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Sadly, I've had to include an afterword to the interview. Not long after receiving a Lifetime Achievement Award from the MPSE, Fred's health began to fail and he died in November of 2003. I was asked by his wife and longtime collaborator Michele Sharp to give a eulogy dealing with Fred's contributions to the art of film sound. A slightly revised version of that talk is given here as a coda to the interview and as a final tribute to a remarkable man and career.
Beginnings -- Early Influences
Early Sound Effects Work
Mentors & Contemporaries
Sam Peckinpah films
John Milius films
The "Rambo" films: First Blood, (Part 1) ; Rambo II; Rambo III
Foley for "The Deep"
AFTERWORD TO THE INTERVIEW: Remembering Fred Brown
Fred Brown has a kind of Legendary Status among sound editors. Not only was his work of a caliber that formed a kind of benchmark for others to aim for, but during a period in which most sound supervisors increasingly hired large crews and "farmed out" the actual time-consuming work of choosing and editing effects, Fred persisted in doing vast amounts of the work himself. And these were not "light" shows with relatively simple demands that he tackled. Take a look at some of his credits: "1941", "Conan", the "Rambo" films -- these are big, busy action movies that require major effects work.
In 1988 I was lucky enough to work for Fred Brown, thanks to the recommendation of Jay Wilkinson who had worked with Fred on a number of films. Although I'd done a season and a half of "Miami Vice" by that point, I'd only worked on a few feature films, and I was really a bit too green to be working on a Fred Brown show -- let alone two simultaneously! ("Rambo III" and "Red Heat.") Still, it was an experience I treasure because, if nothing else, by watching Fred I got to learn a lot about "grace under pressure."
Fred has recently retired from sound editing, but he has not retired his sense of grace and I was able to gently pressure him into submitting to an interview. This mostly took the form of an exchange of e-mailed queries and responses.
Fred has made my job as an interviewer/editor embarassingly easy -- to my most vague and mundane questions he has given detailed, witty answers. Although these are written responses, Fred is equally articulate in person; when he chooses to describe something as "perfidious" he means just that. I've also chosen to leave in a few of Fred's self-deprecating asides to the reader. And so this account captures a lot of the personality of the man.
About that: even a quick glance through his credits shows a kind of pattern. Hmm -- an awful lot of tough guy action movies here...and look at these directors who have worked with him again and again: Walter Hill...John Milius...Sam Peckinpah. These aren't filmmakers known for their sensitive side. So you might well expect Fred Brown to be a fairly tough, gruff customer.
Well, he is an ex-Marine, and he's definitely no softie or he couldn't have churned out the workload he handled for many years. But gruff? Not one bit. Fred Brown is one of the most unfailingly polite, gracious men I've ever met. (Incidentally, he's consistently employed more women on his crews than any other supervisor that comes to mind.)
One last thing -- on his desk Fred would often display a simple
brass plate that read:
"Nobody listens" -- Fred J. Brown.
I should point out that in the world of motion picture sound professionals, when it's coming from Fred Brown, everybody listens.
Q: Could you fill in just a bit of biographical information?
FB: I was raised in Glendale, Ca, the original white bread capital of the Western U.S. My entire formal education was spent in that bucolic system. Only a fair student, my main interests lay in literature, history and some sciences. All this took a distant second to sports in general and football in particular. I did edit the sports page on the school paper in my senior year.
My parents divorced when I was 16 and it took a while before I reestablished a decent relationship with my father. It was fortunate that I did since he was a legal consultant at Universal/International Studio. It was through him that I got my first industry job upon my graduation in 1953. Technicolor Labs would never be the same.
I suffered near terminal boredom in the lab until February of 1954 when the mother of my best friend called and asked if I would be interested in a change of profession (if what I had at that time was, indeed, a profession). Serendipitously, the lady was a secretary in the Film Editors Union. I leapt at the chance and ended up as a Sound Effects Apprentice at Columbia Pictures....
Q: Was there anything in your early life that sparked some interest in film sound? For instance, do you have any strong memories about radio shows or particular movies that impressed you?
FB: I'll...demonstrate what made Sound Effects a natural marriage for me. As a child of radio, "The Lone Ranger", "Jack Armstrong" and "The Green Hornet" remain in my mind as sound-driven programs. I used to drive my parents to distraction with my own versions of the sounds that made these shows so intriguing to me. Dinners were rarely tranquil or peaceful while I reenacted the plots of that day's episodes. So imagine the delight upon my first days at Columbia hearing the whoops of Indians, gunshots and thundering hooves issuing from editing rooms. (Universal use of earphones was still in the future). A match made in Heaven!
From there it was a quick rise to Sound Effects assistant and some picture assisting until I left the Studio for independent sound editing.
My first editing job was for a small company run by the friendly curmudgeon Dick Currier. It was there that I met Don Hall who was also just starting out. Our friendship has endured to this date, some 45 years.
I survived the cheap films and cheaper producers until 1957 when the industry took a giant dump. Lack of Union seniority dumped me onto the streets about the same time as I received my Draft Notice. Rather than risk being sent to scenic Biloxi, Mississippi under the aegis of the U.S. Army, I enlisted in the Marine Corps as had my father before me. Armed with a letter of recommendation from our Union in hope of being eventually assigned to the film division at Camp Pendelton, I was forthwith sent to Teletype School after graduating from Boot Camp. (All military branches share the common belief that whatever you were trained for in civilian life has no bearing on what you will do while under the control of Uncle Sam's forces.)
The upside of my training landed me at El Toro Air Station near Laguna Beach where I spent the duration of my duty battling suntans and dodging sea gull bombings. Further, the proximity of Laguna to Los Angeles allowed me to work in the industry while on leave.....
This takes us, roughly to Query #5. Since it is past my bedtime at present, I'll continue with your list in my next writing....
I hope this is helpful in some way. Forgive my lack of conciseness.
Regards, Fred.
FB: Here's part II of my meandering through my past. Patience, while not truly a virtue, does keep us from ripping our hair out by the roots. Here goes....
Q: Did you have any particular mentors or inspirational figures along the way?
FB: My earliest mentors were a group of now faceless and nearly forgotten editors from the early '50's. Men like Dick Brummel, Morrie Opper, Joe Henry and Frank Cleverly. Since Columbia did not see fit to give screen credits for Sound Editors (until mine on Elmer Gantry, heh heh heh...) those hard working, diligent craftsmen went largely unknown. It was from them that I learned the MOST IMPORTANT facet of a superior Sound Editor: Patience!...Everything worthwhile takes time so it's up to the individual to go the extra mile, or hour, or whatever, to elevate one's craft.
Q: Is there anyone's sound work that you particularly admire? Some specific films maybe?
FB: There are many whose work I admire and early on was influenced by: Don Hall, Jimmy Richards, Jimmy Nelson, Kay Rose, Gene Corso and Ross Taylor. I'm sure I've omitted some of us graybeards but those are the ones that come easily to this fragile and perfidious memory.
Contemporarily, it is harder to separate the artists and creative ones from the Technicians and Generic Duplicators. Confused? Well, we all know the Technician: One who has all the up to date tools and library CD's and can whip out a reel as if time was standing still. But the Duplicators live by the credo that, "it worked in such and such film, it'll work in this one." Their key to success is, "if I can't make it better, I'll make it LOUDER!"
They might as well be working at a punch press turning out hex nuts!
All of this is my way of saying that the majority of today's Editors rely too heavily on the tools and not enough on creativity. I am not a technophobe in any sense of the word but I believe without the brain and heart, the tools become the masters.
Editor's Note: I can vouch for this last point. When I met Fred back in 1988 I was quite impressed by his use of a customized computer database for his sound library and foley spotting as well as his choices in all kinds of interesting outboard audio gear. Wisely staying safely away from the "bleeding edge" he was nonetheless well ahead of the curve of his contemporaries.
FB: With that rant behind me and lying gasping in the dirt, let me return to some of the contemporary Editors whom I admire and applaud: Jay Wilkinson, a fearless and tireless editor. He knows no hourly bounds for his labors. He is truly creative despite having attended the USC film school.
Leslie Schatz...a gifted artist.
Other Sound Editors with style and grace in my mind are Marshall Winn, Richard Anderson, the late Gordon Davidson, and many others whose names escape me currently.
Q: Of the film's you've worked on, which are the ones you're proudest of? What problem did you solve or effect did you achieve with them?
FB: The films that fill me with the most pride:
RAMBO, PART II. This is a fairly obvious choice. The work load was tremendous and seemingly never ending. But what makes me happiest about it is that most of the decisions in the mix were made by yours truly and effects mixer Kevin O'Connell. The director, George Cosmatos, was more an obstacle than a help. Andy Vajna, Producer and owner of Carolco, saw the problem early on and told us to pretty much listen to Cosmatos but do what we felt best for the film. With the marvelous score by Jerry Goldsmith and his encouragement, we managed to accomplish a mix of action and quiet. Nice "peaks and valleys."
A point of interest: Michele Sharp and I edited all the sound effects. With the exception of myself, the entire small crew was [made up of] women. ADR, Dialog and Assisting...
EDITOR'S NOTE: ""Rambo II" received an Academy Award nomination for best Sound Editing.
THE EXORCIST is another obvious choice. Much of the credit due... can be laid at the feet of Billy Friedkin, editor Bud Smith and Jimmy Nelson. Billy was exceptionally demanding and exacting about the track. (Of course what he wanted before lunch often differed mightily from what he wanted after lunch.) The late Bob Glass mixed the sounds beautifully... Best example of peaks and valleys.
EDITOR'S NOTE: "The Exorcist" received an Academy Award for Best Sound. (Specifically, this was awarded for sound mixing, but it should be obvious that a good mix cannot be achieved without good material.)
THE DEEP. (See the Foley section.) Again, we were give tremendous latitude in our approach and execution. An excellent score, mixing crew and tasteful input by Peter Yates and editor Bob Wolf made our job a pleasure. I must add that the Production Mixer, Robin Gregory recorded hours of Wild Sound Effects, most of them taped on his own time, that were invaluable --i.e., mopeds, vans, boats and those marvelous tree frog and surf backgrounds.
EXTREME PREJUDICE. A truly fun film to do. Walter Hill, a real gentleman, gave us carte blanche on the sounds and approach. A small film by many standards, it remains as an example of mixing delicacy. Again, Goldsmith's score was nothing less than superb in it's color and depth. (Jerry and I have collaborated, the only word that fits, on many films and he was without exception sensitive to the balance of Effects and Music. I wish he'd done the score on every film I did.)
Further, Extreme Prejudice in another example of dramatic peaks and valleys.
I guess by now you can see the importance I place on these contrasts.
STRAW DOGS. My first but certainly not last experience with the master, Sam Peckinpah. (A word of explanation. Straw Dogs was an Edie Plan film in which the British editors worked on the picture in the U.S. and received screen credit. Garth Craven is the Sound Editor of record but the film was largely done by Ross Taylor and myself. This is in no way of denigrating Garth's contribution, which was tremendous.) Another interesting byproduct of this film was that Garth eventually became Sam's editor on most of his remaining films.
An amusing sidelight (to me) was that the Brits quailed before Peckinpah's presence whether in person or on the phone. Ross and I had not been exposed to Sam's tantrums or bizarre humor prior to this film. In our innocence, we accepted his behavior as normal. We spotted his humor immediately and got along famously with him.
KILLER ELITE. Another Peckinpah fun-fest. Garth Craven was the film editor and we were housed at MGM as it was known then and FOREVER in my mind. This was Sam at his best.
Michele and I were dispatched to San Francisco, the locale of the film, to record tons of sounds. I really should not have taken their money since it was so much fun. We were given an itinerary of places to go, things to record and people to contact to accomplish this. Included were such rough locations as the Golden Gate Yacht Club, Suisun Bay naval mothball fleet, China Town, the steel loading wharf, the houseboat atmosphere at Sausalito and the interiors of several of Sam's favorite bars. We accomplished our missions with elan and dedication.
(Sidebar: We were supplied with a purple Porsche Carrera to record for one small sequence. Three weeks after taking delivery of the car, the production manager called wanting to know where the car was. I told him we needed it a while longer since we were having trouble with the car because it was the wrong color. The production manager bit on it and we kept the car for two additional weeks. Peckinpah thought the affair hysterically funny.)
Later on, Ross Taylor and I recorded the automatic weapons supplied for the first time by Sid Stembridge but certainly not the last time. Further Ross and Kitty Malone performed flawless Foley tracks.
Under Sam's carefree supervision, the freewheeling mix was thrust upon Goldwyn's stage A. Patience became the battle cry as Sam was much inclined to view the mix through the bottom of a bottle of Scotch. Suffice it to say, this was not unusual in any Peckinpah venture but by that time Garth Craven and I were veterans and were not perplexed or diverted. I must say in Sam's defense, not than any is needed, in his most handicapped and self inflicted impediments, he knew more about film and drama/humor than any director I've had the pleasure to serve. Peckinpah is my wild-angel hero.
THUNDERHEART. A sadly unseen film by most movie goers. Excellent performances, story and direction. Film editor Ian Crafford and director Michael Apted were exacting and very supportive. As usual, Kevin O'Connell brought his extraordinary talent and energy to the final product. The Navajo context was especially fascinating and allowed us latitude to experiment with subtle approaches. Lots of valleys and a few peaks but a very satisfying mix.
CONAN THE BARBARIAN. This was my first John Milius experience. Buzz Feitschans and Rafaella DiLaurentiis brought me to Spain for 9 weeks to record sounds but basically to learn what Milius was all about and how to get along with him. Almaria, Spain is where I also met Tim O'Meara and we forged a lasting and warm friendship from that time forward. Conan was mixed in mono, Dolby A format despite everyone's protestation that Stereo was the only way to go. Universal purse strings were stranglingly tight on that film. Basil Poledouris... score was wonderful and we traded prominence sequence to sequence. (I think I won more than I lost.) For a mono mix there were lots of peaks, only a few valleys.
RED DAWN. Another Milius epic, another produced by Buzz Feitschans. Total freedom, the hardest element of the film was to get John to come to the stage to approve the reels.
THE FLIGHT OF THE INTRUDER. My last experience with John Milius. A huge effects job wherein I was forced to abandon my normal work routine [and work with] a large crew of editors. The risk in large numbers is loss of control but fortunately everyone involved remained focussed. I spent as much time in my home studio creating and combining effects as on any film I've ever worked on. Again, the production mixer made extensive recordings of the A6 Intruder taking off and landing from the carrier.
I spent 4 days at the Naval Air Station on Whidbey Island in the Sound off Seattle, Washington recording that formidable A6 aircraft. (I was denied permission to ride inside the plane. The officer in charge said it was forbidden for civilians but in my heart I knew it was because of my corpulence!) I was allowed inside a training mockup to record the actual radar warning buzzers, beeps and whines. We also had a superb retired naval captain as technical advisor. Sorry, I don't recall his name but he did love beer.
Milius left us totally alone on the mix, much to the agony of composer Basil Poledouris. The choices and design were left up to your humble servant, effects mixer Greg Russel, and film editor Tim O'Meara. Despite Paramount's Paul Haggar, it turned out to be a fine mix.
THE DREAM TEAM. A non-sound effects film but one which still amuses me to this date. It bears listing as a film in which I am proud because aside from supplying the Foley and Effects, I actually just sat back and enjoyed. All valleys, no peaks.
1941. My one and only Steven Spielberg film. Though he never used us again, I have a nice signed poster from him. On 1941, Steven was pretty much of a "I'm not sure of what I want, but I'll know it when I hear it" kind of input. As a result much time was spent previewing sounds for him in his trailer and subsequently on his KEM. Universal's purse strings were noticeably looser here than on Conan. As a result of that looseness, Michele and I recorded most of the vintage cars, the Beechcraft plane, etc. Again the large crew syndrome raised its ugly head and again the teamwork was amazing. Eddie Sandlin and Alex Bamatre supervised the vast Foley with care and humor.
RED HEAT. This was another journey with Walter Hill and was one of the very few films I worked on in tandem with another. In this case, "RAMBO Part Three" necessitated the splitting of my time. Mercifully, both films were for Carlolco and Andy Vajna, allowing me to meddle in each project. Jay Wilkinson, Michele Sharp and Rodger Pardee carried the day to day load. Jay and Rodger recording the overwhelming amount of recording and Michele, as usual, overseeing the Dialog work. Because of the two films mixing at identical times at Goldwyn Studios on two different stages, I really needed to learn to roller skate. Fortunately, Jay had formed a bond with Walter and editor Freeman Davies which made the best of a messy situation.
FIRST BLOOD. This was the beginning of my relationship with Andy Vajna and Carolco. Buzz Feitschans produced and called on me because of our relationship on Conan and the many films from the old AIP days. Once more the crew was tiny, Fred Stafford, Ed Sandlin, Bub Asman and myself edited all the effects, dialog, ADR and Foley. An interesting side bar was that while predubbing Effects and Dialog on Stage C at Goldwyn's, Andy Vajna was making temp dubbs on Stage B for preview purposes. I'm sure that Andy's Rolls Royce trunk was filled with reels that he would show to any audience he could to get reactions. As usual, his inclinations were on the money because the film launched Carolco into the Independent Big Time. Jerry Goldsmith again provided the haunting and dramatic score. Jerry and Fred, a team made in heaven.
Here's a brief list of other films that I worked on that deserve mentioning.
RISKY BUSINESS. Much ado about very little for sound effects but fun recording Porsches. Good music, funny film.
THE HOSPITAL. Not much in the way of sound effects but nice to be associated with a truly class film. George Scott was magnificent. Got to go to NY for a week and screen with Arthur Hiller, another true gentleman and fine director. I did two other less notable films for Arthur, POPI and the silly MAN OF LA MANCHA.
COBRA. Another busy film, another Stallone performance. Sly was the final word in the mix -- thank God because the number two film editor was a total miscreant who wanted to play the car chase through Venice as a musical. On playback, Sly leaned over to me and muttered, "You got no effects here?" When reassured that they existed, Sly rose and corrected the thrust of the mix. Miscreant editor was dispatched back to the cutting room for the duration.
RAMBO, PART III. Notable that it dubbed at all, given the schedule, the fact that we were dubbing Red Heat simultaneously and most notably, the "number two editor miscreant" was the NUMBER ONE editor on Rambo III. Sometimes I do believe that God is dead. Taste -- and the fact that the editor probably can't find work anywhere -- prevent me from naming this little weasel. But I did get a nice trip to the garden spot of the west, Yuma, Arizona to record tanks, horses, helicopters and Russian weapons, courtesy of Sid Stembridge.
[And] we did manage to execute a very good mix.
NIGHTHAWKS. Another Stallone film wherein he wielded the true power. It was my first Sly experience. It must be some flaw in my nature that I get along so well with the Stallones and Peckinpahs of this world and yet get provoked to distraction by others. Go figure.
ELMER GANTRY. As I mentioned before this was the first film [on which] Columbia Studios gave screen credit to a sound editor. Well, actually, it wasn't Columbia. It was Richard Brooks who broke that barrier. I was quite young at the time, recently discharged from the Marines and reemployed at Columbia and only got the opportunity to work for Mr. Brooks, as I always referred to him, [because] I supplied a handful of sound effects to Marge Fowler, the film editor. As chance would have it, Mr. Brooks thought the effects were spot on. From there is was a small step and sweaty palmed interview and voila, I was the sole sound editor on "Elmer Gantry."
Looking back on the film, my youth, inexperience and caution are glaringly apparent. If I knew then what I know now! But I mention the film because it was a personal milestone.
Q: Are there any "tricks of the trade" that you've used a bit differently than other people?
FB: "Tricks of the Trade" -- Yes, there is one trick but it is impossible to carry out. DO EVERYTHING YOURSELF! Unless someone comes up with a 30-hour day or a 10-day week, that is an insurmountable goal. At 2 in the morning, staring at the screen wondering if anyone sees the scene as you do, you realize you cannot do it all! To overcome that I employed the next best system. Consistency! Write your cue notes as if the editor who was going to use them was a mouth breather or made out his cue sheets with a crayon.
Of course, the best trick is to surround yourself with a small cadre of like-minded and talented editors that you can find. I consider myself blessed to have found just such a stalwart group. The majority of us hung together until the end. I remember even the arguments and fights between us fondly.
The next step in my bag of tricks was to pick out each and every sound effect myself, limiting the choices to what I knew would work thereby reducing the odds of embarrassment on the stage. I spent literally weeks in my home studio creating, manipulating and overlaying sounds for every film. That way, I felt reasonably confident, barring sync, that what would be heard on the stage is what I envisioned.
I hope I'm not coming off too "epic" here but there were somethings I felt very strongly about. I could never bring myself to just open the Library book and snatch an effect without thinking, can I do better?
Q: Is there anything about the way you do foley that is distinctly your own approach?
Speaking directly to the art of Foley in it's current status would again need a bit of background. (Sigh, here we go again). When I began editing sound effects, Foley, at least at Columbia Studios, was a rare venture. Harry Cohn was not known for freely spending a dollar and as a result, only the most dire circumstances allowed us to use the Foley system and then only for the exact scene necessary. Since my experience at the time was solely at Columbia, I can but guess that this was fairly consistent throughout the industry.
Given that, when Foley became commonly used, it was performed by Sound Editors, assistants, apprentices and even secretaries. Foley artists per se were still somewhere down the road. The same held true for Loop Groups. When the time came for such sessions, we'd grab a bunch of bodies and hurry to the stage and perform. Out of this confusion rose such people as Ross Taylor and Bob Henderson. Since neither of them could be accused of being dancers or particularly light on their feet, their accomplishments are all the more remarkable.
Ross and I subsequently became partners in 1969 in our company, Edit International Ltd. A rather lofty title for a tiny collection of bodies but it seemed to work at the time. I learned all I know about Foley from Ross. Remember that this predates the specialization of the Foley artist.
As you know, later in his career, he gave up Sound Editing and concentrated solely on Foley. I'm convinced that it was he who elevated the craft to its current state. People like Dan O'Connell, Sarah Jacobs, Robin Harlan and Margie Denecke perfected and refined the form. I take special pride in having trained Margie. From Spielberg's 1941 until she moved to Northern California, Margie worked on every film we did.
But the finest and most challenging Foley I ever had a roll in was "The Deep". And I'm yet to be convinced that it was not the best Foley ever.
Because 75 to 80% of the film took place underwater, and the director, Peter Yates, knew exactly what it sounded like, (he became a scuba diver for the film) he was demanded authenticity.
I'll try to be as brief as possible regarding the lash-up making his demands a reality but it won't be easy. After taking our problem to the Warner Bros. Studio engineers it was found that no recording stage was suitable for our needs. Those needs being: an above ground pool, over a ton of sand on the bottom, a pool filter, and dressing rooms. The substantial weight of the environment alone precluded use of existing facilities.
In his infinite wisdom the producer, Peter Guber, rented a massive shooting stage on the lot. The pool was delivered, sand deposited, filter hooked up and a platform to hold the TV monitor installed. (With no little trepidation on Ross's and my part, the monitor hovered inches above the surface of the water. Grisly images of electrocution followed us through the course of recording.)
At this point, enter resident sound genius, Dana Woods. It's one thing for Ross and me to perform the Foley in a tank but an entirely different one to record our efforts beneath the water. Dana hauled in a trailer replete with Nagras and Dolby equipment. He contacted the Navy and Coast Guard, bringing their experts on board. The result was a sound loop of water proof speakers and microphones allowing him to directly pass the sound through the Nagra and be fed back into the pool, amplified by the speaker and finally recorded back onto the Nagra resulting in true underwater sounds. (I may have the lash-up wrong, but you get the idea.)
And that was only the beginning. The water in the pool was too cold for sustained immersion. We were then supplied with wet suits to alleviate the problem which in turn led to a second problem. Circulation. After an hour or so, we had none. Peter Guber solved that one by installing a pool heater. It could only run when we were not recording despite moving it as far as possible from the pool and baffling it. Still, the water was livable so we proceeded.
A second frame was built so we could suspend and move the aqua-lung tank in and out of position. The sucker was too clumsy to manhandle otherwise. Then Ross had Warner's install a compressed air hose and nozzle by which he could control and sync the bubbles. (It was one of Peter Yates's caveats that NO sound of bubbles breaking the surface be heard.)
We were eventually supplied with dummy ordinance for the appropriate scenes, spear guns, hundreds of "morphine- containing" ampules, underwater fuses, and what became our Famous Foley Rocks.
There remained only one minor task to overcome. We had the sounds of the bubbles, the hoses being dragged, the tanks clanging against rock and the ship's hull, the ampules doing their little waltz, etc. etc. What we did not have was the vocals -- the sounds of the divers inhaling. Dana Woods was way ahead of us on that one.
We would Foley the inhales out of the water and those sounds would follow Dana's magic loop through the pool and onto tape. Thus, realistic, underwater breathing!!! Ross took the roll of Robert Shaw, Michele Sharp as Jackie Bissett and I as Nick Nolte.
Michele also created Bissett's gasps and struggles with the giant eel in the movie's beginning and other undersea vocals later in the film.
Once the underwater Foley was completed, I returned to my editing room to begin cutting the Foley while Ross and Kitty Malone continued the recording of the "Land" Foley.
All in all, I will take to my grave the pride of having participated in a landmark Foley enterprise.
Q: I'll have to look at "The Deep" again because it's not quite clear to me what kinds of sounds you actually performed and miked underwater, and how much was recorded "dry" and then re-played through the underwater speakers.
FB: ALL underwater sounds were recorded "live" in the tank: bubbles, scrapes, clanks, hoses, etc. The only underwater sounds recorded outside the tank and fed back were the vocals, breathing etc.
Editor's Note: This "underwater worldizing" technique has been used a number of times since it was developed for "The Deep". Fairly recently it was used on "Alien Resurrection".
Copyright © 2002 by Fred Brown & Rodger Pardee
Go to: AFTERWORD TO THE INTERVIEW: Remembering Fred Brown
Return to R. Pardee homepage.


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|Eli Collins <...@cloudera.com>
|Re: Where can I find old Hadoop Common Release Binaries?
|Sun, 05 Aug 2012 04:41:31 GMT
Hey Carlos, We don't release common separately from mr and hdfs. You can download the hadoop binaries from this site (or preferably it's mirror). http://apache.claz.org/hadoop/common Eg the 0.20.2 binary is here: http://apache.claz.org/hadoop/common/hadoop-0.20.2/hadoop-0.20.2.tar.gz Thanks, Eli On Sat, Aug 4, 2012 at 8:01 PM, Carlos Andrade <email@example.com> wrote: > Dears, > > I am part of a multi institutional group that is doing some data analysis > on different open source projects and we selected Hadoop Commons to be part > of the data set. I would very much appreciate if one of you could confirm > if Hadoop Commons only available binaries are located at > http://www.apache.org/dyn/closer.cgi/hadoop/common/ > > I noticed some releases like hadoop-0.20.2, despite of the mirror doesn't > seem to have the binaries available. > > > Carlos Andrade > http://carlosandrade.co
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I stayed up waaay too late last night baking mini-cupcakes. We're having a Halloween party at my work today & since baking 150-ish full-sized cupcakes would be too time-consuming/costly for me, I went with mini-cupcakes. Did you know that the little paper candy cups that are used for truffles/bonbons & the like make for great mini-cupcake wrappers? Well, if you didn't, you do now!
Happy (early) Halloween, friends!


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- Entertainment & Performance
- Music & Audio
- Art & Design


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Immerse yourself in the ancient Aboriginal culture and amazing Australian outback with this 4 day tour taking in Ayers Rock (Uluru), Yulara, The Olgas (Kata Tjuta), Kings Creek Cattle Station, Kings Canyon, Watarrka National Park, the MacDonnell Ranges, Standley Chasm, Simpson Gap and Wallace Rockhole.
Day 1 - Alice Springs/Uluru (Ayers Rock): Starting in Alice Springs, we set off to experience the wonder of the iconic Uluru. We make a stop at an authentic outback camel farm and for those that are keen there is the option to go for a short ride on the back of one of these desert animals (at your own expense). Continue on to the permanent campsite at Yulara for lunch before embarking to explore the 36 domes of Kata Tjuta, getting up close to this ancient geological formation during a Valley of the Winds hike. As the sun begins to disappear below the horizon, take a glass of sparkling wine and watch the Rock's rich colours change against the backdrop of a blazing Red Centre sunset. The perfect end to a remarkable day is awaiting you back at camp – our famous 1,000 Star Dinner. With the red earth at your feet and an infinite sprawl of stars overhead, sit down to a candlelit spread of locally sourced food and wines, and soak up the vastness of outback skies during a hosted dinner you'll never forget.
Day 2 - Kata Tjuta (The Olgas)/Kings Canyon: An early start is rewarded with the sunrise over Uluru. While the morning's fresh enjoy an unguided walk around the base of Uluru. You will then deepen your understanding of the land and the Mala people as you embark on a cultural interpretive walk with an Aboriginal guide (and interpreter).* It is a unique opportunity to share experiences, and to connect with and learn about the oldest surviving cultures on earth. Afterwards, you will have the opportunity to see more Aboriginal arts and crafts at the Cultural Centre before we travel to our exclusive campsite within the Watarrka National Park (Kings Canyon) where we sleep for the night.
Day 3 - Watarrka National Park (Kings Canyon)/Alice Springs: Get your hiking shoes on today as we head out to explore the impressive formations of Kings Canyon. You'll be left breathless by the sheer beauty of the canyon as we trek through the Amphitheatre, the Lost City, the lush and ancient Garden of Eden and the North and South Walls. Lunch is a welcome prospect, before we make our way back to Alice Springs.
Day 4 - Alice Springs/Western MacDonnell Ranges: Leave Alice Springs this morning and journey through Ormiston Gorge, witnessing contrasting colours as the light reflects off the cliffs. Keep your eyes peeled for wallabies and other wildlife. Move on to Ellery Creek to enjoy panoramic views of the area, perhaps taking a dip in its still waters. After lunch, visit the world famous Simpsons Gap, an important site to the local Aboriginal communities. Head to the Western MacDonnell Ranges and watch the colour of the peaks transform under the setting sun. An optional, hour-long sunset camel ride is also available. Head back to Alice Springs, where your trip comes to an end.
Operates Monday & Thursday - 01Apr17-30Jun17 and 01Nov17-31Mar18
Operates Monday, Thursday & Saturday - 01Jul17-31Oct17
Departs: Day 1 6.00am from Aurora Alice Springs, Leichhardt Terrace, Alice Springs
Returns: Day 4 approximately 6.00pm to Alice Springs
Children: Tour is not suitable for children 8 years and under
What to Bring: Comfortable walking shoes, shorts, t-shirts, long pants and long sleeved shirt (for mosquito protection and extra warmth at night), swimmers, hat, towel, sunscreen, necessary medication, change of clothes, camera and torch
Luggage: Personal luggage is limited to an overnight bag and a daypack. Most Alice Springs accommodations will be happy to store any excess luggage you may have, some do charge a small fee
Fitness Requirement: A good level of fitness is required.
Operated By: Intrepid Travel & Adventure Tours


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Dmitriy Rybolovlev
December 20, 2011 by staff
Dmitriy Rybolovlev, The world's 93rd richest man will now be the new resident of the $88 million dollar pe***ouse once dwelled by one of Time's "25 People to Blame for the Financial Crisis." According to The Observer, Russian billionaire Dmitry Rybolovlev has purchased Sandy Weill's famed pe***ouse located at 15 Central Park West. Rybolovlev's new digs will boast Brazilian rosewood paneling and a 2,077 square-foot terrace, to name just a few features behind one of the most envied properties in New York City real estate.
Weill famously announced in November that he was putting his home up for sale for "downsizing" purposes and was planning to donate the earnings from the sale to charity.
The former chairman and CEO of Citigroup set new records in 2007 when he purchased the sprawling apartment for $43.7 million. That's $6,400 per square foot, the most paid per square-foot for New York real estate at the time.
Before the reported sale, the most money paid for a New York apartment occurred in 2010, when fellow Russian, Igor Krutoy shelled out $48 million to live in the Plaza.
If Rybolovlev becomes a full-time resident, Rybolovlev sets to become the fifth richest in New York City behind heavyweights David Koch and Mayor Bloomberg.
Please feel free to send if you have any questions regarding this post , you can contact on
Disclaimer: The views expressed on this site are that of the authors and not necessarily that of U.S.S.POST.


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Product code: 27166
Despatched in 3-5 days.
Phyto Phytoelixir Intense Nutrition Mask becomes a luxurious hair rescuer that transforms even the driest, most porous hair. Narcissus flower wax, a beauty powerhouse envelops hair in prodigious nourishment. Macadamia oil, extremely rich in essential fatty acids, replenishes hair lipids with the promise of new suppleness and radiance.Phyto Phytoelixir Intense Nutrition Mask is formulated to offer continuous active ingredient release to the hair, protecting it against the recurring drying-out process. Hair is infinitely soft to the touch and totally manageable. This light-as-air formula is suitable for all hair textures, even the finest hair.
Apply a quarter-sized dollop of mask to wet hair, working from mid-length to ends.- For fine to medium textured hair:Leave on for 2 to 5 minutes, then rinse. - For coarse and very dry hair:Leave on for 10 minutes, then rinse.
Macadamia Oil, Narcissus Wax.
Sign up for the latest news, offers and ideas.
eChemist.co.uk © 2017. All rights reserved.


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Zacardi Cortez feat. John P. Kee-One More Time MP3
Zacardi Cortez feat. John P. Kee-One More Time off of the 2011 album "Gospel Mix Volume V"
Zacardi Cortez feat John P Kee - One More Time MP3
"One More Time" Zacardi Cortez ft. John P. Kee MP3
New Music from Gospel Mix V! Zacardi Cortez and John P. Kee team up to bring the listeners the best.
Zacardi Cortez, John P. Kee - One More Time (Drum Cover) MP3
Drum Kit: ------------------------- Ludwig Rocker Chrome-Over-Wood Drumset: Remo Ambassador Clear - Resonant on all toms Remo Clear Emperors - Batter on ...
Zacardi Cortez - One More Time MP3
The video pretty much speaks for itself so here are the basics. This was recorded at St. Luke Christian Church in Huntsville, AL on Sunday, November 20, 2011.
"1 on 1" Zacardi Cortez (INSTRUMENTAL) & FREE Download!!! MP3
www.prettysimplemusic.com This is my way of giving back to those who have given and supported my business and video tutorials... Thanks for the Youtube ...
♫ How to play "ONE MORE TIME" (Zacardi Cortez) gospel piano tutorial ♫ MP3
http://www.PianoClubhouse.com This is a tutorial/how to play "ONE MORE TIME", by Zacardi Cortez. For access to more full-length tutorials, visit ...
John P. Kee & New Life feat. Zacardi Cortez-He's Working It Out MP3
John P. Kee & New Life feat. Zacardi Cortez-He's Working It Out off of 2012 album "Life and Favor.
Zacardi Cortez 1 on 1 MP3
Zacardi Cortez 1 on 1 This may just be the song of the summer. I do not own the rights to this song. I DO NOT OWN THE RIGHTS TO THIS SONG.
Zacardi Cortez - One on One (lyrics) - 1 on 1 MP3
About Zacardi Cortez Zacardi Cortez "The Introduction" Available Online & In Stores '1 on 1' on iTunes: http://smarturl.it/ZC1on1 Biography Zacardi Cortez was ...
Let Your Power Fall - FIYA & James Fortune (f. Zacardi Cortez) MP3
Show Your Support and check out James Fortune & FIYA's new album "Live Through It" here on iTunes.
James Fortune Zacardi Cortez Shawn Mclemore I BELIEVE MP3
PRESENTED BT KERRY DOUGLAS Skillet awake Marvin Sapp here am Various karen clark sheg BEBE &CECE Winans James fortune &FIya ENCORE FRED ...
Zacardi Cortez-Come Bless the Lord MP3
Zacardi Cortez-Come Bless the Lord off his 2012 debut album "The Introduction"
James Fortune & Fiya & Shawn McLemore & Zacardi Cortez I Believe-official video MP3
Text "GOSPELMIX1" to 26000 for Ringtone - Only $2.99 *** I BELIEVE James Fortune & Fiya feat. Zacardi Cortez & Shawn McLemore available on iTunes at ...
It's You (A Love Song) (feat. Zacardi Cortez) MP3
Provided to YouTube by TuneCore It's You (A Love Song) (feat. Zacardi Cortez) · Cheneta Jones · Zacardi Cortez It's You (A Love Song) (feat. Zacardi Cortez) ...
Zacardi Cortez - Road To "The Introduction" (w/ Marvin Sapp) MP3
Pastor Marvin Sapp takes time out to talk about Zacardi Cortez...
One on One Zacardi Cortez (With Lyrics) MP3
One on One Zacardi Cortez (With Lyrics). Video that shows lyrics.
Zacardi Cortez in Alexandria Louisiana/ "Do not pass me by/ MP3
Zacardi Cortez in Alexandria Louisiana on March 7, 2015 at St. Matthew Baptist church greater Alexandria Chapter of the gospel music workshop of America 26 ...
Rickey Smiley "Go Get Zacardi Cortez" MP3
Ricky Smiley personally endorsing the debut cd by "Zacardi Cortez" titled "The Introduction" www.zacardicortez.com.
Zacardi Cortez - 1 on 1 MP3
Zacardi Cortez video for you today. Enjoy.


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Visual Comfort Lighting Thomas O'Brien Welby 27-Inch Table Lamp
$ 1,050.00
This Table Lamp from the Thomas O'Brien Welby collection by Visual Comfort will enhance your home with a perfect mix of form and function. The features include a Hand-Rubbed Antique Brass finish applied by experts.
- All Visual Comfort fixtures feature a living finish that will patina over time
- Collection: Thomas O'Brien Welby
- Finish: Hand-Rubbed Antique Brass
- Number of Lights: 1 light
- Wattage Per Light: 60W
- Total Wattage: 60W
- Bulb Type: A
- Shade: Natural Paper
- Bulbs Included: No
- Safety Rating: UL Dry
- Ships Via: UPS (FREE SHIPPING)
- Dimensions: 9" w x 26.5" h
- Base Dimensions: 8.25" Round
- Shade Dimensions: 9" x 9" x 17" Round


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''Although the new six-year FTP that began in May provides an excellent framework for international cricket, there is no point in just sitting back and not thinking of the future beyond its duration,'' ICC President Ehsan Mani said in a statement here.
''This committee will examine possible structures and funding models for an international program beyond 2012,'' he added.
The make-up of the FSPC and its terms of reference will be ratified at the July 5 meeting of the ICC Executive Board at Lord's in London.
It is expected the committee, which was agreed to at the March Executive Board meeting in Dubai, will focus on a review of the funding policy that underpins the FTP and how matches between members are scheduled.
The current funding policy is that each member receives all the income from its home series while meeting the costs of the visiting side, excluding international airfares and player fees.
The committee will assess this model and examine possible alternatives, including those used in other sports, and make a recommendation on future policy.
It will also look at possible alternatives to the current scheduling policy, which requires each Full Member to play each other at home and away over a six year period in a minimum of two Tests and three ODIs.
The committee will canvass the views of all Full and Associate Members and may also seek external assistance before reporting back to the ICC Executive Board in November.


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"Rudderless," directed by William H. Macy about a grieving father who discovers his deceased son's music and forms a rock band, screened Friday, Jan. 24, the closing-night premiere at the Sundance Film Festival in Park City. The cast includes Billy Crudup, Anton Yelchin, Felicity Huffman, Selena Gomez, Laurence Fishburne, William H. Macy; part of the Premieres program.
Sundance red carpet photos: 'Rudderless' with William H. Macy premiere
First Published Jan 27 2014 03:19PM • Last Updated Jan 27 2014 03:19 pm


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Zachary Cole Smith of DIIV Talks Addiction and Unwarranted Consequences for Sky Ferreira
Musicians and drugs have a long-standing relationship, and it seems as though a high percentage of musicians have problems with addiction and often publically face the consequences of their problem. One of the latest rising stars to suffer the consequences of a drug addiction is Zachary Cole Smith of the indie rock band DIIV. In 2013, Smith was arrested in Saugerties, NY, along with his girlfriend, model and pop star Sky Ferreira, for drug possession (ecstasy and heroin) and driving violations.
Recently, about a year after the event, Smith spoke openly about the experience, his addiction, and its impact on Ferreira's career in a lengthy interview for Stereogum. Smith says he feels really guilty about the whole event, especially the unwarranted consequences for Ferreira.
Smith is part of the band DIIV, whose debut album Oshin in 2012 was a breakout hit and led to the band becoming one a promising indie rock bands, and he a rising star. They are currently working on their second album and staging their first US headlining tour, which will give them space to workshop new material for the second album.
Smith admits to being completely at fault, and says no blame should be contributed to Ferreira. He admits to owning all the dugs, that he stole the car, and that he was driving even though he already had an arrest warrant for driving without a license. Ferreira, according to Smith, did nothing wrong. She was ordered to attend anger management classes, and he was court-ordered to attend rehab for his addiction. The real consequences to Ferreira was the damage to her career, he feels
A passanger in the car
In the article, he stated, "Basically I was just stupid. I f****d up, and it was entirely my fault, and I f****d up my girlfriend's life. She literally didn't do anything wrong. She basically was just a passenger in the car with a person who was out of control for a minute. She got in deep sh**…Her career got really f****d up because everybody thought she was a drug addict, which she's absolutely not. That's the worst part of it for me, that I really f****d her over." Smith feels guilty because people believe that she is also a drug addict, even though she is not. Furthermore, she lost several modeling contracts because of her arrest, which could hurt her career in the long run. She was able to self-finance the release of her album Night Time, My Time through these contracts. However, instead of feeling angry with Smith, she admits to her own fault: she willingly got into the car with him.
Smith emphasized in the article how great Ferreira has been to him throughout the whole ordeal. He feels many people would have left, especially with the consequences to her career, but that Ferreira stayed and offered him the support he needed. Smith also acknowledges the consequences for his own career, and that of his band. He recognizes that his legal problems have affected DIIV's tour, as well as imbued the band with a negative reputation and an association with drugs. Rather than being known for their music, the band is now known for having a drug addict that was arrested.
Forbidden makes it more tempting
In the interview, Smith also discussed his long struggle with addiction. He said he has abused various substances, but the one to which he constantly returns to is heroin. In his words, heroin is "this ultimate forbidden thing, and that makes it the most tempting thing around." He has gone through treatment and remains in therapy, but he recognizes that it is a long journey that will take a long time to fully recovery. He says he is doing his best and working hard to overcome his addiction.


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First Ruaf'izod was a Jem'Hadar fleet commander during the Dominion War. In late-2374, he commanded a fleet Jem'Hadar and Cardassian warships in the Briar Patch as part of Gul Enic Hadar's plan to exact vengeance on Limis Vircona for the death of his brother earlier in the year.
Though instructed to keep Hadar on short leash, Ruaf'izod was highly displeased with Hadar serving in the capacity of a Vorta supervisor, but was content to honor the wishes of Yelgrun and the Founders. He was even more offended that Hadar threatened the life of a Founder, who had been in the guise of Limis's son Hasin Yanith, even though Yelgrun and that Changeling had gone along with the ruse of their own accord.
Ruaf'izod would eventually relieve Hadar of command after a number of Lambda Paz crewmembers had escaped confinement. Ruaf'izod then used first officer Ronnie Kozar and chief medical officer Aurellan Markalis as hostages when other senior officers barricaded themselves in engineering to fake a warp core breach. He was about to order Markalis's execution when Kozar was able to temporarily incapacitate the two guards. During the ensuing struggle, Ruaf'izod was fatally shot with his own weapon. (Star Trek: Lambda Paz: "The Tides of War, Part 2")


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When your Volkswagen Rabbit left the factory, it was destined for a person with discerning taste who prioritizes reliable performance in their automobile. Obviously, you bought your Rabbit because you understood you would be getting dependability and trusted quality both impeccably combined into one automobile. You picked your Rabbit because its European styling and a variety of special options struck a chord inside you; so why would you settle for second rate when it comes to great quality auto parts? Volkswagen automobile drivers have grown accustomed to a certain level of German engineering when driving their Rabbit around town.
Fortunately for you, your vehicle contains a part that cleans the hot and/or cold air from your climate control system prior to entering your car's interior. Before the 1990s, the cabin air filter was used mostly in luxury vehicles' but now your Volkswagen Rabbit has one. Based on the same style and construction as the intake air filter, the cabin air filter removes both particulates and odors. Since your heater blower fan is installed right on the firewall, the most ideal place for the cabin air filter in your car or truck to be located is in the back of the glove box. Changing your Volkswagen Rabbit cabin air filter is easy, and only takes a few minutes.
Given all the trouble that can be involved with fixing broken parts on your car or truck, let www.carpartsdiscount.com be the first place you go to make purchasing it easy. Get your Rabbit back on the road with the best replacement parts from the experts at Car Parts Discount. Ordering new Volkswagen parts from www.carpartsdiscount.com means you are taking advantage of the most superior original and aftermarket replacement Rabbit parts on the internet. Need 2009, 2008, 2007, 2006 Volkswagen Rabbit Cabin Air Filters parts? We've got them right here.


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World Vaping Organisation / Join the Resistance
Over the past five years we have seen a huge attack on vaping, using media and 'scientists' as a front line and with a number of high profile politicians talking about the 'good' and 'protection of the public' . In truth, everything is about money and a number of industries that simply want to take the profits of vaping for their own good. They are powerful and can control national governments as well as the EU politicians. If we don't do something, vaping as we know it may cease to exist soon. Over the past year a number of people sat together and agreed the need for the creation of the World Vaping Organisation with the aim to defend vaping as we like it. Please read the following manifesto and join us. Altogether we are very powerful.
World Vaping Organisation Link Here
World Vaping Organisation Facebook Page Link Here
Author: FlavourArt UK
Ros Champagne
Saturday, 15 February 2014 | 19:32
Come on, all Vapers. Join up! You have nothing to lose and everything to gain Ie sustaining vaping as a viable option. The bigger the numbers, the bigger the voice.


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What is JotForm?
JotForm is a free online form builder which helps you create online forms without writing a single line of code. No sign-up required.
At JotForm, we want to make sure that you're getting the online form builder help that you need. Our friendly customer support team is available 24/7.
We believe that if one user has a question, there could be more users who may have the same question. This is why many of our support forum threads are public and available to be searched and viewed. If you'd like help immediately, feel free to search for a similar question, or submit your question or concern.
Posting a Form to FacebookAsked by Windowsofwellness on April 10, 2014 at 10:31 PM
Have been trying to post a form to facebook so that the image shows up in the post but it just says "jotform" I've tried the static app but apparently I am not doing it right. Needs some assistance please. Thank you.
Does your form contain images? I do belive this is controlled through Facebook's end. Unless one of my colleagues has any further information on this. I do belive this is generated automatically.
Please review the steps on how to add your form to facebook using the Static HTML method by accessing the following guide:
Do let us know if you need further assistance after verifying the steps on our guide. Thank you.


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Johnson Rose 6150 Aluminum Dry Baker's Measure 1/2 Qt.
✔ Durable aluminum construction✔ Graduated measures on its body✔ Seamless welded handle✔ Straight sidesSee more product details
Customers who bought this also bought:
Item Details
Accurate measurement is essential when adding dry ingredients to your recipe and the Johnson Rose 6150 Aluminum Dry Baker's Measure 1/2 Qt. is the perfect tool for the job. This baker's measure features straight sides and has graduated measures on its body for precise measuring. For ease of handling, this baker's measures is designed with a welded handle for a comfortable grip. Thanks to its aluminum construction, this liquid measuring cup is easy to clean, rust resistant, and will endure heavy duty use.
- Dry Baker's Measure 1/2 Qt.
- Durable aluminum construction
- Graduated measures on its body
- Seamless welded handle
- Straight sides
- Brand:
- Johnson Rose
- Model #:
- 6150
- Ship weight:
- 6 oz
- Sold As:
- 1 ea
- Item Number:
- 0676-6150
- Capacity:
- 1/2 Qt
- Color:
- Silver
- TigerChef ID:
- 84038


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- Weight: 346 g (size UK 8)
- Drop: 9 mm
- Color: Navy/Orange
- Material: Real suede
Salmings performance sneaker shoe has a super soft suede upper that provides great comfort and flexibility. The outer sole is made in raw rubber to provide maximum traction and close-to-the-ground-feel. But there's more than meets the eye on this performance sneaker shoe, inside the raw rubber outer sole shell there's a hidden EVA performance midsole, making this shoe an excellent indoor performance shoe as well as a cool looking sneaker. Suede is a natural material. If your shoes get dirty, dry brush the dirt away, then use a suede brush – you can't wash suede..


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Username: OneStormyNight
Wikia URL: http://stardomthealist.wikia.com
Current edit count: 350
How long I have edited there: 10 days
Last admin to edit and when: Vitalicboi, February 19, 2012 (Founder, page non existent)
Other information: I know this is extremely early to be sending a request but I've personally sent two other adoption requests before. They took longer than needed to process, so I may as well start now.
I am admin of the Stardom: Hollywood Wiki and would like to adopt the Stardom: The A-List wiki. I have been planning on adopting this wiki after working on the Stardom: Hollywood Wiki for some time, and am now intensively editing the Stardom: The A-List wiki. These two are games and are extremely similar to each other, making edits much faster and easier. More edits will definitely come into the future.
The founder for this wiki doesn't exist anymore (their user page link is broken) and there are no admins for the wiki at this time. I would like to have an admin on this wiki as soon as possible, which will hopefully be me. This wiki is in desperate need of help and with my experience in a wiki very similar to it, I can definitely bring the wiki back to life.
Thank you,
OneStormyNight (talk) 08:35, January 22, 2014 (UTC)


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Great People and Communities
Our employees, suppliers and communities each play a vital role in making us who we are. To support these groups, our people and communities strategy focuses on three areas:
- Diversity and inclusion;
- Supporting diverse suppliers; and
- Investing in our communities.
We believe it's important to celebrate the diversity of our workforce and supply chain. We also dedicate our time and resources to improving the environmental and social conditions in our brewing communities.
2020 Goal: Fostering a Diverse and Inclusive Workplace
We are dedicated to fostering a diverse and inclusive workplace. Succeeding in today's competitive business environment requires a diverse team of innovators, thought leaders, problem-solvers and influencers committed to growth and delivering results.
One of MillerCoors 2020 goals is to increase diversity among management, with women comprising 35 percent and people of color comprising 21 percent, respectively. As of December 31, 2015, MillerCoors management was comprised of 28 percent women and 17 percent people of color.
2020 Goal: Spending with Diverse Suppliers
Our employees, communities and suppliers each play a vital role in making us who we are. We believe it's important to celebrate the diversity of our workforce and supply chain. We are actively engaged with 1,258 diverse suppliers including woman- and minority owned businesses. In 2015, we increased our spending with diverse suppliers by 1 percent to $529 million.
Since 2008, our cumulative spending with diverse suppliers has totaled more than $3.48 billion, bringing us closer to our 2020 goal of spending $5.1 billion.
2020 Goal: Investing in our Brewing Communities
By 2020, our goal is to invest a cumulative total of $137 million in our brewing communities through corporate and employee donations. In 2015, MillerCoors donated more than $11.8 million to nonprofits (comprised of in-kind and monetary donations) and our employees volunteered 55,834 hours in their communities. Since 2008, our investment totals more than $94.2 million, including a $2.3 million donation to United Way in 2015.


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So my vet has an after hours number, but it says only to call for life threatening emergencies - and I am not sure if this qualifies as one. Can anyone shed some light on the situation?:
On saturday, the dog got left outside (accidentally) for a few hours. By monday he was crying when we touched his belly and didnt eat very well and was having softer poops than normal. On tuesday, he ate but only because I fed him chicken and rice instead of his dog food. Now no poops since monday night. Lethargic, but not crying when we touch his belly. Haven't tried to feed him yet tonight, I am not sure if I will make things worse.
So... does this seem emergency call line worthy? Or do I just wait till the am? I am concerned he could have some kind of blockage and I have heard those are really dangerous.
**Update** on pg 2.


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Angurus is Angury by LegrandzillaWatch
©2012-2017 Legrandzilla
Another view of the West Kenji 1955 diorama I made based on Gigantus the Fire Monster, Godzilla's 2nd movie.
Ahh... perhaps we should get him some Angus Steaks, or an Angora Rabbit?
(I'm so very sorry...)
(I'm so very sorry...)
man thats soooo cool!
Wow! You MAKE these? 8D That's amazing! Very well done and the details are very good too


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THIS RESTAURANT IS CLOSED Mimi's Cafe Map
16154 S. La Grange Rd.
708-226-2286 | Make Restaurant Reservations | Menu
Use this map to THIS RESTAURANT IS CLOSED Mimi's Cafe to get there and back safely. If the "Get directions" pop-up does not appear, click the green arrow to get driving directions to and from this restaurant.
Find out which restaurants and chefs top the list of GAYOT's 2016 Annual Restaurant Awards.