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The first thing to know about “Notes on a Conditional Form,” the fourth album by the British band the 1975, is that it’s 22 songs long. The second thing is that none of these songs sound much like one another. It’s the ultimate contemporary example of how the Beatles’ White Album has become a kind […]
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Love Island star Mike Thalassitis ended his own life after consuming cocaine, alcohol and paracetamol, a coroner has ruled.
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The denomination of the gift is a lot less certain than the denomination of the bride and groom.
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Initially this book originated by way of a response to a reprehensible and professionally insulting article I stumbled across in a popular wedding magazine. I telephoned the editor and reviewed the article sentence by sentence with him regarding the inconsistencies and inaccuracies of a real-life wedding focusing specifically on the videography facet. By the end of our conversation, he asked me to commit these thoughts to paper for consideration and I did. The article with my amendments was first published in the Summer 2005 issue of Premier Bride Magazine. Inspired by this, I continued to expand and record my experiences and observations with the sole intent of offering an experienced, unique insight for all would-be newlyweds to consider. "Notes of a Retired Wedding Videographer" is intended to provide an entertaining and informative guide to help brides and grooms understand all that the camera captures throughout the wedding day as well as some frequently overlooked tips on how to ensure that the festivities recorded on video best capture the festivities occurring in live action at the time. Enjoy the most memorable insights based on actual first-hand experiences through the course of nearly 1000 completed wedding assignments during the last 11 years. Topics include observations and opinions regarding bridal logistics, wedding themes and color schemes, music/photographer/videographer selection, wedding within budget,7 tips for men in kilts, how to avoid becoming a victim of Murphy’s Law, and much more- all illustrated by real-life personal experiences from behind the camera.
This title is directed primarily towards health care professionals outside of the United States. Neonatology is a sub-speciality of paediatrics devoted to the care of the newborn infant. The wider care of the newborn infant includes not only the sick neonate but also the well newborn infant. The practice of neonatology is generally limited to specialist neonatal units and nurseries – ranging from those nurseries that deal with the well newborn infant to neonatal intensive care units. The care of the newborn infant is delivered by full time neonatologists, visiting medical officer neonatologists, paediatric registrars, senior house officers, nurses holding neonatal certificates, midwives and JMO’s. The book has been specifically written, formatted and designed to be carried whilst on duty, and contains information that staff in neonatal units will need during the course of their day – especially that information required often, but not yet committed to memory. This information requires continual reinforcement and in a busy unit there is no time to consult other references such as textbooks or computer based information. Portable clinical referenceCovers procedures such as peripheral IV, umbilical arterial and venous catheter insertion, central venous line insertion and peripheral IA line insertionCoverage of standard infusions of dopamine, dobutamine, morphine and midazolam, insulin and PGE1Ready Reckoner table, by infant birthweight, for size of ETTs and umbilical lines (usage and insertion), and common drug and infusion dosagesResuscitation and infection algorithms included
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(Guitar Educational). Play better, faster and easier than ever Innovative Ron Greene Music Charts provide a visual aid for learning and improving on guitar. Organized for playing songs in each key, each of these movable guides includes 24 double-sided 9 x 11 charts.
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A practical and inspirational guide, designed to help every bride (or couple) prepare for their wedding celebrations. Planning a wedding can seem a daunting prospect, but with forethought and careful advance organization everything can run smoothly from start to finish. Sections on Inspirations, Planning, Guests, The Ceremony, The Reception, Gift List and Honeymoon help you to keep on top of every element in the run-up to your wedding and beyond the big day itself. Featuring a helpful budget checklist and timeline to remind you what to do when, from booking a venue to ordering stationery, this is an essential wedding organizer that ensures that nothing is overlooked. This invaluable planning tool will make sure you have everything you need in hand to create the perfect day. Product Details Seller: Speedy Hen Ltd Author: Swinson, Antonia Manufacturer: Ryland Peters & Small Label: Ryland Peters & Small Publisher: Ryland, Peters & Small Ltd Publication Date: 12/02/2015
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Writer-creator Adam Reed is a busy guy with a hit animated series (Archer) and another one on the way (Cassius & Clay) — plus he’s flying up to Canada this week for the Banff World Media Festival — so we jump right into it.
I see that you’ll be hosting a master class at Banff — what can you tease about that, without being too spoiler-y?
I don’t know, actually. I’m mortified that it’s called that! [laughs] Well, not that it’s called that, but that they would, you know, have me teaching or doing something called a ‘master class.’ I’m quite nervous! I can tease that!
Okay, well at least everyone will know what sort of tenor the meeting will have.
Yeah: awkward and stammering!
Great! Everyone’ll know what to expect.
Yeah, but they’re probably mostly Canadians, so they’re going to be really polite about it.
Yeah, they’ll kind of look the other way. Obviously you’re going to be talking about the development of Archer, to some extent — probably to a great extent.
I would think so.
Can we go back to the beginning of that? Because I’m not totally sure what the genesis was, where you said, ‘Okay, I want to do this kind of crazy spy-adventure thing, with this sort of anachronistic time line, and all the rest.’ What germinated to make that happen?
My partner Matt Thompson and I had a cartoon on Adult Swim called Frisky Dingo, and it had been sort of ‘canceled by mutual agreement,’ I guess. Although I say it was ‘mutual,’ they might’ve just said that to make us feel better. But after that show was canceled, I took a year off and traveled: I walked across Spain, and I was in North Africa — and I was sort of bedraggled-looking most of the time. But I was sitting in really nice cafés in Europe, and just filling up notebooks with show ideas. I kept coming back to thinking about James Bond, and all the cool places in Europe he went, and all the fancy parties that he went to — that I wouldn’t be invited to, because I had a backpack and a scraggly beard. So I just started thinking more and more about James Bond.
Years ago, somebody gave me a set of all the James Bond paperbacks, like, from the ’50s. And I read a couple of them, and in the books James Bond is really quite a bastard. And also a rapist. So I was trying to think how to make a secret agent as big a bastard as possible, that you would still like and root for. And obviously not have him be a rapist like James Bond. From that sprang Archer.
Okay. Well, continuing that tangent just briefly, do you have a favorite Ian Fleming book, or a favorite James Bond in the movies?
In the movies, I’m a Connery man, although I really like the Daniel Craig reboot. I’m less of a fan of the sort of tongue-in-cheek Roger Moore era — although I think the new ones could stand to have just a slightly lighter tone sometimes. They can be pretty grim, recently. But I think Craig’s a fantastic Bond.
Yeah, like when the train goes kerblooey, and Bond readjusts his cuff-links, I was like, ‘Okay, now you’re back on the right track.’
Yeah, exactly. Exactly. I like those little touches.
Do you consciously bring any of that — or James Coburn’s ‘Flint’ movies — or that era into your discussions, when you’re creating the episodes?
Not so much anymore, but certainly early on. Flint was a big influence, as was Matt Helm, and OSS 117 — everything, basically. We put it all in a pot, and stole all of our favorite things from a lot of different sources.
Do you ever have to modify stuff, so it’s more comprehensible in the modern day? Or do you just go with it being amusingly anachronistic?
It’s sort of whatever serves us best, and we’re — I think — unfair, and break several rules about it. But when it serves the comedy to have it be more ’60s- or ’70s-based technology, or whatever, we use that. But when it serves us to have the Internet or cell phones, we use that. Cell phones make it much easier than having people have to go to a phone booth. Text messaging is a really economical way to forward the story, and not wait for the mail to get delivered.
Right. Well, going back to the origins of your animation work, apparently you and your partner were doing ‘odd jobs.’ Like, what kind of ‘odd jobs’ do you do, when you’re getting ready to create series?
Odd jobs? I’m not sure what —
Like at Cartoon Network. In part of your bio, I’m just wondering: What are the ‘odd jobs’ at Cartoon Network? That’s kind of a cool thing.
Oh, at Cartoon Network! We were in charge of the tape library, and then we started doing interstitial programming for little kids, like ages two to five — that were little hand puppets with googly eyes. We did that for a couple of years. We did a live-action morning show with Carrot Top for a year. It was a real mixed bag.
Are there certain protocols for working with Carrot Top?
[Adam laughs heartily.]
There — uh — yeah — although I don’t know if ‘protocols’ is the right word. It was (Adam gives this considerable thought) an interesting experience — I’ll put it that way. He’s an extremely nice guy, but the production was a bit of a mess.
I see you’ve got Cassius & Clay in development, and that’s a brand new headline. What can you say about it?
It’s sort of a Butch and Sundance meets Mad Max meets Thelma ane Louise meets Lucy and Ethel [laughs]. It’s set in the post-apocalyptic mountains of North Carolina, where cannibals are roaming the countryside in souped-up diesel vehicles — and the non-cannibal people —
(We call ourselves ‘vegetarians,’ I want to interject. But I don’t.)
— have retreated to the walled cities of former NASCAR racetracks, and these two women — Cassius and Clay — make their living as scavengers slash bandits slash gamblers slash screw-ups. We’re working on the pilot right now, we have an amazing cast, and we’re very excited about it. Megan Ganz [Community, Modern Family] — an extremely talented writer — wrote the pilot with me. We’re seeing good things.
Cool. Does it present challenges that you haven’t met before? Or are there some things that you’ve learned along the way that are going to make this production easier?
Hopefully we will learn from our — [laughs] — our catalogue of mistakes, and learning bumps along the way. There are always ways to improve the production, but that’s on the technical side — and I don’t understand how our animators do what they do — I just know they make it look beautiful. And on the writing side, that end of things, basically we write as funny a script as we can, and use that as — I think Harold Ramis said the script is always the worst case scenario. And then turn it over to our wonderful voice cast [which includes Kaitlin Olson, Susan Sarandon, and J.B. Smoove], and let them make it much better.
Okay, this master class thing, I’m a little stuck on this. What if you get the question: ‘Where do you get your ideas from?’ (I’m not sure whether or not Adam infers that I left that preposition dangling ironically — but hey, young journalists: Take risks!)
Sometimes it’s the news, sometimes it’s old movies, sometimes it’s an episode of The Six Million Dollar Man. Sometimes they just come while you’re tinkering on a motorcycle, or falling asleep — they actually come quite often, falling asleep. And I keep meaning to have a note pad on the bedside table, but I always forget. So there could be some real gems that I’ve just forgotten to write down.
(I praise the current state of recording gadgetry — come on, man! you make a spy show! — and Adam concurs.)
Okay, and the other question that always gets asked at panels: ‘What advice do you have for young creative people who are just starting out?’
You know, I would say: Make whatever your idea is. Go ahead and do it as cheaply as possible. And put it on YouTube — it has really changed the game. They used to say you have to move to Los Angeles, and get a Los Angeles phone number and an agent, and blah-blah-blah. But I really think those days are behind us, and now there are people at networks whose whole job is just to scour YouTube for up and coming talent. And we’ve had animators leave us to go on to bigger and better things because they did a short animated piece, and put it on YouTube, and ended up with millions of hits — and then the next thing you know, the agents are beating down their door. It’s amazing: more people than those watching Archer will watch, whatever, a cat falling down the stairs.
(I cite our society’s collapse into the intellectual cold war of LOLCats. Then I am strangely inspired to ask Mr. Reed his feelings on the contrast between YouTube and Vimeo — which not unreasonably inspires a puzzled chuckle, so we wrap up.)
Since you know so much about feature films, do you want to expand into that area at some point?
I would love to! The trick is to get somebody to let me do that. Or to trick some studio into paying me to write a movie for them.
Images courtesy of FX / Adam Reed
Official Site: Archer
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Used – Excerpt: …without premeditation or effort. The women and young girls, black and white, who occasionally passed by, were nicely clad, and many were elegantly and fashionably so. The men did not affect summer clothing much, but the girls and women did, and their white garments were good to look at, after so many months of familiarity with somber colors. Around one isolated potato-barrel stood four young gentlemen, two black, two white, becomingly dressed, each with the head of a slender c
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MAGGIE ALDERSON, novelist, philosopher of fashion and arbiter of style, brings us a new collection of her much-loved Style Notes column. Find out why men hate shopping and why women love wearing clothes men hate. Share the frustration of the search for the perfect Walkable Heeled Shoe and consider whether a size ‘large’ item of clothing is acceptable as a gift. Learn why it’s good if your child is too embarrassed to be seen with you, and how to harness your life force through the power of yoga – and liberally applied make-up. Discover some key terms for the fashion addicted – Show Crow, Bag Hag and Fleabag – and work out where you fit on the spectrum. Warm, witty and wise, Style Notes is the ultimate insider’s guide – a knowledgeable but not-too-serious take on the wonders and weirdness of the world of fashion, style and life beyond.
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New – This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1811 edition. Excerpt: …than intrudeth thereto by anticipation. Pastimes to delight the mind, the Cornishmen have guary miracles, and three men’s songs: and for exercise of the body, hunting, hawking, shooting, wrestling, hurling, and such other games. -ciery Mi” The-guary miracle, in English, a mir
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This notebook is Hans Ulrich Obrist''s homage to the French author, poet and philosopher Édouard Glissant (1928-2011). Glissant, one of the most influential figures of the French-speaking Caribbean and a pioneer of postcolonial thinking, called attention to means of global exchange which do not homogenize culture but produce a difference from which new things can emerge. Obrist encountered Glissant at the beginning of his career, through the recommendation of Alighiero Boetti. In his introduction, Obrist creates a multilayered portrait of the intellectual, laying out some of his key concepts: the creolization of the world, archipelic thought, and the museum as archipelago, as well as utopia. These ideas are explored by Glissant in a selection of title pages of his books with drawings, notations and poetic dedications that are reproduced here in facsimile.