My favorite line of his comes when he's talking to the racist Fire Chief, when he tells him, "That library over there is worth millions and people keep telling me you're a piece of slime." Despite being 81 and wheelchair bound, the crusty old timer proves he still had it in him to deliver a solid performance. Cagney, on the other hand, more than justifies his casting. The inclusion of Pat O'Brien and Donald O'Conner is nice, but their parts are really just glorified cameos. The younger cast led by Elizabeth McGovern and Howard E. You certainly can't blame the cast for any of the movie's flaws. The scene between him and Coalhouse in the library is one of the tensest in the film. Father is clearly uncomfortable being involved with Coalhouse, particularly after he goes on his vengeance fueled rampage, and yet he tries to help him anyway. His involvement with the unnamed middle-class white family is one of the more intriguing angles of the film. The story of Coalhouse Walker and his journey from being an up and coming musician who ends up a terrorist holed up in the NYC Library is the real story of this movie. His character is interesting, but given such limited screentime that he's never fully explored and might as well have been left on the cutting room floor. Likewise, Mandy Patinkin could have been removed without disruption. Sure, she meets two characters involved with the other storylines, but you could lift her from the movie and you'd still have a complete film with just a small amount of editing. Evelyn is mostly absent from the latter half of the film. I quite enjoyed this portion of the movie, but it has very little to do with the rest of the movie. Dubbed "The Trial of the Century" at the time, it was the scandal of the year. Much of the first portion of the film centers on Elizabeth McGovern playing real life "chorus girl" Evelyn Nesbit and the trial of her husband for the murder of one of her ex-lovers. Maybe Robert Altman, who was originally slated to direct this movie, could have pulled off the multi-story arcs with more grace, but here they just seem piled on top of each other, without smooth enough connections. Amazingly, several storylines were slimmed down from the book while others were removed completely and there's still too many for just one movie, despite it's 2 hour and 20 minute running time.ĭirector Milos Forman and writer Michael Weller simply try to cram too many stories into one film. Doctorow novel, seems to be crying out for the miniseries treatment and there's certainly enough characters and storylines to warrant one. I bring this up because this movie, released in 1981 and based on the sprawling E.L. Roots, Centennial, Shogun and others were all released during that period. The 1970s and early 80s was a golden time for the historical television mini-series. I'm happy to say that both movies hold up very well today and may, in fact, have improved with age.Įlizabeth McGovern and Donald O'Connor in Ragtime. Of all the movies I saw during my adolescence, this one and Apocalypse Now stand out the most clearly in my memory. It is paced rather slow but it so richly unfolds. This movie is beautiful down to the smallest detail. Mandy Patinkin also adds much color as a poor but ambitious Jewish entrepreneur. Donald O'Connor is wonderful as a song and dance Vaudevillian of the era. There are many different characters and the time period is painstakingly recreated. This is an epic though so much more is going on than just that. Things just keep on escalating in a battle of wills and eventually the entire police force is involved. Coalhouse Walker, a black man, is humiliated by some volunteer firemen, who are jealous of seeing him drive around well-dressed in a nice new automobile. One of the families is white the other is black. Set exactly one hundred years ago in 1906 Ragtime is mostly about two families that come together and affect each other. Jackson and even silent film star Bessie Love. Rollins Jr., Debbie Allen, Pat O'Brien, Donald O'Connor, Jeff Daniels, Fran Drescher, Samuel L. Cagney) Elizabeth McGovern, Mandy Patinkin, Mary Steenburgen, Howard E. It also boasts an amazing cast that includes (besides Mr. Doctorow, directed by Milos Forman and produced by Dino De Laurentiis this movie has quite a pedigree. As a huge fan of James Cagney's, Ragtime was the one that I remember most anticipating. In Ragtime, On Golden Pond, Ghost Story and S.O.B respectively. James Cagney, Henry Fonda, Fred Astaire and William Holden all made their last theatrical film appearances that year. In 1981 there seemed to be a last hurrah for several classic era male stars. James Cagney made his last film appearance in Ragtime.
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I have to say I’ve wanted to buy one of her works but each time without fail they sell within minutes of the shows openings ! Ah someday … -P Her gallery work can been seen at the Japanese store, FEWMANY, a group exhibition at POPBOX, and various Design Festa shows in Japan. Konatsu has published several picture books such as ‘PORTER’, ‘CAROL’, and ‘HIDAMARI-ASOBI (play in a sunny spot)’. The following interview was conducted via email and once again thank you to my buddy, Yo Miyamoto for his translations and support of this project ! “One story for one character” is the main concept of Konatsu’ work. Thank you for taking the time to answer these questions. Q1: Can you tell me what kind of artwork you do ?Īnswer: I draw arts that can be popular with men and women of all ages. Q2: As a child, were you always interested in Art ?Īnswer: Art is the only thing I have been interested in ever since from my childhood.Īnswer: I was attending a school of graphic design. Q4: What kind of toys did you play with when you were growing up ? Any Kaiju ?!!Īnswer: I played with my favorite Kaiju sofubi and collected some dinosaur cards. I hope on one of my trips to Japan I can watch Konatsu paint in person ! Amazing ! Q5: Any last words you would like to say to the readers of this blog ?Īnswer: I do appreciate your support for my works! This awesome image of Kaiju Drazoran will be part of the Beauty and the Kaiju art show at Design Festa, West, Harajuku, Tokyo, Japan – Dec 22nd, 23rd & 24th, 2010. I will post more interviews with the Women in the Beauty and the Kaiju project, so keep checking back !!!! Īnd in February 2011, the project moves to Rotofugi in Chicago, with an added bonus we will reveal very soon ?Īnd, for 2011, look for a special project collab between Max Toys and Konatsu ! Giclee prints, signed by Konatsu will be available at the show.Īfter the show, I will make them available for sale via my web store. Over the years Mark Nagata has collected thousands of toys and a fair amount of titles. The man behind San Francisco-based Max Toy Company is widely known as: Toy Collector. But the one description that might fit best is an unofficial one – Kaiju Toy and Art Ambassador. In the Japanese-inspired art and toy area, as well as throughout the larger toy collecting community, Mark is welcomed and recognized for his personal passion and commitment to supporting artists all around the world and the unique works they create. Beginning as a collector in his youth, Mark has had for years a keen eye for great art and a personal interest in collecting that he has spread through a variety of outlets. Trained at the Academy of Art College in San Francisco, Mark honed his skills working for himself and for some of the most notable businesses in the country. As a freelance commercial illustrator, he completed works for such prominent companies as Lucasfilms, DC Comics, Hasbro Toys, IBM, Sony, and numerous advertising and design firms, both national and international. Mark’s colorful style graces over 40 cover paintings for R.L. Stine’s Goosebumps book series – Give Yourself Goosebumps.Īfter hundreds of assignments, Mark made the decision to move in another direction, and that choice has led to whole new career as a successful businessman. For four years, the owner of one of the largest Ultraman toy collections in the world co-published Super 7 Magazine showcasing the finest in Japanese toy collecting. Using these products regularly and making an easy chicken bone broth has made a noticeable difference to my health, to the point that I forget I have this long term weakness in my arms. I know the term “game changer" is overused but that’s exactly what it these have been for me. The two are quite similar, collagen is just broken down a bit more and is probably more of a flexible ingredient than gelatin. So, a lot of my colleagues and clients have probably guessed that I’m referring to gelatin and also collagen. A Paleo style diet, or something similar, is anti-inflammatory and nutrient dense - perfect for an inflammatory condition like bursitis. And I found that by eating a certain way, I could avoid these painful and annoying injuries. I live by the idea that the least restrictive diet possible that’s also health-promoting is really important for sustainability and mental health. I don’t eat strict Paleo anymore because I personally don’t need to, though it did really help me get on top of some autoimmune issues. I was constantly getting re-injured by lifting even semi-heavy things.Ĭut to a few years ago and I got involved in the Paleo diet pretty heavily. The initial injury was caused by lifting heavy boxes during a house move and I just never recovered. It was very hard for me to lift my arms above my head without pain. Do you use collagen or gelatin regularly?įirst a little back story.for years I had painful bursitis in my upper arms and what felt like really weak tendons.Important things to know about collagen and gelatin.Why an imbalance of amino acids is a problem.Health benefits of gelatin and collagen.These are the various collagen and gelatin products I use regularly Jump to: In this post, I'm going to explain what collagen and gelatin are, the health benefits, easy ways to add them consistently to your diet and also important things to know. Collagen and gelatin are genuine dietary game changers that can bring significant health benefits not available elsewhere. It really depends on the intentions and the register of the scene.”Ĭurrently looking for collaborators, at Picolo Pictures they are mostly “driven by the desire to create,” notes Paoletti. “Still, there are also times when the image is more realistic, with less saturated tones. It’s like painting with light and shadow,” says the director. “The graphic design is in 2D with no outline. We draw on silent cinema, which allowed us to develop Chaplin-esque situational comedy that dispenses with dialogue.”īut what it lacks in words, it more than makes up for in color. “We played a lot with pantomime when writing and staging. The idea is to avoid anthropomorphizing them too much, even if we do take certain liberties in order to help the viewers understand what’s going on between them,” says Paoletti, with Bisaro adding: “They express themselves through little cries, grunts and squeaks. In the film, the animal characters won’t talk, instead communicating through sounds. So, geographically, it’s the perfect New Zealand’s migrant.” It can be found in Australia and New Guinea. The echidna, on the other hand, has a more restricted territory. “The blue penguin is particularly common in Oceania. Indeed, as explained by Paoletti, it was the choice of an animal that motivated the film’s setting. Proving, once again, that penguins are beloved by animators all over the world, the duo was also excited to explore New Zealand and the Maori culture. We want to invite the viewers to think about these questions,” adds the director. “In fact, it’s a way of taking an interest in the living world in all its forms. About our connection to land and the way we, humans, inhabit it,” notes Paoletti. “We want to talk about our relationship with animals through the subject of domestication, since Cookie was raised in a shelter run by humans, and about the wild life the characters discover on their journey. As the eruption of a volcano causes humans to flee, nature reclaims their home. The team, which already stunned the audience with their award-winning “ Shooom’s Odyssey,” also takes on ecological issues in the film. The idea is to make it easier for them to identify with our characters.” Paoletti adds: “We also feel that young viewers can recognize themselves in this image of a blended family, which is widespread in today’s society. There isn’t just one kind of family, but many different ones.” “We are interested in showing emotional and creative efforts our characters make to adopt each other. On the other hand, like I acknowledge earlier, I assume that's not accidental - & rather the understandably cynical, bitter & despondent conclusion the narrative decidedly wants the audience to come to by the time it reaches its unsatisfactory denouement there is no discernible reason that could ever hope to justify the carnage we observe - the savagery that unfolds is simply slaughter for the sheer sake of it & the trauma experienced by all those affected was utterly preventable, had the invaders put aside their vanity & pride & sought to preserve peace which could've so effortlessly been maintained. Yet after seeing such horrors & heinous cruelties, I guess I felt like I wanted a purpose to everything I'd sat through by the time the credits started rolling - & thought I'd been cheated by the fact that there wasn't one. Hence, I can understand the creative intentions (depicting the utter, irredeemable meaninglessness the wanton, senseless destruction) & the grim inhumanity of it all. And the movie does therefore (to its credit) accurately reflect that exact point in its portrayal of the poor cannon fodder by representing them as exactly that, & additionally lenses the apathy of the superiors (who give the indefensible orders) through a perspective of rightful, scornful contempt. Again, I suppose that only reaffirms the statement the creators are trying to make, wilfully juxtaposing intense sequences of suffering & pain with little sentimentality & ambivalence the film chronicles how Germany treated (or more accurately, mistreated) its own people, offering up generations of its future citizens on the battlefield as sacrificial lambs, massacred at the altar of a poisonous, nationalistic ideology which had taken root within the governing population boys - barely men, even some who weren't yet - were essentially reduced to nothing but disposable, unimportant objects, thoughtlessly discarded & simply replaced in a sadistic game & quest for absolute power (no matter the personal cost or price paid in blood) - an incalculable loss which (even by the time the armistice came in to effect) still wasn't enough to satiate the tyrannical desires of the few, controlling the many. However, despite this inability to sympathise being an irksome grievance of mine, in the production's defense, I suppose that's actually intentional & rather the whole point (?), since it's meant to tell the story through the perspective of the vanquished, not the conquerors, reflecting how naive recruits (who'd been fatally misled, in conscripting themselves & their families in the first place) were gradually numbed to their feelings by the constant mental & physical anguish inflicted upon them in a continuous onslaught of pointless offensives (instigated by their generals), once reality had firmly bitten & they'd been collectively disabused of this fantasy - but unfortunately, that noticeable detachment from any of the characters featured results in a somewhat muted response (as a viewer) when they're incessantly chewed up & spat out by the gratuitous violence - that's shot in a hauntingly raw, ominous way - they're repeatedly (& needlessly) thrust in to by the callous, cowardly officers, who arrogantly orchestrate the entire miserable situation that needn't last a single day longer. Due to this, there's a void of relatability & moreover, all the team of participants can dream of - once they arrive at the front - or endeavour to guarantee for themselves is survival, not greatness. They're just young, impressionable fools - drunk on propaganda - who have mindlessly partaken in the unwarranted military occupation of foreign land, where they are obviously not welcome by the inhabitants. But here, there's no dignity in anything that transpires obstacles aren't admirably overcome, the ensemble don't conduct themselves in a way which is befitting of their station, worthy of respect & none of the characters win any semblance of what could honestly be described as "glory". It's something I couldn't help but notice as I tuned in usually in historical war films (like Sam Mendes' "1917" for instance, following events through the eyes of the opposing British side), we're accustomed to typically witnessing soldier's actions depicted as valiant & honourable, with a palpable sense of pride & patriotism embedded throughout - in pieces which are made to catalogue their innumerable brave achievements conducted by every-day folk (who, through no fault of their own, found themselves in the trenches), in spite of insurmountable odds comprehensively stacked against them. I'm truly conflicted: "All Quiet on The Western Front" is a surprisingly stark & cold film upon first watch, capturing the futility of war, loss of youth & corruption of innocence with an unsettling lack of emotion throughout. Solving this particular problem isn’t specific to your business or your application. If it feels a lot like reinventing the wheel, well, it’s because it is. Time that I could better spend building products for our customers. It depends on your current architecture, but in short, that’s a lot of new tools, a lot of new code, and especially a lot of time. However, to handle a single webhook safely, you would need (as per Clubhouse) 4 new services (SQS, S3, a Publisher(s) and a Consumer(s)). Clubhouse.io engineering team wrote a great article on this topic. You aren’t supposed to take action directly on a webhook! That’s right, the “proper way” of dealing with webhooks is to postpone any meaningful processing through the use of queues and to handle errors & retries on your own. “Queue first, take action later”, they said If these are mission-critical webhooks, are you confident you can find and take action on every single webhook you missed? Maybe, but most likely, you’ll spend the day on it. You probably have server logs or even better, something like Sentry to catch unexpected exceptions in your code. Even with the best integration tests, you are probably not prepared for unexpected payload changes (perhaps a stealth API version upgrade) or a platform downtime. Every once in a while, you will introduce errors in your webhook handling methods. It’s April 2020, we are stuck inside self quarantining, productivity has been high, and it just strikes me as the perfect time to publish my first post. My key takeaway is that it sucks to deal with multiple APIs incoming webhooks such as Shopify, Stripe & Intercom, and I hate not having an alternative. I’ve been working in e-commerce for the last three years dealing with millions of fairly mission-critical webhook events. He remained on the Board of Directors until 2005. In 2004, Starwood's founder and CEO Barry Sternlicht stepped down as CEO to focus his attention on his other firm, Starwood Capital. In 2005, Starwood purchased the Le Méridien brand. Aloft Hotels catered toward business travelers. In September 2005, Starwood announced the launch of Aloft, a new hotel brand based on W. In 1999, Starwood launched their "W" Hotels brand. Starwood acquired the Sheraton, Four Points by Sheraton, and The Luxury Collection brands from ITT Sheraton in 1998. The Westin Hotel Company was purchased in 1994 from Aoki Corporation of Japan. Initially, Starwood Lodging owned a number of hotels throughout North America, all under different brand names. Starwood Hotels and Resorts was originally formed by the real estate investment firm Starwood Capital to take advantage of a tax break at the time the company was known as Starwood Lodging. The company had a business partnership with American Express and a loyalty program. In 1995, it was acquired and reorganized by Barry Sternlicht, who was its chairman until 2005 and founder of the Starwood Capital Group. Starwood was founded in 1969 as a real estate investment trust. 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