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Sunday, January 03, 2010
Bong Revilla: "show only one Hollywood movie a month."
"We should show only one Hollywood movie a month."
It's a hot topic of discussion among online Filipinos. For the record, I'm not a big fan of Revilla Jr.'s movies on the whole but I do sympathize with his sentiments.
Hollywood has always had a powerful influence on world cinema but its latest serious attempt to conquer foreign markets is actually quite recent--around the '90s or so, or about the time when Governor Schwarzenegger's movie career was at its height (Coincidence? I think not; Sylvester Stallone's films also did well internationally around this time). Hollywood's global push helped destroy the once-robust Hong Kong film, and brought both South Korea and Mexico to their knees (South Korea has since recovered, partly by imposing quotas).
France has long survived by subsidizing its film production and, during trade conferences, championing cultural diversity over open-market distribution of films (In other words, it kept speaking out against Hollywood imperialism). Of the commercially successful cinemas of the world, only India does not impose quotas--and that mainly because its cinema is so successful (it produces eight hundred films a year to Hollywood's 200 plus films) it doesn't need to protect itself.
Mainland China is an interesting case all its own. Not as commercially successful as India, it is nevertheless such an economic powerhouse, with a market larger than any American studio executive's wet-dream fantasy (and I'm sure they can fantasize) it can lay down strict quota rules and pretty much get away with doing so, just because no one can force it to do otherwise. China is in every way in an enviable position, but it's a position few other countries can emulate.
But India (and China in its own fashion) seem to be the exceptions that prove the rule. Trend seems to be, if you want a successful local cinema you needed to restrict the number of Hollywood films screening in your local cinemas. That, or you provide your production outfits with assistance of some kind, the way France does--anything to level the playing field.
I've actually suggested this very action on an online forum, in pinoydvd.com. Some five years later that discussion seem more relevant than ever, and recent arguments to and fro on the issue sound suspiciously familiar. One online forum poster at one point asked "Okay, so there's no Harry Potter, no Ironman, no Robin Hood. You now have the entire domestic box office to your own. What's next?"
That was too tempting to let pass. "Then," I responded, "we're left with the works of relatively new filmmakers like Lav Diaz, Raya Martin, John Torres, Brillante Mendoza, Sherad Anthony Sanchez, Rico Ilarde, Dennis Marasigan, Auraeus Solito, Richard Somes, Veronica Velasco. We're left with the works of established directors such as Raymond Red, Laurice Guillen, Chito Rono, Maryo J. delos Reyes, Joey Reyes, Gil Portes, Joyce Bernal, Marilou Diaz-Abaya, and (hopefully, someday) new work from masters like Mike de Leon, Celso Ad. Castillo, Mario O'Hara.
"Heaven help us then!"
51 comments:
- dodo dayao said...
Hi Noel.
I wasn't aware of that thread of yours form way back,or maybe I've forgotten. Re-reading it is a blast. Any discusson with our "old friend" is always good for a laugh or two. I've given up weighing in on the recent thread myslf. Always exasperating to try and have discourse with the guy - - must be hell to have drinks with.
Not a fan of Bong Revilla myself,nor his films, nor his attitude and I think his intentions are misguided . . .but I do sort of agree with him in principle. One may be too much. Two per month,maybe, three a month,I can live with. This way you also get rid of the chaff that gets dumped here. Which very few go see anyway. The people who are anxious about the issue aren't necessarily Hollywood fans, more Hollywood Blockbuster fans, out to protect their right to see their precious Iron Mans and Harry Potters and Transformers in 3D. I doubt if they'll turn up for Invictus or Shutter Island or a David Gordon Green movie, let alone get all riled up if these kind of Hollywood movies are threatened.
It's a little too utopian at the moment, though. Or maybe I'm just a little jaded. Oh well. Cheers,man. Happy New Year.:)
- 8:13 AM, January 03, 2010
- Noel Vera said...
"Always exasperating to try and have discourse with the guy"
There's an art to beating one's head on a brick wall. The trick is to imagine that the cracks you made are actually getting bigger, not ignoring you.
Facebook someone berated me for my 'mentality.' Sound like a friend in the making.
- 10:02 AM, January 03, 2010
- HarryTuttle said...
I like this way of thinking. This is the only way to oppose resistance to the Hollywood steamroller.
Though the realistic goal is not to entirely replace Hollywood sensationalist blockbusters... that would be reversed cultural censorship, which is another form of censorship.
The audience wants to watch this kind of spectacle, nothing will change that. There is a need for pure entertainment in our society. Art films, however masterful, will never fulfill this need, because it's not their purpose.
There is no frontal competition with Hollywood. It is impossible. Although I would like to see more non-American worlwide blockbusters to see how other cultures can produce this kind of universal entertainment that appeals to any country. India can do that in its best days, Hong Kong too, like you said, and Korea is capable to compete head-to-head with commercial-Hollywood (if we ignore the langage barrier).
The idea is not to restrict Hollywood to 1 film/month (which would only divert the theatrical audience to the pirate DVD black market). But to make sure to preserve a decent share of the screens for local and non-Hollywood cinema.
The latest numbers are even worse, in 2008 : India (1325 films), USA (520), Japan (418), China (406), South Korea (113), The Philippines (89), Hong Kong (53)
- 3:23 PM, January 03, 2010
almost 30 years ago we were creating alternative cinema - experimental films, documentaries, animation, shorts that were truly unlike anything you will see in the mainstream. "Alternative" has somehow evolved into "indie" or "digital" which somewhat aimed to either penetrate, co-exist, or totally replace the mainstream. Now that we have all these "indie" films getting recognized, winning both local and international awards, and getting some (though very limited) screen time, guess what, I think we missed the boat. Mainstream cinema is now television. That is what the general masses are really watching. The upperclass generally still don't want to be caught entering a pinoy movie, and would rather rely on their dvds, blu-ray, and downloads. I feel like those 3 bewildered characters in Peque Gallaga's "Virgin Forest", after nights of orgasmic ponderings on their convictions, they arrive in Palanan to realize Aguinaldo's camp had already been overrun by the Americans aided by the Macabebe scouts. This analogy reads deeper than you would care to think.
- 10:32 PM, January 03, 2010
Filipino movies are nothing but a waste of time...Your films are in the bottom of the barrel so to speak.
- 11:13 PM, January 03, 2010
- Noel Vera said...
Good point, Raymond; success is a moving target. I suppose what we can do is move as well--adapt and change, and so on. Or go online for our distribution (how to make that pay, though, is the challenge).
- 4:10 AM, January 04, 2010
- Noel Vera said...
"Your films are in the bottom of the barrel so to speak."
Spoken like a true self-hater! Anonymous at that!
- 4:12 AM, January 04, 2010
- Noel Vera said...
"The idea is not to restrict Hollywood to 1 film/month (which would only divert the theatrical audience to the pirate DVD black market). But to make sure to preserve a decent share of the screens for local and non-Hollywood cinema."
Bong's stance is extreme, I admit, but it's a good way to spark a discussion. Your suggestion is more of what I had in mind.
"The Philippines (89), Hong Kong (53)"
We still outproduced Hong Kong? Sweet (well, bittersweet)! Where'd you get those figures?
- 4:23 AM, January 04, 2010
- coppergirl said...
i think one Hollywood movie a month is extreme, although i see the point behind it. i agree that Bong Revilla might have less noble reasons for wanting to impose this though.
the problem is that not a lot of commercial Filipino films these days can satisfy our cravings. the only one i've seen in the last 6 months was Kimmy Dora (really funny!). i'm afraid to watch the other movies for fear of my brain turning into sludge; MMFF is like cinema abstinence for me. that being said, there is no doubt that we do have an abundance of great films by Pinoy filmmakers--they just aren't that accessible. the Pinoy indie films i watched this year were only showing for a limited time and at 1 or 2 cinemas in the whole metro that i got quite stressed out planning the experience (it was well worth it though).
i think all malls should do what they've been doing at Robinson's Galleria IndieSine, so regular people can be more aware of and have easier access to such films. if every mall would have at least one cinema devoted to entirely Pinoy-made films, that could really boost Philippine Cinema.
There are plenty of great films abroad too, both from Hollywood and elsewhere, and i think limiting their access to the Philippine market defeats the purpose of films and art in general, which is to enlighten, entertain, inspire, and so forth. besides, imagine what would happen if there was very little competition in the movies here. the realist in me doesn't see Brillante Mendoza's films showing in every SM or Ayala Mall in the metro (besides, if the interviews are to be believed, he doesn't want that anyway). i shudder to think what the big-name directors would come up with, knowing Filipinos had no choice but to watch their movies.
though it might make sense to limit foreign movies here, wouldn't it make better sense to make better movies and come up with a policy that focuses on funding and support for our indie filmmakers so they can also show their works in public cinemas and not just film festivals abroad and a few universities in the country?
- 4:50 AM, January 04, 2010
- Noel Vera said...
I can see Kinatay in every cinema except SM, for adults only of course.
But seriously, what about Last Supper No. 3? Or North Diversion Road? They could have been hits too, with proper marketing.
I'm just saying--with the exception of India, every successful cinema either supports their own or restricts Hollywood. We may need to start looking into that.
- 4:59 AM, January 04, 2010
- Noel Vera said...
"i shudder to think what the big-name directors would come up with, knowing Filipinos had no choice but to watch their movies."
I would love to shudder that way more often! Well, not with some big directors. I'm thinking of Laurice Guillen, Joey Reyes, Maryo J. delos Reyes, Chito Rono. And above all Mike de Leon, Celso Ad Castillo, Mario O'Hara.
- 5:00 AM, January 04, 2010
- rico said...
Ey, Noel, nice photo there of Mark Gil (wink-wink ;-). I think people in this business tend to lead with their egos first, as opposed to what makes real good sense. It seems to be a way of life for us. We've had several actor-politicians in office and even one as President of the Republic, and yet, the government can't seem to get rid of the excess tax levied on our producers. People seem to gravitate towards these dramatic, attention-grabbing pronouncements, but when it comes to the nuts and bolts effort of real problem solving --decidedly less glamorous and limelight-hogging-- it seems no one wants to take up the cudgels. Off-topic, congrats, I noticed you are the lone Filipino critic in Film Comment's Best of the Decade poll. Must feel awesome to be mentioned in the same breath as the Schickels or Sarrises at this stage of your writing career. I grew up reading a lot of those guys' works. I started my new year by paying to watch WAPAKMAN. I'm happy to put money in Pacquiao's pockets any day, a genuine national treasure and a perfect example of a guy who QUIETLY put in the time and work to be a world class talent.
- 7:29 AM, January 04, 2010
- Noel Vera said...
Thanks Rico; I really should have asked permission.
For the record, that's Mark Gil from Ilarde's Dugo ng Birhen (Blood of a Virgin), which I talk about in an upcoming book on Filipino indies (Ilarde's one of the few that swing back and forth between the indie scene and the studio system).
I'm happy to be compared to Sarris (not worthy), but Schickel--eh, he's okay. Better than Ebert, sure.
Film Comment's out? Now I know what to get this weekend.
- 10:07 PM, January 04, 2010
- john marzan said...
Noel: I'm just saying--with the exception of India, every successful cinema either supports their own or restricts Hollywood. We may need to start looking into that.
you and bong got it wrong sir. restriction won't help because most filipinos don't watch movies in the theaters anymore (too expensive).
film piracy is the main culprit in the last few years as to why most local movie stars are doing TV works and telenovelas these days. it's true that quiapo piracy mostly targets foreign films, but even the CAM version of local films will do some damage in earnings at malulugi ang mga producers dito. and local producers can forget about recouping their investments in DVD sales.
there's no need to restrict because regal, viva, ABS, GMA studios are not prolific film makers like they used to. it's not about "quality" or that hollywood films are better. it's about fear of losing money and the rising cost. FOX, UNIVERSAL, PARAMOUNT can take the piracy hit in Pinas, our local film producers can't. even if you make a quality film like errr.. Kinatay, most people will not go to the theaters to see it because of high ticket prices. it does not mean they will not seek it elsewhere.
(wala pa ang Kinatay sa DVD. wala pa rin sa torrents. pero kung uso pa ang VHS, siguro meron na yan sa videocity.)
even if you ban all hollywood films from showing here, most producers will still be afraid to fill the void and make films unless a) gov't starts getting serious cracking down on piracy. b) ticket prices go DOWN.
if bong revilla wants to help the local film industry, go after the pirates in quiapo.
but does bong revilla have the political will? kaya ba nya labanan ang mga sindikato doon sa hidalgo st.?
under bong revilla's watch as former Optical Media Board head, lumaki at lumago ang film piracy sa Pilipinas. nice job, sir!
bong revilla also used to be the head of Optical Media Board, where his job is fight film piracy. How exactly did that turn out under his tenure?
if bongbong revilla wants to support the local film industry, he should tell SM to lift the ban on R-18 films, kasi ito na lang ang mga films na gustong gawin ng mga local studios katulad ng "Kilabot at Kembot" nya dahil mura i-produce at kumikita.
another is to abolish the MTRCB censorship board and replace it with something more benign headed by artists and civil society members. clerics need not apply. separation of church and state.
- 3:40 AM, January 05, 2010
Eternal Sunshine of the Spotless Mind is beyond amazing. It gave justice to Alexander Pope's poem from which it got its title. If a local movie can top that, then I'm good with this law.
- 5:21 PM, January 05, 2010
- Noel Vera said...
Piracy is a serious issue, sure, but one disease at a time (or all at once, but someone better be getting paid here).
That said, there's an easy if dicey way out of that, something that General Petraeus implemented so successfully in Iraq: contact the pirates, negotiate with them to pirate only Hollywood movies and not local fare.
Alternatively, license them to do the distribution and production. They seem to do a pretty good job, speedwise (they just need quality control).
But that's just me.
- 9:52 PM, January 05, 2010
- Noel Vera said...
Might add that it's a multi-pronged problem: yes, piracy is a problem (it was in Hong Kong), but yes Hollywood is also the problem (else China, France and South Korea would have opened up their markets).
- 9:53 PM, January 05, 2010
- Noel Vera said...
"If a local movie can top that, then I'm good with this law."
Hollywood has its flavors, we have ours, and I'm an omnivore. Taste changes; one just has to have the will to try anything and everything.
Kaufman is ingenious and inventive but there's an emotional immaturity to him that I find rather distracting. If anything, I prefer the personal essays of John Torres' films (Todo Todo Teros, Years When I Was A Child Outside) to Kaufman's self-absorbed longings.
As for a wild imagination, check out Mario O'Hara's Pangarap ng Puso, and Sisa.
Haven't even started on Raymond Red, Raya Martin, Lav Diaz, Kidlat Tahimik, and others.
- 10:24 PM, January 05, 2010
- john marzan said...
That said, there's an easy if dicey way out of that, something that General Petraeus implemented so successfully in Iraq: contact the pirates, negotiate with them to pirate only Hollywood movies and not local fare.
they are already doing that.
ex. hanggang ngayon wala pa ring MMFF movies sa quiapo. at kung meron mang tagalog films, it's usually 6 months from theatrical release or lumabas na sa dvd.
Might add that it's a multi-pronged problem: yes, piracy is a problem (it was in Hong Kong), but yes Hollywood is also the problem (else China, France and South Korea would have opened up their markets).
of all the problems facing the local film industry, "US made films" are at the bottom of the list:
1) Piracy
2) Expensive ticket prices
3) High speed Internet
4) MTRCB's conservative, anti-artist policies
5) SM Cinema's banning of R-rated films
10) Hollywood films
- 1:28 AM, January 06, 2010
- john marzan said...
6) High Amusement Taxes on local films
- 1:32 AM, January 06, 2010
- pat said...
The suggestion is just too extreme. And it doesn't help that the suggestion came from bong revilla who just had a movie out and who is supposed to be making or passing laws. And if his suggestions do get implemented, our viewing choices will get further narrowed down to what's currently marketed by star cinema or gma films, because operator of malls and cinemas would still be singularly concerned about profit and giant local film producers would still be making garbage, with the exception of the not quite garbage, in my life and kimmy dora.
- 1:41 AM, January 06, 2010
- john marzan said...
contact the pirates, negotiate with them to pirate only Hollywood movies and not local fare.
add: unless gov't is serious about stopping piracy, this won't work either. local films cannot compete with easily available pirated blockbuster movies from Hollywood--pristine copies obtainable for as low as P10. it will only remind them how expensive tickets are nowadays.
only way is to get serious about piracy, and not selective enforcement of rules. good luck.
- 6:52 AM, January 06, 2010
- Noel Vera said...
Who made that list, I wonder? What's the basis for the order of urgency? What are the sources?
I do agree with no. 6, tho--our movies have some of the highest tax rates in the world.
pat--it IS too extreme; I'm using Revilla's statement as a talking point. Perhaps not one Hollywood movie a month, perhaps a quota, a certain percentage of local product must be shown. Perhaps a subsidizing effort, financed by taxes on Hollywood imports. The worse thing we can do is nothing.
- 5:15 PM, January 06, 2010
- Noel Vera said...
"local films cannot compete with easily available pirated blockbuster movies from Hollywood--pristine copies obtainable for as low as P10."
So use them for distribution.
Or get serious about piracy. I'm open to either ideas. But also get serious about clipping Hollywood's fat wings.
- 5:19 PM, January 06, 2010
- rex baylon said...
hi Mr. Vera,
It's been awhile since I've been to the Philippines and much longer since I've stepped into a movie theater there, but couldn't one way of stemming Hollywood's strangle hold on Filipino cinema be to charge people more for a ticket to see a Hollywood film and offer people a reduced-price ticket to see a Filipino film. I mean if ticket costs are a real issue couldn't that relieve the problem?
Also instead of banning Hollywood films just banning the advertisement of Hollywood films or at least heavily restricting how much ad space American studios can buy to promote their new movie. It might be construed as un-democratic, but at least when people want to go out to see a movie then an American film won't be the first thing that pops up in their head.
- 8:58 PM, January 06, 2010
- Noel Vera said...
Hi, rex--call me Noel. And thanks for dropping by.
That sounds reasonable too. I'd like to see that worked into the several bills being proposed in Congress (any progress on any of them? Any sign that any one of them will be approved?).
- 10:52 PM, January 06, 2010
- Adrian Mendizabal said...
Hello noel,
Nice topic! Spicy!
From Harry:
"India (1325 films), USA (520), Japan (418), China (406), South Korea (113), The Philippines (89), Hong Kong (53)"
Really? Hong Kong, only 53, over 89 from the Philippines? Wow! Nice. Made me cry actually
Most mainstream Filipino filmmakers and producers nowadays work in the principle of the current filmmaking norms:
On Narratives:
(1) genre-type soap-opera 'television' dramas,
(2) "Comic Superheroes" adventure stories;
(3) 'global' (set outside of the philippines...) dramas
(4) please add, edit or deduct...
On style:
(1) computer-generated special effects,
(2) television-soap-opera-type editing
(3) please add, edit or deduct...
Most mainstream films are created based on the restraints and characteristic techniques of its institution they belong.In our case, that institution is hollywood-dominated. One cannot walk into an SM cinema without a premier of two or more hollywood films.
On the contrary, art films work via 'film as artist's self-expression' or creator-centered constructional principle. It usually has an ambiguity in temporal and spatial design, has psychologically complex characters symptomatic of its tendency towards realism, and has often open-ended endings. (from Bordwell)
Hollywood , being 'institutionalize' in the Philippines and having dictated most of the filmmaking principles of our mainstream cinema, is sadly 'our' cinema , but what is really 'our' cinema? The definition of 'our' is as ambiguous as a David Lynch character. And i bet the answer to this question is not easy as well. Is it our beautiful string of art films that 'represents' our culture abroad? Or the mainstream films that periodically sprouts on one or two SM cinemas?
This proposal of bong revilla is cute but weird, piquant and blunt, impossible yet promising. One Hollywood film per month is a risky business, but i like the idea of it This is an extremist stance from a person who made extremist claims from the past like Hayden Kho being "pervert of the highest kind." This is not a surprising claim at all!
I like dodo's idea. 3 to 4 Hollywood films per month is just enough. Also opening the market from other imports like France, India, China, South Korea and Japan is still okay. This might decentralize the institution and more or less create new norms in our filmmaking practices causing changes in aesthetics of our mainstream films.
What we need now is to institutionalize a NEW NATIONAL CINEMA, the past two ones happened during the 70s (about forty years ago) and, allegedly, during the silent era (most of the film prints were destroyed by the war).
I hope there is a step by step guide or a "INSTITUTIONALIZE A NATIONAL CINEMA" for dummies somewhere, but as weird as it is, most of the step-by-step guides for this is found somewhere in the 'revolutionary consciousness' of our art filmmakers and local film enthusiasts. Medoza, Diaz, Martin, Martinez, Red, Red, Red, and many more.
WE NEED THIS NOEL, gosh, i miss Alexis... ;-(
- 10:12 AM, January 07, 2010
"Kaufman is ingenious and inventive but there's an emotional immaturity to him that I find rather distracting. If anything, I prefer the personal essays of John Torres' films (Todo Todo Teros, Years When I Was A Child Outside) to Kaufman's self-absorbed longings."
The point of movies is not to show how well-rounded a human being can be. We all dabble between immaturity and self-centric attitudes, and I think Kaufman excellently displayed these elements in his movies. What I like about Eternal Sunshine is that it showcases the hues and colors of the imperfect human being, and does not pretend to reach emotional maturity for its characters. I can live with that.
- 5:42 PM, January 07, 2010
- Noel Vera said...
Adrian--thanks! I saw those figures, I believe it's 2008 only (in 1998 mind you we were still outproducing Hong Kong; same with the period 2000 to 2004).
- 8:45 PM, January 07, 2010
- Noel Vera said...
Your proposal too seems to be the most detailed and workable I've seen yet...
- 8:46 PM, January 07, 2010
- Noel Vera said...
"does not pretend to reach emotional maturity for its characters"
It's not the characters' immaturity I find fault with (otherwise I wouldn't be happy with half the world's literature), it's Kaufman's.
- 8:55 PM, January 07, 2010
- john marzan said...
Really? Hong Kong, only 53, over 89 from the Philippines? Wow! Nice. Made me cry actually
the RP numbers are inflated. i think many of the RP films included were indie films done by UP and Ateneo students and submitted to local film festivals like Cinemalaya. these are not commericial films.
just to show you how bad things are nowadays, even those who used to make pito-pito films (low budget Rated R films shot in 7 days) are no longer in business because of SM's policies.
- 10:23 PM, January 07, 2010
- Noel Vera said...
Well, you are the man on the spot. But better than anecdotal evidence would be documentary evidence, from a reputed website or at least reference book. Or an actual count, which if I remember right Butch Francisco used to do.
I'd direct this to Harry as well as you--what's the source of your Filipino film figures? Did you include student films in that number, and would that invalidate them (I don't see anything wrong with including a student film meant for eventual commercial release, though, or, conversely, the inclusion of student films for all countries)?
Our production being higher than Hong Kong seems consistent, by the way:
- 2:20 AM, January 08, 2010
- Noel Vera said...
An imdb title search for Filipino films in 2009 reveals 168 titles. Might take someone time to check each one, make sure they're all commercial releases. One on Ninoy Aquino is a documentary. One was a Jun Posadas flick. Another features Ricky Davao. Any takers, check them all out?
- 2:35 AM, January 08, 2010
- Noel Vera said...
And even if they ARE student made films, I'd question crossing them out totally. Are they feature length? Are they at least presentable? Then they should be distributed and marketed, and that kind of reinforces my point--there should be room in the marketing apparatus and distribution channels for films like these, and Hollywood just crowds em out.
- 2:40 AM, January 08, 2010
- HarryTuttle said...
Noel : "(in 1998 mind you we were still outproducing Hong Kong; same with the period 2000 to 2004)."
If you have more data, I can use it to complete my chart. It's hard to find a study on Filipino cinema. I asked Alexis Tioseco last year, and he didnt find anything for me.
My numbers (currently: only years 2008, 2004, 1997, 1996, 1995) come from serious sources. Either from the Cahiers world atlas, or from the governmental institute of cinema statistics in France (CNC). I believe they would only include commercial feature length films.
re quotas:
before you instore quotas, you need to make sure the alternative cinema is solid and competitive, and that there is a potential following audience. Because once you force the theatres by law to show a certain number of local films (which will restrict the number of screens for Hollywood blockbusters that have an automatic profit), they will cherrypick the most "popular" local films, and not necessarily the best filmic quality.
I don't know what is the local scene like, but I have the feeling that exhibitors will not ponder long before picking a "sopa-opera drama" or a "CGI spectacle" over anything by Lav Diaz or Raya Martin... and it will alienate the artfilms even more.
In any case, to preserve a minimal share for local films is vital for domestic cinema in every country, by any means possible. Because Hollywood CAN and WILL monopolise the market if you let them. They make 65% of their profit outside the American market!
- 3:21 AM, January 08, 2010
- john marzan said...
here's the list (2009) from imdb
And even if they ARE student made films, I'd question crossing them out totally. Are they feature length? Are they at least presentable? Then they should be distributed and marketed, and that kind of reinforces my point--there should be room in the marketing apparatus and distribution channels for films like these, and Hollywood just crowds em out.
not even quiapo is willing to touch those films.
- 7:39 AM, January 08, 2010
- john marzan said...
over 89 from the Philippines?
89/12 = 7.4 films a month
almost 2 films a week? it doesn't look credible. i may not be going to the theaters anymore, but i still go to all the malls, and i don't think these cinemas show 2 NEW pinoy films every week.
OT: "ang panday" earned P16.9 Million on opening day.
16.9 M/ P150 = 112,666 tickets
NO eF- way.
- 7:54 AM, January 08, 2010
- The DVD Thief said...
TV networks are also the culprit why many of our films are still struggling to find their audience. Look at their news program everyday they didn't fail to show a trailer of an incoming Hollywood blockbuster or report a rumor of this certain starlet. They mention the film independent scene, only, when someone wins in film festival abroad.
- 9:47 PM, January 08, 2010
- Noel Vera said...
"not even quiapo is willing to touch those films."
It would help to have figures.
I remember two, four Filipino releases a week sometimes when I was in Manila, up to 2003--more earlier, yes, even then the production was declining (but from over a hundred, mind you).
Not saying these are wrong. But anecdotal evidence goes only so far, including my own.
Thanks Harry, for your input. The figures I named in 1998 was given to me by a programmer of the Hong Kong International film festival (for the Hong Kong output), the other from an article I read in The Philippine Star.
- 12:22 AM, January 09, 2010
- Noel Vera said...
"In any case, to preserve a minimal share for local films is vital for domestic cinema in every country, by any means possible. Because Hollywood CAN and WILL monopolise the market if you let them. They make 65% of their profit outside the American market!"
I hear this from a lot of people, not just you. Hollywood's strategy is definitely to flood a country's market with their product. And they've made conquests too--Hong Kong Mexico, South Korea at one point.
- 12:25 AM, January 09, 2010
- Noel Vera said...
"TV networks are also the culprit"
Yep, this too. They should show a little more loyalty--or at least a little less loyalty, to the almighty dollar.
- 12:32 AM, January 09, 2010
- HarryTuttle said...
What is scary is that the domestic American market is the most profitable in the world : more screens than in India or China! Yet they still make the most of their money abroad. And every year they complain about being on a slump... As if any country in the world could not have their cinema industry survive on a smaller budget than theirs!
The aggressive hegemony of the Hollywood culture overtakes the biggest revenue shares in almost every country, leaving peanuts for the local films to pay off their costs. It's not fair.
And these Hollywood blockbusters don't even deserve to take the largest share of the cake, in most cases, because they are not always better films (whether it is better for the entertainment factor for the widest crowd, or better aesthetically) than the local production.
In these conditions, it is perfectly justified to halt the "free market" (which is skewed by the economic pressures coming from Hollywood distributors who sell their products in bundles to saturate the market and turn local exhibitors into dependent addicts) with protectionist laws. The domestic American market is itself THE most protectionist among the "democratic world of industrial countries". Non-American films sell less than 5% of admissions to the American public!
- 7:12 AM, January 09, 2010
- Noel Vera said...
That's your level playing field, your free market at work--if Americans are so gung-ho about showing their product to us, why don't they allow us to screen our products for them?
- 10:30 PM, January 09, 2010
- Noel Vera said...
For the record Plaridel Journal of the University of the Philippines Mass Communications Department publishes the official number of Filipino films every year. According to this journal, the number of 35 mm films that have been commercially released in 2008 is 36.
On the other hand, the number of Filipino digital films that have had a "full theatrical release" (quotes mine) are 47. Total of 83.
So I'd say Harry's figures are reliable, give or take a few films.
- 2:10 AM, January 14, 2010
- Noel Vera said...
Might as well add that I'll post all the numbers since 2003 this weekend. Maybe there's a post behind the numbers, maybe not.
- 2:20 AM, January 14, 2010
- HarryTuttle said...
Thank you for sharing these numbers.
- 8:16 AM, January 15, 2010
- Edwin Sallan said...
Noel, I think Bong Revilla is missing the point. Hollywood films are never the problem and limiting their showing to just one a month is certainly not the solution.
Even in toe-to-toe battles during the 70's and onwards, Tagalog movies (the good, the bad and the never mind) consistently trounced their Hollywood counterparts at the box office. Ask Dolphy. Ask Nora Aunor and Vilma Santos. Ask Rosanna Roces. Ask Mother Lily. Ask, yes (eyes rolling) Carlo J. Caparas. If he was still around, we can also ask FPJ, for that matter.
Even many of the classics made by better directors like Celso Ad. Castillo, Lino Brocka, Mike De Leon and yes, even Mario O' Hara all did good business during their initial theatrical runs.
On TV, even today, more than 90 percent of those aired on free TV, particularly on ABS and GMA are all local shows, the highest rated being the teleseryes on prime time. Foreign shows are available only on the cable channel and their ratings hardly compare to the local shows.
What does this tell us? The unfair competition that Revilla is trying to imply simply does not hold water. Our films (the good, the bad and the never mind) have always held their own against the foreign competition. We simply just don't produce enough of them anymore.
Either that or it's simply more profitable to produce teleseryes than feature films (shrug).
Hollywood has nothing to do with why we're producing lesser films than we used to. As evidenced by the gross of almost every Metro Manila Film Festivals and even the more than encouraging turnouts at Cinemanila and Cinemalaya, people do come to watch local films.
But it's already a heavily taxed industry. Add to it the piracy issue where nobody wins and producers are discouraged from bankrolling film projects that promises very little in terms of return on investment.
If that's not the problem, I don't know what is. I also don't know the solution but I do know that restricting the showing of Hollywood films is not the answer.
- 1:45 PM, January 21, 2010
- Noel Vera said...
Teleseryes have a smaller budget, less to recoup.
Quality's a problem; it's always a problem. So is as mentioned upthread the education of the audience to be more media literate. So is piracy. On this I agree.
I don't agree that Hollywood isn't a problem. Harry does note (he's French, sorry Harry) and so do others that Hollywood does have an arrive and conquer policy, and that the American market is protected as much if not more than our own. I think there's at least room for improvement, qualitywise, taxwise, piracywise, Hollywood moviewise, and all around otherwise.
- 8:38 PM, January 21, 2010
- john marzan said...
There's a new film out called Chub Chaser. Nagulat ako na ipinapalabas ito sa Isetann Recto dahil mukhang indie film siya with no big stars, no advance hype on the internet or old media. Isetann 5 btw is the only theater in RP that is showing that film.
Usually, mga ganitong klaseng limited release ang nakukuha ng mga pinoy films na hindi gawa ng star cinema, regal, or GMAfilms--dahil sa policy ng SM Malls.
- 10:37 PM, January 21, 2010
it should be "pinoy actors should be forbidden to join politics"
- 8:08 PM, February 24, 2010


text:
MANILA, Philippines — Grammy-winning singer Alicia Keys visited a Philippine air force base Monday to bring cheer to hundreds of evacuees from eastern provinces wracked by Typhoon Haiyan.
The American singer distributed crayons and coloring books to children at the Villamor Air Base grandstand, where evacuees from eastern Leyte and Samar provinces arrive via C-130 planes.
Social Welfare Department officer Jane Abello says Keys stayed for about half an hour to chat with evacuees.
The R&B star was in Manila for a concert Monday at the seaside MOA Arena.
The Philippine Star earlier quoted her as saying that "music has a way of lifting your spirit and that's what I hope to do for the Filipino people."
Keys tweeted three days after the Nov. 8 typhoon: "To the people of the Philippines my heart is with you."
She also encouraged fans around the world to donate to the typhoon victims.

subset: commoncrawl


text:
Run the New York City Marathon in 5 Minutes
The winning time at the New York City Marathon on Sunday was two hours and five minutes. How about shaving two hours off of that and running the whole thing in just about five minutes? Now you can, and not even leave your chair.
Runner Gwen Schroeder ran this year's race with a camera strapped to her head and took a photo every minute. She then strung those together and added some music and some drama so you can see just what it's like to push your body to its limit. And then you can get up, go get some pita chips, sit back down, and forget all about going to the gym. Who actually wants to run the damn race when you can just watch it and then go watch the last three episodes of Terra Nova on your DVR? Thanks for doing the work for us, Gwen!


text:
1. Re: Embed JBoss JCA into your java program ?jesper.pedersen Jun 2, 2010 2:20 PM (in response to xingcl)
The JBJCA project (currently at 1.0.0.Alpha12) will feature an embedded mode:
We are looking for people to try it out and send us feedback on usability and any issues found.
Looking forward to your feedback.
2. Re: Embed JBoss JCA into your java program ?xingcl Jun 2, 2010 9:27 PM (in response to jesper.pedersen)
Thanks for your prompt response!
I am interested in trying the embedded mode. I checked the document that you pasted, it's too abstract. Actually, it just shows how to deploy one RA into the container.
Are there any detailed samples or guides to explain how to invoke the deployed RA ? for example, issue one outbound request from Java code; or receive one inbound notification.
3. Re: Embed JBoss JCA into your java program ?jesper.pedersen Jun 3, 2010 9:08 AM (in response to xingcl)
Once you have deployed your resource adapter you can use it as you normally would by looking up the ConnectionFactory and getting a connection from it.
This test case shows how the look up should be done:
We will add more documentation in this area once we hit the Beta phase, but community contributions are always welcome !
As to the inbound part - that part is optional in a standalone environment, so we will take a look later on what we can do. Contributions is also most welcome here
Start by checking out our source code
and send us your documentation patches as JIRAs while you are making progress in this area.
We are committed to the embedded use-case as we use it ourselves to actually test the container


text: After you have decided what type of wedding ceremony food you desire and get a minimum of a general concept of the look you need, it's time and energy to get started going to bakeries. If you do, make sure to flavor their wedding food samples. Don't permit yourself to be influenced by discussing the… Continue reading Wedding Bakery


text:
WWW 2019 : The Web Conference 2019
Conference Series : International World Wide Web Conferences
|Link: https://www2019.thewebconf.org
Call For Papers
We invite contributions to the research track of The Web Conference 2019 (formerly known as WWW2019). The conference will take place in San Francisco, CA, USA from May 13 to May 17, 2019, and will celebrate the 30th anniversary of the Web.
The Web Conference is the premier conference focused on understanding the current state and the evolution of the Web through the lens of computer science, computational social science, economics, policy, and many other disciplines. The 2019 edition of the conference will be a reflection point as we will celebrate the 30th anniversary of the Web. To this end, we encourage submissions that describe in-depth studies to improve our understanding of the Web and its impact, introduce technical and socio-technical advances that enhance and expand Web platforms and technologies, and make strides in democratizing access to Web information and knowledge. The specific topics of interest are highlighted in the 12 research tracks listed below.
The proceedings of The Web Conference are published online (open access) and through IW3C2 website, as well as the ACM Digital Library. The review process will be double-blind. Authors can submit papers up to 9 pages in length, plus unlimited pages for references, following the two-column ACM submission format.


text:
Getting Their Guns Off
The books that shaped HBO's The Pacific give the lie to the notion of generational exceptionalism.
After years of treating the Greatest Generation with reverence, years in which late-life oral testimonies have established that generation's quietly reflective bearing, it's a jolt to read, say, James Jones's From Here to Eternity, and find the heroes of World War II portrayed so anti-heroically, much the way veterans of our later wars have more typically been portrayed. Near the end of that work, Jones—a Pearl Harbor and Guadalcanal veteran—has Private Robert E. Lee Prewitt holed up at his prostitute girlfriend's Honolulu rental on December 7, 1941, AWOL after shivving a noncommissioned officer. In the midst of a days-long bender financed by his girlfriend, Prewitt has slept through the Japanese attack, waking up only to hear the radio reports, blame those "dirty German bastards," and resume drinking. Violating curfew, he later attempts to sneak back to his unit and is shot dead by friendly fire.
Meanwhile, his comrades have mobilized for the beach, fearing invasion:
Going through the back streets of town, all along the route, men, women and children stood on porches fences cartops and roofs and cheered them roundly. They waved Winnie Churchill's V for Victory sign at them, and held their thumbs up in the air. Young girls threw them kisses. Mothers of young girls, with tears in their eyes, urged their daughters to throw them more kisses.
The troops, looking wistfully at all this ripe young stuff running around loose that they could not get into, and remembering the old days when civilian girls were not allowed—and did not desire—to speak to soldiers on the street in broad daylight let alone at night in a bar, gave them back the old one-finger salute of the clenched fist jabbing the stiff middle finger into the air.
Given their experiences, Jones and other author-veterans (Mailer, Vonnegut, Heller) had little problem striking disrespectful tones. But at least since Tom Brokaw's Greatest Generation project, there has been a general reticence to address the socially disfiguring aspects of that conflict. The 1998 smash movie Saving Private Ryan and HBO's subsequent Band of Brothers (which between them garnered an army's worth of Oscars, Emmys, and Golden Globes) did take a hideous leap forward in portraying physical disfigurement. But despite the depictions of bodily harm, which served partly to amplify the heroic strains, these works were still notably protective of their characters' dignity. The leads were allowed to be most heavyhearted—say, after having to take out a foe whose humanity was briefly glimpsed—but hard-heartedness was kept generally to the casting margins, or acknowledged under the cover of exigency.
HBO has now released its highly anticipated miniseries The Pacific, a dramatization of our war with Japan, produced by much the same group that brought out Ryan and Band of Brothers (DreamWorks Studios, Steven Spielberg, Tom Hanks) and based chiefly on memoirs by two marines, Robert Leckie and Eugene Sledge, who fought and suffered in that conflict. Leckie's colorful Helmet for My Pillow recounts his training and his deployments to Guadalcanal, New Britain, and Peleliu, with some ribaldry in Melbourne tossed in, whereas Sledge's With the Old Breed narrates in perfect measure his descent into the horrors of Peleliu and Okinawa, and stands comparison with the battlefield memoirs of Siegfried Sassoon and Philip Caputo. Sledge's work alone makes The Pacific better than Band of Brothers, and the story line drawn from it is the best and most meticulous part of The Pacific. (A third story line, involving the Medal of Honor winner John Basilone, is less nuanced than the other two, probably for lack of such thoughtful source material.) Any firsthand account of our fight with Japan—an often hole-by-hole war of extermination—will be intensely raw at times, and Leckie's and Sledge's books are no exception, yet the filmmakers, while skillfully tending to such difficult material, have once again taken care to shore up the dignity and pathos of the protagonists, in ways not reflected in the texts themselves, and in ways that should have been judged unnecessary for capturing viewer sympathy.
Video: Jon Zobenica comments on three scenes from HBO's The Pacific
The Pacific finds Sledge in December of 41 looking crestfallen, having just been forbidden from enlisting by his physician father, who's detected a murmur in Gene's heart; and it shows Leckie, a new recruit, stopping at church to light a votive candle. Within a year, Leckie is facing his first banzai charge on Guadalcanal, a discomposing event with an aftermath every bit as ghastly, as The Pacific shows. Having isolated a straggling Japanese soldier, Leckie's fellow marines, now fully wired for sadism, relieve the previous night's terror with some jeering target practice, nibbling at the enemy soldier with nonfatal rifle rounds while the man pleads for death. To the chagrin of his buddies, Leckie draws his sidearm and issues a coup de grâce. When he and some fellow survivors are finally pulled off the line, they're told by a slightly awed Navy cook that the press back home is filled with their exploits on Guadalcanal, that they're national heroes—a concept that seems to strike these weary men as confusing, like an unexpected civilian frippery they barely have the energy to process. There's no heroism like unbidden heroism.
Reading Sledge's and Leckie's memoirs, one finds slightly different tales. Making no mention of church, Leckie flatly informs us on page one that as he left for boot camp he was nursing a tenderness in his crotch, having just had the circumcision required by the Marine Corps. Such was his fierce resolve and the tone of his remembrance. The morning after the banzai charge, he does shoot an isolated Japanese soldier, one who's fleeing back into the jungle under a hail of businesslike fire from numerous marines, but mercy is not a consideration. With the intention of looting enemy corpses, he then crosses a nearby stream, but is repelled by flies and putrefaction after snatching only a few items. The Pacific's shifting of depravity from a major character onto minor characters in this instance is akin to employing the passive voice, a way of confronting wretchedness while adeptly furthering the audience's partiality for Leckie. As for stateside coverage of the Guadalcanal campaign, Leckie and some friends speculate at length about it while still on the island, wondering if they're famous and even dreaming of being feted with a parade in New York City. When later informed by a serviceman that in fact they're heroes, they have to quickly turn away lest he see their grateful tears—hardly the gruff reaction portrayed in The Pacific.
Sledge, a dutiful son and a model of shaken but unbreakable faith and decency, does delay his enlistment, but not because of any frailty. The filmmakers' introduction of this fiction might simply be a bid to make more poignant the physical punishments to come. But it appears more like the delicate sidestepping of a socioeconomic issue that plagues debate over military service to this day. In fact, Sledge is urged by his professional-class family to enroll in college and stay there "as long as possible," in the hope that he might avoid the combat that less fortunate sons (then as in the Vietnam era) had no means of escaping. As a compromise, he joins the ROTC. Never comfortable, however, with using college to defer service, Sledge, along with many others, deliberately washes out of school to go to war. It's a decision he has cause to regret once he's ashore on Peleliu, an intricately defended chunk of coral that was arguably of no strategic worth to the Allies.
Certainly one of the reasons why World War II came to be called "the Good War," and those who fought it "the Greatest Generation," and why Americans have reserved their utmost sentiment for the European theater of that war, is because the 1945 discovery that we'd helped shut down a genocide redeemed that theater's carnage—ex post facto—and bestowed upon that campaign a narrative, moral, and even aesthetic appeal that is exceptional for any war. Saving Private Ryan and Band of Brothers epitomize that theater's irresistible appeal, with their mix of commendably upsetting, technically brilliant combat scenes and more general uplift. Every mangled limb, every shattered facade, every act of conditioned violence stage-whispers "Sacrifice" amid the gently weeping sound track and the faded–Saturday Evening Post color palette, with the overall effect evoking stateliness, esteem, even nostalgia—emotional luxuries that only a comfortable remove can give to the hectic, terrifying nature of combat. All of which takes viewers half out of the moment, despite the kinetic you-are-there cinematography.
DreamWorks and HBO have set themselves a far more difficult task in dealing with the war against Japan, to which Americans, vengeful-minded at the time, were most committed (sentimentally if not in terms of manpower); in which the American casualty rate was three and a half times that in Europe; and which was conducted and concluded in a manner that has provoked enduring ambivalence. Almost entirely missing are the familiarities of the European theater, replaced either by utter foreignness or by a near absence of context beyond the killing.
Two of the battlegrounds highlighted in The Pacific, Peleliu and Iwo Jima, were free-fire zones, void of civilians, save perhaps for Korean slave laborers imported by the Japanese. Here, as in other of the island contests, retreat and reinforcement were impossible for the Japanese, whose refusal to surrender made them mass-suicide units and resulted in gruesomely close combat on a scale not seen in the more mechanized engagements in Europe. The emphasis on knives and flamethrowers attests to the almost medieval intimacy of much Pacific combat. The former, when not frantically applied to throat-slitting infiltrators, were often used to mutilate Japanese corpses in a quest for gold fillings, and the latter proved to be the siege weapon most effective against cave and tunnel emplacements (better than the Navy's 16-inch guns, which did little but churn soil in these asymmetrical encounters). In an oral history compiled by the Minnesota Historical Society, one of my great-uncles, Nick, who fought and was wounded on both Guam and Okinawa, described the cruel gratifications of using napalm at close range: "The Japanese would come out of those caves with their skin and clothes and everything burning. We'd pick them off. We just ... it was like an amusement park. It was fun killing them like that."
Not that our interactions with noncombatants were always much better. Like our soldiers in Vietnam and later in Iraq and Afghanistan, many of those who fought in the Pacific in World War II were culturally and linguistically cut off from the locals, without trusted interpreters, and were therefore vulnerable and apprehensive. As Peter Schrijvers points out in The GI War Against Japan, a general inability to distinguish among the various Asian nationalities—for example, Chinese from Japanese from Korean or even Filipino—added to the confusion and unease, and could result in the further raping of "comfort women" and the killing of friendly locals, destabilizing relations all the more. Under pressure, U.S. forces wouldn't hesitate to shoot men and women or raze entire villages suspected of even limited cooperation with the enemy. For their part, American fliers were sometimes cleared to take out hamlets for the mere opportunity the dwellings could provide to the enemy, and failing that, might simply strafe a fishing boat to "get their gun off." (The phrase comes from Robert Leckie, who uses it to describe idle marines on Guadalcanal shooting up a captured animal for fun.)
But perhaps most unsettling of all for our soldiers was the environment itself. A nighttime rustling of vegetation could produce panicky fusillades and friendly-fire casualties. In one of Sledge's many agonizing passages, tensed marines lurking after dark in a mangrove stand have to club one of their own to death, lest he—in the grip of a crescendoing hallucination—give away their position. William Manchester, a Marine survivor of Okinawa and the author of Goodbye, Darkness, says of those who fought in the Pacific, "We were all psychotic, inmates of the greatest madhouse in history."
Observers of subsequent, similar military behaviors—from Stanley Kubrick to Michael Moore to Anthony Swofford, whose memoir Jarhead was rapturously received when it came out on the eve of the Iraq War—have tended to see psychosis to the exclusion of much else, as a presumable product of cynical, fractured times and wars unballasted with the meaning we ascribe to the Good War. It's a tempting view, attributable in part to the Greatest Generation conceit, which has established a false ideal that our modern soldiers will never live up to. In the 1980s, one of my best friends, B. Bunny, joined the Marines, probably motivated in part by the many proud USMC tales told by my dad, a retired fighter pilot. B. Bunny thereafter regaled me with stories so rowdy they verged on the sociopathic. One involved a jag with several prostitutes that ended with arson and with B. Bunny getting thrown through a storefront window by one of his fellow marines, and I recall thinking that this wasn't military conduct as I'd been led to imagine it. The 40th anniversary of the Normandy landings and of V-E and V-J days had filled the air with encomiums to our long-lost martial splendor, and I naively felt bad that B. Bunny had to serve in the debased, modern Marine Corps. The journalist Evan Wright's Generation Kill, a chronicle of his time embedded with Recon Marines during the 2003 invasion of Iraq, makes a few gestures—starting with its unfortunate title—toward the notion that our military has reached a chillingly degraded state.
Culturally, these Marines would be virtually unrecognizable to their forebears in the "Greatest Generation." They are kids raised on hip-hop, Marilyn Manson and Jerry Springer. For them, "motherfucker" is a term of endearment
These young men represent what is more or less America's first generation of disposable children. More than half of the guys in the platoon come from broken homes and were raised by absentee, single, working parents. Many are on more intimate terms with video games, reality TV shows and Internet porn than they are with their own parents.
For disposability, it's actually hard to top the Greatest Generation, those children of the Depression, conscripted by the tens of thousands and sent off to fill vacancies created by the death and maiming of tens of thousands before them. That's disposability. As for the rest of it, plus ça change … There may not have been Internet porn, gangsta rap, and violent video games back in the day, but there was porn, and there were the comic books and gunslinging genre fiction that the troops subsisted on. It's a safe bet that had there been gamy computer fare and explicit rap music in their youth, the Greatest Generation would have enjoyed them with gusto.
Fortunately, Wright quickly moves past this ahistorical aside to deliver a piece of reportage as notable for its empathy as for its candor, and one that is largely corroborated by Nathaniel Fick's exemplary One Bullet Away. (Fick, a young Ivy League–educated lieutenant in the unit with which Wright was embedded, was, in Wright's narrative, among the most graceful under pressure.)
Unfortunately, those who turned Wright's book into its own HBO miniseries were taken with the crude folkways of the Marine Corps, and hewed to the standard contemporary emphasis on military pathologies. If when watching Band of Brothers you feel elbowed, as though at a VFW function, to remove your hat and bow your head, watching Generation Kill you feel just as pointedly encouraged to look away in disgust or shame. The mangled limbs and shattered facades shout "Thrill kill!" above the amphetamine chatter and the dingo-pack atmosphere. And when we're not watching today's marines wreak havoc, we're treated mostly to them sitting around having inanely foul conversations, and are generously shown them tending to excretory matters or masturbating indiscreetly.
While shying from none of this, Wright makes palpable everything else that has always existed in war—moral chaos, limited situational awareness, uneven leadership, discriminate and indiscriminate killing, human suffering, and the toll taken even on those physically unharmed. And he manages to do so despite the dubious title. In its own positive notice of Generation Kill, the Naval War College Review felt moved to assure readers that the book does not trade on a cheap blend of "titillation and moral censure," despite all indication to the contrary given by that title.
Titillation and moral censure have constituted the twin track followed by most depictions of post–World War II combat involving U.S. forces, and can be traced back through works as different as Michael Herr's Dispatches and the commendable Iraq War documentary Gunner Palace. The approach arguably reached its zenith in Coppola's Apocalypse Now, which Herr script-doctored in ways that make it far more enticing as film noir than as a war movie. Of course, the primary source for Apocalypse is Heart of Darkness, Conrad's roman noir that, if enlisted as a war allegory, does seem to expose some essential truths about armed conflict: its disorienting enticements to man's "brutal instincts" and "monstrous passions" (to quote Conrad).
But is an unchecked id really the most consequential danger of such conflict? Just as apt yet far more tragic a figure than Kurtz is Conrad's Lord Jim, who—obsessed with his own rectitude—is all superego. At a critical moment, Jim opts to spare his sensibilities a bit of warranted violence toward a villainous threat, and thus sacrifices the well-being of those who have come to depend on him—people whom, in Conrad's words, Jim regarded "with a sort of fierce egoism, with a contemptuous tenderness." In the end, it's all about Jim.
In combat, conscience can be only a guide, not an absolute. To dwell on it can be as much a transgression as taking leave of it. Most soldiers understand this instinctively, and are additionally drilled and trained in the hope that they'll operate with due grace under extreme pressure, in an environment that is inherently transgressive. The grim adjustments in conscience required of Eugene Sledge, my Uncle Nick, and countless others may seem like the first steps toward irremediable dehumanization, but those I know who've been forced or prepared to make such adjustments have distinguished themselves with a fellow feeling generally in excess of those whose ideal of conduct is, like Lord Jim's, so fine that it verges on misanthropy. The need to suffer fools and foes alike that comes with military life might be one source of this fellow feeling. When you're in an army, and particularly in combat, you quickly learn that it most definitely isn't all about you. If anything, you're made acutely aware of others and of your place in a larger scheme.
And whether you refers to a draftee in the past who pined for a quiet life back home, and whose violent exploits are now accompanied by melancholy cellos and approbation, or whether it refers to a latchkey-kid enlistee with a sick sense of humor, a video-game habit, and a taste for action, whose unsavory comportment has become a pop-culture addiction all its own, the nature of the sacrifice made in the moment is utterly alike: a forgoing of safety and a willingness to bear the taint of killing, the pain of suffering, and potentially the loss of lives dear, including one's own, at the behest of others. Each generation of soldiers has possessed all the basic virtues we associate with the Greatest Generation, who in turn possessed, in their day, at least as great a share of distasteful quirks and brutal instincts—again, as The Pacific does an admirably vile job of showing. Maybe now we can retire for good any notions of generational exceptionalism, and stop projecting onto our soldiers the fears and ideals of a largely spectator nation. They're only human.
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text:
To make this I used a card base of 5 and 1/2 x 4 and 1/2" or 14 x 11 cm folded. GoPro screen 1and 1/2 x 2" or 4 x 5 cm. The circles I used measured.... 3 and 1/4", 2 and 1/2", 1 and 3/4", 1 and 1/4" and a 1/2".
This is the GoPro without the outer case on which was a little easier to replicate. If you don't like the hand writing look do all your pieces on the printer, I was going for the home made look here so my hand writing was ok for what I needed. Its not the most perfect thing but I hope this might inspire you to make some of your own cards that suit the hobbies the guys in your life love. Thanks to those who have checked out Dave's YouTube Channel.... if you haven't and would like to go to this link or press on the pic.... please subscribe Dave would love that! :-) PS sorry for the bad camera angles etc... I still don't have it all set up yet in my new craft space.
thanks and enjoy xxx Happy Christmas to all
Blessings to you
and a last thought
And whatever you do, in word or deed,
do everything in the name of the Lord Jesus,
giving thanks to God the Father through him.
Colossians 3:17


text:
2 hrs 30 mins
180 m
Hard track
(0km) End of Grosvenor Rd → Gibberagong Track Lookout Int.
120 m
2 mins
Easy track
(0.12km) Gibberagong Track Lookout Int. → End of Gibberagong trail
1.2 km
20 mins
Easy track
(1.36km) End of Gibberagong trail → Gibberagong AND Murrua Track Int.
800 m
18 mins
Hard track
(2.16km) Int of Gibberagong and Murrua Link Tracks → Gibberagong waterhole
40 m
1 mins
Moderate track
Gibberagong waterhole
(2.19km) Gibberagong waterhole → Int of Bobbin Head and Rainforest tracks
3.2 km
1 hr 9 mins
Moderate track
(5.39km) Int of Bobbin Head and Rainforest tracks → Bobbin Head Rainforest
190 m
5 mins
Moderate track
Bobbin Head Rainforest
(5.39km) Int of Bobbin Head and Rainforest tracks → Aboriginal Axe Grindings
20 m
Easy track
Aboriginal Axe Grindings
(5.42km) Aboriginal Axe Grindings → South End of Bobbin Head Park
600 m
13 mins
Moderate track
Continue straight: From the 'More? you want more?' information sign[73], this walk follows the timber boardwalk as it winds among the mangroves and saltmarsh[74]. Keep an eye out for missing boards[75] and 'Natural Recycler'[76] information signs as it winds for about 100m to a fenced viewing area[77] marked with a 'Teeming with life!' information sign[78].
Continue straight: From the viewing area[79], this walk follows the fenced timber boardwalk keeping the main body of visible water to your right. After about 25m this walk crossed Cockle Creek on a cable-stayed foot bridge[80][81]) with a 'Rock Solid?' information sign[82]. Here the walk continues along the patterned concrete path for about 20m to pass a bench seat[83] (on your left). This walk then continues along the footpath for another 20m to the car park[84][85]. There are a number of picnic tables
(6.02km) South End of Bobbin Head Park → Bobbin Head Kiosk
510 m
9 mins
Very easy
Bobbin Head
Bobbin Inn Cafe
Maps for the Gibberagong Track walkYou can download the PDF for this walk to print a map.
These maps below cover the walk and the wider area around the walk, they are worth carrying for safety reasons.
|1:25 000 Map Series
|Ku-ring-gai Chase National Park Tourist Map
|1:40 000 Map Series
|CMA Ku-ring-gai Chase National Park Tourist Map
|CMA Ku-ring-gai Chase National Park Tourist Map
|1:100 000 Map Series
Cross sectional view of the Gibberagong Track bushwalking track
Analysis and summary of the altitude variation on the Gibberagong Track
Overview of this walks grade – based on the AS 2156.1 – 2001
Under this standard, a walk is graded based on the most difficult section of the walk.
|6.5 km
|2 hrs 30 mins
Grade 4/6
Hard track
|Very steep (4/6)
|Quality of track
|Formed track, with some branches and other obstacles (3/6)
|Directional signs along the way (3/6)
|Experience Required
|Some bushwalking experience recommended (3/6)
|Storms may impact on navigation and safety (3/6)
|Limited facilities, not all cliffs are fenced (3/6)
Some more details of this walks Grading
Here is a bit more details explaining grading looking at sections of the walk
4.9km of this walk has gentle hills with occasional steps and another 800m is flat with no steps. The remaining (800m) is very steep.
Quality of track
4.4km of this walk follows a formed track, with some branches and other obstacles and another 1.4km follows a clear and well formed track or trail. The remaining (780m) follows a smooth and hardened path.
Around 4km of this walk has directional signs at most intersection, whilst the remaining 2.5km is clearly signposted.
Experience Required
Around 4km of this walk requires some bushwalking experience, whilst the remaining 2.5km requires no previous bushwalking experience.
Around 4km of this walk is affected by storms that may impact your navigation and safety, whilst the remaining 2.5km is not usually affected by severe weather events (that would unexpectedly impact safety and navigation).
Around 4km of this walk has limited facilities (such as not all cliffs fenced), whilst the remaining 2.5km is close to useful facilities (such as fenced cliffs and seats).
Similar walks
This is a short and pretty walk that can be enjoyed by everyone. It makes a nice addition to a picnic or paddle at Bobbin Head. Starting from the southern end of the Bobbin Head picnic area, you will enjoy great views of Cockle Creek from the bridge, then meander along the boardwalk through the mangroves. There are information signs to help you learn more about the environment and plenty of opportunities to see the mangroves and crabs up close.
Total climbing: 17m
552 m Return
15 mins
Very easy
This pleasant walk starts from the southern end of Bobbin Head, and enjoys blend of mangrove and rainforest environs. The well-signposted track gives you the opportunity to see the mangrove wildlife up close, and also a historic Aboriginal axe grinding stone and some temperate rainforest.
Total climbing: 82m
1.6 km Return
40 mins
Moderate track
This great circuit walk enjoys a variety of landscapes in Ku-ring-gai Chase National Park. The walk starts at the historic Sphinx war memorial and follows a series of popular walking tracks that loop around Bobbin Head, including historic Aboriginal engravings, temperate rainforest and a lookout. As the track passes through Bobbin Head, it provides a great opportunity to take a break and pick up a snack at the kiosk before continuing on the return leg.
Total climbing: 619m
12.9 km Circuit
5 hrs
Hard track
Starting with a walk through the streets of Wahroonga, this walk then heads bush, following the Gibberagong Track to Bobbin Head. After a picnic or a bite to eat from the kiosk, the walk then heads up the Birrawanna track to lead to Apple Tree Bay. From here the track follows the picturesque Cowan Creek for a while before heading up the ridge to Mt Kuring-gai Station.
Total climbing: 607m
14.7 km One way
5 hrs 30 mins
Hard track
Other Nearby walks
Starting at the Sphinx War Memorial in North Turramurra, this walk follows a series of well-used tracks exploring the waterways and Bobbin Head. The walk drops through Bobbin Head picnic area before passing through Apple Tree Bay on its way to Mt Kuring-gai. The scenic views and variety of things to do along this track make it a fantastic walk. There are a couple of Cafe's at Bobbin Head to add to this journey.
Total climbing: 518m
11 km One way
4 hrs 30 mins
Hard track
This walk from the Turramurra entry to Ku-ring-gai Chase National Park, this is an alternative way to get down to Bobbin Head. This walk mostly follows the old road down to Bobbin Head, starting along the flat management trail with its red dirt and high heath. About halfway along, the track becomes steeper as it winds down the hill, and then joins up with a bush track leading through the rocks to Warrimoo track, which you then follow to Bobbin Head.
Total climbing: 94m
5 km One way
1 hr 45 mins
Moderate track
This great walk starts at the Sphinx Memorial and loops around via Cowan Creek, exploring diverse environments as it changes altitude. There is an optional side trip to the Empire Marina and cafe for a recharge before the climb back up to the Sphinx. This walk provides some great water views of the Cowan Creek and the interesting rock formations along its shores.
Total climbing: 499m
9.6 km Circuit
4 hrs
Moderate track
This walk starts at the Sphinx War Memorial and follows some well maintained and popular walking tracks down to Cowan Creek. Enjoy the water views as you head through Bobbin Head and Apple Tree Bay. The walk continues through the National Park and up the hill to Mt Kuring-gai. There are plenty of great spots to stop and rest, including a cafe, kiosk and picnic area at Bobbin Head.
Total climbing: 673m
10.7 km One way
4 hrs 45 mins
Hard track
This delightful loop is one of the prettiest and most popular walks in the Hornsby area. Going from an environment of ferns and clear bushland to dry sandstone bush near Berowra Creek, this walk has a good complement of environments. The side trip out to Joe's Mountain doesn't have the most fantastic views but is still a nice walk.
Total climbing: 374m
6.7 km Circuit
3 hrs
Hard track
This section of the Great North Walk starts from Hornsby train station and winds down along the Blue Gum Walk into Fishponds. Enjoy the wonderful water hole at fishponds before continuing along Berowra Creek, passing through the Tunks Ridge Reserve and into Galston Gorge. From the Gorge the track keeps following the Berowra Creek past a waterfall to the Crosslands Campsite. People can drive down to Crosslands to pick you up at the end of the walk, or organise a taxi. Check the info at the end of the walk for crosslands closing times.
Note this walk was re-routed in early 2016 to go via the streets of Hornsby Heights. This re-route is due to the multi-agency decision to close the Fishponds to Steele Bridge section of the Benowie Track. This decision has upset many people and the protest continues.
Total climbing: 938m
16.1 km One way
6 hrs 45 mins
Hard track
This three day walk follows the Great North Walk from Hornsby Station to Brooklyn, staying overnight at the Crosslands Reserve and the Great North Walk ridge top campsite. Some of the highlights along this walk are the sandstone cliffs at Fishponds, the great restaurants at Berowra Waters, and the beautiful Jerusalem Bay at Cowan Creek.
Note this walk was re-routed in early 2016 to go via the streets of Hornsby Heights. This re-route is due to the multi-agency decision to close the Fishponds to Steele Bridge section of the Benowie Track. This decision has upset many people and the protest continues.
Total climbing: 2695m
43.1 km One way
3 Days
Hard track
A short walk from Hornsby to reach a great spot for admiring Berowra Creek. This walk explores several different environments in the Regional Park along the way. Allow some time to sit and enjoy the view at Fishponds. Expect to see other people along the track as this is one of the most popular walks in the area.
Total climbing: 296m
5.6 km Return
2 hrs 30 mins
Hard track
Starting at Hornsby station, you soon head into the bush and down the steep depression era stone steps through the volcanic Old Mans Valley, to a picnic area at the end of Rosemead Rd. Here you follow the Blue Gum walk through one of Sydney's rare Blue Gum Forest stands to then cross Berowra Creek a few times at Fishponds waterhole. After exploring the edge of the valley you will cross the Steele Military Bridge before climbing to Tunks Ridge rest area. Not far from here the walk starts to lead steeply down enjoying more sandstone caves to cross under Galston Road to find the Galston trackhead.
Note this walk was re-routed in early 2016 to go via the streets of Hornsby Heights. This re-route is due to the multi-agency decision to close the Fishponds to Steele Bridge section of the Benowie Track. This decision has upset many people and the protest continues.
Total climbing: 473m
9.7 km One way
4 hrs
Hard track
This section of the Great North Walk starts from Hornsby train station and winds down along the Blue Gum Walk into Fishponds and along Berowra Creek. The walk passes through the Tunks Ridge Reserve and then into Galston Gorge. From here the walk keeps following the Berowra Creek through the Crosslands campsite to Calna creek, and then up to Mt Kuring-gai.
Note this walk was re-routed in early 2016 to go via the streets of Hornsby Heights. This re-route is due to the multi-agency decision to close the Fishponds to Steele Bridge section of the Benowie Track. This decision has upset many people and the protest continues.
Total climbing: 1319m
22.3 km One way
9 hrs
Hard track
The Warrimoo Track is a great walk for exploring the upper reaches of Cowan Creek. This walk wanders down the ridge to follow the bank of Cowan Creek to Bobbin Head. There are many different views to be seen and a variety of flora and fauna throughout makes this walk quite interesting. Enjoy a cool drink from the cafe at the end of the walk.
Total climbing: 280m
6.2 km One way
2 hrs 45 mins
Moderate track
This walk offers a great way to explore most of the Warrimoo Track and also visit the Sphinx War Memorial. The walk winds down to Cowan Creek, providing some great views as the creek becomes wider. The journey continues up the steep hill through various bush environments before arriving at the Sphinx War Memorial and picnic area.
Total climbing: 189m
3.4 km One way
1 hr 30 mins
Moderate track
Plan your trip to and from the walk hereThe Gibberagong Track walk starts at the End of Grosvenor Rd (gps: -33.695978, 151.12669)
Your transport options to End of Grosvenor Rd are by;
Bus. (get details)
Car. There is free parking available.
(get details)
The Gibberagong Track ends at the Bobbin Head Kiosk (gps: -33.659696, 151.15912)
Your main transport option to Bobbin Head Kiosk is by;
Car. A park entry fee is required for driving into the park.
(get details)
Fire DangerEach park may have its own fire ban, this rating is only valid for today and is based on information from the RFS Please check the RFS Website for more information.
Weather ForestThis walk starts in the Metropolitan weather district always check the formal BOM forecast or pdf before starting your walk.
Forecast snapshot
Park Information & Alerts
Short URL = http://wild.tl/gt
Gallery images
There are other downloads I am still working on.
You will probably need to login to access these — still all free.
* KML (google earth file)
* GPX (GPS file)
Special Maps/ brochures
* A3 topo maps
* PDF with Lands Topo map base
* PDF with arial image (and map overlay)
I wanted to get the main site live first, this extra stuff will come in time.
Happy walking
Matt 🙂


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Retirement Living
Click here to see our Real Estate Junkie discussing Sarasota Bay Club on TV.
Sarasota was built on retirement. It's got the perfect combination of weather, things to do, medical facilities, stress-free living, and a whole lot of other retired people to be friends with. Consequently the town has a large number of retirement communities for all income levels, and sitting right at the top are Plymouth Harbor and the Sarasota Bay Club.
Sarasota Bay Club
Well, they loved it from the start. Many residents participate fully in the community life. Others, like my folks, stand back a little. Either way works out fine.
At the Sarasota Bay Club you buy your apartment, rather like a condominium. Units start at around $500,000 and go up to three times that for the big penthouses with the private elevators. The current model they have on display is pretty typical; two bedrooms, two baths, about 1,500 square feet. The rooms are spacious; there is a complete kitchen along with walk-in closets, a great little sunroom/den, a washer and dryer. Because of the way the buildings are angled, most apartments have a view of the bay.
The view from a Sarasota Bay Club apartment.
Residents pay a monthly fee – it starts around $2,000, depending on the size of the unit and whether one or two people are occupying it. For that you get all utilities, cable TV, transportation around town, valet parking, plus a whole slew of amenities like the pool, gym, parties, classes, concerts, etc. You pay separately for housekeeping, and meals are not included. There are various meal plans (for instance, 21 meals a month for $214) and I can attest that the food is very good, superior country club fare, and yes, you can order a cocktail at your table.
The Sarasota Bay Club dining room.


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(CNN) - Donald Trump did not back down on Tuesday from his questioning of President Barack Obama's birthplace, which, paired with the Obama campaign highlighting Trump's remarks, served to keep the issue alive on the day he is to fund-raise alongside presumptive Republican presidential nominee Mitt Romney.
"I've never really changed. Nothing's changed my mind," he said on CNBC of his skepticism toward Obama's birthplace.
- Follow the Ticker on Twitter: @PoliticalTicker
In April 2011, Obama released the long-form version of his birth certificate, which showed he was born in Hawaii on August 4, 1961. Natural born American citizenship is one of the Constitutional requirements for the presidency.
"Is it the most important thing?" Trump asked in the interview. "In a way it is. You're not allowed to be the president if you're not born in the country."
Obama's campaign released a web video on Tuesday that said the 2008 GOP nominee "John McCain stood up to the voices of extremism in his party… Why won't Mitt Romney do the same?" In the video, McCain is seen addressing a woman who called Obama an "Arab," saying, "He's a decent family man, citizen that I just happen to have disagreements with."
The president's deputy campaign manager suggested Romney's alliance with Trump in light of the tycoon's statements calls into question how he would serve as president.
"Mitt Romney's continued embrace of Donald Trump and refusal to condemn his disgraceful conspiracy theories demonstrates his complete lack of moral leadership," Stephanie Cutter said in a Tuesday afternoon statement. "If Mitt Romney lacks the backbone to stand up to a charlatan like Donald Trump because he's so concerned about lining his campaign's pockets, what does that say about the kind of President he would be?"
White House Press Secretary Jay Carney said Tuesday the White House was forced to address the issue last year, "but not because we chose to, but because it was such a ridiculous distraction from the important business that we should be doing here that the president is committed to doing and Congress should be doing to help the economy grow and help it create jobs."
"We can revisit that but I think the American people are pretty fed up with this kind of nonsense," he said.
Although Romney and Trump are to fund-raise in Las Vegas on Tuesday, the candidate on Monday chose not to rebuff Trump's suggestions.
"You know, I don't agree with all the people who support me and my guess is they don't all agree with everything I believe in," Romney told reporters when asked about the issue. "But I need to get 50.1% or more and I'm appreciative to have the help of a lot of good people."
Romney spokeswoman Andrea Saul said in an email on Tuesday, "Governor Romney has said repeatedly that he believes President Obama was born in the United States. The Democrats can talk about Donald Trump all they want – Mitt Romney is going to talk about jobs and how we can get our economy moving again."
In his television interview, the wealthy real estate mogul said, "I walk down the street, and people are screaming, please don't give that up."
"A publisher came out last week and had a statement about Obama given to them by Obama when he was doing a book as a young man a number of years ago in the '90s: born in Kenya and raised in Indonesia," he continued.
The literary agent apologized earlier for the mistake, which appeared in a promotional catalogue for an Obama book in the 1990s.
Despite his views and the investigation into Obama's birth records, Trump maintained on Tuesday, "I don't consider myself birther or not birther" and said he is "not fanning flames."
He also acknowledged interest in creating his own super PAC, saying, "we're looking into it right now."
"We're thinking about five or ten million dollars," he said. "I haven't thought about it too much. We haven't given it a lot of energy but we're starting to think about it very strongly."
The Tuesday fundraiser is scheduled take place at Trump's Las Vegas hotel.
Also see:
Romney likely to hit 'magic number' on Tuesday
Texas gears up for Lone Star primary
Romney doesn't back away from 'birther' Trump
Watch The Situation Room with Wolf Blitzer weekdays at 4pm to 6pm ET and Saturdays at 6pm ET. For the latest from The Situation Room click here.
Why in the world Mr. Romney wants to hitch his campaign to a fool like Trump, and idiocy like Birtherism. The GOP clearly has a self-destructive tendency.
Really why would anyone with a higher-than-room-temperature IQ vote Republican?
Why isn't McCain giving Romney any advise about "How a Loud Mouth Radical" can rob him of this election just like Palin did for him.......Trump wants the attention, Romney will become second fiddle to Trump.....Romney has no backbone so Trump will do all his talking for him.....Romney will lose more votes with this Moron Trump standing up beside him.....Trumps mouth gets him into to much trouble and he will bring it down on Romney......best thing that could have happened for Obama and the Democrats........
Obama himself said, in his books , that he was born in Kenya.
Now, we are being told that the Publisher made a mistake and misprinted it, LOL.
Obama in none of his books claims to have been born in Kenya. I know, I have read them. Obviously you have not, or choose to have your beliefs made for you by corrupt political hacks.


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(CNN) – As some Republicans and Democrats begin to dig in before the next fiscal showdown, Sen. John McCain said Washington is "in for some very serious problems" and called on his colleagues in the GOP to tone down the warnings of a government shutdown.
"Republicans ought to understand if we shut down the government, Congress always gets blamed–rightly or wrongly–Congress gets blamed," the Arizona Republican said Monday on CNN's "New Day." "We've seen the movie before. It's just some of them weren't around at the time; I was."
[twitter-follow screen_name='politicalticker'] [twitter-follow screen_name=KilloughCNN']
On the Senate side, some Republicans have threatened to vote against a short-term spending bill that continues to fund the government past October 1 if that bill includes money for Obamacare. If Congress fails to pass the bill, known as a continuing resolution, Washington faces a government shutdown.
CNN Poll: Who gets blame for govt. shutdown
But the real stalemate will likely happen in the GOP-controlled House. The president said he's "happy" to talk to House Speaker John Boehner about dealing with the so-called sequester, a large sum of forced spending cuts that took effect earlier this year.
"There are ways of doing this, it's just that they haven't been willing to negotiate in a serious way on that," he said in an interview that aired Sunday on ABC's "This Week."
Q&A: The lowdown on the shutdown, or why you should care about the CR
Republicans typically lobby for spending cuts in budget measures, while Democrats tend to focus more on tax increases. This year, a core group of conservative Republicans in the House wants to tie the entire $986 billion annual operating budget to a provision to defund Obamacare. Rep. Tom Graves, R-Georgia, introduced such a bill last week.
McCain said there needs to be a "willingness to negotiate" on both sides of the aisle " because we all know we're not going to cut off social security checks" and payments to those in the military fighting overseas. "And for us to say you've got to repeal Obamacare in order to get that done, as Charles Krauthammer, that's a suicide note."
"I hope my colleagues in the House who believe that we need to shut down the government will understand that that's not what the American–they hate government, but they don't want it to stop functioning," McCain argued.
House Republican leaders are trying to find a compromise that pleases conservatives as well as Republicans opposed to using Obamacare as leverage. Last week, leaders postponed a vote on government funding legislation until this week, after many conservatives made it clear they wouldn't back it because it doesn't fully defund the health care law.
Republican leaders crafted a plan to pair a spending blueprint with a separate resolution barring the use of federal funds to implement new health care law.
House GOP leaders delay vote on spending bill after conservatives rebel
It also would require the Senate to vote on defunding the controversial health care law before it could vote on the short-term spending bill.
But conservatives object to that strategy because the Democratic-led Senate would likely reject the resolution and simply pass the spending bill that includes money for new healthcare programs.
- CNN's Deirdre Walsh and Leigh Ann Caldwell contributed to this report.
Finally, a Republican with some sense!
The way to get the policies you want is to win elections, not to hold our fragile economy hostage with a gun to its head until you get your way. And The way to win elections is to present something that a majority of the people will vote for – not to gerrymander districts or change voting rules so only people like you can vote.
Tea Party / Randy Paul / Ted Cruz .
Shut down the government , paralyze the economy , diminish the power and the negotiating capability of the presidency .
Destroy the country , then pretend to save it !
Threats to shut down the government are the height of irresponsibility. But the question is, will the TP/Wingnuts/Norquist Zombies actually listen to responsible Republicans who keep pleading with them not to take this disastrous course of action? Nobody expects these morons to listen to centrists or progressions (since the wingnuts consider such persons to be the spawn of Satan), but will they listen to their own???? Don't count on it; these idiots think it's better to BE right than to DO right.
"They will do or say anything to keep their welfare supporters rolling in taxpayer money."
Go live on a single person's foodstamps allotment for a week and tell us all about how you were "rolling in money"...after your trip to the ER for malnutrition that is.
Now don't be dishonest Sniffit and tell the whole story.
It is not just the thousands in food stamps, under numerous aliases in a few states.
It is the welfare payments.
It is the free government paid for housing.
It is the free Obamacare healthcare.
It is the free government phone.
It is the free daycare.
It is the tax credits that are actually welfare.
And then there was talk about giving free cable internet access.
One state estimated governemnt handouts were worth $30-40,000 per year. Hardly starving in the streets. Why work when one is rewarded so handsomely for going to the mailbox and getting the money? Ooops, they don't even have to do that any more.
The way to get the policies you want is to win elections, not to hold our fragile economy hostage with a gun to its head until you get your way. And The way to win elections is to present something that a majority of the people will vote for – not to gerrymander districts or change voting rules so only people like you can vote.
the republicans in the house did win elections. that is why they are in congress. democrats think they are running a little dictatorship and completely disregard and circumvent the peoples elected representatives. i voted for my representative to get rid of obamacare any way they can. and now the unions agree with me that it is a disaster.
on gerrymandering, that was invented by the democrats to get black representatives in congress, sure let's stop doing it. and then watch the democrats lose another 30-40 seats in the house as the congressional black caucas almost disappears entirely. and votin gturn out has never been higher. all these false claims of people not being able to vote have no facts to back them up. just leftist lies and fairy tales.
They understand this as hurtful to the majority of Americans, yet feel obligated to do it. The insurance corps are pulling their strings, and they are jumping up and down just fine
It is both FOOLISH and STUPID to think that the shutting down of the government will not effect EVERYONE!! The credit rating of the government will drop once again which will increase the interest on ALL money borrowed including the federal debt. This combined with the large number of Americans that make $10.00 a hour or less, who have NO expendable money, which stagnates the economy, preventing the creation of new jobs. This means the tax revenue will basically stay the same and increase in the interest rate will make it even harder to pay down the debt. It is simple math. I just find it amazing in a country were facts and knowledge is easy attained MILLIONS of Americans prefer to ignore it. Shutting down the government over the Affordable Care Act is just DUMB, and will cost the Republicans the House in 2014. (so a small part of me is kind of hoping they do it)


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Impact Sports
Impact Sports Contact Info
For questions, feedback, or other information about your ePulse, please email the
Impact Sports Customer Support Department:
Email: firstname.lastname@example.com
Tel: 1-888-537-9763.
Impact Sports Warranty Info
Epulse Heart Rate Monitors come with a 90 day limited replacement warranty from the date of purchase. Impact Sports Technologies Inc warrants the original end user (consumer) than new IST branded products will be free from defects in workmanship and materials under normal use, for 90 days.
Please contact IST for an RMA if you have warranty questions at 1-888-537-9763 or email at email@example.com
Impact Sports Frequently Asked Questions
Q. How do I activate the ePulse minimum heart rate feature?
A. Minimum heart rate on the Data Menu will display as zero unless you activate it with a daily reset. Simply hold down MODE button for three seconds and release, right after you first turn ePulse on. The zero Minimum HR display does not affect any of the other Data Menu calculations such as average HR.
Q. How does the ePulsediffer from the chest strap heart rate monitors that are on the market today?
A. The difference is convenience! Impact Sports Technologies has used proprietary technology to place the sensor that captures heart rate in an easily worn armband instead of on an uncomfortable chest strap. The ePulse is self-contained and displays your fitness data right on the back of the armband.
Q. Is the ePulse only for athletes?
A. Absolutely not! The ePulse has been designed to monitor heart rate and calories burned for all types of activity ranging from intense aerobics such as running or dancing, to racquet sports such as tennis and everyday activity such as walking around the block or simply going up and down the stairs. The ePulse makes it possible for the first time for anyone to conveniently monitor their activity levels and obtain instant feedback on the benefits.
Q. I am having trouble getting to the personal data entry menu.
A. Since this menu is generally used only one time, it is slightly difficult to get into to prevent you from accidentally entering the menu and deleting or misconfiguring your personal data. To get to the personal data entry menu you must quickly double click the right hand data button. Try using your fingernail for two rapid clicks. Or you may take off your ePulse, turn it on and hold it in your hand to double click the data button and complete the personal data entry.
Q. Does the ePulse tell time or have a stopwatch function?
A. No. ePulse will track and display your exercise time. It is not designed to be a timepiece, but to complement your favorite sports watch.
Q. Can ePulse be worn on either arm?
A. Yes, typically a right handed person will wear it on their left arm and vice versa.
Q. Can I clean my ePulse?
A. Yes. Your ePulse is designed to be cleaned with soap and water. It is not designed to be fully immersed in water however.
Q. What is the battery life?
A. Standard alkaline AAA batteries will last 17 continuous hours and lithium AAA batteries will last 70 continuous hours.
Q. Why is it useful to know my heart rate?
A. Your heart rate provides a useful measure of the intensity of your activity during exercise and can be used to calculate your calories burned. By monitoring your heart rate with the ePulse during daily activities or exercise you will receive immediate feedback on the quality and intensity of your activity.
Q. What are the benefits of activity that elevates my heart rate?
A. The benefits are many to include increased fat and calorie burning, more efficient cardio vascular system, reduced blood pressure, decreased risk of diabetes and heart disease.
Q. How high should my heart rate be to begin achieving benefits?
A. Typically, once you elevate your heart rate above 100 beats per minute (bpm) you will increase caloric burn. Your ePulse uses your personal profile to allow you to see and monitor the types of activity that bring your heart rate to the 100 bpm level as well as to more intense exercise levels for fat burning and maximum cardio conditioning. The ePulse also shows you the caloric burn for your activity based on your heart rate measurements.
Q. What is the advantage of the ePulse over the heart rate monitors that are on the handgrips of most exercise equipment at my fitness club?
A. The ePulse offers several unique advantages over heart rate monitors found on exercise equipment. First, the calculations from the ePulse are personally tailored to you and your physiology, making the caloric burn calculations very accurate. Second, the convenience of the ePulse permits you to wear it during your entire workout as you move from station to station or exercise to exercise, giving you a more dynamic and comprehensive picture of the total effectiveness of your activity.
Q. Can the ePulse tell me if I am over training?
A. Since the ePulse will allow you to become familiar with your heart rate during all types of activity, including your resting heart rate, you will be able to see a typical sign of over training if your resting heart rate is 5-10 beats higher than normal.
Q. Can I use the ePulse during weight training?
A. Yes. The ePulse can be particularly useful if you are monitoring your heart rate between sets. For instance if you are power lifting you may want to see your heart rate move back to resting level between sets, while if you are moving quickly from station to station for aerobic or endurance training the ePulse will help you keep your heart rate elevated with constant feedback.