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Dr Who: The Aztecs - Special Edition (UK - DVD R2)
The Wilson Bros bring you a feast of a review for this Hartnell classic...
The BBC had scored a hit with Doctor Who, the success of the show had been cemented by the arrival of the Daleks and though the futuristic stories with proper "monsters" would be more popular with the target audience, the historical adventures could be equally as entertaining and The Doctor's trip to the ancient Aztec civilisation would be no exception...
The Doctor (William Hartnell), his granddaughter Susan (Carole Ann Ford), Ian (William Russell) and Barbara (Jacqueline Hill) materialise inside the tomb of Aztec goddess Yetaxa and shortly after, Barbara is mistaken for the reincarnation of the goddess in which whose tomb they found themselves and immediately seeks to put an end to the Aztec's ritual sacrifices. Ian finds himself vying for leader of the Aztec army, The Doctor is put into a garden full of pensioners and Susan is sent to seminary school. The bloodthirsty Tlotoxl (John Ringham) sees Barbara as a false goddess and is prepared to stop at nothing to see that human sacrifices continue.
We will admit that The Aztecs ranks high in our list of favourite historical Doctor Who adventures, in fact, it's quite possibly our favourite, as it features impressive production values (relatively speaking considering the budgets and the confined studios the production was working with), good performances, with one or two even stretching into the realms of "stunning", and it also has a compelling story that entertains and educates in equal measure - however, there is one small problem that almost sinks the story...
The Aztecs is a story containing a premise that is so monumentally silly that it almost beggars belief, but it's such an involving romp, with great performances (and one staggeringly OTT performance) that the jaw-dropping premise upon which it is built can be almost overlooked; Barbara seems convinced that she can use her influence as Yetaxa to convince the Aztecs that the practice of sacrificing people to the gods should be ended in order to save the Aztecs and their culture from being effectively wiped out by the Spaniards. This hints at a classic case of the cause-and-effect premise that has been popular in science fiction for many years, but it is never adequately explored in this story, with only The Doctor lecturing Barbara as to how dangerous meddling with history can be. It's bad enough to have one of the main characters suddenly getting on their high horse and wanting to change the course of history, but Barbara Wright is a history teacher and that should have given her half an idea of the ramifications that messing with established events can have. Despite her vocational intuition being seemingly absent, this idea about the Aztec civilisation possibly being able to be saved is touched upon almost as soon as the opening titles for the first episodes finish, with Barbara speaking of "the tragedy of the Aztecs" and that everything, the good and the bad being wiped out, and before our favourite history teacher can do her best C3-PO "oh, my head" impersonation, tomb raider Barbara puts on a bracelet and is mistaken for a deity; she sets about trying to put right what once went wrong, hoping that the next leap would be the leap home... sorry, wrong show. Well, she sets about trying to save the ancient civilisation by stopping the main thing it is remembered for.
William Hartnell seems to be enjoying himself in this story, possibly because this falls into the historical category and his love of history more than likely fired his enthusiasm - as professional as Hartnell was, you can always tell when he is engaged with the story, as there is a mischievous twinkle in his eye. The scenes in the garden with Cameca (Margot Van der Burgh) are very sweet, and the two of them play off each other so well, especially the scene where Hartnell has inadvertently proposed to Cameca. Moments like these could possibly cause casual Hartnell viewers (or his detractors) to reappraise their opinion of the actor, especially during the times in this episode where he exhibits a similar sort of impish quality that Patrick Troughton was famous for. Hartnell gets to exhibit more of his sense of outrage at the start of episode two by ranting at Barbara for her "stupidity" at trying to change the future - Hartnell was always very impressive when being allowed to cut lose like that, as he seems to channel the very real frustrations in his life and he is frequently mesmerising when angry on-screen. There are still the odd couple of fluffs from him in this story, the most interesting one comes when he tries to arrange a meeting with someone important, accidentally using the words "between me and..." before stopping and hastily correcting himself grammatically with "between myself and..." , which is rather telling, as Hartnell was essentially a street urchin in his youth and this grammatical appears to demonstrate that he struggled with trying to leave that behind for most of his life.
John Lucarotti's story allows Jacqueline Hill to really come to the fore, with her commanding performance as the False Goddess really outshining the rest of the cast; Hill's usually mousy Barbara transforms into a force to be reckoned with when confronted with those who seek to continue the practice of ritual sacrifice. Barbara begins the story as a goddess, but by mid-way through the second episode, she is essentially a prisoner and Hill's sense of divinity oozes from every pore and she often cuts down her jailer, Tloxoxl, down to size with her words and her defiant demeanour. The constant sparring between them, the set-up of which consists of Barbara pretending to be a goddess and Tloxoxl not believing her is a constant cat-and-mouse affair, but Barbara confirms his suspicions eventually in a scene where both she and John Ringham are absolutely excellent. There is something of an abrupt change of heart for Barbara at the start of episode four, with a distinct lack of motivation for this sudden development, but this is more down to the script rather than any shortcomings from Jacqueline Hill.
Though he was the quintessential he-man and muscle for The Doctor (in one scene, he opens the entrance to a tunnel after The Doctor fails to do this himself), William Russell's Ian really gets to show what he's made of in this story, as he finds himself in the army and has to battle the strongest warrior, Ixta (Ian Cullen) for the position of commander of the forces. Ian always tries to rely upon knowledge when defeating an enemy (something that has often been a recurring motif in Doctor Who) and here he ends up using brains and brawn when battling Ixta; Russell makes Ian so likeable that when the climactic confrontation between Ian and Ixta eventually happens, you really DO want him to emerge victorious and see his opponent defeated.
Though Carole Ann Ford is unfortunately absent for the second and third episodes - save for a couple of pre-filmed inserts - her involvement in events presents a slightly more sinister side to the story (well, maybe not as sinister as human sacrifices, but you get our gist), in that Susan is to be effectively forced into marriage and she rebels against this (the whole "marriage to someone you don't know or even like" opens up the whole sex/rape as part of martial rights debate, but it is obviously not touched upon here), and these veiled threats of violation and violence are used to get to Barbara. Susan's right-on feminist stance was interesting for the time this story was filmed, but in terms of the story, it just makes Susan look like a defiant hot-head and her strong point of view just seemed to be concocted to make her into more of a damsel in distress. This story thread makes for an interesting juxtaposition with Susan refusing a marriage proposal and The Doctor accidentally making one - the latter played for comedy and the former for drama.
The guest cast is impressive, particular Keith Pyott as the infinitely wise Autloc, the High Priest of Knowledge, who immediately believes that Barbara IS the reincarnation of Yetaxa and shields her from the sinister Tlotoxl. Pyott not only looks the part as the aged wise man, but there is a certain serenity and a sense of wisdom in his voice, his eyes and in his mannerisms that really convinces and audience that he is a High Priest of Knowledge. Autloc is a man who is deeply spiritual at the start of the story and ends up having everything he believes in shattered, only to develop his own beliefs; Pyott plays this part to perfection and his is one of the more masterful, quiet and understated performances in Doctor Who...
...and then there's John Ringham. In the history of Doctor Who, there have only been a handful of guest actors who have gone WAY over the top when it comes to portraying villains - the most outrageously hammy performance was arguably came from Graham Crowden in The Horns of Nimon, but for sheer measured, calculating OTT-ness, Ringham's turn as scheming High Priest of Sacrifice, Tloxoxl, cannot be beaten.
Teetering skilfully between brilliance and over-exuberance, Ringham consciously channels Laurence Olivier's performance of Richard III (with a hint of Shylock thrown in) and as a result, Ringham's Tloxoxl is memorable for both the right reasons and the wrong ones, too. It's easy to sneer at Ringham's work here and accuse him of overacting, but Olivier was often accused of having performances that were "too big for the screen" and what you get here is a fairly faithful reproduction of Olivier's take on Leed's most famous car park resident, along with more quiet moments of conniving and nastiness that Ringham seemingly threw in himself. Ringham only really oversteps the mark in terms of hamminess at the end of episode one, where he seemingly speaks into the camera, denouncing Barbara as a false god - it's seriously OTT, but he JUST about gets away with it because the dramatic stakes have been ramped up - classic "end of episode" acting. Never was there a guest performer more committed to the part in Doctor Who and his absolute commitment means that he can be forgiven for going a wee bit too far now and again. On a personal note, Ringham's performance sounds uncannily like Peter Sellars as Richard III during a sixties skit where he reads out the lyrics of A Hard Day's Night as Olivier. Obscure, yes, but undeniably true.
If the early Pertwee era could guarantee 'Action by Havoc', then Hartnell's tenure would quite often see the combination of Peter Diamond and Derek Ware handling the fight sequence. The climactic battle between Ian and Ixta was choreographed by David Anderson and Derek Ware; the choreography is very good, with Russell and Cullen executing the moves well, and the film cameras used in the studios allowing for the sort of rapid-paced editing that could not be achieved when shooting on videotape.
The production value are impressive, considering that there was only so much you could do in a small studio to convince viewers that the story was taking place in an expansive Aztec society. What helps to sell the illusion the most is the large backdrop, featuring open skies and Aztec architecture; though there are the almost inevitable wrinkles that appear now and again, it still impresses. As was often the case with the BBC, they always excelled when it came to period drama, and Doctor Who always benefited in this respect, as props and costumes look first rate here. The music score by Richard Rodney Bennett really sets the tone, consisting of what sound like xylophones and bongos played using fingers; the score is seemingly simplistic but is certainly in keeping with the civilisation that is being featured.
This story ties with Hartnell's The Romans in terms of skilfully blending entertainment and education in one package; though Dennis Spooner's historical story was an entertaining romp, it was played with a lighter touch than The Aztecs, and though there was a fair degree of accurate historical information conveyed in that adventure, there is more to learn about the society in The Aztecs, along with keeping some of the slightly older younger viewers entertained by the prospect of seeing human sacrifices. There are plenty of Machiavellian machinations going on and loyalties shift and change during the course of the story, which all adds texture to an already appealing premise.
This is the second time that The Aztecs has been released on DVD, and though restoration processes have improved significantly, there's only so much that can be done to improve things. The original DVD release offered a great quality image and that has been carried over into this Special Edition, with some additional remastering applied. Episodes one, two and four are tonally consistent, with a reasonable amount of detail, but the clarity for episode three is very good, better than others - however, it suffers from quite a lot of telecine instability, resulting in a characteristic "wobble" that is present throughout.
There's nothing much to complain about here, as the soundtrack has been cleaned up as much as could be hoped, with perfectly discernible dialogue and Richard Rodney Bennett's music score gives a richness to the story that gives little hint that the composer would later be knighted - but we digress. If there is one minor niggle, it's that during one episode there is a very loud off-stage cough that is fairly distracting and momentarily pulls the viewer out of the story; it something that could probably have been erased by that nice Mr Mark Ayers, but this would stray into the murky waters of tinkering with art unnecessarily.
Galaxy 4: When news broke that no one, but TWO missing episodes of Doctor Who had been returned to the BBC, fans rejoiced - though it could argued that some of the jubilation was immediately tempered when it was revealed that one of them was an episode of the Patrick Troughton stinker, The Underwater Menace. However, to have an episode of an otherwise entirely missing story - save for the few minutes of footage used for the Lively Arts documentary - was a real cause for celebration. Speculation was rampant as to how these episodes were to be released, and for one of them at least, you need wait no longer.
The Doctor (William Hartnell) lands the TARDIS on a planet in the last days of its existence; along with companions Vicki (Maureen O'Brien) and Steven (Peter Purves), he encounters a crippled spaceship carrying an all-female group of people, the warring Drahvin, who are stranded on the planet and are anxious to steal the less-crippled ship of their enemy, the Rills, who are also stranded. As things progress, The Doctor and his companions realise that no everything the Drahvin have been telling them about their enemy is true, but also that the planet is due to be destroyed in a much shorter period of time than they first thought...
This almost-mythical Doctor Who story is presented on DVD in a cut-down reconstruction, meaning that associated images from Galaxy 4 have been married up the original soundtrack recorded by a fan during the original broadcast. There are generous amounts of CGI footage of the Chumblies, the curious robotic servants of the Rills, which really help to inject a bit of life into what could otherwise have been a somewhat static presentation. We have seen our fair share of Doctor Who recons (actually, we've seen reconstructions of all of the missing episodes), and this presentation of Galaxy 4 certainly ranks as one of the best. There will be those who complain that this is a truncated version of the story, and whilst it would have been better to have included this reconstruction in its entirety, this cut-down version works rather well. We have been fortunate enough to have seen the full-length version of this Galaxy 4 recon, and there wasn't really a feeling that anything was missing - the abbreviated version presented here flows wonderfully and it's exciting and enchanting in equal measure.
The inclusion of the previously-missing third episode, Air Lock, allows the viewer to pick up on things that would not have been noticed on a reconstruction, most notably that the walls of the Rill's spacecraft are made of Perspex and bend and wobble in the middle when they are banged-upon. There is a loud clatter early on in this episode, which must have had fans scratching their heads as to what caused this - the answer simply is that William Hartnell puts down his walking stick to fiddle with some machinery and the stick slopes away and clatters noisily on the floor. Another advantage to this episode being recovered is that you finally get a good look at the face of one of the Rills, and it's a pretty impressive piece of design, which combined with the Michael Gough-like timbre of Robert Cartland, make for very effective and sympathetic characters.
Remembering the Aztecs: This retrospective (which really SHOULD have been called The Aztecs Remembering - please yourselves...) clocks in at 28 minutes and consists of the reminiscences of three of the guest actors in this particular story, Ian Cullen (Ixta), Walter Randall (Tonila) and Tlotoxl himself, John Ringham. Seeing as all three of them are from in front of the camera, there is a lot of ac-TOR observations that border on the pretentious, especially from Ringham, who is not only critical of his performance, but also critical of Hartnell's (including his accusation that he only had four facial expression to register certain emotions - which is an unfair and untrue observation). They all speak of the wonder of the early days of television, along with their distain of modern televisual methods (rehearse/record, single camera, etc), as their generation came from a background in rep where lines had to be absorbed VERY quickly.
The best aspect about this documentary is that it gives you a very detailed account of the stresses and the joys of doing television "as live" in the sixties, as it was awfully close to being on the stage, along with all of the pitfalls of fluffing. The three participants are all reasonably pleased with their association with The Aztecs (even if Ringham is VERY critical of his Olivier-like performance), but it's pretty off-putting to see Randall's oversized gut poking out from beneath his shirt whilst being interviewed. In the decade since this documentary was recorded, both Ringham and Randall have both since gone off to meet Yetaxa (they both died in 2008), and this makes for an entertaining way to get the low-down on how Doctor Who was recorded during the sixties.
Chronicle – The Realms of Gold: Presented here is John Julius Norwich's mesmerising 1969 retelling of how Cortez conquered Montezuma and the Aztecs. It's pretty safe to say this is the stand-out extra in this set, as it is utterly engrossing and it goes to prove they REALLY don't make 'em like this any more. All this consists of is footage of Norwich standing in front of key locations in the former Aztec empire, telling the whole story directly into camera in a forthright manner which is neither patronising nor overly-highbrow, with illustrations and dramatic readings of quotations from people directly involved with the events (one of the people reading these is none other than Frank Finlay). There's no naff footage of actors dressed in costumes, no CGI recreations of events and no overly-dramatic music - in short, it's nothing like the awful history programmes that are so prevalent these days and watching this is a breath of fresh air.
A direct Doctor Who connection is present here, as there is music by Delia Derbyshire, but even without the direct connection, this will keep you riveted to your seat as Norwich's casual-yet-formal delivery is truly engrossing and you'll learn more about the history of the Aztecs in fifty minutes than you have in the last twenty years - unless you're studying the period at college or university, of course. Chronicle - The Realms of Gold is truly the jewel in the crown of these extras, as it really IS something special and we'd go so far to say that it is worth upgrading to this special edition on DVD purely on the strength of this extra alone. As we said earlier, they really don't make them like this any more - it's straightforward, informative, entertaining and engrossing.
Doctor Forever! Celestial Toyroom: This is another instalment of the new five-part series that began on The Ark In Space. As the subtitle suggests, this takes a look at the barrage of Doctor Who merchandise over the years, the good, the bad and the Destroyed Cassandra.
Introduced by the comely Ayesha Antoine, this features new interviews with New-Who luminaries Russell T Davies, Mark Gatiss, Rob Shearman, Paul Cornell and Joseph Lidster, who all chip in their own experiences with Doctor Who merchandise past and present, with RTD mentioning that he rather naively decided to keep one of each and every piece of New-Who merchandise, only to underestimate not the sheer popularity of Doctor Who's return, but also the overwhelming volume of collectable crap that followed it its wake.
As well as covering the various incarnations of the Daleks over the years (we used to have a couple of the Palitoy ones from the seventies), there is a bizarre piece with actor Ian McNiece, who talks about the process of being digitally scanned for his Winston Churchill action figure. McNeice's enthusiasm is most certainly infectious, as he seems like a genuinely nice guy and he describes in great detail the pros and cons of having your likeness captured in glorious plastic.
No matter how old you are, if you are a Doctor Who fan, then there will be an era where the merchandise gave you a warm and fuzzy feeling (with us it was the seventies, as we used to have the Tom Baker figure and the seriously cool cardboard TARDIS where you could make Baker disappear - something that Lalla Ward would have later approved of); those warm and fuzzy feelings will cascade over you when you watch this amusing an affectionate documentary, as there is something for every generation of Doctor Who fans, and yes, even Dapol is covered. Oh, and special mention must go to the brief section about rip-off New-Who merchandise, which shows you the dodgy stuff that was freely available from market-stalls, boot-fairs and all manner of less-than-reputable toy shops.
It's a Square World: This thing is pretty bloody bizarre as it is an excerpt from Michael Bentine's (aka the Forgotten Goon) sixties television show and features what is acknowledged to be the very first Doctor Who skit with the recently-deceased Clive Dunn decked out in William Hartnell's duds, playing a doddery scientist demonstrating his efforts to finally get the United Kingdom into the Space Race. This is short and pretty sweet, allowing Dad's Army fans to see Dunn doing his doddery old fart shtick several years before joining the Home Guard. This is a genuinely amusing sketch that also features numerous sly cameos as Television Centre is sent into orbit (the best one has to be from sixties TV DIY man, Barry Bucknell), but there's also a tinge of sadness when you watch this, as Bentine never really got the sort of recognition that his fellow Goons received, despite being an immensely talented writer/performer and this will at least give those not particularly familiar with his work the chance to seem him shine just a little.
A Whole Scene Going: This excerpt from the groovy sixties magazine show was recently recovered and turned up on eBay of all places, and features an interview with director Gordon Flemyng during the filming of Daleks' Invasion Earth: 2150 AD. It's presented in black and white and features some fascinating behind-the-scenes footage of the filming, along with some very candid thoughts from Flemyng, who would later sire a son who looks eerily like him. Flemyng himself is a very laid-back individual and knows the value of making fantasy films – he's very eloquent and speaks of the pressures that he is under. It's only short, but it's always great to see this sort of thing turn up.
Audio Commentary: Someone once told us that film isn't immortality, they are just ghosts captured on celluloid, and the same can be said for any medium, and when it comes to releasing Doctor Who titles over a decade later, age becomes the overriding factor as to how many of the original participants will still be alive and well for the reissue. With the passing of Verity Lambert, this was a bitter-sweet experience to listen in again, but what better way to keep alive the spirit of one of UK TV's most pioneering women?
Right from the outset, Carol Ann Ford sets in to crystallise what most of us tend to overlook though the magic of Rosè-coloured glasses when the TARDIS lands looking decidedly small in scale. "It looks like a little money-box, doesn't it?" says the former companion, almost in disbelief. Moving to a more roomy scale, the sets and general production which really open up the story was all down to Lambert, as she recalls how she developed an infamy for utilizing floor-space. "I did have a reputation when I was a producer for stretching the walls of the studio to bursting point".
We've always thought that it's absurd that there are those who really got the 'ump with the writing on The Aztecs, calling it pseudo-Shakespeare and other derogatory terms, but we're with Lambert on this one; "I think this is great," she opines. "…very well written, actually." Her sentiments are met with a chorus of approval and agreement from the others, the oft-quiet William Russell interjecting: "…Very well written. There is real conflict between the characters, the trying to do good an the difficulties in trying to do good." Speaking of The Bard, we've always been fine with the approach taken with Tlotoxl, and Lambert stumbles into the land of the obvious when she notes: "I think John Ringham played [it] a bit like Richard III, didn't he?" Really? Hadn't noticed…
With three of the original figures involved on this commentary, it's all rather heartening that the initial premise of the show is brought up in conversation, with Ford asserting with a fair degree of conviction that "…I'm sure many children became interested in the Aztecs because of this". As interested that the kids were, the very nature of the people the story was depicting sailed them into stormy waters. "We had a lot of complaints from parents," recalls Lambert. "…who sat their children in front of the television set and went off to do their own thing. But I think most of the parents who sat with the children. But I always maintain anyway that children enjoy being scared… I think adults are the ones who generally don't understand it." Here here!
There is a good dollop of wistful, knowing humour from the trio, with Russell muses on the fate which regularly befell his late co-star to the words of "Oh, Jackie… captured already!" In this same spirit, all three have a good chuckle at Hartnell's startled reaction to the proposal of marriage, a nice contrast to some of the rather cutting things said about him by John Ringham in one the documentaries to be found elsewhere on this two-disc set. [/]"He was always looking for little bits of comedy, wasn't he?"[/I] chimes in Russell of another of his late comrades.
This is no time for dilly-dallying or shilly-shallying around: it's long been established that this is one of the lesser commentary tracks to grace a Doctor Who release, largely because of the inexperience of those participating. Many taking part in these things will thoroughly prepare for them, jotting down (or at least recalling) all the details relating to the story at hand, making for a smooth, free-flowing stream of relevant information, but here it is largely just those involved watching it after four decades, commenting on what is happening on screen, with only a comparative smattering of the insider info the fans are expecting.
Production Subtitles: They've always say that if something didn't exist, you'd have to invent it. Indeed, food was rather bland until Chipotle sauce came along, sex was rather tedious until Crystal Meth livened things up a bit, and the original release of The Aztecs seemed to be missing that special something to really bring the experience to life. How could we have known what was amiss until the Production Subtitle track came into existence on the discs? Well, such unforeseeable errors have now been corrected, giving it the same indispensable look at Doctor Who as has been afforded all the others, and it's the usual slam-dunk, to use a sporting analogy.
Whilst it's not difficult to work out why certain cast members disappear for an episode or two, we are told explicitly here just who and they were and what was shot to allow them to be imprisoned, etc so as to fill the void. As to other times when the main characters are thin on the ground, we are privileged to hear details which revealed of a complaint made by William Russell that the four leads took a back-seat to the guest actors in Marco Polo, which was duly delivered to Donald Wilson, and consequently, our intergalactic travellers are all given a lot to do during The Aztecs. Speaking of the genial Mr Russell, his outlandish warriors' outfit causes quite a stir, particularly to a certain Timelord, as it tells us: "…Faced by William Russell in his 'Chosen Warrior' costume, William Hartnell stumbles over his line". Not merely content to point out when this error takes place, it's made clear that the affection for all things Doctor Who flows through the veins of the writer when he quickly follows up with: "…but the costume didn't necessarily cause the fluff".
At the point in Warriors of Death where Hartnell enters the temple to inform Hill of everything that's being planned, the track gives us an interesting glimpse into how liquid the production process on The Aztecs was, noting that: " …The dialogue at this point is incomplete in the script, suggesting it was still being worked on when the episode entered studio". Speaking of all things production, we also learn that Sydney Newman thought that Richard Rodney Bennett's incidental music for this particular story was "rotten". With Bennett later nabbing three Academy Award nominations and a Knighthood in 1998, it's not hard to guess which party had the last laugh about all this.
In the interests of furthering the collective knowledge of history, we are helpfully informed that the Aztec mask seen so prominently on the title-card of Temple of Evil was based on a 15th/16th century one depicting Tezcatlipoca, one of the creation Gods, designed by Barry Newbury based on just such a mask housed in the British Museum. It's this way of bringing the televisual into the real world which really gives the Production Subtitles a quality which really makes them the first thing we go for when sticking on a review disc. We might have to take a gander at the one house in the British Museum, and even if it isn't out on display, we have a funny feeling that our brother will be able to let us see it anyway…
It really has got the lot on this one, with one sequence in particular from Warriors of Death standing out for its' scrutiny. The scene were Hartnell and Hill go from being at each others' throats to fully reconciled details how dialogue was trimmed to pick up the pace, along with noting the improvisations of Hartnell "My dear child…", etc, and to top it all off, it even points out which camera is placed where, as well as the when one particular camera is used so as to allow another to trundle off into the correct position for the next shot. If that isn't exhaustive, we don't know what is!
It is with great affection and increased knowledge that we welcome The Aztecs into the circle of research excellence with the belated inclusion of another superlative Production Subtitle track. We can envisage that Mr Mathew Kilburn must have his brain wet-wired into a vast ethereal source of all knowledge, the mind a storage patterns of exactingly perfect order, ready to excrete vital and relevant information for the purposes of enlightenment. Either that, or he just knows his stuff and is a damned good researcher. We go with the latter. It's required viewing, but when isn't it?
Restoring The Aztecs: This is essentially a before and after collection of footage demonstrating the ScratchBox method of removing blemishes from aged film, along with the other techniques used to enhance the overall image quality, with some of it presented in slow-motion to really draw appreciation. It presents some of the more extreme problems faced by the Restoration Team, and to showcase them in such a manner in no way comes across as egotistical, but just as a way of letting us know how much love and attention has been lavished upon the material. Bizarrely, right in the middle, it branches off into a new section entitled "Restoring the Video Look", which is fine when demonstrating how VidFIRE can bring back the original, organic feel of videotape, but it also plays clips from both Pertwee and Troughton stories. It does the job in showing how cool the technology is, but the latter snippets seem a little out of place away from The Aztecs.
Making Coco: John Ringham and Walter Randall reprise their roles as Tlotoxl and Tonila in this South Park-style animation about the ancient methods of how the Aztecs used to make coco, and let us tell you, the way they do it will put you off of hot chocolate for a while - Hell, even Tomisina Meyers would shy away from this stuff! It's short, sharp and fun, delivering the goods with historical accuracy, and is worth a few minutes of your time just to hear Ringham do his stuff once more. As we write this, we're sitting drinking cups of Aztec Chilli Hot Chocolate from House of Chilli, Isle of Wight - check 'em out, for all your chilli needs - the pre-packed stuff is definitely the way to go with this…
Intro Sequences: Provided by three members of the cast, one of six recorded pieces precede the episode you have chosen, randomly providing a piece of delightfully dumbfounding Aztec philosophy. It might not sound like much, but it showcases just how much effort has been put into the presentation of this disc, and with Paramount still churning out crappy "special editions" which consist of the movie, a trailer and a dated making-of, they are shown up for the twisters they are. Anything even approaching the nadir of the "Beuller… Beuller… Edition" of a certain Mathew Broderick movie can go to Hell.
Cortez and Montezuma Plundering the Blue Peter archives has long been a Godsend for those looking for Doctor Who-related material, but what we have here isn't from the show, but a perfect accompaniment to this particular story. Recorded in 1970, this piece of travelogue tracks Valerie Singleton in Mexico, where she goes in search of the meat to be found in the myths of Aztec sacrifices, so prepare to learn things without even realising that the facts are burrowing into your brain.
Through the combination of piece-to-camera and narrated Aztec-style drawings, Val wastes no time getting started, and promptly tells us that the Aztecs used Gods to speak to the elemental forces which controlled their very lives, cutting open the chests of their people and offering up the contents to the heavens. It might seems an odd or barbaric way of going about communicating to a deity, but as even the Christians would agree with this method, as they themselves do say "God imparts to human hearts…"
If you have ever wanted a clear, concise way of telling the fate of Tenochtitlan and its' king when Jesus and all his friends came calling, then you really can't do better than this. Honestly, if you want to get some history into younger kids without taxing their poor 21st-century-sized attention spans, we heartily recommend that you stick them in front of this. Although no blood is shown even in the drawings, enough of the violence is spoken of to have the kiddies' mind going into overdrive. It also helps younglings to make up their minds about that validity of prophesies and whether or not it is right to force a religion onto others, either through ignorance or by supplanting their own system of worship. Fun and interesting, the way learning should be!
Designing the Aztecs: Barry Newbury It's always a treat when the unsung heroes of Doctor Who get their chance to discuss their work on the show, and to have an entire documentary to themselves even more so. Here, the genial craftsman of the title tells not only of his epic struggle to bring the land of the Aztecs to the small screen in the face of meagre budgets and enclosed environments, but tells of his life in the design of all things televisual, and there are some terrific stuff to be found within.
Anecdotes come mixed with real information to paint a vivid picture of what it was like to conjure up ancient civilisations on a budget which wouldn't have paid for lunch during the shoot of a Nu-Who story, as well as having a distinct lack of space at his disposal. Newbury describes The Aztecs as being "lumbered" with Studio D at the new White City facility, even though he was afforded more room than the previous location allowed. Hopes of creating an expansive feel to the sets were further hampered by BBC bureaucracy which dictated that fire/emergency exits has to be accessible at strategic points.
Balancing out the whinging are deeply fascinating looks at the practical side of getting it all done, taking in the colour schemes and limitations of associated with filming in monochrome, with Newbury recalling specific tones which were employed to create a certain tone needed. What do you do when money is tight and sets need to be dressed? Brilliance prevailed when the Aztec crockery seen throughout the show was bought off-the-shelf to fit the approximate shape of the period, and then craftily sent out to art schools to get the students to paint them up appropriately in a stroke of thriftiness that a Scots Son-of-David would be envious of.
The designer himself comes across as a very interesting, wise and crafty guy, exemplified by his initial frustration with an unnamed director who always went in for close-ups when blocking out scenes, which left all the work he'd done for the vista stuck behind them undone. The next time around, he stuck the camera on a rostrum, minimising the risk of damned close-ups taking away the rightful sight of his efforts, being particularly pleasing because he won an award for that particular project!
The honest words of a production designer are the best way to get down to the literal nuts and bolts of making a show like Doctor Who, and Newbury isn't shy about detailing how much things cost at the time. He goes into explicit detail bit about the "Design Department Budget Allowance" of £250, issued to cover the costs, including prop-hire, timber, hardboard & paint, along with 250 man-hours to construct everything. In case that's all a wee bit too anal for some, just ruminate on how Newbury constantly placed bets with Prop-Buyer Alan Mansey on the cost of various items, with the designer usually on the losing end of the wager!
This was a pretty blissful experience to experience, serving as the perfect balance of information and amusement, with a healthy dash of knowing humour along the way. Our favourite bit? Either how the two years of prep on Star Wars dwarfed that of the time for The Aztecs, or Newburys' horror of seeing an unpainted piece of 2x4 when the director unexpectedly wanted William Russell to exit from under the tomb. Watch at least once to pay homage to one of the unsung greats behind the show.
TARDIS Cam No.3 Another of those atmospheric morsels which kept the Doctor Who flame lit during the dark times of Michael Grade, managing to fire the imaginations of those of us still annoyed that a man whose recent documentary about the history of jokes saw him admit that he loves a fart-gag. In any case, this is another cracking little snippet, looking lovely giving us a taste of what we hoped would come. A really nice little inclusion.
Photo Gallery All you could ever ask for depicting things that were never picked out properly by the cameras is to be found here, and a wonderful collection it is, with many sumptuous colour photos to prove just how terrific the costumes and production design really were. Jacqueline Hill's garments are particularly stunning, and the backdrop showing the city has a much greater sense of depth when seen without the constraints of monochromatic photography. There are production photos, action-based snaps and a few shots taken for the purposes of archiving the design work, all worth a few minutes of your time, and it all ends of a gorgeous colour shot of the skull on the tomb. Excellent stuff.
Easter egg It's the "Distributed by BBC Worldwide" logo, for your delectation, kids. What? Where to find it? Look for it yourselves, you lazy sods!
Coming Soon Trailer: Don't get TOO excited! Although this is a trailer for the eagerly-awaited Patrick Troughton story, The Ice Warriors, and it's a pretty cool (ahem) trailer at that, the problem is that since this trailer was commissioned, the story has fallen back in the release schedule (August to be precise) and it is not up next. Still, it'll be great to see the animation that has been done to patch up the gaping hole caused by the two missing episodes.
Dodgy character motivations aside, we have long had a soft spot for this particular story, and The Aztecs represents a high water mark for the Hartnell era of Doctor Who; it contains wonderful performances from the regulars, with Jacqueline Hill being particularly mesmerising and John Ringham's Shakespearean turn as the villain is unforgettable.
The extras that have generously bestowed on to this two-disc special edition carry on the noble principles on which Doctor Who was founded - to entertain and enlighten, with featurettes that flesh out the historical aspects presented in the story in a manner that will keep you enthralled. The inclusion of Air Lock, episode three of Galaxy 4, with a condensed reconstruction of the rest of the story wrapped around is certainly the icing on the cake.
To misquote the old slogan for a certain seventies chocolate confectionary; The Aztecs - it's a feast of a disc!
Review by Wilson Bros
Faltskogian Member Join Date: February 2006 Location: United Kingdom Posts: 26
Excellent review as ever, and in related news i found this DVD for £2 in the local charity shop...Hooray!
D.F. News at ten Cuthulu's Shed.
D.F. News at ten Cuthulu's Shed.
David Blackwell Senior Member Join Date: February 2004 Location: United States Posts: 2,826
I enjoy the historical adventures. I wish the new series would do one without adding sci-fi elements and turning it more into a sci-fi tale than a historical tale with time travelers interacting with history.
General viewing, but some scenes may be unsuitable for young children
Disc Details
Release Date: 11th March 2013
Discs: 2
Disc Type: Single side, dual layer
RCE: Yes
Video: PAL
Aspect: 1.33:1
Anamorphic: No
Colour: No
Audio: Dolby Digital 2.0 English
Subtitles: English
Extras: Audio Commentary, Cortez & Montezuma, Making Cocoa, TARDIS-Cam No 3, Into Sequences, Remebering the Aztecs, Designing the Aztecs, Restoring the Aztecs, Chronicle - The Realms of Gold, Doctor Forever! The Celestial Toyroom, It's A Square World, A Whole Scene Going, Coming Soon Trailer, PDF Materials & GALAXY FUCKING 4!!!
Easter Egg: No
Feature Details
Director: John Crockett
Cast: William Hartnell, Carole Ann Ford, Russell Enoch, Jacqueline Hill
Genre: Sci-Fi
Length: 98 minutes
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Kittee's "Better Brighter" Room
Like this entry? Favorite it below!
- Name:
- Kittee
- Location:
- Porland, OR
- Division:
- Warm
- Inspiration for my palette:
- We live in Portland, OR and it is very grey and dark here many months out of the year. When we purchased our 1908 home, most of the rooms and some of the wooden floors were painted grey. I wanted to brighten the house up, and nothing brightens quite like yellow.
- Colors used in my room:
- Yellow, blue and everything in between.
- Tips for using color successfully:
- We have picture molding on our walls about 18" from the ceiling. When we moved in, the walls were a dark color below the molding, and white above the railing. This made the room feel very small. I painted our walls a bright yellow below the picture railing and a lighter yellow above the railing, which creates a fade and makes the room feel bigger with a higher ceiling.
- Palette:
- Better Brighter

subset: commoncrawl


text:
Q: I read your "Back to Basics" article in Developer Update (http://www.sqlmag.com/articles/index.cfm?articleid=49610&). I've previously worked as a network/telecom/hardware/software support manager but I'd now like to start a career in programming. I know almost nothing about programming except for some classes I took years ago. Can you suggest a starting point for me?
A: Programming is more or less a generic task done by several different groups of IT professionals. So, I think the starting point for you is to look at some of the broad IT categories and see which one best fits your goals and expectations. The idea is to concentrate on an area in which you can be successful. So, let's look at four primary categories of IT professionals and what their skill sets are:
- Database administrator (DBA). DBAs work with database systems, such as Microsoft SQL Server. They can focus on two areas: systems administration and programming. In the systems administration area, the tasks include setting up accounts and permissions for database users as well as monitoring a database's runtime performance. However, good DBAs go beyond just running a report. They optimize data access. For example, they evaluate stored procedures' execution plans, optimize stored procedures' code, and optimize databases' indexes. Good DBAs are proficient in the skills covered by the Microsoft Certified DBA (MCDBA) certification.
- Traditional IT professional. The traditional IT professional is more of a system engineer. In large organizations, IT professionals might specialize in the setup and maintenance of a single server product (e.g., Windows Server 2003, Microsoft Exchange Server), whereas in small organizations, IT professionals might need to work with half a dozen or more server products. A talented IT professional not only knows how to open a user-management console to add a new user but also understands how to optimize products through administrative programming and other tools. Although the IT professionals' primary focus isn't programming, having some programming experience helps them be successful. These types of professionals become proficient in the skills covered in the Microsoft Certified Systems Engineer (MCSE) or Microsoft Certified Systems Administrator (MCSA) certification.
- Information worker. Microsoft is promoting a new category of IT professionals known as information workers. At my company, information workers are specialists at customizing applications and client desktops. They typically customize products in the Microsoft Office suite. In Office 2007 that includes client applications such as Excel and server applications such as Office SharePoint Server. There are many certifications associated with information workers, so I'm not going to list them all but they include the Microsoft Office Specialist (MOS), Microsoft Certified Technology Specialist (MCTS), and Microsoft Certified Desktop Support Technician (MCDST). For more information about some of the training available to information workers, I suggest going to http://www.microsoft.com/learning/mls/elearn/iw.mspx.
- Software developer. Software development is the traditional focus of programming. However, talented software developers do more than just write code. They also solve customer problems and design and document systems. In my opinion, a good software developer needs about 5 years of experience to be able to work independently. These developers are proficient in the skills covered by the Microsoft Certified Solution Developer (MCSD) and Microsoft Certified Application Developer (MCAD) certifications.
Taking into consideration these four categories of IT professionals, you should determine the type of development you want to pursue in your career. A good place to review the skill sets in all of the Microsoft certifications is at http://www.microsoft.com/learning/mcp/default.mspx.


text:
Watch The ::God Is Imaginary Videos On YouTube ::
Objective means something isn't based on opinion so consensus of opinion plays no part if it's objective, so there can be an objective moral value without consensus of the all people. It's the act in itself thats wrong.This is why i'm "incredulous" because i'm actually talking to people who think the rape and murder of children is subject to personal opinion, not an objective rule wich says it ALWAYS wrong. Please someone say it aint so !


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UPDATED: House kills bill to block Medicaid expansionBy GARRY RAYNO
State House Bureau
March 20. 2013 7:12PM
CONCORD -- The House wants the state to expand the Medicaid program under the Affordable Care Act to help reduce the number of people not covered by health insurance.
The House voted 206-155 Wednesday to kill House Bill 271 which would prohibit the state from expanding the federal-state health insurance program for the poor, elderly and disabled.
The bill is sponsored by Former House Speaker William O'Brien, R-Mont Vernon, who argued the program is unaffordable, not needed and claims it would "hijack the state's budget."
"We can do better for our poor and near poor than putting them on this system," O'Brien said. "It is a failed system."
He also argued there is no free lunch and said the federal government cannot live up to its promises with the growing federal debt.
"We're not Cyprus and the federal government is not Germany," O'Brien said. "(The money) has to come from us, from our taxes or come from further borrowing from our grandchildren and their grandchildren."
But bill opponents say the expansion will significantly increase the number of people with health insurance and will bring billions of dollars of federal money to the state's health care providers.
"It doesn't matter whether you are for or against Medicaid expansion, under this bill discussion will be cut off today if you pass it," said Rep. Thomas Sherman, D-Rye. "Let's defeat this bill for the sake of many New Hampshire citizens, our friends, our neighbors, our families and my patients."
The expansion is projected to add between 35,000 to 50,000 people to the program in seven years, according to an independent organization the state hired to study the state's options. The Lewin Group also said along with other provisions of the ACA, the expansion would reduce the state's uninsured from about 170,000 to 71,000.
Expanding the program would cost the state about $85 million over seven years, but would inject $2.5 billion into the state's economy, according to the study.
During Wednesday's hour-long debate, bill supporters say the cost to the state will be much higher than the Lewin Group estimated.
Rep. Richard Meaney, R-Goffstown, said the cost of expansion will be at least $15 million a year through 2019, then from $50 million to $100 million a year in the state budget for this federal program.
"New Hampshire citizens are not ready for $50 million to $100 million in new taxes," Meaney said, and added the state along with 39 other states will be net payers for the national program.
"If we expand Medicaid in New Hampshire we will leave a legacy of debt for our children and our grandchildren," he said.
Bill opponents said expansion will not cost the state anything under a managed care program the state has yet to implement.
The federal government has a very good track record in meeting its Medicaid obligation, said Rep. Laurie Harding, D-Lebanon, noting some of the provider-payment problems rest with the state, not the federal government. The state can decide to drop the program at any time, she added.
The Lewin Group study says expansion would have no net costs to state general funds during the first two years and would bring $422 million in federal funds to the New Hampshire economy, Harding said.
Harding said cashiers, daycare workers and other low-income workers will have an opportunity to have health insurance. "These people have never had health insurance before and now it is their time," she said.
Other bill supporters argued the program will drive up the cost of private insurance for businesses and individuals and will increase the use of emergency room care.
O'Brien said the state should turn to private sector solutions such as removing mandates on insurers, allowing cross border sales and encouraging individual health care savings accounts, instead of growing government dependency.
But Sherman said the program will help improve the health of the poor, citing a Harvard study that found nationally the uninsured have a 40 percent higher risk of death based solely on their insurance status and are less likely to receive care and seek treatment.
He said many people struggle to pay for their food and rent. Those patients end up in emergency rooms and can barely afford follow up visits to their doctors, said Sherman, a physician.
"Too often we see them back in the emergency room," he said. "We have the tools to maintain their health, they just can't afford them."
Gov. Maggie Hassan backs expanding the program and recently asked to partner with the federal government in setting health insurance exchanges to allow individuals and small businesses to find the best health insurance policies.
The federal health and human services agency accepted the state's request and is working with officials to set up the program.
The House will also vote on another bill later this month requiring the state to expand the Medicaid program under the ACA.


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Welcome home
National champion SNHU booters return home to big welcomeBy JOHN HABIB
New Hampshire Union Leader
December 08. 2013 9:25PM
MANCHESTER — Just after 12:30 p.m. Sunday, an estimated crowd of 300 people gathered inside the entrance to Larkin Field. Music from the press box was blaring from the speakers and across the field, the scoreboard, in red lights, brightly displayed Saturday's NCAA Division II national championship men's soccer final score from Evans, Ga.: SNHU 2, CM 1 (CM for Carson-Newman of Jefferson City, Tenn.).
Signs like "Penmen Pride," "Welcome Home Penmen" and "Congrats on a Great Season" were proudly held high at 1:16 p.m. when, led by a Manchester police escort from Exit 6 off I-293 to the campus, the bus pulled in and stopped in front of the field.
The crowd in unison roared loudly when head coach Marc Hubbard, who earned his 100th career win, departed from the bus first. He was followed by the team members and coaches. Penmen goalie Dom DiMaggio got the loudest applause as he hoisted the NCAA championship trophy over his head for all to see as he made his way into the heart of the crowd.
The title was the team's second title in school history, first since 1989.
"It's starting to sink in a little bit now" said former Manchester Memorial standout Christian Rodriguez, a senior who completed his career as a national champion. "This is a great atmosphere," he said. "Seeing all the people here, this is something I'll never forget for the rest of my life. I guess the season is really over because we're not practicing tomorrow."
Over the weekend, the Penmen capped a season-ending 23-game unbeaten streak with a pair of 2-1 victories in the NCAA Division II Final Four Tournament at Blanchards Woods Park in Evans, Ga. Last Thursday, the Penmen defeated No. 14 ranked Rockhurst University (17-4-3) of Kansas City, Mo., and closed out their memorable season Saturday knocking off unranked Carson-Newman (16-6-1).
According to the NCAA, the Penmen's official record will be 22-1-1. The penalty kick shootout victory against Mercyhurst in the NCAA quarterfinals will go down as a tie.
Courtesy of Southern New Hampshire University, which paid for the trip, 45 students were selected from a lottery to attend Saturday's national title game. The students left campus Saturday morning, boarded a plane in Boston, landed in Charlotte, N.C., and took a two-hour bus ride to Evans. Ga. The students returned home in time to greet their champions.
As for Saturday's national game, the turning point came in the 86th minute with the Penmen leading 1-0 on a goal from Miguel Carneiro in the 74th minute. SNHU All-American Pierre Omanga was dribbling toward the net when he was confronted by Carson-Newman goalie Rumwald le Guevel. "He (le Guevel) came out and as he went for the ball, he grabbed my foot," said Omanga, who was awarded a penalty kick.
Two weeks ago, Omanga said he changed his strategy shooting penalty kicks. "Teams scout all the time and I know they knew I always shoot for the left corner," said Omanga. "So two weeks ago I decided to change things up."
On Saturday, it appeared Carson-Newman had the book on Omanga. Just as Omanga went to take his shot, le Guevel lunged to his right, anticipating Omanga was shooting for the left corner. Instead, the shot went to the right side, giving SNHU a huge 2-0 lead.
"That was the game because the way we play defense, we knew we were not allowing two goals," said Omanga. SNHU finished its season allowing 11 goals and scoring 61.
Last week, Manchester Central standout Yannick Kabala told the story about a picture hanging in the team's locker room showing the Penmen sad and depressed following last year's season-ending NCAA quarterfinal loss to Mercyhurst University at Larkin Field.
"A new picture is going up," Kabala said. "We reached our goal. It's a different feeling this year with a happier ending. We're national champs."


text:
Portugal is selling 10-year bonds for the first time in more than two years as it seeks to regain full access to debt markets following its 2011 bailout.
The new securities due in February 2024 may yield 400 basis points more than the mid-swap rate, according to a person familiar with the matter who asked not to be identified because they're not authorized to speak about it. Investors have submitted bids for more than 9 billion euros ($11.8 billion) of debt, compared with the 3 billion euros being sold, Finance Minister Vitor Gaspar told reporters in Brussels.
The sale is being arranged by Caixa-Banco de Investimento, Citigroup Inc., Credit Agricole SA, Goldman Sachs Group Inc., HSBC Holdings Plc and Societe Generale SA, a person who asked not to be identified because they're not authorized to speak about the transaction said yesterday.
Portugal is selling the bonds as yields on the country's existing 10-year securities are at the lowest since 2010 and a decline in interest rates worldwide is leading investors to seek higher-yielding assets. The nation stopped selling bonds until this year after requesting a 78 billion-euro bailout from the European Union and International Monetary Fund in April 2011 following a surge in debt levels and borrowing costs.
'Another Step'
"Portugal's sale is important because it marks another step in the exit from the crisis," said Luca Cazzulani, a senior rates strategist at UniCredit SpA in Milan. "In the current market environment, there will probably be demand. Investors are rushing into anything that grants you a good yield and when you look at the Portuguese curve the 10-year is around 5.50% and so I think the sale will find demand."
The nation's 10-year yield was little changed at 5.51% at 2:49 p.m. in London after dropping to 5.44%, the lowest since August 2010. The two-year yield fell 14 basis points, or 0.14 percentage point, to 2.42%, and the five- year rate declined seven basis points to 4.15%.
Portugal last auctioned 10-year bonds in January 2011 at a yield of 6.716%. Today's offering is the country's first sale of a new bond since it raised 3.5 billion euros from selling five-year notes in February 2011.
Copyright 2014 Bloomberg. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.


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Browse by Author/Editor
Group by: Type of Work | No Grouping
Jump to: Article
Number of items: 1.
Lloyd, Georgina S. and Godfrey, Rita E. and Busby, Stephen J.W. (2010) Targets for the MalI repressor at the divergent Escherichia coliK-12malX-malI promoters. FEMS Microbiology Letters, 305 (1). p. 28. ISSN 03781097


text:
WINCHESTER GUNS/BACO INC Model 70 Extreme Weather Stainless Steel Bolt Action Rifles
Winchester 3 + 1 270 WSM/24" Stainless Barrel/Black Synthetic Stock
The Model 70 Extreme Weather SS offers hunters a rugged all weather rifle. The M.O.A. Trigger system, pre 64 type controlled round feed bolt with claw extractor and three position safety offer absolute control over every round. The textured Bell & Carlson synthetic stock with sculpted cheekpiece is a high performance design engineered to maintain a reliable zero and provide an ideal fit for perfect eye to scope alignment in every shooting position. The one piece metal trigger guard and stainless steel hinged magazine floorplate add rigidity for improved accuracy.
SPECIFICATIONS:Mfg Item Num: 535110264 Category: FIREARMS - RIFLES Action :Bolt ActionCaliber :270 WSMBarrel Length :24"Capacity :3 + 1Trigger :M.O.A. Trigger SystemSafety :Three PositionLength :43"Weight :6 3/4 lbsStock :Black SyntheticFinish :Stainless Steel


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RTFLYP (Read The Fucking Link You Posted), is an initialism used similarly to the original term RTFM (Read The Fucking Manual), when one shares content superficially, based only on a brief analysis of article title and link URL. Mostly used in response to irresponsible sharing on social sites like Facebook and Twitter.
Did you even RTFLYP? It has absolutely nothing to do with this discussion!
Dude, RTFLYP. Totally fake content.
Dude, RTFLYP. Totally fake content.
by JVU June 18, 2013


text:
Select your print and framing options
Artist Statement
I am obsessed with understanding what it means to live in a branded world, where we associate our identities with the brands and products we buy. These images are part of Brand Spirit, a series of photographs I shot every day for 100 days. By reducing the objects to a single color and consistent scale, I found unexpected relationships between them. I never imagined a box of cigarettes would have such similarity to a box of crayons. Each image was chosen to represent a particular concept, from commentaries on consumer culture to celebrations of our most loved brands. My personal favorites honor technologies that have since been replaced.
Andrew Miller | See All Editions
Andrew Miller is a brand strategist and photographer based in New York City. He is best known for his Brand Spirit series—100 photographs of iconic objects, painted white to remove all visual branding. The images are telegraphic, instantly recognizable even when their environmental context has been removed. Andrew's work has been featured in Communication Arts, Fast Company Design, swissmiss, PSFK, Huffington Post, Adweek, and on the Tumblr Storyboard. Upon completing a Master's in Branding at the School of Visual Arts, he received the prestigious Paula Rhodes Award for Exceptional Achievement.
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text:
New Documentary Features Bruce Springsteen Discussing 'Wrecking Ball'
Back in February, Bruce Springsteen met with the European press in Paris to talk about his new album, 'Wrecking Ball,' which had yet to be released. Director Thom Zimny, who has worked with Springsteen on his videos and concert DVDs, has taken highlights from that press conference and made a 22-minute documentary, "Wrecking Ball:' A Conversation with Bruce Springsteen,' complete with several songs from the album and other video footage. The film premiered yesterday on CNN's website.
The film shows Springsteen discussing how the themes on 'Wrecking Ball' are an extension of what he saw in his own house as a boy. "I think our politics come out of psychology, and psychology, of course, comes out of your formative years" he says as 'Death to My Hometown' plays in the background. "I grew up in a house where my mother was the primary breadwinner and my father struggled to find work…[It] created a crisis of masculinity. The lack of work creates a loss of self. Work creates a sense of self."
Those images, he says, have served as a foundation for his songwriting since the beginning of his career and provided a springboard for his growth as an artist. "As I got older, I looked towards not just the psychological reasons in our house, but the social forces that played upon our home and made life more difficult. My work has always been about judging the distance between American reality and the American Dream — how far that is at any given moment."
The songs on 'Wrecking Ball' tell the stories of people who have been affected by the economic downturn of the past few years. The opening track and first single, 'We Take Care of Our Own,' lays out the theme bare. "There's the question asked, 'Do we take care of our own?,' he tells a reporter. "And then there are scenarios where you meet the characters who have been impacted by the failure of those ideas and values….and then at the end, I've got to find some way to mend their stories together — and not necessarily to answer the question that I asked, but to move the question forward."
Springsteen is currently on tour in Europe. His concert Sunday night (June 17) in Madrid clocked in at three hours and 45 minutes without a break. The show broke the record for his longest-ever show in history, which previously the three-hour and 42-minute marathon at the Nassau Coliseum on December 31, 1980.
Watch "Wrecking Ball:' A Conversation with Bruce Springsteen'


text:
Welcome everyone.
We created a new guild called Noir for which we hope to become a very
active one in the future. So, here we are trying to recruit new
All levels are accepted. What we hope is that the most experienced
members will help lower ones to evolve if that's what they wish.
You can come and speak on our board of all and anything, nothing
better to relax after a hard battle or to share your experience with
other members.
Gifts will also make their way for the most active members each week
(nothing that great at first but you know, it's better than nothing.
Gifts should become nicer and nicer in the future.)
This guild is a bilingual one but no need to worry, as long as you
speak english or french, others will always be there to translate
messages for members speaking different languages. It's also a good
way to lear different language .
We hope to soon welcome many of you so join us now.
Pun Intended Senior _Injection_ Sunday 21/10/2012, 20:17
You see? Even a Cookie could join us, why not you?
Dawhv Master Digi Tamers Monday 22/10/2012, 00:45
Good luck you guys (:
Pun Intended Senior _Injection_ Monday 22/10/2012, 02:03
Thanks man, we are growning fast!
Evilkookie Veteran Noir Monday 22/10/2012, 10:53
Oh tnx for the support AngemonDT, you should ditch your guild and hurt everyone's feelings there just to join ours! yeah!
Pun Intended Senior _Injection_ Monday 22/10/2012, 17:58
No man, we have an aliance, and when i reach lv 40, you will see our guild events
Evilkookie Veteran Noir Tuesday 23/10/2012, 01:05
Hehe i was only joking dumdum
Pun Intended Senior _Injection_ Tuesday 23/10/2012, 18:45
But really, You have to choose between Noir and Digi Tamers, no more options, we will be the best guilds ever!
Evilkookie Veteran Noir Saturday 27/10/2012, 12:09
Still recruiting more members! c'mon dont pass on this opportunity!
Eh come on guys, if you are motivated people, this guild is for you, we are the raising star .
By the way you'll have to deal with Jose and Kookie but they are really nice guys (huh, maybe ).
Our forum is quite animated and we also have lotteries for our members going on!
We only ask from you to bring some activity points to the guild to have it evolves faster and if you are active on our forum then it's even better (i'm not that active myself unfortunately but we have quite a few active members like Jose and Cookie here).
So, hesitate no further, come and join us
Pun Intended Senior _Injection_ Monday 29/10/2012, 00:27
If somebody like Pheena is here, Cookzilla and I couldnt be bad people (Cookinger cant be a human, so he isnt a bad... thing)


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Guy Hendrix Dyas is accustomed to working side-by-side with intuitive wizards. Before his Hollywood career as a production designer working with Steven Spielberg, George Lucas, Bryan Singer and Shekhar Kapur, the master's program graduate from the Royal College of Art London was working as an industrial designer with Sony Corp. under the supervision of Akio Morita, the near-legendary co-founder of the Toyko conglomerate. Despite the considerable experience with visionary souls and movies of the fantastic — he did production design on "X2: X-Men 2″ and "Superman Returns" — Dyas admits he was a bit awestruck while working with writer-director Christopher Nolan on "Inception," the most celebrated sci-fi film of 2010 and a strong contender in marquee Oscar categories. Dyas (who is now working on Spielberg's "Robopocalypse" for 2012 release) has written a guest essay for Hero Complex about why Nolan is a game changer in contemporary Hollywood — he's "leading a mini-renaissance," Dyas writes.
"Inception" is a science-fiction thriller about deceiving people through their dreams and at first glance there couldn't be a better candidate for a mainly CGI approach. But Chris Nolan has an innate ability to take elaborate concepts and narrow them down to their essence — he's instinctive and, in a way, he thinks like a magician. He knows that anything you notice as a digital effect will remind you that what you're watching isn't real. During pre-production Chris took the time to watch classic films with his core crew and study how previous generations of directors solved their own challenges.
Anyone who's had the chance to work with Chris Nolan will agree when I say that he chooses his collaborators very carefully and as a director shooting from his own scripts, participating in every aspect of the filmmaking process is vital. When dealing with a film as complex as "Inception," like most directors, Chris has come to trust that anything he can conceive is achievable nowadays, especially through the use of digital effects. Yet what is most striking about Chris' work behind the scenes is how he chooses to use digital tools and how enterprising he's remained even while working inside the Hollywood studio system. One might say that he's leading a mini-renaissance in our industry, in a time that's arguable become the heyday of green-screen films largely realized in post, it's inspiring to see a talented and successful young director like Chris Nolan avoiding the systematic use of new technologies in favor of more wide-ranging filmmaking methods.
When we first discussed creating one of our action sequences, a freight train smashing its way through a busy street, he looked at us with his icy blue eyes and calmly said, "We're going to shoot this practically and we need to figure out how we're going to do it in the streets of Los Angeles." At that moment, and to my great delight, I realized that Chris is unlike most young directors working in Hollywood today. He still believes that the best way to achieve realism and get great performances from his actors is by trying to shoot everything upfront, even if it means challenging his shooting crew on a day to day basis and being open to the idea of using older set building techniques and special effects. For example, when it came to shooting the fight scenes in our hotel corridor sets, for one particular shot looking out of the hotel bedroom we realized that we needed to extend the length of our corridor but we couldn't do it as a build because it would've had to rotate with the room. Ordinarily this is when we're encouraged to rely on green screen set extensions, but instead Chris allowed us to try something that was often used before digital effects, mirrors. We placed a 90 degree mirror at each end of the corridor to reflect its length, which made it appear four times longer without any of the added weight. We also concealed a camera track that traveled the entire length of the corridor by designing a bold pattern with stripes for the floor's carpet, a simple visual trick that allowed the camera to move up and down the corridor and turn in synchrony with the rotating set without being visible.
Too often we're encouraged to use a tool because it's available rather than choosing it because it's the most efficient. Chris is unique in that he brings filmmaking back to its essential art form. And though amazing work was accomplished by our visual effects team, it helped everyone that we still tried to first shoot from reality, we went to Paris to create our exploding cafe scene and get the plates necessary for the folding Paris effect, the same way we shot a beachfront and deserted streets in Morocco to build our crumbling limbo city upon. It's great to be given the ability to work from reality whenever possible and Chris reminds us that what matters most is creating an illusion, not the artifice or device that makes it happen. It's also interesting to hear how audiences, as well as work colleagues of mine, seem genuinely surprised and excited about our traditional approach when making "Inception." There is a general consensus that a film of this genre wouldn't normally use classic filmmaking methods, but this is where Chris shines as an independent thinker because even while working in Hollywood, with the full backing of a studio like Warner Bros., he still relies on his own methods of problem solving and on each one of his collaborators to come up with innovative and practical solutions.
This is a fascinating time in filmmaking, as an art form it's drastically changing, and the common belief is that there is a general trend toward films with fully digital environments and effects. Yet for many of us it will always be about what's best for the story and it's encouraging to see influential directors like Chris Nolan making films their own way. With "Inception" he's proving that when it comes to films, luckily there are no rules and directors don't always have to give in to the latest digital tools. In a time when audiences are gorged with so much digital imagery, Chris has shown us that there is a balance to be found between visual effects and shots created in camera and that you can mix tools and techniques to create impressive visuals; actually you might end up with something quite original and unique.
— Guy Hendrix Dyas
Nolan: Hollywood takes too many shortcuts
Chris Nolan: "It won't be the Riddler"
"Inception" DP Wally Pfister: "That ain't no CGI dust"
"Inception" extras reveal stuff dreams are made of
ON THE SET: "Inception," Hollywood's first dream heist
Joseph Gordon-Levitt and Ellen Page dream big
Nolan breaks silence on Superman film
Crossovers? Nolan: Batman doesn't play well with others


text:
Originally Posted by Canadian49erFan
For the email success`, did any of them reply to your email before you recieved the photo? Because I have sent to a few that you listed, and havent heard anything from any of them.
I think Jerry Kill was the only one I got an email back from.


text:
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In the past, I suggested retiring the Emmanuel Goldstein Award For Really Long Acronyms because of its incredible disuse, then later Noob of the Month for all of the shitty aspects that it used to have. It seems like I am a person who is against awards, because of these suggestions. This is untrue. I love awards. They make people feel warm and fuzzy inside, and winning them is great. I know this because I have a couple of awards. Which is why my newest idea for reviving this site from its dormancy may be a bit shocking: Let's get rid of every single award except for WotM, UotM, NotM, and UGotM.
Look at Template:Awardpage. Our active userbase is small. Painfully small. There is no reason to have sixteen different awards in each and every namespace pretending to be active when we can only garner the very bare minimum for Writer of the Month (with absolutely no competition; oh and he's also mostly inactive well ain't that great), allegedly the most important distinction on this site. Foolitzer currently has the most reason for keeping since people still write UnNews, but it's entirely redundant since all we write now is UnNews. We don't need audio awards. It would be nice if we had more great potatochoppers, but unless we actually start a concentrated recruitment effort, we've either got Zombiebaron and Bizzeebeever or bust for all eternity (until 1 more potatochopper comes 'round next year). We don't need reviewer of the month, since that also falls under UotM (also, no one reviews). UnBooks and UnScripts awards are no-brainer candidates for merciless retiration.
We need WotM because we need writers. We need UotM because we need active users. We need NotM because we need new users. We need UGotM because we need humor. To bring all four of those back to this site, we have to start somewhere. Let's cut all the driftwood loose.
- Since no one's bothered to read this whole forum, Foolitzer Prize will also not be retired under this plan. Adjust your votes accordingly.
The Headline Where You Vote
- As per all I said above, plus more. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 07:56, August 1, 2012 (UTC)
- Irony ~Sir Frosty (Talk to me!) 10:13, August 1, 2012 (UTC)
- Abstain. Personally, I see no need for UGotM, Perv, Magician, Reviewer, Potatochopper, or many of the other awards. Foolitzer has a place, but again it it's under WotM. NotM is absolutely worth keeping, but as earlier today I felt BENSON is the best option for UotM (no offense to BB), and I have no option for WotM at all, while the user base is so small, I see no need for it. At present I'm only here about half as much as I used to be, and most of that is simply to update the mirror (which you would notice a couple of major changes there recently relating to media wiki pages for editing, history, and site notice). I agree we have gotten into a glut of awards. So I agree with the frog on almost every point. I'm just too apathetic to worry. • Puppy's talk page • 10:40 01 Aug
- Green check icon Too many awards when we all know no Uncyclopedian ever actually does anything deserving of any form of recognition.◄► Tephra ◄► 13:28, August 1, 2012 (UTC)
- Strong For Kill them all! Except PotM. -- Brigadier General Sir Zombiebaron 19:04, August 1, 2012 (UTC)
- Abstain. Managed decline only equals decline.--Sycamore (Talk) 21:48, August 1, 2012 (UTC)
- Abstain. We gain nothing either way. -- Sir Xam Ralco the Mediocre 23:32, August 1, 2012 (UTC)
- What about gay Belgian of the month? It's nice to have an award that only Socky can win. It makes him happy and I don't think we should take that away from him. --ShabiDOO 01:15, August 2, 2012 (UTC)
- Abstain. We need PotM because we need funny pictures. |Si Plebius Dato' (Sir) Joe ang Kyurem CUN|IC Kill | 05:59, August 2, 2012 (UTC)
- For. Reducing the number of redundant awards, though how many of them have decayed beyond repair is more debatable. I for one will miss the Uncyclopedia:Nomination of the Month award. So much potential, wasted. --Lord Scofield Stark 08:46, August 2, 2012 (UTC)
- Against. Look, if we're going to get rid of awards, please don't get rid of the user-created unofficial awards, because they're... well, unofficial user-created, and if you force us to get rid of them, then you're basically repressing us. ~[ths] UotM 01:33, 08/03/2012
- Userspace awards are a fun little waste of time, plus we technically have no jurisdiction over them unless they are blatantly violating something or other, so of course this vote wouldn't delete them. Then again, you should probably consider actually contributing to this site once in a while. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 03:55, August 3, 2012 (UTC)
- Blow it all up, and go vote on WotM. The Woodburninator Minimal Effort ™ 02:30, August 3, 2012 (UTC)
- Spiritual for. Just one problem. Does anyone know what happened when Bulbapedia ramped up their award policy, prohibiting users from (1) putting award templates on their userpages and (2) making up their own awards? Answer: Chaos!But hell, I'd be fine with demoting all the other awards to "unofficial". ~ QZEKЯOM Proud sponsor of Team Zombiebaron Tw$*ty Tw%#ve G*me$ FTW! Let's go for the g^@d! 03:57, August 3, 2012 (UTC)
- How is Bulbapedia relevant to us? ~Sir Frosty (Talk to me!) 04:01, August 3, 2012 (UTC)
- Please read my proposal again and what Woody said below and please try to understand a tiny bit of what is actually going on here. Also, what Frosty said. We have a policy against citing Bulbapedia in policy discussions here. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 04:05, August 3, 2012 (UTC)
- I fail to see the point in most of these awards. UotM and WotM we should keep and that's it. -- ENTER CITADEL T)alk C)untributions B)an 20:46, August 5, 2012 (UTC)
- For. --EpicAwesomeness (talk) 09:52, August 6, 2012 (UTC)
- Against stupidness of PHP Awards are fun, and you shouldn't do this on a vote because the awards are already voted upon and awarded. Tato chopper, UnBooks of the Month, UnScript, are all relevant. What kind of person??? I dunno. Aleister 17:34 8-7-'12
- Abstain - What about adding TMotM (Trouble Maker of the Month)?--Funnybony 18:26, Aug 7
- Against.. I agree that some categories regard voting have gone dormant but don't see a clean sweep down to a handful is the answer either. --RomArtus*Imperator ® (Orate) 20:25, August 7, 2012 (UTC)
- Against. I would agree if we kept the Foolitzer Prize, a bunch of users are writing UnNews and read them regularly. Most of the UnNews are very good stuff, so it would be uncool to strip the UnNews writers of this small appreciation mark. Mattsnow 21:13, August 7, 2012 (UTC)
- not limited to meh... --ArcticWolfy (talk) 02:41, August 9, 2012 (UTC)
- Against. I want to win Foolitzer Prize first. ~jcm 17:37, August 12, 2012 (UTC)
Pictures are articles too!
What about Potatochopper of the Month? We need photoshoppers! And RadicalX's request bin is too small! |Si Plebius Dato' (Sir) Joe ang Kyurem CUN|IC Kill | 10:05, August 1, 2012 (UTC)
- Did you even read what he wrote...? ~Sir Frosty (Talk to me!) 10:16, August 1, 2012 (UTC)
- Yeah, since I barely contribute, this is one award I can actually snag. I need more awards, I want to sell them all to a pawn shop for cash... er... I meant display them for prestige.◄► Tephra ◄► 13:28, August 1, 2012 (UTC)
Wasn't RotM as much an uncyclopedian approach to community okaying of people to run the thing and make decisions about reviews as an actual award? Or do people even still do reviews? ~ 19:14, 1 August 2012
- No, we need photos, and I'll rave like a madman about it until we keep PotM! |Si Plebius Dato' (Sir) Joe ang Kyurem CUN|IC Kill | 10:36, August 13, 2012 (UTC)
Don't get rid of Perv of the Month!
I don't see it as an official Uncyclopedian vote, just a side-project created by an UN user to stir up controversy. (Besides, it's mine, so if you touch it, there will be something on your face, and it will be pain.) ~[ths] UotM 23:25, 08/01/2012
- Holy crap dude! Nobody Cares about your made-up award and this forum has absolutely nothing to do with it. We are only talking about actual Uncyclopedia awards So please, stop talking about your userspace award and vote based on what TKF is actually talking about. The Woodburninator Minimal Effort ™ 01:57, August 3, 2012 (UTC)
- Sorry, it's just that I got a bit self-conscious of it because Puppy mentioned it as one of the awards he didn't care for. ~[ths] UotM 02:15, 08/03/2012
- Meh, don't worry about it. I'm just being pissy. The Woodburninator Minimal Effort ™ 02:28, August 3, 2012 (UTC)
- Sorry - I'm not calling for it to be deleted. Just using it as an example of a non-crucial award. I'm not calling for any award to be deleted, except for those I haven't won. • Puppy's talk page • 12:29 07 Aug
- Meh, don't worry about it. I'm just being pissy. The Woodburninator Minimal Effort ™ 02:28, August 3, 2012 (UTC)
- Sorry, it's just that I got a bit self-conscious of it because Puppy mentioned it as one of the awards he didn't care for. ~[ths] UotM 02:15, 08/03/2012
Looking through these awards...
I suddenly found out that I'm winning UnBooks author of the month, which is silly. I haven't written an UnBook in months. -- Sir Xam Ralco the Mediocre 23:31, August 1, 2012 (UTC)
Does this include..
Non-Award Votes like VFD and VFS? Saberwolf116 (talk) 00:03, August 3, 2012 (UTC)
- Nope. Just awards. We can save the VFS discussion for another time. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 03:55, August 3, 2012 (UTC)
Vote to make Lollipop chief sys-op admin coordinator
We have to keep the Foolitzer Prize!
As I said in the vote, most of the UnNews that are coming out are very good stuff, and the writers are very productive ( 10 UnNews a month for some) so it would be uncool to strip the UnNews writers of this small appreciation mark. Mattsnow 21:13, August 7, 2012 (UTC)
- Why not give them another WotM instead? Like I also said above, 80% of what we've written in the last few months has been UnNews anyway. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 23:55, August 7, 2012 (UTC)
- Are you suggesting that there be TWO WotM awards given out each month? Why not just keep the Foolitzer? -- Simsilikesims(♀GUN) Talk here. 00:01, August 8, 2012 (UTC)
- That isn't what I'm suggesting. I'm suggesting we just vote for them on the one Writer of the Month we already have, since they're writers anyway and we don't really have new writers writing anything else. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 00:07, August 8, 2012 (UTC)
- I think everything TKF is suggesting is good except for abolishing the Foolitzer Prize. It's good to separate both. All that stuff like the Goldstein award need to go, but please keep an award that is consistently receiving votes. Furthermore, it doesn't add any work to the admins, since I archive this one myself and I take care of it, being the UnNews watchdog. Of course, anybody is free to nominate people I forget. Mattsnow 01:20, August 8, 2012 (UTC)
- That isn't what I'm suggesting. I'm suggesting we just vote for them on the one Writer of the Month we already have, since they're writers anyway and we don't really have new writers writing anything else. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 00:07, August 8, 2012 (UTC)
- Are you suggesting that there be TWO WotM awards given out each month? Why not just keep the Foolitzer? -- Simsilikesims(♀GUN) Talk here. 00:01, August 8, 2012 (UTC)
Very Stupid idea, lots of people love these awards. Destroying the Foolitzer???? Author of the Month???? Writer of the Year???? Uncyclopedian of the Year??? Etc. etc.???
This is very stupid, imnho. What about Writer of the Year? Uncyclopedian of the Year? Foolitzer Prize? UnBooks? Writer of the first 5 1/2 years? Etc etc. Aleister 17:48 8-7-'012
- I understand that you probably think that I've personally offended you with my idea (which won't change anything, more or less, since the 3 major awards were the only ones actually met a 5 vote minimum last month, and even then just barely), but try to remember to put new headlines at the bottom and also not to be a dick immediately after you just sat out a ban for being a dick. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 00:04, August 8, 2012 (UTC)
- Also to respond to (what I think) you (are trying to say), Yearly awards are a (should have been) obvious exception because:
Vote on Separate Forum pages for Different Awards
It seems obvious to me that we don't have consensus on which awards to keep and which ones to retire, so this forum should probably be separated out into several to determine which awards to retire. None of the awards should be "deleted", since those who already earned them before they were retired should still be able to keep their awards and have n00bs be able to find out what those awards were about, as opposed to thinking that they were made-up awards. Retired awards could have their voting pages locked, but keep the pages, don't delete them entirely. It gets too complicated having everybody give an opinion about all the awards at once, skipping a few as they go. For instance, my opinion is, retire the UnBooks award, keep the Foolitzer and Potatochopper awards to encourage new pictures and reward UnNews as a separate category from articles, keep UotM, and by extension UotY, keep WotM and by extension WotY, and keep GotM, and ignore the side projects, those will keep going only as long as someone is still around to run them (average is 2 years). -- Simsilikesims(♀GUN) Talk here. 00:21, August 8, 2012 (UTC)
- That is already the way awards are retired (as in SotM), and it would be the way things are done this time too. Since people want to keep Foolitzer, then it could still be kept as active, even though I don't really see the point. Same with PotM. All y'all againsters read this and consider changing your votes accordingly. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 00:27, August 8, 2012 (UTC)
- Lol. You know people don't actuall change their votes ever right? Good luck with this one. The Woodburninator Minimal Effort ™ 02:23, August 9, 2012 (UTC)
- Welp at least I tried. This must be the first failure of appeasement in human history. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 06:18, August 9, 2012 (UTC)
- Finally! We're approaching WWIII! |Si Plebius Dato' (Sir) Joe ang Kyurem CUN|IC Kill | 07:44, August 12, 2012 (UTC)
- Welp at least I tried. This must be the first failure of appeasement in human history. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 06:18, August 9, 2012 (UTC)
- Lol. You know people don't actuall change their votes ever right? Good luck with this one. The Woodburninator Minimal Effort ™ 02:23, August 9, 2012 (UTC)
Adjustment to policy instead
As a bit of a sidebar to this entire concept, how about we simply make a ruling that if an award is not granted due to lack of votes for 3+ months then we retire the award. That means awards that have become stale automatically have a reason to be retired, and awards that are still contested become the focus. That is a compromise that would have me moving off the fence. • Puppy's talk page • 12:29 13 Aug
- That's a good idea not too dissimilar to one I was thinking of. If you branched it off into a separate vote I would certainly be in favor. -- TKFUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUUCK 15:32, August 13, 2012 (UTC)
Hey everyone
Could I please ask if anyone here could read this? Because no-one has read it and I'd like to know what you all think of it. I'm open for suggestions. - ENTER CITADEL T)alk C)untributions B)an 19:03, August 8, 2012 (UTC)
Any possible ways these awards could get reactivated?
Like when Uncylopedia starts becoming very active again. There's always the possibillity of that happening.--- TALK What's it like to be a heretic? 19:35, August 21, 2012 (UTC)