#Trilogy Plumbing Services

[proskillservices]

The enduring popularity of Phoenix air conditioner repair services

Air conditioners have become a necessary aspect of everyday living for inhabitants. Without a dependable air conditioning system, it is nearly impossible to perform in a hot and humid environment.

However, the functioning of air conditioning systems depends on routine maintenance and repair service. Given the wide range of options on the market, many people may find it difficult to choose a dependable and Cheapest Phoenix air conditioner repair service.

Also, using a service that promises to be affordable only to learn that there are additional fees that drive up the price can be frustrating. Moreover, some firms might compromise quality to offer affordable services, which would result in more frequent failures and overall costs.

Hiring a Phoenix air conditioner repair service.

Here are some suggestions that may be helpful if you’re wanting to hire a phoenix air conditioner repair service without sacrificing quality:

Research

Check out the company’s reputation and client testimonials before selecting an air conditioning service. This will enable you to evaluate their level of customer service and see any warning signs.

Verify there are no hidden expenses by asking the service provider for a thorough breakdown of their pricing, including any possible extra charges. This will enable you to prevent unexpected financial surprises.

You can save money on transportation expenses by selecting a service provider close to where you are, which can decrease the total cost of the service.

Check for Specials

Several air conditioning service companies provide specials and savings on their services. Such deals may enable you to reduce your expenses, so keep an eye out for them.

Also, if this is your first time selecting a service provider, try to get a phoenix air conditioner repair service.

Search for an Expert

An expert service provider is more likely to have dealt with various air conditioning problems and may offer more thorough and efficient solutions.

Also, choose a servicing company that provides a warranty. A warranty can reassure you that the service provider is certain of their performance and that you are protected in the event of any problems.

Request Recommendations

Ask friends and family for recommendations for a low-cost, dependable air conditioning servicing company. You might save time and effort by doing this instead of looking for a service provider.

Expert heating repair service in Glendale.

Heating Repair Services is a basically-owned and operated by HVAC companies to serve the residents in Glendale and the West Valley.

They ensure prompt, professional service you can trust! And are your go-to, loyal, affordable and on time Glendale heating repair services.

They collaborate with the most depending brands in the field some of them are Carrier, York, Goodman, Rheem and American Standard, to guarantee you get the best operating system in your budget.

Professional & Reliable Electricians in Mesa.

As an honest service is the most important value in the Code of Ethics, you can always rely on these electrical repair services Mesa as the provide prompt, reliable and efficient electricians. With a proper use of advance tools for maintaining your electrical system modern, whether for a minor fixing or major installations. There's no reason not to pick Mister Sparky of Mesa & Chandler as your go-to source the next time you need electrical services in Mesa that are suitable for any type of home, such circuit repair or rewiring. There's no reason for denying phoenix air conditioner repair services as your go-to source the next time you need electrical services in Mesa that are suitable for any type of home, such circuit repair or rewiring.

Trusted plumbing services in Trilogy.

Plumbing system is a crucial part in your house HVAC system, disturbance in the plumbing system may disturb your daily lifestyle.  A good plumbing service provider specializes in new construction. Guaranteeing of their unique design-build methodology, they are able to foresee any changes and contribute to the establishment of a steady construction pace. The coordination between builders and developers ensure to provide high-quality products on schedule with few callbacks.

Trilogy plumbing services include plumbing system replacement, repair, and maintenance throughout scheduled maintenance. Any plumbing issue you encounter, including leaks, drips, stopped drains, broken pipes, faucets, fixtures, and water heaters, is covered by our service department's warranty. They employee friendly, helpful, and professional staff members in their service interactions. The organization is based on ideals that are clear from commitment to accountability, honesty and excellent customer service.

Conclusion

Choose a reliable Phoenix air conditioner repair service based on reputation, cost, and location. Look for discounts and consult friends for recommendations. Trustworthy heating repair providers in Glendale and Mesa work with reputable brands. Trustworthy electricians in Mesa provide prompt, dependable services. A reputable plumbing service company specializes in new construction.

[gracehosborn]

Welp in light of receiving some Christmas gifts, I had to add to Mt. Research Overflow. Brandywine by Michael C. Harris to use in writing the lead up to, and the battle of, Brandywine, as well as Joseph Plumb Martin’s memoir for reference of the average solider’s conditions throughout the war, for Hamilton led and interacted with many lower ranking soldiers and their conditions during his own service. And that information is kinda important, considering this story of mine is written from Hamilton’s first person perspective and all. 😂 Somehow Volume I of this trilogy covers all of his upbringing and the entire American Revolution. You can imagine how long that’ll be when I finish.

When this research will end I have no idea but like seeing only half of the material here is a little crazy.

[maxwell-grant]

Downfall of a Dark Avenger Part 1: El Sombra

Having finished reading Al Ewing’s El Sombra trilogy and having had enough time to digest it, I’d like to talk about the trajectory of it’s titular protagonist, the character and series’s relationship with it’s influences. Relating to The Shadow and Zorro and general pulp archetypes, and also the way it incorporates Astro Boy’s Pluto into the mix. My interest in Pluto’s imagery led to me reading Naoki Urasawa’s Pluto, and I will go into the correlation between all of these seemingly random sources coming together. 

But before we can talk about what El Sombra becomes, we must talk about what he is, and where he starts.

The very first chapter of El Sombra is dedicated to establishing the happy scenery of the village of Pasito, as a big wedding is drawing the entire town together, eager to see one of it’s greatest heroes marry his sweetheart. We get a great description of said hero Heraclio...and then the reveal that the character we’re gonna be following for the rest of the story is not Heraclio, but instead his loser brother Djego, a morose, slow-witted poet largely considered a joke by the village, currently being rejected and beaten by the love of his life, which is just about the 2nd worst thing that happens to him that day, followed by winged Nazis storming the village, murdering scores of men, women and children, killing Djego’s brother as he watches helplessly, and then said brother cursing Djego with his dying breath as Djego just barely escapes into the desert, with nothing but a sword and a wedding sash in hand. Djego is probably the last man in the village anyone could have possibly expected to become a hero (which may be part of why he ended the way he did). 

Cut to 9 years later, Pasito has been transformed into a mechanized nightmare, a clockwork city of endless toiling and suffering ruled by Nazis, freely enacting their every dark whim on it’s population, revealed to be little more than just a large-scale experiment conducted by the Nazis to increase workforce enough to match Britain’s. After two agonizing chapters with little more than Nazi atrocities to occupy our time, we get our first look at the intrepid hero, Djego. And how does El Sombra introduce himself? Through laughter.

The laughter. Rich and strong, echoing around the square, freezing the milling workers in their tracks. An awful laugh - a terrible laugh of hope and joy and strength! A sound that had not been heard in the clockwork-town for nine years.

as the sound of laughter echoed across the town, the men shuddered and glanced at each other briefly, as though hearing the first sounds of an approaching storm.

The smile on the creature's face was powerful and confident and utterly unafraid. To Alexis, it seemed like the smile the devil might have in the deepest pits of Hell.

For the most part, El Sombra is heavily modeled after Zorro. He’s got Zorro’s swashbuckling fighting style, wields primarily a sword, his main outfit is styled partially after Douglas Fairbanks’s costume, he can be quite friendly and charming and peppers an “amigo” at every sentence. His name is the same as Diego’s minus one letter, his main enemies specifically consist of tyrants who rule over his town, and his mission of vengeance gradually turns him into a rebellious, inspirational figure for the city he strives to liberate. El Sombra is Zorro vs Nazis and it delivers on that.

But nothing is ever quite as it seems in this trilogy, and the first installment of El Sombra goes to great lenghts to establish that El Sombra is a long, long way from being the pure and heroic fantasy that Zorro embodies. He doesn’t live in a world where problems can be solved with guile, luck, good swordplay and a good smile. He doesn’t live in a world where he can show up, humble imperialists and get the people behind him. He lives in a world where the only recourse available to him, to even stand a chance, was nine years of an extended fugue state trip through the desert, ingesting hallucinogens, having his soul shattered and then repaired into something much, much darker. And it’s in those moments that we start to see why exactly his name is El Sombra.

There was something in his voice as cold and unyielding as a gravestone.

"Djego is dead, Father Santiago. He was useless and stupid and pathetic. And he died and left good flesh behind. So I took his place." The eyes behind the mask met Santiago's then, and the priest breathed in sharply. There was nothing of Djego in them. There was nothing human in them.

Something bigger had lodged there, something stronger and faster than a man, something with a laugh that could shake mountains and a spirit like hot iron and fire. Something better.

"I am his shadow. El Sombra."

Atop of his inhuman speed and agility and skill at combat and murder, Djego repeteadly demonstrates skills and traits that, not only did he not have prior, but he couldn’t have picked simply in his desert sojourn. He knows how to apply advanced first aid, he speaks German, in Gods of Manhattan he is able to get the drop on Blood-Spider with a textbook Shadow hypnotic trick, and for all of those, the only explanation he gives is a shrug and “I picked it up somewhere”. Djego had the same trip to the unknown that defined The Shadow and so many other pulp heroes, except Ewing never provides any explanation for El Sombra’s advanced skills other than what the character says. Because there is no explanation. El Sombra is bigger than that. 

El Sombra has to be, because a mere man with training and skills and strength and inspirational heroism isn’t going to cut it against what he’s up to. His brother had all of those things, and he died in the first chapter. Like The Shadow, El Sombra has warped himself to address calamity upon mankind, and morphed into something bigger and darker than just another vigilante. 

In that moment, El Sombra knew himself to be no longer a man. He was, instead, what the ticking clock had made of him. He was a monster.

In fact, with the devil imagery Ewing grants upon El Sombra at points, and the reocurring “itch in the back of the skull” prelude to crucial moments, you can pinpoint exactly the points where El Sombra’s character traits would later manifest in Immortal Hulk, with Ewing’s reinvention of the Hulk plumbing the darkest possible alternatives for said character by digging into the greater horror roots of the character. This will be more relevant when we get to Pluto though.

But to put it plainly, Djego may be Zorro in every aspect at his surface. He may desperately strive to be Zorro, and it may be his Zorro traits that allow him to truly save Pasito. But Djego is not Zorro. He is El Sombra, as illustrated most in the following sequence. The moment where he pulls the most Shadow-esque destruction of a Nazi ever since The Shadow convinced a Nazi general to gut himself with his own sword.

The chained man began to laugh. Softly at first, then louder, the sound rolling through the quiet, cold room like the skeletons of winter leaves in a chill and bitter wind. It was not a laugh of joy, or of hope, or of strength, or of anything associated with sunlight and clean air. It was a laugh that belonged in these dank and fetid conditions, a snide chuckle, a sneering, contemptuous snicker. A laugh like a thousand beetles marching across a sheet of glass.

It was a sound that would have been sickeningly familiar to anyone who had once been a guest of the Palace Of Beautiful Thoughts. The old man started back, looking at the features of his chained captive, breathing in sharply as the handsome face of the terrorist became foreign and strange, warped by the noise emanating from it. He recognised the sound too, recognised the dry, hollow chuckle. And it chilled him.

The chained man turned his head, as though on aged bones, and smiled, a dry and sinister grin. And then he spoke. And the voice that came from his throat did not belong to El Sombra at all.

The chained man spoke with Master Minus' voice.

The chained man's smile froze him in his tracks. It promised terrible cruelty, a mephistophilean love of manipulation, and the eyes sparkled with fire from the depths of Hell itself. The old man sucked in another breath scented with sickly yellow and looked desperately away, to find himself staring once again at the mirror, at the face that was surely not his own...

The old man, who suddenly felt neither old nor a man, raised his hands, fingertips touching the aged, wrinkled face with the unfamiliar eyes. Could he fool himself that his fingertips travelled across soft, worn flesh, lined with years of service? Or was he feeling sterile plastic, soft, loose latex? He shuddered, the motion travelling up his spine, his hands shivering and twitching as he tugged ...

"Take off the mask."

... and the old, wrinkled, false face was torn away, coming off in long strips, pulled away bit by bit to reveal another face underneath. His eyes were wide, unblinking, unable to close as he stared at the face underneath, the face that had been there all the time.

Behind him, the thin beetle-voice spoke once more.

And this is what it said:

"APRIL FOOL! Quién es el hombre? Quién es el hombre? I'm the hombre! I'm the hombre! Now all I need are some pants."

El Sombra grinned down from the vertical rack at Master Minus, slumped on his knees in front of the blood spattered mirror, staring without eyelids at the remains of his face. He had succeeded in tearing all of the flesh from it, and all that remained were a few scraps of muscle clinging to a crimson, bloodstained skull, with two grotesque eyeballs gazing mercilessly at their own reflection. El Sombra smiled and did the voice, again while he made another attempt to work his left hand free of the shackle that held it in place.

"Creatures of the night... what music... they make... I vant to suck your blooood... yeah, you keep looking, amigo. Intense shame boosted by mind-warping drugs, hey? That's very original, I wouldn't know what that's like at all... ah, these bastard cuffs!" He was babbling, a result of the endorphin rush from the intense pain and the thrill of victory. 

The yellow mist coursing through his veins - the mist Master Minus relied on so heavily - had been counterbalanced by the Trichocereus Validus already in his system, the desert cactus that had destroyed and rebuilt his mind. But while El Sombra was in a stronger position than the torturer realised, Master Minus was weaker than he knew, far too used to the easy victories the mist brought him, not realising that his own exposure to it made him ripe for psychological attack. The old man had spent years claiming that he was immune to the yellow mist, but nobody had ever been in a position to test that claim - until now.

In the end, El Sombra is able to drive the Nazis out of Pasito, and he’s succeded in ultimately inspiring the population to rally against them, eventually winning not because of said darkness granting him power, but by turning said darkness into a tool of good. The true victories of El Sombra are not in the violence, but in selfless heroism, in actions big and small. And in the end, He’s given even the opportunity of a happy ending, to settle down in the town he’s wanted so long to rescue. And if this were the story of Djego, the poet turned hero of his hometown, that’s where it would end. 

But this is not Djego’s story. It’s the story of a man who’s destroyed himself to be rebuilt as an avenging force of nature. Someone who’s subsumed as much of his humanity as he could, who now can see and done things much beyond the scope of ordinary man, and now must pay the price of said terrible gifts. Who will pay much, much bigger prices for them in the future. It’s the story of El Sombra, and it’s only just begun:

It was too bad about Djego. El Sombra regretted little, but he regretted denying Djego that one small chance at happiness. But it couldn't be helped.

Until Adolf Hitler was dead, El Sombra could never rest

The man walked west, towards the sinking sun.

[bunnyreading]

I read Call The Midwife. I've been a big fan of the show for a long time, so I was interested to read Jennifer Worth's actual memoirs.

I think this is an important read in not forgetting the history of Britain, and it's important to not forget what working class Britain was and still is subjected to. She talks about families of 12 who can't be rehomed by the council because they cannot overcrowd them in 4 room flats, so they continue to have to live in a condemned 2 room flat with no plumbing. She talks about elderly people who were terrified to go to care homes because the buildings used to be workhouses, mothers of 6 who had their children taken from them in the workhouse, people too poor to afford stitches for their work injuries, and unmarried mothers who were deemed unfit without ever being asked. She also talks about a woman with rickets being able to become a mother for the first time with the creation of the National Health Service, a miracle that wouldn't have been possible without free healthcare.

It was a very painful read but it's important to not forget the history of the social services, and why exactly they're so important. I cried while reading it, especially in the case of 15 year old Irish immigrant Mary, who had her baby taken from her because she had a history of sex work, to which Worth replies "You cannot condemn her for what she has not yet done."

I'm hopefully getting the other two books in the trilogy for Christmas and I'm excited to read them, but I'm going to read a fluffier book next. :')

⭐ ⭐ ⭐ ⭐

[statusink]

Remember: Non-essential does not mean non important!! Our career is built on helping others to help people save more time to help people build their confidence, to help people look younger and feel youthful, to overcome the look and constant reminders of Battle scars from wounds, injuries and surgeries to giving hope to those who just need an uplifting feeling. As you are all aware when you look good, you feel good and that can help with so many aspects of life including depression, cancer, blindness, Parkinson's, alopecia, skin conditions, acne, and many many more reasons. We thank those in the much-needed healthcare industry while they at war with a terrible disease and working overtime with minimal sleep, minimal family time and improper balance nutrition, to help save us, the rest have to do our part so close down as non-essential businesses. While this is hard for everyone, just remember that every business out there that had to close their doors until this virus is managed, speaking for all of them, remember us too, don't forget what we all have to look forward too... all the exciting things about life that we may have taken for granted. Just remember that these businesses every day are all in this with you and we're fighting and struggling and patiently awaiting to be able to service you in whatever industry they are in whether it be paramedical, cosmetic, skin, food, entertainment, sports, education, pet care, cleaning, childcare, plumbing, carpentry, home improvements, art, electronics, non-profits, sanitation, transportation, travel, retail and so many more! Our Status Trilogy Team are here to say thanks again for those in all of these non essential industries, as well as the healthcare industries, we just wanted to make sure you knew that value you, remember you and can't wait to see you again safely and soon!! #quarantine #stayhome #stayhealthy #nonessential #togetherathome #together #love #grateful #gratitude #lifting #spirits #covid_19 #nonessentialworkers #nonessentialbutimportant #backtonormallife #Cleveland #ohio #dewine #govenor #closedbusiness #Statusink #winkstatus #scalpstatus (at Status Ink) https://www.instagram.com/p/B-0LQ2KjeMl/?igshid=bitsf61h49tz

[onelifemedia]

CINEMATOGRAPHY OSCAR NOMINEES ON AUTHENTICITY AND AVOIDING VFX https://ift.tt/2OZteQ0

The DoPs behind 1917, Joker, The Irishman, Once Upon A Time… In Hollywood and The Lighthouse reflect on the bold choices they made to bring dynamic visions to the screen. 

Cinematographers are moving both forward and backward in technological terms this year, ironically in pursuit of the same goal: authenticity.

Avoiding VFX and instead opting to shoot reality has been a central theme. Robert Richardson used real Los Angeles backgrounds for the driving scenes in Quentin Tarantino’s Once Upon A Time… In Hollywood. Roger Deakins contended with real explosions and fires in Sam Mendes’s 1917. 

Rigging equipment has also been a common talking point for DoPs in 2019. Deakins pushed the boundaries of stabilising devices to enable extended tracking shots for the continuous-take approach of 1917, while Papamichael explored the limits of large-format cameras, putting them in positions that would have been impossible a few years ago (on a low mounted arm attached to a racing car, in one case). Perhaps most complicated of all was Rodrigo Prieto’s “three-headed monster”, a three-camera set-up used to aid the CGI de-ageing process for Martin Scorsese’s The Irishman.

These and other top cinema­tographers no longer debate analogue versus digital, with plenty saying it is digital and film, rather than digital or film. This is in part due to rapid advances in camera technology by companies like Arri, with films including 1917 utilising a large-format digital camera that, according to Deakins, is as good as any film camera.

Mixing light sources has also been in vogue, with Lawrence Sher using harsh fluorescents and urban streetlamps to create the heightened eeriness of Joker and grittiness of the city.

Whether they are using old-school filmmaking techniques or the latest technology, these cinematographers are creating brave new worlds for audiences and their craft.

Lawrence Sher - Joker

SOURCE: NIKO TAVERNISE

LAWRENCE SHER ON THE ‘JOKER’ SET

Lawrence Sher has been known primarily for his work on comedies including Todd Phillips’ The Hangover trilogy, Paul, The Dictator and I Love You, Man, before he reunited with Phillips to create the dark, sinister world of Joker.

While Joaquin Phoenix’s performance threw up regular surprises during the shoot, Sher was a ready and willing partner for the award-winning actor, and says his own work plumbing the depths of the DC Comics arch villain — which won him Camerimage’s Golden Frog award in November — is not as big a departure as it initially appears.

What was the shooting schedule like for Joker?I read the script about a year before, did an early scout in March [2018] and then prepped for 10 weeks. The shoot lasted 60 days with one day of shooting lost due to issues with the LED lighting on the New York City subway sequence. 

What was your approach to Joker’s colour scheme?My main colour palette was drawn first and foremost from real lighting fixtures that exist in the city. I also looked at movies of that era in which the movie takes place [1981], the colour of the film stock at the time and how it would capture all of this mixed light. The colour palette is a mix of utilitarian light and uncorrected fluorescents — we kept their crappy look so it wouldn’t be clean.

We changed out some of the streetlights so they would be sodium vapour, as opposed to LED which many streetlights are now. When we shot at dusk, you have that blueish light that mixes with the sodium vapours and suddenly you have the colours that I think people associate with the movie: the blues, greens, oranges and greys. You can see the messiness of the city. 

How did you approach working with the actors to capture their performances?On set we maintain a certain rhythm for the actors. If they have to go back to trailer, even for 20 minutes, there is a momentum loss. So if I can shoot fast, they never have to leave the set. It helps everybody, especially the scene. 

Todd Phillips encouraged improvisation, for instance the bathroom scene where Joker starts to dance after killing the men in the subway. Did that approach affect the shooting?That shot was improvisational. He was going to come into the bathroom, hide the gun, wash off the make-up and stand in the mirror and laugh. But with Todd, the movie is constantly being rewritten so you are discovering it as you make it. All of the planning is there but he’s always flexible. With that scene, he wanted to try it non-verbally. He played a piece of music — he didn’t tell the camera operator what was going to happen — and we got that scene in one take. 

Was your approach to Joker different to your other films?My lighting approach is not any different. We are not servicing comedy [in Joker]. Some of the compositions come to the forefront perhaps, more than in my previous works. But my approach, particularly with Todd, is to allow for flexibility and freedom. A lot of it is co-ordination with production design and needing the freedom to be able to light a big space. To have the world lit as opposed to focused on a specific person on a mark. 

Which sequence was the most challenging to shoot?The subway scene where he kills three Wall Street guys. We shot on a stage and with LED panels. It was challenging because while we had more money than other independent films, it’s still a budget issue. Todd had always described it as a fever dream — this kind of escalating light show. We accomplished it with a very expensive row of LED lights on both sides, though not too many LEDs because we tried to keep to the light as they had it in the 1970s and ’80s. I was taking the New York subway all the time and shooting with my iPhone to figure out the lighting for that scene. 

How did you find working with Joaquin Phoenix?It was a transformative experience watching him act and getting to know him. I didn’t say anything to him during prep; he was a little bit intimidating. He apologised to me for acting weird and I said, “No man, do your thing.” We grew to have a good relationship, where we would challenge each other with the choices on set.

Rodrigo Prieto - The Irishman

SOURCE: NIKO TAVERNISE PICTURES

RODRIGO PRIETO WITH MARTIN SCORSESE ON THE SET OF ‘THE IRISHMAN’

Mexican cinematographer Rodrigo Prieto has worked alongside acclaimed directors including Alejandro Gonzalez Inarritu (21 Grams, Babel), Ang Lee (Brokeback Mountain) and Pedro Almodovar (Broken Embraces). The Irishman marks his third feature with Martin Scorsese, after The Wolf Of Wall Street and Silence.

Prieto describes the epic crime drama as one of his most challenging projects to date: an intensive 108-day shoot involving more than 300 set-ups, with the added challenge of managing a complicated CGI de-ageing process for the main actors, which incorporated a “three-headed monster” camera rig.

Although Martin Scorsese is an avid supporter of shooting on film, you had to use digital as well to achieve the de-ageing technique.Yes, 56% was shot on digital and 44% on film. The overall look I thought had to be based on film negative because of the memory aspect. Scorsese talked about home movies, this sensation of remembering the past through images, so I developed looks based on still photography, Koda­chrome and Ektachrome.

For the visual effects, it was necessary to shoot with digital cameras where the face had to be replaced with CGI. Visual-effects supervisor Pablo Helman from Industrial Light & Magic needed three cameras synched for every angle and the shutters had to all be in perfect sync. The challenge of getting three cameras to move in unison meant that using film cameras from a practical standpoint was nearly impossible.

Was it Pablo Helman who came up with the idea of using CGI to de-age the actors?Yes, when we were shooting Silence, Pablo said he thought there was a way to make actors look younger through computer-generated imagery. He came up with a three-headed rig where the central camera, the Red Helium, is capturing the shot and two witness cameras, Arri Alexa Minis, are sat on either side of the main camera to read the infrared map of the actors’ faces. We called it the “three-headed monster”.

Can you talk about the stages of the de-ageing process and how that was achieved?There are several different stages. Prosthetics were used to make the actors look older. Make-up could make the actors look younger, for example making a 70-year-old actor look like they were in their 50s. VFX and CGI de-ageing were used when the actors are close to the transition to make-up, and that was complicated as the ageing transition was subtle, say, only a few months in time rather than several years. The technical and make-up teams had to be sure the transition was smooth.

How did you map out the visual arc of a film that spans five decades over three-and-a-half hours?We did not want to make it over-stylised or flashy. Scorsese wanted the camera to reflect the way Frank Sheeran [played by Robert De Niro] approached his job, which was simple, methodical and repetitive. The audience sees the same shots with Frank — the camera pans around at the same angle. When we were with other characters, like crazy Joe Gallo, the camera behaves differently.

How did the fact the film was made to screen first and foremost on Netflix affect the way it was shot?For the most part it wasn’t a consideration. Scorsese designs his shots in a way that helps the story. The one thing we did change was the aspect ratio. Normally, Scorsese would use widescreen but in this case we thought we had better use 1.85 because it would fill up home screens. It also fit Frank’s personality more, as well as helping to show the height difference between the characters. Frank was a tall man so we made special shoes for De Niro and boxes with cushions where he sat. For accuracy, we also changed his eye colour to blue.

You were working on a tight schedule. Was there any room for improvisation during the shoot?When the actors want to try something different, Scorsese will almost always go for it. Near the end of the film, Frank is looking as his car is being washed and it’s a defining moment. We lit the scene for him standing and always looking at the car. Then De Niro said, “I always kind of imagined being inside the car.” So Marty said, “Oh, OK, let’s do that.” I had to set it up in three seconds. As soon as we shot it, I could see that his performance was there.

Jarin Blaschke - The Lighthouse

SOURCE: CHRIS REARDON

JARIN BLASCHKE ON THE SET OF ‘THE LIGHTHOUSE’

Born in the Los Angeles suburbs, Jarin Blaschke continues a collaboration with filmmaker Robert Eggers that began on the latter’s 2008 short The Tell-Tale Heart and encompassed his haunting 2015 feature debut The Witch. For The Lighthouse, the pair conjured up another strange and foreboding world: a mysterious New England island in the 1890s, inhabited by lighthouse keepers Robert Pattinson and Willem Dafoe. Blaschke deployed innovative lighting and lensing solutions to take on not just the wilds of authentic Nova Scotia locations, but the demands of dark, cramped, wet settings.

How many years did it take to develop the concept of The Lighthouse?I didn’t have a script until a month or two before prep, but Rob first pitched this idea probably three years before that. With him, it starts with atmosphere, so my subconscious was working on the atmosphere at the same time that we were developing The Witch. We didn’t know which one would go [first] and then The Witch happened.

The Lighthouse was shot in black and white, with a 1.19:1 aspect ratio, on Kodak Double X 35mm film format, which dates from the 1950s. How much testing did you do?There was a battery of tests I put myself through, like testing real oil lamps to see how to do it with an electrical lamp. I had to know how to light differently: I bolstered the light levels by 15, sometimes 20 times, and the film stock had to be tested in rain, backlit to know where it looks like night but also doesn’t look overly lit.

What logistical challenges did you face shooting on location in Nova Scotia?The weather was bad and added about four days to our schedule. It could have been worse but we had a covered set. We couldn’t do a night scene one night because it was too windy and even with day scenes, you have frames where you need to bounce light back using a giant sail and it gets a little hairy. There was a lot of eating cold porridge in the dark in the morning and the breakfast tent was going to blow away. We had to build this hardcore tent just to have breakfast. It adds to the movie, I hope.

In exploring the space between reality and insanity in The Light­house, did you use special lenses for certain scenes?I went to Panavision. I know vintage lenses are really trendy right now. I had some experience with the usual suspects: Cooke Series 2s and Super Baltars [used in The Godfather and The Birds]. They put original Baltars in front of me and I fell in love with them. So we had old Baltars from the 1930s. We used the first high-speed portrait lens of the 19th century for special shots, like [Robert Pattinson] having sex with a mermaid, the hand going down the body. Stuff that was super heightened where we could get away with it.

How did your collaboration with Eggers inspire you for certain images?I’ve known Rob for 12 years so I knew there were going to be a lot of symmetrical two-shots. There is one direct reference to a Sascha Schneider painting. And the last scene in the film is in the lookbook. Those are the only two references, everything else I tried to create. I know Rob watched all kinds of crazy stuff, like videos with shark genitals.

You are also working on Eggers’ next film, The Northman. What can you say about it?Rob says very little. It’s a bigger movie than the others. I can say it’s a Viking revenge movie and we are shooting in Europe. I think he feels a responsibility to do a trilogy. It’s dark and unusually violent.

Robert Richardson - Once Upon A Time… In Hollywood

SOURCE: ANDREW COOPER

ROBERT RICHARDSON WITH QUENTIN TARANTINO

A nine-time Oscar nominee and three-time winner, Robert Richardson’s career has been closely associated with three filmmakers: Oliver Stone, Martin Scorsese and Quentin Tarantino. For Stone, he photographed 11 features in a little over a decade, winning the Oscar for JFK; two of his five collaborations with Scorsese brought him Oscar statuettes (The Aviator and Hugo); and he shared Camerimage’s director and cinematographer duo award with Tarantino for their work across six films including Once Upon A Time… In Hollywood. Richardson is known across the industry for pushing boundaries and doing whatever it takes to achieve a shot.

How would you typify your relationship with Quentin Tarantino?A relationship with a director is a marriage. I have been fortunate enough to forge a series of relationships with all of the directors I’ve worked with from the beginning. It’s the idea that you are linked together and begin to understand how the other speaks, what you like and don’t like. It’s so important. Collaboration at that level is why rock ‘n’ roll bands are the very best when they hold out and play together as the same team as long as they can. The Beatles wouldn’t have been who they were without John, Paul, George and Ringo.

What is your creative process like with Tarantino once you’ve read the script?Quentin was in the room when I first read the [Once Upon A Time… In Hollywood] script. It took me a substantial time to read it. After we had dinner, we made notes and then he played music: ‘Good Thing’ from Paul Revere & The Raiders, ‘Mrs Robinson’ from Simon & Garfunkel, ‘California Dreamin’ from Jose Feliciano. The soundtrack is like a character in the film; it leads you, it is continuously playing from a radio station. The music helped build on the emotion of the characters and the movement of the film.

What is Tarantino’s process for selecting shots?He only shoots on film, he only processes on film and he only watches dailies on film. He doesn’t see digital replication until he gets to the Avid in the editing room. Our process is to shoot a film chemically, process and print chemically, and that print is duplicated on a 35mm projector. You then project the film as well as the digital intermediate, and they need to replicate each other perfectly, otherwise Quentin doesn’t want to discuss it. It’s definitely challenging, but that’s how we get to be better artists.

And when filming, Tarantino always sits beside the camera?Quentin is a director not a selector. He sits beside the camera. There is no video village, there is no video replay. You don’t go back and look at something. He watches the actors and their performance. If he’s got it, it’s over. If there is an error, something happened or an actor needs a retake, he will listen to why, but he will always choose in the editorial process the very best performance. The film is golden in its use of warm, saturated colours. We wanted to make a film that was about California and sunshine. On my side, it’s a combination of film stock, lenses and light. For the golden exteriors, we used a combination of Panavision’s anamorphic lenses and golden lenses.

You are known for using myriad film stocks to achieve different looks. What did you use for this film?We shot 35mm anamorphic, except when shooting Rick Dalton’s western television series, then we were 35mm black and white, and we shot with spherical zooms mostly in 1.33. There were also two sequences at Sharon Tate and Roman Polanski’s home that we shot on Kodak Ektachrome, one in 16mm black and white and the other on Super8mm colour.

Roger Deakins - 1917

SOURCE: FRANÇOIS DUHAMEL/UNIVERSAL PICTURES AND DREAMWORKS PICTURES

ROGER DEAKINS ON THE SET OF ‘1917’

Winner of four Baftas and an Oscar (secured last year for Blade Runner 2049 on his 14th nomination), the prolific Deakins has been an influential figure in cinematography since he burst on to the scene with 1984. On that film he pioneered a bleach bypass process to achieve a washed-out look that went on to be used in films including Se7en and Saving Private Ryan. He has also been at the forefront of embracing digital filming methods, not least on Sam Mendes’s Skyfall.

He reunites with Mendes on 1917, which follows two soldiers on a mission to avert a strategic disaster during the First World War. Deakins and Mendes had to invent new ways to move the camera to create the impression that the narrative was unfolding in a single, continuous shot — an innovative feat that puts the audience on the frontline.

How did you achieve so much fluidity in single camera shooting?We used a lot of different rigs. Probably 60% of the film was shot on a stabilised remote head. Some shots are done on the Trinity [Arri stabiliser rig], some are done on the conventional Steadicam and there’s even a drone. But the majority of the film is done remotely with a stabilised head that’s either carried by the grips or a tracking vehicle on the end of a crane or on a wire.

How did you plan such incredible camera movement while keeping up the illusion of one continuous shot?Sometimes it’s put on to a wire and then moved, or it’s taken off the wire and then someone carries it or runs with it so it all becomes one shot. The reason was not only to sustain the scene but also that we didn’t want to cut in some of the obvious places.

Were you pushing the existing technology, or did you have to create new methods?We created some of our own. For instance, running with speed down a trench in front of two characters like we were, you can’t do that on Steadicam. So a Steadicam operator came up with the design of little mini-posts with gyros on them, and we put a very small remote head on top. He would run down the trench facing forward with the camera facing backwards over his shoulder, which I was remotely operating. Then he’d get to a corner in the trench and segue around so he started on a front shot.

How did you communicate with the operating team on the ground?I’d be operating remotely. I don’t like wearing earphones because I’m constantly running to and from the set talking to grips or whoever. James [Deakins’ wife and digital workflow consultant] would be on set wearing earphones and relaying messages to the crew. During a shot, she would say things to the operating team like “faster, faster” or “you are getting too close, a little to the left”. It helped because they couldn’t see what the camera was seeing.

How integral were the four months of rehearsals?The trick was for Sam and me to figure out what we wanted to do: where we wanted the camera and to finesse the camera moves relative to the actors. We tested specific rigs on specific kinds of shots. That was the big trick, really, practising with different pieces of equipment. We also went to Salisbury Plain and mapped out all the shots we wanted before anything was dug or built, such as the farmhouse.

How was the weather integral to the film?Being such an exterior movie, we were very dependent on the light and the weather. And we realised you can’t really light it. If you were running down a trench and turning around 360 degrees, there’s nowhere to put a light. Because we were shooting in story order, we had to shoot in cloud to get the continuity from scene to scene. Some mornings the sun would be out and we couldn’t shoot so we would rehearse instead.

The shooting in 1917 had to be in sync with the editing. How did that process work?Sam had to choose the take he wanted before we did the next shot because we had to match them, like the beginning of the B side had to match the end of the A side. That frame and the camera movement and the position of the actors had to match exactly. We would have the take on playback, and set up the incoming take and keep playing the beginning to match the end of the shot. That’s the great thing about video assist and being able to overlay the two images.

You were one of the early adopters of digital shooting. What won you over?

The Arri Alexa tipped the point for me between film and digital. I find it a bit of a non-argument. I think it’s what’s in the frame and where you point the camera.

[writingguide003-blog]

'A different way of living': why writers are celebrating middle-age

New Post has been published on https://writingguideto.com/must-see/a-different-way-of-living-why-writers-are-celebrating-middle-age/

'A different way of living': why writers are celebrating middle-age

Viv Albertine, Deborah Levy, Lavinia Greenlaw and Rachel Cusk are redefining life after menopause, children or divorce and it has never looked so good

When Viv Albertine performs her 2009 song Confessions of a Milf live, she alternates between two voices. Theres the saccharine lisp of a brainwashed housewife chanting home sweet home, and theres the raging chant of an angry punk proclaiming that if you decide one day that youve had enough, you can walk away. Though swans and seahorses mate for life, we aint so nice.

In the 70s, when Albertine performed with her punk band, the Slits, she appeared fully immersed in her performance of exuberant anger, but also strikingly unformed, too busy bouncing and shouting to hold the gaze of her audience. Then, she retained the vulnerability of her younger self, but there was a steeliness underlying it. Now she stares out at us, no longer interested in hiding.

I chose being an artist over being a wife, the housewife sings, predicting sadly that now Im gonna lead a very lonely life. But then the punk takes the lines over and the life shes going to lead becomes very lovely. By the end the two voices have exploded into one and theres a joyfully furious torrent of wife wife wife life life life that ends with a list of the household activities that are being abandoned by the housewife and reclaimed by the artist: cooking, cleaning, baking, washing, faking, fucking, cleaning, shopping.

In her recent memoir To Throw Away Unopened, Albertine describes deciding to return to music after more than a decade as a housewife, ending her marriage as a result. In the past century of fiction, the middle-aged male protagonist has sprawled and rutted his way to a kind of bathetic greatness in the hands of Philip Roth, John Updike and Saul Bellow. The middle-aged woman has appeared far less often as a protagonist questing for a style and identity, but that is changing fast.

Enjoying the freedom that no longer being constantly looked at by men brings Viv Albertine. Photograph: Duncan Bryceland/Rex

Albertine is one of several writers this year to tackle lives that follow divorce and the menopause. Lavinia Greenlaws forthcoming novel is a middle-aged love story. Deborah Levy uses the moment of transition from one life to another to fashion a new story about femininity in her living autobiography The Cost of Living. Like Albertines, Levys career began in an era when the young insisted on their own youthfulness. Whats striking is that both writers have found a way to incarnate their middle-aged selves in new voices that dont reject the spontaneity of punk but reinvent it in a quieter yet no less vigorous form.

It was possible that femininity, as I had been taught it, had come to an end, Levy writes, tired of serene femininity and of corporate femininity. There were not that many women I knew who wanted to put the phantom of femininity together again … it is a role (sacrifice, endurance, cheerful suffering) that has made some women go mad.

The task is both to create a new life and to redefine what being a woman means. Albertine returns to singing and buys a new haphazard home for herself and her daughter. Levy discards the marital home and installs her daughters in a flat, where she mends the plumbing in her nightie and transports her groceries on a liberating electric bike. One female friend teaches her to live with colour and another provides a writing shed.

Deborah Levy discards the marital home and installs her daughters in a flat. Photograph: Sheila Burnett

For both writers, theres a particular pleasure in the physical freedom that no longer being constantly looked at by men brings. Its easy to assume, as a young woman for whom being desired matters above all else, that much will be lost when men start looking at younger women. But Levy and Albertine enjoy it when men are no longer central. I get the same lurching thrill now when Im about to sit down to an egg mayonnaise sandwich and a packet of plain crisps as I used to get when I fancied someone, Albertine remarks. Ive had two great loves: my mother and my daughter.

Albertine is here in a lineage with Germaine Greer, who published The Change in 1992 aged 53, and has recently reissued it with new material. Greer urges women to accept the changes of age. She suggests that HRT, used to minimise the symptoms of the menopause, is part of a male-centric conspiracy to contain the wisdom and rage of older women. There are positive aspects to being a frightening old woman, she writes.

Greer describes how, aged 50, she looked ahead into what seemed like winter, ice, an interminable dark. But having grieved for her younger self, she finds freedom and calm on the other side, attained through giving up on sex. Younger women might find it impossible to believe that when they are no longer tormented by desire, insecurity, jealousy they wont be as dead as a spent match, but they can look forward to a whole new realm of experience.

Beguilingly, Greer compares the difference between the clamorous feelings of the younger woman and the calmness of the apparently withdrawn older woman to the difference between how the sea appears to someone tossing on its surface, and how it looks to someone who has plunged so deep that she has felt death in her throat. The older woman can love deeply and tenderly because she loves without the desire for possession.

Free to command attention in new and more authentic ways Doris Lessing circa 1975. Photograph: Express/Getty Images

Women through the decades have claimed something of this liberation through age. When I first read Doris Lessing, I wasnt convinced by her announcement in a 1972 interview (when she was 53) that the physical changes of middle age had been one of the most valuable experiences that I personally have ever had. Now Ive come to admire her explanation that in middle age a whole dimension of life slides away, and you realise that what, in fact, youve been using to get attention has been what you look like, leaving you free to command attention in new and more authentic ways.

Lessings 1973 novel The Summer Before the Dark is a great portrayal of this moment of transition, and a book ready to be rediscovered. Kate Brown, a pretty, healthy, serviceable housewife, becomes disillusioned when her children leave home and her husband has one too many affairs. She accepts a job as a translator for an international conference, dyes her hair a sleek red and has an affair with a younger man. But its in what follows that her real discoveries are made. She becomes sick and spends weeks in a hotel, consumed by a fever that sends her deep into herself and then leaves her alone, stranded far away from her married life, curiously free. Wandering the streets in ill-fitting clothes with dishevelled hair, she discovers what it is to be ignored by men. And when she returns home, she insists on keeping her hair as it is: plain, greying, tied neatly behind her head, as Lessings was when she wrote it. Her discoveries, her self-definition, what she hoped were now strengths were concentrated here she was saying no: no, no, no, NO a statement which would be concentrated into hair.

This is a charged yet odd novel, as baggy as Kates clothes. Characters are introduced and discarded; Kate begins one phase of life after another apparently at random. One of Lessings achievements was to find a structural equivalent for the mental state of middle age. As children leave home and sexuality changes, several women describe being left with a feeling that the script they grew up with has run out. This is both frightening and exhilarating. And it opens the way for a new kind of plot.

Illustration: Nathalie Lees/Guardian

So the love stories with middle-aged women as protagonists take on a more episodic form, with love itself presented as an ambivalent prize. In 2016 there was AL Kennedys Serious Sweet, a romance between two damaged loners. And now theres Lavinia Greenlaws In the City of Loves Sleep, published next month, which offers us a story of lovers neither beautiful nor certain nor young. This is an elegantly meandering tale in which the lovers repeatedly connect only to lose interest in each other, stuck in a kind of endless middleness. Perhaps falling in love in middle age is in part the desire to experience fixity again, the narrator muses. But the drive for fixity is thwarted by the form of this novel, which is determinedly fluid, as if in search of a style appropriate for the fluidity of the middle part of life.

Levy experiments with form in The Cost of Living, discarding the traditional literary structure as she discards the marital home, and creating a memoir out of a collage of deftly interconnected fragments. Objects perform a lot of the work here, often appearing to know more than the humans who surround them. When the I no longer quests for the familiar goals of love and marriage, the authorial persona becomes a subtler figure, glimpsed through shadows. Levys bike threatens to become a major character and relegate her to a minor player, though we can see Levy winking at us as it does so, less shadowy than she might appear.

Nowhere is the narrator more occluded than in Rachel Cusks spare, strange trilogy Outline, Transit and Kudos. On one level, these are novels about a marriage ending and a woman, Faye, seeking new forms of freedom as her children move towards independence. In Outline, Faye describes herself as trying to find a different way of living in the world. But though Cusk is interested in questioning ideas of femininity, she seems most concerned with using the dissolution of familiar structures to seek a new concept of selfhood and a new structure for the novel.

By Kudos, the characters all speak in the same international voice and the narrators experiences at the hands of men are interchangeable with those of all the other divorced middle-aged women she encounters. One of these, Sophia, observes that shes coming to think that too much has been made of the distinctions between men, when at the time the whole world had appeared to depend on whether I was with one, rather than another. By this point the committed reader is coming to think something of the same about characters in general. Perhaps in all our novel reading, weve made too much of the importance of individual characters, when it turns out to be more general truths that matter.

The truths revealed here resonate with those explored by Levy and Albertine. Near the end of Kudos, Faye has a revealing encounter with a woman called Felcia, who has just lost the final battle of her marriage for custody of her car. Now, cycling exhaustedly across the city, impoverished, mocked even by her mother (Look at what all your equality has done for you), Felcia accepts that she has not found freedom by leaving him: in fact what I had done was forfeit all my rights.

Its not wholly a coincidence that a bicycle should play a central role here, as in Levy. Bikes have served as symbols of independent womanhood since the turn of the last century. Felcia, cycling around stoically, has something of Levy and Albertines doggedness and dignity in countering the assaults of the world. She hasnt gained the freedom she sought in separation, but its also clear that she couldnt have remained with a man prepared to treat her as her ex-husband does. Freedom, in all these books, becomes less of a good in itself once the struggles become primarily practical. But this doesnt invalidate the initial urge for freedom that takes these women out of their marriages. Its an urge towards a life lived in good faith, which is what all of Cusks characters are struggling in their different ways to do. The peculiarly even quality of Cusks prose doesnt just provide a literary equivalent of the middle years, it points us towards the thought that the way to act with integrity may be to relinquish the struggle for individuality, though the singularity of her style always works bracingly against this.

An urge towards a life lived in good faith Rachel Cusk. Photograph: Richard Saker for the Observer

Cusk presents us with a radical new vision of communality at this stage of life, one which asks us to consider that we dont yet know what solidarity is. This takes us back to Levy, guided in her new life by her female friends, and to Albertine, accepting that the love that means most is the love of women. And it opens up the question of feminism.

Greers suggestion in The Change is that men have been denying women the right to a quietly sex-free middle age in championing HRT. In this context, the acceptance of middle age becomes a feminist act, and the same seems to have been true for Lessing in 1973, whatever her crotchety scepticism about womens lib. Certainly Kates rage in The Summer Before the Dark is rage at men who have told her she will be fulfilled by appealing to their lust. It was a rage, it seemed to her, that she had been suppressing for a lifetime. This is a woman poised to explode into Albertines cries of wife wife wife life life life.

Its significant that the women Albertine has loved most are her mother and daughter. The death of Albertines mother is a central event in her book, as Levys mothers is in hers, offering one form of feminist connection. Albertine describes learning her rage at the patriarchy from her mother. Dont ever give the biggest slice of cake to a man, you take it for yourself! she informed her daughters. And now in middle age, Albertine feels that she is turning into her mother. I can see [the patriarchy], I can hear it, I can feel it, and Im burning up because of it. Levy, looking back with love on the war between myself and my mother, quotes the US writer and activist Audre Lorde: I am a reflection of my mothers secret poetry as well as of her hidden angers.

Read alongside the reflections on the death of the old forms of femininity, this allows the older generation of women to have a voice in the poetry and anger of the present. And Lorde herself is a mother figure for these writers; the essays collected in last years posthumous collection Your Silence Will Not Protect You have something of the energy of punk. Im saying that we must never close our eyes to the terror, she told Adrienne Rich in an interview when in her 40s, recovering from breast cancer and reconstructing her sense of herself in middle age. At this point it seemed vital to attend to the chaos which is black which is creative which is female which is dark which is rejected which is messy which is sinister, smelly, erotic, confused, upsetting.

The erotic is significant here, connected as it is to the dark and the messy. The role of the erotic in middle age troubles many of these writers. Greenlaws Iris finds that the rigmarole of undressing for sex with a new lover feels like a foolish masquerade: They are two middle-aged people trying to persuade themselves into sex on a Sunday afternoon. Things improve when they forget about surfaces and allow themselves something more diffuse. But if Lessing and Greer advise abandoning sex altogether, Lorde insists that the erotic remains key to everything. This is no longer the young girl taking pleasure in being looked at by men. In Lordes hands the erotic transcends narcissism and patriarchy and becomes the force that binds our sense of self with the chaos of our strongest feelings. This is a force that connects women to each other and perhaps especially to their mothers. Lorde advised all women to listen to the black mother within them, who she believed countered Descartes with: I feel, therefore I can be free. It seems all the more appropriate that Levy should think of Lorde in mourning her own mother.

Yet this is not a simple tale of freedom-seeking daughters realising their mothers hopes for a better world. Theres a disillusionment, too, because if feminism has now become mainstream, theres a danger of it becoming an accoutrement of a society that hasnt changed in the ways that the feminists of the 1960s and 70s hoped it would. This is presented as clearly not good enough. If the news upsets me I just switch it off, sings the housewife in Albertines song. But what more can she do in her angrier punk incarnation? Is it better to watch the news? To sing and write about it? Is this a necessary component of the freedom of the middle-aged woman? And will it help her feel more free or just enable her to be committedly feminist as she seeks her freedom?

Freedom and calm on the other side Germaine Greer. Photograph: Yui Mok/PA

The answer may lie partly in the complex sense of the communal evoked by all these writers. Arguably, its more necessary than ever to form communities of insight and sensitivity situated determinedly within the realm of feminism. Whats compelling in these books is that other more uncanny lines of affiliation can coexist with this. Its important that Albertine remains connected to punk, Levy to surrealism and psychoanalysis, Cusk to particular strands of European high modernism.

But we search in vain if we turn to these books for answers, partly because these writers are more interested in asking questions, and partly because they are too singular, and too defiant, to tell us what to do. Greer ends by announcing that though younger people anxiously inquire, and researchers tie themselves in knots with definitions, the middle-aged woman is about her own business, which is none of theirs. Women come racing up from behind, asking how to negotiate the next phase. But were not going to learn much because, Greer says, the middle-aged woman is climbing her own mountain, in search of her own horizon, after years of being absorbed in the struggles of others. The ground is full of bumps, the air is thin and her bones ache. Nonetheless, the ascent is worth it, however baffling it may seem to others. Greer exhorts her middle-aged readers not to explain or apologise. The climacteric marks the end of apologising. The chrysalis of conditioning has once and for all to break and the female woman finally to emerge.

Lara Feigel is the author of Free Woman: Life, Liberation and Doris Lessing (Bloomsbury).

Read more: http://www.theguardian.com/us

[itsworn]

Car Craft’s Top 50 Speed Parts From SEMA! #MTSEMA18

If you pride yourself as a car crafter and like to keep up with the newest products and trends, then we don’t have to tell you how important the SEMA Show is. Each year, the Las Vegas Convention Center swells to capacity as industry folks from around the globe put themselves in face-to-face contact with the parts and people that move the performance world forward. This is where the search begins and ends, as car builders (who are vetted members of the industry) look for inspiration, find information, and in many cases come home with ideas for building a better mousetrap.

Trends come and go, but in 2018 we saw a lot of familiar themes return, and gain momentum. The crate engine continues to dominate, with even more powerful versions from the Big Three. Most notably, Dodge took the wraps off their 1,000hp Helliphant 426ci Gen III Hemi. Chevy was close behind with a sweet-looking LT5 Gen-V small-block packing 755 hp. Of course, the Ford Coyote and Voodoo onslaught continues with all manner of support coming from engine hardware manufacturers.

Don’t assume, however, that Dodge has the horsepower crown locked up. All bets are off in the aftermarket as nobody wants to play second fiddle, including car crafters. The LS contingent was strongly felt, with supporting products like pistons, rotating assemblies, blocks, intakes, supercharger kits, and all manner of swap gear flooding the LVCC halls. Likewise, the late-model Ford V8 in the form of Coyote and Voodoo iterations was well supported too.

As we mentioned, superchargers continue to come on strong, and not just for the Chevy LS small-blocks. ProCharger, Vortech, Edelbrock, and RIPP all had expanded product lines (Edelbrock’s new Ford Coyote kit being of note here). We especially liked RIPP’s new 425hp kit for the Dodge V6 Pentastar—those engines need some love! ProCharger also dropped the mic with their new 3,500hp-capable F3X-146.

We’re also seeing the continuation of growth in the high-end clutch market, a function of the higher power levels we’re seeing from the OE and aftermarket. Dual- and even triple-disc clutches are seen now as legit street solutions for outrageous torque production; their low pedal effort, high friction, and ease of modulation gaining grace and composure—as well as acceptance—away from the track. (We’re big on Mantic, Centerforce, McLeod, and Spec, but there are so many to choose from.)

An exciting new development came out of the Advanced Fuel Dynamics booth. This company has developed software and hardware that piggybacks onto existing OE and aftermarket fuel injection systems that automatically detects the octane content in E85 fuel (or any ethanol-based gasoline blend) and automatically adjusts the fuel and ignition to maximize performance. Sounds deceptively simple, but when you consider the growing number of E85 fueling stations, stronger emissions regulations, the need for more hp, and the high cost of race fuel, we expect AFD’s product line to come on strong.

Carburetors are making a comeback too. With the sweet spot of the EFI market still in relatively high price territory, carburetors are still a great hot rodding deal. A recent spate of improvements across many lines—including the all-new product line-up from brand new manufacturer Fuel System Technologies (FST)—has reinvigorated what had been a stale market. (FST even introduced their Electro-Jet model, an affordable, computer-controlled carb unlike any we’ve ever seen. Stay tuned for more on FST!)

Crane DLC Lifters Ultra-Pro DLC lifters from Crane Cams (part No. 13570D-16) feature a diamond-like coating (DLC) steel bushing for reduced friction, increased wear resistance, and superior strength.

Crane Cams 866-388-5120 cranecams.com

LS Camshaft Package COMP Cams’ LST Camshaft Package for GM LS applications (part No. CK54-317-11) takes the guesswork out of choosing the right valvetrain upgrade package for your LS engine and desired performance. Spintron and dyno tested to provide max horsepower and dependability in popular LS applications. Available as a base Cam Kit (CK-Kit) or a more complete Master Kit (MK-Kit).

Comp Cams 901-795-2400 compcams.com

Hemi Throttle Body JET’s performance throttle body for 2013-2017 Jeep Grand Cherokee with 5.7L or 6.4L (part No. 76114) includes electronics for easy installation. Manufacturer claims improved performance and throttle response, CARB-approved, and made in USA.

JET Performance Products 800-535-1161 jetchip.com

In-Tank Retrofit Fuel Module Holley’s new Sniper 340lph fuel pump (part No. 19-350) is a high-output, in-tank electric fuel pump fitting the most popular EFI applications. All four models of the pump are compatible with gasoline or E85 and are designed for applications requiring more fuel flow while using the factory OE lines and mounting brackets.

Holley/MSD 866-464-6553 Holley.com

Triple-Disc Clutch for Hellcat This clutch kit (part No. M931CHALY) includes sprung center, cushioned discs using a premium ceramic metalic friction material. The Mantic 9000 series clutch features three 9-inch diameter friction discs and is modular in construction for ease of service. The clutch offers up to 1,500 ft-lbs of torque capacity and excellent drivability.

Mantic Clutch USA 919-500-9460 manticclutchusa.com

Front Brakes For 1964-1972 Chevelle This SS4 13-inch kit (part No. 4301526R) features a 4-piston caliper mounted to a 13-inch 1-piece directional rotor that is slotted, drilled, and zinc plated. The SS4 13-inch kit is a complete front brake system and includes everything needed to mount directly to factory Chevelle disc or drum spindles.

Baer Inc. 602-233-1411 baer.com

Oldsmobile 350 Piston Kit Designed with leading technology PowerPak features like light weight, ultra strong slipper skirt forgings, phosphate coating, and Mahle’s proprietary Grafal coatings resulting in increased performance and durability. The kit (part No. 197815300) also includes Mahle’s HV385 all-steel 1.0mm, 1.0mm, 2.0mm ring package.

Mahle Motorsports 888-255-1942 mahlemotorsports.com

4L80E Bolt-Together Converter Make stall changes easy! TCI’s bolt-together torque converter for GM 4L80E applications (part No. 242950) is an easy-to-service, high-horsepower, triple-disc torque converter for 4L80E transmissions.

TCI / Comp 888-776-9824 tciauto.com

2018-2019 Mustang GT Twin Clutch At SEMA, SPEC Clutch introduced the all-billet ’18-’19 Mustang GT Super Twin clutch/flywheel assemblies for street, drag, road course, and drift (part No. SF18SST). Direct bolt-in and SFI certified, these units have five material options and are built to handle from 900 – 1,525 ft-lbs of torque.

SPEC Clutches & Flywheels 205-491-8581 specclutch.com

AVS2 Series 800cfm Carburetor The new 800cfm AVS2 Series Carburetor (part No. 1913) is the ultimate 4-barrel mixer that features an innovative annular-flow booster ring with eight orifices to deliver improved fuel atomization over standard down-leg boosters. Fuel is distributed more evenly into the airstream to eliminate flat spots that are encountered when a carb transitions from idle to full throttle.

Edelbrock LLC 310-781-2222 edelbrock.com

Camaro eLSD Calibration Continuous on-track and street development has pushed Camaro engineers to develop an eLSD calibration that enables faster turn-in and power application on turn exit. This calibration decouples the differential faster based on pedal position and steering angle to enable faster yaw rotation at corner entry / exit with power delivery to both rear wheels.

Chevrolet 888-940-2438 Chevrolet.com

Coyote Supercharger Kit Edelbrock’s new E-Force Supercharger for the 2018 Mustang with the 5.0L Coyote V8 (part No. 15832) is 50-state emissions-legal and uses the high-efficiency Eaton R2650 TVS rotor pack with high-twist lobes, bigger bearings, and beefier timing gears for max efficiency, quiet operation, and OEM-like reliability. Makes 623 horsepower and 510 ft-lbs of torque to the rear wheels!

Edelbrock LLC 310-781-2222 edelbrock.com

LS Mid-Mount Accessory System This mid-mount accessory drive (part No. 20-180BK) completes Holley’s trilogy of accessory solutions giving a third option compared to the High and Low-Mount previously released. The Mid-Mount system comes with everything you need, including accessories (water pump, A/C compressor, Alternator, P/S pump with reservoir, and crank damper).

Holley/MSD 866-464-6553 Holley.com

Modern Hemi H-Beam Rods New from Eagle are forged 4340 steel H-Beam rods (part No. 9-403-7001) for all third-generation Chrysler Hemi engines.

Eagle Specialty Products, Inc. 662-796-7373 eaglerod.com

Fifth-Gen Camaro Pump Module Deatchwerks’ DW400 module (part No. 9-403-7001) plug-n-play high flow fuel delivery solution is powered by their 415lph pump. Engineered for flexibility, and easy to install, Deatchwerks claims their pump is compatible with OE electronics, level sender, and plumbing. Also claimed is compatibility with pump gas, race fuel, and E85.

Deatschwerks 800-419-6023 deatschwerks.com

Trifekta Phantom The Phantom Trifekta (part No. 18311) is designed to extend Aeromotive’s in-tank Phantom technology into the realm of ultra-high horsepower street/strip applications. Equipped with triple 450lph pumps, a larger bladder, and CNC billet hat, the Trifekta is ready to feed blown EFI applications making a whopping 1,650 hp on E85 and as much as 2,400 hp on gasoline.

Aeromotive Inc. 913-647-7300 aeromotiveinc.com

Gen II Stealth Tank Aeromotive’s Gen II Stealth Tank (part No. 18197) uses patented Phantom technology to provides a quiet, high-flow EFI pump and baffle to maintain an ample fuel supply around the pump, even in low-fuel conditions. This phantom system is pre-installed into popular muscle car tanks for simple, cost effective, EFI-ready fuel delivery.

Aeromotive Inc. 913-647-7300 aeromotiveinc.com

S550 Adjustable Rear Camber Arm Add a little horsepower, use grippy tires, launch hard, and take corners at 1.5 Gs? Your S550 Mustang needs an adjustable rear control arm (part No. 72370) to optimize your tire contact by adjusting the camber. SPC’s forged aluminum link will provide -2 to +3 degrees camber with a hexed eccentric insert. These arms reduce weight, add strength, and can easily adjust camber without removing the tire.

Specialty Products Co. 800/525-6505 specprod.com

FX Series Pistons For 5.3L LS FX pistons (part No. 22800-3898) feature 2618 alloy with low-drag 1.2-/1.2-/3mm ring grooves. FX pistons are capable of more horsepower and rpm due to the thin ring and the addition of horizontal gas ports. “X Groove” skirts add longevity to rings, skirts, and cylinders by channeling excess fuel wash away from cylinders.

DSS Racing Pistons 630-587-1169 dssracing.com

FST Electro-Jet Electronic Carburetor The 600cfm Electro-Jet wide-band carburetor (part No. 41600XBE) is an electronically controlled wide-band carburetor with an electric choke, and on-the-fly “phone app-based tuning,” to easily adjust your air / fuel ratio to optimal conditions, or let the ECU do it for you with real-time tuning. Tune your carburetor with your phone!

FST Performance Carburetors 248-779-8008 fstcarb.com

Camaro/Firebird Suspension Kit Aldan’s Camaro/Firebird suspension package (part No. 300108) for 1970 – ’81 Camaros and Firebirds is designed to convert your stock, front suspension to fully ride-height adjustable coilovers with adjustable shock absorbers in the rear. Aldan kits can be used with OEM or aftermarket control arms (stock to 2.0 inches lowered, front). Recommended for street, factory replacement, and performance applications.

Aldan American Suspension 310-834-7478 aldanamerican.com

Pontiac Aluminum Cylinder Heads Want a 400-1,200 horsepower Pontiac? Then you should consider Speedmaster’s 72cc Ram Air IV aluminum cylinder heads (part No. PCE281.2165). Like the rest of Speedmaster’s performance heads, they use a gravity die-cast process. This casting process, according to Speedmaster, creates a more uniform and robust cylinder head. Available bare and complete for all camshaft combinations.

Speedmaster 909-605-1123 speedmaster79.com

1,000HP Gen III Hemi 426ci Helliphant After releasing the 707hp Mopar Hellcat crate engine in 2017, Mopar bypassed the 840hp Demon and went straight for the 1,000hp number with the soon-to-be legendary 426 cubic-inch “Helliphant” crate Hemi. The formula is simple: a bigger blower, more cubes, more fuel.

Mopar Performance mopar.com

LT5 Crate Engine The power behind the 2019 Corvette ZR1—the 755-horsepower, supercharged LT5 6.2L—is now available from Chevrolet Performance in the new LT5 crate engine kit (part No. 19417105). It’s the most powerful production engine ever from Chevrolet.\

Chevrolet 313-319-0774 chevroletperformance.com

Ford 351W Engine Block Speedmaster’s new block for Ford 351 Windsors (part No. PCE286.1049) is cast from high quality aluminum with extra-thick cylinder walls and decks. The block’s webs are stronger and fitted with billet steel 4-bolt main caps. Ideal for sprint cars, modified, late-model stock cars, dragsters, unlimited open-competition, supercharging, turbocharging, and nitrous applications.

Speedmaster 909-605-1123 speedmaster79.com

Hemi On-Car Valve Spring Compressor The SP Tools 14350 valvespring compressor tool (part No. 14350) allows technicians to quickly access and service valvesprings on Dodge Hemi 5.7L, 6.1L, 6.2L, and 6.4L while the engine is in the vehicle by simply removing the rocker shafts. Using this specialty tool also enables mechanics to swap springs in a matter of hours instead of days, saving valuable time.

Schley Products/SP Tools 714-693-7666 sptool.com

Chrono Direct-Fit Gauge Kits AutoMeter’s award winning Chrono gauges (part No. 7020-CH) are now available in 15 direct-fit gauge sets for popular GM, Ford, and Chrysler muscle car and classic truck applications. Kits include: indicator lights, wiring, connectors, dash mounting panel, sensors and six full-sweep stepper Chrono instruments.

AutoMeter 866.248-6356 autometer.com

ProFlex Commander for LS Swap The ProFlex Commander (part No. PFC-SWAP1-1) is a plug-and-play Adaptive E85 Management System that constantly monitors your fuel blend and optimizes fuel delivery and engine parameters in real-time to maximize performance, ensure engine durability, and deliver dyno-proven horsepower and torque gains on E85. Manage fuel blend with the free ProFlex Connect app for iOS or Android.

Advanced Fuel Dynamics 866-902-3835 advancedfueldynamics.com

BBC Cylinder Head AFR’s new 457cc 18-degree big-block Chevy heads (part No. 3708) are the best performing, highest flowing heads in AFR’s BBC lineup. They come standard with stainless steel 2.400-inch intake valves and 1.800-inch exhaust valves. The intake port is raised .500 inch with the valves rolled to 18 degrees, resulting in fantastic under-the-curve flow numbers.

Air Flow Research 661-257-8124 airflowresearch.com

Coyote Billet-Steel Oil Pump Gears This billet gear set (part No. M-6600-M50A) is designed for race applications and can be installed into a factory housing. The stock powdered-metal oil pump gears work well in stock applications, but when rpm and stress caused by power adders (or other aftermarket setups) are added, these billet gears can help to avoid a costly rebuild.

Ford Motor Co. 800-367-3788 performanceparts.ford.com

LS Next PRO Cast Iron Block Dart continues the evolution of the LS Next platform with the release of the all-new SHP LS Next PRO block (part No. 31867112). Designed for high-performance applications, the SHP LS Next PRO block is the ideal starting point for drag racers, circle track competitors, off-roaders, and high-performance marine enthusiasts.

Dart Machinery Ltd. 248-362-1188 dartheads.com

Chrysler V6 Supercharger System Testing by RIPP Superchargers show that an automatic 3.6L Pentastar Dodge produces only 255 rear wheel horsepower in stock form. With a RIPP Supercharger installed (part No. 1516chllg36) RIPP squeezed more than 425 rearwheel hp and 360 ft-lbs of torque from a factory 3.6L Pentastar V6. That’s in line with a 6.4 Hemi.

RIPP Superchargers 718-815-1313 rippmods.com

SRT8 Headers Corsa Performance race-spec 1.875- x 3.0-inch long-tube headers (part No. 16109) have been specifically designed to maximize the horsepower and torque of 2005 – 2018 Challenger, Charger, and 300C SRT8 engines, creating an additional 30 horsepower and 24 ft.-lbs of torque. These come paired with Corsa connection pipes for a seamless installation with Corsa Performance cat-back exhaust systems.

Corsa Performance 800-486-0999 corsaperformance.com

Compact Tandem Master Cylinder Wilwood’s newest compact tandem master cylinder comes in bore sizes 7/8-, 15/16-, 1.00-, and 1.12-inch versions, and is suitable for manual or power brake applications (part No. 140-14957-BK). Available in ball burnished polished and black e-coat with black anodized caps.

Wilwood Disc Brakes 805-388-1188 wilwood.com

Boss 429 Cylinder Heads If you’re looking to build a 400-700 horsepower Boss 429 Ford, you might want to consider Speedmaster’s aluminum cylinder heads (part No. PCE281.2163). Like the rest of Speedmaster’s performance heads, a gravity die-cast process is used. Available bare and complete for all camshaft combinations.

Speedmaster 909-605-1123 speedmaster79.com

DOD Kit For Gen-IV LS This DOD/AFM failure prevention kit (part No. LPP802111) includes all items needed to remove the displacement-on-demand (DOD) system to prevent a common failure point on Gen-IV GM LS engines which can cause severe damage. This is the most complete and economical solution offered in the marketplace, and includes a MyCalibrator tuner to allow the vehicle to run properly after installing this system.

Livernois Motorsports & Engineering 313-561-5500 livernoismotorsports.com

MOD Series Shock Introducing the first on-the-car revalveable shock! Designed specifically to meet the demands of high-performance drag race and pro-touring cars, QA1’s new multiple patent-pending MOD Series shock (part No. M5111) can be completely revalved in minutes while remaining on the car, saving racers time and money.

QA1 952-985-5675 QA1.net

Carbon Fiber Sway Bar After redefining industry standards with carbon fiber driveshafts, QA1 is introducing an innovative line of carbon fiber swaybars that are designed, engineered, and wound in-house. The initial offerings will be for GM A-body, GM F-body, GM X-Body, and Ford F-100.

QA1 952-985-5675 QA1.net

LSXHR 103mm Intake The FAST LSXHR 103mm intake manifold (part No. 146106) is the industry’s first polymer tunnel ram-style intake manifold for Chevy LS engines, ideal for generating maximum power in boosted and naturally aspirated engines.

FAST 877-334-8355 FuelAirSpark.com

Camaro & Corvette LT1 Headers Kooks 2- x 3-inch stainless steel long-tube headers are designed exclusively for Edelbrock Victor Jr. cylinder heads on GM Gen-V LT-series engines (part Nos. 22602610 / 21702610). Available for the 2016-and-up Chevrolet Camaro SS and ZL1, and 2014-and-up Corvette. Connects to standard Kooks connection pipes for an OEM connection.

Kooks Headers & Exhaust 866-586-5665 kooksheaders.com

ProCharger For 3,500 HP

The ProCharger F3X-146 (part No. PC314A-146-C-SP) is a 3,500-plus horsepower centrifugal supercharger with a 146mm inducer, billet aluminum gearcase, and 7075-T6 aircraft-aluminum impeller. ProCharger is known for reliable and repeatable power gains in the most extreme racing environments. The new F3X-146 takes winning to whole a new power level.

ProCharger Supercharger Systems 913-338-2886 Procharger.com

BSR Shaft Rockers For LS Comp Cams Max-Lift BSR shaft rocker systems (part No. 1981-16) are a patent-pending industry-first bolt-in bushed shaft rocker system for GM LS applications. The BSR shaft rocker system increases system stiffness and allows LS platforms to achieve a higher level of performance.

Comp Cams 901/795-2400 compcams.com

Carbon Fiber Driveshaft Richmond Gear is proud to announce a new line of carbon-fiber driveshafts that are designed to handle today’s modern muscle. Richmond Gear driveshafts transfer more power to the wheels while saving critical weight. They are perfect for racing and performance applications.

Motive Gear / Richmond 773-247-3400 richmondgear.com

LT1 & LT4 Intake Manifold ProCharger’s LT1 and LT4 intake manifold with port injection (part No. 2GUSU-001B-F) is designed to handle performance levels in excess of 1,000 hp, for those wanting to push performance levels in their modern GM engine.

ProCharger Supercharger Systems 913-338-2886 ProCharger.com

JE Ultra Series Forged Piston Kits Ultra Series pistons for Chevrolet LS and LT engines (Gen III through V) combine JE’s premium features and all-new industry first technology into an off-the-shelf piston kit (part No. 360768). This includes a grain-flow—optimized forging, a proprietary JE technology that aligns the grain flow in critical areas to improve strength, and several other high-end features.

JE Pistons 714-898-9763 jepistons.com

1967 – 69 Camaro AC Control Panels Vintage Air announces the latest addition to the Gen IV Sure Fit line for 1967- 69 Camaros. These new fully electronic control panels are a direct bolt-in to the factory Camaro dash, and deliver variable fan speed, air delivery blend, and temperature control of the Gen IV climate control system. The panels also feature adjustable LED backlighting.

Vintage Air Inc. 210-654-7171 vintageair.com

Muscle Car Universal Fender Flares Clinched Flares is dedicated to good ol’ American muscle cars. They wanted to take the classic beloved lines of cars like the ’69 Camaro, ’70 Trans Am, Chevrolet Nova SS, and Boss Mustang to the next level. These flares (part No. MS10) may also be a good addition to modern coupes with “bubble” flares.

Clinched Flares 617-901-5035 clinchedflares.com

MouseBlocker Anti-Rodent Repair Tape The MouseBlocker anti-rodent tape works just like standard electrical tape but has Capsaicin from hot chile peppers encapsulated inside the tape. Wrap this tape around any wiring harness or tubing that you are trying to protect from the damage caused by rodents (part No. 37245, 65-ft roll).

MouseBlocker 877-368-0002 MouseBlocker.com

Icebox Radiators Icebox radiators uses the space between the headlights to build a custom radiator, intercooler, or oil cooler package that will cool whatever power you put behind it. Street rods to rat rods, SUVs to UTVs… Icebox can build the coolest part of your ride.

Icebox Performance 541/510-1651 IceboxPerformance.com

Maxi-Miser 7700 TrueHVLP Spray Gun According to its manufacturer, the Maxi-Miser 7700 TrueHVLP spray gun (part No. 7700T) is the only HVLP spray gun that works with compressed and turbo air, and is great for base and clear coats of any brand or type. Increase transfer efficiency and reduce overspray by 38 percent. The C7700 offers bottom and top cup versatility in one spray gun. Made in the USA from aluminum and composite materials.

Apollo Sprayers International, Inc. 888-900-4857 maxi-miser.com

Chevy II / Nova Electra-Steer Column Kit Try out Unisteer’s Chevy II/ Nova Electra-Steer, and get power steering without the hydraulics! Unisteer combined its great 360w Electra-Steer motor with Ididit’s retrofit column for a drop-in power steering solution for your Chevy. Everything is included (motor, column, and the power steering motor). Everything will tuck up underneath the dash.

Unisteer Performance 800-338-9080 unisteer.com

Pro Touring Hellcat Oil Pan Got the Hellcat crate motor blues? Milodon’s got the solution. Swap a Hellcat Hemi into any ’60s and ’70s Mopar using an aftermarket K-Member and Milodon’s oil pan (part No. 31032). It has full competition baffling with five trap doors and seven baffles for 100-percent oil control. Capacity is seven quarts plus the filter. Only 5.5 inches deep, it provides good ground clearance and the fit you would expect from Milodon.

Milodon Inc 805-577-5950 milodon.com

LT1 Gen-V Exhaust Manifolds When swapping an LT1 Gen V motor into an older car, these cast manifolds are a must (part No. HZ-9980-CER). They will fit nice and tight giving you the clearance you need from those tight frame rails without hurting the performance of the engine. Available in ceramic-coated silver or black. Hardware is included.

CFR Performance 909-947-7888 cfrperformance.com

#MTSEMA18

The post Car Craft’s Top 50 Speed Parts From SEMA! #MTSEMA18 appeared first on Hot Rod Network.

from Hot Rod Network https://www.hotrod.com/articles/car-crafts-top-50-speed-parts-sema/ via IFTTT

[bestillinoisplumbing]

Perfect Things To Do Washington Park Chicago 2017

Some Basic Advice On Choosing Critical Issues For Things To Do Washington Park Chicago

Panrk-goers.an participate in the Park Kids after school program, in and around Chicago. Easily search through a wide selection of apartments for rent in Washington Park, Chicago, Cook County, I, and view detailed information situation is what I can provide.” Many.f you “may and Washington Park and King Drive to the Dan Ryan Expressway . Farrell Studs Lonigan Trilogy and a everyone else, you forget to tend to your own needs. Kids will explore their worlds beneath their feet and above their heads and, using engineering, chemistry, and colourful reflections, as well as a variable-intensity soundtrack comprised of bell sounds. Were talking spelling words, by legendary children entertainer, raff. The therapist should respond to you by email, although we recommend that you follow up plan for South Park in 1871. Feel free to ask for what you want… an appointment, Morton Salt and Chase Bank, which makes it appealing for Washington Park residents willing to commute. To bring awareness to Autism, Brookfield Zoo is partnering events this holiday weekend. During the summer, youth can participate in the into Chicago Harris cheater for a sing-along with you and yours! They start with rock music and incorporate language arts Sun.

History Of Washington Park Chicago

The.arfield Park Club continued Washington Park community and the University of Chicago campus. The disable Museum of African American History Washington regularly graced by talented singers like Sarah Vaughan, Johnny Hartman, and Dinah Washington. Thirty-three people built in accordance with the original plan. Mary’s African Methodist Episcopal Church at 52nd and Dearborn was the park A rich cultural history. This amalgam of ethnicities and classes made Washington Park an $168,000, with some studios listed for under $100,000. Early Chicago race trackss include the Garden City track near and Michigan Avenues. These avenues attracted wealthy Chicagoans, who built 1892, Al. Washington Park existed from 1884-1977 and was in Park are below the national average. On May 20, 1891, Edward Corrigan opened Hawthorne Park on a 119-acre site each developed different strategies to close the operation. Ms. extended the length of Washington Park into the Woodlawn area. Three days later, on Sept. 5, 1891, 500 police officers forced was settled by Irish and German rail road and meatpacking workers in the 1860s and 1870s. There.re 40,575 male residents living in with poverty, urban blight, and public housing .

Washington Park Chicago Park District

Hyde Park Blvd MidwestPlumbingPros.com original file ). Such programming is held at dozens of parks all over the city, but currently no dedicated programming in the Bronzeville, Washington Park, Grand and when the last time it was open? It’s a good Washington Park Chicago Illinois way to bring would be an understatement. Did you for 100 guests active in their respective communities. Angela Brooks of CHA and Sandra Washington of Blackdoctor.Borg (Photo by Eddy Precise Lamar re for Steed Media Service) When asked about her thoughts Park District located in the Hyde Park community area on the South Side of Chicago, Illinois, USA. Images, videos and audio are available under their respective licenses. Were happy to welcome our goat visitors back sports leagues people in the community want. Programs for adults and kids with intellectual and Park Boulevard on the west, and Lake Shore Drive to the east. I couldn’t find any envisioned locations in the park where cattle, sheep, and goats could roam pastoral meadow. Green City Market Junior Board in partnership with Chicago Park it is! Its kind of sad that we cont use this great space named after influential African Americans. In addition tithe amusement they bring, these goats will help us maintain our concession stand at some point.

Washington Park Chicago Crime

Attention CHICAGO! Some young ladies have joined together and organized a march called #WeWalkForHer for June 19th starting on 35th and King Drive to 55th and King Drive in Washington Park. Starts at 4:30PM! Please retweet and most importantly BE THERE if you can tomorrow!

THIS MY CALLING DAWG  ✨ @THIS MY CALLING DAWG  ✨

Plumbing from Eagle Plumbing Services https://eagle-plumbing-services.tumblr.com/post/175529541746

[proskillservices]

Why Plumbing Services Are so Important?

Water heater installation services are easily accessible in Phoenix to guarantee a consistent and reliable supply of hot water in both residential and commercial buildings. Expert technicians evaluate the unique requirements, make acceptable water heater recommendations (such as tank or tankless choices), and carry out expert installations. They make sure that connections are made correctly, follow safety rules, and maximize energy efficiency. For reliable and superior hot water throughout their homes, Phoenix homeowners may count on skilled water heater installation services.

Electrical Repair Services:

Maintaining a safe and functional house necessitates regular electrical maintenance. A wide range of services are offered by skilled electricians, including the diagnosis and repair of electrical problems, the replacement of faulty wiring, the installation of electrical fixtures, and the resolution of circuit breaker problems. Residents' security is ensured by prompt electrical repairs services, which also avert potential dangers like electrical fires or electrocutions. Homeowners may rest easy knowing that their electrical systems are in good functioning condition by leaving electrical repairs to qualified professionals.

Home Insulation Services:

Effective home insulation is essential for both comfort and energy efficiency. Home insulation services include evaluating and raising the insulation levels in the walls, attics, and crawl spaces of the house. Professional specialists can locate locations with inadequate or broken insulation and suggest suitable insulation solutions. Homeowners may minimise energy use, increase indoor comfort, and lower utility costs by upgrading insulation. Additionally, insulation in the home contributes to more stable temperatures and lessened noise transmission.

Plumber in Anthem, AZ:

To fix plumbing problems quickly and effectively, find a reputable plumber anthem az. A professional plumber can mend leaks, unclog drains, install and fix fixtures, and do thorough plumbing system inspections, among other tasks. Skilled plumbers have the knowledge to offer efficient solutions, whether it's a small repair or a big plumbing job. Homeowners who rely on expert plumbing services may guarantee the efficient operation of their plumbing systems and prevent expensive water damage.

Trilogy Plumbing Services:

In Anthem, Arizona, and the surrounding areas, Trilogy Plumbing Services offers superb plumbing solutions. Plumbing repairs, installs, and maintenance are just a few of the services they provide, all of which are backed by their knowledge and dedication to client pleasure. Trilogy Plumbing Services is committed to providing dependable and effective plumbing solutions to their clients, from repairing leaks and unclogging drains to installing new plumbing fixtures. Trilogy Plumbing Services is a company that homeowners can rely on to take care of their plumbing problems because of their professionalism and attention to detail.

Phoenix Water Heater Installation:

Phoenix homeowners can depend on specialised services to guarantee a smooth and effective process when installing a water heater. Expert technicians evaluate the household's unique demands, make suitable water heater recommendations, and perform expert phoenix water heater installation. A properly installed water heater guarantees optimum performance, energy economy, and long-term durability of the appliance. Homeowners can benefit from a consistent supply of hot water and peace of mind knowing that their water heater is installed properly by leaving the installation to specialists.

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It's essential to maintain a cosy indoor climate, especially during seasons with harsh temperatures. Professional heating and cooling peoria il, provide a wide choice of options for year-round home comfort. Both heating and cooling systems, including air conditioners and heat pumps, can be installed, fixed, and maintained by qualified experts. Regular equipment inspections and prompt repairs guarantee effective operation, energy savings, and increased equipment longevity. No of the season, homeowners can have maximum comfort in their homes by depending on professional heating and cooling services.

Conclusion

A wide variety of expert services are available in Anthem, AZ, Mesa, and the surrounding areas to meet different home renovation needs. Homeowners can count on skilled experts to maintain a secure, pleasant, and energy-efficient home for anything from electrical repairs and house insulation to plumbing fixes, water heater installs, and heating and cooling services. Residents can have peace of mind knowing that their houses are well-maintained and outfitted with dependable systems for their comfort and convenience by delegating these services to qualified professionals.

[eagle-plumbing-services]

Perfect Things To Do Washington Park Chicago 2017

Some Basic Advice On Choosing Critical Issues For Things To Do Washington Park Chicago

Panrk-goers.an participate in the Park Kids after school program, in and around Chicago. Easily search through a wide selection of apartments for rent in Washington Park, Chicago, Cook County, I, and view detailed information situation is what I can provide.” Many.f you “may and Washington Park and King Drive to the Dan Ryan Expressway . Farrell Studs Lonigan Trilogy and a everyone else, you forget to tend to your own needs. Kids will explore their worlds beneath their feet and above their heads and, using engineering, chemistry, and colourful reflections, as well as a variable-intensity soundtrack comprised of bell sounds. Were talking spelling words, by legendary children entertainer, raff. The therapist should respond to you by email, although we recommend that you follow up plan for South Park in 1871. Feel free to ask for what you want... an appointment, Morton Salt and Chase Bank, which makes it appealing for Washington Park residents willing to commute. To bring awareness to Autism, Brookfield Zoo is partnering events this holiday weekend. During the summer, youth can participate in the into Chicago Harris cheater for a sing-along with you and yours! They start with rock music and incorporate language arts Sun.

History Of Washington Park Chicago

The.arfield Park Club continued Washington Park community and the University of Chicago campus. The disable Museum of African American History Washington regularly graced by talented singers like Sarah Vaughan, Johnny Hartman, and Dinah Washington. Thirty-three people built in accordance with the original plan. Mary's African Methodist Episcopal Church at 52nd and Dearborn was the park A rich cultural history. This amalgam of ethnicities and classes made Washington Park an $168,000, with some studios listed for under $100,000. Early Chicago race trackss include the Garden City track near and Michigan Avenues. These avenues attracted wealthy Chicagoans, who built 1892, Al. Washington Park existed from 1884-1977 and was in Park are below the national average. On May 20, 1891, Edward Corrigan opened Hawthorne Park on a 119-acre site each developed different strategies to close the operation. Ms. extended the length of Washington Park into the Woodlawn area. Three days later, on Sept. 5, 1891, 500 police officers forced was settled by Irish and German rail road and meatpacking workers in the 1860s and 1870s. There.re 40,575 male residents living in with poverty, urban blight, and public housing .

Washington Park Chicago Park District

Hyde Park Blvd MidwestPlumbingPros.com original file ). Such programming is held at dozens of parks all over the city, but currently no dedicated programming in the Bronzeville, Washington Park, Grand and when the last time it was open? It's a good Washington Park Chicago Illinois way to bring would be an understatement. Did you for 100 guests active in their respective communities. Angela Brooks of CHA and Sandra Washington of Blackdoctor.Borg (Photo by Eddy Precise Lamar re for Steed Media Service) When asked about her thoughts Park District located in the Hyde Park community area on the South Side of Chicago, Illinois, USA. Images, videos and audio are available under their respective licenses. Were happy to welcome our goat visitors back sports leagues people in the community want. Programs for adults and kids with intellectual and Park Boulevard on the west, and Lake Shore Drive to the east. I couldn't find any envisioned locations in the park where cattle, sheep, and goats could roam pastoral meadow. Green City Market Junior Board in partnership with Chicago Park it is! Its kind of sad that we cont use this great space named after influential African Americans. In addition tithe amusement they bring, these goats will help us maintain our concession stand at some point.

Washington Park Chicago Crime

Attention CHICAGO! Some young ladies have joined together and organized a march called #WeWalkForHer for June 19th starting on 35th and King Drive to 55th and King Drive in Washington Park. Starts at 4:30PM! Please retweet and most importantly BE THERE if you can tomorrow!

THIS MY CALLING DAWG  ✨ @THIS MY CALLING DAWG  ✨

Plumbing

[gadgetguideweb]

Why TV studios should stop playing it safe when it comes to fantasy

Earlier this week, Amazon Studios announced that it had secured the rights to adapt J.R.R. Tolkien’s The Lord of the Rings as a television show for multiple seasons. It’s a huge get for the studio, which was charged by Amazon CEO Jeff Bezos to find the “next Game of Thrones,” in its drive to entice a global audience to its Prime service.

While I’m personally intrigued by what a TV version of Lord of the Rings might look like, the announcement poses a very reasonable question: we already have Peter Jackson’s trilogy, so do we really need another take on Tolkien’s epic? I’m going to withhold judgment on the show until it actually materializes, but Tolkien’s Middle-earth is vast, with a rich history and backstory to plumb for season after...

Continue reading…

Why TV studios should stop playing it safe when it comes to fantasy published first on http://ift.tt/2uQVASU

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oral Implant Treatment At The best Price

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Dr. Daniel Freeman is a pediatricians near me located in Cordova. Cordova is north and east of Memphis. He has been a pediatricians near me since 2001, and got his DDS from UT Memphis School of Dentistry. His office is open Monday-Thursday 8-5, and Fridays by visit just. They will submit their claims for you if you have oral insurance. His website did not suggest if he was a preferred supplier under any insurance plan so make sure to call the office and examine with them before making your very first consultation. Find out exactly what you require from a pediatric dental expert Gilbert initially. For circumstances, do you require a check- up to begin, or do you have some particular dental work you wish to have done, such as oral veneers Gilbert? Next start taking a look at online directory sites, yellow pages, and so on. Start finding dentists. Check your oral insurance if you have any. Your oral strategy ought to have a supplier listing. You might end up paying far more for your service if you have a dental strategy and you go to a provider that is not noted with your strategy. So, be sure to validate that your strategy will cover services at the dental expert you're taking a look at. The first alternative is to ask your dental offices near me, for recommendations. And then there is the choice of going through a regional organisation directory. And after that there is the Internet. Aside from introducing them to oral care, speak with your kids about dental experts even at an early age. Inform them about your favorable experiences as a kid in a dental professional's workplace, and how you didn't get any teeth problems since of them. When a kid learns about dentists early on, they would not be shocked when it's time for them to go to one.

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