spread on your skin. Then someone (maybe even you) RRIIIPPPSSS the goo and your hair off. There is pain involved. You can judge how much. The pain is reduced if your follow the directions. The hair needs to be at least 1/4 inch long, so it has something to grip at, but not longer than 1/2 inch. It lasts 4-6 weeks so it might be worth the pain.
Shaving: Shaving your arms and legs is fairly easy. The shower is the appropriate place and soap or shave gel is just fine. Be careful around your knees, some women wax just this area. Take your time to avoid cuts. Dry your razor between shaves and change it after 7-10 uses mainly for sanitary reasons.
Epilators: You can consider an epilator to be either an electric tweezer or a wax-free waxing machine. They quickly pluck the hair from your legs. They do require you to have a little bit of growth, but they work well. The pain is moderate but a whole epilation session can be fatiguing. Unlike waxes where missed hairs must be re-waxed in a long process, if the epilator misses something you just go over it again. If you have a lot of hair to remove these things are perfect. They are a favorite of cross dressers so you know they work, but cross-dressers might have more tolerance for pain than the rest of us.
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Next Steps
If you are interested in participating please select either method of contact below:
- Call the study recruitment phone at 1-877-LLUMC4U (1-877-558-6248) or
- Fill in the screening form linked here.
You may be invited to attend an information meeting at a convenient time for you held on the campus of Loma Linda University. If so, someone on the study staff will be in touch with you shortly.
We hope you will take the next step, call or fill out a screening form. We look forward to hearing from you.
Please do share the study information with your family and friends that may be potential participants as we need all the help to recruit 350 participants for this study.


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I d like to thank to hear nice thoghts abı-out us and being my new life-long mate,Trenton..Take care of yourself on your big tour.Big hugs:)Ali from İstanbul..
Trip Start Sep 03, 2011
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Great photos and blog! A great big thank you to Ali and his wife for having you in their home and showing you such wonderful hospitality. We would love to show them the same hospitality if they ever make it to New Mexico!! Love.
You are truly blessed when it comes to meeting the right people at the right time. By the way, I did mention trimming the beard, not shaving it off.


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Ford Racing under pressure to deliver
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Ford Performance Racing boasts a new paint job and a new driver line-up for season 2005, and the V8 supercar squad has been told that this is the year it must start delivering after several seasons of frustration.
FPR was created by the British-based motor sport group Prodrive, which, among other things, has run the Subaru World Rally team and the BAR Honda formula one operation.
Prodrive's chairman David Richards says that with two new drivers in Jason Bright and Greg Ritter, the time has come for FPR to start delivering.
"There has been a great deal of unfulfilled expectation since we launched FPR three years ago," Richards said.
"There is no doubt that we have made some mistakes along the way as any new team does when competing in such an intensely competitive championship. Having spent three weeks at FPR, I am convinced that we can now show a significant improvement during the course of the 2005 season."
FPR this season lost the services of two top drivers in Glenn Seton and Craig Lowndes - who between them have collected five Australian touring car championships. The duo gave FPR its finest moments at Mount Panorama, when they finished second in the past two Bathurst 1000s.
Bright, a Bathurst winner for Ford in 1998 in a Stone Brothers Falcon, has been lured back to the blue oval after several successful seasons with Holden, and he will be expected to be the team's main man this year.
"I have never been involved with a team that has displayed as much potential as FPR. All I can say is that I am very excited about the season ahead - returning to Ford with a team that I believe has displayed merely the tip of the iceberg in terms of their race-winning potential," Bright said.
Ritter has been something of a super-sub in the V8 ranks over the past few seasons, last year partnering Marcos Ambrose to victory in the Sandown 500 in another SBR Falcon. The FPR drive is the Melburnian's first big chance in V8 supercars.
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"The paper quality is what I expected for what I chose - I did not upgrade to the heavyweight paper but perhaps should have. Everyone has been very impressed with the look of the announcements and design of the front/back and coordinated envelopes. I found it easy to customize and order and received everything promptly and as expected. Highly recommend tinyprints!"
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Williams Arena to Host a Pair of Barnburners This Week
Feb. 7, 2005
Complete Release in PDF Format
Williams Arena to Host a Pair of "Barnburners" This Week
Big Ten Lands Five Teams in Coaches Top 25 Poll
Five League Squads Rank Among Nation's Top 25 RPI
Big Ten Tops Among Leagues With Two 20-Win Teams
Big Ten Women's Basketball Attracting More Fans in 04-05
Big Ten Ranks Among NCAA Leaders
League Scoring Title Narrowing to Three Player Race?
FSN Chicago to Televise Iowa at Northwestern on Thursday
All-Session & Single-Session Tournament Tickets on Sale
Several Big Ten Squads to Participate in NGWSD
A Grand Old Milestone
For a more in-depth look, please download the PDF of the weekly release.
UW's Anderson Posting "Mazzante/Whalen" Numbers
For a more in-depth look, please download the PDF of the weekly release.
Celebrating 10 Years of the Big Ten Tournament in Indy
Schools Illinois Indiana Iowa Maryland Michigan Michigan State Minnesota Nebraska Northwestern Ohio State Penn State Purdue Rutgers Wisconsin
Men's Sports Baseball Basketball Cross Country Football Golf Gymnastics Hockey Indoor Track & Field Lacrosse Soccer Swimming & Diving Tennis Outdoor Track & Field Wrestling
Women's Sports Basketball Cross Country Field Hockey Golf Gymnastics Indoor Track & Field Lacrosse Rowing Soccer Softball Swimming & Diving Tennis Outdoor Track & Field Volleyball


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I have tried both and seem to do better with closing one eye, but i often see people shooting with both eyes open.
is this just a preference thing and what works for you is what it is? or is there advantages to one or the other?
i can see that having both eyes open helps with your viewing of the surroundings but i just cant seem to line up my sights when doing this..everything seems to get too blurry..
any suggestions? or should I just go with what works?


text:
BridgetDawn Photography Photographer
RebeccaJeanModel Female Dallas, Texas, US
My Website: http://www.facebook.com/profile.php?id=553977503My MM URL: http://www.modelmayhem.com/RebeccaJean
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text: I've been talking to Duramax04 and he's a good guy who needs help getting his photos hosted and posted on here. Can someone help him out? I'm embarrased to say that I'm to blame for the photo gallery not working properly right now, we'll get it fixed when I get a few hours of time. Thanks to whoever helps out.


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Sieteflores Hosteria de Montana
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TripAdvisor Reviews Sieteflores Hosteria de Montana San Martin de los Andes
Travel Blogs from San Martin de los Andes
Across the Border and Back to Argentina
... block to our hotel that Carlee and Andy had sorted out. We quickly checked in at La Posta del Cazador, which was built in a hunting lodge style and were given a nice room on the first floor with a lake view.
Everyone was starving and we took a walk up Avenida San Martin to El Regional restaurant, which was recommended by our hotel. It had really nice decor with the focus being on the two huge chandeliers made from deer ...
San Martin de los Andes
... all of the campsites and most of the trails were closed. The only one open was a short walk up a mountain to a mirador that overlooked the lake. 3 hour round trip, nothing too exciting. Except that for us it was exciting. Finally! Pine scented woods! Freezing weather! Hiking! The outdoors! Yes, I remembered the outdoors. We'd been in cities so long I'd almost forgotten. The trail itself broke into a dozen or so smaller ...
Unexpected Beauty
... br> Joaquin and I laughed as we soaked in our surroundings. Neither of us had ever envisioned this, but we were both happy. After dinner we slowly drove back to the campsite and sat under the bright stars sharing a beer and listening to music. We experimented with having a conversation in Spanish, but it did not last very long. This was what I had wanted when I set out for this road trip. I loved the remoteness of our black beach. It is no surprise we spent another night ...
The Great Escape
... we met Javier, a local travel agent/entertainer/fixer and one of San Martin's two DJs. He was ecstatic to hear that Ben was a DJ too and the pair bonded over music files and sound systems. Javier invited Ben to play a set one night and took us to a few good late-night bars. San Martin was surprisingly lively for such a small town and it would be the perfect venue to celebrate Christmas. We would be back! ...
Cycling around San Martin
... a beer. Then home for some swimming. Pasta for dinner then an early night because we had a 6am bus to catch to Puerto Varas Chile the next morning. A pity because we loved San Martin Los DES Andes for its nature, shopping, chocolate shops and beef. [URL=http://s77.photobucket.com/albums/ j56/rallyspeed2/South%20America%202011/ ?action=view¤t=68d2701c.jpg][IMG] http://i77.photobucket.com/albums/j56/r allyspeed2/South%20America%202011/th_68 ...


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So this is pretty wild.
In an amateur hockey league in Russia, translated as Night Hockey League Moscow, a crazy brawl broke out between two teams called Hammer and Yuga. It's one you have to see to believe – and it has two phases to it.
Phase 1: A hit and post-whistle scrum between two players along the boards attracts a crowd that quickly gets a little out of control. Everyone involved starts throwing punches (and there are some pretty dirty sucker punches in there), but after a few seconds the players kind of break themselves up and the crowd dissipates.
Overall, fairly tame for a brawl, right?
Well, let's move on to Phase 2.
As the two referees discuss which penalties they're going to call one of Hammer's players is having words with a few players on Yugan's bench when one of Yugan's players throws something (snow or tape perhaps) at Hammer's bench. And that's when all hell breaks loose. If you were appalled or entertained by Phase 1, then Phase 2 takes it to the next level.
Swinging sticks, spears, butt-ends and more punches turned this scuffle into an all-out brawl.
It appears on the game sheet (which you can find here) that all this happened 1:30 into the third period. It doesn't look as though anything especially brutal happened in either of the first two periods to set off this chain of events.
In total, the two teams racked up 322 penalty minutes, though some of these must have been game misconducts.
What the video doesn't show is the chaos that ensued later in the period. The two teams added another 468 penalty minutes the rest of the way, 245 of which came after time had run out. That's 790 total penalty minutes in one period.
Oh, and Yugan won the game 3-2.
So we're left with one question: Where the heck are the linesmen?


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October 22, 2013
An introduction to the research services of the Library. Topics include searching for scholarly articles, borrowing from other libraries, identifying highly-cited material, and citation management software.
October 22, 2013
10:00 am-11:00 am
Machmer Hall, W37E
Heated discussion erupted over the American Historical Association statement urging universities to allow Ph.D. recipients to embargo their electronic dissertations for up to six years while they pursue a book contract. Some institutions have recently changed their open access and embargo policies. This panel will provide faculty, librarian, University Press, and graduate student views on this timely topic followed by Q&A.
October 22, 2013
4:00 pm-5:30 pm
Library, W.E.B. Du Bois
Professor Lynn Phillips explores the line between consent and coercion in this thought-provoking look at popular culture and the ways real girls and women navigate their heterosexual relationships and hookups.
October 22, 2013
7:00 pm
Bartlett Hall, 65
Inspired by the Pittsburgh neighborhoods of his youth, the film Boyz N the Hood, and the early writings of W. E. B. Du Bois, New York-based Kyle Abraham investigates the rich history of urban culture and the rise and fall of community in Pavement.
October 22, 2013
7:30 pm
Fine Arts Center Concert Hall
This performance is to celebrate music of Francis Poulenc and "Les Six".
October 22, 2013
8:00 pm
Fine Arts Center Bezanson Recital Hall
Du Bois in Our Time is a landmark exhibition that focuses on the intersection of art and the major issues of our time, centered on the legacy of W.E.B. Du Bois.
September 10—December 8, 2013, Sun/Tue/Wed/Thu/Fri/Sat
This event does NOT occur on:
November 28—December 1
University Museum of Contemporary Art
The Marriott Meals is a core course within the HTM program in which students have the opportunity to manage the restaurant with a team of student employees.
September 24—December 6, 2013, Tue/Wed/Thu 11:45 am
This event does NOT occur on:
November 28
Campus Center, 11
Visionary works in glass, encaustic, and paint on canvas convey the power and promise of a changing world.
October 2—October 25, 2013, weekdays
This event does NOT occur on:
October 14
Augusta Savage Gallery
$10,000, graduate awards for projects that integrate business fundamentals with science and/or engineering. Application Deadline October 28. Info Session Oct 10 @ 5PM; Campus Ctr. 163c
October 2—October 28, 2013
The yearlong UMass 150th anniversary celebration continues during Homecoming with programs and activities highlighting important historical milestones, events and people.
October 15—October 26, 2013
All Campus
The exhibit centers on the post-World War II expansion of UMass and its emergence as a fully-fledged research university.
October 18—January 6, 2014
This event does NOT occur on:
November 28, December 15, December 21—December 22, December 25, December 28—January 1, January 5
Learning Commons in W.E.B. Du Bois Library, Lower Level and Floor 25
Exhibit celebrating the legacy of William Smith Clark and his influence at UMass Amherst and Hokkaido University.
October 19—November 30, 2013 9:00 am-5:00 pm
Integrated Sciences Building, Atrium
The Letters to Dr. Ehrlich series is a collection of images based on "The Population Bomb" by Dr. Paul R. Ehrlich.
October 20—November 20, 2013, Sun/Tue/Wed/Thu/Fri
Hampden Gallery
Rice has used this method of writing in several projects over the years but the reason for its usage remains the same.
October 20—November 20, 2013, Sun/Tue/Wed/Thu/Fri
Hampden Gallery
Take a few minutes from Homecoming celebrations to give blood.


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Repeating a top-level menu item in a dropdown
Clark Wimberly
This is probably a silly question, and I know which side I'm going to argue on, I just want some votes to take with me. the question, somehow diving a whole team of people: **When implementing hover dropdown menus on a website, do you repeat the top-level item inside the dropdown list?** I could say a bit more on the subject, but I don't want to sway the vote. thoughts?