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American drones are inefficient, terrorize civilians, and create more terrorists.
This. Is an absolutely devastating read.
Even if you buy into drones. Even if you don't mind the complete lack of checks and balances on their usage. Even if you don't mind their liberal usage. Even if you think the sacrifices being made are excusable and necessary blowback.
Your tax dollars go into this program that seemingly creates as much antipathy towards us as it extinguishes. It creates terror while pretending to be fighting it. And ths study from NYU shows the tremendous civilian cost that goes into it.
The drone program creates a warfare that America would already be trigger-happy to use. But add into the fact that there's no checks on this power, no conceivable way to exhaust it, and no attempts from either party to even remotely slow it down... and this becomes a practice whose blowback seems tailor made for civilian psychological destruction, if not outright physical destruction.
Death from above, in robot form. The sad thing is, the human fingers on the button turn out to be as indifferent as the drones themselves.
New Stanford/NYU study documents the civilian terror from Obama's drones
New research shows the terrorizing impact of drones in Pakistan, false statements from US officials, and how it increases the terror threat
Glenn Greenwald
Tuesday 25 September 2012 08.18 EDT
A vitally important and thoroughly documented new report on the impact of Obama's drone campaign has just been released by researchers at NYU School of Law and Stanford University Law School. Entitled "Living Under Drones: Death, Injury and Trauma to Civilians From US Drone Practices in Pakistan", the report details the terrorizing effects of Obama's drone assaults as well as the numerous, highly misleading public statements from administration officials about that campaign. The study's purpose was to conduct an "independent investigations into whether, and to what extent, drone strikes in Pakistan conformed to international law and caused harm and/or injury to civilians".
The report is "based on over 130 detailed interviews with victims and witnesses of drone activity, their family members, current and former Pakistani government officials, representatives from five major Pakistani political parties, subject matter experts, lawyers, medical professionals, development and humanitarian workers, members of civil society, academics, and journalists." Witnesses "provided first-hand
accounts of drone strikes, and provided testimony about a range of issues, including the missile strikes themselves, the strike sites, the victims' bodies, or a family member or members killed or injured in the strike".
Here is the powerful first three paragraphs of the report, summarizing its main findings:
Whilte noting that it is difficult to obtain precise information on the number of civilian deaths "because of US efforts to shield the drone program from democratic accountability", the report nonetheless concludes: "while civilian casualties are rarely acknowledged by the US government, there is significant evidence that US drone strikes have injured and killed civilians."
But beyond body counts, there's the fact that "US drone strike policies cause considerable and under-accounted for harm to the daily lives of ordinary civilians, beyond death and physical injury":
In other words, the people in the areas targeted by Obama's drone campaign are being systematically terrorized. There's just no other word for it. It is a campaign of terror - highly effective terror - regardless of what noble progressive sentiments one wishes to believe reside in the heart of the leader ordering it. And that's precisely why the report, to its great credit, uses that term to describe the Obama policy: the drone campaign "terrorizes men, women, and children".
Along the same lines, note that the report confirms what had already been previously documented: the Obama campaign's despicable (and likely criminal) targeting of rescuers who arrive to provide aid to the victims of the original strike. Noting that even funerals of drone victims have been targeted under Obama, the report documents that the US has "made family members afraid to attend funerals". The result of this tactic is as predictable as it is heinous:
Perhaps worst of all, the report details at length that the prime excuse offered by Obama defenders for this continuous killing - it Keeps Us Safe by killing The Terrorists - is dubious "at best"; indeed, the opposite is more likely true:
All the way back in 2004, the Rumsfeld Pentagon commissioned a study to determine the causes of anti-US terrorism, and even it concluded: "Muslims do not 'hate our freedom,' but rather, they hate our policies." Running around the world beating your chest, bellowing "we're at war!", and bombing multiple Muslim countries does not keep one safe. It manifestly does the opposite, since it ensures that even the most rational people will calculate that targeting Americans with violence in response is just and necessary to deter further aggression.
A one-day attack on US soil eleven years ago unleashed a never-ending campaign of violence around the world from the target and its allies. Is it really a challenge to understand that continuous bombings and civilian-killing assaults over many years, in many Muslim countries, will generate the same desire for aggression and vengeance against the US?
Time and again, those who have attempted to perpetrate attacks on US soil have cited the Muslim children and other innocent human beings extinguished by Obama's drones. Recall the words of the attempted Times Square bomber, Pakistani-American Faisal Shahzad, at his sentencing hearing when the federal judge presiding over his case, Miriam Goldman Cedarbaum, asked incredulously how he could possibly use violence that he knew would result in the deaths even of innocent children -- as though she were literally unaware that her own government continuously does exactly that:
Perhaps most importantly, the report documents the extreme levels of propaganda used by the western press to deceive their citizens into believing pure myths about the drone campaign. As I've argued before, the worst of these myths is the journalistic mimicry of the term "militants" to describe drone victims even when those outlets have no idea who was killed or whether that term is accurate (indeed, the term itself is almost as ill-defined as "terrorist"). This media practice became particularly inexcusable after the New York Times revealed in May that "Mr. Obama embraced a disputed method for counting civilian casualties that did little to box him in. It in effect counts all military-age males in a strike zone as combatants."
Incredibly, even after that radical redefinition was revealed, and even after the Obama administration got caught red-handed spewing demonstrable falsehoods about the identity of drone victims, US media outlets continued to use the term "militant" to describe drone victims. The new report urges that this practice stop:
Significantly, the report says the prime culprit of these evils is what it calls the "dramatic escalation" of the drone campaign by the 2009 Nobel Peace laureate - escalated not just in sheer numbers (in less than four years, Obama "has reportedly carried out more than five times" the number ordered by Bush in eight years), but more so, the indiscriminate nature of the strikes. As Tuesday's Guardian article on this report states: it "blames the US president, Barack Obama, for the escalation of 'signature strikes' in which groups are selected merely through remote 'pattern of life' analysis."
The report is equally damning when documenting the attempts of the Obama administration to suppress information about its drone victims, and worse, to actively mislead when they deign selectively to release information. Recognizing the difficulty of determining the number of civilian deaths with exactitude - due to "the opaqueness of the US government about its targeted killing program" as well as the inaccessibility of the region - it nonetheless documents that "the numbers of civilians killed are undoubtedly far higher than the few claimed by US officials." In other words, the administration's public statements are false: "undoubtedly" so. As the LA Times summarizes the study's findings today: "Far more civilians have been killed by U.S. drone strikes in Pakistan's tribal areas than U.S. counter-terrorism officials have acknowledged."
(The report is particularly scathing about the patent unreliability of the New America Foundation and its leading drone-and-Obama cheerleader, Peter Bergen, also of CNN, who has been amply rewarded with lucrative access by the administration he dutifully defends. Echoing a recent article by the Atlantic's Conor Friedersdorf and an analysis from the Bureau of Investigative Journalism, the report concludes that scrutiny of Bergen's key claims "has since revealed omissions and inconsistencies in
New America Foundation's dataset, calling its widely publicized conclusions into question." It documents "several other glaring omissions from New America Foundation's data" used to depict Obama's drone campaign as far more benign than it actually is.)
Finally, the report notes the threat to democratic accountability posed by the Obama administration's refusal to allow any transparency or judicial oversight regarding who the president orders killed: "The opaque position of the US government on civilian casualties is also emblematic of an accountability and democratic vacuum." In that regard, the report - as its final paragraph - quotes the question I have often asked about this state of affairs, an answer to which I have never heard from Obama's drone defenders:
What has always made that question particularly pressing for me is that American progressives cheered loudly when a similar question was posed by Al Gore in a widely celebrated 2006 speech he gave on the Washington mall denouncing the Bush/Cheney assault on civil liberties:
Democrats spent several days at their convention two weeks ago wildly cheering and chanting whenever President Obama's use of violence and force was heralded. They're celebrating a leader who is terrorizing several parts of the Muslim world, repeatedly killing children, targeting rescuers and mourners, and entrenching the authority to exert the most extreme powers in full secrecy and without any accountability -- all while he increases, not decreases, the likelihood of future attacks. This new Stanford/NYU report is but the latest in a long line of evidence proving all of that.
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God, this is such a great read on the subject.
What We Dont Know About Drones
Posted by Dexter Filkins
February 7, 2013
When I read the news that John Brennan was set to appear before the Senate in hopes of becoming of the C.I.A. director, I thought of the group of villagers I met at a seaside hotel in Yemen two years ago. They had driven many miles to see me, coming from the Yemen countryside in a pair of battered taxis, and they were waiting in the hotel parking lot. There were about a dozen of them in all. It was a beautiful hotel, called the Mercure, with panoramic views of Aden harbor. The villagers, dressed in robes and rags, looked out of place, but theyd come to talk.
I had flown to Yemen to report on the popular uprising that was unfolding against the regime of Ali Abdullah Saleh, but I was also trying to find out about the secret war that the United States was waging there. In December, 2009, the Yemeni government had announced that its Air Force had bombed an Al Qaeda training camp in the village of Al Majalah, in a remote corner of the country, killing thirty-four fighters, and that the U.S. had provided the intelligence for the strike. The reality, as I discovered, was different.
For starters, as American officials confirmed, the attack was not carried out by the Yemeni Air Force but, rather, by the United States. The U.S. had launched a volley of Tomahawk cruise missiles from a ship off the coast. (As far as we know, most of the attacks in Yemen since then have been carried out with drones.) As was later revealed in documents released by Wikileaks, American and Yemeni officials had reached a secret agreement that allowed the U.S. to take action against suspected terrorists. The Yemeni President told General David Petraeus, then the head of CENTCOM, Well continue saying the bombs are ours, not yours.
As I wrote in a Letter from Yemen, in 2011, the villagers from Al Majalah had come to the hotel parking lot tell me their story:
Some months after the attack in Al Majalah, Amnesty International released photos showing an American cluster bomb and a propulsion unit from a Tomahawk cruise missile. A subsequent inquiry by the Yemeni parliament found that fourteen Al Qaeda fighters had been killedalong with forty-one civilians, including twenty-three children.
Later, when I spoke to American officials, they seemed genuinely perplexed. They didnt deny that a large number of civilians had been killed. They felt bad about it. But the aerial surveillance, they said, had clearly showed that a training camp for militants was operating there. It was a terrible outcome, an American official told me. Nobody wanted that.
None of the above is intended as an attack on Brennan, who has spent the past four years as President Obamas counterterrorism advisor. He has a hard job. He is almost always forced to act on the basis of incomplete information. His job is to keep Americans safe, and hes done that. Al Qaedas leadership, particularly in the tribal areas of Pakistan, has been decimated. Operating in Yemen, where vast tracts of the country lie beyond anyones control, cannot be easy.
But, as the details from the Al Majalah show, even the best-intentioned public servants operating with what appears to be decent intelligence can get things horribly wrong. Maybe Al Majalah was indeed an Al Qaeda training campmaybe those aerial surveillance images were spot on. But, in retrospect, we know that the cameras missed the women and children.
Indeed, if there is one overriding factor in Americas secret warsespecially in its drone campaignits that the U.S. is operating in an information black hole. Our ignorance is not total, but our information is nowhere near adequate. When an employee of the C.I.A. fires a missile from an unmanned drone into a compound along the Afghan-Pakistani border, he almost certainly doesnt know for sure whom hes shooting at. Most drone strikes in Pakistan, as an American official explained to me during my visit there in 2011, are what are known as signature strikes. That is, the C.I.A. is shooting at a target that matches a pattern of behavior that theyve deemed suspicious. Often, they get it right and they kill the bad guys. Sometimes, they get it wrong. When Brennan claimed, as he did in 2011clearly referring to the drone campaignthat there hasnt been a single collateral death, he was most certainly wrong.
The same is true of opponents of the drone war, who sometimes lay claim to much more knowledge than they actually possess. And so, when a Pakistani newspaper reports that twenty civilians were killed in an attack, it is often taken as gospel truth, even though, as is often the case, the reporting is done over the telephone. For Americanswho are, after all, the ones whose country is firing the dronesits more or less impossible to independently verify many details of a drone strike. The reason is obvious: for a Western diplomat or reporter to go to the area where most of the drone strikes have taken place would be reckless in the extreme. (Ive been to the tribal areas twice on my own. The first time, I was arrested and expelled by the Pakistani government; the second time, I was invited by a Taliban warlord who was killed six weeks later. Each trip took days of preparation and negotiation to arrange.)
The best and most painstaking attempts to get at the truth of the drone warlike one by the New America foundationacknowledge the difficulty of the enterprise. The New America study found that between 2004 and 2010, the U.S. carried out a hundred and fourteen strikes, which the studys authors estimated killed between eight hundred and thirty and twelve hundred and ten people. Of those, the study found, between five hundred and fifty and eight hundred and fiftyroughly two-thirdswere probably militants. Included in the dead were many militant leaders. That means that roughly a third of the deadseveral hundredwere probably civilians. Thats a lot of bodies. These may be the best estimates we have, but they are still approximations.
Brennan is likely to face sharp questioning in front of the Senate Intelligence Committee, as well he should. You will hear a lot of claims about militants killed and civilians killed and civilians spared. Most likely, neither side will be entitled to its shrillness. If the Al Majalah strike has any value now, it should be to remind us not just of our knowledge but also of our ignorance.
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LeClare Litchfield, the chaplain for Collegedale Academy in Tenn., is the featured speaker for chapel on Thursday, Oct. 29, 2009. The program will be held at Pioneer Memorial Church at 11:30 a.m.
In his message, "What Does God Want?" Litchfield will discuss questions like "What do I need?" and "How do I plug into the Holy Spirit's power to have joy in the journey?"
Litchfield obtained his ministerial degree at Newbold College. After marrying, he continued working in England for four years. Since returning to the United States in 1980, Litchfield has served in both church and academy settings. He and his wife Shelly have two sons in college, Ryan and Adam.
It was while he was a student missionary that he came to a spiritual turning point in his life. He now enjoys working with young people because they are "some of the most spiritual people on the planet."
Thursday evening, from 5-6 p.m., Litchfield will take part in a meet-n-greet in the Office of Campus Ministries. All are welcome to attend.

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MON, APR 25, 2011 at 2:20 AM
The Deluxe Edition of Sebadoh's Bakesale comes out June 14th
Sebadoh's 1994 album, Bakesale, was the band's fifth full-length album, arguably their best and certainly their most acclaimed. For this June 14, 2011 deluxe reissue the original album has been re-mastered and a full CD of b-sides, EP tracks and rarities, all from the same era as Bakesale, has been added (the full track listing is below). All of which was overseen by Sebadoh's Lou Barlow and Jason Loewenstein. The album is also being reissued on LP for the first time in years and will include the bonus material as a digital download. If you pre-order Bakesale via SubPop.com prior to release date, you will also receive a free Bakesale poster. Click here to pre-order.
Sebadoh began in the late 1980s as a songwriting outlet for Lou Barlow of Dinosaur Jr. What started as a few acoustic songs taped at home on a four-track recorder grew into a grassroots fanbase and a record deal with Homestead. With Barlow officially parting ways with Dinosaur Jr. in 1989, he and collaborator Eric Gaffney focused on Sebadoh and with the addition of Jason Loewenstein the band began touring and recording demos. It was these early demos that lead to a deal with Sub Pop Records in the early '90s. Bakesale was Sebadoh's third album for Sub Pop and seventeen years after its original release, it stands the test of time. With an entire disc of bonus material for this deluxe reissue there are more reasons to fall in love with this album all over again.
Right now on SubPop.com you can download a free mp3 of the song Rebound from Bakesale (click track name to download) and watch the associated music video.
Bakesale Disc 1 (original album):
01 License to Confuse
02 Careful
03 Magnet's Coil
04 Not a Friend
05 Not Too Amused
06 Dreams
07 Skull
08 Got It
09 S. Soup
10 Give Up
11 Rebound
12 Mystery Man
13 Temptation Tide
14 Drama Mine
15 Together or Alone
Bakesale Disc 2 (bonus tracks):
01 MOR Backlash
02 Not a Friend (four-track)
03 Foreground
04 40203
05 Mystery Man (four-track)
06 Drumstick Jumble
07 Lime Kiln
08 Fancy-Ass / Destitute
09 Perfect Way (four-track)
10 Give the Drummer Some
11 Cementville
12 Social Medicine
13 On Fire (acoustic)
14 Magnet's Coil (acoustic)
15 Rebound (acoustic)
16 Punching Myself in the Face Repeatedly, Publicly
17 Sing Something / Plate of Hatred
18 III Screams (Wet Synth Mix)
19 Monsoon
20 Rainbow Farm
21 Hank Williams
22 Careful
23 Dramamine
24 Not Too Amused


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Light-colored furniture and apprehension often go hand-in-hand, but this pouf is so classicly charming you're thinking of throwing caution to the wind? Cry not for forgotten values as the polyproplene fabric in this piece resists stains, mildew and dirt. Perfect for both the playroom and the patio, and Poochy can hang out on it too. Available in eight different colors.
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People may not like getting bills, but they prefer to receive them in the mail and pay them online.
That's the finding of our study on transactional mail, which is made up mostly of household bills and payments moving as First-Class Mail.
We collaborated with the consulting firm InfoTrends to analyze 3 months' worth of customer billing data from a major U. S. utility. We also jointly interviewed executives who manage bill delivery and payment processing to help determine how the utility's delivery-and-payment costs and customer preferences compare with those at other utilities and even in other industries.
As you can see in our new white paper, Will the Check Be in the Mail? An Examination of Paper and Electronic Transactional Mail, we found that despite a clear preference to pay bills online, 91 percent of customers prefer receiving their bills by mail. Even among the utility's newest customers — those expected to be more digitally savvy — an average of 89 percent opted to have their bills mailed to them, though, like the others, most preferred paying online.
The reasons are pretty simple. People like having a physical mailpiece as a reminder to pay and as a record-keeping tool. The execs we spoke with said our results are consistent with what they've been seeing and hearing.
It's also consistent with another clear directive from consumers: they want options in just about everything, including bill delivery and payment. So, in addition to being good news for mail, our findings suggest that a company offering a variety of bill delivery and payment options will keep customers happy.
Do you prefer receiving your bills via regular mail or email/text? How about paying – do you pay online or 'is the check in the mail'?


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Chuck wrote:Spiza wrote:You missed Razorback!
and Akuna Bay!!
Come on Sandy get fair dinkum
Slack I admit, but then I'm not labelled "FPR Jubilado Bludger" for nothing. In truth it was quite a hard day by the time I got home. I actually flew up the Hawkesbury Lookout hill as the last climb of the day. Quick coffee at Springwood and headed down the road however the down hill and the slog along the F4/M7 rather took it out of me on the 50 kms to home. Though my strict adherence to the Australian Institute of Sport post exercise recovery diet comprising Dewar's White Label with soda, Toohey's Pils, fish and chips with white wine (though I do admit to now having diverged from the diet onto red wine) will I'm sure see me right as rain come the morning


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The 22 songs are there for the downloading, including such classics hits as, "I Saw a Deer Today," "Comedy Equals Tragedy Plus Time," and "Science is Fun."
"Whether you're a mega-science corporation with decades of test experience, or a young start-up liberating your first test subject from non-testing with a chloroform-soaked rag, Aperture guarantees results," Valve said in a statement. "Wake up your test subject, open the chamber door, and press play -- let Aperture's patent-pending rhythmic compliance enhancers do the rest."
And while you're downloading at Fileplanet, don't forget it's Wallpaper Wednesday. Check out some of the fan-created artwork from the BioShock universe, and then put a little Rapture in your monitor's life.
Sharkey says: I would actually pay for the complete Portal 2 soundtrack. Want You Gone is worth a few bucks on its own. I guess I'll just have to, begrudgingly, download it for free. *Shaking fist at Internets*


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Friday, May 22, 2009
Remember the Coal Shovel???
6 comments:
- Ann said...
Fun memories. One of my vivid memories about the cream/milk cans comes from a time when Dad was building up his dairy herd, and before the days of the big stainless steel milk tank. He would keep the milk in the cans similar to the cream can in your picture and they were then set inside a large chest type cooler with a wench/pulley (or whatever it was called) system. Dad was very dependent on the milk truck to come and pick up those cans on a regular basis as there was no backup method to keep the milk cool if the cooler got full of cans. There was one particularly warm week when the cows were producing a lot of milk, the chest was full and the truck did not come. Unfortunately, it had broken down and would not be able to pick up the milk that day. Mother, in her amazing world of "waste not, want not", took the milk Dad couldn't keep in the cooler, poured it into a very well scoured large round tub, and began the process of making cheese out of the milk, rather than let it spoil. I don't know how she knew what the process was, but the end result was wonderful. That was the summer I learned about "squeeky" cheese.
- May 24, 2009 at 10:06 PM
- Judy said...
Was that the reason Mother made that cheese..Oh, how I loved that and could never get enough. I remember that Mother rationed it....probably to keep us from getting a belly ache!
- May 25, 2009 at 11:06 PM
- Elizabeth said...
You were both too little to recall earlier cheese-making times in Penrose. Once, Mother and Dad put the copper boiler filled with milk on the stove, stoked the fire, and proceeded to work their magic. Retsyn was one essential ingredient that came from the store. Squeaky cheese was one of the by-products (we all begged for it, and I have never found any to equal the squeak on our teeth), but most of the cheese was put in presses with cheesecloth (hence the name), and squeezed so that the whey ran out, and then the cheese, still in the presses, was put to cure in the cellar. It formed a crust, but when we used the cheese, it was so delicious. Good memories of "provident living".
- May 26, 2009 at 8:25 AM
- Judy said...
Elizabeth, you have lots of farm resources close to you. Make some cheese......please.....
- May 26, 2009 at 1:46 PM
- Dwight said...
Ah yes, that @#$%&& cream can. Grandpa and Grandma stopped by our place on their way to town to pick up our cream can. I was sent out to put it in the trunk of their green '39 Ford. The can tipped over on the way to town. I was blamed for the stink and the mess and the loss of the cream check which was depended on for necessities. No one thought to check to see if the can was put in where it wouldn't tip over. I suffered a lot of misery over this episode. I still suffer a lot of misery over it. The car stunk forever. Gene Christensen bought the car when Grandpa sold it. I rode up to Cody to paint the "C" into a "P" with Gene and then on up the canyon past the dam. The #%^@# car still stunk. Everyone was so mad at me and I was so wounded. Pathetic story.
Cache Valley "fresh" cheese is nicely squeaky as are the curds. Just mentioning.
Never, never go put a sour cream can in the trunk of a car. Never. Unless you want to feel bad the rest of your life.
- May 28, 2009 at 7:06 AM
- Dwight said...
And then the coal shovel. We awoke each morning in the frigid cold of our unheated bedrooms to the noise of Dad scraping the ashes out of the ash pit in the coal stoves that heated our home with the coal shovel in olden times before the new generation enjoyed heat and propane, thus leaving them less hardy and able to endure less than the older, more mature, colder, tougher, children.
- May 28, 2009 at 7:09 AM


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Self centered women who never reach the morality stage and still can't handle having kids.
This movie was an amazing example of the new twisted morality in our society.
Totally inmature women.
This movie was a totally disaster. Moms getting wild in the mall and looking for sex. Yuck.
It was so funny and lighthearted, it was nice to go to a movie and not hear children talking all the time. The cast was amazing, I loved the carryover from the last movie. This sounds bad but it was so funny to hear the kids swear. If you want a film that is a bit raunchy and hilarious I recommend that you go see this great movie.
HILARIOUS. !!!!! If your a mom and have an open mind and a good sense of humor, this is a great, funny movie ! I would go see it again .... Merry Christmas Everyone !!!!!!!
This was not a Xmas movie. :(
I did not find funny the movie. Totally gross film.
I was laughing the entire time
Bad language not funny at all. Just saw Daddy's Home 2 laugh and very funny, and then saw this movie we walked right out. terrible acting no humor at all they were too busy cussing and saying sex stuff. Good movie for perverts.
Paranoid 5 starts user. Same person. I did not like this movie. Some they did not like this movie.
Movie is misleading Xmas.
Lol checking everyone's grammar?
I did not like they way this movie is targeting women as objects.
This is a terrible movie. I love some of these actresses and raunchy humour and I really wanted to like this for our girls' night out, but it was just so, so bad. It's insulting that movie makers think their target audience (moms/women) needs such repetitive, easy, stereotypical jokes. It made me feel dumber as I watched it. Save yourself the eyerolls and keep your money.
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Vacant Lot Clean Up
The Parks Maintenance Division will be servicing and cleaning vacant properties and lots throughout the City of Cleveland from April through September. This process helps keep Cleveland clean and green one neighborhood at a time.-more Video
Lot Cutting and Cleaning
216.420.8300 - Weekdays 7 am to 3:30 pm
The objective of this program is to keep vacant lots and the exteriors of vacant structures within the City aesthetically pleasing and to eliminate health and safety hazards. Activities include cutting high grass, weeds and remove debris from vacant lots.
Owners who abandon their property will be charged for maintenance services and a fine will be incurred. Problem properties can be reported by calling the number above.
Owners whose property has been serviced by the city are billed for services. If the bill is not paid within 30 days, it is sent to the County and placed as a "special assessment" on the owner's property taxes. Those wishing to protest the invoice or services are asked to call 216.420.8367. Property owners are advised to have information, including service dates, available to expedite this process.


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Ruben Major for Sec of StateOpen source voting has been taken up by Ruben Major, running for California Secretary of State 2018 [1]. Alex Padilla, current SoS, made the case for replacing the current ageing fleet of voting systems but has failed to secure funding for new ones and has not promoted the obvious solution: open source voting. Secretary Major will do this. You can help ensure this outcome.
Current EffortsOVC's three founders, Alan Dechert, Arthur Keller, and Doug Jones continue to work on the issue of voting system integrity. Doug Jones (with Barbara Simons) wrote Broken Ballots [2]. Arthur Keller is chair of the IEEE 1622 standards committee. Brent Turner is currently board secretary at CAVO (California Association of Voting Officials).
Recent News & Events
Universal Voter Registration [3]
Once we identify a function for government to handle (and pay for) on an on-going basis, the impulse from the Left tends to be "federalize it." The impulse from the Right tends to be "eliminate it."Also, the basic difference between "universal voter registration" and the idea of eliminating voter registration is the difference between centralization and decentralization of the databases.
Here is the text from the letter:
Mr. Dechert,
Is Open Voting Consortium currently working on the legislative steps required to enable "universal voter registration" for federal elections? I suggest by the federal government assigning each of us a specific federal voter identification number, the Republican fantasized voter fraud allegations would be appropriately dealt with.
Each state could duplicate federal voter registration by continuing to have local registration. Considering how Republicans have politicized the mechanics of both voter registration and voting, I'd expect most (particularly southern) states would continue local registration.
It would be a challenge for the Republican/Tea Party US Senators and Representatives to oppose our democratic ideal of: one citizen, one vote. With tens of millions (felons, college students) of federal voters who could not be state/local voters, hopefully the contrived disenfranchisement will trigger both an outcry and a change.
Kindest Regards, Robert (Bob) Goodrich
*************************** my response, sent via US Mail today
Artist's Rendering of Proposed OVC Voting Booth [3]
They say a picture is worth a thousand words. A higher resolution copy of this artist's rendering is available here [4].
The biggest challenge to making the OVC system widely available is creation of the PC-printer unit shown in the drawing. It would be a battery-powered inkjet printer with a processor (like Atom-based netbook or nettop). We are working hard to find a hardware partner and investment necessary to make this. The software and the other hardware are comparatively easy to make.
The booth would fold up into a neat case about 28 inches by 26 inches and about 3.5 inches thick, weighing around 20 pounds. Set up would take only about 2 minutes. The pc-printer unit would store separately, booted, connected and locked into place after the booth is set up. The touch screen panel and cables would stay with the booth when stored.
Thanks to Morgan Hastings for making creating this rendering.
My Testimony at February 8th Secretary of State's Hearing [4]
Open Voting Consortium has been pushing Open Source, Open Standards, and the Electronic Ballot Printer (EBP) design. While not yet evident in the systems in use today, I am happy to report that these concepts are taking hold; Progress seems glacial at times, but we are getting there.
I attended and testified. I did not submit written testimony at the time because I wanted to hear what was said and respond to that. My written submission [6] is now available.
Here is a summary of what I said:
- "Open Source" gaining currency
- Discerning voter intent was a key issue in 2000, and that issue remains unresolved
- We need machine-marked printed ballots to eliminate the voter intent issue. The federal program for military and overseas voters embodies this concept.
- Progress correcting voting system faults has been very slow
- The need for a common data format is now recognized. OVC has been promoting the Election Markup Language (EML). We continue to advocate for adoption of EML (now EML v6). Sequoia says they are starting to use EML.
- Accessible voting booth at each poll site: high cost, high maintenance, and low usage. This is causing jurisdictions to want to eliminate poll sites. We need a different approach, especially for accessible voting at home, which is where people with disabilities tend to vote.
- Officials need to be more proactive to get the job done. We've heard talk of "banding together," and that's the basis of the consortium idea. Interested parties should be joining a consortium (like the Open Voting Consortium) to solve these problems.
Los Angeles to see Best Voting System Demo of All Time this Weekend [6]
People visiting our booth will be able to create an election by filling in an on-screen form. After that, we can create the bootable CD with the operating system, ballot definition, and application software ready to make a complete voting system.
We can then remove the hard drive (not necessary, but helps to illustrate) and boot from the CD to turn the touchscreen tablet into a touchscreen electronic ballot printing voting machine.
We'll show the whole process from specifying what goes on the ballot, to tabulating the vote. All of this done with free and open source software ... inexpensive hardware.
While this is not a certified voting system for the U.S., it is already pretty close to something that could be used right now in many countries. And it could form the basis of a complete system for any county -- including Los Angeles -- once we have the partners needed to finish it and get it certified. Who knows? We may meet some potential partners this week end.
One problem: I have to raise the money so I can pay bills and get everything together for the trip to Los Angeles. If we don't raise the rest of the money we need, I don't see how we can do it. Thanks to all that have contributed, we are only about $1,100 short of what we must have.
As someone who spent all day a week ago at the CA Secretary of State's hearing on the future of voting technology, I am here to tell you the voting system is STILL a complete mess -- the vendor-driven model based on proprietary technology is completely broken. We can't expect them to fix it. We the people have to show the way.
If you care anything at all about the future of democracy,
The Future of Voting Technology in California, the U.S. and the World: Why We Need a Decision Now [6]
Brigette Hunley, Chair of the California Democratic Party's Computer and Internet Caucus recently announced,
Subject: CDP Computer & Internet Caucus MeetingI hope to see you there!
Please join us on Saturday night from 6 to 8 pm at the San Diego e-board for our Government 2.0 Transparency Series
Our featured speakers are from OVC and they promise an exciting discussion on the future of voting technology.
Alan Dechert
OVC Presentation at National Institute of Standards and Technology (NIST) in Washington D.C. [6]
One of our top programmers, Parker Abercrombie, represented OVC at the National Institute of Standards and Technology workshop on Common Data Formats, OCT 30.
OVC has been pushing for Open Source and Open Standards for some years now. By all accounts, our presentation there was very well received.
The slides used are available here in PDF format [7]. You can find presentation slides for the workshop presenters at NIST. [8]
Thanks to Parker and thanks for all OVC supporters that helped make this happen.
OVC gains momentum with San Francisco Event [8]
This was one of the more memorable events in all the years we have been at it. There was a very nice article in the Fog City Journal: Pelosi Adds Voice to Open Source Voting Systems Momentum [9].
Thanks to all that helped make this happen, and, of course, thanks to Christine Pelosi for brightening up the space.
California Democratic Council Voters Enjoy OVC [9]
Delegates to the California Democratic Council conference September 26-27 in San Diego had a chance to try out Open Voting Consortium's Electronic Ballot Printing system. It's very simple: make your selections on a computer screen, and then print out your finished ballot.
"When will this be in all the voting booths in California?" That was the typical response.
OVC Boosted by Series of House Parties [9]
Thanks to Eric Smith and all the fine people that attended the event Friday evening at his home: it was a great event. We raised some money for OVC and at least one more person agreed to host another event. Special thanks to Brent Turner for his organizing efforts.
Importantly, for our campaign, we met quite a few new people. There were about 20 people there that I had not met before. Attendees included Debra Walker [10], candidate for Supervisor in the 6th district. Also pictured above are Brent Turner and Eric Smith [11], who is running for Supervisor in the 10th district.
Luke Thomas of the Fog City Journal was there and took quite a few pictures.
The attitude here was all positive. Yes, we can!
The next event is at the home of Eve Matelan in Sunnyvale Sep 18th. Christine Pelosi will speak for us at our Oct 1st event in San Francisco. We are looking forward to building up a schedule of many more events to gain consensus and momentum for Open Voting.
OVC to provide Voting System for Democratic Party Elections [11]
Aug 4, 2009
Contact: Alan Dechert, 916-772-5360
President, Open Voting Consortium
4941 Forest Creek Way, Granite Bay, CA 95746
GRANITE BAY, CA -- The California Democratic Council has asked Open Voting Consortium to provide the voting system for their September 27th Executive Board Elections in San Diego. This will be the most important demonstration OVC has done of their voting system so far. Hundreds of political movers and shakers will be trying out the system.
California Democratic Council President Henry Vandermeir made the request, and said that they will be voting for president, secretary, treasurer, and controller. Endorsements for statewide political offices and policies will be included in the Sep 27th elections. OVC will provide a booth for disabled access.
The idea initially came out of a casual conversation between OVC stalwart Brent Turner and Mr. Vandermeir. Mr. Turner said, "People in the Democratic Party frequently tell me they would like to try out the Open Voting Consortium voting system. I am delighted that they will have a chance to do that."
"This is an important step for OVC," said OVC president, Alan Dechert. "We are moving closer all the time to having a system that can replace existing flawed, secretive and proprietary voting systems for public elections."
Besides this large demonstration in September, OVC has other smaller but important demonstrations to give to election officials around the state of California over the next month.
Open Voting Consortium is a nonprofit organization that develops and promotes free and open source software for the conduct of public elections.


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Hundreds attended the event, which featured a host of vendors, several food trucks, and live music from the New York Exceptions. There was also a tour of the garden with Executive Director Susan Lacerte, composting demonstrations, and a beer tent for unwinding.
For the kids, there was a petting zoo, crafts and face painting, and old-fashioned games.


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An American Werewolf in London (US - BD)
Gabe remembers to beware the moon, stick to the roads and avoid the moors...
Two American college students, David Kessler (David Naughton) and Jack Goodman (Griffin Dunne), start a trip to Europe with a backpacking trek across the Yorkshire moors. After stopping in a rather unwelcoming pub they're warned of a monster on the moors, and told to 'Beware the moon, and stick to the road'. Confused by the darkness, and spooked by strange noises, David and Jack find themselves hunted by a large animal. The monster attacks and Jack is mauled to death, while David is bitten, but survives. In the hospital David is haunted by violent nightmares, and is eventually visited by the decimated corpse of his dead friend who warns him that if he doesn't kill himself before the next full moon he will transform into a bloodthirsty werewolf.
We lost some good horror fans during the Howling/ American Werewolf in London wars of 1981, it was almost as devastating as the Jason/Michael Myers/Freddy Kruger massacre. I came into the battle too late to count, but was still torn nearly in twine between my loyalties to both films. Eventually I settled on John Landis' lycanthropic activities, despite more affection for the rest of director Joe Dante's filmography. Dante's film features the better and more subversive script, the better cast, and the cooler werewolf design, but The Howling lacks American Werewolf's purely visceral nature, and Rick Baker's superior special effects. Rob Bottin's bladder based transformations were pretty cool at the time, but look a bit silly to modern eyes, whereas Baker's effects are more concrete, and continually physically believable. Bottin just has to take solace in being the guy that conceived the effects in John Carpenter's The Thing. Poor guy.
At the time of An American Werewolf in London's release audiences and critics were confused by the film's mix of comedy and horror. This was partially due to perceptions based on John Landis' previous films, which were over-the-top comedies. Still, the reaction seems downright anachronistic in the days of passé Scream sequels, and Brit-horror hybrids like Shaun of the Dead, but the mainstream wasn't always so genre-mixed. Comedy and horror have been good bed fellows since the dawn of time, but historically one is usually the clear front runner per story. The old Abbot and Costello meet Blank horror films always leaned far towards straight humour, whereas Roger Corman and Hammer Horror productions often spoke with their tongues firmly planted in their cheeks, but embraced the straight horror over the underlying comedy. The '80s changed the horror landscape with splatstick classics like Evil Dead 2 and The Re-Animator, but even these films often skewed more towards funny than scary. For what it's worth American Werewolf is possibly subjectively the closest to a 50/50 horror/comedy hybrid in history, save maybe ironically funny EC Comic inspired movies like Tales From The Crypt[i] and [i]Creepshow.
The funny thing is that even though I fancy myself some kind of jaded, tough guy horror fanatic who finds the film very amusing, American Werewolf still scares the hell out of me. It was one of my first experiences with modern horror, and one of the reasons I've stuck with the genre for decades now. The first act is dripping in genuine dread. The moors are both endlessly black and eerily claustrophobic, and the pub scene effectively evokes the most xenophobic real-life experiences. The act then crescendos with a visceral exploitation of mankind's fear of being eaten. The following acts start with a series of nightmare induced jump scares, and move onto a wonderfully suspenseful tube station foot chase. Between it all is the famous transformation scene, which still stands up graphically, but more importantly it's genuinely disturbing because of the pain Naughton's performance, and the use of a mournful pop song to play against the visceral response.
The force of nature terror found in the film's scarier scenes is so impressive it's almost hard to believe John Landis had anything to do with the film. Besides The Blues Brothers (which was made directly before American Werewolf) I can't think of a single film this technically impressive in his entire catalogue. This, coupled with the general underratedness of Innocent Blood, and the pretty goodness of his first Masters of Horror entry, Deer Woman, leads me to think, neigh demand that Landis returns to budget horror ASAP. The script plays to Landis' greatest strengths as a writer, and is easily the best thing he's ever written. It's teeming with memorable dialogue, loveable characters, and it moves like a freight train. It's not that the plot is marked as unimportant, but the simplicity of the thrust simply pours into the intrinsic nature of the whole thing. These characters are clearly doomed from the outset, and the speed of pace, abrupt finale and lack of coda all feed this sense of tragic destiny. Even the middle act dream sequences serve an important place in the super efficient structure.
This high definition upgrade is a bit of a mixed bag. People that missed the previous DVD versions are likely to consider the transfer more miss than hit thanks to the really heavy grain, but a direct comparison reveals a definite upgrade. The details are somewhat lost in the heavy grain, but are clearer than the DVD version, especially the really dark scenes, which were a bit hard to discern. Fans will definitely notice the increase in the brightly lit transformation scene, and shockingly enough the make-up still stands up. The blacks are also clearly deeper than the pseudo-grays that accompanied previous versions. Colours are also punchier and brighter, and despite the grain clear of inconsistent compression noise. There hasn't been any additional cleaning done between the special edition DVD and this Blu-ray, as the same artefacts are still speckled throughout the print, including somewhat distracting tracking ghosts. Concerning the grain, it seems to be a necessary evil, one that has been a part of the film since the beginning. I don't know enough about cameras and film to say why American Werewolf is so bloody grainy, but it appears to have very little to do with lighting or colouring in this case. At the very least the grain is consistent, and I'm sure plenty of viewers will appreciate the texture it offers.
There are few things in this world as satisfying as hearing that first werewolf howl coming from the rear left channel. The whole of the first attack scene on the moors is a fantastic feat of re-engineering a stereo mix into a full 5.1 mix. The wolf tracks perfectly around the leads, and then attacks them full force, blaring from the centre channel. This DTS-HD track doesn't feature anything new in terms of the stereo and surround effects, but they sound even better when presented lossless. The majority of the film fits into one of three audio categories—the aforementioned hyper-realistic werewolf attacks, centred and quiet chatting scenes, and the music heavy scenes. The basic talking scenes are largely quiet besides the chatty actors. The sound effects in these scenes are a little flat, but the vocal performances are natural and warm (not to mention centred). The musical moments fall into two categories themselves—brief transitional scenes scored by composer's composer Elmer Bernstein, and moon themed pop music. In both cases the music is usually the central element by a pretty wide measure, especially the boredom montage, which uses Credence Clearwater Revival's 'Bad Moon Rising'. The music isn't remixed for the rear channels besides echo effects, but sounds positively perfect throughout the front three channels, and really pumps the LFE when needed.
There was a time when Universal led the pack with their made-for-DVD (sometimes Laserdisc) retrospective documentaries ( The Thing: Terror Takes Shape, The Hamster Factor and Other Tales of Twelve Monkeys, and The Making of Scarface, for example). It took Warner Bros, Disney, Paramount and Fox several years to get on the old bandwagon. Beware the Moon (97:30, SD) is a welcome return to this tradition. It's not that all the anecdotes and tales from production haven't been told before, even on past DVD release extras, but here the stories are unabridged, and there are plenty as yet untold stories mixed into the bunch. Footage from the film, other pertinent films, and footage featuring narrator/director Paul Davis visiting various locations, is cut amongst the behind the scenes footage and cast and crew interviews. Subject matter includes the decade-plus long effort to get the film made, the somewhat gutsy casting, location filming, sound effects, creature make-up, the mechanics of the big change scene, the score and pop music, shooting 'See You Next Wednesday' (the fake porno), filming the final action scene, MPAA censorship issues (where's that footage?), and reception. Like those other great Universal documentaries Beware the Moon mostly follows the film's narrative concerning the order of subject matter.
This 'Full Moon' edition release also features the special edition release's commentary track, which features actors David Naughton and Griffin Dunne. There's an awful lot of blank space on the track, but neither participant wastes time narrating the on-screen action either. Dunne being a filmmaker himself is slightly better prepared for the exercise, but Naughton has some good scene specific stuff to offer concerning the heavy make-up scenes. There's a lot of repetition between this and the documentary, but actually seeing the film brings out a bit more in the actors, like the zoo scene, which was filmed using the real wolf cage at the real London zoo. I suggest skipping to the next scene any time things get too quiet, as the chapter stops are mostly positioned in spots the track's participants actually feel like talking about.
'I Walked with a Werewolf' (07:30, HD) is another all new entry in the extras. This briefer featurette focuses on the career of make-up artist Rick Baker, with a slant towards American Werewolf and Baker's work on the upcoming Wolfman remake. Unfortunately there's a lot of overlap with Beware the Moon (not to mention the other Rick Baker based featurette on the disc), and recent reports have claimed that the majority of Baker's work on The Wolfman has been replaced with CG, so this isn't the most valuable addition to the disc. It's followed by the left over extras from Universal's Collector's Edition DVD release. These extras, which include the original release EPK (05:20, SD), an interview with Landis (18:30, SD), another interview with Baker (11:20, SD), footage of Baker casting Naughton's arm (11:00, SD), outtakes (03:00, SD), storyboards, and a photo montage, are welcome additions for the sake of completion, but don't offer anything not already covered during Beware the Moon.
The transfer is very grainy (beware the grain), but An American Werewolf in London still comes highly recommended overall. The film itself continues to age gracefully and is easily revisited on minimally annual occasions. The video quality is an upgrade despite the continued issues with grain, and the DTS-HD audio is about as flawless as can be expected. Those without Blu-ray capabilities might still want to double dip the DVD version just for the fantastic new retrospective documentary Beware the Moon, which will likely stand as the final word on the subject for a while.
* Note: The images on this page are not representative of the Blu-ray release.
Review by Gabriel Powers
keffa Member Join Date: July 2007 Location: United Kingdom Posts: 436
great film. loved the tube scene. Spot a ten yr old Rik Mayall in the Slaughtered Lamb! I`ll get this when its under a tenner. just for the extras. it was on the UK scifi channel last week in HD, wasnt blu-ray standard but ok.
Bouncy X Member Join Date: March 2005 Location: Canada Posts: 1,931
i just bought this today. didnt realize there was more than just the documentary so thats cool.
but man, that dream sequence with the nazi monster things freaked me the hell out when i was a kid. anytime it came up i looked away or played or something til it was over. today i can watch no problem but still remember how it made me feel. i think its the idea of some people just coming in your house and slaughtering your family right in front of you. spooky. lol
anyway its a great movie and amazingly, i've never owned it in any form (not even VHS!!!) until today. lol
but man, that dream sequence with the nazi monster things freaked me the hell out when i was a kid. anytime it came up i looked away or played or something til it was over. today i can watch no problem but still remember how it made me feel. i think its the idea of some people just coming in your house and slaughtering your family right in front of you. spooky. lol
anyway its a great movie and amazingly, i've never owned it in any form (not even VHS!!!) until today. lol
stevepulaski Member Join Date: June 2009 Location: Niger Posts: 741
I remember seeing this movie years back. Will buy this to relive those memories.
Worst Nightmare Senior Member Join Date: July 2002 Location: Australia Posts: 6,716
SAw this in the movies when I was a kid - had bad dreams for years afterwards!
BD sounds tempyting but I already have an excellent DVD.
BD sounds tempyting but I already have an excellent DVD.
Mel Armoogan Member Join Date: August 2004 Location: United States Posts: 154
Anyone have any insight on the newly released restored edition bluray?
Under 17 requires accompanying parent or adult guardian
Disc Details
Release Date: 15th September 2009
Discs: 1
Disc Type: Blu-ray Disc
RCE: No
Video: 1080p
Aspect: 1.85:1
Anamorphic: No
Colour: Yes
Audio: DTS-HD Master Audio 5.1 English, DTS 5.1 Castillian, DTS 2.0 French, German, and Italian
Subtitles: English SDH, French, Spanish, Portuguese, Korean, Chinese, Italian, German, Swedish, Danish, Finnish, Dutch, Greek, Norwegian,
Extras: Actor Commentary, Beware the Moon Documentary, I Walked with a Werewolf, Making An American Werewolf in London, Interview with John Landis, Interview with Rick Baker, Casting the Hand, Outtakes, Storyboards, Photo Montage
Easter Egg: No
Feature Details
Director: John Landis
Cast: David Naughton, Jenny Agutter, Griffin Dunne, John Woodvine, Lila Kaye
Genre: Comedy and Horror
Length: 98 minutes
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The term hull refers to the body or frame of a ship or starship. Warp-worthy vessels must have a hull able to withstand extreme accelerations. The hull of a Starfleet vessel was usually separated into two parts: the primary and secondary hulls.
The primary and secondary hulls of a Galaxy-class starship further consisted of an "outer" and "inner" hull. (TNG: "The Best of Both Worlds, Part II")
Borg cubes utilized technology that automatically regenerated their hull when damaged. (TNG: "Q Who")
Hull materials Edit
- Duranium
- Electroceramic
- Kelindide
- Magnesite
- Monotanium
- Neutronium
- Polyduranide alloy
- Tetraburnium
- Titanium
- Tritanium
- Trititanium
- Victurium
Hull enhancements Edit
- Ablative generator
- Ablative hull armor
- Dispersive armor
- Monotanium armor plating
- Parametallic hull plating
- Polarized hull plating
- Reactive armor
- Trellium-D
Structural integrity Edit
Structural integrity was an engineering term used to refer to the strength of the hull.
While standard architecture uses supports and bulkheads to make constructs stronger or more durable, the fantastic stresses presented by combat, warp fields and spatial phenomena have caused engineers in the Federation and other spacefaring species to use force fields to hold the shape of a construction together. This is referred to as a structural integrity field.
In 2063, Data informed Captain Jean-Luc Picard that the structural integrity of the Phoenix was intact, even after the attack by the Borg sphere. Later, Geordi La Forge informed Zefram Cochrane that the structural integrity of the Phoenix was holding as the ship prepared to go to warp speed. (Star Trek: First Contact)
In 2151, Malcolm Reed and Trip Tucker repolarised the gravity plating of Enterprise NX-01 to absorb the plasma recoil, caused by the newly integrated phase cannons, and shunt the energy to structural integrity. (ENT: "Silent Enemy")
In 2152, Travis Mayweather polarized the hull plating of Enterprise to strengthen the structural integrity before entering a neutronic wavefront. (ENT: "The Catwalk")
The stress of a Romulan tractor beam caused sub-microscopic deformations in the structural integrity, especially the nose section and aft thrusters of the Type 15 shuttlepod Onizuka. (TNG: "The Mind's Eye")
In 2369, Geordi La Forge planned to run a structural integrity scan of a conduit located in cargo bay 4 aboard the USS Enterprise-D, but had to report to sickbay due to an issue with his VISOR. Data stated that he would run the scan instead, and had just started it when La Forge returned from sickbay, having been abducted without his knowledge by the solanagen-based lifeforms. (TNG: "Schisms")
The same year the tractor beam of Deep Space 9 was able to stabilize the structural integrity of Tosk's ship. (DS9: "Captive Pursuit")
In 2372, the USS Voyager's structural integrity began to weaken after the shuttlecraft Cochrane went to transwarp and Voyager was unable to sustain warp 9.97 to capture it. (VOY: "Threshold")
In 2374, during an encounter with a group of Omega molecules, Captain Kathryn Janeway ordered Chakotay to increase the structural integrity of a shuttlecraft in order to properly dispose of the molecules. (VOY: "The Omega Directive")
Hull stress Edit
Hull stress was a condition where, on a starship, space station or other installation, the hull encounters a form of stress. This could be caused from a form of pressure pulling against the ship, such as an object pulling against another. Hull stress, if critical enough, can lead to a hull breach.
When the USS Voyager was caught in a quantum singularity in 2371, they found what they thought to be another ship caught further in the singularity. When Voyager attempted to lock on the ship with a tractor beam, the singularity started to pull the ship in. The ship was put into full reverse impulse, but with the tractor beam still on, this caused hull stress. (VOY: "Parallax")
Microfractures Edit
Microfractures were microscopic cracks in the hull of a starship that, while invisible in the naked eye, could widen over time if something aggravated it and cause more drastic problems. The term also has a medical context.
The structural integrity of a material was diminished when microfractures were present. This could have dangerous, even deadly, consequences when the deterioration occurred in a ship's hull or other structure which provided containment, shelter, or life support, or in a living tissue. However, under certain conditions, a limited amount of microfracturing could be tolerable. (VOY: "Extreme Risk")
Some microfractures could be sealed by an engineering team, yielding a temporary or permanent repair. Other microfractures required the rebuilding or replacement of the structure. (ENT: "Desert Crossing"; VOY: "Caretaker", "Extreme Risk")
A vessel's structural integrity field could provide enough reinforcement to prevent microfractures or to preserve integrity when microfractures were already present. (VOY: "Extreme Risk")
Twenty-second century hull plating was some protection against hull stresses which could cause microfractures, as was trellium. (ENT: "Anomaly", "Exile")
Compensation for a microfractured dilithium matrix was possible, in order to avoid warp engine problems. (VOY: "Twisted")
A metallurgical scan was one way to discover microfractures. (TNG: "Phantasms")
While approaching a second Sphere in the Expanse, Enterprise suffered microfractures on it's hull due to gravitational anomalies (ENT: "Exile")
Microfractures could result from torsional stress damage or from weakening of stress-bearing material by some environmental condition. (TNG: "Rascals")
The Caretaker's displacement wave which transported the USS Voyager from the Badlands to the Delta Quadrant caused several microfractures to the ship's warp core. (VOY: "Caretaker")
Duranium alloys could be vulnerable to certain silicon-based parasites, which consumed the material. The weakened duranium could microfracture under stresses that normally would be within tolerances. (VOY: "The Disease")
Theta radiation could degrade hull materials, yielding microfractures when stress levels were normal. (VOY: "Extreme Risk")
Gravimetric distortions created violent stresses that caused damage beginning with microfractures and ultimately yielding total structural failures, if not mitigated by escaping the distortion. (ENT: "Exile"; VOY: "The Fight")
Proton bursts caused great stress on a ship's hull, leading to over 630 microfractures. (VOY: "Deadlock")
High warp core pressure, near critical levels, could microfracture the dilithium matrix. (VOY: "Twisted")
Microfractures could occur in warp nacelles, accumulating over time until maintenance became necessary. (VOY: "Nightingale")
A physical injury to a living being could damage the skeleton with microfractures. (VOY: "Repression")
Microfractures left un-repaired could widen to become full hull breaches. (VOY: "Deadlock")
EPS conduits could experience power drains if microfractures were present as the energy escaped from damaged conduits. (ENT: "In a Mirror, Darkly, Part II")
In 2369, the shuttlecraft Fermi was destroyed when an energy anomaly caused molecular deterioration and microfractures in the bulkhead. A plasma conduit at the Tyrus VIIa Particle Fountain Project exploded, due to an undetected microfracture. (TNG: "Rascals", "The Quality of Life")
In 2375, Varro saboteurs aboard the generational ship destabilized the warp reaction when their synthetic parasites caused microfractures. (VOY: "The Disease")
Hull breach Edit
The term hull breach or hull rupture refers to the failure of structural integrity where the shell surrounding said pressurized environment breaks, stresses or develops a gap for any reason. In space-faring vessels, this is usually catastrophic. The pressure of a contained atmosphere forcing its way outward in an explosive decompression can cause further damage to the area, and also have the added effect of endangering or killing any lifeform present. Since the pressure is internally generated, Lieutenant Commander Data stated to Commander William T. Riker in 2364 that being "blown out" was probably a more accurate term than being "sucked out." (TNG: "The Naked Now"; VOY: "Deadlock")
Most hull breach dangers are from pressurized material contained within a vacuum, or lower pressure, environment. However, it is just as possible that the pressurized vessel could be surrounded by high pressure gases or even liquid, causing an implosion, forcing the surrounding environment into a vessel. The USS Defiant experienced such breaches in 2372 when trapped in the atmosphere of a gas giant. (DS9: "Starship Down")
Vessels of spacefaring civilizations and cultures, such as the Federation Starfleet, protect themselves against the extreme stresses of both pressure and vacuum, as well as the added dangers of impacts, warp drive stress, weapon damage, energy phenomena and anomalies, by implementing a structural integrity field. This force field is designed to occupy the same space as the ship's hull, effectively giving them hundreds of times the ability to hold its shape. Force fields are also used to automatically contain the atmosphere, and repel external forces, should the hull be breached. (TNG: "Disaster"; Star Trek Generations; Star Trek Nemesis) Prior to the development of these technologies, emergency bulkheads and polarized hull plating were used to contain and avoid breaches (ENT: "Damage")
Notable hull breaches Edit
- ECS Fortunate cargo module 8 caused by Matthew Ryan while the away team from Enterprise was trapped inside in 2151. (ENT: "Fortunate Son")
- Enterprise NX-01's C-deck, caused by two Vulcan fighters and a D'kyr-type ship. (ENT: "Awakening")
- Enterprise NX-01's G-deck, in the Battle of Andoria. (ENT: "Kir'Shara")
- USS Enterprise-A's Saucer section, which was hit by a torpedo from General Chang's Bird of Prey. (Star Trek VI: The Undiscovered Country)
- USS Enterprise-B's Engineering section, which was presumed to have killed James T. Kirk. (Star Trek Generations)
- In 2369 Deep Space 9 had several hull breaches and fractures in their bulkheads caused by the graviton pulses of the embryonic lifeform. (DS9: "Q-Less")
- In 2370 Deep Space 9 had a hull breach on Section 14. (DS9: "Playing God")
- One of Deep Space 9's upper pylons were destroyed by a Jem'Hadar strike team. (DS9: "To the Death")
- In both Years of Hell, several breaches on Voyager due to the Krenim. In the second version of this year, USS Voyager's Deck 5 suffered a breach, caused by damage from Krenim weapons fire. (VOY: "Before and After", "Year of Hell", "Year of Hell, Part II")
- USS Enterprise-E's bridge, caused by disruptor damage from the Scimitar; as well as several decks' worth when the Enterprise rammed the Scimitar. (Star Trek Nemesis)
See also Edit
Background information Edit
The basics of these incidents have been referenced in several episodes. More detailed explanations given by the writing and technical staff when creating the show are contained in the Star Trek: The Next Generation Technical Manual and the Star Trek: Deep Space Nine Technical Manual.


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Lava Electronics Introducing RV HDTV Antenna
October 28, 2013 by RVBusiness · Comments Off on Lava Electronics Introducing RV HDTV Antenna
Ontario, Calif.-based Lava Electronics Inc. has introduced the RVDH-2000 Omnipro RV antenna, offering "omni directional reception" that retains a strong signal at speeds up to 80 mph, according to the company.
The antenna supports AM/FM/VHF/UHF frequencies and features a durable waterproof housing made of UV resistant, injection molded ASA material. The company said its SMD technology provides high gain and low noise amplification.
Other specifications of the Omnipro series include:
• Frequency Range – VHF 47-230MHz
• UHF — 470-862MHz
• Receiving Range – AM/FM/VHF/UHF
• Gain – 30dB
• Noise figure – 3dB
• Impedance – 75 ohm
• Power input – DC 12-volt
For more information, call (909) 786.2333, e-mail email@example.com or visit www.lavasat.com.


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Kellie and Robert decided they would have their wedding at the Marriott Laguna Cliff Resort and Spa and their reception at a home in Laguna Hills. I've shot a lot of back yard weddings but there was something special about this little reception.
If you would like to see more weddings from Laguna Beach Wedding Photographer Chris Darnall, please visit his website www.darnallphotography.com


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Black Friday/Cyber Monday Sale
10% off any purchase (on top of the JRB Early Bird Stocking Stuffer sale discounts).
Enter coupon code: "blackfriday" at checkout.
Also there is a Limited Offer Special
Greylock Polar - Torso length under quilt. 4.5 inches of loft.
Regular $309.95, Sale Price: $239.95.
To Order Call 800-595-0413 or 757-209-7240 after hours...This special is not on the site.
Shopping or not... Smee and I wish you all a Happy Thanksgiving!


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Article Summary: Info on backward compatibility with older Latitude systems.
E3 batteries are not backward compatible with E1/E2 systems.
With that change, although the slice batteries can physically plugged into E1/E2 systems via dock connector, the batteries still cannot work. Warning message will be displayed when the user tries to dock the battery slice.
The warning message that will be displayed:
The battery slice battery attached to your Dell notebook is not supported by this model. Please detach the slice battery to reduce the weight of your system.
Example E3: E6420, E6520, E5520 etc...
Example E2: E6410, E6510, E5510 etc...
Example E1: E6400, E6500, E5500 etc...
If you require further assistance or wish to give us feedback, please engage our technical team on Twitter.
Article ID: SLN265748
Last Date Modified: 06/03/2015 05:41 AM
Thank you for your feedback.


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Digital combined pH/ORP sensor Memosens CPS16D
Memosens glass electrode for standard applications
- Sepete ekle
- Seç & Boyutlandır
- Konfigürasyon
Oturum açma ve yapılandırma sonrası fiyatlandırma
Memosens CPS16D is the digital all-rounder for simultaneous pH and ORP measurement offering better process control and increased quality. The sensor features a dirt-repellent PTFE diaphragm for process and environment applications with long-term stable conditions. Thanks to Memosens digital technology, CPS16D combines maximum process and data integrity with simple operation. It resists corrosion and moisture, enables lab calibration and facilitates predictive maintenance.
Simultaneous measurement of pH, ORP and rH values (in rH mode) for a better process overview
Additional platinum electrode enables constant monitoring of reference impedance and thus sensor quality
Robust and resistant to poisoning thanks to large PTFE ring diaphragm and reference with ion trap
Suitable for harsh applications: Process glass for highly alkaline media and pressure-stable up to 17 bar (246 psi)
Maximum process safety through non-contact inductive signal transmission
Enables predictive maintenance due to storage of sensor and process-specific data
Reduced operating costs thanks to minimized process downtime and extended sensor lifetime
Uygulama alanı
Long-term monitoring or limit control in processes with stable process conditions:
- Chemical processes
- Pulp and paper industry
- Power stations (e.g. flue gas cleaning)
- Incinerator plants
- Mining
- Wastewater
Water treatment:
- Drinking water
- Cooling water
- Well water
With ATEX and IEC approval for use in hazardous areas.


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BOUNTIFUL LN, Grand Chute WI 54913 Sold for $89,900 on 01/08/2018
Features of BOUNTIFUL LN, Grand Chute, WI 54913
- Lots for Sale
- Status: Sold
- Mailing City: Appleton
- County: Outagamie
- Lot Size: 98x327
- School Dist: Appleton Area Sch Dist
- Property Tax Year: 2014
- Listing Company: Vision Realty & Development
Property Description for BOUNTIFUL LN, Grand Chute, WI 54913
BOUNTIFUL LN, Grand Chute, WI 54913 - Located between Bubolz Nature Center Center and Alliance Church, This location boasts ponds, walking trails that will tie into trail network. All city services are included with covenants that protect your investment surrounded by trees every way you look. Waste Available to Site = Laterals.
Land Features
- Waterfront/Access: N
|MLS Number
|New Status
|Previous Status
|Activity Date
|New List Price
|Previous List Price
|Sold Price
|Jan 12 2018 10:10AM
|Jul 1 2015 5:39PM
Estimated Monthly Payment
Make An Appointment
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Receive more detailed information on this propertyAsk a Question
Community Homes Near BOUNTIFUL LN
The information which is contained on pages with property data is obtained from a number of different sources and which has not been independently verified or confirmed by the various real estate brokers and agents who have been and are involved in this transaction. If any particular measurement or data element is important or material to buyer, Buyer assumes all responsibility and liability to research, verify and confirm said data element and measurement. Shorewest Realtors is not making any warranties or representations concerning any of these properties. Shorewest Realtors shall not be held responsible for any discrepancy and will not be liable for any damages of any kind arising from the use of this site.
REALTOR *MLS* Equal Housing Opportunity


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Suz1951 on Family Tree Circles
view: full | list
Journals and Posts
CROWLEY's from Cork Ireland who settled in Trundle NSW
i am looking for a connection in the CROWLEY FAMILIES of Trundle NSW
who are connected to David CROWLEY and Catherine MEHEGAN, Cork Ireland.
i cannot seem to find the connection yet.
i have this information so far:
David Crowley married Catherine Mehegan in 1829 in Ballymodan, Cork, Ireland
Their children
James David
James David Crowley emigrated to Melbourne Australia in 1868 aboard "southern cross", also on
the ship was John Crowley, 23 years, Blacksmith.
James David Crowley married Catherine Cameron in 1873 in Victoria.
My family tells me that we are connected to the CROWLEY's of Trundle, NSW
through David and Catherine Crowley, Cork, Ireland.
Thanking You
My name is Suzanne from Canberra...i am great great granddaughter of David CROWLEY and Catherine
MEHEGAN (Cork Ireland). Family tell me that we are related to CROWLEY's of Trundle NSW but i am having
trouble finding the actual connection.
Are the CROWLEY's of Trundle NSW connected to David CROWLEY, Kilbrittain, Cork, Ireland.
My great grandfather was James David CROWLEY married to Catherine CAMERON, he was born and baptised in Kilbrittain, Cork, Ireland and emigrated to Melbourne in 1868 and died 1900 Corowa, NSW.
Any information would be greatly appreciated.
Kindest Regards
Suzanne Crowley Riddle
Hi...looking for info on Catherine MEHEGAN whom married David CROWLEY on 21 February 1829, RC parish, ballymodan kilbrogan and Desertseres centred on Bandon with witnesses...Florence Sullivan and James MEHEGNAN..many thanks
Looking for
Hi...looking for info on my ancestor David Crowley born in Ireland, married to Catherine Meghan, one of their sons is James David Crowley born in Kilbrittain 1843 and emigrated to Australia.
- Displaying 1-4 of 4 Journals
- 1
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Ignorance comes at a high price
Rob Witwer's column "Spending cuts lessen the burdens on our kids" makes the point that tough budget choices lie ahead. The title might be interpreted to suggest that the school day or year should be shortened, but it turns out his plea was simply to cut spending. Perhaps that works for the new-era Republicans, but my hope is that we elected leaders to make decisions on how to invest in our future.
If you currently subscribe or have subscribed in the past to the Canyon Courier, then simply find your account number on your mailing label and enter it below.
Click the question mark below to see where your account ID appears on your mailing label.
|ZIP Code:


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Tuesday, September 28 2004
"Her Story"
ELLIOT ALIGNS HERSELF WITH NEW FRIEND DR. CLOCK; HEATHER GRAHAM GUEST STARS -- When J.D. decides to use a tape recorder to gather his thoughts, the voice-overs transfer to Elliot (Sarah Chalke), who makes new friends with Molly (Heather Graham) and gets the courage to tell-off her foil Dr. Cox (John C. McGinley). However, Eliot soon realizes that Molly is not quite the person she thought she was when her felon boyfriend is admitted to the hospital after stealing a car and crashing it into a telephone pole. Meanwhile, in the world of the newlyweds, Turk (Donald Faison) is constantly waking up Carla (Judy Reyes) when he goes to bed; and J.D. has concerns that Dr. Cox may have ruined his credibility with the new residents. Ken Jenkins and Neil Flynn also star.


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Basta Guardarla - Franco Pisano - Beat
The Fourth Protocol - Lalo Schfirin - Buysoundtrax
House of Cards: Season Two - Jeff Beal - Varese Sarabande
How to Train Your Dragon 2 - John Powell - Relativity Music
In Your Eyes - Tony Morales - Lakeshore [CD-R]
La Citta' Ideale - Andrea Rocca - Beat
Le Cose Che Restano - Marco Betta - Beat
Moj Nikifor - Bartek Gliniak - MovieScore Media/Kronos
Red Krokodil - Alexander Cimini - Kronos
The Reluctant Saint - Nino Rota - Saimel
The Signal - Nima Fakhrara - Varese Sarabande
Three Days (of Hamlet) - Jonathan Beard - Buysoundtrax
To-Day's Sound - Piero Umiliani - Beat
Transit - Christoph Zimbigl - MovieScore Media/Kronos
The White Queen - John Lunn - Silva
The Amazing Catfish - Madame Recamier
Borgman - Vincent van Warmerdam
Coherence - Kristin Ohrn Dyrud
Hellion - Curtis Heath
Jersey Boys - Bob Gaudio - Song CD due June 24 on Rhino
The Last Sentence - Gaute Storaas
The Moment - Nathan Larson
The Only Real Game - Paul Brill
Think Like a Man Too - Christopher Lennertz - Song CD on Epic
Third Person - Dario Marianelli
June 24
The Addams Family - Marc Shaiman - La-La Land
Empire of the Sun - John Williams - La-La Land
The Lion King (expanded) - Hans Zimmer - Disney
July 1
Fargo - Jeff Russo - Sony
Game of Thrones: Season 4 - Ramin Djawadi - Watertower
Tarzan - David Newman - Milan
July 8
Dawn of the Planet of the Apes - Michael Giacchino - Sony
The Fault in Our Stars - Mike Mogis, Nathaniel Walcott - Atlantic
Sabotage - David Sardy - BFD
July 15
I Origins - Will Bates, Phil Mossman - Milan
Planes: Fire and Rescue - Mark Mancina - Disney
July 22
Broken City - Atticus Ross, Claudia Sarne, Leopold Ross - BFD
The Host - Antonio Pinto - BFD
Snowpiercer - Marco Beltrami - Varese Sarabande
2 Guns - Clinton Shorter - BFD
August 5
Into the Storm - Brian Tyler - Varese Sarabande
Date Unknown
A Dio Piacendo - Marco Werba - Intermezzo
Bates Motel - Chris Bacon - Varese Sarabande
Come Il Vento - Shigeru Umebayashi - Beat
Danger Diabolik/For a Few Dollars More (re-recording) - Ennio Morricone - Intermezzo
Ennio Morricone: The Dollars Trilogy (re-recording) - Ennio Morricone - Intermezzo
F.B.I. Operazione Vipera Gialla - Francesco De Masi - Beat
The Film Music of Nino Rota: The Fellini Movies/The Godfather Trilogy (re-recording) - Intermezzo
Grand Piano - Victor Reyes - MovieScore Media/Kronos
I Due Sanculotti - Piero Umiliani - Digitmovies
Il Dolci Vizi...Della Casta Susanna - Gianni Ferrio - Beat
Isabella: Duchessa Dei Diavoli - Sante Maria Romitelli - Kronos
It's a Wonderful Life - Dimitri Tiomkin - Kritzerland
La Cieca Di Sorrento - Carlo Savina - Kronos
La Monaca Di Monza/La Califfa - Ennio Morricone - Quartet
New York Chiama Superdrago - Benedetto Ghiglia - Digitmovies
Quando Le Donne Avevano La Coda - Ennio Morricone - Digitmovies
Quentin Tarantino Unchained Music: The Complete Ennio Morricone Scores (re-recording) - Ennio Morricone - Intermezzo
The River Murders - Pinar Toprak - Caldera
The Thomas Crown Affair - Michel Legrand - Quartet
The Two Faces of January - Alberto Iglesias - Quartet
Vita Segreta Di Una Diciottenne - Gianni Marchetti - Beat
Vulcano Figlio Di Giove - Marcello Giombini - Kronos
June 20 - Jeff Beal born (1963)
June 20 - Fred Karlin begins recording his score to Westworld (1973)
June 20 - Chinatown released in theaters (1974)
June 21 - Lalo Schifrin born (1932)
June 21 - Philippe Sarde born (1945)
June 21 - Elmer Bernstein begins recording his score to 7 Women (1965)
June 21 - Gerald Fried's score for the Star Trek episode "Catspaw" is recorded (1967)
June 21 - John Ottman begins recording his score to Cellular (2004)
June 22 - Todd Rundgren born (1948)
June 22 - The Guns of Navarone opens in New York (1961)
June 22 - Darius Milhaud died (1974)
June 23 - Howard Shore begins recording his score to The Fly (1986)
June 23 - Carlo Savina died (2002)
June 24 - David Rose born (1910)
June 24 - Jeff Beck born (1944)
June 24 - Patrick Moraz born (1948)
June 25 - Carly Simon born (1945)
June 26 - John Greenwood born (1889)
June 26 - Dave Grusin born (1934)
June 26 - George Bassman died (1997)
DORMANT BEAUTY - Carlo Crivelli
"Bellocchio's movies often equate visual and moral ambiguity. Like 'Vincere,' the last Bellocchio film to get a Stateside release, 'Dormant Beauty' finds the director working with a reduced Eastwoodian palette dominated by thick shadows; at times, only the outline of a character's face is visible against the blackness of the screen. As the lighting gets dimmer, Bellocchio's direction becomes more focused, playing off Carlo Crivelli's emotive neoclassical score to turn close-ups into arias."
Ignatiy Vishnevetsky, The Onion AV Club
"Bellocchio modifies his approach slightly for each storyline. The Maria/Roberto and Rossa/Pallido scenes resemble soapy melodrama, while the Divine Mother segments play more like an operatic art-film (not unlike Bellocchio's excellent 2009 historical drama 'Vincere'), and Senator Beffardi's plot is rendered with deeper shadows and a more propulsive score, akin to a political thriller. Cinematographer Daniele Cipri and composer Carlo Crivelli have a lot to do with distinguishing the different parts of 'Dormant Beauty,' and editor Francesca Calvelli skillfully interweaves the pieces so that it all feels unified -- even when the movie veers into the odder world of Divine Mother. Bellocchio also connects the characters through his use of actual television reports from 2009, which play almost incessantly on screens in the characters' homes and environs."
Noel Murray, The Dissolve
"D.p. Daniele Cipri once again proves his mettle, with richly supple camerawork and mature tonalities, while Bellocchio's regular editor, Francesca Calvelli, effectively handles the intertwining stories. Marco Dentici's production design is spot-on, from the sauna scenes to the opulent home of the Divine Mother, decorated with more roses than a funeral parlor. Few film composers can deliver sumptuous orchestrations as skillfully as Carlo Crivelli, and fewer helmers know as well as Bellocchio how to use them to further the mood within a scene, rather than to anticipate emotion."
Jay Weissberg, Variety
"Bellocchio's excellent technical crew lead by director of photography Daniele Cipri (who directed Toni Servillo in the other Italian film in Venice competition, 'It Was the Son') gives the film a dark, rich look echoed in Carlo Crivelli's moving dramatic score and its magical adaptation of David Bowie's 'Abdulmajid.'"
Deborah Young, Hollywood Reporter
THE ROVER - Antony Partos
"'The Rover' is a bleak, brutal film; at times, its monotony can be draining. Ably aided by the jarring chords designed by composer Antony Partos (not unlike the unsettling work by Jonny Greenwood on 'There Will Be Blood') and cinematography by Natasha Braier that always places our characters in the context of a bleak landscape, Michôd finds a tonal consistency in 'The Rover' that makes its repetition forgivable, and even effective. It doesn't let up because it shouldn't let up."
Brian Tallerico, RogerEbert.com
"'Not everything has to be about something' says Rey at one juncture, and it's not too pat to suggest that Michod's film is kind of about nothing, but it's really about nothing -- about nothingness and abgenation and a world that pointlessly goes on existing in the absence of compassion or empathy. Accompanied by an eclectic score of drones and electronic pulses interrupted by some incongruous tracks (including a very funny, slightly meta use of 'Don't hate me cause I'm beautiful' as hummed-along-to by Pattinson) the story Michod and Joel Edgerton co-conceived, all the way back before 'Animal Kingdom' may not quite reach the heights of that crime saga, but it arguably fulfills another important function: it shows Michod can work with other genres and textures, and still make a film that is unmistakably his, and that is how auteurs are made.'"
Jessica Kiang, The Playlist
"Those looking for big action and bombast will inevitably be disappointed, but Michod (who also wrote the script, based on a story he conceived with actor-writer-director Joel Edgerton) strikes an eerie, unsettling tension early on and rarely lets go -- a mood immeasurably enhanced by 'Animal Kingdom' composer Antony Partos' original score, which compensates for the film's spare dialogue with an inspired mix of industrial shrieks, tribal drumbeats and wails, and fleeting snatches of melody. The rich soundscape is further enhanced by sound designer Sam Petty's crisply recorded and mixed effects, which bring every humming electric light, chirping cricket and whirring engine to the fore."
Scott Foundas, Variety
"At least as responsible for giving 'The Rover' its distinctive tone as the unnerving violence, edgy performances, parched settings and Natasha Braier's superior cinematography (film, not digital, was the medium of choice) is the extraordinary soundtrack, which, in its wild, idiosyncratic weirdness, is probably the most effectively eccentric and radical film score since Jonny Greenwood's for 'There Will Be Blood.' Composed by Australian Antony Partos (who also scored 'Animal Kingdom'), with heavy contributions from sound designer and additional composer Sam Petty and existing source music, the track moans, cracks and wails with bizarre audible elements that blur the line between music and natural sounds and emanate from instruments both identifiable and not. The effect is both hypnotic and disturbing, pertinent to what's onscreen and out of nowhere. In all events, it magnifies and enhances the already intense nature of the experience."
Todd McCarthy, Hollywood Reporter
THE SACRAMENT - Tyler Bates
"Even if you were unaware of the genre you'd know that s**t was likely to go down from the earliest moments of 'The Sacrament,' thanks to Tyler Bates' throbbing, dread-fueled Carpenter-esque score. The tension really is beautifully ramped up in these early scenes and gets an audience well prepped to watch carnage unfold around people you've truly come to care about."
Oliver Lyttleton, The Playlist
"For all of Father's oily pronouncements, our heroes soon start to see the dark side of Eden Parish, all of it telegraphed well ahead of time by Tyler Bates's boomingly intrusive, John Carpenter-esque score."
Bilge Ebiri, Vulture
"Sound design, as ever with the helmer's work, is tack-sharp, as is Tyler Bates' spooky score -- even if it occasionally seems to have crept in from one of West's more retro efforts."
Guy Lodge, Variety
"But it doesn't require the disturbing rumble of Tyler Bates' music underneath the jubilant gospel singing of the concert to detect something sinister in the air. The ominous, pulsating drone of Bates' music, the increasing agitation of West's editing, and the raw, video-reporter edge of Eric Robbins' nervy camerawork all contribute to manipulating the atmosphere into one of engulfing dread in a film that gets under the skin and stays there."
David Rooney, Hollywood Reporter
THE SIGNAL - Nima Fakhrara
"The mystery at hand shouldn't surprise any seasoned sci-fi geek, but Eubank (who also co-wrote the screenplay) substitutes a remarkable visual flair in lieu of traditional suspense. Accompanied by the half-melancholy, half-foreboding strains of Nima Fakhrara's score, any number of Instagram-worthy flashbacks to happier times are intended to serve as lyrical emotional shorthand."
William Goss, Austin Chronicle
"The emotional deflation felt by these characters is articulated by Thwaites and Cooke with a richness and conviction that's unusual for this sort of genre exercise. And in spite of leaning too hard on dreamily scored flashbacks of Nick running through the woods, so as to hint at the sense of physical freedom the boy no longer feels, the filmmakers abstract the reason for Nick's injury in a way that both cannily shuns sentimentality and ratchets up the maddening sense of existential despair he feels when he wakes up inside a subterranean medical facility and is prodded and questioned by men in hazmat suits."
Ed Gonzalez, Slant Magazine
22 JUMP STREET - Mark Mothersbaugh
"Everyone seems to be dancing along the same anarchic wavelength: stars, directors, screenwriters Michael Bacall, Oren Uziel, and Rodney Rothman, even composer Mark Mothersbaugh, whose score wryly channels '80s thwomp and action-movie power chords."
Ty Burr, Boston Globe
Screenings of older films, at the following L.A. movie theaters: AMPAS, American Cinematheque: Aero, American Cinematheque: Egyptian, Arclight, LACMA, New Beverly, Nuart, Silent Movie Theater and UCLA.
June 20
AKIRA (Shoji Yamashiro) [Cinematheque: Egyptian]
HEAVENLY CREATURES (Peter Dasent), STAND BY ME (Jack Nitzsche) [Cinematheque: Aero]
PUMP UP THE VOLUME (Cliff Martinez) [Silent Movie Theater]
SOME LIKE IT HOT (Adolph Deutsch) [Nuart]
STOP MAKING SENSE (David Byrne) [New Beverly]
June 21
BRICK (Nathan Johnson), THE CHOCOLATE WAR [Cinematheque: Aero]
WEST BEIRUT (Stewart Copeland) [LACMA/AMPAS]
STOP MAKING SENSE (David Byrne) [New Beverly]
June 22
BROTHER TO BROTHER (Marc Anthony Thompson) [UCLA]
DANTE'S INFERNO [Cinematheque: Egyptian]
THE KARATE KID (Bill Conti), THE KARATE KID PART II (Bill Conti) [New Beverly]
YOUNG ADULT (Rolfe Kent), THE PERKS OF BEING A WALLFLOWER (Michael Brook) [Cinematheque: Aero]
June 23
THE KARATE KID (Bill Conti), THE KARATE KID PART II (Bill Conti) [New Beverly]
MICHAEL JACKSON'S THIS IS IT [Arclight Hollywood]
THE PRINCESS BRIDE (Mark Knopfler) [Arclight Sherman Oaks]
June 24
EROICA (Jan Krenz), JUMP (Wojciech Kilar) [LACMA/AMPAS]
THE TEN COMMANDMENTS (Elmer Bernstein) [Arclight Hollywood]
June 25
VINCENT AND THEO (Gabriel Yared) [UCLA]
June 26
THE GREAT ESCAPE (Elmer Bernstein) [Arclight Hollywood]
25TH HOUR (Terence Blanchard) [AMPAS]
THREE DAYS OF THE CONDOR (Dave Grusin), THE PARALLAX VIEW (Michael Small) [Cinematheque: Aero]
June 27
THE BALLAD OF RAMBLIN' JACK [Silent Movie Theater]
THE BLOB (Michael Hoenig) [Silent Movie Theater]
DO THE RIGHT THING (Bill Lee) [LACMA/AMPAS]
MCCABE AND MRS. MILLER (Leonard Cohen), QUINTET (Tom Pierson) [UCLA]
MODEL SHOP (Spirit), LOLA (Michel Legrand) [Cinematheque: Aero]
TEENAGE MUTANT NINJA TURTLES (John Du Prez) [Nuart]
UNIVERSAL SOLDIER (Christopher Franke), ROCKY IV (Vince DiCola) [Cinematheque: Egyptian]
June 28
GOSFORD PARK (Patrick Doyle) [UCLA]
THE YOUNG GIRLS OF ROCHEFORT (Michel Legrand), THE UMBRELLAS OF CHERBOURG (Michel Legrand) [Cinematheque: Aero]
June 29
BAY OF ANGELS (Michel Legrand), DONKEY SKIN (Michel Legrand) [Cinematheque: Aero]
THE COMPANY (Van Dyke Parks), A PRAIRIE HOME COMPANION [UCLA]
RAIDERS OF THE LOST ARK (John Williams), INDIANA JONES AND THE TEMPLE OF DOOM (John Williams), INDIANA JONES AND THE LAST CRUSADE (John Williams) [Cinematheque: Egyptian]
SORCERER (Tangerine Dream), RUNAWAY TRAIN (Trevor Jones) [New Beverly]


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***Announcement: It would mean so much if you supported...
The Course of Emery
- by collapse_under_
- Rating:
- Published: 1 Sep 2014
- Updated: 13 Mar 2015
- Status: In Progress
Luke came out of her bedroom with his hands in his pockets, "Looks like I should be going huh?" I let out a sigh, "you don't have to go if you do not want to. You could stay here I don't mind"
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text:
Stanford doesn't have the tallest player in the women's game, or the most attention-grabbing.
All it has, and has had for more than two decades, is a top-notch tradition and a program that just keeps winning.
Stanford, the No. 1 seed in the Fresno regional, the No. 2 team in the land and the first-round opponent of 16 seed Hampton in Saturday's 1:30 p.m. game at the Constant Center, is making its 25th straight NCAA appearance and ninth as a top seed. The 1990 and 1992 national champion, the Cardinal has made 10 Final Four appearances and is 65-23 all-time in the NCAA tournament.
There's no Brittney Griner, the 6-foot-8 dunking highlight reel for 34-0 Baylor, or Skylar...