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160 Salter Street (2)
661 Sara Avenue
467 Sargent Avenue
495 Sargent Avenue
500 Sargent Avenue
510 Sargent Avenue
519 Sargent Avenue
520 Sargent Avenue
533 Sargent Avenue
545 Sargent Avenue
546 Sargent Avenue
550 Sargent Avenue
560 Sargent Avenue
551 Sargent Avenue
570 Sargent Avenue
577 Sargent Avenue
626 Sargent Avenue
635 Sargent Avenue
653 Sargent Avenue
772 Sargent Avenue
859 Sargent Avenue
906 Sargent Avenue
984 Sargent Avenue
1069 Sargent Avenue
400 Scurfield Boulevard
247 Selkirk Avenue
267 Selkirk Avenue
275 Selkirk Avenue
291 Selkirk Avenue
303 Selkirk Avenue
319 Selkirk Avenue
384 Selkirk Avenue
394 Selkirk Avenue
409 Selkirk Avenue
446 Selkirk Avenue
470 Selkirk Avenue
472 Selkirk Avenue
473 Selkirk Avenue
484 Selkirk Avenue
485 Selkirk Avenue (1)
485 Selkirk Avenue (2)
509 Selkirk Avenue
511 Selkirk Avenue
518 Selkirk Avenue (1)
518 Selkirk Avenue (2)
519 Selkirk Avenue
530 Selkirk Avenue (1)
530 Selkirk Avenue (2)
530 Selkirk Avenue (3)
533 Selkirk Avenue
542 Selkirk Avenue
544 Selkirk Avenue
595 Selkirk Avenue
669 Selkirk Avenue
677 Selkirk Avenue
724 Selkirk Avenue
801 Selkirk Avenue
989 Selkirk Avenue
1060 Selkirk Avenue (1)
1060 Selkirk Avenue (2)
1083 Selkirk Avenue
43 Sherbrook Street
70 Sherbrook Street
79 Sherbrook Street
97 Sherbrook Street
103 Sherbrook Street (1)
103 Sherbrook Street (2)
126 Sherbrook Street (rear)
141 Sherbrook Street
143 Sherbrook Street
156 Sherbrook Street
167 Sherbrook Street
194 Sherbrook Street
270 Sherbrook Street
591 Sherbrook Street
285 Smith Street
364 Smith Street
178 Spence Street
555 Spence Street (1)
555 Spence Street (2)
52 St. Anne's Road
65 St. Anne's Road
180 St. Anne's Road
246 St. Anne's Road (1)
246 St. Anne's Road (2)
580 St. Anne's Road
625 St. Anne's Road
210 St. Cross Street
280 St. Mary Avenue
485 St. Mary Avenue
St. Mary's Road at Coronation Park
219 St. Mary's Road
431 St. Mary's Road
433 St. Mary's Road
465 St. Mary's Road
590 St. Mary's Road
714 St. Mary's Road
731 St. Mary's Road
891 St. Mary's Road
972 St. Mary's Road
1099 St. Mary's Road
1221 St. Mary's Road
719 St. Matthews Avenue
1688 St. Matthews Avenue
160 Stafford Street
164 Stafford Street
360 Stafford Street
415 Stella Avenue
286 Stradbrook Avenue
85 Sutherland Avenue
225 Sutherland Avenue
Symington Road & Highway 1
255 Tache Avenue
282 Tache Avenue
452 Talbot Avenue
1400 Taylor Avenue
1420 Taylor Avenue
843 Valour Road
22 Varennes Avenue
241 Vaughan Street
253 Vaughan Street (Shutter Mural)
766 Victor Street
102 Victoria Avenue East
126 Victoria Avenue West
130 Victoria Avenue West
136 Victoria Avenue West
812 Wall Street
1080 Wall Street
1090 Wall Street
309 Wardlaw Avenue
541 Waterfront Drive
176 Watson Street
240 Watt Street
255 Watt Street
439 Watt Street
497 Weedon Street (Traffic Box)
2160 Wellington Avenue
Wellington Crescent & Kenaston underpass (1)
Wellington Crescent & Kenaston underpass (2)
Wellington Crescent & Kenaston underpass (3)
Wellington Crescent & Kenaston underpass (4)
Wellington Crescent & St. James Bridge (1)
Wellington Crescent & St. James Bridge (2)
763 Westminster Avenue (rear)
894 Westminster Avenue
201 Weston Street
300 Westwood Boulevard
Whellams Lane (1)
Whellams Lane (2)
Whellams Lane (3)
Whellams Lane (4)
407 William Avenue
626 William Avenue
William Stephenson Way & CN underpass
400 Willowlake Crescent
110 Winona Street
750 Wolseley Avenue
965 Wolseley Avenue
96 Young Street (1)
96 Young Street (2)
185 Young Street (1)
185 Young Street (2)
195 Young Street
356 Young Street
Displaying 1-3 of 14
Displaying Locations 105-109 of 612
190 Disraeli Freeway
Location Map
"Layin' Down Tracks"
This spectacular Mural (only part of which is visible here) measures in at nearly 14,000 sq. ft., making it the largest Mural in Manitoba and, we believe, the second largest in Canada. This visual feast is probably best enjoyed when one considers the Prairie, Railroad and Music themes all blended and blurred together in a playful visual metaphor of 'layin' down tracks'.
For a STUNNING panoramic view of the entire Mural, go to the
Levy's Leathers website
NE corner Disraeli & Maple; West, South & East Faces
Levy's Leathers
and Clarke's Quality Cases
City Centre
South Point Douglas
Sarah Johnston,
Charlie Johnston (C5 Artworks)
Mural of the Year 2004
Charlie Johnston: "I first met (the client) Dennis Levy back when I was an art instructor at the Graffiti Gallery. Dennis came to the Gallery with the idea of getting the art students to do guitar strap designs. I spearheaded this project with the end result being an artists' series of guitar straps. During the project, Dennis came up with the idea of wanting to have a Mural painted on his building. He gave me carte blanche as to what the design of the building would be. He said 'Charlie this is your baby: you can do whatever you want.' I felt great! I've dreamed about such a project as this. You can't get any better: this was the dream client."
"I knew that this had to have something to do with music because his company services the music industry. So I pondered it. I was thinking about metaphors: music is very abstract. I was looking at a guitar, and the neck of the guitar reminded me of train tracks. So I took that metaphor and expanded on it. The idea became one of merging imagery of the railroad with the imagery of music. It's certainly an appropriate theme for Winnipeg since the railway was a key element in the growth of the city as a transportation center."
"The first character I developed was the steel guitarist at the first corner. He was the beginning of it really. The design evolved out across that first side (west) wall and became a real transformational image as well as you move around the three walls. If you look closely, you'll notice that it's cyclical as well. At the start where Sarah can be seen singing it's an early-morning sky and as you move around it's later in the day- late morning, afternoon, evening and night when darkness arrives on the third wall and it moves 'indoors'. The shift is not that obvious since it's only discernible through the sky, which is a minimal element; but it's there. There's also a transition from black and white to full colour. On the first (west) wall, Sarah is rendered in a colourized version of greyscale; and then there are sepia tones and characters of the limited colour palette until you encounter the explosion of full colour on the third (rear) wall."
"The design stage was 90% worked out three years ago. The drummer was never quite right initially; and the original banjo player wasn't very exciting to look at. This and a few other elements were reworked and changed."
Sarah Johnston: "Music varies even within its own piece: in volume and tonal qualities for instance. We wanted to represent some of these differences visually with colour. Different colours can be evocative of different sounds and instruments."
Charlie: "The whole idea was to have each musician in a limited colour scheme and then their colour scheme is connected to their track so that each track that plugs into the mixing board represents one of the tracks from one of the musicians. The red track is the banjo player; the steely blue track is the guitarist; the purple track is the bass guitarist; the gold track is the saxophone player; the teal track is the pianist, and so on. I wanted the musicians to be more like muses than representing actual persons."
"This is the first time ever I had the client up on the scaffolding priming the wall for me! He was clearly pumped and excited about it! It was a new feature for his building. And it wasn't advertising. He never wanted to advertise or needed to advertise. It was something he wanted to give back to his community. Before the Mural was done the building was completely anonymous. His wife's company is also in there: Clarke's Quality Cases. That's what gives the reference to Clarkesville on the first wall that added meaning."
"This is the longest project we've ever had. But we got it done, Sarah and I. There were one or two days we brought our kids out to paint. We began on April 28th and finished on August 9th. There were a lot of days that the weather wasn't very good. This project was so big that we were projecting stuff over 10 different nights. Some of these nights were full nights where we actually ran out of darkness."
"For this piece to be perfect didn't necessarily involve it being photo realistic; but it had to be expressive in all the conceptual and stylistic ways I envisioned. The pieces work well together; it has energy; it has all the things I love about Murals. When you look on one level it can become an abstract Expressionist piece and yet have a realistic element to it. It was a wonderful blending of Sarah's style and mine. When she and I did the train cars together that worked out very well. There's a mechanical methodology to the way I work sometimes, and Sarah's expressive style worked well with that giving them a liveliness and an energy. And I enjoyed showing the genres of music in a graffiti style. That was fun!"
Sarah: "It was a collaborative effort, yes, in the sense that the two styles combined together and not side-by-side. The blending of the styles offset each other well. Charlie, having worked outside all these years, has built up a resilience to the elements- he can go and go and go. I don't have that same energy, and have come to terms with the fact that I can't work the eight and ten hour days like he can. I do have a good work ethic, though."
"One of the most striking things about this project was the sheer size of it. I had dreams about it and wondered how it could become a reality. You don't actually know until you get into the real physicality of it. I guess the most exciting part for me was when we had done the first run through and then we went back to the first wall and added the extra things that made it feel finished. I really got that sense of accomplishment then. There were times that I thought 'are we ever going to get there?'"
Charlie: "This was a pretty hefty challenge and the biggest single project I've ever worked on. You have to go into something like this with a real cohesive strategy. My strategy was to get everything happening and get rid of all the blank spaces: bold and beautiful and then come back and refine it all on the second pass. Some parts of it after the first time around were left relatively untouched: when something clicks the first time around you don't mess with it; you leave it! But it was important that other elements around it got elevated to the same quality level. On the first wall, once I got the steel guitar character on there, there was very little I had to do. It was the background around him and other figures that got refined. We really critiqued everything to make sure that each part worked and did what we wanted it to do. The train tracks off in the distance on the Clarkesville wall- it was very important that this fit in the way it needed to. We wanted it to be there but we wanted it to read as a distant element and have a poetic quality to it. We tried this several times before we got it to work properly. The 'sonic boom' coming out of the harmonica we wanted to have the right quality."
"We were also working with the architecture of the building in the design. The engine, the train car and keyboards all become rather three-dimensionalized as you pass the two corners. Likewise with the drum set except it was a lot trickier to accomplish. I had to manipulate the composition of the front wall, small wall and middle to get everything to match up and fit. There's a lot of trompe l'oeil. This Mural used a lot of the tools and techniques of the various Mural styles, all to achieve the same goal."
Sarah: "Another part that was challenging was making the purple bass player work: to get his face disappearing into the sky, that ethereal look (Photo 5). When you have wet paint versus dry paint you're never completely sure how it's going to look until it dries. Making him recede, making the train cars fade off with him; giving the illusion that he's rising out of the ground."
Charlie: "Finding the imagery for the Do-Wop girls (Photo 4), and making these boxcars work as boxcars: those are important key elements. The keyboard player is the client's daughter who works there. That was the hardest portrait in the whole Mural. The saxophone player just clicked, but other parts like her were more challenging. I intentionally separated a limited colour scheme for each musician and identified the colour sets and ordered all the paint- about 75 or 80 gallons so I had the whole palette right at the beginning. As we worked on them, we would pull colours out of each character and we'd wind up using them in the background in a blended way. I worked very hard to ensure that the colours in the steel guitarist matched the principal colour crayon that I used for the sketch. If they were a little bit off this way or that way it just didn't read the same and something got lost. Then on the back wall, we used all of the exact same colours for the respective tracks in the 'roller coaster' section: saxophone on the gold track, the train on the red (banjo) track, the steel grey for the steel guitarist, and so on. Also, there's the same colour scheme in the spotlights."
"Some of the inspiration for this design came from graffiti art styles and some of the quality of the figures. Quite often in graffiti pieces you'll see figures rendered in limited colour schemes; so there was that inspiration. There were a lot of repetitive patterns like the train tracks; but we tried to treat them in a more expressive way as well. Making all these tracks overlap one another and yet remain individual was challenging."
"The background in this Mural is quite limited to train tracks, sky and ground tones. By the time you get to the engine (Photo 8) it's night and you see the imagery of the concert stage. Each track is related to one of the colour schemes of the musicians and this new band (the client's son's band, Photo 9) and arising from out of them walking down the tracks. The tracks are dancing around in a roller coaster fashion and ultimately plugging into the mixing board (Photo 10). The audiophile (again, the client's son, who's initials happen to be D. J.) is listening to and mixing all of these sounds, which are flying out of the headphones in an exploding fireworks of colour."
Sarah: "We got to know the people that work there and enjoyed one of the best working relationships we've ever had. We met people from the neighbourhood too and heard their stories; and some of them have had tough lives and show real strength of character. Hearing some of these stories somehow influenced us and got into the work somehow."
Charlie: "This was the summer that the Manitoba Cold Storage building caught fire and smouldered for 47 days. As we were working on the Mural we watched the building burn. There was one time where the smoke appeared to coming from out of the locomotive engine smokestack so that was a rather interesting conclusion."
"We made friends with some of the people in the area. We met a group of men who were renovating two buildings across the street. I was having trouble with my lift, and they helped out."
Sarah: "I liked that this Mural was about music. It's not an ad; it's celebratory. Music is cross-cultural: everyone can enjoy it. I grew up with music my whole life; my parents were both musicians, my mom played piano my dad played bass and cello. So I liked the integrity of the piece for that reason alone. And one street person asked us 'so when is the CLUB opening?'!! I also like it because people commute everyday and it doesn't cost them any money to see this flood of colour; or to see just one thing, or to see a different thing every day."
Charlie: "It also makes the building not as anonymous as it once was. One guy who was a teacher from China took pictures of the whole building and he told us that he was going to show those pictures to his students back in China because they have nothing like this there."
"The back wall with the roller coaster train tracks- I had no idea how much work that was going to be. It practically became a whole different Mural. This project was like doing ten Murals in one. This was a transformational Mural for me. After I did this one I was a changed man. I feel like I went through the same metamorphosis that the design did. All those years working as a sign-painter doing other peoples' designs: there's always some element of compromise. And then getting into this situation where I didn't have to make any compromises! It was completely my design and there were no other outside forces per se. The client was very supportive. It's like the end of very long journey- acres of painting coming to a conclusion in one place and one time."
For an
absolutely stunning
panoramic view of the entire Mural, go to the
Levy's Leathers website


text:
To make reservations by phone, call 1-800-331-3131 in the USA and Canada (or any of our worldwide reservation telephone numbers).
Dallas Love Field - DAL
Hotel direction: 18.5 miles S
This hotel does not provide shuttle service.
Take a Left out of the Airport Exit onto Mockingbird Ln. Take Mockingbird to the North Dallas Tollway Head North on the Tollway. Exit Spring Creek Parkway turn Right onto Spring Creek. Go East for 2 miles to Preston. At Preston make a Left and the Hotel is at the intersection of Whitestone Lane/ Preston Road.
Dallas/Fort Worth International Airport - DFW
Hotel direction: 31.6 miles SW
This hotel does not provide shuttle service.
Take I-635 East from the north exit to George Bush Tollway north (190) to the Dallas North Tollway. Take the Tollway North to Spring Creek Parkway. Take a right on Spring Creek Parkway. Go East 2 miles to Preston Road. Take a Left at Preston, then left on Whitestone Lane. Hotel is at the Preston Road/ Whitestone Lane Intersection.
Phone: +1-800-654-3131

subset: commoncrawl


text:
Mergers and Acquisitions (M&A) play a large role in business today. While many recent merger/acquisitions announcements have made quite a bit of sense for both parties, Monday's announcement that Leucadia (NYSE:LUK) will acquire the remainder of mid-tier investment bank Jefferies (NYSE:JEF) breaks that mold. Although this deal brings some fairly clear benefits for Jefferies, I'm not really sure that Leucadia shareholders should be celebrating this deal.
Applying The MACD Indicator With MetaTrader 4: How to use MetaTrader 4, a trading platform used for online trading in the forex, CFD and futures markets.
The Terms of the Deal
Leucadia and Jefferies announced that Leucadia will acquire the roughly 71% of Jefferies that it doesn't own through a stock-for-stock merger worth about $3.6 billion. Each Jefferies shareholder will get 0.81 shares of Leucadia for each share they own. At the time of the announcement, that worked out to $17 a share, or a 12% premium to Friday's close.
At this price, Jefferies is barely getting any premium to its reported book value and only about a 20% premium to its tangible book value. Unimpressive as that may sound, a quick look at other mid-tier banks like Cowen (Nasdaq:COWN) and Piper Jaffray (NYSE:PJC) will show that mid-tier investment banks just aren't going for much in terms of valuation these days, as investors worry about their ability to withstand tougher competition for trading business from major banks like Morgan Stanley (NYSE:MS) and ECNs.
SEE: Mergers And Acquisitions: Understanding Takeovers
Why Do This Deal? The Jefferies Side
If good deals are supposed to be those that benefit both parties, I'm not sure this one qualifies. While I can see the benefits to Jefferies, it is not so clear to me that Leucadia is getting much in the deal.
While Jefferies is a quality mid-tier bank, the company had what you might call a "near death" experience when MF Global collapsed in 2011. Jefferies managed a sale of over $600 million in debt securities for MF Global just before scandals (related in large part to how it valued its European debt holdings) hammered that company, and Jefferies then came under intense scrutiny for its own balance sheet.
Although Jefferies stabilized after that episode (helped in part by a 1 million-share investment from Leucadia in November 2011), the writing was arguably on the wall. Regulatory changes have arguably hurt banks like Jefferies the most, and it is definitely up for debate as to whether banks like Jefferies and Cowen can continue to compete where margins keep shrinking and the cost of capital is higher than it used to be.
In any case, merging with Leucadia gives Jefferies breathing room and access to a larger balance sheet, even though Jefferies' credit rating is actually a bit higher. What's more, adding its investment banking capabilities to an investment conglomerate often compared to Berkshire Hathaway (NYSE:BRK.A) should create some solid long-term opportunities and could be part of a transformation towards an old-style merchant bank operation.
SEE: The Wonderful World Of Mergers
Why Do This Deal? The Leucadia Side
But what does Leucadia gain? I don't see how folding Jefferies into Leucadia alters the fundamental changes in investment banking nor addresses its long-term profitability challenges. Aside from the fact that Jefferies can probably leverage over $4 billion in tax benefits, it doesn't seem like Leucadia is likely to earn a major return here, unless there really are synergies in having a captive investment bank to help invest in/acquire new businesses and/or if the future for mid-tier banks is better than I think.
It's also worth noting that the CEO of Jefferies (Handler) will become the CEO of Leucadia once the deal is complete, as Ian Cumming (LUK's CEO) intends to retire. While bringing in a new leader (and one with Handler's capabilities) is a positive for Leucadia, I'm not sure they needed to do a multi-billion dollar deal to secure a high-quality CEO.
The Bottom Line
Although some Jefferies investors likely will grouse about the valuation of this deal, the reality is that there just aren't many willing buyers looking for mid-tier investment banks and this deal will shore up and de-risk the situation. At the same time, Jefferies shareholders will end up owning about one-third of Leucadia after the deal and that's arguably a trade-up.
For Leucadia shareholders, this is more of a head-scratcher. I suppose it may be true that the market currently undervalues Jefferies, and that eventual stability in the global financial markets will lead to higher returns. Likewise, it's worth noting that Berkshire Hathaway has made a few curious deals over the years (there was a lot of skepticism and criticism over the Burlington Northern buy), but most have worked out. That said, arguably the best things that can be said about this deal for Leucadia is that it gives them a younger management team and that the company is not paying much of a premium over book value, but that's pretty scant praise on balance.
At the time of writing, Stephen D. Simpson did not own any shares in any company mentioned in this article.
Mergers and Acquisitions (M&A) play a large role in business today. While many recent merger/acquisitions announcements have made quite a bit of sense for both parties, Monday's announcement that Leucadia (NYSE:LUK) will acquire the remainder of mid-tier investment bank Jefferies (NYSE:JEF) breaks that mold. Although this deal brings some fairly clear benefits for Jefferies, I'm not really sure that Leucadia shareholders should be celebrating this deal.


text:
'Amour' Auteur Michael Haneke Talks Riva and Trintignant, Death of 35 mm UPDATED
Michael Haneke
Michael Haneke's "Amour" has been nominated for five Oscars: Best Picture, Best Directing, Best Actress, Best Foreign Language Film and Best Screenplay (which you can read here). And the film continues to score foreign film wins (NY and LA Film Critics, NBR, Critics Choice, Golden Globes and BAFTA, which also gave Emmanuelle Riva best actress, along with the LA and National Film Critics and the European Film Awards) after a stellar year that began with the film winning the Palme d'Or in Cannes last May.
Haneke's last film, "White Ribbon," was nominated for the foreign film Oscar as well as cinematography. "Amour"'s success with the Academy is somewhat surprising, given its elegantly wrought but potentially uncomfortable end-of-life subject. But the film has built solid voter support ("it's my life," one elderly director told me) and Haneke, up for three awards, and Riva are both serious contenders.
Sony Pictures Classics, which always releases more than a few foreign films in Oscar contention, had the challenge this year of having two rival French actresses in the Oscar race, Marion Cotillard of "Rust and Bone" and Riva, whose costar Jean-Louis Trintignant was also deserving. Neither he nor Cotillard were nominated. But 85-year-old Riva, who starred in "Hiroshima Mon Amour," a movie that many Academy seniors remember, reached into Academy members' hearts to make history as the oldest Best Actress nominee ever ("Cocoon"'s Jessica Tandy was 80). And February 24, Oscar night, is her 86th birthday. Sony has masterfully maximized the actress's limited availability so that her press is hitting right in the center of the voting period.
I sat down with able translator Robert Gray and the tall, intimidating director, whose native German and second language French are better than his English. One thing that struck me, aside from the force of his intellect, is his competitive drive. This is not unusual among film directors.
Anne Thompson: Your leading man Jean-Louis Trintignant had not starred in a movie in 14 years. How did you lure him back to the cinema?
Michael Haneke: I didn't have to convince him to take the part. My producer knows him quite well and she told him I was writing a script for him. He'd seen "The White Ribbon." He doesn't go to the movies anymore. I showed it to him and for the French version of the film, I needed an actor to play the narrator and he did that for the film and he was so enthusiastic about the film that he said 'yes' when I asked him to work in "Amour." As he's said in several interviews, before doing the film he'd broken either his leg or his ribs but he was in the hospital and driving home from the hospital, he thought whether he should crash into a tree and end it all. And my producer told him: 'Make the film first. You can commit suicide after that.' And now he says he doesn't want to commit suicide anymore.
AT: I should think not. I was moved by the film and by the reception to the film and the actors at the Cannes closing ceremony. They should have won. Cannes prohibits that?
MH: You know they can't. The rules of Cannes were changed because of me, because of "The Piano Teacher." There was a great division in the jury, some members of the jury wanted the film to be awarded the Palme D'Or – or at least if we don't give him the Palme D'Or, we'll give him all the other prizes. We'll give him the Grand Prix De Jury, the Jury Award and the two acting prizes. As a result of that the rules of the festival were changed so there couldn't be that concentration of awards.
AT: We have a phrase, hoist by your own petard. I don't know if that translates.
Emmanuelle Riva and Jean Louis Trintignant of "Amour"
MH: I think was a little bit apprehensive [this year], but the production companies were apprehensive because Nanni Moretti was the president of the Jury at Cannes. On a previous occasion he said that he would never give a Haneke film a prize. He didn't say that about all my films. What Moretti said was that he was in the Jury when "Funny Games" was shown in Cannes and he said at the time if "Funny Games" gets a prize, he's going to leave the jury. So we were apprehensive, but in fact, in an interview after Cannes this year, Moretti said that if it had been up to him, he would have given "Amour" not only the Palme D'Or but the prize for best actor, best director, best script and best both acting prizes.
AT: At the press conference at Cannes, the actors suggested you were very demanding. Could you talk about getting these performances. Was Trintignant rusty, stubborn, persistent?
MH: The difficulties weren't because he hadn't shot for so long, hadn't made a film in fourteen years but rather because of his own physical difficulties. Difficult because I insist in getting what I want when I shoot a scene, and sometimes you get what you want very easily and quickly, other times it's not so easy. The scenes with the pigeon were particularly demanding and difficult physically and shooting those two scenes took a long time. We shot them over two or three days. That was difficult because it's hard to direct a pigeon. And he had to respond and react to the pigeon and that's very difficult given his physical condition, but he's a very disciplined actor. He never once complained on set, but at the same time I knew from the very beginning that I had to allow more time when shooting with older actors. I needed a longer shooting period than shooting with young actors. You can't demand from 80-year-olds that they shoot a string of ten-hour days. But I allowed the extra time for them, for that reason it wasn't a problem.
AT: How many days did you shoot?
MH: Eight five-day weeks.
AT: So that's longer than it would ordinarily be?
MH: If it had been a production involving two forty-year-old actors, we probably would have planned for a six week shoot.
AT: Your films have been known over the years as hard-hitting, audacious and physically, viscerally disturbing. This film goes in a very different direction as you head for a more elegant, simple and contained mise-en-scene. Your films have always been very beautiful, even if disturbing.
MH: I think it's a question of the theme, I think, I hope that the other films were elegant as well.


text:
All quotes by Josh Beckett
(99 quotes found)
"I've always believed you make your own luck. I wouldn't say I had bad luck today. I just didn't execute pitches when I needed to. Pitching against a guy (Zambrano) like that, you can't give up six runs."
"We won the series - that's the main thing. It would have been nice to sweep. It's just one of those deals. You can't give up that many runs to that good of a pitcher."
"I've got a Minor League game on Friday. I just need to keep the intensity and stay focused and get out there and get my work in."
"It's not like I wanted to fight. I just wanted to make the point that you look like a jackass when you do that and you're out."
"The last pitch I threw to Michael Young, that was about all I had left. I wanted them to call that a strike so bad."
"It was fine. I threw 48 pitches and that was about it. The numbers could have been better, but we'll save all the good breaks for the season."
"If I don't make it to the big leagues, nobody's going to remember I threw a no-hitter in Double-A."
"I think I've always been prepared for this. I know what I have to do. You can't make rocket science out of it. You just have to execute pitches. Don't let exterior distractions in. It just takes away from what you're trying to do."


text:
Hitec Servo Failure
Hi all, so last Sunday I was flying my Great Planes Escapade 40 which was fitted with my Hitec HS-485HB. The servo was not old at all. When I bought the servo, I believed that it should be sufficient to move a 40 sized sport airplane's elevator.
I have had 3 crashes, all the failure of elevator control and the 2nd and 3rd are blamed on the Hitec servo. On the 1st one, the clevis broke which ended up in no elevator control. The 2nd one was an elevator servo failure. I took off, did one circle in the pattern then lost the elevator on the downwind. Luckily, the grass was very soft that day and the plane wasn't totally destroyed so I repaired it.
The 2nd plane had a Hitec HS-311 which was determined to be the motor failure in the servo. The 3rd plane had a Hitec HS-485HB Deluxe servo. Again on the little 40 sized elevator. I fly it for a few months thinking everything is going well and it probably won't have any failures again but then suddenly, as I come in for a pass over the runway at about 15-20 feet in the air, suddenly I notice the nose pitching down, so I apply up elevator more and more and more until I am at the bottom of the stick. It wasn't signal loss since I still had aileron, rudder and throttle control. We tested all the servos after the crash and they all worked except for the elevator servo. The elevator servo would buzz when I tried to move it but wouldn't keep the arm still as I could move it in any direction I wanted to. Everything was plugged in too and we even plugged the bad servo into the throttle port and again, no control when we moved the throttle stick.
The crash into the runway totaled the airframe. The electronics are fine so I would really like Hitec to explain the loss of 2 airplanes with 2 of their servos having the same identical problem. My Futaba S3004 servos don't seem to fail on me, in fact I have been flying 10 year old futaba servos without any problem. A lot of the flyers up there were shocked and had changed views on Hitec. We also have a lot of IMAA flyers with huge airplanes at my field and they were surprised to see a Hitec servo fail 2 times in the identical way. The servo failure was proven by 4 of our most advanced flyers at my field.
Both airplanes were on a 6V battery and they were both tested (after the crash) to be over 6V under load. Can someone explain what happened? You can imagine how skeptical I am over Hitec as I have had 2 unexplained servo failures on the same brand of servo and on the same surface, both doing significant damage to the airplane. I don't have an Escapade anymore since it was destroyed in the 3rd crash . Someone explain please... Here is the original thread I posted: https://www.rcgroups.com/forums/show....php?t=1853457
Last edited by Rcflyyer1; Mar 18, 2013 at 09:46 AM.
Was this an AA size battery of a smaller sub AA or AAA?, minimum AA size required for a .40 size model.
Smaller NiMH simply can not handle the loads imposed on models larger than a .15.
Even an AA NiMH pack will hardly handle an HS-485HB under load as would then have been the case, from your other thread:
. Stalled Out.
also from your other thread:
. Just read your first post on the flutter of your elevator Flutter is the fastest way to destroy any model or servo.
. Flutter - Curing flutter by Ed Moorman
. Flutter - Cause, Cure & Misconceptions - with video.
Could go on at length but suggest best course is to email direct:
Hitec Warranty & Service - homepage.
Note: Hitec USA only services North/South America and Canada.
"Hitec USA customer service department is available Monday through Friday*
from 7am- 4:30 pm Pacific time. Reach us at 858.748.8440 or
firstname.lastname@example.com any time you have a question"
If you are from a country that is outside North and South America, please contact the
Hitec distributor in your country for service.
Much more information available under sub sections
"Battery Care, Performance & DIY Battery Packs."
"Glitches & Jitter in Receiver, Servo & ESC - Causes and Cures"
"Servo - Alterations, Calculators, Databases, Leads, Repairs, Convert to an ESC or winch & FAQ."
"Radio Systems, Accessories, Alterations and FAQ" at
Alan's Hobby, Model & RC FAQ Web Links
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2013-01-24 / Home & Property
Landowners can become better stewards of their land
BLACKSBURG — Virginia forest landowners looking to gain an understanding of how to keep their woods healthy and productive can do so in the comfort of their own home.
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Land values in Iowa increased in 2013
Iowa farmland value has increased by 5.1 percent, according to the results of the Iowa Land Value Survey.
Values have increased for the year of 2013, which is the fourth year in a row and has achieved historic peaks.
Scott County, which has an average value of $12,413 for an average value of farmland, saw the highest average county values in the Iowa State survey. Scott County also had the highest percentage increase and highest increase in value, 12.45 percent and $1,374 respectively, of the 99 Iowa counties.
"The 2013 land value survey shows a market in flux, with strong and weak price sales occurring at the same time," said Micahel Duffy, Iowa State economics professor and extension farm management economist who conducts the survey. "The key question is if this shows the market is going to settle, if it is just pausing before another takeoff in values, or if the market has peaked and due for a correction."
According to Duffy, examining some of the causes for the current increase in farmland values and the reactions is helpful in assessing the situation. Farmland values are highly correlated with gross farm income. A majority of the survey respondents were concerned about income. Over three-fourths (76 percent) of the respondents cited lower commodity prices as a negative factor affect the land markets.
Iowa corn and soybean price movements are good indicators of gross farm income movement. There was a 33 percent drop in the Iowa average corn price from October 2012 to October 2013 and there was an 11 percent drop in soybean prices over the same time period. The November estimated price for Iowa corn was 39 percent lower than the November 2012 price. Soybean prices were 11 percent lower.
"Farm income is a strong indicator for the direction land values will go, but there are other factors as well," Duffy said. "Interest rates remain low, but the percent of respondents who reported less sales than in 2012 was the highest it's been since 1985."
The odds are against a major collapse in land values, but if projections of a new lower level for commodity prices hold, then Duffy believes we should expect values to drop.
Decatur County remained the lowest reported land value at $3,628 per acre. O'Brien County, which showed the highest county average value and greatest dollar increase in 2012, showed the highest dollar increase in 2013 of $478.
Osceola, Dickinson and Lyon counties along with O'Brien County all shared the highest percentage increase in 2012 and the greatest percentage decrease in 2013, with 3.72 percent.
Low-grade land in the state averaged $5,298 per acre and showed a 3.5 percent increase or $179 per acre, while medium grade land averaged $8,047 per acre; high-grade land averaged $10,828 per acre.
The Iowa Land Value Survey was initiated in 1941 and is sponsored by the Iowa Agriculture and Home Economics Experiment Station, Iowa State University. Only the state average and the district averages are based directly on the Iowa State survey data.
The survey is based on reports by licensed real estate brokers and selected individuals considered knowledgeable of land market conditions. The 2013 survey is based on 476 usable responses providing 674 county land value estimates. The survey is intended to provide information on general land value trends, geographical land price relationships and factors influencing the Iowa land market.


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Written on: 15/01/2007 by 2pyrs (6 reviews written)
GeForce 7600 Verto 7600GS PCIE 512MB Review -
As I stated above software is some what out dated for newer PC's. Lacks control to make better choices for adjustments and fine tuning. The drivers are old on new unit as much as two years ago from what I could find may even be three four years old.
If you have the power you can run 4 monitors at once, I run two at this time and it does not affect the quality of the picture on each screen. You may want to up date you cooling fan as the card runs… Read Full Review
" Best Value GTX 980! " Read More
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text:
Denver CO (SPX) Jul 07, 2010
The Orion crew exploration vehicle has successfully completed the Phase 1 Safety Review of NASA's Human Rating Requirements for space exploration in low Earth orbit and beyond.
The NASA/Lockheed Martin Orion team earned the approval from NASA's Constellation Safety and Engineering Review Panel (CSERP) upon completion of the review, an essential requirement for the Orion program to move forward to the Critical Design Review and Phase 2 Safety Review.
The safety review process is a rigorous and exhaustive look at the design and operational concepts to assure that all requirements have been adequately met.
System safety requirements address potentially catastrophic failures that could result in loss of crew or loss of mission during launch, ascent to orbit, approach and docking to the International Space Station, re-entry, landing, and recovery operations.
Thoroughly reviewing spacecraft designs and operations for possible causes of such catastrophic failures, and designing appropriate mitigations for them, is a critical part of NASA's human rating program.
"Completing this significant safety review puts Orion well down the road in satisfying the requirements to minimize the nation's gap in human space flight," said Paul Benfield, Lockheed Martin Integrated Reliability and Safety Manager for the Orion Program.
"NASA's current human rating standards include stringent requirements and thorough procedures developed from the best practices of NASA's past 50 years of human spaceflight."
Benfield noted that human rating a vehicle for beyond low Earth orbit (LEO) is particularly challenging given the greater autonomy of such a mission, the extended mission durations, and increased time to return to Earth.
This Phase 1 Safety milestone covers the requirements for Orion missions in LEO as well as sortie missions to the moon. The design enables a six-month on-orbit duration which is vital to assure return capability of the space station crew, as well as support autonomous lunar orbit operations. This long duration design far exceeds the one- to two-week capabilities offered by other potential providers.
"Human rating a spacecraft is not a feature you can just simply add on once the vehicle is designed," explained Benfield.
"It is a process that requires endurance and attention to detail to ensure that safety is driven into every aspect of the vehicle design and operations from the beginning. Optimal safety and reliability is strategically and systematically incorporated into the vehicle from day one, concurrent with critical trade decisions considering vehicle mass and cost."
The Orion crew exploration vehicle is at the peak of its development phase, which has spurred several new technologies and innovations in composites, structures, avionics and thermal protection systems. The spacecraft is on schedule to complete the Critical Design Review in 2011 which will put Orion on the path for flight to low Earth orbit as early as 2013, provided appropriate funding is approved in the near future.
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A founder of the National Organization for Women, the first ranking African American labor union leader in the country, the first African American woman to be named Time magazine's Person of the Year and a civil rights leader, Rev. Addie Wyatt's life is the essence of trailblazer.
Published at 9:54 PM CDT on Mar 29, 2012


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Crystal Palace have been boosted by the news Joe Ledley, Joel Ward and Scott Dann are all available for Sunday's FA Cup semi-final.
The Eagles face Watford at Wembley for a place in next month's final – with Palace currently the 11/8 favourites with Titanbet to win in 90 minutes – and boss Alan Pardew has plenty of options to choose from after being given a triple injury boost in the build-up to the game.
Ward, Ledley and Dann were all left at home for Wednesday's 2-0 defeat at Manchester United due to slight concerns and could all come straight back into the starting XI, along with Yannick Bolasie, who has rested for the clash at Old Trafford.
James McArthur is likely to be on the bench after he came through the midweek clash unscathed, the Scot featuring for the first time since February when he damaged his ankle ligaments.
The only three players missing for the trip to Wembley are Paddy McCarthy, Marouane Chamakh and Brede Hangeland.
Pardew is expecting a tight and tense game against Watford on Sunday and has indicated he feels the game could go all the way to penalties after revealing his players have been practising spot kicks in training this week.
"We've introduced it to training this week. It's a skill we want to be comfortable with," said Pardew.
"You can't recreate the tension of that walk up to the spot, but we want to be confident in our ability."


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When an employee is injured on the job, even if it is his/her own fault, the first thought is to file a worker's compensation claim. While this is the right action to take, Arizona workers' compensation attorneys know that while the process should be simple, it often is not. In fact, getting what you deserve can be quite complex. Without a knowledgeable lawyer on your side, you may be denied benefits or not receive the full benefits you are entitled to.
Most employers carry workers compensation insurance in order to avoid lengthy injury lawsuits in the event an employee is injured on the job. This insurance is designed to reimburse the expenses you face as a result of your injury/illness, such as costs of treatment or recovery. With workers' comp, there are no time or monetary limits. However, many injury victims find that the benefits are suddenly stopped, or their claim denied from the beginning. A skilled Arizona workers' compensation lawyer will delve into the details if your claim has been denied, or help you file initially so that you can rest assured that your claim has been filed properly.
Your injury does not have to be work related. If in performing your job duties a pre-existing condition is aggravated, such as carpel tunnel syndrome, you may be eligible for benefits. A highly stressful job may lead to mental issues; your job duties may put you in contact with irritants or toxins that cause illness. If you are uncertain of whether you have a claim, speak with an experienced Arizona workers' compensation attorney who can answer your questions and offer guidance.
In some instances, you may be eligible not only for worker's comp benefits, but additional compensation as well. For example, if you were injured at work while using a tool or equipment that is found to be defective, the manufacturer of that product may be held liable. You may be able to file a third-party liability lawsuit in addition to collecting worker's comp benefits. Your workers' compensation lawyer in Arizona can help determine all parties who may be held liable.
Never assume that filing a claim is easy and straightforward; there are steps that must be taken, and when every "t" is not crossed or "i" dotted, you may be denied benefits. Let a dedicated Arizona workers' compensation attorney work to get you the full benefits you deserve, so that you do not face financial hardship after being injured in the workplace.


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Although this beef stew is easy on meat, it's full of vegetables and flavor.
Preheat grill or broiler (medium heat). Grill or broil steak 12 to 14 minutes turning once. Don't overcook. Remove from heat and let rest while preparing vegetables.
In a large stock pot, saute vegetables in oil over medium-high heat until lightly brown, about 10 minutes. Add barley and cook an additional 5 minutes.
Pat meat dry with paper towel. Dice grilled steak into half-inch pieces, add to pot. Then add vinegars, stock, herbs and spices.
Bring to simmer and let cook 1 hour, until barley is cooked and stew has thickened considerably.
Created by the chefs at Mayo Clinic's Dan Abraham Healthy Living Center.
Original article: http://www.mayoclinic.org/healthy-lifestyle/recipes/beef-stew/rcp-20049978
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