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friday-ocean · 5 years ago

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Prologue - Just don’t tell anyone...

Summary: Ellenore Lennox is the daughter of an old and venerable purebred family from England. In the past years the reputation of these families suffered greatly; they lost more and more power and wealth.

In order to preserve the line, the Lennox and Malfoy families decide to make the friendship between their families even closer. They put all their hope in the engagement of their children Scorpius Hyperion Malfoy and Ellenore Lennox.

To Ellenore's relief, however, the wedding will not take place until after graduation at Hogwarts. Her sixth school year also promises to be exciting. The new transformation teacher Fred Weasley II. is young, refreshing and above all handsome...

Will Ellenore be able to concentrate on her lessons despite all the excitement?

*~*~*~*~*

Just don’t tell anyone... Masterlist

*~*~*~*~*

Just don't tell anyone...

The summer holidays - these infinite 6 weeks! - actually came to an end. The afternoons were not as humid as in August and in the evening a cool breeze reached the old villas in the suburb of Dundee.

But the industrious workers didn't notice anything of the impending cooling off in the evening when they transported tables, chairs, and mountains of tableware to the Lennox family's manor house. Already in the evening, elegant people were supposed to dine, dance and collect money for the " Association for Desperate Witches - Support & Help ".

But not all members of the family were interested in the charitable character of this celebration. Ellenore, the only child of Ivonne and Nathan Lennox, planned her own little party. According to the official program of the evening, Ellenore would steal two or three bottles of emerald champagne and then move to a quiet corner with her friends.

But the evening was still several hours away. Until the arrival of the first guests, Ellenore had to deal with her hair, pedicure, manicure, and dresses...

"Sometimes you will never know the value of a moment until it becomes a memory." Dr. Seuss

It was a wonderful natural spectacle when the moon was already rising above the Lennox villa and the sun had not yet completely left the horizon behind the last houses of the old villa settlement. The first visitors of the celebration were already cavorting in the large entrance hall when Ellenore was once again asked to come into the private living room of the family.

"Mother, father," Ellenore greeted her parents, who were standing in front of the large folding door. Ellenore was not yet 17 years old, but the woman approaching the door could no longer be described as a "teenager". Her hair was chestnut brown, thick and fell like a curtain over her shoulders, only held by a blue headband. In keeping with summertime, she wore a shoulderless summer dress that airily caressed her body with the feminine curves.

"Honey. There you are. We wanted to talk to you again"; Ivonne spoke tenderly when her daughter approached her. Obviously, mother and daughter were fundamentally different: Ivonne was taller and slimmer than her daughter and her hair was ash blond. Someone who didn't know the family wouldn't think they were related. Ellenore was more like her father. Back when his hair wasn't gray yet, it was just as deep brown and silky smooth. Also, Ellenore's pale blue eyes were very similar to those of her father, with which she now fixed her parents.

"Why actually? Downstairs the guests are already waiting for you. Shouldn't you be with them? "Don't worry about it. The staff has already distributed enough emerald champagne to the guests," her father defended herself and put an arm around her. "We want to talk to you first," he says and opened the door.

The private living room of the Lennox family was cozy and warm. There were logs in the fireplace to be lit as soon as the temperatures fell below an uncomfortable level, soft carpets from different centuries were spread out on the floor and family photos of the past years were on the tables. On the enormous sofa, opposite the fireplace, however, three people were sitting, clouding the harmonious overall picture.

When Ellenore and her parents entered the room, the three persons rose immediately and Nathan walked purposefully towards them. "Astoria, Draco, Scorpius, nice of you to come," he greeted the Malfoy family, shaking hands with them so warmly that his wife and daughter resembled him.

Ellenore already knew Scorpius from Hogwarts and was not surprised to meet this bright blond, elegant young man. Both families were connected by a long acquaintance and a desire to maintain the high social status of both families. For this reason, she experienced the next events only as if through a thick layer of candy floss: shadowy and non participating.

Her parents talked for a short while, laughed liberated, and seemed detached from many serious fears of the future. The moment came when Scorpius pulled a small black box out of his suit trousers and took Ellenore's left hand to put a golden ring on her ring finger.

Finally... ...two traditional families were connected. ... the shame could be forgotten. ... things went their right way. ... the wishes of the old generation were heard.

... that things are always different from what you think they are.

Next chapter coming 17. August 2019

#my writing #just don't tell anyone #harry potter #next generation #romance #smut #hogwarts

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latestglobalmarketresearch · 4 years ago

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Aircraft Doors Market Is Anticipated To Shows Healthy CAGR Over The Forecast Period

Aircraft doors are structural components fitted on the fuselage for embarking and disembarking of passengers and crew members as well as loading and unloading of cargo. The aircraft doors market has been classified on the basis of door type into passenger doors, cargo doors, emergency doors, service/access doors, landing gear doors, and others.

The global aircraft doors market is projected to grow from USD 3.68 Billion in 2017 to USD 5.22 Billion by 2022, at a CAGR of 7.25% during the forecast period. This growth can be attributed to an increase in aircraft deliveries, expansion of the civil aviation sector, and technological advancements in aerospace components. The rise in air passenger traffic and increase in demand for aviation services are additional factors contributing to the growth of the aircraft doors market.

The aftermarket end user segment is projected to grow at a higher CAGR as compared to the OEM segment during the forecast period. The growth of the aftermarket segment can be attributed to the increasing need to replace legacy aircraft doors with modern and lightweight aircraft doors.

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Based on application, the commercial aviation segment of the aircraft doors market is projected to grow at a higher CAGR from 2017 to 2022.

Based on application, the commercial aviation segment is projected to grow at a higher CAGR as compared to the military aviation segment during the forecast period. The growth of the commercial aviation segment can be attributed to the rise in commercial aircraft orders, owing to the increasing air passenger traffic, especially in the Middle East and Asia Pacific.

Based on door type, the passenger doors segment of the aircraft doors market is projected to grow at the highest CAGR from 2017 to 2022.

Based on door type, the aircraft doors market has been segmented into passenger doors, cargo doors, emergency doors, service/access doors, landing gear doors, and others. The increase in the number of passenger doors for commercial aircraft is one of the most significant factors projected to drive the growth of the passenger doors segment during the forecast period.

Asia Pacific is expected to be the fastest-growing market for aircraft doors during the forecast period.

The aircraft doors market in the Asia Pacific region is projected to grow at the highest CAGR from 2017 to 2022. This growth can be attributed to the increase in aircraft production in countries, such as India and China. The rise in commercial aircraft deliveries is projected to drive the demand for aerospace components, such as aircraft doors, in the Asia Pacific region.

Key players operating in the aircraft doors market include Airbus Helicopters (France), Latecoere (France), Saab (Sweden), Elbit Systems (Israel), Triumph Group (US), and Mitsubishi Heavy Industries (Japan). These companies have well-equipped manufacturing facilities and strong distribution networks across North America, Europe, and Asia Pacific.

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abhijeetw · 4 years ago

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Natural Fiber Composites Market worth 6.50 Billion USD by 2021

The report "Natural Fiber Composites Market by Type (Wood Fiber and Non-Wood Fiber), Manufacturing Process (Compression Molding, Injection Molding, and Others), Application (Building & Construction, Automotive, and Electrical & Electronics), and Region - Global Forecasts to 2021", The market size of Natural Fiber Composites (NFCs) is projected to reach USD 6.50 Billion by 2021, at a CAGR of 11.68%, between 2016 and 2021. This growth is attributed to the high demand for NFCs in the construction and automotive industry, driven by the regulatory norms, and superior performance. Lightweight, high stiffness-to-weight ratio, consumer awareness regarding recyclable, and biodegradable materials, are advantages of the use of NFCs in the composites market.

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Manufacturing process: Compression molding comprises a major share in the NFCs market

Compression molding is the most widely used manufacturing process of NFCs. Automotive and construction industries are the key users of compression molded NFCs due to their benefits, such as cost effectiveness, high reproducibility, low cycle time, homogenous distribution of long fibers in fleece, lesser wastage of raw material and lower tooling costs. Heavy and intricate complex parts with good surface finish can be made with the help of compression molding, which make it suitable in the construction industry. In the automotive industry, it is used to produce interior parts of automobiles with higher strength and stiffness.

Construction & Automotive industry is at the forefront and driving the NFCs market

The demand for NFCs in the construction industry for outdoor deck floors, railings, fences, landscaping timbers, park benches, window and door frames, and indoor furniture has grown remarkably on the global platform. This is due to their superior strength-to weight ratio, recyclability, and low cost. Further, NFCs are becoming popular and essential for making automotive components such as seatbacks, parcel shelves, boot linens, front and rear door linens, truck linens, and door-trim panels due to their lightweight and increased fuel efficiency.

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North America accounts for a major market share of NFCs market

The North America region accounts for the largest market of NFCs, globally, due to the high demand from the construction industry and regulatory norms requiring the use of ecofriendly materials. Along with the existing capacities, several NFCs manufacturers, are expanding their production capacities. According to the Department of Environment Food & Rural Affairs (DEFRA) report, almost 1.5 million vehicles included applications for natural fibers such as kenaf, jute, flax, hemp and sisal in combination with thermoplastic polymers such as polypropylene and polyester. The demand for NFCs in North America is projected to continuously increase in the near future on account of significant performance at lower prices of NFCs in automotive and construction applications driven by regulatory standards recommending the use of lightweight and recyclable materials.

Some of the key global players prevailing in the NFCs market are Trex Company, Inc., Advanced Engineering recycling technologies, Inc. (AERT), Fiberon LLC (U.S.), UPM Biocomposites (Finland), FlexForm Technologies (U.S.), among others. These players have adopted various organic and inorganic developmental strategies in the past five years. For instance, FlexForm Technologies formed FlexForm Korea Ltd. for the acquisition and operation of factories and production lines in Jeonju City and Cheonan, South Korea.

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#Natural Fiber Composites Market #Natural Fiber Composites #Composites #Fiber

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tipsycad147 · 5 years ago

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Capricorn December Hogmanay Trollolay!

By shirleytwofeathers

In Scotland, the last day of the year is called Hogmanay, the word children use to ask for their traditional present of an oatmeal cake (which is why this is also called Cake Day). Traditionally, children in small towns would wander about town, particularly in the more affluent neighbourhoods, visiting their neighbours of the better class, crying at their doors, “Hogmanay!” or sometimes the following rhyme:

Hogmanay, trollolay, Gie’s of your white bread and none of your grey!

In obedience to which call, they are served each with an oaten cake. Immediately after midnight it is traditional to sing Robert Burns’ “Auld Lang Syne”

“Should auld acquaintance be forgot and never brought to mind? Should auld acquaintance be forgot and auld lang syne For auld lang syne, my dear, for auld lang syne, We’ll take a cup o kindness yet, for auld lang syne.”

Fireworks and fire festivals are still common across Scotland, as are parties and celebrations of all kinds. There are many customs, both national and local, associated with Hogmanay. The most widespread national custom is the practice of ‘first-footing’ which starts immediately after midnight. This involves being the first person to cross the threshold of a friend or neighbour and often involves the giving of symbolic gifts such as salt (less common today), coal, shortbread, whisky, and black bun (a rich fruit cake) intended to bring different kinds of luck to the householder. Food and drink (as the gifts) are then given to the guests.

This may go on throughout the early hours of the morning and well into the next day (although modern days see people visiting houses well into January). The first-foot is supposed to set the luck for the rest of the year. Traditionally, tall dark men are preferred as the first-foot. And of course, the entire spirit of a Hogmanay party is to welcome both friends and strangers with warm hospitality and of course lots of kissing all-around!

It’s believed that Hogmanay originated with the invading Vikings who celebrated the passing of the winter solstice with much revelry, but the roots of Hogmanay perhaps reach back to the celebration of the winter solstice among the Norse, as well as incorporating customs from the Gaelic New Year’s celebration of Samhain.

In Rome, winter solstice evolved into the ancient celebration of Saturnalia, a great winter festival, where people celebrated completely free of restraint and inhibition. The Vikings celebrated Yule, which later contributed to the Twelve Days of Christmas, or the “Daft Days” as they were sometimes called in Scotland. The winter festival went underground with the Protestant Reformation and ensuing years, but re-emerged near the end of the 17th century

Each area of Scotland often developed its own particular Hogmanay ritual.

An example of a local Hogmanay custom is the fireball swinging that takes place in Stonehaven, Aberdeenshire in north-east Scotland. This involves local people making up ‘balls’ of chicken wire filled with old news paper, dried sticks, old cotton rags, and other dry flammable material up to a diameter of 60 cm. Each ball has approximately 1 m of wire, chain or nonflammable rope attached.

As the Old Town House bell sounds to mark the new year, the balls are set alight and the swingers set off up the High Street from the Mercat Cross to the Cannon and back, swinging their burning ball around their head as they go for as many times as they and their fireball last. At the end of the ceremony any fireballs that are still burning are cast into the harbour.

Many people enjoy this display, which is more impressive in the dark than it would be during the day. As a result large crowds flock to the town to see it, with 12,000 attending the 2007/2008 event. In recent years, additional attractions have been added to entertain the crowds as they wait for midnight, such as fire poi, a pipe band, street drumming and a firework display after the last fireball is cast into the sea. The festivities are now streamed live over the Internet.

Another example of a pagan fire festival is the burning the clavie which takes place in the town of Burghead in Moray.In the east coast fishing communities and Dundee, first-footers used to carry a decorated herring while in Falkland in Fife, local men would go in torchlight procession to the top of the Lomond Hills as midnight approached. Bakers in St Andrews would bake special cakes for their Hogmanay celebration (known as ‘Cake Day’) and distribute them to local children.

In Glasgow and the central areas of Scotland, the tradition is to hold Hogmanay parties involving singing, dancing, the eating of steak pie or stew, storytelling and consumption of copious amounts of alcohol, which usually extend into the daylight hours of January 1.

Institutions also had their own traditions. For example, among the Scottish regiments, the officers had to wait on the men at special dinners while at the bells, the Old Year is piped out of barrack gates. The sentry then challenges the new escort outside the gates: ‘Who goes there?’ The answer is ‘The New Year, all’s well.’

An old custom in the Highlands, which has survived to a small extent and seen some degree of revival, is to celebrate Hogmanay with the saining (Scots for ‘protecting, blessing’) of the household and livestock. This is done early on New Year’s morning with copious, choking clouds of smoke from burning juniper branches, and by drinking and then sprinkling ‘magic water’ from ‘a dead and living ford’ around the house (‘a dead and living ford’ refers to a river ford which is routinely crossed by both the living and the dead). After the sprinkling of the water in every room, on the beds and all the inhabitants, the house is sealed up tight and the burning juniper carried through the house and byre.

The smoke is allowed to thoroughly fumigate the buildings until it causes sneezing and coughing among the inhabitants. Then all the doors and windows are flung open to let in the cold, fresh air of the new year. The woman of the house then administers ‘a restorative’ from the whisky bottle, and the household sits down to their New Year breakfast.

Collected from various sources

https://shirleytwofeathers.com/The_Blog/pagancalendar/category/december-days/page/4/

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vintage1981 · 8 years ago

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#FlashbackFriday to Jess Franco’s Faceless/Gorezone Issue 6

Toward the end of the decade of decadence (aka the 80s) exploitation auteur Jess Franco attempted to break into the commercial horror market. Faceless is the most notable production, with a cast that brings together ex-porn actress (and Jean Rollin regular) Brigitte Lahaie, British genre icon Caroline Munro, German character actor Anton Diffring, Luchino Visconti muse Helmut Berger, and seventies US TV and film superstar, Telly Savalas! Although still a low budget affair, this Rene Chateau production does offer a slick and glamourous look, unlike anything typically seen in a Jess Franco production.

Dr Frank Flamand (Helmut Berger) runs a posh clinic that specialises in expensive beauty treatments and quack "youth-enhancing" therapies for the excessively rich and vain. What his pampered clients do not know though is that many of their treatments are developed at the expense of kidnapped experimental subjects who are kept prisoner in the soundproof padded cells behind a locked door deep within the labyrinthine corridors of the clinic!

When a dissatisfied patient (who was horribly scarred during bungled plastic surgery) attempts to gain revenge by throwing acid in Flamand's face, she instead hits his beautiful sister, Ingrid (Christiane Jean) and badly disfigures her. Flamand vows to restore the beauty of his beloved sister and, together with his ice-cold assistant (and lover) Nathalie (Brigitte Lahaie), organises the kidnapping of coke-addicted model Barbara Hallen (Caroline Munro) with the intention of using her in a new face-transplant operation he intends to develop for his sisters benefit. Barbara is the daughter of wealthy industrialist Terry Hallen (Telly Savalas) and after his daughter's disappearance, Hallen hires American private detective Sam Morgan (Chris Mitchum) to find her. Meanwhile, Flamand and Nathalie consult Dr. Karl Heinz Mozer (Anton Diffring), an ex-Nazi associate of Flamand's mentor Dr Orloff (Howard Vernon), and employ him to help them experiment on more kidnapped victims in their attempts to perfect the complicated operation.

Gorezone Issue 6: Caroline Does Splatter by Steve Swires

Fantasy films’ first lady has been systematically subjected to an onslaught of cinematic indignities — stalked by slashers, menaced by madmen and terrorized by tormentors. Rarely, however, has she been asked to exercise her acting ability; usually, she is merely required to look helpless, scream her lungs out and defer to the heroics of her male co-stars.

Finally, after two decades of dramatic dues-paying in such creatively constrained circumstances, Caroline Munro feels confident enough to test her talent. A veteran of 13 consecutive genre excursions— including Dracula A.D. 1972, Captain Kronos: Vampire Hunter, Maniac and The Last Horror Film — she recently ended her involuntary screen hiatus by starring in two new English-language European horror movies, Paul Naschy’s Spanish-lensed The Howl of the Devil and Jess Franco’s French Faceless. Reaching beyond the limitations of her cult status, she also made her first non-genre appearance in 20 years, in the British TV movie Maigret.

Selected by her Slaughter High collaborators Peter Litten and George Dugdale to play the female lead in their proposed big-budget production of Dr. Who: The Movie as well as the title role in their unorthodox multimedia creation Roxscene, Munro grew increasingly restless as both major projects were delayed by a lengthy development process. Anxious to resume her acting career after four years as hostess of the popular British TV game/variety series 3-2-1, she gratefully accepted the unexpected offers of overseas employment.

“The more I’m on camera, the better it is for me,” the British actress reasons, relaxing one morning in her London flat. “As with an athlete or a dancer, an actor must keep training. Since Doctor Who and Roxscene have yet to reach fruition. The Howl of the Devil, Faceless and Maigret gave me an opportunity to get out and do a bit of work. Frankly, I become very bored when I’m not working.”

There were few occasions for boredom on the rugged Spanish locations of The Howl of the Devil (a.k.a. El Aullido del Diablo). Shot in Madrid and the quaint mountain village of Loyzoya— complete with cobbled streets and an 11th-century monastery — during July and August of 1987, the film was written, directed by and stars Paul Naschy. A short, toupeed, barrel-chested John Belushi look-alike whose real name is Jacinto Molina, Naschy has appeared in more than 75 Spanish movies bearing such luridly Anglicized titles as Frankenstein’s Bloody Terror, The Werewolf vs. the Vampire Woman, Count Dracula’s Great Love and Night of the Howling Beast, earning him the crown of Spain’s King of Horror.

Designed as an ambitious showcase for his performing abilities, Howl presents Naschy in 10 different roles, reflecting his affection for the classic Hollywood movie monsters of his youth. A demented retired actor named Hector lives with his young nephew Adrian in an ominous chalet, where he dresses up as Fu Manchu, Rasputin and Bluebeard to torture nubile female victims procured by his loyal manservant Erik, portrayed by Howard Vernon. A horror fan himself, Adrian (played by Naschy’s 12-year-old son, Sergio Molina) fantasizes visits from his favorite celluloid creatures, recreated in elaborate prosthetic makeup by Fernando Florido and embodied by the ubiquitous Naschy: the Frankenstein Monster, the Phantom of the Opera, Quasimodo, Mr. Hyde and — inevitably— Naschy’s best-known character, the melancholy werewolf Waldemar Daninsky. This Happy home life is eventually interrupted by the reappearance of Adrian’s dead father, Hector’s twin brother Alex, a rotting corpse also essayed by the resilient Naschy.

Cast by novice producer Juan Gomez after he spotted her photo in David Quinlan’s book The Illustrated Directory of Film Stars, Munro plays a poor Spanish maid named Carmen, relentlessly pursued by the homicidally horny Hector. Unfamiliar with Naschy or his work, Munro asked her solicitor father to read the clumsily translated screenplay, which was filled with guilt and retribution, sexual repression and religious obsession. “Obviously, he didn’t think it was brilliant,” she admits. “But he said, ‘It’s certainly no worse than some others you’ve done, and it might be an interesting part for you.’ I thought it could be a mistake for me to do it, but because I liked my part, I decided to take a chance. Besides, if my dad thought it was all right, then it must be OK.”

Burdened by an unwanted glamor image as a perennial sex symbol, Munro enthusiastically donned plain-looking clothes, flat shoes and an apron, and pinned back her long dark hair to* convincingly portray her earthy character. Likewise, Munro actually scrubbed floors and even chopped the head off a real dead chicken on camera. “I wasn’t very keen on that,” she concedes. “Paul gave me a whacking great knife — twice the size of Crocodile’ Dundee’s, knife— and said, ‘Cut the head off the chicken.’ I told him, I can’t do that.’ I just cut it gently down the middle. He said, ‘That’s no good. You must look like you’ve done it all your life.’ So I finally did cut the head off. It was a touch of the Tom Savini there.” A popular genre figure in Europe and Japan, Naschy has yet to conquer the more demanding American market, his voice will subsequently be dubbed by an American actor. This unusual production problem created an awkward acting situation for Munro, who performed her part with her normal British accent, at Naschy’s instruction. “It was a bit more difficult than I was used to, but that made it more of a challenge,” she notes. "Most of the master shots were done over Paul’s shoulder, showing me speaking. Some of the time, he was actually speaking Spanish. Because I understand Spanish fairly well and I knew the intention of the scenes, I could tell what he was saying and when it was time for me to speak. “I was nervous at first, because Paul is a foreboding-looking fellow with a great deal of energy. He is very intense in his work, very European in his approach, with extraordinarily piercing eyes. But he was exactly right for his character. Once we began working together, I found him quite easy to get on with.” Naschy even allowed Munro to rewrite her own dialogue. “I’m hopeless at writing,” she maintains. “But the script left something to be desired, because it was translated too literally from Spanish to though three of his films were released here theatrically in the mid- 1970s by Sam Sherman’s Independent-International Pictures and several of his other movies are currently available on home video. To facilitate American distribution, Naschy shot The Howl of the Devil since he doesn’t speak the language, he delivered his dialogue phonetically, and English. Many of the lines were archaic and ungrammatical. So I rewrote my dialogue to make it more conversational. I offered to help rewrite the rest of the dialogue as well, but Paul didn’t want to confuse the other actors.” Adding her creative input in such a manner is a new occurrence for Munro, who previously would passively accept her scenes as written, regardless of any misgivings. “That comes with experience,” she observes. “You learn what you will or won’t do in a scene. There are certain things I won’t do. Generally, there isn’t much substance to the characters in most genre movies, unless you create some for yourself. Now, I feel I’m in a position — at my age — to be thinking more about characterization.” Munro, satisfied with her Spanish sojourn, believes The Howl of the Devil will spotlight a more self-confident side of her acting personality. “I won’t say I enjoyed every minute,” she acknowledges, “but I was certainly kept on my toes. I hope people will see more range from me as an actress than they’ve seen before. I had to extend myself more in the role. I had some initial reservations, but everything felt right while we were making it. There was nothing about my scenes that offended me. Of course, I don’t know how the finished film will turn out, but for my part, I’m really pleased I did it.” Completing her Howl of the Devil role in 12 shooting days over a three-week period, Munro next flew to Geneva, Switzerland to star in the unusual industrial show The New Travels of Marco Polo. While in Geneva, she was contacted by director Jess Franco, offering her a leading role in his latest thriller Faceless. Filmed in and around Paris during November and December of 1987, Faceless (a.k.a. Les Predators de la Nuit) revives the moribund subgenre of surgical atrocity movies initiated in 1959 by Georges Franju’s classic Eyes Without A Face (a.k.a. The Horror Chamber of Dr. Faustus) and imitated by Franco’s own The Awful Dr. Orloff in 1961. The first feature produced by Rene Chateau, France’s leading video distributor, Faceless boasts an impressive international cast including Helmut Berger, Telly Savalas, Anton Diffring, Chris Mitchum and 79-year-old Howard Vernon , reprising his tireless Dr. Orloff persona. Jacques (Lifeforce) Gastineau provides graphic makeup FX. Doubling as screenwriter under the pseudonym “Fred Castle,” Chateau personally chose Munro, having seen her work in Starcrash and Maniac, which he released on video in France. In a resonant bit of casting, she plays jet-set American model Barbara Hallen, whose mysterious disappearance motivates the entire storyline. Kidnapped from a modeling session by actress Brigitte Lahaie (France’s most notorious porno queen in a rare mainstream role), Barbara is brought to a fashionable health farm run by sinister plastic surgeon Doctor Flamand (Berger), who constantly requires fresh blood and organs with which to rejuvenate his chic clientele.

Aided by ex-Nazi scientist Juan Moser (Diffring), Flamand plans to graft Barbara’s exquisite face onto his horribly disfigured sister, until a savage assault renders her skin unusable. Meanwhile, alarmed by his daughter’s inexplicable absence, New York millionaire Terry Hallen (Savalas) sends Vietnam-veteran-turned-private-detective Morgan (Mitchum) to Paris to discover her whereabouts. As Morgan’s investigation draws him closer to the truth, Flamand and his sadistic henchman Gordon sharpen their chainsaws and drills for the inevitably gruesome final confrontation.

Chiefly confined to a padded cell in an actual clinic undergoing renovation, Munro spends most of her screen time in a short white hospital smock. As her character recovers from her brutal attack, she is repeatedly injected with debilitating drugs, hastening her mental and physical deterioration. Abdicating her reluctant glamor image with a vengeance, Munro had no qualms about appearing progressively more disheveled. “I wanted to look as extreme as I could get,” she insists. “In fact, I encouraged them to make me look worse. It actually helped me as an actress. The worse I looked and felt, the better my performance.

When I was crying, my tears were real. I didn’t need glycerine, because I felt truly degraded. It had to be that way, it was so important to see the change in Barbara— to show the glamorous, confident, attractive woman at the beginning, and the poor, sad, pathetic creature at the end. Otherwise, the film wouldn’t work.”

Responsive to the actress’ concerns. Franco thoughtfully decided to shoot Munro’s unpleasant scenes in reverse order. “That way, I could look forward to feeling clean,” she points out. “It was a good method, because I hated being so dirty. I had grease in my hair. I really looked a mess. But it felt absolutely right for the part. “In fact, I looked almost too convincing,” Munro smiles. “At one point, I was walking down the back stairs at the clinic, wearing only a little white smock. I was made up with a bloody cut on my face. One of the real nurses saw me and exclaimed, ‘Oh, mon Dieu! What happened?’ She thought I had really been injured. Many of the actual patients gave me very funny looks. I should think it put them off going back to that clinic.”

Jess Franco, according to Munro, proved to be a surprisingly careful and considerate filmmaker. “I had never heard of Jess before, but I enjoyed working with him very much,” Munro remarks. “I trusted him and felt confident with him. He speaks very good English. I could ask him questions, and he would help me. He has a great sensitivity with actors. He understood how we felt and gave us encouragement.”

A former model herself, Munro easily mastered the American accent she delivers in Faceless. “It’s better than the American accent I did in Slaughter High,” she comments, “because I’ve had more experience at it. But it’s still quite a soft American accent, since the character has been living and working in Europe, and that has affected the way she speaks. I suppose it’s more of a mid-Atlantic accent. I just hope people won’t assume I’ve been dubbed by an American actress again.”

Finishing her Faceless fright fest after three hectic weeks in France, Munro next appeared in her first TV movie, Maigret. Directed by Paul (Prom Night) Lynch, the film is based on a popular series of mystery novels by Georges Simenon. Munro portrays Carolyn Pace, power hungry secretary to scheming American millionaire Patrick O’Neal.

“I just want to be a working actress,” she says, then pauses to reflect on her future plans. “Frankly, I never thought of myself any other way. I’ve never wanted the huge success that other people have wanted for me. I’m very happy doing smaller films. “Without shouting to the whole world, I can push myself quite far within these roles and not be looked at too critically,” Munro decides. “The success or failure of these movies is not on my shoulders. Each one’s just another acting experience for me. And I find I get better with each new experience; I’m still learning my craft all the time.”

#Caroline Munro #Jess Franco #Faceless #Helmut Berger #Christopher Mitchum #Brigitte Lahaie

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salmankhanholics · 8 years ago

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★ Why Salman Khan is bigger than Brad Pitt !

June 22nd 2017 | Adrienne McKibbins and Sue Williams

He has more star pulling power than Dwayne "The Rock" Johnson, easily twice as many fans as Brad Pitt and more strings to his bow than George Clooney.

But with his latest movie tipped to smash the global box office record for the world's biggest audience – ever – Indian movie icon Salman Khan lays absolutely no claim to being anything like its best actor.

"I don't really watch my own films much," he purrs during a rare interview in Sydney. "If one of my films comes up on TV I might just watch it to see how bad I am. It's always a learning lesson." And then he smiles, a 24-carat beam that bathes everyone in sunshine. "Normally I'll only watch a film I'm doing afterwards at the final dubbing session. That's enough for me."

It's certainly enough for 51-year-old Khan's worldwide following, too. With the dark good looks of an old-fashioned Hollywood screen star, he's proved an enormous draw to both Indian audiences at home, and the 16 million people from India living outside their country, the largest diaspora population on the planet. In addition, there's the increasing number of film-lovers of non-Indian heritage, drawn to Hindi or Bollywood movies by the simple love stories, the colour and the upbeat, feel-good tempo.

Already, Khan, India's most financially successful star, has had one movie – the 2015 blockbuster Bajrangi Bhaijaan – watched by an estimated more than three-quarters of a billion people. Now his new movie, from the same writer/director Kabir Khan, Tubelight, released internationally on Friday, June 23 – the beginning of the Muslim Eid holiday that marks the end of Ramadan, and with giant posters even around New York's Times Square – is predicted to be about to make history.

This, say the industry watchers, could well end up the film that passes the 1 billion audience mark.

To those of us outside India, it's hard to grasp the magnitude of his kind of viewing figures. Our most successful film ever, the first Crocodile Dundee film in 1986, for example, sold more than 46 million tickets in the United States; still a relative pittance compared to the business Tubelight is expected to do.

Quietly modest

Khan, however, is quietly modest. "I have been fortunate with the scripts coming my way," he says, when the figures are quoted to him. "I also choose more carefully now than I used to."

Yet India's most financially successful superstar can afford to be coy. The eldest son of successful scriptwriter father Salim Khan, who co-wrote some of India's most famous "angry young man" films, and step-son of his father's second wife actor Helen, he began acting himself at the age of 22. His brothers, Sohail and Arbaaz followed him into the profession, but with nowhere near the same success.

Khan's own star rose rapidly, working from the late 1980s alongside acting superstars Aamir Khan and Shah Rukh Khan who entered the industry around the same time. Then his star fell, but rose again from 2010 with a succession of hit films.

Each has fared better than the last, with 10 of his movies having each taken more than $US16 million at the box office, and the last six more than $US21 million. That might not appear so much when compared to the latest Star Wars' Rogue One's $160 million, but a massive achievement in a country with low-cost film-making and historically cheap tickets.

Now he's treated as a rolled-gold superstar, having worked with all the big-name female actors, including Aishwarya Rai (Bachchan), Kareena Kapoor and Priyanka Chopra, and top directors like Sanjay Leela Bhansali, Sooraj R. Barjatya and Rakesh Roshan. Our interview today – his only one in Australia – in the penthouse of the Sheraton-on-the-Park, has been preceded by a four-hour wait and a grilling by a phalanx of security guards who are still hovering within earshot, just outside the door left slightly ajar.

He attributes his success partly to his range. "I think every six or seven years the style and content of films change," he says. "You have a successful film, then there are a variety of that type of film made, then it gets to a point where the films start to look like rip-offs and the audience becomes tired of that style.

"So then something else comes into fashion. So far, we have had action dramas, police films, the romantic comedy, the romantic melodrama, and then smaller films, but the cycle still seems to change around every six to seven years, with variations."

Unexpected twist

His new movie, Tubelight, is a mixed genre of an action movie, historical war drama, romance and melodrama, with a regulation smattering of Bollywood song and dance and the unexpected twist that Khan this time plays an intellectually challenged hero. He's in search of his missing brother, played by his own real-life brother Sohail, with shades of last year's massive Australian hit Lion, starring Dev Patel and Nicole Kidman about a man in India in search of … his similarly lost brother.

This, however, is set against the 1962 Sino-Indian War, and also features Chinese actress Zhu Zhu. "We have very high hopes of Tubelight," says Mitu Bhowmick, the director of Mind Blowing Films, the production and distribution company specialising in the release of Indian films in Australia and New Zealand. "It's the most awaited film of the year."

Happily, Khan also loves this film. "Because Sohail and I are real brothers and everyone knows that the bond is already established, it seems to really work. My character is a really nice guy, but very childlike, so the village calls him Tubelight [slang in Hindi for someone who does not respond to things quickly] and he really does not understand the workings of the world. All my films are morally and ethically correct, and they have a good message."

Khan likes to present himself as a good guy and he has his own charity, Being Human, but, in truth, controversies have tended to muddy that image although they only appear to have made him even more interesting.

In late 2015, he was acquitted in a high-profile court case of a traffic accident in which one person was killed and, in another long-running case, was accused of having shot a black buck (our equivalent of killing a koala) using unlicensed firearms. He was acquitted of all charges in that matter earlier this year.

He also has a series of high-profile girlfriends, although he did say in a recent talk show, with a grin, that he's a virgin.

That's something that seems quite at odds too with a lusty screen presence that usually involves ripping open his shirt to reveal a pretty impressive set of abs before performing his own stunts, bashing up bad guys single-handedly, getting the girl – usually half his age – and then still having enough puff left to perform a Bollywood dance number.

Plenty of work

With so much stardom, and so much work at home in India, where he's also hosted the TV reality juggernaut Bigg Boss – the local equivalent of our Big Brother – and 10 Ka Dum, based on the international hit game show Power of 10, as well as appearing in mammoth stage shows based on his movies, he regularly receives offers from Hollywood, eager to lure over some of his enormous fanbase.

But, like his fellow Indian stars, he's turned them all down for what would invariably be secondary roles in a foreign industry, before much smaller audiences.

"I have no wish to go outside India," he says. "I have worked with some of the best directors around, and many of those experiences have taught me as much what to do as what not to do. I have enough films here, enough TV, enough work, and certainly enough audience."

And with that landmark 1 billion mark now on the horizon, who can argue?

Tubelight released around Australia – and the world – on Friday, June 23, is distributed by Mind Blowing Films.

Australian Financial Review

#salman khan #brad pitt #bigger than brad pitt #AFR #Australian financial review

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bhgaragedoor · 5 years ago

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Tips to Help With Garage Door Repairs

Garage door repairs can sometimes be prevented with the proper level of maintenance. If not prevented completely, then at least somewhat and to the point where less money needs to be spent to restore the door to its normal level of functioning. If you maintain and clean the door of your garage faithfully then it will reward you with a longer life. To get the most out of the door and to not require garage door repairs on a regular basis you need to make sure that you do not get lazy with the maintenance you do. When a problem does arise then you need to do something about it immediately in order to prevent further damage from taking place. What then should you do to keep garage door repairs at bay? Clean the doors approximately four times a year with a mild detergent. To do this simple task, use a soft car brush. By washing the doors regularly the build up of corrosive elements will be cut down. Make sure though that you refrain from using any harsh chemicals or abrasive cleaners on or near the doors to your garage. If the doors on your garage are wooden then the cleaning and maintenance of them should be according to the recommendations of the manufacturer. In most instances you will be encouraged to first paint the doors on both the interior and the exterior and then to repaint the surface of the exterior every one to two years. If you paint only the outside of the door initially then over time it may warp because of moisture. Take a close look at the area under the door. You want that part to be as free of obstructions as possible. Where the door meets the ground is a spot that can easily accumulate leaves, dirt, cobwebs and debris. It can also build up ice and snow during the winter months. When anything clogs the bottom section of the door it will prevent a solid seal with the ground to be maintained. By so doing this can cause problems with the alignment and weight distribution of the door. This will mean that a garage door repair is required! To prevent this from taking place check the bottom of the door often and rid it of any problematic issues.

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abhigunjal · 5 years ago

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Aircraft Doors Market - Forecast Set the Value on Present Scenario and the Growth of the Market

New York, NY , Dec-03, 2019 /(Aerospace NEWS)-- The report "Aircraft Doors Market by End User (OEM and Aftermarket), Application (Commercial (NBA, WBA, VLA, RTA, Business Jets) and Military (Transport Aircraft, Helicopter)), Door Type (Passenger, Cargo, Emergency, Access, Landing Gear) - Global Forecast to 2022", The aircraft doors market is projected to grow from USD 3.68 Billion in 2017 to USD 5.22 Billion by 2022, at a CAGR of 7.25% during the forecast period. The increase in aircraft deliveries and replacement of existing aircraft doors are key factors projected to drive the growth of the aircraft doors market.

Download PDF

https://www.marketsandmarkets.com/pdfdownloadNew.asp?id=127288998

Browse 148 market data Tables and 45 Figures spread through 150 Pages and in-depth TOC on "Aircraft Doors Market - Global Forecast to 2022"

Based on end user, the aftermarket segment is projected to grow at a higher CAGR during the forecast period.

Based on application, the commercial aviation segment of the aircraft doors market is projected to grow at a higher CAGR from 2017 to 2022.

Based on door type, the passenger doors segment of the aircraft doors market is projected to grow at the highest CAGR from 2017 to 2022.

Asia Pacific is expected to be the fastest-growing market for aircraft doors during the forecast period.

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MarketsandMarkets™ provides quantified B2B research on 30,000 high growth niche opportunities/threats which will impact 70% to 80% of worldwide companies’ revenues. Currently servicing 5000 customers worldwide including 80% of global Fortune 1000 companies as clients. Almost 75,000 top officers across eight industries worldwide approach MarketsandMarkets™ for their painpoints around revenues decisions.

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weekendwarriorblog · 6 years ago

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WHAT TO WATCH THIS WEEKEND April 26, 2019 - AVENGERS: ENDGAME!!!

This is the big one, the start of the summer movie season – like last year, one week early – but also a singularly movie that is likely to crush pretty much everything still playing in theaters, and that is…

AVENGERS: ENDGAME!!

What’s being promoted as the finale of storylines that have been set-up over ten years of Marvel movies finally hits theaters one year after the fateful ending of Infinity War. Sadly, I won’t be seeing this until early next week, since I’ll be busy attending the Tribeca Film Festival over the weekend. (See more details about that below.)

Still, it’s hard to deny the draw of a sequel to last year’s Avengers: Endgame, which had such an astounding cliffhanger ending that few will want to wait to see this one, mainly to see how the surviving heroes deal with Thanos and get their friends and colleagues back.

I guess that’s all I have to say about the movie (other than my box office analysis at The Beat), until I see it so let’s get straight to the…

LIMITED RELEASES

If you live in New York, I beseech you to go see Pamela Green’s doc BE NATURAL: THE UNTOLD STORY OF ALICE GUY-BLACHÉ (Zeitgeist Films), narrated by Jodi Foster, when it opens in New York on Friday. It will open at the IFC Center in New York plus a few other cities as it slowly expands to other cities. It’s an amazing story about the first-ever female filmmaker who was around during the earliest days of cinema in France.

Ralph Fiennes’ directs and co-stars in THE WHITE CROW (Sony Pictures Classics), an amazing film starring Oleg Ivenko as ballet dancer Rudolf Nureyev, who travelled to Paris with his ballet company, ended up meeting and falling in love with Clara Saint (Adèle Exarchopoulos) and defecting. Fiennes plays Nureyev’s early teacher, but it’s a fairly small role as he allows his younger cast to shine in a terrific story that covers much of Nureyev’s early life before defecting. It’s a fantastic film, regardless of whether you’re into ballet or not. The White Crowopens in New York and L.A. on Friday.

Not quite as amazing (but a movie I had been looking forward to seeing since Toronto last year) is Justin Kelly’s JT LEROY (Universal Home Entertainment), which stars Kristen Stewart as Savannah Knoop, the young woman who pretended to be author J.T. Leroy, an abused transgender young man, who was duped by actual author Laura Albert (played by Laura Dern) to help fulfill the ruse for the press and other celebrities. Jim Sturgess plays Geoffrey Knoop, Laura’s boyfriend and Savannah’s brother while Diane Kruger plays Eva, a character clearly meant to be Asia Argento, who made The Heart is Deceitful Above All Things based on “Leroy’s” novel. I was very interested in this film, partially because I interviewed Argento for that film without knowing the story until seeing Jeff Feurzeig’s doc Author: The JT Leroy Story. The movie, co-written by Knoop and Kelly from her own book documenting events, is okay, but I feel that the screenplay could have been a lot more interesting if adapted by a better writer, and I’ve generally been mixed about Kelly’s work as a director, as well. I guess if you’re interested in this story, you can check this out in select cities or On Demand.

Josh Lobo’s thriller I TRAPPED THE DEVIL (IFC Midnight) stars Scott Poythress as Steve, a man who is holding a man hostage in his basement who he believes is the Devil himself. When his brother (AJ Bowen) and wife (Susan Burke) arrive for the Christmas season, they discover Steve’s secret and begin wondering if the man is in fact the Devil. I liked the movie’s premise more than the execution, as I didn’t think too much about the cast.

Roxanne Benjamin made her directorial debut as part of the horror anthology Southbound. She also had a segment in the XX anthology, and she now makes her feature film debut with BODY AT BRIGHTON ROCK (Magnet Releasing). It follows a young woman who is working as a summer employee at a state park, but who takes a wrong turn and ends up in a crime scene with no communication to the outside world. Bravely, she must spend the night in the wilderness protecting the crime scene on her own. 

Opening on Wednesday at Film Forum is Carmine Street Guitars (Abramorama), Ron Mann’s documentary about Rick Kelly’s West Village guitar shop that’s been where he and his apprentice Cindy Hulej design and build custom guitars for the musical superstars. Some of the guitarists who pop in and are captured on camera include Charlie Sexton, Marc Ribot, Lenny Kaye and Bill Frisell with a special appearance by Jim Jarmusch. If you’re into music or are a guitar player, you’ll want to check this out.

Maia Wechsler’s doc If the Dancer Dances (Monument Releasing) goes into the dance studio of Stephen Petronio as they try to breathe new life into Merce Cunningham’s 1968 piece “RainForest.” The movie is being released in conjunction with Cunningham’s centennial, opening Friday in New York at the Quadand in L.A. at the Laemmle Music Hall.

A Thousand Thoughts

LOCAL FESTIVALS

The big festival starting on Wednesday is the17thAnnual TRIBECA FILM FESTIVAL, which kicks off on Wednesday with Life, Animated director Roger Ross Williams’ new documentary The Apollo, which is having it World premiere AT the Apollo Theater in Harlem. Other special events held at the Beacon Theater, also far north of Tribeca, include the 35thAnniversary of This is Spinal Tap and 40th Anniversary of Francis Ford Coppola’s Apocalypse Now, a special talk between Tribeca co-founder Robert De Niro and his longtime director Martin Scorsese, as well as special concerts/talks following docs about the Wu Tang Clan (Wu Tang Clan: Of Mics and Men) and Phish frontman Trey Anastasio (Between Me and My Mind).

I’m not sure why, but I tend to gravitate more to the docs at Tribeca than the narratives, maybe because there have been maybe a dozen narratives at the festival that I truly loved. On the other hand, the festival has become renowned for so many amazing docs, and this year, there are goods ones about Stones bassist Bill Wyman (The Quiet One), Woodstock: Three Days That Defined a Generation, Maiden (about the first all-woman around-the-world sailing team), another one about movie sound (Making Waves) and one about a Ohio factory that shuts down but then is resuscitated by a Chinese company that offers the community new hope (American Factory). I’m also looking forward to seeing the doc Other Music, about New York’s indie record store which recently shut its doors. Add to that other music docs like Linda Ronstadt: The Sound of My Voice and Mystify: Michael Hutchence, and there’s quite a bit that I’m going to want to check out.

Some of the narratives that I’m interested include The Kill Team, starring Nat Wolff and Alexander Skarsgard, and Kevin McMullin’s Low Tide, which has its World Premiere. Also, soon-to-be-released movies like Mary (American Psycho) Harron’s Charlie Says, starring Mat Smith as Charles Manson, and Joe Berlinger’s Extremely Wicked, Shockingly Evil and Vile, starring Zac Efron as Ted Bundy, will screen at Tribeca before their respective releases on May 10.

Hopefully, I’ll find some more hidden gems as the festival progresses.

Up in Toronto, Canada, one of my favorite cities, this year’s Hot Docs begins on Thursday. As the name might imply, this is a documentary film festival with an amazing array of docs, many getting their world premieres. I’m a little busy with Tribeca to go through all that is being offered, but if you live in Toronto, then you should be able to find some interesting subjects covered.

REPERTORY

METROGRAPH (NYC):

Metrograph Pictures’ second release is a restored rerelease of Djibril Diop Mambety’s Hyenas (1992), a comic adaptation of Friedrich Dürrenmatt’s play “The Visit” about a rich woman who is visiting a small African village with enough money to back the man running for mayor of the town. Instead, she reveals that he got her pregnant and abandoned her with child, leading her to a life of misery before coming into money. She offers a bounty to kill the man who did this to her, and the village needs to decide whether they like the mayoral candidate, a popular shopkeeper, as much as they need the money being offered. It’s a pretty fascinating film, beautifully shot, and it’s nice to see the Metrograph reviving it through their distribution arm. On top of that, the retrospective of Brazilian filmmaker Nelson Pereira Dos Santos continues through Sunday, including a few repeat showings. Late Nites at Metrograph offers Gaspar Noe’s recent Climax, as well as Evangelion 1.0 and Evangelion 2.0for the Anime fans. Playtime: Family Matinees ends the month with a classic Kurt Russell Disney movie, The Barefoot Executive (1971).

THE NEW BEVERLY (L.A.):

Weds. afternoon is a screening of Melville’s 1956 film Bob Le Flambeur, while a double feature of Sydney Pollack’s The Yakuza (1974) and John Woo’s A Better Tomorrow II (1987) runs Weds. and Thursday. The Extended Version of Sam Peckinpah’s Major Dundee (1965), starring Charlton Heston, screens on Friday and Saturday, followed by the double feature of Peter Sellers’ 1966 film After the Fox and Elaine May’s The Hearbreak Kid on Sunday and Monday. Tarantino’s The Hateful Eight and the 1983 comedy Doctor Detroit are the Friday and Saturday midnight movies, respectably. This weekend’s KIDEE MATINEE is Lord and Miller’s animated Cloudy with a Chance of Meatballs, while Monday’s matinee is David Fincher’s Fight Club.

FILM FORUM (NYC):

The “Trilogies” series continues this weekend with Andrzej Wajda’s “War Trilogy” (A Generation, Kanal, Ashes and Diamonds) on Wednesday, Jean Cocteau’s “Orphic Trilogy” (Blood of a Poet, Orpheus and Testament of Orpheus) on Thursday. Ingmar Bergman’s “God and Man Trilogy” (Through a Glass Darkly, Winter Light and The Silence) screens on Friday, and then Nicolas Winding Refn’s Pusher trilogy begins on Friday then continues on Saturday, April 27, and the third part on May 4. (Trust me, this is not an easy series to watch in one sitting.) Also, Marcel Pagnol’s “Marseilles Trilogy” will screen on Sunday. Film Forum Jr. shows Satyajit Ray’s Pather Panchali (1955), which is also part of Ray’s “Apu Trilogy” for the “Trilogies” series. See how that works?

BAM CINEMATEK (NYC):

BAM is killing it this week with a number of releases including a restored rerelease of Nina Menkes’ 1991 film Queen of Diamond with Menkes present for a QnA on Friday night and a panel on Saturday night. Set in Vegas, it deals with a disaffected blackjack dealer who drifts through a series of encounters. On Wednesday, BAM’s “Screen Epiphanies” series continues with Vanity Faircritic K. Austin Collins presenting Brian De Palma’s thriller Femme Fatale, starring Rebecca Romjin. Lastly, on Sunday, the “Beyond the Canon” series continues with a double feature of Charles Lane’s Sidewalk Stories (1989) with Charlie Chaplin’s The Kid (1921).

EGYPTIAN THEATRE (LA):

The Egyptian gets in on Aero’s Classic Movie ClownsThursday with a Marx Brothers double feature of A Night at the Opera (1935) and A Day at the Races (1937) with authors Robert Bader and Josh Frank signing their book. Friday sees a Stanley Donen tribute with a screening of Singin’ in the Rain (1952), plus there will be an encore screening of the 7-hour War and Peace (1967) on Sunday and Disney’s Mary Poppins (1964) on Sunday with a panel in conjunction with the Art Directors Guild Film Society.

AERO (LA):

A new series called “Cowboys and Samurai” begins this week, and it’s little surprise that most of the samurai movies are from Akira Kurosawa. It begins on Thursday with a double feature of Rashomon (1950)and High Noon, then continues Friday with The Searchers (1956) and The Hidden Fortress (1958) and Seven Samurai (1954) and The Wild Bunch (1969) on Saturday. Sunday’s double feature is Clint Eastwood’s Unforgiven (1992) and the 1962 film Harakiri (1962) (not directed by Kurosawa!). Sunday is also a rescheduled screening of the musical Annie (1982), as part of the Albert Finney remembrance.

IFC CENTER (NYC)

Waverly Midnights: Parental Guidance continues with Poltergeist (1982), Weekend Classics: Love Mom and Dad screens Charlie Chaplin’s The Kid (1921), while Late Night Favorites: Spring shows Jodorowsky’s El Topo (1970).

MOMA (NYC):

Modern Matinees: B is for Bacall will show 1956’s Written on the Windon Weds, How to Marry a Millionaire (1953) Thursday and then end the series on Friday with a reshowing of Vincent Minelli’s Designing Woman (1957).

MUSEUM OF THE MOVING IMAGE (NYC):

The museum’s See it Big! Action series continues with two screenings of William Friedkin’s The French Connection 1971) on Friday and Saturday, Bullitt (1968) on Saturday and George Miller’s Mad Max: Fury Road on Sunday. There will also be a showing of William Lustig’s 1980 horror film Maniacwith Lustig in attendance as part of its Disreputable Cinema series. This weekend is the first I’ve ever wished I lived out in Astoria, Queens.

QUAD CINEMA (NYC):

Wild Things: The Ferocious Films of Nelly Kaplan ends Thursday, but I don’t have any information for the weekend as of yet.

LANDMARK THEATRES NUART (LA):

This Friday’s midnight movie is John Carpenter’s The Thing (1982), also starring Kurt Russell.

That’s it for this week. Next week: Four new wide releases that aren’t Avengers: Endgame!

#WhatToWatchThisWeekend Movies Reviews AvengersEndgame TheWhiteCrow

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numberplates4u-blog · 7 years ago

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The Road Travelled: History of the Subaru Outback

Today we take the proliferation of jacked-up sedans, wagons, and blobs known as ‘crossovers’ almost for granted, but there was once a time when these family-friendly rides were outliers, not the norm. That all changed in the 1990s when Subaru, treading a path previously forged by AMC with its four-wheel drive Eagle, introduced the Outback. Named after Australia’s famed desert interior, the Subaru Outback was intended to sop up some of the sport-utility vehicle cash that was starting to fall from the sky and splash around the auto industry roughly 25 years ago. Without a truck or even a trucklet, in its line-up, the small automaker had to get creative in courting the adventure-seeking set, and what it eventually came up with would last well into the next millennium, and eventually become the brand’s flagship vehicle. 1995-1999: The Original Outback Years The version of the Subaru Outback that was introduced at the 1994 New York Auto Show was positioned as a trim level on the Legacy wagon. Most current Outback owners wouldn’t recognize the very first 1995 model year Legacy Outback, which lacked the additional ride height found on later versions of the car and was distinguished from the base Legacy trim by its unique interior, two-tone paint job, and a factory luggage rack. It wasn’t until 1996 that the Outback gained an SUV-challenging 7.8 inches of ground clearance, along with tires better suited to gravel roads as well as the outsized fog lights that became instantly familiar to Subaru fans. Also in the mix was Australian actor and Outback pitchman Paul Hogan (of ‘Crocodile Dundee’ fame), who would stick around for most of the decade. Under the hood, the Legacy Outback initially offered a horizontally-opposed 2.2-liter four-cylinder engine good for about 135 horsepower, while later versions of the wagon would graduate to a 2.5-liter unit that added an extra 30 ponies. All-wheel drive was standard, but not homogenous: if you specified a five-speed manual transmission you benefited from a mechanical system that featured a 50/50 power split, while four-speed automatic cars came with a front-wheel biased, electronically-managed design. An interesting footnote to the first-generation Outback was its compact twin, the Impreza Outback Sport. Also released as a 1995 model, and available exclusively as a hatchback, the Outback Sport rode marginally taller than the base model, and largely aped the outdoorsy styling of the larger Legacy-based wagon (adding a non-functional hood scoop in the U.S. that spoke to the turbocharged Impreza WRX that was exclusive to Japan at that time.) The Outback Sport would continue until the end of the third-generation Impreza’s production in 2011. 2000-2004: The Second Generation Leaves The Legacy Nest By the end of the decade, there were two major changes in store for the Outback. The first was the addition of the SUS, or ‘Sport Utility Sedan,’ which was the brainchild of Ernie Boch, a man who had taken a big chance on Subaru in the 1970s by purchasing Subaru of New England and building an empire that would account for a significant percentage of the brand’s national sales as everyone from Vermont to Rhode Island fell in love with the brand’s all-wheel drive offerings. Boch convinced Subaru’s Japanese leadership that he could sell oodles of four-door Legacys simply by adding the Outback’s plastic body cladding, raising their ride height, and emphasizing their rugged appeal, and after paying for a prototype to be built, he convinced the automaker to produce 300 examples of his ‘SUS’ as a test case to sell to New Englanders near the end of the decade. The company allowed him to test out his theory for two years on the East Coast, during which he achieved so much success that Subaru was convinced to roll out an ‘official’ sedan version of the Outback once the second-generation design hit the market around. In addition to the Outback wagon gaining a four-door sibling, for the 2000 model year it also broke away from its Legacy branding and became a unique product in Subaru showrooms. Longer, wider, and roomier inside than the model that preceded it, a revised rear suspension system added considerable additional cargo space to the Outback equation and helped it challenge traditional SUVs more directly. The new Outback also gained access to the brand’s 3.0-liter ‘flat’ six-cylinder engine (matched with a four-speed automatic), which pushed out just over 210 horsepower. The larger motor was mated to a more robust electronically-controlled AWD system that backed away from the 90/10 front-to-rear power split associated with previous automatic-transmission in favor of a 45/55 distribution. 2005-2009: Turbo Power Although it no longer wore the Legacy badge, the Subaru Outback’s development was still tightly coupled to that of the sedan and wagon, which meant it, too, benefited from an all-new platform for the 2005 model year. Again the crossover grew bigger, but the real story was the addition of the Outback XT with its 2.5-liter turbocharged four-cylinder engine adding a significant performance boost to the vehicle. Rated at 250 horsepower and borrowed from the Subaru WRX STI, the automatic-only XT offer a near 100-horsepower advantage over the (also-new) base 2.5-liter naturally-aspirated editions of the Outback. The lack of a clutch pedal might have kept some enthusiasts away from the Outback XT, but it’s worth nothing that the crossover’s autobox had graduated from a four-speed to a five-speed design for 2005. Despite its extra size, the third-generation Subaru Outback was also lighter than the model it replaced, and its handling and ride quality were also improved by way of the vehicle’s revised suspension layout. Four-door fans were saddened by the loss of the SUS, which left the American market at the end of 2007. 2010-2014: Outback Grows Up After years of fraternity with the Legacy wagon, the Subaru Outback parted ways with its long-roof companion after that model was discontinued from the American market. Also gone? The XT edition’s turbocharged engine, leaving the 2.5-liter four in its wake but introducing a new 3.6-liter horizontally-opposed six-cylinder good for 256 horsepower or roughly what the outgoing turbo had to offer. Also new: the option of a continuously-variable automatic transmission and a six-speed manual for the four-cylinder drivetrain. Although the mechanical changes were important, a far more noticeable difference between this generation of Outback and the one before had to do with its size. Subaru went all-in when it came to styling the new crossover to better compete against the burgeoning crop of plus-size SUVs which were taking over the family car segment. The end result was a much larger version of the crossover that provided better interior room, more cargo space and another inch or so of ground clearance. 2015-present: More gear, more tech When the revised 2015 Subaru Outback hit the scene, it wasn’t nearly as dramatic a departure from the mold as it was in 2010 – but it did mark the end of an era, as the Legacy wagon that had carried on in other corners of the globe was sun-setted in favor of all Outback, all the time. Again the size of the vehicle grew, keeping it inside the footprint of the current crop of crossovers but still presenting as much larger than when it first debuted all the way back in 1995. Under the hood, the same engine pairing of four and six-cylinder options continues on largely unchanged, although a continuously-variable automatic is now standard for each. Subaru also invested in higher grade materials throughout the cabin and addressed long-standing complaints about its infotainment system while also adding a high degree of active safety gear through its EyeSight suite of equipment. The Subaru Outback started its journey by presenting buyers with something outside the norm of what they could expect from other automakers, and despite having evolved into a more mainstream offering, it’s still unique enough to serve as Subaru’s strong-selling brand ambassador. Is there a car company that’s been better served by the market shift to SUVs and crossovers than Subaru? Probably not. But a key part of taking advantage of opportunity when it’s presented is being prepared to do so, and the Outback has been a key aspect of Subaru’s growth strategy for the past two decades. The post The Road Travelled: History of the Subaru Outback appeared first on AutoGuide.com News.

http://www.autoguide.com/auto-news/2017/08/the-road-travelled-history-of-the-subaru-outback.html

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breazyvapors · 7 years ago

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Vape News In Brief: September 11th, 2017 Edition

Vape News In Brief: September 11th, 2017 Edition Brief summary: We read all the news in the world (or pretty much all of it) as relates to vaping and vapor products. The stuff worth knowing, we share below. Gregory Conley, a research fellow at the conservative Heartland Institute and president of the American Vaping Association, is stumping for Big Tobacco's "heat not burn" vaping technology – essentially PG-soaked cigarettes that are heated in a sort of dry herb vaporizer. You can read his pitch here. Several states in India have implemented complete bans on e-cigarettes, despite allowing their much deadlier combustible counterparts to continue widespread distribution. Scientists and other advocates, however, are fighting back. More on that "heat not burn" tech that isn't quite smoking, but isn't quite vaping – this is actually an excellent long read on how that stuff works, and how it might reach a niche of smokers who want to quit but haven't been able to using vaping. Also noteworthy – the distinction between vaping tobacco (heat not burn) and vaping NOT tobacco (just vaping). Lagging: Northern Ireland is just now getting around to banning sales of e-cigs to children. Last June San Francisco (which is both a city and a county – the two share the same borders) passed a ban on flavored "tobacco" products (including both actual tobacco and e-liquids). Now, a massive signature-gathering campaign is forcing the county board of supervisors to either repeal the ban or place the question before voters in a public ballot. While the law is essentially devastating for the vaping industry in San Francisco, big money is rolling in from plenty of other fronts, including manufacturers of flavored chewing tobacco and cigarillos (little cigars). For her part, ban sponsor Malia Cohen believes flavored products included e-liquids are intended primarily to serve as "a gateway drug marketed to African Americans, Latinos, the LGBTQ community and children." In our first visit to the topic of youth vaping this week, the state of Indiana has included vapor devices on a list of "gateway drugs" posing a threat to local youth. A longer look at Pennsylvania's massive 40 percent wholesale tax on vapor products is coming as the measure passes its first year of implementation, but according to this piece more than 100 brick and mortar vape shops, or roughly one in every four that once existed in the state, have closed their doors. Experienced readers will recall that there's considerable vape-related debate ongoing in Australia, where vaping devices are legal but liquids containing nicotine currently are not. In the latest bit of news, researchers at Dundee University are looking for volunteers to test the widespread (and elsewhere-confirmed) belief that e-cigarettes can be both less harmful than tobacco products and helpful for tobacco users who want to quit. The study's timeline is only four weeks, so it'll be interesting to see if results are released before the Australian government takes an official stance on fully legalizing vaping. Despite positive feedback from residents and local officials, a local vape shop owner in Ohio has been ordered to remove this mural that he commissioned for the front of his yet-to-open storefront. This article suggests that parents may want to begin randomly drug testing their children. Vapor products play a large role in the story, though the popular (and extremely high-nicotine) Juul cigalike is referenced and misspelled, and no mention is made to cotinine testing, which measures nicotine levels in a test subject. Here's a well-argued editorial supporting the notion that, instead of excessive hand-wringing about the potential of vapor products to encourage youth to smoke (the research has been done, the link isn't there), focus of the vape debate would be better placed on considering how many fewer adult smokers might quit if access to vaping is severely restricted. This complementary piece makes much the same argument, while also pointing out the teen vaping "epidemic" is both overblown and subsiding. That's what we have for this week, but you can be sure we'll be back soon with more… https://breazy.com/blogs/updates/vape-news-in-brief-september-11th-2017-edition?utm_source=dlvr.it&utm_medium=tumblr #vape #vaping #breazy

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latestglobalmarketresearch · 4 years ago

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Aircraft Doors Market Is Estimated To Raise At A CAGR of 7.25% During The Forecast Period

Browse In-depth Insights: https://www.marketsandmarkets.com/Market-Reports/aircraft-door-market-127288998.html

Key players operating in the aircraft doors market include Airbus Helicopters (France), Latecoere (France), Mitsubishi Heavy Industries (Japan), Saab (Sweden), Elbit Systems (US), and Triumph Group (US). These market players have a broad product portfolio and strong distribution channels across North America, Europe, and Asia Pacific.

Mitsubishi Heavy Industries (Japan) is another key player in the aircraft doors market, with a strong presence in Asia Pacific, North America, and Europe. The company provides a wide range of aircraft door products that include cargo doors, entry doors, and lower deck cargo doors. In 2017, Mitsubishi Heavy Industries established a new manufacturing unit in Vietnam, known as MHI Aerospace Vietnam. This unit is responsible for the production of passenger doors for the Boeing 777. The expansion strategy enabled the company to strengthen its foothold in the aircraft doors market.

Get Sample Here: https://www.marketsandmarkets.com/requestsampleNew.asp?id=127288998

About MarketsandMarkets™

Contact: Mr. Aashish Mehra MarketsandMarkets™ INC. 630 Dundee Road Suite 430 Northbrook, IL 60062 USA : 1-888-600-6441

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latestglobalmarketresearch · 4 years ago

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Emerging Key Players in the Aircraft Doors Market During Forecast Period

Browse In-depth Insights: https://www.marketsandmarkets.com/Market-Reports/aircraft-door-market-127288998.html

Asia Pacific is expected to be the fastest-growing market for aircraft doors during the forecast period.

Airbus Helicopters (France) is a key player operating in the aircraft doors market. The company is a leading provider of helicopters for both military and civil sectors. Over the past 3 years, the company has made considerable investments in research & development activities to introduce innovative products and technologies. Airbus Helicopters offers a diverse range of products, which, in turn, help the company gain a competitive edge over its peers in the market.

Get Sample Here: https://www.marketsandmarkets.com/requestsampleNew.asp?id=127288998

About MarketsandMarkets™

Contact: Mr. Aashish Mehra MarketsandMarkets™ INC. 630 Dundee Road Suite 430 Northbrook, IL 60062 USA : 1-888-600-6441

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latestglobalmarketresearch · 4 years ago

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Aircraft Doors Market Key Influencing Factors Are Technology Trends & Electric Doors Till 2022

Browse In-depth Insights: https://www.marketsandmarkets.com/Market-Reports/aircraft-door-market-127288998.html

Asia Pacific is expected to be the fastest-growing market for aircraft doors during the forecast period.

Get Sample Here: https://www.marketsandmarkets.com/requestsampleNew.asp?id=127288998

About MarketsandMarkets™

Contact: Mr. Aashish Mehra MarketsandMarkets™ INC. 630 Dundee Road Suite 430 Northbrook, IL 60062 USA : 1-888-600-6441

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latestglobalmarketresearch · 4 years ago

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Increase In Aircraft Deliveries And Replacement Of Existing Aircraft Doors Are Key Factors Projected To Drive The Growth Of The Aircraft Doors Market

Browse In-depth Insights: https://www.marketsandmarkets.com/Market-Reports/aircraft-door-market-127288998.html

Based on application, the commercial aviation segment of the aircraft doors market is projected to grow at a higher CAGR from 2017 to 2022.

Based on door type, the passenger doors segment of the aircraft doors market is projected to grow at the highest CAGR from 2017 to 2022.

Asia Pacific is expected to be the fastest-growing market for aircraft doors during the forecast period.

Get Sample Here: https://www.marketsandmarkets.com/requestsampleNew.asp?id=127288998

About MarketsandMarkets™

Contact: Mr. Aashish Mehra MarketsandMarkets™ INC. 630 Dundee Road Suite 430 Northbrook, IL 60062 USA : 1-888-600-6441

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