Phil is an American tabloid talk show hosted by Phil McGraw. After McGraw's success with his segments on The Oprah Winfrey Show, Dr. Phil debuted on September 16, 2002. On both shows McGraw offers advice in the form of 'life strategies' from his life experience as a clinical and forensic psychologist. The show is in. McGraw accidentally hit a man with his car and the person is threatening to sue him. Police confirmed to E! News that the 'minor traffic collision' took place on a crosswalk in Universal City in the Los Angeles area on Friday morning and that no one was transported to a hospital. Phil just hit me with his car this morning. I filled a police report. Waiting for the dew process. (sic),' a bodybuilder named Terrence Bembury posted on. On Saturday, he shared a photo of a hospital exam room, writing, 'Thank Dr. It felt amazing getting hit by your Mercedes. Now I'm going on two days of missing work. I meet with my Lawyer Monday. This is a 100% winnable vase since Dr PHIL ran a stop sign and was in the wrong lane of traffic.' A spokesperson for Dr. News on Sunday that the talk show host 'talked with the gentleman at the time of the mishap and was assured by him that he was fine,' adding, 'If there are any outstanding questions from the LAPD, he will of course be glad to answer them and believes he was operating within the law.' On Sep 16, 2017 at 6:15pm PDT reported that the man was riding a skateboard when McGraw, who was driving a Mercedes, exited a parking lot, attempted to pass a van and struck him in the crosswalk. According to the outlet, cops said the talk show host exited his car, after which the pedestrian told him he was fine and they then shook hands and the McGraw left. Phil ran a stop sign and was in the wrong exiting lane while I was crossing in the cross walk, then shook my hand and took off, he never got out the car, checked too see if I was injured, didn't even ask for my name,' Bembury wrote on Instagram. 'Cops told me he needed to stay until cops came and that he should of called himself, and the fact a shuttle driver stopped for me and he passed the driver and I even shouted and stuck my [hand] out, him being oblivious to all this means he either was on his phone or just straight hit me knowing my obvious presence and didn't care, either way he broke traffic laws which resulted in him hitting me.'
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I didn't expect to like the music in this movie. I only watched it because it was directed by Allison Anders. Her 'Gas Food Lodging' and 'Mi Vida Loca' are among my all-time favorites. The title suggests a movie about Johnny Cash, whose music I never cared for. I've never had much interest in June Carter or Jewel either, but in this movie I absolutely loved Jewel singing as June Carter. And she was so beautiful! Watching her sing was as much a pleasure as hearing her. I don't know whether she resembled the real June Carter, but she looked like a superstar, which I guess June Carter was in her time. She was Elvis' girlfriend, and she married Cash when he was the biggest star in the music business. Even better was the group of actors singing as the Carter Family. I like the old Carter Family recordings, but the actors in this movie sound like a much better group from the same era, especially Michelle Kabashinski singing as Sara Carter. I'd love to have a CD of her singing old time songs in that style. I can only think of 3 or 4 movies whose music I enjoyed as much. The rest of the movie was sometimes enjoyable and sometimes tedious. Watch the video, get the download or listen to Johnny Cash – Ring of Fire for free. Ring of Fire appears on the album The Legend of Johnny Cash. 'Ring of Fire'. I'm sure I'll watch the music scenes again many times on DVD, but probably skipping past all the rest. You can also read the thoughts written below about this video. Individuals these days focus on themselves and value their existance and self significance all the more exceptionally, that`s why individuals look for regalement and i`m beyond any doubt this video assigned Searching for the Elephant 2009 trailer ~ 펜트하우스 코끼리, Pen-teu-ha-woo-seu Ko-kki-ri will completely make a profit XD! 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Each of the three main characters, childhood friends who are now in their thirties, is struggling with his own particular madness: a photographer battling manic-depression (Jang Hyuk), a sex-addicted plastic surgeon (Jo Dong Hyeok) and a financial trader with a mysterious past (Lee Sang Woo). One reason to watch this film is Jang Hyuk's nuanced and sensitive portrayal of a man with only a tenuous hold on life and reality. His flights to fantasy are given credence by the unexpectedly creative cinematography. In fact, technical coherence is the film's other strength, also evident in seamless jump-cuts through non-linear time phases and across different characters. In the end, I enjoyed the show for what it has to offer - after all, this uneven and quirky film does not seem to take itself seriously. The stylish boutique hotel LA PISCINE ART HOTEL with its impressive pool, gourmet restaurant and a fine wine bar, is located in the homonym capital of the island, close to the main street “Alexandros Papadiamantis” and is the flagship of the famous Greek hotel chain PHILIAN HOTELS. Modern, luxurious spaces, decorated with unique works of art, aspire to give a new, interesting dimension to “comfort”. The port, the airport and the most beautiful beaches of Skiathos are very close to the hotel. An innovative service from PHILIAN about private transfer serves directly every customer’s call. Jun 15, 2013 Even the scrooges will smile at 3 free months of ad-free music with YouTube Red. Directed by Jacques Deray. With Alain Delon, Romy Schneider, Maurice Ronet, Jane Birkin. Lovers Marianne and Jean-Paul spend their vacation in a villa on the French. Make a restaurant reservation at La Piscine in New York, NY. Select date, time, and party size to find a table. More La Piscine videos. La Piscine is located on the rooftop of Hotel Americano serving Coastal Mexican cuisine with sweeping views of New York City. Please contact the restaurant directly. Editor's Note: This article contains content about a real world serial killer that some readers may find disturbing or upsetting, including cannibalism, necrophilia, and incest. It includes details of a nature that may be especially upsetting to transsexual or transgender readers. You may think you've never heard of Ed Gein, but chances are you're more familiar with his gruesome legend than you know. That's because countless popular horror movies (including Silence of the Lambs, The Texas Chainsaw Massacre, House of 1000 Corpses, and Psycho to name just a few) drew their real-world inspiration from this twisted, mother-obsessed serial killer's deranged spree. Each captures only a sliver of the actual homicidal lunatic, a consumnate loner whose bone chilling depravity included grave robbing, mutilating corpses, necrophilia, torture, cannibalism, and the coldblooded murder of innocent victims. And, as if having sex with corpses and eating human organs wasn't grisly enough, he also enjoyed the disturbing hobby of sewing together dismembered body parts, as well as creating jewelry, clothing, furniture, and other household items from the preserved skin and bones of his victims. Edward Theodore 'Ed' Gein was born in La Crosse, Wisconsin in 1906, the son of an alcoholic father, George, and domineering, religiously overbearing mother, Augusta. Augusta openly despised Ed's father for his alcoholism and inability to keep gainful employment. A devout Lutheran, she feared the outside world's influence over her two sons, Ed and Henry, which lead her to sell the grocery store she owned and relocate them to an isolated 160 acre farm in nearby Plainfield. Ed and Henry spent most of their time doing chores and working the land, all the while absorbing their fanatic mother's religious rants about the dangers of sin, in particular the evils of drinking and women, whom Augusta believed were inclined to become prostitutes and sexual instruments of the devil intended to destroy her sons' natural virtues. In the afternoons she read to her boys from the Old Testament, picking the most shocking stories of murder and divine retribution. Edward was shy and strange but bright, drinking in all the theology his mother had to offer. Before long, tragedy struck the Gein family. Henry perished in a fire, and the loss of his oldest son caused George to withdraw and drink himself to death. Soon after Augusta suffered a paralyzing stroke. Ed responded by becoming ever more devoted to his twisted mother, fawning over her, fulfilling every need and whim as she grew more bitter and angry about the state of harlotry she perceived in local community women. Her constant ranting and excited state lead to a second stroke, causing her health to take a nose dive. Augusta died on December 29, 1945, at the age of 67. Ed was utterly devastated by the loss of his mother. He later admitted to author Harold Schechter, that he had 'lost his only friend and one true love. And he was absolutely alone in the world.' Left utterly destitute and heartbroken on the isolated farm, he survived off the meager farm subsidy he collected from the federal government and by doing odd jobs around town. He boarded up his mother's room, along with several others he associated with her, and kept them like a shrine while the rest of the house fell into absolute squalor. When he wasn't working he indulged his dark fantasies by reading about Nazi death camp experiments, South Seas headhunters, and other cannibals or by studying the female anatomy. It wasn't long before Gein began visiting local cemeteries late at night, where he'd dig up the corpses of newly buried, middle-aged women hoping they resembled his dearly departed mother. During later questioning Gein told investigators that he made 40 nocturnal visits to 3 local graveyards, taking remains of the bodies back to his home, where he tanned their skins to make his various gruesome designs. Like a child at play in a mud puddle, Gein took pleasure in mutilating the corpses, cutting off body parts, preserving some and fashioning others into objects like a belt made from human nipples, a corset made from a female torso skinned from shoulders to waist, skull soup bowls, and furniture upholstered with human skin. Gein also kept a shoebox of female genitalia in his closet, including his own mother's. From time to time he would stuff them into panties and wear them around the house as he grappled with his confusion about his sexual orientation. Meanwhile Gein began construction on a 'woman suit' made from the skinned corpses, stitching together a jumpsuit complete with breasts that he would wear around the house so that he could become his mother by crawling into her skin - or at least know what it felt like to be a woman. Watch Online Free Download Ed Gein: The Butcher of Plainfield movie. Inspired by the true story of one of the most gruesome killers in American. Our doors are open. UC freshmen come from all over California and throughout the world, from every culture and ethnicity and from across the economic spectrum. Every year, they arrive on our campuses nearly 40,000 strong — ready for challenge and discovery. So, who do we consider to be a prospective freshman? You're a freshman applicant if you're currently in high school or have graduated from high school, but not enrolled in a regular session at a college or university after high school graduation. While we recognize that each student is unique, with different strengths and life experiences, all prospective freshmen need to display academic rigor and meet the same minimum requirements to be considered for admission. Contents • • • • • • Plot [ ] Clark Kellogg () leaves his mother () and stepfather Dwight () in to go to (NYU) to study film. After arriving at, he is approached by Victor Ray (), who at first offers to carry Clark's bags, then offers a ride. As soon as Clark steps out of the car, Victor drives off with Clark's luggage still in the trunk. Clark tells his instructor at NYU, Professor Fleeber (), who uses books he has written as required study, about losing his belongings. Clark notices Victor walking by and gives chase. Victor vows to give his luggage back in return for a favor. Clark is introduced to Victor's uncle, Carmine Sabatini (). In a running gag, Clark mentions how much Carmine looks, sounds and acts like —though no one will tell Carmine this to his face. Victor explains that Brando's character in The Godfather,, was based on Carmine. Carmine offers Clark the opportunity to make a lot of money just for running small errands. The first is to pick up a from and transport it to a specific address. The Freshmen Lyrics: When I was young, I knew everything / And she, a punk who rarely ever took advice / Now I'm guilt-stricken, sobbin' with my head on the floor. Clark enlists the help of his roommate Steve Bushak () to pick up the animal and deliver it to Larry London () and his assistant, Edward (). Clark is also introduced to Carmine's daughter, Tina (), who takes an immediate shine to him. Tina talks as if the two are soon to be married. A distracted Clark tries to pay attention in Fleeber's film class (where the professor shows clips of ) but he is soon being chased by two agents of the. Freshman admission is a holistic and selective process, and no single criterion guarantees admission. Rather, we consider all the documentation you submit, and we carefully review your academic record and test scores to ensure you are prepared for the rigorous curriculum you will encounter at Florida State University. Directed by Fred C. Newmeyer, Sam Taylor. With Harold Lloyd, Jobyna Ralston, Brooks Benedict, James H. Nerdy college student will do anything to become. Upon being caught, Clark is told that Carmine—also known as 'Jimmy The Toucan'—is not only a figure, he runs the Fabulous Gourmet Club. It is an illicit and nomadic establishment, never holding its festivities in the same place twice, where for enormous prices animals are served as the main course, specially prepared by Larry London. Clark is told that 'for the privilege of eating the very last of a species', a million dollars is charged. Clark finds out that his activist stepfather listened in on a conversation with his mother. Right after Clark mentioned the Komodo dragon, Dwight contacted the Department of Justice. Carmine admits that the Gourmet Club exists, but tells Clark that the two DOJ agents are being bribed by a rival crime family that wants both Carmine and Clark dead. While driving to the Gourmet Club, a plan is hatched to get Carmine out of the exotic animal business for good and to clear Clark. At the Gourmet Club's dinner, longtime pageant host sings a version of 'There She Is' when the Komodo dragon is revealed. Clark steps outside to signal the DOJ agents, who raid the club. Carmine is upset that Clark has ratted him out. Carmine pulls a gun, the two wrestle and a shot fells Carmine. The two DOJ agents, who do indeed turn out to be corrupt, leave with a duffel bag filled with money, though they are soon caught by real agents and arrested. Clark berates his stepfather, who leaves. Carmine then gets up off the floor, having faked his death. Larry London reveals tonight's expensive and exotic dinner is actually Hawaiian tigerfish mixed with smoked turkey from Virginia, not endangered species (a long-running con of Carmine's, swindling the rich out of their money). Clark was hand-picked by Carmine, working with the FBI, because they knew Clark's stepfather would contact the corrupt agents once he found out about Clark's 'job'. Tina's aggressive interest in Clark was an act as well, but she and Clark now share a mutual attraction. Carmine and Clark take the Komodo dragon for a walk, Carmine promising it will be taken safely to a new habitat at the zoo. He offers to help Clark make it in, having a few connections there. Clark says, 'Thanks, but no thanks.' Cast [ ] • as Carmine Sabatini • as Clark Kellogg • as Victor Ray • as Tina Sabatini • as Steve Bushak • as Chuck Greenwald • as Arthur Fleeber • as Lloyd Simpson • as Dwight Armstrong • as Liz Armstrong • as Edward • as Larry London Production [ ] Bergman says 'the most fun I ever had' as a filmmaker 'was once Marlon [Brando] committed to play the character Jimmy the Toucan. Rewriting that, knowing Marlon was going to be saying all those lines? It was absolutely heaven. On one level you’re like, I’m going to direct this guy!? But at the end of the day you say, well, somebody’s got to direct him, so what the hell, it’s going to be me. And he was really a pleasure to work with. It’s not like you’re dealing with George Burns in terms of a comedy god. Getting Marlon to do things was sometimes like turning around an aircraft carrier because he had a way he wanted to do it. But you could get him there. He was terribly respectful and funny.' Bergman says Matthew Broderick 'was very hot at the time. He was impossible to get—he was like the hottest thing going!' But he agreed to do the film because of Brando. 'Once Marlon was in the picture, you could get any actor you want. Olivier wanted to be in the movie [instead of Max Schell] but he was too sick.” Reception [ ] The film was well received, with describing it in The New York Times as 'witty and enchanted'. In his original review, Roger Ebert wrote, 'There have been a lot of movies where stars have repeated the triumphs of their parts—but has any star ever done it more triumphantly than Marlon Brando does in The Freshman?' Also praised Brando's performance as Sabatini and noted, 'Marlon Brando's sublime comedy performance elevates The Freshman from screwball comedy to a quirky niche in film history.' On the review aggregate website, The Freshman has a 93% 'Certified Fresh' with 'Average Rating' of 7.5/10 based on 43 reviews. The consensus is 'Buoyed by the charm of Matthew Broderick in the title role and Marlon Brando as a caricature of his Godfather persona, The Freshman benefits from solid casting, a clever premise, and sweet humor.' Recognition: • - Nominated References [ ]. A treatment for the painful symptoms of menopause, including challenges with intimacy. Visitors to the Louvre Museum in Paris inevitably make their way up the stairs to the gallery where one of the most famous paintings in western art hangs: the Mona Lisa. People over the centuries have delighted in the woman's coy smile. In this Science Update, you'll hear what the Mona Lisa's been hiding all these years. Transcript Hiding a smile in the shadows. I'm Bob Hirshon and this is Science Update. Leonardo da Vinci's famous painting has inspired romantic songs and art lovers the world over, who become captivated by the Mona Lisa's enigmatic smile. The portrait also intrigued Margaret Livingstone, a neurobiologist at Harvard Medical School who studies the human visual system. When she looked at the painting a few years ago, Livingstone noticed the Mona Lisa's changing expression. Livingstone: It was very clear to me that when I looked at her mouth, she wasn't smiling as much as when I looked at her eyes. Aug 21, 2015. British academics have discovered the secret behind the smile of the 'Mona Lisa' by studying a recently discovered portrait by Leonardo da Vinci. Glossy entertainment value but far from art. Read Common Sense Media's Mona Lisa Smile review, age rating, and parents guide. Later, she realized what was happening. Livingstone says our peripheral vision sees blurry images while our central vision sees fine detail. When Livingstone blurred the face with a filter, the Mona Lisa looked as if she were smiling cheerfully. But homing in on the fine detail gave her a more demure expression. So Livingstone says that in his painting, da Vinci achieved an unusual effect: the Mona Lisa's smile changes depending on where you look. For the American Association for the Advancement of Science, I'm Bob Hirshon. Making Sense of the Research Artists make a career out of manipulating our perception. Usually, the manipulation is on an emotional and psychological level. But often, artists manipulate what we see in strictly physical ways as well: for example, by carefully creating the illusion of 3-D perspective on a flat surface. And as this study shows, artists can sometimes manipulate our perception in ways that even they aren't aware of. Leonardo da Vinci had a great scientific mind, but even he couldn't have known the real secret behind the Mona Lisa's smile. The proper understanding of the human visual system was still centuries away. Still, he knew that he pulled some kind of neat trick; the painting was one of his personal favorites and he gave it to the king of France as a gift. Livingstone's research is based on differences in spatial frequency perception within the eye. Spatial frequency is basically a measure of how detailed an image is. A good example of spatial frequency is right on your computer. Images on a computer screen are made up of pixels (tiny dots of colored light). Pictures with higher spatial frequency (in other words, more pixels crammed into every square inch) are sharper and more detailed than pictures with lower spatial frequency. The tricky concept here is that different parts of your eye are actually 'tuned in' to different spatial frequencies. Anything you look at has both high and low spatial frequency patterns, layered on top of each other—and what you see depends on how you look at it. To get a sense of this, pick an object in the room, like a picture. Look at it out of the corner of your eye. It's kind of blurry, right? Now look straight at it. It snaps into focus. That's because you can see high spatial frequencies (fine details) with your central vision, but not low spatial frequencies (broad, blurry patterns). The opposite is true of your peripheral vision (the stuff outside the center of your gaze). The secret behind the Mona Lisa is that the 'happy' part of her smile is actually buried in a low spatial frequency pattern. So if you're not looking directly at her mouth, her smile looks cheerful. But when you look directly at her smile, parts of it disappear into the background. As a result, you're never quite sure if she's smiling or not. If this is hard to understand, another kind of art might help. Find a painting that uses a lot of little dots or brushstrokes to make the picture (anything by Claude Monet or George Seurat would work). The picture is actually clearer if you stand back or look at it a little off-center. If you stare straight at it up close, it breaks down into too much detail, and it's harder to recognize what you're looking. That's what happens when you look at low spatial frequencies through a high-frequency filter (your central vision). Livingstone actually thinks that our perception of real-life smiles might be affected in a similar way. She says that the detailed expressions created by our facial muscles are actually blurred by the fat under our skin. So the best way to figure out what someone's feeling may not be to look right at them, but instead to look slightly away. Now try and answer these questions: • What is spatial frequency? What role does it play in our vision? • How does our perception of spatial frequency affect our perception of the Mona Lisa? • Can you think of other things in real life that are easier seen from a distance, or from an off-center view, then from a closer look? • What other techniques might artists use to affect the way we perceive things? The soundtrack to Mike Newell's Mona Lisa Smile, a Dead Poets' Society-like film set at a women's college in the '50s, features a wide array of contemporary artists covering standards from that decade. The soundtrack takes the utmost care to sound like an artifact from the early '50s, which is refreshing and frustrating in equal measure. 's 'Mona Lisa' and 's 'Santa Baby' come so close to sounding like the versions popularized by and, respectively, that it almost seems pointless to have recorded the new renditions in the first place. Yet these songs are better than ' overly theatrical readings of 'You Belong to Me' and 'Murder He Says,' which go beyond amusingly quirky to annoyingly quirky. Likewise, 's 'Istanbul (Not Constantinople)' and 'Sh Boom,' as well as 's 'The Heart of Every Girl' (the album's only original song) are a little too cutesy for their own good. 's best moments come from performers who don't try to emulate icons from the past or treat the songs like jokes: 's 'Besame Mucho' is just as swoony as the versions that made it a standard during the '50s, but doesn't imitate any particular rendition; similarly, 's 'I'm Beginning to See the Light' is playfully flirty enough to sound like it could've been a hit in that era without trying too hard to emulate the styles of the time. 's 'Bewitched' may be the album's single best track, a lovely fusion of her own style and the vocal pop stylings of the film's era. 's sister diva doesn't fare quite as well with her version of 'Smile'; her voice sounds as good as ever, but the song's languid pacing and the gooey strings make it sound syrupy instead of affecting. Even though the soundtrack is occasionally contrived, still has enough charming moments to appeal to fans of the film as well as fans of the artists on the soundtrack. Restraints can be built from or, despite the game asking for a chain, using the keys b + v. They can be used to tie up guard non-, prisoners, criminals or livestock. A restraint is (technically) a 1-tile large, a chain or rope which is used to restrain a, or other to a certain very limited area of movement. Unlike a, a restraint can only hold one creature, and the creature can move within a range of one tile from the location of the restraint itself, including up and down if or slopes are in this area. This gives them, at most, a 3x3x3 cube of movement, limited as normal by, etc. Restraints do not block movement, including movement of. Restraint - Translation to Spanish, pronunciation, and forum discussions. While an animal is assigned to it the same as with a cage, using the q menu, dwarves can and will only be assigned from within the justice system. Restraints can be used to keep a war dog or other animal near areas where you need constant vigilance and defense. Chained animals placed near the entrance to your fort will spot thieves that can bypass and other passive defenses, pausing the game and their presence. A pair of animals, placed opposite each other against the walls of a 3-wide corridor (so they cannot have more than 1 tile between them), are guaranteed to spot any that tries to enter, and (if combative) will similarly engage any hostile creature. But assigning a pasture for the guard animal is more resource efficient way to guard specific areas. This also allows the animal to walk away on its own if there ever is an alert that forces everybody to a certain area. Restraints can also be useful in the, since animals on restraints can, unlike animals in cages. Chained animals are also available for (when the appropriate has been designated around the chain). This can be particularly important for dangerous creatures that are only partially. Restraints are also very useful in weaponizing otherwise untrainable creatures that you've managed to capture in a cage trap. Hostile creatures on restraints will no longer be aggressive to dwarves, which means,, and even can be chained up where a guard is needed as these will still draw aggression from invaders and, and will fight back when possible (within range of being restrained). Beware though, as forgotten beasts with special attacks like deadly dust may still use it liberally even if chained, and this can be harmful to dwarves. Currently, due to a bug, a restrained animal will keep the restraint on their upper body if it's deconstructed while the animal is still restrained. This can be used to 'equip' your beasts with decorations, such as spiked chain collars or lavish ropes, but has no in-game effect. If a creature falls down from a ledge while restrained, it will not be left hanging. Instead, it will be released from the restraint and keep falling. [] Bugs • Animals assigned to a restraint are not automatically de-assigned from a, leaving your dwarves to drag the animal back and forth repeatedly.: • Wild animals assigned to a restraint may be immediately re-caged by another dwarf. • Quick fix for both of these issues is to pause, unassign them from their pasture/cage and reassign them to their new restraint/cage, you will have to build a cage first before being able to unassign a cage. • • • • • • • • • Restraint • • • • • Access • • • • • • • • • • & • • • • • • • • Other Buildings • • • • • Related Articles • •. Welcome to the Restraint Reduction Network TM Many people who need the support of education, health or social care services are subject to coercive or restrictive practices. Despite a lack of evidence that these practices achieve positive outcomes for service users or staff, their use remains a reality. There is widespread concern that such approaches are not always used as a last resort, are misused or abused, and represent a potential breach of human rights—particularly when used with individuals who are unable to speak out about their experiences. Even when coercive or restrictive approaches are used as an appropriate response to maintain safety, it is accepted that the potential negative outcomes, including physical and psychosocial trauma, can lead to fragmented therapeutic relationships and inequalities of care and support. The Restraint Reduction Network TM (RRN) is an independent network which brings together committed organisations providing education, health and social care services for people who may challenge. The network has an ambitious vision to deliver restraint-free care and support and make a real difference in the lives of people who use services. Join the Network and pledge your support. These example sentences are selected automatically from various online news sources to reflect current usage of the word 'piggy.' Views expressed in the examples do. Two weeks ago, a 5-year-old girl named Sunshine Oelfke of Ishpeming, Michigan, emptied out her piggy bank onto the living room floor and immediately started 'counting.' Her grandmother, Jackie Oelfke, thought she was playing as she carefully lined up stacks of nickels, pennies and dimes — but then she saw the girl stuff the coins and crinkled bills into a plastic bag and place it in the front pouch of her backpack. 'That piqued my curiosity,' Oelfke told CBS News. 'Nobody messes with the piggy bank.' After observing Sunshine at work a few minutes longer, Oelfke decided she needed to find out why the little girl decided to break into her savings. 'What are you doing with that money?' Oelfke asked her granddaughter. 'I'm taking it to school,' Sunshine replied. The little girl finally spilled the real reason why she needed the money. 'I'm going to take it for milk money. I'm taking it for my friend Layla,' she explained. 'She doesn't get milk — her mom doesn't have milk money and I do.' Jackie Oelfke Oelfke's heart sank and melted at the same time. The 5-year-old was raised in a non-traditional household, Oelfke explained. Her mom is a drug addict and has been in and out of prison. 'She's going to have enough issues growing up with this,' Oelfke said. 'I've never told her she can't do something, and I didn't want to start now.' Last week, Oelfke and Sunshine met with her teacher, Rita Hausher, at Birchview Elementary School and handed her the $30 the kindergartner had saved. There are 20 kids in Sunshine's class and about half don't get milk. It costs $0.45 a carton. The total adds up to about $180 a month for every child in the class to have milk every day during snack time. 'Milk is important in our family, so it's very important for Sunshine's friends to have milk with her,' Oelfke said. After dropping Sunshine off at school, Oelfke posted a tearful on Facebook to explain her granddaughter's mission. The video was viewed more than 1,500 times. To her surprise, dozens of people offered to donate toward the cause. Oelfke started a, hoping to raise $700 to cover the cost of milk for the entire semester. Within a week, Oelfke raised more than $1,000. Now every student in Sunshine's class will have the option to get free milk for the rest of the year. My whole class got milk today,' Sunshine proudly told her grandma on Thursday. 'Layla now has milk money.' Oelfke said Sunshine doesn't see her kind act as a big deal. She was just trying to look out for her friends. 'She doesn't understand the impact she's made,' Oelfke said. 'But now she knows she can do whatever she puts her mind to.' If you watched the Sunday shows over the weekend you’d have discovered that the new term of art in the ObamaCare debate is “freeloaders.” From a TPM story. The Free Loaders is Dallas’ best blues/jazz band, great for parties or events where you want a truly unique band that does music from 1900 to 2015. All in the vein of jazz/blues/swing/fun. Led by gravelled voice crooner John Jay Myers, the band can morph from 3 members to up to 8 members depending on your needs and budget. They can also play 3 hours of music as if they were a “lounge” act or 3 hours of music geared for a party. Freeloaders is an American ensemble comedy film directed by Dan Rosen and written by Rosen and singer Dave Gibbs. The film is produced by the Broken Lizard comedy. The Free Loaders - Dallas jazz band led by graveled voice crooner John Jay Myers with 3 to 8 members that can play as a lounge act or geared for a party. Or a nice blend of either. Our most common line up is as a 6 piece which includes 2 singers, drums, guitar, keyboards, bass, and two horns. I t’s official: 2009 was the worst year for the record labels in a decade. So was 2008, and before that 2007 and 2006. In fact, industry revenues have been declining for the past 10 years. Digital sales are growing, but not as fast as traditional sales are falling. Maybe that’s because illegal downloads are so easy. People have been pirating intellectual property for centuries, but it used to be a time-consuming way to generate markedly inferior copies. These days, high-quality copies are effortless. According to the Pew Internet project, people use file-sharing software more often than they do iTunes and other legal shops. I’d like to believe, as many of my friends seem to, that this practice won’t do much harm. But even as I’ve heard over the past decade that things weren’t that bad, that the music industry was moving to a new, better business model, each year’s numbers have been worse. Maybe it’s time to admit that we may never find a way to reconcile consumers who want free entertainment with creators who want to get paid. Reflecting on this problem, the computational neuroscientist recently noted that although we have strong instinctive feelings about ownership, intellectual property doesn’t always fit into that framework. The harm done by individual acts of piracy is too small and too abstract. “The nature of intellectual property,” he wrote, “makes it hard to maintain the social and empathic constraints that keep us from taking each other’s things.” In other words, we kept to our rules about IP as long as it was attached to a physical object: a book, a CD, a videotape. Now that it consists of endlessly replicable electrons, we are ethically unmoored. Younger generations expect music and now video to be free—and when it isn’t, they feel entitled to take it anyway. College students see no problem with downloading music without paying for it—an attitude even more prevalent among younger students. Pew’s surveys indicate that 75 percent of respondents aged 12 to 17 agree that “file-sharing is so easy to do, it’s unrealistic to expect people not to do it.” They are Generation Free, and they just might kill the goose that lays the golden egg. Optimists argue that the music industry has coped before with disruptive new technology. Until recordings came along, songs, not singers, were Big Business. So while copyright law allocated royalties for performances, it said nothing about what happened when you recorded those performances and sold thousands of copies of the recording. Only after protracted legal maneuvering did we work out an arrangement that allowed both businesses to thrive. Can we do it again? Can the market evolve fast enough to keep up with the expectations, and predations, of Generation Free? Even if the music industry manages, what about all the other businesses that depend on intellectual property—including (gulp) my own? In 2007, Radiohead famously allowed their extremely loyal fan base to download their new album,, on a pay-what-you-like scheme. Sixty-two percent of those who did so liked to pay nothing. The rest paid an average of just $6 apiece. And more fans downloaded the album from file-sharing services than from the band’s Web site. Pish-tosh, say the optimists; Radiohead made money, didn’t they? The optimists offer alternative explications for the sorry state of the recording business: it’s a cyclical downturn, plus all the music from the big labels just happens to suck right now, and anyway MP3s are becoming loss leaders for concerts. True, collectors switching from cassette and vinyl to CD swelled the music industry’s coffers in the 1980s and ’90s, so the eventual softening of sales is hardly surprising. The concert industry is indeed booming despite the downturn. And people who admit to downloading music illegally may actually spend more money on recorded music than people who don’t. One assumes they plump up concert revenues as well. Yet even if die-hard music buffs spend more on albums than the guy who buys one box set a year, they’re still buying less than they used to. Moreover, spending less on recorded music doesn’t necessarily mean you spend more on shows; the savings could just as easily go toward beer. And even avid music lovers in urban areas can see only a few shows a week. To raise revenue, you have to get new customers in the door or raise ticket prices. Concert-promotion mogul Michael Rapino has said that just 2 percent of Americans attend more than a couple of concerts a year, which leaves plenty of room to increase attendance, but also suggests that most people don’t particularly care for live music. It’s far from clear that free MP3s increase the number of concertgoers, instead of just changing the mix of shows they attend. Higher ticket prices are already a fact—but not necessarily for the ordinary bands that grind their way through small and medium-size venues. In 1990, when I first started going to see live music, you paid $5 for a new act, $10 for solid performers, and $15 to $20 for hot favorites. Adjusted for inflation, that’s about what I still pay. Tickets to major shows can cost hundreds. But that doesn’t promise much for the future of music. Here are the top 10 touring acts of 2009, according to Pollstar: U2, Bruce Springsteen, Elton John and Billy Joel, Britney Spears, AC/DC, Kenny Chesney, the Jonas Brothers, the Dave Matthews Band, Fleetwood Mac, and Metallica. For most of the demographic that attends these shows, sex, drugs, and rock and roll now means putting on a Beatles album and popping some Viagra—or asking Mom for permission to see an R-rated movie. All that these blockbuster concert revenues really tell us is that Baby Boomers have credit cards and their children have access to them. To be sure, today’s 20-something file-sharer may someday pay $200 to watch rock the Astrodome. Or maybe not; the Internet tends to fragment audiences. Generation X, of which I am a member, was probably the last to grow up with the Top 40 and only a few TV stations—and the kind of common taste that this structure instilled. The bounty of the World Wide Web encourages niche interests. If you look at the Recording Industry Association of America’s top albums, only two of the acts who debuted this decade have sold 10 million albums, and one of them was Norah Jones, who has deep fogy appeal. This fragmentation has been good news for performers like, who makes a decent living selling quirky songs and related merchandise on his Web site. But the broader music industry, like other entertainment fields, has always worked on a tournament model: a lot of starving artists hoping to be among the few who make it big. What happens to the supply of willing musicians when the prize is an endless slog through medium-size concerts at $25 a head? Moreover, whatever the sins of the big labels, they invest heavily in finding, promoting, and recording new music. Thom Yorke, Radiohead’s lead singer, has said that their experiment wouldn’t have worked as well as it did if they hadn’t already been through “the whole mill” of the old system. People tend to underestimate the extent to which the old industry supports things like concert attendance. These problems will even more deeply afflict the other industries that depend on IP. A smaller, more amateur music business is possible, if not optimal. But I doubt that YouTube can substitute for Hollywood in a world where “cheap” indie films can cost millions. Children’s films might be made at a loss to sell action figures—but how do you finance? With a co-branded line of frozen cannoli? As for the publishing industry, a year is a long stretch to spend typing without some prospect of financial return. Time was when authors could make money from sidelines such as public speaking; Mark Twain pulled himself out of bankruptcy by going on the lecture circuit. But Twain wasn’t competing with home-theater systems. Some journalists manage to make big money from corporate speaking fees, but that’s not an option for novelists or poets. We have yet to figure out how to make IP work in the new era. Even if we don’t, people will still make pictures, sing songs, and write stories—just not as frequently, or as lavishly. But even if we do, file-sharing will probably alter the form of the works we do create. The popular arts may come to look more like the rest of the Internet: many labors of love produced quickly and cheaply in spare moments, and a few high-end productions that can be monetized. Forms are already changing. The movie industry is moving into 3-D, which is harder to reproduce at home. Studios are also relying more on blockbuster movies that maximize the theater experience—and the revenues they earn from toys and comic books. When the printing press was invented, many monks mourned the decline of vellum and the loss of the illuminator’s art. They were right, of course—but they were even more wrong. Maybe something better is coming, even as the transition racks the nerves of writers and artists. As the old joke goes, we may be losing something on every unit—but perhaps we’ll make it up in volume. I’ve never met or interviewed Donald Trump, though like most of the world I feel amply exposed to his outlooks and styles of expression. So I can’t say whether, in person, he somehow conveys the edge, the sparkle, the ability to connect, the layers of meaning that we usually associate with both emotional and analytical intelligence. But I have had the chance over the years to meet and interview a large sampling of people whom the world views the way Trump views himself. That is, according to this morning’s dispatches, as “like, really smart,” and “genius.” In current circumstances it’s relevant to mention what I’ve learned this way.Actually, throughout my life, my two greatest assets have been mental stability and being, like, really smart. Crooked Hillary Clinton also played these cards very hard and, as everyone knows, went down in flames. I went from VERY successful businessman, to top T.V. Trump (@realDonaldTrump). There was nothing more President Trump could have done to more clearly illustrate the vexing politics of the immigration debate or the often maddening way he manages Congress than the remarkable public meeting he held with lawmakers at the White House on Tuesday. The president convened a bipartisan group of more than two dozen members of the House and Senate in the Roosevelt Room to discuss —the Obama-era protections for 700,000 young immigrants that Trump has said will end in March without congressional action. PARIS —Has #MeToo gone #TooFar? Catherine Deneuve thinks so. On Tuesday, the actress and 99 other notable French women from the arts, medicine and business published calling out what they dubbed a “puritanical” wave of resignations and a group-think—largely in the United States and Britain, since no heads have rolled in France—that they said infantilized women and denied them their sexual power. “As women, we do not recognize ourselves in this feminism, which goes beyond denouncing abuse of power and has turned into a hatred of men and of sexuality,” they wrote. “Rape is a crime, but trying to seduce someone, even awkwardly, is not. Nor is being gallant a macho aggression.” They continued: “It is the nature of puritanism to borrow, in the name of the supposed collective good, the arguments of the protection of women and of their emancipation to better chain them to their status as eternal victims; poor little things under the control demonic phallocrats, like in the good old days of witchcraft.”. The women of the 2018 Golden Globes collectively () wore black. On the red carpet, many of them brought as their dates not husbands and partners, but activists for gender and racial equality. They talked about endemic sexual harassment in America and a sea change sparked by industry-shattering stories from The New York Times and The New Yorker about the abuse perpetrated for decades by Harvey Weinstein. The men of the Golden Globes wore (some of them) Time’s Up pins. On the red carpet, they were asked less about Weinstein and #MeToo than about their work. They when the actress Natalie Portman emphasized the “all-male” directing nominees in film. Accepting their awards, they thanked their mothers, their wives (in their wives and their girlfriends), their agents, the nation of Italy for its great food. The composer Alexandre Desplat observed that this award was a different color to the previous one he’d claimed. But, facing a sea of women wearing black, not one of the dozen-plus men who received an award seemed compelled to note that anything about the night was different. For the men of the Golden Globes—with the exception of the host, Seth Meyers, who delivered a series of jokes skewering Weinstein—it was business as usual. McMaster so alarmed by North Korea? Why does Donald Trump’s national-security adviser —more vigorously than any administration official except the president himself—that Kim Jong Un must be denied the capability to place a nuclear warhead on a missile that can reach the United States, even if this requires initiating a military conflict with the North that into a cataclysmic war? While Secretary of State Rex Tillerson and Secretary of Defense James Mattis are focused on diplomatic efforts to curb North Korea’s nuclear program, McMaster “is arguing more vocally, publicly and privately, that military options need to be considered,” The Wall Street Journal on Tuesday. The Trump administration, it reported, is debating whether to give Kim a “bloody nose” by conducting limited strikes against North Korean targets in retaliation for further nuclear or missile tests. In the spirit of, I’d like to propose another health-oriented month of the year. Perhaps called Crunch-uary or Poop-tober, it would be 30 days in which Americans, for once, eat enough dietary fiber. Currently, Americans only eat about —the parts of plants that can’t be digested—per day. That’s way less than the that’s recommended. There are so many reasons why, from fast-food marketing to agriculture subsidies, but one contributing factor is the, and the rise of the restaurant meal. Americans now spend more on food at restaurants than they do at, but restaurant food tends to have than the food we at home. After falling out with President Trump over comments he made to the journalist Michael Wolff, Steve Bannon is leaving Breitbart News. The news was originally reported by The New York Times. Breitbart London editor Raheem Kassam, a close ally of Bannon’s, confirmed Bannon’s departure in a text message on Tuesday. Blackbirds, it turns out, aren’t actually all that black. Their feathers absorb most of the visible light that hits them, but still reflect between 3 and 5 percent of it. For really black plumage, you need to travel to Papua New Guinea and track down the birds of paradise. Although these birds are best known for their gaudy, kaleidoscopic colors, some species also have profoundly black feathers. The feathers ruthlessly swallow light and, with it, all hints of edge or contour. They make body parts seem less like parts of an actual animal and more like gaping voids in reality. They’re blacker than black.. By analyzing museum specimens,, from Harvard University, exactly how the birds achieving such deep blacks. It’s all in their feathers’ microscopic structure. We’re nearly a full year into the Trump presidency. Steve Bannon has been removed from the NSC Principals’ committee, and then purged from the Trump circle. Stocks are up, taxes are down—at least for most people, at least for now. The ATMs continue to dispense cash; there has been no nuclear war. Factor in that a complete interloper, an unreliable rule-breaker, has just vaulted into spectacular prominence with a mega-selling new book crammed with salacious warnings that the president is succumbing to the first stages of dementia. All in all, it’s the perfect time for a round of thoughtful conservative punditry boldly to challenge conventional wisdom and proclaim that the Trump presidency, like the old joke about Wagner’s music, isn’t nearly as bad as it sounds. O ne day last summer, around noon, I called Athena, a 13-year-old who lives in Houston, Texas. She answered her phone—she’s had an iPhone since she was 11—sounding as if she’d just woken up. We chatted about her favorite songs and TV shows, and I asked her what she likes to do with her friends. “We go to the mall,” she said. “Do your parents drop you off?,” I asked, recalling my own middle-school days, in the 1980s, when I’d enjoy a few parent-free hours shopping with my friends. “No—I go with my family,” she replied. “We’ll go with my mom and brothers and walk a little behind them. I just have to tell my mom where we’re going. I have to check in every hour or every 30 minutes.” Those mall trips are infrequent—about once a month. More often, Athena and her friends spend time together on their phones, unchaperoned. Unlike the teens of my generation, who might have spent an evening tying up the family landline with gossip, they talk on Snapchat, the smartphone app that allows users to send pictures and videos that quickly disappear. They make sure to keep up their Snapstreaks, which show how many days in a row they have Snapchatted with each other. Sometimes they save screenshots of particularly ridiculous pictures of friends. “It’s good blackmail,” Athena said. (Because she’s a minor, I’m not using her real name.) She told me she’d spent most of the summer hanging out alone in her room with her phone. That’s just the way her generation is, she said. “We didn’t have a choice to know any life without iPads or iPhones. I think we like our phones more than we like actual people.”. |
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