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Skating Programs
- Uncategorised
- 02 October 2015
- Amber Knott
- Hits: 6187
Meaford & St Vincent Community Centre 151 Collingwood Street West, Meaford ON
Youth Program Registration Form
Meaford & St Vincent Community Centre Arena
RPGIRL Ages 5-11
Mondays 6pm-7pm 50 minute program
October 24, 2016 - April 3, 2017
Cost $100 per child
A recreational hockey program to allow girls to enjoy this wonderful Canadian sport in a non-competitive atmosphere. Skills Development, Skating Development, Game Scenarios & Fun! Full hockey equipment is mandatory (assistance in getting this is possible). No travelling required.
Lead Volunteers: Grant Murray & Chris Harding
Must have basic skating skills (ability to stand & get up)
after school HOCKEY PROGRAM
Meaford & St Vincent Community Centre Arena
RPKHOC Grades 5-8
Mondays 4pm-5pm 50 minute program
October 24, 2016 - April 3, 2017
Cost $100 per child
A recreation hockey program for Grades 5-8. Kids come to the arena to play shinny-style hockey in a non-competitive atmosphere. Full hockey equipment is mandatory. ( assistance in getting equipment is available). No travelling required. Volunteer led program.
public skating
Meaford & St Vincent Community Centre Arena
October 15, 2016 until March 25, 2017
Full dates and times will be posted on the website at meaford.ca/skate
Monthly calendars will include the community sponsors for these programs that allow us to offer them for free to the community throughout the season.
If you or your business are interested in sponsoring a skating time, please contact email@example.com for full details
special community skate opportunities
Check the schedule on meaford.ca/skate
to see when our Holiday skates occur
PA Days (if available)
Family Day
Christmas Break
March Break
Private Rentals of the ice surface are available throughout the season
Email firstname.lastname@example.com or call 519-538-1060 ext 1415 to arrange a time for your group or family!
A great way to spend a birthday, holiday or special occasion with family and friends.
For more information, contact email@example.com or call 519-538-1060 ext 1200


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subset: commoncrawl


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I probably know the answer to this one but why not do an experiment anyway
Say you have two guys one shorter than you by 4 inches and the other one taller than you by 4. judging from looks alone without personalities, careers etc.
- -4 inches Shorter (good looking, fit)Vote A
- + 4 inches Taller (average looking, average build)Vote B
- See results im maleVote C
Most Helpful Girl
Men take height preferences so personally, without realising its usually the girls own insecurity or whatever that drives the want for a tall man.
I prefer tall men. I do not necessarily think they are more attractive, but as a tall woman they make me feel more feminine and less behemoth-esque.00|00|0


text: Antonio Cordova VH 2 Antonio Cordova VH 2 Attribution Full Name: Antonio Cordova VH 2 Affiliation: Armorines Retrieved from "http://the-book-of-geomancer.wikia.com/wiki/Antonio_Cordova_VH_2?oldid=8845" Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you've made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Categories: Pages with broken file links Armorines VH 2 Characters


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Diagramming sentences. This might be helpful, so i'm putting the link here. I do think its interesting that the last sentence says, "does diagramming a sentence teach us anything other than diagramming a sentence?"
Not sure if your comment is appropriate? Check our Commenting Policy first.
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text: Now, I plan to buy a license for XenForo the first day you can, but I've never purchased a forum license before. I am aware that IPB allows users to have a normal installation and a test installation. What is Xenforo's stance on multiple installations like that?\n\nSorry if this has already been asked and answered, but I haven't seen a thread like it.


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Spark – Construction / Electrician / Plumber Email Template
SPARK – Construction / Electrician / Plumber / Handyman Email Template PSD
SPARK is set of 6 PSD files with Flat style designed Email Templates which can be use for any kind of business like Construction / ElectricianBusiness, Corporate, Freelancers and much more. It's very easy to edit; Layers and Smart Objects are very well-organized and structured, you can easily customize the design and color as per your need. Design is clean and professional. all you need to do is just to change content and products.
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• 6 Different Layouts • Considering Standard Newsletter Guidelines • Smart Object • Nicely Layered & Grouped • Clean, Modern & Unique Design • Fully Layered Adobe Photoshop PSD files • Well Organized Layers (created with Adobe Photoshop CS5) • 72 Dpi, Rgb • 600px layouts – good for sending in emails • Completely editable • Easy to make html
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Documentation :
documentation file included : (documentation.html)
Images in preview are not included in main download file


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Aust backs regional move to preserve fish stocks
Australia has joined several Asian countries in a push to tackle the problem of rapidly dwindling fish stocks due to overfishing and poaching.
Officials from 13 countries have gathered in Jakarta to prepare for next year's regional conference to promote responsible fishing practices.
At the opening of the meeting, Indonesia's Fisheries Minister cited several studies warning that the world's fish stocks will be depleted by the middle of this century, if no measures are taken.
He also says illegal fishing by international crime syndicates is mainly to blame for unsustainable fishing, rather than traditional fishermen.
The Australian Ambassador, Bill Farmer, says greater regional cooperation is needed to tackle the problem of dwindling stocks.
Topics: fishing-aquaculture, conservation, foreign-affairs, australia, indonesia
First posted


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Succulent chicken thighs roasted with figs and lemon slices makes for a satisfying and impressive Mediterranean-inspired meal. The slightly sweet and sour sauce is perfect to serve with rice, and helps to caramelise the figs and lemon. Easy, delicious and if you feel the sauce isn't enough it can easily be doubled.
These moreish cheese bread bites are a favourite in Brazil, and just happen to be gluten free. Easy and delicious!
A very light moist cake, just like a normal Victoria sponge, but wheat and gluten free! Use margarine rather than butter as it is lighter.
Fantastic chef Hugh Fearnley-Whittingstall has donated to TREE AID this wonderful cake. Hugh belives: "Villagers in Africa pick fruit, nuts and leaves straight from the trees around their villages-food doesn't come more local than that. It's a lifeline for them and vital that we do what we can to ensure they have enough trees for food and the many other products and benefits trees provide."
These tasty chickpea-based balls, flavoured with garlic, chilli and lots of fresh coriander, make a delicious alternative to rice or potatoes. Cooked traditionally as an Indian dish the balls would be deep-fried, but here they are baked.


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EDFI newsletter May 2013
- 10 July 2013
EDFI and Interact AGMs in Madrid; EDFI participates to the OECD report on Perspectives for Global Development 201; The European Development Finance Institutions (EDFI) provide €100 million additional funding to the INTERACT CLIMATE CHANGE FACILITY to finance climate change and energy efficiency projects.; New Danish Climate Investment Fund; SIFEM, DEG and FMO co-invest in Falcon House Partners Indonesia Fund I; SOFID finances a project in Mozambique to boost domestic production of chicken meat; COFIDES provides fundig for the expansion of J. JUAN's production plant in China; Norfund buys out CDC in Ugandan bank DFCU; FMO invests in APM Terminals Callao in Peru; CDC signs agreement with Standard Chartered to help boost trade finance for businesses in Africa and South Asia; Central Africa SME Fund reaches final close at USD 19 million, with the participation of FMO; Norfund mobilizes first Norwegian institutional investor for direct investment in Africa; UK Development Finance Institution Reports Annual Results Including Highest-Ever Level of Jobs and Businesses Supported; COFIDES finances TECVASA activities in Santo Domingo.
- 2013 May -n27 (302.88kb) Download
Newsletter 24- January 2013
- 31 January 2013
Contributing to Creating More and Better Job: joint communiqué of 13 EDFI members and other IFIs; FMO partners with AFC to launch early stage project development facility in Sub- Saharan Africa; Successful exit from Accion fun; Cofides finances the expansion of Rinder Group in India; DEG: EUR 25m for food production in Paraguay; New greenfield microfinance institution launched in Karachi; TECNOCOM settles in Dominican Republic with COFIDES support; FMO helped finance a new mercury waste processing plant in Thailand.
Consult the EDFI newsletter online: http://bit.ly/VvDzQJ
- EDFI newsletter 24 -January 2013 (164.49kb) Download
Newsletter 20 - January 2012
- 24 January 2012
DEG and OeEB deepen their cooperation; Celebration of the 40th anniversary of BMI-SBI in the prestigious "Egmont Palace"; FMO, Swedfund, DEG, BIO joint investment in Addax Bioenergy, Sierra Leone; Swedfund Appoints Anders Craft Acting Managing Director and Hires Six Investment Staff; FMO and Proparco make their first investment in photovoltaics; SOFID helps SISIL in providing cooling systems to Mozambique; Norfund Ready to move into "fragile states": Myanmar and South-Sudan; FMO hosts conference on boosting investments in sustainable forestry and forest carbon; Cofides activities grew by over 17% in 2011; Swedfund Receives Capital Injection; FMO finances Tbilisi housing project; FMO, Proparco and DEG make 70 million US-dollars available to Base Titanium Ltd., a natural resource project in Kenya; Plastics alt camp reinforces its international activity with COFIDES financial support
- EDFI Newsletter No. 20 (3.14mb) Download
Newsletter 23 - December 2012
- 10 December 2012
1 FMO, BIO and Proparco finance a USD 55.5 million syndicated facility for LOMC in Sri Lanka 2 Swedfund, Ifu, Finnfund and Norfund: Nordic Development Finance Institutions invest in Norsad Finance limited 2 DEG: 50 years of successful private-sector promotion in developing and emerging-market countries 4 Swedfund participates in UN Global Compact and the UN Principles for Responsible Investment: UN PRI 5 Sbi-Bmi co-finances the first rendering plant in Serbia 5 FMO: Central Bank of Nigeria implements sustainable banking principles 6 Cofides will finance Grupo Fuertes' expansion in Russia 7 Norfund opens new office in Maputo 7 CDC: dfid impact fund – a request for proposals 8 Finnfund: SaraRasa pioneers pellet production in Indonesia 9 DEG: Successful development through the private sector
- December 2012 n23 (2.41mb) Download
Newsletter 22 - September 2012
- 12 September 2012
1 Sweden Ghana Medical Centre in Accra officially inaugurated 2 Pacadar consolidates its expansion in Panama with Cofides 2 BIO commits USD 5 million to ARREND 3 OeEB Development Report 2011 3 Simest: new Chairman and Board of Directors 4 FMO and Fairview introduce fund of funds for Africa 4 FMO issues USD 41.3 million 6-year Sustainability Bonds 5 Establishment of Masolivergrup in the Dominican Republic with Cofides financing 5 Proparco supports financing for energy efficiency and clean energy projects in Turkey 6 BIO: "One Laptop per Child" 7 FMO, DEG, Proparco: USD 330 million in loans for Takoradi2 project
- 2012 September EDFI Newsletter (2.91mb) Download
Newsletter 21 - May 2012
- 15 May 2012
- EDFI Newsletter MAY 2012 (2.62mb) Download
Newsletter 12 - September 2009
- 30 September 2009
Norfund Diversified its energy portfolio, COFIDES Acts to enhance SMEs, Improving water supply in Amman, Proparco's new magazine, PRECAS concrete element producer rides building boom to India, Improving Ghanian access to mobile telecommunications, FMO disburses a US$ 20 million loan to Grupo Supervielle (AR), FMO releases restyled Upsides Magazine, FMO's Ceo comments on semi-annual accounts, New IFU office in Ghana, Development finance institutions in demand in times of crises, DEG promotes production of basic food in Zambia, COFIDES strengthens support to SMEs during the crisis, appointments and news.
- EDFI Newsletter No 12 (1.17mb) Download
Newsletter 10 - March 2009
- 15 March 2009
DEG new business in 2008, Cofides joins the Aldesa-led consortium, Proparco and DEG support the Polona Hotel rehabilitation, FMO to the World's firest clean compost plan in Bangladesh, CDC commits USD 40M to Indian Fund focussing on developing SMEs.
- EDFI Newsletter No 10 (1.29mb) Download
Newsletter 14 - March 2010
- 18 March 2010
BIO commits EUR 6 million to Asian Renewable Energy Fund, FMO's 40th Anniversary, FMO Invests in Indian Slum Rehabilitation, FMO signs MOU for enhanced Partnership in Africa, DEG participates in Indonesian life assurance company, Schwenk company to open cement works in Africa, DEG—New business 2009, DEG: new business in Africa at record high, OeEB: Funding infrastructure investmens in Latin America and the Caribbean, COFIDES: ISOLUX-CORSAN Expands the Indian North-South corridor, Esteve Quimica Expands in China, COFIDES reaches record in approvals and portfolio, PROPARCO: 4th issue of Private Sector and Development, CDC makes first DFI investment in Sierra Leone, FINNFUND's new Director for Admnistration.
- EDFI Newsletter No 14 (970.36kb) Download
Newsletter 13 - December 2009
- 15 December 2009
Norfund signs agreement on the establishment of East Africa 1st venture capital fund, measuring the development effects of CDD's investment, FMO introduces e-learning toolkit for MFIs, Africa: the growth continent for private equity, Cofides in Chile and Peru, Proparco: Third issue of private sector and development, the growing role of DFIs in international development policy, AA+ rating for OeEb, OeEB receives award for sustainability reporting, EDFI members endorse ILPA private equity principles.
- EDFI Newsletter No 13 (487.24kb) Download


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Alliance #F330230 Washer RELAY FLANGE DPDT 240V
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Tuesday, March 2, 2010
Ol' Uncle Oscar
Ostensibly, the Academy Awards honor "excellence in cinematic achievements." But we know that's not really the case. Even another venerable body of American cinema, the American Film Institute, acknowledges this: of the AFI's 100 best films of all time, only eight have been recipients of the "Best Picture" award. What films win "Best Picture"? Braveheart? Mutiny on the Bounty? Crash?
While Oliver! and Slumdog Millionaire might take home golden men, their achievements, though certainly works of public relations art, aren't really cinematic. So what are the Academy Awards for, and why does the Academy choose to honor the films it does? In his 2005 book Hollywood and the Culture Elite, film historian Peter Decherney outlines how the Academy of Motion Picture Arts and Sciences was formed to postpone the unionization of Hollywood's actors, writers, and directors:
"Stagehands, electricians, and other crewmembers had been unionized several months earlier in the Studio Basic Agreement. The Academy's members arbitrated labor contracts, but that was only the most direct manifestation of their management role. In order to defer the unionization of the Hollywood workforce, the Academy took several steps to define film industry jobs as skilled artistry rather than labor. The ultimate goal of the Academy was to oversee the Hollywood workforce from training to retirement, and the most public and disarming sign of this process was the establishment of the Academy Awards in 1929... the Awards assisted in the definition and installation of filmmaking labor and art... the awards separated "below the line" workers from the artists who wrote, directed, and acted in films, effectively distinguishing the unionized laborers from the artists."
The Academy Awards initially sought to recognize films that took chances, artistically: "the first ceremony (cohosted by [Cecil B.'s brother] William de Mille)awarded separate prizes to the best picture (Wings) and the best "unique and artistic picture" (Sunrise), separating commercial fare from prestige art films. Wings, William A. Wellman's WWI fighter pilot film, was a comparatively big-budget epic that capitalized on Charles Lindbergh's popularity. On the other hand,Sunrise: A Song of Two Humans is a weird and wonderful love story, told in a kooky expressionistic style by F. W. Murnau. (Roger Ebert has a great essay on the film.)
So if there was a category for best "unique and artistic picture" this year, what would make the cut? Maybe "Bright Star", tautly told with images, instead of "Up in the Air," where dialogue babbles like a player's piano, an often forgettable tune.
Posted by Trix McGovern at 2:54 PM
Labels: Academy Awards, F. W. Murnau, Peter Decherney
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brad askew photography Photographer
DomushinoModel Male Prague, Prague, Czech Republic
My MM URL: http://www.modelmayhem.com/domushino
Mayhem # 3364288
About MeWe should use every occasion, and this is why I signed up here. I've always been interested in this industry, I like photographing, being photographed, and also when the photography has its story itself. I am not very experienced.
I will be pleased to get any offers, it is also what I expect from MM - except of nude pictures though.
Have you worked with Domushino? Add Credits for Domushino! >>
brad askew photography Photographer
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Mark Bruce Photography Photographer
Keith G J Fernandez Photographer
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The news of former Miss World Aishwarya Rai's comeback has been doing the rounds in the media ever since she gave birth to her daughter Aaradhya. As per sources, she has shown interest in adman Prahlad Kakkad's directorial debut, Happy Anniversary, where she will be seen starring opposite her real life husband Abhishek Bachchan. The film to be produced by Gaurang Doshi deals with marital issues and will be largely shot in South Africa. Meanwhile, Kakkad has supposedly approached Sushmita Sen to play a significant supporting role in the same film. He met the actress a few days ago and she happened to love the part offered. Among the most noted and talked about cold wars of Bollywood was that of Sushmita and Aishwarya's. It dates back to 1994, when Sushmita won the Miss India crown beating the strong-favourite Aishwarya and went on to win the Miss Universe title, while Aishwarya, the first runners-up, was adjudged Miss World. However sources close to both reveal that the rivalry is long over. The film titled Happy Anniversary will see Aishwarya's character starting off as a 21-year old and the story unfolds over the next eight years. The film will later also see her pregnant with twins.
Ash, Sush to sizzle the silver screen together?
by Filmfare | Thu, Mar 27, 2014
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Covers for the ASUS Transformer Pad TF303
- Always safe shipping including track&trace.
- Many e-readers/tablets look alike. Contact us if you don't know which device you have.
- If you miss something in our collection, do send an email. We're open to any suggestion.
Protection cover deluxe fits the ASUS Transformer Pad TF303CL or TF303K
for Transformer Pad TF303CL/KKleur:€34.95
Gecko tablet USB charger
suitable for tablets€14.95
Touchpen Stylus
suitable for tabletsFarbe:€9.95More information
Out of stock
Our collection for the ASUS Transformer Pad TF303CL/TF303K
Micro-USB cable€9.95
The successor of the ASUS TF701T with a Full HD display perfectly matches its name. This 'transformer' tablet is easily transformable into a laptop. Only one simple step of clicking the dock on the tablet and you can use this tablet with its keyboard. The TF303 runs fast on the 4.4 operating system of Android. Because the tablet can take two forms, we also offer two kinds of covers. Our unique Deluxe cover provides protection for the tablet and keyboard together. Choose our Slimfit case when you're looking for an elegant cover that takes up little space and hardly adds weight (only provides protection for the tablet).


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The Papillon Hotel has 140 rooms, all of which are comfortable and spacious with views overlooking the garden or the ocean. Relax and soak up the sun on the beautiful Reduit beach or choose from a wide range of water sports available. **From January 2008 the hotel will combine with its sister property The St Lucian to become one hotel, thus offering guests more facilities**
Distance from Airport:
40 miles - Hewanorra
All rooms have 2 beds
All have * bathroom/shower * WC * telephone * air conditioning * Balcony / Terrace * (certain amenities may be payable locally)
Transfer time:
90 minutes
Location and Resort:
The Rex Papillon St Lucia is situated next to its sister resort of the Rex St Lucian, with the hotels sharing some facilities. The Rex Papillon is right on the Reduit Beach, at the north of the island and within walking distance from local shops and nightlife.
Eating and Drinking:
The hotel has the Monarch restaurant, The Clipper Snack Bar, The Diadem Lobby Lounge Bar and the Tropigala Lounge bar.
Swimming pools:
The hotel has an outside swimming pool with children`s section, sun loungers and Poolside Bar.
Right choice:
Papillion St Lucia is ideal for a relaxed and friendly holiday on the North Coast of St Lucia.The hotel has many amenities and facilities including a children`s club, perfect for families and couples of all ages.
Suitable for:
Couples and Families


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Kar Gayi Chull, Kapoor And Sons first song is out and it is featured on the lovebirds, Alia Bhatt and Sidharth Malhotra.
The song is touted to be the house party song of the season, composed by none other than Badshah. This is not a original composition, for it came out in 2014 and has now been revamped for this movie.
The original song was sung by Fazilpuria feat Badshah, while Kar Gayi Chull is sung by Badshah, Fazilpuria, Sukriti Kakar and Neha Kakkar.
This is a fun party song with Sidharth Malhotra and Alia Bhatt dancing, boozing and having a whole lot of fun playing spin the bottle game.
Also Read: MUST WATCH! Salman Khan Shares A Cute Video Of Iulia Vantur
The show stealer of this song video is Alia Bhatt who will win you over with her hot quirky moves, crazy expressions and sizzling body.
This lass is truly gifted and her performance in the song proves it. Sidharth gets left behind a little especially with a powerhouse performer like Alia Bhatt beside him.
The fact that he is bad at dancing doesn't help him either but none the less, the song is awesome, the beat is awesome and so is the video.
The only thing it falls short of is that they don't let Sidharth Malhotra and Alia Bhatt kiss! Damn it!


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Happy hump day ladiesss! We're halfway to the weekend, and needing a LOT of extra coffee today, who's with us?! Bringing you another edition of #whatwewore over the past week. Have a great day! xx
These shorts are my favorites - I think quality denim (jeans or shorts) is worth a little extra $$. I buy both (high and low priced), but have found when I spend a little more, the pieces last quite a bit longer. I got this sweater from F21 a couple weeks ago, and have worn it twice - both times I had people stopping me asking for details...it literally just sold out, but add your email to the list for re-stock notification! If it is restocked, I'm purchasing a second for when I wear this one out...it's that good!
F21 sweater (sold out, similar here) | shorts | bag (budget-friendly option here) | necklace | nail polish
I was just about to head to Lululemon this week to get some new workout gear (mainly need sports bras!) but put that on hold once I got my package from Lorna Jane. I love every single piece I'm wearing and the bra is SO supportive!
My favorite is the back!tank c/o | leggings c/o | bra c/o | water bottle
It has been so cold & rainy here this week, so it's back to warmer clothes. This sleeveless sweater from Grey State is so cute, and the material is light enough to wear at night in the warmer months, and these jeans are my favorite grays - super comfortable and flattering (which can be difficult to find with gray washes).
jeans c/o | Céline bag (budget-friendly here)
P.S Shopbop is having a surprise 3 day sale - selec items are 40% off! Below are a few things we've been eyeing...


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Nostalgia time!
I recorded this one myself, way back on May 11, 2001. 15 years?! I refuse to believe it's been that long!
Speaking of 15 years, that's exactly how old I was at the time (wow, I think I just gave myself record-setting depression!). During that period, I was still the avid video taper and movie/TV fan that I had been for the several years preceding, but as I got a bit older, I found myself steadily branching out from the genres that had traditionally been 'mine.'
That is, the classic horror and sci-fi films, b-westerns, silents, and so on. (A lot of the stuff we've seen here at the blog, basically.) Oh I still liked all those, but my tastes were evolving to include newer, relatively more extreme horror and sci-fi, and even action films. The taste for horror and sci-fi beyond the 1960s or so would eventually recede, but the love of action flicks (especially those from the 1980s and early-1990s) remains.
Which brings us to the subject for today. Yes, Northeast Ohio movie-hostin' heroes Big Chuck & Lil' John once ran the 1982 Sylvester Stallone action classic First Blood, and yes, it was fantastic. "Wait, ain't they horror hosts though, B?" Well, yes, Chuck & John (and before John, Hoolihan) made their name on film offerings more befitting the horror host genre (though not necessarily always). By the time this episode aired, the film selections had turned into a more all-around assortment. I'll explain more about that situation in a bit.
Frankly, it didn't (and doesn't) really matter to me whether the movie used that night in May 2001 fit in with what the show was supposed to feature or not; this was a viewing, and recording, born out of my fairly new love of action flicks and a joy in discovering them for myself on late night TV. Discovering Rambo? In 2001? I'll explain more about that situation in a bit, too.
I certainly didn't realize it at the time, or even in the years immediately proceeding it, but of the hundreds and hundreds of movies I personally recorded from, roughly, 1996-2002, this has turned out to be one of my favorites. Aside from some intense nostalgia on my part, it's not linked to any actually important aspect of my life, nor is it a particularly historical broadcast in and of itself. Nope, I just really, really like this one as a whole. Does it take me right back to Friday nights in Spring 2001? You better believe it does!
(Also, that header pic above? That was the bumper for the episode, an image that now currently resides as the background on my phone. A superfluous-but-rare honor!)
A general widening of my film tastes wasn't the only thing going on with me, TV-wise, at the time, either; it was also around that point that I truly began to enjoy and appreciate Big Chuck & Lil' John as a whole, rather than just a showcase for certain movies I wanted to see/tape. That may be anathema to admit, and I certainly don't like admitting it, but the sad fact of the matter is it took me a few years to really 'get' these guys.
Now, that may be a surprising statement to some; after all, Chuck & John have had no small influence on this blog, and indeed, I'm a self-professed mega-fan. Besides the annual Ghoulardifest posts, I've written about them numerous times. But back in 2001, even though I had watched (and taped!) their show(s) prior, it wasn't until, roughly, the 1999-2001 time frame that I truly became a fan. Prior to that, it was all about the movie with me, as evidenced by the fact that I usually cut the intros and outros off when recording, opting instead for just the movie (whatever bits showed up during commercial breaks were of course left in, and in retrospect I'm glad they're still there, but back then, they were merely an extra-addition to the film in my eyes). This was all in stark contrast to The Ghoul Show and The Son of Ghoul Show, which were kept in their entirety, as I saw them as "complete shows," and not just mere movie showcases.
That eventually all changed however, due to a few factors. Once I began watching, really watching, Chuck & John, I began to appreciate their comedic bits and host segments (my learning more about the history of the show, and Chuck's involvement in Northeast Ohio TV in general, was also a factor). Plus, WBNX TV-55 moving The Ghoul Show from Friday nights to Sunday nights didn't hurt, either. Their normal Friday night program was thus easier for me to catch, and that, in addition to watching more of their Saturday afternoon Couch Potato Theater show, really helped get me on board the BC & LJ train. I still didn't tape Chuck & John as much as I did those other shows, but at least I "got it." After '98 or so, I began, as a rule, recording their entire broadcasts, from start to finish.
(For those unawares, and I have picked up some new readers/followers lately, especially after my trendsetting performance at Monsterfestmania, that's "Lil' John" Rinaldi on the left, "Big Chuck" Schodowski on the right. Read more about 'em here if necessary, or just keep going with this post; you'll probably get the gist of all this in short order.)
So, First Blood on the show. Why play such an obvious non-horror or sci-fi film, when Chuck & John are widely considered legit horror hosts?
They did (but not always) run 'regular' flicks in the years before, but by the mid-1990s, the film selections became much more 'standardized.' That is, all genres were represented. Sure, there could be a typical horror or sci-fi oldie (I taped more than one Toho opus off the program during the period), but there were also comedies, dramas, westerns, and as we're seeing today, action films.
Some fans tend to decry the usage of 'general' films during this later era of The Big Chuck & Lil' John Show. I understand that sentiment, but even when ignoring the changing television landscape of the time, I'd argue that since Chuck & John didn't dress or act "spooky," and their comedy was broader and generally not tied to a horror theme, the overall product still came out successful. Granted, I'm coming from a different place than others, but nevertheless, horror/sci-fi or not, the 'new' show certainly introduced me to films I might not have seen otherwise.
First Blood I probably would have wound up catching sooner or later anyway, but this broadcast hit me at just the right time. Due to my burgeoning interest in the genre, I often stayed up late on weekends and caught new-to-me action movies on local channels. One Man's Justice and Army of One were introduced to me that way. Even beyond TV airings, I was picking up used VHS tapes at a local indie video store (the Missing in Action films became personal favorites). And yet, before catching this airing of First Blood on Big Chuck & Lil' John, Rambo was uncharted territory to me.
Don't get me wrong, I knew who Rambo was, or at least had a vague idea of the character. And I had caught bits and pieces of the films earlier in the decade (on cable TV, when movies like this seemed to always be on). But up until May 2001, I had never actually seen an entry in the series.
Truth be told, it took me a bit to get into it. My vague knowledge of Rambo was that of a mercenary, a legit one-man-army, going into a foreign country, rescuing hostages of some sort, and blowing away a lot of bad guys. First Blood isn't quite that, and at the start of this initial viewing, I wasn't quite sure what to make of it at first.
But sure enough, I was soon absolutely drawn into the film, just completely and totally enthralled by it. I wound up loving the movie, and from that point on, I was a Rambo fan. I remember the morning after this aired, we were at some gymnastics thing for my little cousin, and all I could think of was getting the trilogy (there was a swanky widescreen VHS boxset out then). I wanted to see more of these, man!
Eventually, of course, I did. Indeed, not too long after this aired, I went and bought a 'legit' VHS copy of the film from the aforementioned indie video store. In the years since, I've obtained First Blood in a variety of formats and releases, but truth be told, none mean as much to me as this personal recording I made back in the Spring of '01 does.
I find it hard to believe that anyone stumbling upon this post hasn't seen First Blood. The first entry in the Rambo series, and (as far as I'm concerned) legitimate action classic? C'mon! I mean, having not seen it by the time I was 15, there's not much excuse there, but there's even less now; the movie-viewing world was a bit different 15 years ago, but there are countless ways to catch this one nowadays.
I'm not gonna go too in-depth here, because if you haven't seen it yet, go see it! Anyway, First Blood details the plight of John Rambo, a Vietnam Vet who runs into trouble with the police of a small town and must fend for himself. The End!
…Well, I guess I can go a bit more in-depth than that. Here's the set-up: as the film opens, Rambo is seen visiting the home of one of his old army buddies and learning that he has passed away. This leaves Rambo as the last surviving member of his Special Forces Unit from 'Nam. Already suffering with the memories of the war, this news puts him into an emotional tailspin, and he winds up a drifter.
Eventually, he finds him self in Hope, Washington. Almost immediately, he's hassled by Sheriff Will Teasle (it's Brian Dennehy!), who concludes that, based on his looks, Rambo isn't the kind of element the people need in their nice, quite little town. Although he puts on a (somewhat) friendly facade, he drives Rambo outside of the city and tells him to find somewhere else to go. Rambo, being the the definitive badass, of course turns around and heads right back in. When Teasle sees this, he arrests 'Bo for vagrancy. (The big giant knife Rambo carries around doesn't help, either.)
Teasle's a jerk, but his fellow officers, Deputy Art Galt in particular, are worse. When they try to book Rambo in at the police station, and it becomes increasingly obvious that Rambo is emotionally disturbed, they begin abusing him. Beating him, spraying him with a fire hose in the shower, and the final straw, attempting to shave him with a straight-razor. Y'see, Rambo wasn't just in 'Nam, he was a POW, and the abuse triggers flashbacks of his imprisonment there. On top of everything else he's had to deal with since then, this is just too much, and in short order he busts out of the station and escapes into the woods.
(Note: Michael "Stan Switek" Talbott and David "CSI: Miami Guy" Caruso play young police officers in the flick, too.)
Naturally, Teasle is none too pleased with this development, and of course a search party is formed to recover the prisoner. Being an expert in such situations, Rambo is able to elude them, though eventually Galt shows up in a helicopter and gets him in his sights. Despite Teasle's order that Rambo be taken alive, Galt begins firing at him. Not having much other recourse, Rambo wings a rock at the chopper, which cracks the windshield and surprises the pilot, who then jerks the chopper – causing Galt to fall his to death. Suddenly, this isn't just a manhunt anymore; this has become personal to Teasle.
From there on out, it is on. But they drew first blood (get it?), and it's up to Rambo to fend for himself. Well, he's not quite alone; Colonel Sam Trautman (Richard Crenna!), hearing reports of what's going on, shows up in town, and essentially keeps telling Teasle there's no chance of the cops getting Rambo. Trautman oughta know, too; he was Rambo's commanding officer in 'Nam ("God didn't make Rambo; *I* made him!") and fully understands what Rambo is capable of. Of course Teasle doesn't listen. Massive amounts of destruction and general badassery ensues.
As I recall it, much of my initial apprehension upon viewing this film had little to do with the movie itself, and more to do with the fact that it didn't quite fit my preconceived notions of what a Rambo flick was supposed to be. That is, a one-man-army heading into a foreign country and basically taking the whole place out for one reason or another. That was the prevailing image I had of Rambo, anyway. What I didn't know was that that viewpoint was more in line with the sequels; this first installment was a bit of a different animal.
Except when it wasn't. After all, First Blood still has Rambo pretty much by himself and fending off and/or evading large numbers of people after him. He is a one-man-army here, and he does do the things that I expected him to do. It's just that in First Blood, this is all in a more domestic setting, and that's what threw me at first. A large portion of the film is set in the woods outside of fictional Hope, Washington, which was in opposition to my initial thoughts of "Shouldn't this be set in a jungle somewhere?" The more I watched the film, the more I realized that, no, it wasn't quite what I was expecting, but what I got was just as, if not more, fantastic. Like I said before, by the time it had ended, I was a bonafide fan.
The entire movie is terrific, and the final portion of the film, in which Rambo makes his way back to the city and just totally tears things up, is particularly so. He blows up a gas station! He knocks out the power! He gets himself a big ol' gun! All in an effort to draw Teasle out for a final confrontation…
…A confrontation that results in the most powerful moment of the entire film: just as Rambo is about to finish off Teasle once and for all, Trautman stops him, and what follows is a heavily dramatic monologue by Stallone. In it, his Rambo laments his status in the US following the war, how he's been treated, his usefulness to society, and how the horrors of the war still haunt him. It's a fantastic, moving monologue, the most emotional moment of the movie.
The monologue also brings out to the open a dramatic undercurrent that runs through the rest of the film: the plight of the Vietnam Veteran in the years following the war. As such, First Blood manages to include a somber, social commentary on Vets that the sequels increasingly ignored. Regardless of what anyone thinks about war, the way our Veterans are often treated is a sore spot with me, which means that, personally, this dramatic monologue really hits home.
First Blood is action-packed, make no mistake. There are chases, fights, explosions, gunfire, near misses and escapes. It's at certain points unflinchingly brutal, especially near the beginning when Rambo is in police custody. The movie earns the R-rating given to it. But paradoxically, and contrary to popular opinion (myself at 15 included), it's not actually that violent. Not as far as deaths are concerned, anyway. Indeed, only one person is actually killed throughout the entire film: Galt, and that was both an accident on Rambo's part and due to Galt himself being a dumbass. (I mean, yes, Rambo tossed a rock at the chopper, but Galt was hanging out of the side without a harness of any kind!) Everyone else, Rambo stops but doesn't kill. The high-body counts generally associated with Rambo films? Those fit the sequels, but not First Blood.
As such, the version seen on Big Chuck & Lil' John that night in May 2001, sure there was some editing for content, and time, and naturally some salty language was censored, but unlike a lot of R-rated films that wound up on local TV, First Blood didn't suffer too badly. Indeed, as long as you didn't mind Chuck & John occasionally interrupting the proceedings with their silliness, this was actually a pretty good example of First Blood.
And speaking of Big Chuck & Lil' John, it's time for their portion of the show. This won't be everything they did that night, but here are some of the personal highlights…
The show as a whole kicks off with this introductory skit, in lieu of an opening sequence or any similar such fanfare. In it, Bill Ward (I've met him before!) plays the Cleveland Indians' new pitcher Billy Bob, who just rolled in from North Carolina. He apparently loves Cleveland and especially The Big Chuck & Lil' John Show, which he proclaims to be wholesome, clean, family entertainment – all while progressively throwing more chewing tobacco in his mouth and letting the juice run down his chin when he spits! Gross? Maybe. Is there much to the bit? Not really. Is it funny? Yep!
That leads directly into the first host segment of the night, which, needless to say, introduced the movie, mentioned some of the things Chuck & John had planned for the evening (the US mail carriers were there for the episode; we'll see them in a bit), and so on. Not a particularly long intro, but there was no need for it to be; this got the night kicked off proper, and frankly, just having Chuck & John intro the movie was enough. Even though they're back on the air nowadays (as a 30 minute, skits-only program), there was something really special about them actually hosting a film. It's a sight for sore eyes, absolutely.
For any non-Northeast Ohioans reading this, you may wonder how a couple of hosts presenting silly skits between commercial-breaks of First Blood can really work as entertainment. It doesn't, on paper, sound like it would 'fit.' To be honest with you, I don't know why it works either, just that it does. Maybe you have to be a Northeast Ohioan of a certain age to appreciate this sort of thing. Maybe it's a format that couldn't really work (with the vast majority of viewers) today. Perhaps that 30 minute skits-only show is the best we can hope for in this day and age, where genuine local TV is at a minimum.
All I know is that, more than once, I was introduced to movies in this "format" that, for all intents and purposes, worked. This is how I first saw Theatre of Blood, this is how I first saw Miracle Mile, and obviously, this is how I first saw First Blood.
I hope Big Chuck & Lil' John never go away.
(Also, isn't that screencap above just awesome? I couldn't not post it. 'Course, this probably means it'll be stolen and passed around the internet without mentioning where it originally came from, because why would anyone give me credit for anything ever?)
Next up, another installment in the long-running series of "Certain Ethnic" skits. "Certain Ethnic" was a euphemism for "Polish," a running joke that reached back to the Ghoulardi days. Chuck himself is Polish, and the mocking was always done affectionately, but still, people complained, and so "Polish" became "Certain Ethnic."
In this one, it's the "Certain Ethnic Jaccuzzi [sic]." After a long day of work, Chuck's famous Stash character just wants to relax, and a nice jacuzzi is the way to unwind. For this scenario, this is accomplished by running the garden hose through the window and into the tub!
Trivia time!
There were usually at least two trivia contests held per show. Another one of the benefits of having a live studio audience, I guess. Even then, I was all about vintage television and movies, and more often than not, I knew the answers. Much to my chagrin, I was never able to attend a studio taping to show off my trivial (and I do mean trivial) prowess. This hurts me deep.
There were three trivia segments for this episode. For this first one, the prize was a 4-pack of tickets to the Mansfield Motorsports Speedway. The question? What television series was Richard Crenna a part of loooong before he became known as Rambo's Colonel Trautman? Why, The Real McCoys, of course! I knew that!!! I win/lose again!
Ah, Ben Crazy. Did anyone not like the Ben Crazy skits? That would hurt me deep, too.
This one features Cleveland/television legend Tim Conway himself, as Dr. Crazy's patient. The skit mostly works as a vehicle for Conway's deadpan, jokey delivery (he was in the office earlier because he got his Ben-Gay and Preparation H mixed up – his shoulder was starting to shrink!). The punchline: he misunderstood what Dr. Crazy meant when he said he wanted a stool sample! (Above, duh.)
More trivia.
This time, the prize was the then-new book 365 Ways to Meet People in Cleveland, by Miriam Carey (looks like it's out of print now). The question: what was Rambo's first name? Aw c'mon! That's so easy it's not even fair! Had fate smiled upon me, I could be sitting here admiring my little book right this instant.
(By the way, the answer was "John." John Rambo. Geez, even if someone somehow didn't know that, they could have just taken a wild guess; there's like a 95% chance they would have said "John" anyway.)
Saturday, May 12th (the next day, for those keeping track at home) was "Help Stamp Out Hunger Day," courtesy of the US Postal Service. I remember those food drives; basically, you would place a bag of non-perishable food by your mail box on the appropriate day, and the mailperson would collect it to help replenish local food banks. So, the night before the event, the appropriate people went on The Big Chuck & Lil' John Show to explain all this. See how that works?
A joke is made in which Lil' John apparently left a half-plate of uneaten spaghetti and meatballs by the mailbox the year before (it's gotta be non-perishable, folks!), and both Chuck and John are presented with commemorative plaques as a thank you for all their help with the drive over the years. A nice moment.
Ajax Airlines!
The Ajax skits went waaaay back on the show. They were basically just miming bits from old Hudson & Landry records, but man, they were always a riot. This was a newer installment in the series (on the show I mean, not the records themselves), in which a very drunk person (Art Lofredo) calls the airline to find out when the next plane leaves. It's a very funny bit, though the pay-off is a bit dated: they've got to hold the plane, because Art is the pilot!
Last trivia question of the night.
The prize was a "Zube Tube," which made lots of weird electronic-like noises and gave your voice a cool booming quality when you spoke into it. I want to say my brother and/or I had something like this, but I don't know. It's a neat product though, and it's basically given away. The question relates to Rambo's status as a Green Beret and the John Wayne movie that dealt with the same subject. The answer: The Green Berets.
'Course, it would've been a hard one to miss, since the words "Green Berets" are said about a thousand times leading up to the answer. I'm pretty sure my recording is just retroactively mocking me now.
A simple-but-great skit. When John and his wife (Mary Allen!) are denied admittance to a restaurant because John isn't wearing a necktie, he leaves and later comes back wearing nothing but a necktie (one large enough to cover his, erm, lower extremities, naturally), much to the shock of the maitre d' and the other patrons of the restaurant.
Another classic. Chuck is the manager of a Hallmark store, and John wants to return a "Get Well" card. Why? The guy died! Short, to the point, and very, very funny!
Unlike some of the other episodes we've looked at here, this was a later episode, in which the famous "Pajama Party" outro had been done away with; Pajama Party was the traditional closer in which Chuck and John (and before John, Hoolihan) closed out the show dressed in their PJs and reading submitted jokes. After looking at so many older broadcasts, it's a little weird to see the segment absent here, even though this is the way I always saw the show closed out in my formative years.
Instead, this was just a standard outro, with reminders for the food drive the next day, the movie next week, goodnights and goodbyes, the expected stuff. In less than 12 hours, their Saturday afternoon Couch Potato Theater would start (earlier in the show, it was touted as "Abbott & Costello," which almost certainly meant the 1950s sitcom – a show that was run fairly frequently on Couch Potato Theater).
Even so, there's a real bittersweet feeling to watching the fellas sign off to the famous "Is That All There Is?" by Peggy Lee. Maybe it's because I know now that Chuck & John wouldn't be hosting movies for all that much longer; that sorta thing ended in 2007, when Chuck "retired." But then, it's wild to realize that in just a little over 10 years after this aired, they'd be back, with the current, aforementioned skits-only show.
No kidding, I hope these guys never go away again.
Chuck & John that night ran 2 hours and 18 minutes. Since this was a 2 hour and 30 minute timeslot, it stands to reason there was some filler at the end. On that front, WJW presented 1933's Polly Tix in Washington, a bizarre short comedy featuring little kids in the roles of adult politicians. Shirley Temple is featured in some capacity. It's pretty weird, it hasn't aged particularly well, and it's about as far away from First Blood as possible. Maybe that was the point. Either way, I think I hate it. It's not funny or cute, just strange.
While not part of the actual episode (the show officially ended immediately before this), this was a surprising bit of filler. Finishing up a slot with old short comedies was more of a WAOH/WAX thing to do – I never expected WJW to pull something like that. I don't know, maybe it was more common than I realize(d). All I know is that back in the late hours of that Spring 2001 night, I was like "say what?"
So, commercial time. This is where I traditionally look at some of the more interesting ads aired during a respective broadcast. Unfortunately, this time around, 2001 is just a bit too new for my tastes. A lot of this stuff has aged well, meaning they wouldn't be all that out-of-place on TV nowadays. Still, there were a few interesting spots for us to look at. (And despite the 15 years elapsed since they aired, I actually do recall some of these as if they aired just yesterday.)
WJW TV-8 Stamp Out Hunger Ad
If they were pushing the food drive on The Big Chuck & Lil' John Show, it stands to reason there'd be commercials for it, too. Needless to say, that's exactly what this, with anchorman Wayne Dawson, congresswoman Stephanie Tubbs Jones, and a mail carrier (I guess) giving us all the details I, uh, already described earlier.
Labatt Blue Beer "Bear at the Party" Ad
Not too long ago, I found another spot from this series of ads on a tape, and even though I hadn't even thought about these commercials in years, I was able to recall the ad far better than I would have anticipated.
The gist of these was that an anthropomorphic Canadian bear (really just a guy in a bear suit – duh!) pitched Labatt Blue beer wherever he went, and got into semi-wacky situations because he's, you know, a bear. In this installment, he's brought to a party by a mega-hot chick, and then does awkward things…because he's a bear. He does the "raise the roof" gesture, he sees a tank of goldfish and believes they're hors d'oeuvres, he waits in line for the bathroom. This is all ostensibly to sell Labatt Blue, which I guess worked, because this campaign was around for decent length of time.
KFC's Extra-Crispy Chicken Deal Ad
Kentucky Fried Chicken didn't always need George Hamilton to waltz around a set dressed as the Colonel in order to sell their extra-crispy fried chicken parts. Nope, back in 2001, all they needed was a $2.99 deal and shots of people noisily crunchin' on the things as obnoxiously as possible. Then again, the spot does makes me want some KFC, so I guess it's still doing the job 15 years later.
Nevertheless, Escape! it is not. KFC will, never, never top Escape!
Alltel's Kyocera Phone "Chained Down" Ad
The theme of this spot is that without a cellular phone, you feel 'chained down.' This is demonstrated by a hapless lady chained to various products while out and about during her day. Chained to her desk in the elevator, chained to a shopping cart while being a karate ninja, chained to a fax machine and washer/dryer while camping. You get the gist. The point is, you need not feel chained down when you have Alltel's Kyocera cellular phone and appropriate calling plan. You know, cause it's mobile.
Frankly, I just included this one here because, man, look at that cellphone! Just look at it! It's unbelievable what was considered cutting edge technology as recently as 15 years ago! That's not a knock, either; nope, I love it. What a fantastic example of the early-2000s!
Volk's Mothers Day Sale Ad
I thought this was pretty cool. Looking at thousand-year-old videotapes of the local variety, you tend to see ads for Volk's pretty often; they advertised on local late night TV for years. Apparently they're still around, though I hear conflicting reports. I refuse to drive to Cleveland just to find out. Here's the Yelp page, either way.
Anyway, it is (was?) a jewelry/pawn shop. You know, trade/sell, get cash, that sort of thing. For this ad, with Mothers Day coming up, the pitch is, hey, why not go get her a nice piece of jewelry for the occasion?
Rod Stewart Tour Promo
As this mega-brief promo touts, Rod Stewart was coming to town on his "Human Tour 2001." Ostensibly this was to promote an album I've never heard. Sorry Rod, I would not have gone to this.
Lynyrd Skynyrd – Deep Purple – Ted Nugent Tour Promo
Lynyrd Skynyrd, Deep Purple and Ted Nugent were also gonna be in town that coming summer. I really would not have gone to this.
Basic Instinct on Big Chuck & Lil' John Promo
And finally, next Friday on The Big Chuck & Lil' John Show, it was Basic Instinct. I have not seen Basic Instinct, but from what I know of it, I doubt it aired, editing-wise, as relatively unscathed as First Blood did. Or maybe it did. I don't friggin' know.
Though this brings up a point: there were always a lot of kids in the audience when they were taping these shows; were they also watching the movies as they went? Chuck & John seem to generally be following the action. I can't see them setting up the cameras and hauling an audience in just to film the host segments. On the other hand, even with editing for television, a lot of these movies weren't really suitable for kids. First Blood, sure, and especially Basic Instinct. I don't friggin' know.
And so, there you have it, the 1982 Sly Stallone classic First Blood, as aired on The Big Chuck & Lil' John Show, May 11, 2001. Leonard Maltin didn't like the movie, but *I* sure did – enough so that I had the foresight to keep the recording. Not that I wouldn't have anyway; as I've said over and over, it's a great film.
But the sad fact of the matter is, I didn't always have the foresight to keep these shows. Casino Royale and True Grit, both I recorded but later taped over. I wish I hadn't done that now, but back then, I had to be a bit pickier on what I used to fill precious tape-space. After all, Big Chuck & Lil' John had looong shows, especially on Friday night. I've said before that watching an entire episode felt like you had run a marathon or something by the time it was over, and First Blood is no different. It felt, and feels, less like a mere movie broadcast and more like an experience, an event, of some sort.
Beyond just being a really fun, entertaining recording, it's also a reminder of where I was, movie-choice-wise, at the time. And, in the grand scheme of things, it has the feeling of waning days of innocence (which is a funny thing to say about First Blood, I know). We had that Spring, and Summer, but then, well, we all know how everything just went straight to hell that coming Fall. But in May 2001, that was unknowingly, thankfully still inconceivable to us. I was in 8th grade, just about to graduate, high school looming ominously ahead. That's all I knew then, that I had high school coming up.
In that regard, it's a terrific snapshot of the time, when all I had to worry about was what I was gonna watch that weekend. And for that weekend, I'm convinced there was no better way to kick things off than with First Blood as presented on The Big Chuck & Lil' John Show.


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|113 Min
|Crime . Drama . Biography
After finding himself at the constant abuse of his best friend Bobby, Marty has become fed up with his friend's twisted ways. His girlfriend, a victim of Bobby's often cruel ways, couldn't agree more and they strategize murdering Bobby.
|Brad Renfro , Bijou Phillips , Nick Stahl , Rachel Miner , Michael Pitt , Leo Fitzpatrick , Kelli Garner , Daniel Franzese , Nathalie Paulding
|Larry Clark
|More Info:
Larry Clark's Bully calls the bluff of movies that pretend to be about murder but are really about entertainment. His film has all the sadness and shabbiness, all the mess and cruelty and thoughtless stupidity of the real thing.Chicago Sun-Times Full Review
If you stick with Bully through its seemingly endless repetition of themes and its hurl-inducing hand-held camerawork, it does build a crude, indefinable power.Salon.com Full Review
Ferocious and sometimes creepily funny, Bully is a raunchy suburban "Crime and Punishment."Newsweek Full Review
The tone -- a combination of earnestness and gallows humor -- is strangely appropriate.Chicago Reader Full Review
The movie's somber message is worth heeding, and the acting is mostly excellent.Christian Science Monitor Full Review
There's a terrible beauty to the work of Larry Clark, the controversial photographer turned filmmaker, that transcends chic nihilism.Miami Herald Full Review
That the actors can work under such scrutiny is amazing, and they are superb. The standout is Brad Renfro as Marty, the kid most under the thumb of the neighborhood bully.New York Daily News Full Review
The important thing is that Clark has found a new way to be creepy, which isn't easy. In the process he has created something irresistibly watchable, the kind of original piece that might mean less but reveal more than its creator intended.San Francisco Chronicle Full Review
With its smooth skinned cast and demonized adults, doesn't feel very authentic.Entertainment Weekly Full Review
Clark denies his audience the catharsis, resolution and renewal of classical tragedy. The film reduces its viewers to helplessness, and I'm not sure that's its intent.Philadelphia Inquirer Full Review
Unpleasant stuff, and Clark pounces on the material with his usual relish and a discomfiting combination of moralizing and prurience.TV Guide Full Review
If it weren't so rivetingly realistic, it would be an easy film to dismiss. And if it weren't so easily dismissible, it would be an easy film to defend.Austin Chronicle Full Review
It feels like a peek into the closet of a pedophile and it's genuinely discomforting.Seattle Post-Intelligencer Full Review
The film's start-and-go rhythm can be as maddening as the characters' amorality and sheer wallowing stupidity, but Clark has an uncanny talent for putting atmosphere on celluloid.L.A. Weekly Full Review
One has to wonder about the mind-set of a middle-aged filmmaker who repeatedly seeks out material about amoral and promiscuous teenagers with little to say.USA Today Full Review
Whatever his intentions, Clark, in his third outing as a director, has come up with a film that is seriously flawed.Los Angeles Times Full Review
Like the recent "Baise-moi," Bully is a whole lot of shock and titillation trying to pretend it's saying something. Unlike the French import, however, there's no awareness of its own absurdity, nor anything for the audience to care about in the slightest.New Times (L.A.) Full Review
The script is worse than slack, and despite its lurid premise, Bully doesn't have "Kids" tabloid immediacy.Village Voice Full Review
A riot of sleazy camera moves, bad acting, and maladroit profane dialogue.Slate Full Review
It's instructive to compare Bully with Jean-Pierre Ameris's "Bad Company," which tackles similar themes and manages to be explicit without stooping to cheap salaciousness. It's a genuinely disturbing film. Bully, in contrast, is merely disgusting.The New York Times Full Review
By turns turgid, embarrassing and plain off-putting.Variety Full Review
Nothing new to say, and, in the end, no real point to make.Boston Globe Full Review
|11 months
|11 months
|11 months
|11 months
|Show More


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Alex Morris-Kling
Alex Morris-Kling , LSAT INSTRUCTOR, ADVANTAGE TESTING
Alex Morris-Kling is a magna cum laude and Phi Beta Kappa graduate of Dartmouth College. She received her B.A. in English with high honors and completed minors in French and Theater. Alex was a Rhodes scholarship semi-finalist and Rufus Choates Scholar. She is the recipient of James B. Reynolds scholarship for exceptional work in literature and writing. Alex completed foreign study at Columbia University's Reid Hall is Paris, France. She is a contributing editor/feature writer for a number of national magazines.


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A CROFT couple say they are 'made up' after their garden was named the best in the village.
Green-fingered Beverley and Tony Moran, of Millhouse Lane, won the top accolade for 'most attractive and best kept garden' in the Croft in Bloom competition.
The couple's garden, which is blooming with wildflowers, sunflowers and cottage garden flowers, was nominated by a passer-by and was the favourite of the independent judge.
Tony said: "We're made up. We didn't know anything about the competition until someone nominated us out of the blue so it came as a shock.
"We would like to thank the person who picked us. It means a lot to us."
Beverley and Tony were presented with two hanging baskets by Mike Parker from Bents garden centre, which supported the competition this year.
Mike said: "The Croft in Bloom competition is a great community event and we were delighted to be involved.
"The garden is where it all began for Bents, with Alfred and Margaret Bent's passion for growing and selling roses from their own front garden just yards from our current location.
"It's great to be involved with a competition that recognises the passion and efforts of other local gardeners."
The village competition is organised by Croft Parish Council.
Clr Merril Cummerson said: "Croft is looking fantastic and we'd like to thank all our residents for putting so much effort into their gardens and helping to keep the village looking colourful and attractive."
Clr Chris Vobe added: "It was great to see so many nominations.
"People in the village take a great deal of pride in their environment and we are very grateful to the team at Bents for sponsoring this year's prize."


text: So Im in Armadillo when a cart comes riding by and usually when I see a cart I ram the side and it tips over. So I did that and the guy falls off, the cart fell on top of him and the horse lagged with the cart causing the horse to fly high enough to land on the balcony of the saloon and the cart isnt on top of him anymore. I laughed alittle but then noticed that the guy wasnt getting up, I was able aim at him so he was still technically alive, but his neck looked serverely bent and I just thought "OH CRAPPED I PARALIZED HIM!!" So I try helping him out by trying to do something the AI would respond to and accidently hit the trigger which kicked him in the face but it looked like it worked so I kept kicking while screaming "I shall heal you with the define power of my boot!!" After awhile that isnt working but I got an idea. I hogtied him then cut him loose which actually worked and he starts walking away.......but then waltons gang came running into town and he got ran over and died. The End


text:
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filed: July 16, 1982.
COMMONWEALTH OF PENNSYLVANIAv.JAMES MICHAEL THOMPSON, APPELLANT
No. 1236 PITTSBURGH, 1980, Appeal from an Order of the Court of Common Pleas, Criminal Division, of Allegheny County, Nos. CC7300542, 7300543, and 7300544B.
S. James Buches, Pittsburgh, for appellant.
Robert L. Eberhardt, Deputy District Attorney, Philadelphia, for Commonwealth, appellee.
Spaeth, Hester and Watkins, JJ. Spaeth, J., files a dissenting opinion.
Author: Hester
[ 302 Pa. Super. Page 21]
On December 2, 1972, the appellant, James Michael Thompson, and a companion entered the residence of Milford Thompson in the City of Pittsburgh with the intent of finding the resident-victim and stealing his social security money. Upon discovering that the victim had no cash, the appellant and his companion proceeded to beat him unmercifully until death occurred. Both men then fled the scene with four cans of beer taken from the refrigerator.
On July 23, 1973, the appellant entered a guilty plea before Judges Loran Lewis and Benjamin Lenchner in the Court of Common Pleas of Allegheny County. The plea was accepted and convictions for murder in the first degree and attempted robbery were entered. The appellant was sentenced to imprisonment for life on the murder conviction and to a concurrent term of five to ten years on the attempted robbery conviction. No appeal was taken.
The appellant did file, however, a petition under the Post Conviction Hearing Act on June 20, 1978 alleging that he was denied his right to appeal. That petition was denied on December 5, 1978 and no appeal was taken once again. A second petition for relief under the Post Conviction Hearing Act was filed on July 1, 1980. The appellant was granted his right to appeal nunc pro tunc the Order of Court dated December 5, 1978, denying relief at the first post conviction hearing. This appeal followed.
[ 302 Pa. Super. Page 22]
The appellant argues that both the trial court and counsel failed to assure that the guilty plea was entered knowingly, intelligently and voluntarily as evidenced by the failure to inform the appellant of the possible range of sentences, of his right to participate in jury selection, of his presumption of innocence and of the nature and elements of the offenses charged. We find no merit to this argument and the accompanying allegations.
We agree that the guilty plea colloquy merely made a reference to the charges of robbery and murder. No attempt was made to define these offenses and inform the appellant of their nature and legal elements.
We are well aware of the holdings set forth in United States ex rel. McDonald v. Commonwealth of Pennsylvania, 343 F.2d 447 (1967), Commonwealth v. Ingram, 455 Pa. 198, 316 A.2d 77 (1974) and Commonwealth v. Minor, 467 Pa. 230, 356 A.2d 346 (1976). Read conjunctively, these decisions indisputably required, at the time the appellant entered his plea, the conducting of a guilty plea colloquy that assured that the accused was fully cognizant of the nature and elements of the offenses charged. The law of these three decisions has no doubt generated concise, yet complete colloquies that safeguard an accused's constitutional rights. We believe, however, that these three decisions are, in certain guilty plea proceedings, unnecessarily restrictive.
Certain colloquies, not satisfying the standards of Pennsylvania, Ingram, and Minor, supra, provide alternative methods of establishing the factual basis of the charges, and; consequently, assure a knowing, intelligent and voluntary plea. It is more prudent to hold that colloquies, as here, conducted without reference to the elements of the offense do not, per se, result in involuntary pleas; rather, at most, they shift the burden to the Commonwealth to prove voluntariness through other methods. See Commonwealth v. Belgrave, 445 Pa. 311, 285 A.2d 448 (1971). The guilty plea hearing here demonstrated the appellee's accomplishment of that task.
[ 302 Pa. Super. Page 23]
A factual basis for the plea is universally required. Several courts have concluded that a factual basis existed even without considering whether a thoroughly conducted colloquy on the elements of the offenses was conducted. Commonwealth v. Campbell, 451 Pa. 465, 304 A.2d 121 (1973); Commonwealth v. Jackson, 450 Pa. 417, 299 A.2d 209 (1973). These decisions were formulated in spite of the earlier ruling in Pennsylvania, supra, and the retroactivity of Ingram, supra. The state of the law on guilty plea colloquies in this Commonwealth, then, is steadfast on the requirement of "factual basis", but capricious on the methods employed to provide a factual basis.
Rule 319(a) of the Pennsylvania Rules of Criminal Procedure requires only that a plea be entered "voluntarily and understandingly" in order to achieve validity. The accompanying legislative comments suggest a list of questions for colloquies that will likely generate a voluntary and understandable plea. One recommendation on the list is an inquiry into the factual basis of the plea; however, the legislature does not limit the production of a factual basis to an on-the-record inquiry into the accused's understanding of each element of the offenses charged.
The factual basis here was established, and the Commonwealth carried its burden, by proving the commission of murder in the first degree and attempted robbery through a lengthy taped interview conducted by Officers DiShantz and Palomino of the appellant. This taped interview, along with the live testimony of two eye witnesses, was produced in full at the guilty plea hearing.
In the taped interview, the appellant described in detail his unauthorized entry into the victim's home, the attempt to steal cash and the bludgeoning of the victim's body. He admitted to kicking the victim, throwing him to the floor, pouring plaster over his entire body to cover fingerprints and contemplating the use of a saw to sever the victim's head.
[ 302 Pa. Super. Page 24]
Albeit the appellant may have entered the house with the intent only to rob the victim, murder in the first degree was undeniably produced via the felony murder rule. The appellant provided the evidence of guilt himself at the interview. He listened to his own admission a second time at the guilty plea hearing and never objected to the accuracy and authenticity of his description of the unfolding events. Accordingly, the factual basis for the plea of guilt to murder in the first degree and attempted murder was established through a method just as effective and conclusive as a specific court inquiry into the elements of the offense.
Upon review of the trial transcripts, we find a specific inquiry by the court into the appellant's understanding of the Commonwealth's obligation to prove him guilty beyond a reasonable doubt. We also find that Judge Lewis interrupted the testimony of Chief Pathologist, Joshua Perper to inform the appellant of the maximum sentences that the court could impose on the robbery and murder convictions entered pursuant to the guilty pleas. Although we agree that the appellant was not informed of his right to participate in the selection of the jury, he has proposed no case law that requires the court to notify an accused of such a right before a guilty plea can be entered knowingly, intelligently and voluntarily. Case law and the trial record support the finding of a validly entered guilty plea. Having found that the guilty plea hearing as a whole insured the entry of a knowing, intelligent and voluntary plea, there is no substance, then, to the appellant's assertion that his trial counsel was ineffective for failing to assist the court in conducting a complete hearing.
The appellant also argues that he did not intelligently waive his right to appeal following the imposition of sentence due to the fact that his trial counsel's alleged ineffectiveness at the guilty plea hearing was an extraordinary circumstance that precluded any such waiver. In reiteration, the guilty plea was voluntarily entered pursuant to a properly conducted colloquy. Trial counsel could not object to an errorless colloquy; therefore, he acted effectively. An
[ 302 Pa. Super. Page 25]
unintelligent waiver of appellate rights cannot be attributed here to ineffectiveness of counsel.
Next, appellant argues that his was not an intelligent waiver of appellate rights because the Court merely informed him of his rights to appeal and to court appointed counsel if he was otherwise unable to afford one. The appellant contends that such information was not enough to assure an intelligent waiver because appellant must also be informed of the extent of his appellate rights.
We are constrained to disagree. The appellant misinterprets the law of Commonwealth v. Wilson, 430 Pa. 1, 241 A.2d 760 (1968). The Wilson court did not require an on-the-record demonstration of the full import of the right of appeal and right to counsel; it merely suggested that such practice would be appropriate. The Wilson court remanded that case only for a determination of whether the Commonwealth could prove that the appellant was aware of his right to appellate counsel. It had already found that the appellant was aware of his right to appeal. The court concluded:
If the hearing court finds that the Commonwealth is able to demonstrate that appellant knew of his right of appellate counsel, it shall enter an order denying relief. Id., 430 Pa. 6, at 241 A.2d 763.
The appellant misconstrues the holding of Commonwealth v. Maloy, 438 Pa. 261, 264 A.2d 697 (1970), as well. Maloy, supra, held only that an appellant's waiver of appellate rights is intelligently entered where he is aware of his right to appeal and his right to have the appeal generated by a free, court-appointed counsel. See Douglas v. California, 372 U.S. 353, 83 S.Ct. 814, 9 L.Ed.2d 811 (1963). Appellant, himself, admits being informed of these two rights by the trial court.
Order of Court, dated December 5, 1978, is hereby affirmed. Appellant is denied the right to file a petition to withdraw his guilty plea and to file a direct appeal. A
[ 302 Pa. Super. Page 26]
second hearing on his Petition for Post Conviction Relief of June, 1978 is not granted.
SPAETH, Judge, dissenting:
The majority admits that "the guilty plea colloquy merely made a reference to the charges of robbery and murder. No attempt was made to define these offenses and inform the appellant of their nature and legal elements." At 75. Nevertheless, relying on an "alternative method[ ] of establishing the factual basis of the charges," at 75, the majority affirms appellant's conviction. The majority justifies its decision by characterizing case law to the contrary as "unnecessarily restrictive." Id. I am unable to subscribe to this reasoning.
In the majority's view, "Certain colloquies, not satisfying the standards of Pennsylvania, Ingram, and Minor, supra, provide alternative methods of establishing the factual basis of the charges, and, consequently, assure a knowing, intelligent and voluntary plea." At 75. This statement is a non sequitur, which subordinates logic to a desired result. It does not follow -- as the majority's "consequently" suggests -- that a plea was understandingly and voluntarily tendered merely because there was a factual basis for its entry. Rule 319's mandate that "the plea [must be] understandingly and voluntarily tendered" is designed to insure that the accused understands the constitutional rights he is waiving by entering a plea of guilty. Brady v. United States, 397 U.S. 742, 748, 90 S.Ct. 1463, 1468, 25 L.Ed.2d 747 (1970) (accused tendering guilty plea "stands as a witness against himself and is shielded by the Fifth Amendment from being compelled to do so . . . [and plea is a] waiver of his right to trial before a jury or a judge."); Commonwealth v. Ammon, 275 Pa. Superior Ct. 324, 331 n. 4, 418 A.2d 744, 747 n. 4 (1980) ("guilty plea involves the surrender of a panoply of constitutional rights"); Commonwealth v. Landi, 280 Pa. Superior Ct. 134, 141, 421 A.2d 442, 445 (1980) (guilty plea is a waiver of "a number of significant constitutional rights").
[ 302 Pa. Super. Page 27]
To be sure, it is important to demonstrate on the record that a factual basis for the plea exists. But that demonstration is only a part of the larger demonstration that the plea was understandingly and voluntarily tendered. It may never serve, as the majority would have it serve, as a replacement for the rest of the demonstration.
In addition to depending on a non sequitur, the majority opinion ignores precedent. As an intermediate appellate court, "we are not free . . . to overrule the decisional law enunciated by the Supreme Court of Pennsylvania," Hillbrook Apartments, Inc. v. Nyce Crete Co., 237 Pa. Superior Ct. 565, 573, 352 A.2d 148, 152 (1975), and declare cases such as Ingram and Minor "unnecessarily restrictive," while choosing a course we consider "more prudent." At 75. Besides, the case on which the majority relies to chart its "more prudent" course, Commonwealth v. Belgrave, 445 Pa. 311, 285 A.2d 448 (1971), is not only pre- Ingram, but it supports a proposition contrary to that for which it is cited, for there the court required an "independent, judicial conclusion that the accused understands and admits the specific acts constituting the crime[s] charged." Id., 445 Pa. at 317-18, 285 A.2d at 451 (emphasis in original).
If we were to abide by precedent, instead of charting our own course, we should conclude, I suggest, that the order of the lower court ought to be reversed and the case remanded with instructions to grant appellant leave to withdraw his guilty plea. I offer this conclusion quite aware of the unattractiveness of this case; it is, indeed, just the sort of case that invites one to ignore precedent. But the law is not worth much if we follow it only when it leads where we want to go.
On July 23, 1973, appellant pleaded guilty to murder and robbery, and after a hearing, was sentenced to life imprisonment for murder and five to ten years imprisonment for attempted robbery, the sentences to be served concurrently. N.T. 7/23/73, 72. On June 9, 1978, appellant filed a PCHA petition in which he alleged, inter alia, that his "[g]uilty plea
[ 302 Pa. Super. Page 28]
was not knowingly and intel[l]igently made" and that his "counsel was totally ineffective" and "had deliberately let [his] appeal rights expire knowing [he] demanded a direct appeal." On December 5, 1978, after a hearing, the lower court dismissed the petition, without an opinion. No timely appeal from this order was filed.
On March 28, 1980, appellant filed, pro se, a "Motion in Application for Leave to Withdraw Guilty Plea" and an "Application for Leave to File and Proceed in forma pauperis and for Appointment of Counsel." On June 30, 1980, he filed a second PCHA petition, in which he made substantially the same allegations as he had in his first PCHA petition, and also alleged that although requested to do so, his counsel had failed to take an appeal from the order of December 5, 1978, by which the lower court had denied his first PCHA petition. A hearing was held at which the Commonwealth stipulated that in fact appellant had been denied his right to appeal, and on the basis of this stipulation the lower court, by order of November 17, 1980, granted appellant leave to file an appeal nunc pro tunc from the order of December 5, 1978. The appeal now before us was then filed.
In response to the appeal, the lower court, on February 25, 1981, filed an opinion explaining why it had entered its order of December 5, 1978. In its opinion, the lower court said:
A petitioner who fails to attack his guilty plea on direct appeal waives his right to make the allegation in a Post Conviction petition. In Commonwealth v. LaSane, [479 Pa. 629] 389 A.2d 48 (1978) and Commonwealth v. Porter, [256 Pa. Super. 163] 389 A.2d 651 (1978), the Supreme and Superior Courts of Pennsylvania held that because the validity of a guilty plea is cognizable on direct appeal, the issue is waived and cannot be raised in Post Conviction proceedings unless the petitioner establishes either the existence of extraordinary circumstances justifying the failure to raise the issue or he rebuts the presumption that his failure to ...
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