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[layoutv-blog]

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[eliopodcast]

los gordos besando la copita 🇦🇷💙!!!

[copadomundofifa]

Quando é Argentina x França – final da Copa do Mundo de 2022? Canal de TV, transmissão ao vivo, hora do pontapé inicial para a ENORME final

A Croácia foi vítima de uma masterclass de Lionel Messi na semifinal dominante de terça-feira.

A lenda argentina abriu o placar com um pênalti cobrado com habilidade e fez uma corrida hipnotizante antes de servir Julian Alvarez para o terceiro gol da noite.

Mas as coisas certamente serão mais difíceis para o pequeno mágico, pois ele enfrentará um time francês que conseguiu parar o Marrocos na semifinal.

Messi criou um capítulo final emocionante para sua carreira na Copa do Mundo e o mágico sem dúvida será considerado o maior jogador de futebol de todos os tempos, caso repita o que Diego Maradona fez em 1986.

No entanto, uma vitória dos Bleus faria com que eles se tornassem a primeira nação em 60 anos a conquistar triunfos consecutivos na Copa do Mundo.

Como eles chegaram aqui?

Argentina suffered a nightmare start to their tournament with a shock 2-1 defeat to Saudi Arabia.

But they battled back to top Group C with 2-0 wins over Mexico and Poland, setting up a last-16 meeting with Australia.

After seeing off the Socceroos 201, they scraped past Holland on penalties in the quarters before breezing past Croatia.

France also won two and lost one of their group games - although their defeat to Tunisia came after beating Australia and Denmark.

Os Bleus eliminaram a Polônia e venceram a Inglaterra naquela dramática quarta-de-final, antes de acabar com a sequência do Marrocos na noite de quarta-feira para garantir sua vaga nas finais consecutivas.

Quais são as notícias da equipe e quaisquer lesões com que se preocupar?

Nenhum dos lados tem que lidar com suspensões depois que os cartões amarelos foram eliminados após as quartas e podem permanecer inalterados após as vitórias nas semifinais.

A Argentina pode receber os zagueiros Marcos Acuna e Gonzalo Montiel após um jogo de suspensão, enquanto Lisandro Martinez pode retornar ao time titular se Lionel Scaloni tentar uma defesa de cinco.

Dayot Upamecano e Adrien Rabiot ficaram de fora da vitória do Marrocos devido a doença, enquanto a França manteve sua primeira partida sem sofrer golos - mas espera voltar.

O resto da equipe deve permanecer o mesmo - embora Karim Benzema possa ser uma inclusão chocante no banco, já que está de volta aos treinos do Real Madrid.

Quem serão os homens das estrelas?

Bem, obviamente Messi e Kylian Mbappé são os dois principais homens de suas respectivas nações - e todos os olhos estarão voltados para quem sai por cima.

Em outro lugar, Julian Alvarez vai querer continuar depois de seus dois gols na semifinal, enquanto Enzo Fernandez pode ser encarregado de parar Antoine Griezmann.

Do outro lado, Griezmann e Olivier Giroud vão ter chances de marcar na final.

Aurelien Tchouameni está em forte forma no meio-campo, enquanto Raphael Varane liderará sua defesa.

Qual é a cabeça a cabeça?

Os dois pesos-pesados ​​do futebol internacional se enfrentaram 12 vezes no total - a primeira vez na primeira Copa do Mundo em 1930.

A Argentina tem seis vitórias, a França tem três vitórias e três empates.

Mas o lado francês saiu por cima em seu confronto mais recente - uma vitória emocionante por 4-3 nas oitavas de final da Rússia 2018.

Quando é Argentina x França?

A atraente final da Copa do Mundo da Argentina contra a França acontecerá no domingo, 18 de dezembro. Está programado para começar às 15h, horário do Reino Unido. Lusail Iconic Stadium, no Catar, é a arena alocada para este gigantesco jogo final e pode receber 88.966 espectadores. Os dois gols de Kylian Mbappé no segundo tempo tiraram a Argentina da Copa do Mundo quando as duas seleções se enfrentaram pela última vez em 2018.

Em qual canal de TV está passando Argentina x França e pode ser transmitido ao vivo?

A final da Copa do Mundo entre Argentina e França será transmitida AO VIVO na BBC One e na ITV 1. A cobertura na BBC One está programada para começar a partir das 14h, horário do Reino Unido, enquanto a ITV 1 coloca seu programa na estrada a partir das 13h30, horário do Reino Unido. Os espectadores também podem acessar o BBC iPlayer ou ITV X se preferirem transmitir a ação online por meio de tablets e dispositivos móveis.

Posso assistir a final da Copa do Mundo de graça?

SIM! A deliciosa final da Copa do Mundo no Catar pode ser assistida GRATUITAMENTE em ambos os canais, desde que você possua uma licença de TV válida no Reino Unido

[thedeaditeslayer]

Bruce Campbell Calls Hosting ‘Ripley’s Believe It Or Not’ A ‘No-Brainer,’ Pans Hollywood’s Lack Of Originality.

This interview includes a hint of more “Evil Dead” but for what we would like you to consider is to take it with a grain of salt. The interview covers various topics but mostly Ripley’s Believe it or Not.

Over the course of his storied career, actor Bruce Campbell has brought to life many memorable, colorful characters. As the definitive character-actor-trapped-in-a-leading-man’s-body, he’s portrayed Elvis in the campy Bubba Ho-Tep, Ronald Reagan in Fargo, Sam Axe in Burn Notice, and is, perhaps, best known as the Deadite-killing Ash Williams in Sam Raimi’s Evil Dead franchise.

As the Travel Channel prepares to relaunch Ripley’s Believe It Or Not!, Campbell finds himself in the role of host, introducing us to a fresh round of the spectacular and amazing. Over the course of 10 episodes, he’ll invite viewers on a journey to explore the lives of people capable of incredible things.

“Shooting this iconic series in the Ripley’s warehouse was actually unbelievable,” said Campbell. “I was blown away by the treasures that unveil a fascinating time capsule into the past and present. Fans are not going to be disappointed when they see the scope of wonderful and weird stories we reveal every week.”

Bruce Campbell was groovy enough to get on the phone with me and talk about his new gig with the Ripley’s relaunch, the fates of some of his iconic characters, and the lack of originality in Hollywood — all with the grace to forgive my fanboying.

Kevin Tall: Hey Bruce! I appreciate you taking some time to talk to me.

Bruce Campbell: I happened to be in the neighborhood so I thought I’d step in.

KT: I usually make an effort to at least pretend to be professional but I’m not sure I’m going to pull it off today.

BC: That’s exactly right.

KT: I do want to say it’s an honor to talk to you and I promise I’ll do my best to keep my inner fanboy in check.

BC: Very good.

KT: Can I call you ‘El Jefe’?

BC: Whatever you’d like, sir.

KT: Groovy. Alright. So, coming soon to a cable network near you, you’re hosting the newest incarnation of ‘Ripley’s Believe It Or Not!’ on the Travel Channel. How did you come to be attached to the project?

BC: Things come across the old desk, you know, and you evaluate them. And this was a no-brainer. I still have the Ripley’s book, the red cloth-covered book with those strange illustrations of people doing crazy stuff inside. As a kid, I had it on a shelf so I’m like, ‘Yeah I know Ripley’s.’

And I haven’t done a show like this in a while; I’ve hosted stuff. Back in Detroit, I got my Screen Actor’s Guild card doing training films for industrials, for Chrysler, and some of the other companies. Now I’m back doing it again, so here I am… I guess, showing people, in this case, it’s not about the cross-section of a Chrysler car seat but people doing extraordinary things.

KT: Ah, cool. Part of me thought this revival of Ripley’s could have just been a thinly-veiled attempt at revenge on Dean Cain for stealing the television role of Superman out from under your chin in the 90s.

BC: No, no revenge necessary on Mr. Cain. I see him at conventions all the time.

KT: While I do feel you have the superior jawline, I was a huge fan of ‘The Adventures of Brisco County Jr.’ There have been several Supermen but there was only one Brisco County. Er, two, if you count his dad.

BC: Anyone can play Superman.

KT: Would you ever consider reprising the role of Brisco?

BC: Brisco would be fine. You could do Brisco Rides Again. He started as a lawyer and then someone has to get killed. I’ll put the spurs back on, sure.

KT: So I got to see a screener of the first episode of Ripley’s. I have an idea if you’re open to suggestion.

BC: OK.

KT: Do a follow up in which you balance on a slack line while swallowing a sword and someone throws playing cards at you from a ladder balanced on someone else’s chin.

BC: [Laughs] I think you’ve got it. I think you should work for the Travel Channel.

KT: So your parts were shot on location at the Ripley’s warehouse in Orlando.

BC: Yes, yes, we shot at THE warehouse.

KT: Did you get to see anything amazing or… unbelievable?

BC: You know, the warehouse, where would you start? It is the closest we have to one of those Indiana Jones-type warehouses. It’s probably the most richly appointed warehouses in the world, I would say. They’ve collected for a hundred years. I can’t think of anyone else, maybe the Smithsonian, but Ripley’s is probably a close second. Ripley’s might have more stuff than the Smithsonian, that would be a fun one to test.

KT: Which do you think would have more body parts?

BC: Well, Ripley’s would have more body parts.

KT: OK, but the Smithsonian does have John Dillinger’s, well, you know.

BC: So the rumor goes.

KT: As they say. So, speaking of ‘Believe It or Not!,’ I still can’t believe you retired iconic character, Ash Williams. Are you sticking to that? No way I can talk you into reconsidering?

BC: Yeah, I’m sticking to that; it gets easier every year.

KT: [Laughs] Fair enough.

BC: I’m still doing video games, I’m doing voices for Ash. I’m just not going to grovel in the blood anymore.

KT: I think that’s fair. It’s not retiring the character, just a retirement plan.

BC: I’m retiring from certain types of roles, ones that require looking at tennis balls on sticks.

KT: I’m excited to see you’ve got the paperback for ‘Hail to the Chin’ coming out; I was a big fan of ‘If Chins Could Kill.’ Although when you were teasing that on social media, I think a couple of fans interpreted that as a little bit of foreshadowing of a new gig for Ash.

BC: That’s fine. Fans are always going to do that. Everyone’s a genius, everyone’s got opinions and the internet fans the flames. No, it’s all good. They’re going to see different versions, they’re going to be seeing more ‘Evil Dead,’ too. We’re not done with the ‘Evil Dead’ saga, more stories to tell.

KT: Do you think Fede Alvarez might return?

BC: I don’t know, Fede’s a big Hollywood director now. I don’t know if Fede needs this. We’ll have to see.

KT: Everyone needs a passion project.

BC: Fede had it. Fede came and pitched his version of ‘Evil Dead.’

KT: Any juicy tidbits you want to tease from the ‘Requiem For Ash’ Edition?

BC: It’s a fuller explanation of the birth, life, and death of ‘Ash vs. Evil Dead’ and then the ultimate retirement of that character. It’s a little more of an essay approach, it’s a little more esoteric.

KT: Psychologically, what is it about Ash Williams that inspires such devotion from fans?

BC: Because he is the fans, the fans are him. Ash has no skills, Ash doesn’t come from another planet, he comes from Michigan. He’s the guy you want in the foxhole, but he probably got low SAT scores. So people watching him, I think they root for him because they’re like, ‘Damn, that’s like my neighbor. That’s like if my neighbor decided to save the world from evil.’ Kind of like that. That’s how I look at it and that’s how we played it. That’s why it was worth bringing the guy back 48 years later to try it again… He’s the ultimate anti-hero, anti in that he can’t even get out of bed, you know?

KT: He comes across as an oafish, ill-mannered lout as well.

BC: Of course, but you know what? He was written in an ancient book, so there’s more to him than just the trailer park guy. That’s what was fun exploring.

KT: The prophecy of the ultimate average guy.

BC: Exactly.

KT: Got it. You’ve had a number of memorable, colorful roles over the years, from Ash to Brisco, Autolycus to Sam Axe, even a fictionalized version of yourself in ‘My Name Is Bruce’ (shout out to Guan Di, the patron saint of bean curd). Is there one, in particular, you’ve enjoyed playing the most, above all others?

BC: Elvis was pretty fun. I think most American males would have enjoyed playing that part. Playing President Reagan on ‘Fargo’ was fun, I used to imitate him with my buddy, John Cameron, who produced that show. In the ’80s we were both subjected to endless Reagan on television. That was fun.

KT: Have you been in that situation professionally, where you’ve gotten kind of a lousy role on a great show?

BC: Well, I’m better at saying no to stuff now, so hopefully I won’t find myself in that situation nearly as much.

KT: Circling back to Elvis, there was talk of a ‘Bubba Ho-Tep’ follow-up years ago. What are the chances of that coming together?

BC: Zero. I’ve retired that character as well. I’ve notified Don Coscarelli and Joe Lansdale. You know, it’s Don Coscarelli’s project, he’s more than welcome to forge ahead. We couldn’t crack the script the way I saw it and we were going to come to loggerheads. I didn’t want to do that, so I backed out because I know now if the script isn’t where it needs to be, the movie will not get there either.

KT: Marlon Brando advised a young(er) Johnny Depp to play Hamlet before he got too old for the role. Are there any of those iconic types of roles you’d like to tackle?

BC: Of iconic people?

KT: Yeah. Just those classic roles from that sort of timeless production, like ‘Hamlet.’

BC: No. No, I don’t, because I like original stuff. I mean, if we’re going to remake something, let’s remake our own stuff. That’s the case with ‘Bubba Ho-Tep.’ It won’t be as good and people will only remember that you blew it on the second try.

KT: So the legacy of the project would be one of failure.

BC: You have to have original stuff out there to make up for the movies that have a seven, eight, and nine after them.

KT: The old maxim is that there is such a thing as too much of a good thing.

BC: Yes, except ‘Ripley’s Believe It or Not!’ There’s never too much of that.

KT: [Laughs] Well played, fair enough. Fan question: Who would win in a left-handed arm wrestling match, Ash Williams or Sam Axe?

BC: I don’t do those questions, because they’re hypothetical and impossible to answer.

KT: Can you hook me up with a six-pack of Ash’s favorite beer, Shemp’s?

BC: No, because it’s fake.

KT: Well, Bruce, I came here to ask questions and kick ass, and I’m all out of questions.

BC: Let’s go kick ass!

KT: Again, thanks so much for taking some time to talk with me and putting up with my silliness and unending admiration.

BC: Yeah, my friend. All good. Thank you, sir. Have a good day.

KT: Thanks, Bruce!

BC: Cheers.

[wallpaperpainting]

Seven Doubts About Beach Day Painting You Should Clarify | beach day painting

MIAMI, FL — It may be the strangest Mother’s Day anytime but that doesn’t beggarly it has to be any beneath appropriate for mom.

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A cardinal of Miami-area restaurants are authoritative it accessible to bless Mother’s Day with amusing break in mind. You can bead off a appropriate meal for mom or accept one delivered in some cases.

Patch begin a cardinal of options about the breadth to accomplish Mother’s Day appropriate alike if this year’s anniversary avalanche beneath the class of the new normal.

We’ll be afterlight the afterward account appropriate up until Mother’s Day so brace your browser for the latest additions:

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Drive-Thru Bazaar at the Shops at Merrick Park

Head over to the drive-thru bazaar on Mother’s Day in Coral Gables from apex to 5 p.m.Customers are encouraged but not appropriate to pre-order from the afterward vendors: E & B Orchid Exchange, 786-525-5505; Le Bowls (Ceviche, Guacamole, Craven Salad), 954-203-4197; El Coco Loco Frio ( Alpha Fabricated Caribbean Fruit Juices, Alpha Cut Coconut Water & Cocada) , 305-200-6675; Incredible Kettle Corn, 786-597-4835; The Aliment Man (Artisan Breads, Dips & Spreads) ,754-265-4016; Pascale’s Jams (Gourmet Jams, Preserves, Shrubs), 561-706-2646; JRA Produce (Fresh Produce & Alpha Cut Fruits), 786-622-5766; Mediterranean Delights (Hummus, Tabouleh, Grape Leaves, Baba Ganoush, Zataar, Falafel, 786-308-7543; J & Lo Foods (Brazilian Foods), 786-660-6419; Liquid Gold Honey (Local Raw Honey & Honey Products); Dinah Alvarez Skincare (Hand caked candles, incenses, skincare); Margus Broiled Argentinian Empanadas (Argentinian Empanadas), 786) 681-8397; Gelato Gourmet (Handcrafted Gelato & Gelato Pops, 786-614-1974; Gaia Chemie (Moringa, Avocado & Chia Natural Oils), 636-980-6806.

Bellini

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Enjoy a abounding Mother’s Day meal from the abundance of your own home with Bellini’s prix fixe to go menu. Alpha with Vitello Tonnato or Smoked Salmon. Dine on Vegetarian Lasagna, Branzino or Broiled Domestic Lamb afore indulging with Bellini Merengue for dessert. Special: The Mother’s Day To Go Agenda amount is $60.

Story continues

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Limoncello Ristorante Mother’s Day Ancestors Banquet at Home

The agenda serves four to six people. Adore a aboriginal beforehand of Caesar Bloom or Rigatoni Bolognese. Entrees accommodate Craven Parmesan or Veal Scaloppini (piccata, marsala, pizzaiola or Francese) served with alpha blooming beans, broiled potatoes and afresh broiled artisan bread. Ambrosia is tiramisu. The abounding agenda is additionally accessible for takeout, as are featured wines: Belle Gloss (Pinot Noir), The Prisoner (red blend), Gaja Ca’ Marcanda (Super Tuscan), Cakebread (Chardonnay), Santa Margherita (Pinot Grigio). Orders charge be placed by 8 pm, Saturday May 9. Cost: $200.

Olive Garden

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[ipauta]

#Estrenos Estos temas y entre otros más ya los encuentras en todas las plataformas digitales y por iPauta.Com #iPauta #Reggaeton #Trap @blanquice7 @iPauta @lacangrimm Musicologo y Menes – Dunvo (2019) Yelsid – Libre Otra Vez Genio – 34 (Ft. Arcangel) Genio – Confesiones Genio – De Nadie Genio – Dinero y Fama (Ft. Arcangel) Genio – Los Mate Genio – Me Ves Así Genio – Si Me Piensas (Ft. Randy) Genio – Suelto Genio – Yo Te Hice Mala Farina Ft. Maluma – Así Así Ñengo Flow Ft. John Jay, Jory Boy, Chyno Nyno y Delirous – No Hay Ley ICON Ft. Lenny Tavarez y Darell – Difícil Kevin Roldan Ft. De La Ghetto y Amenazzy – Champagne Rose Guaynaa Ft. Yandel – Full Moon Dalex Ft. Lenny Tavarez, Anitta, Natti Natasha, Farruko y Justin Quiles – Bellaquita (Remix) Persa La Voz – Ganga Bryant Myers Ft. Anuel AA – Ganga (Remix) [Version Clean] Pancho El De La Avenida Ft. Jonna Torres – Cama En Fuego Guaynaa Ft. Yandel – Full Moon Dalex Ft. Lenny Tavarez, Anitta, Natti Natasha, Farruko y Justin Quiles – Bellaquita (Remix) J Alvarez – No Te Vayas Cosculluela – HBD – Tu Cumpleaños Akim Ft. Lary Over – Amor Duele Myke Towers Ft. Tito El Bambino – Bailame Así Bad Bunny – Vete Nio García Ft. Casper Magico y D.OZI – Bellaquear Jowell y Randy – Washa Bam D.OZI – Ganga (El Suero Remix) Rauw Alejandro Ft. Wisin – Una Noche Jhay Cortez Ft. Ozuna – Easy (Remix) https://www.instagram.com/p/B5KD6R_HBEu/?igshid=1vkrn601967ll

[raviposting]

do my name in characters!

lol got chu fam: 

M - M.on-El, obviously

E - cleeeeearlly Eobard

G - Gr.ant, you know which one I’m talking about 

jk jk I’m sorry don’t kill me ahem: 

M - Mike Wheeler from Stranger Things, my son, who I’ve adopted and raised all on my own. 

E - ELENA ALVAREZ FROM ONE DAY AT A TIME WHICH YOU NEED TO WATCH 

G - Green Fury my new queer icon from Powerless 

[nansiedrewbroadway]

“El espiritu de Salomé” (Salomé's spirit) – acrylic and copic markers on 11x14 vellum bristol paper.

April 11, 2017

En el nombere de Salomé is the story of Domincan poet and women’s education activist, Salomé Ureña de Henríquez. The Off-Broadway production playing at the Repertorio Español, is based on the novel by Julia Alvarez.

The play opens with her daughter, Camila, now in her 70’s. Soon to retire from teaching at Vassar College, Camila has to sort through her mother’s belongings. Begrudgingly at first, she begins to tell her intrigued niece the story of the nationalist icon she never knew–her mother. As Camila speaks, the characters in her mother’s story walk onto the stage and Salomé’s story begins. We learn that Salomé’s passion for writing was birthed by her father, a teacher, who educated her about literature. Her first work becomes published at the age of 17 and though her father and later her husband try to quiet her, spirited Salomé refuses to be silenced. She quickly becomes a pioneer in the Dominican Republic for her patriotic poetry. The story goes back and forth between Salomé’s and Camila’s stories. Camila, a successful writer and educator in her own right, has to come to terms with the mother she lost when she was only 3 and find a way her way out of her mother’s incomparable shadow.

En el nombre de Salomé is superbly acted. It’s two leads are outstanding. Zulema Clares as Camila is brilliant. Her transformation from little girl to young lady to an elderly woman is remarkable to witness. Dalia Davi as Salomé is breathtaking. We are convinced without a doubt that Salomé Ureña is reborn right there on the stage.

The sets are simple and appear wonderfully aged. The portrait of Salomé hanging high up on the wall, which we learn looks nothing like her thanks to her sister Ramona, (Hilariously played with unapologetic disparagement by Maité Bonilla) looks down at us with a sort of regal ghostliness. This outstanding play is written by Marco Antonio Rodríguez and directed by José Zayas.

The play is in Spanish with captioning system installed on the back of each seat. Subtitles translate the dialogue of the performance from Spanish to English. I went with my friend that understands very little Spanish and was surprised to hear her say that glancing at the subtitles did not take away from watching the play. She even said that sometimes she looked away from the translation because the emotions from the actors told the story so well.

[cubanoti]

Laboratorio cubano producirá versión de Kaletra, el antirretroviral usado en Cuba contra la COVID-19

En medio de la crisis sanitaria, el manejo del Kaletra para tratar coronavirus en Cuba se está promoviendo hasta el punto que los laboratorios cubanos planean crear su propia versión del fármaco para atender a los infectados, ante la limitante de no contar con un equipo fundamental en la elaboración del medicamento.

El uso de antivirales y antirretrovirales contra el Covid-19 parece ser el camino correcto para combatirlo; aunque de momento los científicos de Estados Unidos, Europa y Asia no encuentran aún un medicamento que sea efectivo por completo para atacar el virus.

La producción Kaletra para tratar coronavirus en Cuba

Según fuentes oficiales del régimen castrista, el Kaletra, un antirretroviral recetado para los infectados de VIH, está teniendo “buenos resultados” en los pacientes. Ante esto el laboratorio MedSol está desarrollando una versión para su uso nacional.

Adalberto Izquierdo Castro, jefe del grupo de investigación y desarrollo de la Unidad Empresarial de Base Novatec, confirmó esta información. Dijo a los medios que tienen órdenes del Ministerio de Salud Pública de crear el Kaletra. Con esto intentan no importarlo más.

Los científicos trabajan sin descanso garantizando los medicamentos parte del protocolo del tratamiento a la COVID-19 Laboratorio Medsol en la primera línea de tareas de contingencia en función del bienestar del pueblo, conociendo la escases, inexistencia de materia prima #Cuba pic.twitter.com/ZBwI8Sus1X

— Rusia Alvarez Bencomo (@BencomoRusia) April 9, 2020

De momento el fármaco cubano sigue en desarrollo y a la espera de pruebas de rigor para saber si esta versión cubana del Kaletra puede ser suministrado a los pacientes. Además el laboratorio enfrenta un problema: limitaciones de tecnología que no les permite la producción en masa.

Debido a esto, no hay una fecha estimada para los lotes del Kaletra en Cuba. Queda claro que el uso de medicamentos provenientes del exterior sigue siendo indispensable.

La verdad sobre los antirretrovirales

Los médicos cubanos están manejando un protocolo de medicamentos antirretrovirales en los infectados del virus. Aseguran que hay resultados “satisfactorios” cuando mezclan lopinavir y ritonavir.

Sin embargo, un ensayo de clínico realizado por un médico de Wuhan, China, confirmó que no hay beneficios en el uso de Kaletra en los pacientes con síntomas graves de coronavirus. El estudio fue publicado en la revista científica New England Medicine Journal.

Le puede interesar: Las importantes verdades sobre el interferón y la hidrocloroquina en tratamiento contra el coronavirus

Igualmente el uso de Interferón y antimaláricos como la cloroquina y la hidroxicloroquina fue desestimado. Esto por la Universidad de Harvard, Estados Unidos.

Mientras se buscan soluciones, en Cuba hay 1.369 casos positivos del coronavirus. Así como 54 fallecidos desde el inicio de la pandemia. A esto se suman 3.461 casos sospechosos y 501 recuperados.

Se confirmaron 32 nuevos casos de #COVID19, para un acumulado de 1369 en #Cuba.

▪ 812 positivos activos ▪ 800 con evolución clínica estable ▪ 6 pacientes en estado crítico ▪ 6 pacientes en estado grave ▪ 54 fallecidos ▪ 501 altas ▪ 2 evacuadoshttps://t.co/mWEq2aMI7q pic.twitter.com/yEVzLxzMJn

— Ministerio de Salud Pública de Cuba (@MINSAPCuba) April 26, 2020

Redacción Cubanos por el Mundo

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Skyline in La Habana, Cuba, at sunset, with vintage cars on the street and people sitting on the Malecon. Copy space

https://cubanosporelmundo.com/2020/04/27/laboratorio-cubano-producira-version-kaletra-antiretroviral-usado-cuba-contra-covid-19/https://cubanosporelmundo.com/2020/04/27/laboratorio-cubano-producira-version-kaletra-antiretroviral-usado-cuba-contra-covid-19/ Laboratorio cubano producirá versión de Kaletra, el antirretroviral usado en Cuba contra la COVID-19 Laboratorio cubano producirá versión de Kaletra, el antirretroviral usado en Cuba contra la COVID-19 En medio de la crisis sanitaria, el manejo del Kaletra para tratar coronavirus en Cuba se está promoviendo hasta el punto que los laboratorios cubanos planean crear su propia versión del fármaco para atender a los infectados, ante la limitante de no contar con un equipo fundamental en la elaboración del medicamento.

[bountyofbeads]

https://amp.cnn.com/cnn/2019/10/11/politics/5-rulings-against-trump-taxes-border-wall-immigration-public-charge/index.html?__twitter_impression=true

This must be some kind of record>>> Friday's 5 court rulings against President Donald Trump https://t.co/4xRRz4XxOW

Friday's 5 court rulings against President Donald Trump (HE ISN'T A KING AFTER ALL)

By Dan Berman | Updated 9:53 PM EDT, Fri October 11, 2019 | CNN | Posted October 12, 2019 1:35 PM ET

Washington(CNN)President Donald Trump has relentlessly pushed to build a border wall and tighten immigration restrictions. He's also fought efforts to acquire his tax returns.

On Friday, five federal courts rejected arguments by Trump and his administration on all three fronts.

It was a shocking day, as the President lost on both the personal front -- keeping his tax returns from congressional Democrats who might use them in their impeachment inquiry -- and on immigration, the policy area at the center of his agenda.

Here's a brief breakdown of the five rulings -- and one dissent:

Tax returns -- DC Circuit Court of Appeals

In a 2-1 ruling, the US Court of Appeals for the District of Columbia Circuit rejected Trump's attempt to stop his accounting firm, Mazars USA, from turning over eight years of financial records to House Democrats.

It's a major loss in the President's efforts to refuse to cooperate with the impeachment probe. Trump and other Republicans argue the full House must vote to authorize the inquiry, but the court disagreed, writing that it has "no authority" to require the House to take a full vote in support of a subpoena to investigate the President, citing the Constitution.

The next stop could be the Supreme Court.

READ: Appeals court ruling on Trump tax returns

Border wall -- Western District of Texas

Judge David Briones said Trump's national emergency declaration to build a border wall is unlawful, and appears poised to block the use of those funds.

El Paso County, Texas, and the Border Network for Human Rights say Trump overstepped his authority when he issued the declaration to gain access to additional funds for his border wall, despite receiving $1.375 billion from Congress.

The ruling is limited, however, in that it applies only to the military construction funds that have been diverted for wall construction, not to other sources such as counterdrug funding and Treasury Forfeiture Funds.

Briones has requested that the plaintiffs propose the scope of a preliminary injunction.

READ: Ruling against national emergency funds for border wall

Immigration green card regulations -- Southern District of New York

Three federal judges blocked efforts to make it more difficult for immigrants who rely on public assistance to obtain legal status -- the so-called "public charge" rule.

The first ruling came from US District Judge George B. Daniels, who called it "repugnant to the American Dream."

"The rule is simply a new agency policy of exclusion in search of a justification," Daniels wrote.

Under the proposed rule, many green card and visa applicants could be turned down if they have low incomes or limited education because they'd be deemed more likely to need government assistance in the future, including most forms of Medicaid, food stamps and housing vouchers.

READ: 3 orders against Trump public charge rule

Immigration green card regulations -- Eastern District of Washington

In Spokane, Washington, Judge Rosanna Malouf Peterson was also unimpressed with the rule from the Department of Homeland Security.

"There are serious questions going to the merits regarding whether DHS has acted in an arbitrary and capricious manner in formulating the Public Charge Rule," Peterson wrote.

She suggested the department's proposal was based in an "unmooring from its Congressionally delegated authority."

Peterson also said states would see "a wide variety of predictable harms" to the health care system and the health of residents.

"The harms to children, including U.S. citizen children, from reduced access to medical care, food assistance, and housing support ... will compound over time," she wrote.

READ: 3 orders against Trump public charge rule

Immigration green card regulations -- Northern District of California

Not to be outdone, Judge Phyllis J. Hamilton invoked Emma Lazarus' iconic poem on the Statue of Liberty's pedestal in her ruling blocking the Public Charge rule.

It was a response to acting US Citizenship and Immigration Services Director Ken Cuccinelli, who tweaked the famous poem -- whose words, "Give me your tired, your poor, your huddled masses yearning to breathe free," have long been associated with immigration to the US and the nation's history as a haven -- as part of his defense of the regulation in August.

Cuccinelli had said: "Give me your tired and your poor who can stand on their own two feet and who will not become a public charge."

Hamilton printed the poem in full, and added an admonishment, saying that "whether one would prefer to see America's borders opened wide and welcoming, or closed because the nation is full, laws -- not poetry -- govern who may enter."

READ: 3 orders against Trump public charge rule

And a friendly judge in DC

One bright spot for Trump came back in Washington, where Judge Neomi Rao dissented in the tax records case, blasting House Democrats in no uncertain terms as operating a personal inquiry against the President under the guise of legislative oversight.

"Allegations of illegal conduct against the President cannot be investigated by Congress except through impeachment," she wrote.

The 68-page dissent pressed on the separation of powers and rejected the majority's conclusion that the subpoena is a valid exercise of legislative power, saying that Congress' power to "investigate for legislative purposes" is "broad" but not "unlimited."

"Allowing the Committee to issue this subpoena for legislative purposes would turn Congress into a roving inquisition over a co-equal branch of government," Rao wrote.

Rao was appointed to the bench by President Donald Trump this year and took the former seat of Supreme Court Justice Brett Kavanaugh. She is a former clerk to Justice Clarence Thomas and like him looks to the original meaning of the Constitution when analyzing cases.

READ: Appeals court ruling on Trump tax returns

CNN's Priscilla Alvarez, Ariane de Vogue and Katelyn Polantz contributed to this report.

[arlindogrund]

Moda Masculina :: Looks monocromáticos para eles

Moda Masculina :: Looks monocromáticos para eles

A revista ‘Icon Spain’ e o fotógrafo Daniel Clavero prepararam um editorial incrível para quem ama looks monocromáticos.

Nesta verdadeira aula de estilo em forma de imagens, vemos os modelos Adrian Liggeri, Alvaro Puyol, Alvaro Silveira, Fernando Lindez, Gonzalo Alvarez, Pavel Koziy, Sofian El Ben, Wojtek Szaulinski e Yoro Junior vestindo looks completos de diversas cores, como amarelo, verde,…

[itsworn]

Suede Palace, Model A Display and More Traditional Highlights from the 2019 Grand National Roadster Show

You’ve really got to go, if you haven’t yet. Inaugurated in 1950, the Grand National Roadster Show (touted as the longest continuously running hot rod show in the world) oozes with hot rod history. We should thank Al Slonaker and his wife Mary for creating this institution, originally held in Northern California. John Buck took over ownership in 2004, moving the three-day event farther south to Pomona. That first year in SoCal was a success with 300 vehicles put on exhibit. Fast-forward 15 years. The 2019 GNRS gathered 500 eclectic cars set in seven buildings, plus another 500 outside (mainly on Saturday) as part of the Drive-In display. Many HRD readers started their visit with the Suede Palace, a hall devoted to traditional rods and customs. Across the way, Building No. 9 hosted Ford Model As in all their shapes and forms: antique hot rods, former GRNS winners, NHRA and SCTA record holders, and so on. It was a sight to behold, thanks to 80-plus vehicles tantalizing the crowd, and worthy of a story in its own right, which will appear in our July 2019 issue. Stretching for more than an eighth-mile, Building No. 4 welcomed dozens of pros in the industry, as well as the highly anticipated exhibit of America’s Most Beautiful Roadster (AMBR) competitors, their owners vying to put their name on the 9-plus-foot-tall award. Fourteen cars entered the field, with George Poteet ultimately coming out on top with his 1936 Ford roadster (check out our May 2019 issue for further details). The name sounds familiar? George is the man behind the wheel of Speed Demon, the 450-plus-mph, piston-driven Bonneville record holder. And like many GNRS visitors, he lives and breathes hot rods.

Miret’s Morphine Both hot rods and customs have shared the Suede Palace’s Best of Show award over the years. For 2019, a custom came out on top, specifically Morphine, a colorful 1950s-styled ’54 Chevy owned by Roger Miret. Punk music fans might recognize the name, as he’s the vocalist for the band Agnostic Front. Based on the East Coast, he is also one of the founders of the Rumblers Car Club.

Best Hot Rod Saturday’s Suede Palace award ceremony celebrated Portland, Oregon’s Mike Collman, the winner of the Best Hot Rod trophy with his ’31 Ford Model A. We dig the 1960s show car influence of this suicide-doored coupe, from the angel hair surrounding it to the white interior and accents.

A Ford Trio Behind that sextet of carbs, a trio of 1920s hot rod Fords: Reyes Rangle’s 390ci Cad-powered ’29, Vic Hager’s flathead-powered ’28, and Louis Stands’ ’27 Model T.

Survivor Houston Percival unearthed quite a survivor: a ’30 Ford Tudor parked in a Winters, California, barn since 1952. While the body remains all stock, the nicely patina’d sedan runs a 239ci flathead bolted to a BorgWarner T5 gearbox for comfortable cruising speed.

Lakes Tribute This great display pays homage to Al Jerauld and William Grosvenor, who raced the Jerauld’s Speed Equipment ’32 Ford at El Mirage dry lake. Incidentally, the photo on the board dates back to 1950. Bill Verhulst assembled a tribute to the 313C roadster, using a twin-carb’d flathead and a ’39 Ford transmission.

Searching Current owner John Barnes is still searching for additional historical info about his three-window ’32 Ford. So far, it appears that the heavily chopped coupe had been drag raced in Pomona around 1951-1954 before being channeled and fitted with an aerodynamic nosepiece.

Tulsa Roadster Designer and engineer Jackie Howerton teamed with builder Steve Moal to create the Howerton-Moal Tulsa Roadster for customer Bill Grimsley. The deeply channeled and Corvette-motivated ’32 Ford was a strong AMBR contender, looking excellent with Sid Chavers upholstery and shiny chrome pieces by Sherms Plating.

Tweety Many had their eyes on Jim Govro’s channeled ’32 Ford roadster in the AMBR competition. Tweety Bird is a genuine survivor and was featured in HOT ROD, Nov. 1958. The Austin, Texas, resident created the car in 1951, though he ultimately contracted Rex Rod & Chassis to restore it in time for the GNRS, complete with a 331ci Cadillac V8 assembled by Keith Tardel.

Old and New All the way from Tennessee, Ann and Andrew Bower joined the AMBR field with their topless ’32 Ford, built by Dan Kerbo at Kerbo’s Kustom Klassics. While the body is fresh from Brookville, most everything else remains vintage: Deuce frame, 276ci Mercury flathead, ’39 Ford Top Loader with Lincoln Zephyr gears, Halibrand quick-change, and so on.

Lena Mae California tinkerer Ryan Rivers undoubtedly entered the most unusual vehicle in the AMBR battle, a 1924 Buick Model 24-Six-45 named Lena Mae. Under that antique appearance hides a bunch of interesting pieces, including a ’52 263ci Buick straight-eight hooked to a 700R4 transmission. And let’s not forget the 1923 Reo top chopped 8 inches. Rivers additionally crafted several of the car’s parts: radiator shell and trim, valve covers, dashboard, intake and exhaust manifolds, wheels, and more.

Most Beautiful And the AMBR trophy goes to… George Poteet of Memphis and his ’36 Ford. The well-known collector, hot rodder, and Bonneville racer worked with Eric Peratt at Pinkee’s Rod Shop on this roadster and modified it with lengthened doors, recontoured front fenders, a stretched cockpit, and more. This ambitious project also required 350 CNC-machined custom components.

Model A Display Building No. 9 celebrated Ford’s 1928-1931 offerings (aka Model As), including drag and lakes record holders, AMBR winners (eight of them), historic hot rods, custom cars, and traditional rods. Circle City Hot Rods helped Brett Miller build this ’31 Model A, fitted with a ’50 Ford flathead, a C4 transmission, and a ’36 Ford rearend. Pete Santini and Dennis Ricklefs applied the perfect paint and pinstripes, respectively.

Evolved “Hot Rod Survivor” says the board. Indeed, this ’29 Model A was built in 1948 by Bill Coleman as a flathead-powered lakes racer and street roadster. It even reached 120 mph at El Mirage in 1949. The roadster evolved over the years, welcoming stock fenders and a 303ci Olds engine around 1955. A full restoration that included a Chevy small-block took place in 1978. Jim and Wendy Hartman have been the caretakers of the relic since 1999.

Elvis Co-Star Tom Leonardo displayed his ’29 Model A, originally built by John Athan in 1937 using a $7 roadster body and a $5.50 Deuce chassis. It also participated in one of the last El Mirage races before WWII, where it ran 108 mph. Years later, it appeared in the movie Loving You, driven by a young Elvis Presley.

Tilt Russ Meeks designed and built this Model A for John Corno between 1970 and 1972. That year, he won the AMBR competition, wowing the judges with a tilt body (lengthened 4 inches) that covered a ’68 Olds Toronado V8. More alterations came in 1986, such as the handbuilt stainless steel chassis. Oregon residents Roman and Judy Baszniak currently own the famous roadster.

Sport Coupe Chip Starr of Portland, Oregon, is the proud caretaker of this time capsule, featured in Rod & Custom magazine back in July 1963. Then belonging to Robert and Richard Souza, the unusual ’29 sport coupe relied on a “warmed up” 286ci ’50 Merc V8 equipped with Edmunds heads, an Edelbrock triple-carb manifold, and a Joe Hunt magneto.

Four Ever Clark Crump put his Model A coupe on exhibit in the Four Ever Four Cylinder Club booth. Bob Kehoe, a respected Bonneville 200 MPH Club member, owned the vehicle for years. He bought it as a stocker in 1998 before hopping up the four-banger with an overhead conversion.

Record A Multiple lake racers sprinkled Building No. 9, such as the Holmes, Kugel & McGinnis ’29 A built in 1975. A 258ci twin-turbocharged and Hilborn fuel-injected SBC pushed the lakester to set the E-Blown Fuel Roadster record at 245 mph.

History Lesson Also scattered throughout Building No. 9 were icons of hot rodding, three of which are visible in this one image: In the foreground is the Bill NieKamp roadster, which won the very first AMBR trophy. On the right edge of the frame is the Ala Kart, which won the AMBR twice in a row in 1958 and 1959 and sold millions of plastic model kits for AMT. Just visible in the back is Jim “Jake” Jacobs’ rolling collage of a tub.

Limelighter The “village” outside the Suede Palace welcomed a group of handsome cars. Between the Packard sedan and the red ’41 Buick, check out Bud Millard’s Limelighter, a ’58 Chevy made by Bill Cushenberry for Frank Gould. It won Best Custom at the 1964 Winternationals. Oz’s Kustoms restored the chopped coupe to its former glory.

Fresh Less than a week before the GNRS, Eric Justus’ Deuce was still in a thousand pieces, the paint barely dry on the (real) body. The latter came from an older “smoothy” street rod project; but Justus and his friends brought it back to 1932 specs, even redrilling holes where the factory put them. We plan to feature the car in Hot Rod Deluxe in the future.

Untouched This Olds-powered three-window Deuce had a ton of people talking, for good reason. It has remained untouched since Julian Alvarez bought it in 1973. He found it in Huntington Beach, California, where it had been parked for 10 years. It retains all its early 1960s hot rod attributes: metallic paint over a chopped top, louvers, chromed steel wheels, and so on.

Rocket The majority of the vendors invaded the large Building No. 4. Ross Racing Engines displayed Bob Gratton’s five-window ’32 Ford built by Hilton Hot Rods. Lack of a hood allowed the crowd to admire the supercharged Olds Rocket V8 assembled by Ross.

Bare Ford Artist Coby Gewertz designed his ’34 Ford with Tim Conder before entrusting South City Rod & Custom with the construction. Notice the altered front fenders and seriously set-back 331ci Chrysler Hemi. Gewertz got the Halibrand magnesium wheels from his dad, an ex–Funny Car racer.

Forty Custom Neat ’40 Buick, eh? Owned by Steve Pierce, the coupe features a ton of custom alterations: ’39 Ford headlights, modified hood, chopped top (4 inches in front and 5.5 in back), molded rear fenders, ’41 Cadillac bumpers, and rare Lyon hubcaps that nicely complement the Washington Blue paint.

Kandy Devil The GNRS brings enthusiasts from all over the world. Tristan Louwaars of Tristan Kustomizing, Holland, poses proudly with the Kandy Devil, an SBC-powered ’53 Chevy he built for Vincent Wolfs (of Belgium). Their adventure proved a bit stressful, as the car only cleared U.S. Customs the day before the show opened!

Tribute Poncho Now the property of John D’Agostino, the ex–Richard Zocchi chopped ’62 Pontiac looked its best in Building No. 5, which was dedicated to custom cars. Zocchi built the 389-powered Grand Prix in 2002 as a tribute to an identical model (restyled by Gene Winfield) he owned in 1962.

Swoopy Glenn McElroy’s Speedliner took inspiration from the renowned Norman E. Timbs Buick, which was destroyed in Malibu’s wildfires last November. Marcel and Luc Deley’s talented hands crafted the swoopy aluminum body on McElroy’s rear-engine two-seater.

Mooney Based on a ’25 Ford roadster, the Mooney-Simpkins Special was built in 1949 by Fay Mooney Sr. of Bakersfield, California, a year before winning its class at the Oakland Roadster Show. Motivated by a 270ci GMC engine, the dirt track racer also appeared in HOT ROD, Jan. 1950. Paul Mooney has taken ownership.

The post Suede Palace, Model A Display and More Traditional Highlights from the 2019 Grand National Roadster Show appeared first on Hot Rod Network.

from Hot Rod Network https://www.hotrod.com/articles/suede-palace-model-display-traditional-highlights-2019-grand-national-roadster-show/ via IFTTT

[thetollywoodupdates]

Interview of Rosa Salazar – Alita Battle Angel

Q: How did you first hear about this project and when did you get involved?

A: It was about two years ago. My agent said, ‘There’s this movie called Alita Battle Angel. Would you like to audition for Robert Rodriguez?’ I kind of knew a little bit about it because years ago, James Cameron had talked about making it.  I read the script and it was amazing. And I really wanted to go out for it.

Q: How long after you first auditioned did you find out you had the part? 

A: It was a while. I went away to shoot Maze Runner 3.  And then I came back and still hadn’t heard anything.  I knew Robert.  I had a couple of meetings with him and before I even knew I was going to test for it, he was helping me with a short film that I wrote. So, it took a while…  I mean, it took so long that we forged a friendship and were working on a completely other short film! All told, it took about four months.

Q: What was it about Alita that appealed to you?

A: Well, a few things.  Robert Rodriguez, who is Latino, and who I’ve wanted to work with for years.  He’s such an iconic filmmaker because he can make a film out of nothing.  Like with El Mariachi.  And I really love Desperado.  That was the first thing I saw of his.  With my mom.  I was a young girl and I just fell in love with it. It was a strong emotional story, a love story with explosions and guts and guns and bar shootouts. I just really like Robert’s cinematic values.  And then of course there’s James Cameron…

Q: Oh yes.

A: Yeah, he’s made a couple of movies… And, like Robert, he creates stories with strong, well-rounded female characters.  They’ve both been doing it for years. And everything starts with the writing.  The Alita script was written for the reader – it’s like something that you could pick up and read in your downtime.  Jim will put in these little things that’ll never be shot.  They’re not geared for the movie, they’re just for the reader.

Q: Like what?

A:  It’s things like ‘Alita holds the Damascus blade for the first time and like the ancient Samurai say, the blade has chosen her.’  That has nothing to do with what they’re shooting, or the direction or anything, it’s just so you can be fully immersed in the story.  And it makes you feel things and then you know you’ve got something special.  Plus, another big thing for me is that I had been doing these big movies and this felt like a graduation for me.  I mean, I’ve done stunts.  I’ve done wire work.  I’ve fallen down.  I’ve jumped off stuff.  And I’ve done major sequences.  In the Maze Runner films, there’s some crazy sequences that I did for the second one and the third one.  Riding around in a car with a big gun popping through the sun roof.  All of that was a great training ground for Alita and I really wanted to test my skills on this big movie. 

Q: Did the fact that it was a performance capture role appeal?

A:  Yeah. I wanted to do performance capture, because I love acting.  And I love finding new ways that I can bend my craft and use it to funnel it towards this goal we’re all trying to create. So it was a combination of things that appealed:  the writing, the pedigree, these two guys that know how to direct a woman who is dynamic, has a range and is fighting for something.  All of that’s compelling to me.  Even the studio it was at ­– I’ve worked with Fox for so long that I love them.  So, it was everything really: the stars aligned for this.  And I really wanted to be a Latin woman who is leading a studio franchise with a big budget. Just to show that you can be a Latin woman leading a huge budget studio film. 

Q: Is performance capture acting very different from ‘normal’ acting?

A: Well I would say that in the beginning you think that there’s a huge difference.  After doing it, I would say that there’s no difference at all, except that you have to accommodate all of these extra things like the wetsuit they put you in and the dots, and coming in every day and scanning into the system and having a helmet, having a boom on your head, having the extra weight, compensating for the weight and then when they take the helmet off, your head leans the other way.  Like bodily things, physical things that you have to deal with and incorporate as an actor.  But in terms of performance, I found out that it was very much the same.

Q: You don’t have to ‘turn it up’ or exaggerate anything?

A: You don’t turn it up.  There’s certain moments where I was seeing Alita in the animatics on the screen, because you could watch playback as the character, and there were certain things you have to overcompensate with, facially and muscle wise.  If you’re doing, say, a fight scene and you’re stabbing and you want it to be in the character’s face, you may have to kind of exaggerate those moments.  But other than that, it’s really just acting with all of this other world of stuff going on.

Q: Did you do any research or prep?

A:  I am such a big fan of Andy Serkis that I watched every single behind the scenes featurette a long time ago on DVD. And then I was watching Benedict Cumberbatch as Smog, and a lot of the Apes movies which were done by Weta Digital Effects who also did Alita. I talked to the technician, Paul Alvarez, who was the one hands-on working on the boom and fixing the helmet and making sure I have the dots on correctly.  He enlightened me so much to the process and now I go to Manhattan Beach Studios just so I can shadow Jim as a director of performance capture, because that’s where I think it gets really, really technical and interesting because I’m dealing with this set of things that I have to incorporate with the motion capture, but Jim’s dealing with 75 million other things that he has to incorporate to make it work.  Performance capture is so interesting.  You can be in a scene with someone, say, a love scene that I have with Keean and really it all melts away. You hear actors say that and you’re like ‘Okay, you’re wearing a boom on your head, it’s five pounds.  Like, how does that melt away?’  But it just does.  The shock value melts away when you’re in those scenes and you’re really focused and in it. 

Q: It sounds like you’re already prepping to one day direct a motion capture film.

A: Yeah, I secretly am. I’m eager to learn and I feel like Robert and Jim respond to that.  They want to be mentors.  There are some people in this business that don’t and that’s perfectly fine. But Robert and Jim do. They are really generous with their wisdom.

Q: How was working with Robert?

A: It felt like making a run-and-gun independent film where everyone on the crew was like, “We’re making it with our hands” except it was a huge sci-fi epic, with a lot of moving parts.  You have a normal-sized crew, and then you have WETA, all the visual effects crew, it’s just a huge school of people but Robert’s demeanor is so calm.  He knows exactly what he’s shooting. Another thing is, he listens.  I can’t tell you how many times I’ve been on a set where that isn’t the case. But Robert listens, and he hears you.  And for a Latin woman in the film business, it was, well, jaw-dropping.  Because you don’t want to be difficult.  I never felt like I was asking too much or getting in the way.  Anytime I said, “Hey, Robert, if she says this, then wouldn’t it make more sense if this happens?’  I felt like I had a voice, which is great. And then, because you have a voice, you start to have responsibility for it.  You’re like, “Oh.  My words mean something. My words have weight.  Now, let me be responsible.”  He taught me so much. And it’s really nice to make a film with someone who just gets off on making films.  Who is a film fan.  He’s just the best. 

Q: Let’s talk a little about Alita, the character. Tell us in your own words who she is.

A: Alita is… just a regular girl! In the same way that all of the mo-cap stuff kind of bleeds out when you’re in it, Alita is a regular girl who happens to be made of cybernetic parts and has an insane, traumatic history.  Alita’s just like me.  She has a whole palette of emotions.  She’s insecure.  She’s brave.  She’s courageous.  She’s strong.  She’s curious and she’s defiant.  She’s powerful and she’s weak.  She has a real soul and I think that she bares it all the time. She doesn’t really hold anything back.  She doesn’t suffer fools.  She doesn’t pull punches.  But she doesn’t actually know who she is.  She’s learning everything for the first time.  Now that she’s been reawakened. 

Q: And not only does she not know who she is, but she doesn’t know where she is.

A: Yeah. She’s very open and vulnerable and wakes up in Iron City, it’s a post-apocalyptic trash heap.  But, for those of us in the real world, if we’re not careful, we could be there soon, you know? So, she wakes up and she doesn’t know what the world is.  She doesn’t see it as nasty or horrible or violent at first.  She’s just wide eyed, literally, and ready to learn.  And what she soon finds out is that there are menacing forces in this world.  There are evil people.  There are cruel people.  There are people who are opportunistic, who are totally fine screwing you over and ruining your life in order to get what they need to survive.  It’s like the Gold Rush – everyone’s just clawing for what’s theirs and Alita smacks up against that.  Really, it hurts her.  Because she’s a soft person until these menacing forces start to trigger her memories. At first, she doesn’t know anything about who she used to be.  She’s new.  But she knows there’s something there.  So, when the world starts to push on her and fight her, she starts to fight back, and that’s when we find out that she’s someone really extraordinary.  Someone with insane capabilities.  Someone with a warrior spirit and warrior training.  And the more she triggers her memories, the more she starts to find out who she really is.  And to me, that is a relatable story of someone going through the pitfalls of life, the trials and tribulations, and ending up on the other side knowing who they are, knowing what they’ll stand for, knowing what’s right or wrong.  We see someone choosing. What they believe in, what they will and won’t do. She starts to remember her code of who she was. 

Q: So, it’s really about a girl working out who she is and her place in the world. 

A: Yeah, that’s it.  Her place in the world, but also how she can help.  Because there’s a moment in the movie where, spoiler alert, she’s fine to just be there. She’s thinking, ‘I could live here. I could take it.’  She’s totally fine to settle.  But who she is, I think, very compelling because, ultimately, she doesn’t settle. Integrity is often very inconvenient. 

Q: So emotionally, she’s human. But in terms of physicality, did you have to play her slightly…

A: Robotic?

Q: Yeah. 

A: No. Although I had practiced and practiced with a friend who helps me read lines.  And I was very stiff, very Ex Machina. I had all of these movements, all these intricate finger twitches and whatever.  As you do.  And right before I went in to audition, I suddenly thought, ‘Hey, wait a second. She’s not a robot, she’s a cyborg….’ Her body was created by Ido [Christoph Waltz] who is a cybernetic surgeon, so he knows what he’s doing. She doesn’t move in a stiff way. In fact, the way she moves is very cat like.  Even smoother than a normal person.  Not only is she not stiff or robotic, her body movements are very fluid. 

Q: When actors do performance capture, often the character they’re playing doesn’t look anything like them. But with Alita there seems to be a reasonable amount of you in the character. 

A: Yeah. It’s an anime version of myself. 

Q: So how is that?

A: It’s super cool!  And it was always the plan, that whatever actress was going to inhabit the role, it was going to be her performance and her face and her features.  More and more as they edit the film and draw the film, every time I see it, it looks more like me.  Which is eerie.  And wonderful. Because if you’re Benedict Cumberbatch playing Smaug, you’re going see a 60-foot tall dragon.  It’s cool but you’re probably not going to feel attached to it. It’s like, ‘that’s over there’.  But when I was playing Alita, we were one and the same.  And they used a lot of my real face and the real scars and divots and muscle pulls and lines and creases and imperfections to look like me.

Although one thing I had to change was my posture, because cyborgs don’t hunch! And I have the worst posture.  So, I had to have my shoulders back constantly and just be standing straight and not lean. But I always knew that it was going to be mainly my face in there. And I think it looks amazing and even though it’s a complete rendering of me, it feels like me.  I can see myself and I’m attached to it.

Q: Did you have to learn a lot of fighting skills?

A: Yeah. Training almost killed me.  When I walked in there, I was made out of croissants.  I was writing my short film. And writers don’t eat well.  So, I was really out of shape.  I mean, I was thin, but I had no endurance, no core. I trained with Keith Hirabayashi for months and months and months.  And I changed to a plant-based diet and it was very hard.  I’d never changed my diet in that way before. 

Q: Does it feel almost like you have kind of a different body?

A: Well, now I’m vegan.  Because James Cameron convinced me to be vegan and he’s right.  Plant-based diet.  So, yeah, I am constantly finding that my body is very different.  But you feel stronger, more capable.  And it’s not just me. I have to say there are nine women that bring Alita to life.  Whenever we reach my physical capabilities or abilities, another person takes over who’s been doing this for life.  So you have many, many martial artists.  You have contortionists.  You have rollerbladers.  You have different kinds of rollerbladers, trick rollerbladers.  And then you have me doing all the acting when they’re recording the bodily info.

Q: Let’s talk about a couple of your fellow cast members. How was working with Christoph Waltz – was it intimidating at all, working with someone so experienced and acclaimed?

A: I don’t know why, but I wasn’t intimidated.  Although he has a very strong presence. I started out being extremely excited and that never dipped.  The first day I met him, he was doing some camera tests and I was peeking around the curtain, trying to catch him in his natural state.  He’s just so graceful and very powerful and centered. He’s very present and he looks you right in the eye. He’s not selfish with his talent.  He’s there with you and you’re in good hands. Also, he’s very funny.  And that was really great to be around. He doesn’t suffer fools though, you know what I mean?  He’s going to tell you exactly what’s up. It’s such an honor to work with him.  I feel like I crossed something off my bucket list.

Q: Someone else you share a lot of scenes with is Keean Johnson. What’s the dynamic between the two of you? 

A: Well I’m a very, like, ‘Hello, world! I’m here!’ person.  I’m loud. You know I’m there and you can probably hear me down the hall. I know what needs to be done and I want to do it.  I’m very much a strong woman.  And Keean is like this extremely kind, soft, young man. He’s quiet and goes with the flow. And we meet in this nice, middle ground where he looks to me for direction and advice and I look to him to be softer and I kind of take some of his happiness and some of his joyous vibe. Because I have these peaks and valleys emotionally, especially on set when you’re 18 hours in.  I’m very much an emotional creature.  And Keean is very steady.  He’s got this through-line of calm in him.  And I feed off of that and we sort of helped each other. So yeah, he’s my buddy.  I love him!

The post Interview of Rosa Salazar – Alita Battle Angel appeared first on UnitedDesi.

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[reesclancy]

Text for book

Sourced from Harvard University

Over the course of the Cold War and beyond, well more than a hundred thousand Latin Americans were made to enter the netherworld of forced disappearance—some 40,000 in Guatemala, between 1,000 and 2,000 in Chile, as many as 30,000 in Argentina, 60,000 in Colombia, perhaps 6,000 in El Salvador, 15,000 in Peru, and, more recently, over 25,000 in Mexico. The numbers are necessarily imprecise because the crime itself is designed to produce uncertainty, leaving no corpses, no traces, no explanations, and hence, no accountability. Even the terminology that has evolved to describe it—the transformation of “to disappear” into an intransitive verb, as in to be disappeared or to disappear someone—is awkward and incomplete, communicating the involuntary nature of a person’s disappearance but nothing about that person’s destiny. It is a language that obscures as much as it reveals, as a desaparecido is neither quite dead nor alive, simultaneously present and absent. The Guatemalan sociologist Carlos Figueroa Ibarra describes the disappeared as “those who will always be nowhere”; for the Chilean theologian Mario I. Aguilar, they are “those who will never grow old,” men and women and children forever frozen in time at the precise moment of their vanishing.

In Argentina, the military junta that took power in 1976 elevated forced disappearance to a perverse art form. Expert manipulators of language to chilling effect, the generals thundered that desaparecidos were “absent forever.” They developed an elaborate process by which disappeared detainees were interrogated, tortured, bundled into airplanes, drugged into submission by licensed medical professionals, and dropped into the sea by the thousands. As one of the pilots of these so-called “death flights” later remembered, the sedated prisoners would plummet from the planes down into the dark waters of the Atlantic Ocean “like little ants.”

And yet, it was the singular horror of forced disappearance—what legal analysts Reed Brody and Felipe González call “perhaps the cruelest form of government abuse” for the torture it inflicts not only on detainees but on their emotional networks—that gave rise to some of the continent’s most iconic 20th-century social movements. These were groups, predominantly of women, who met each other in the course of their daily visits to the morgues in places like Buenos Aires and Guatemala City. (Such is the twisted nature of disappearance—it puts families in the grim position of actually hoping to find the physical remains of their kindred.)

The first such organization was the Mothers of the Plaza de Mayo, who in 1977 began marching in front of Argentina’s presidential palace, demanding the safe return of their disappeared children. For their efforts, which shook the foundations of the dictatorship’s legitimacy, several of the Mothers were themselves disappeared. A similar story unfolded in Guatemala, where the Mutual Support Group, founded in 1984, saw a number of its founding members disappeared or assassinated by state security forces. To speak out about a disappearance was a tremendous risk. As the Colombian peasant farmer Blanca Meneses Nieves recounts, when she sought help from local authorities—both elected and paramilitary—regarding the disappearance of her four daughters, the paramilitary commander instructed her to “disappear yourself if you don’t want us to kill you too.”

Almost worse than the original crimes were government functionaries’ official denials, phrased to deflect blame away from the state and onto the disappeared individual. The Argentine dictator Jorge Rafael Videla agreed that there were “missing persons” in Argentina, but he contended that “they have disappeared in order to live clandestinely and to dedicate themselves to subversion,” while one of his Guatemalan counterparts, military strongman Oscar Mejía Víctores, argued that many of the supposedly disappeared were “perhaps in some Communist country with some scholarship or in Havana, Cuba.” A common rejoinder to the anguished entreaties of wives, in particular, was to suggest that their husbands had only “disappeared” to take up with other women.

From CONADEP -  Nunca Más

The policy of the disappearance of persons could not have been carried out without the detention centres. There were about 340 of them throughout the country. Thousands of men and women illegally deprived of their freedom passed through them, often being kept in detention for years, sometimes never returning. This was where they lived through their ’disappearance’; this was where they were when the authorities would reply in the negative to requests for information in the habeas corpus appeals. There they spent their days at the mercy of others, with minds twisted by the practice of torture and extermination, while the military authorities (who frequently visited these centres) would respond to national and international public opinion by asserting that the disappeared were abroad, or that they had been victims of feuding amongst themselves. (Statements of this nature are included in the answers given by the de facto government to the Inter-American Commission on Human Rights of the OAS - see ’Report on the Situation of Human Rights in Argentina’, 1980.)  

The characteristics of these centres, and the daily life led there, reveal that they had been specifically conceived for the subjection of victims to a meticulous and deliberate stripping of all human attributes, rather than for their simple physical elimination.  

To be admitted to one of these centres meant to cease to exist. In order to achieve this end, attempts were made to break down the captives’ identity; their spatio-temporal points of reference were disrupted, and their minds and bodies tortured beyond imagination.  

These centres were only secret as far as the public and the relatives and people close to the victims were concerned, inasmuch as the authorities systematically refused to give any information on the fate of the abducted persons to judicial appeals and national and international human rights organizations. It goes without saying that their existence and operation were only possible with the use of the State’s financial and human resources, and that, from the highest military authorities down to each and every member of the Security Forces who formed part of this repressive structure, these centres were their fundamental basis of operation.  

The reality was continually denied, the military government also making use of the total control it exercised over the media, to confuse and misinform the public. It would subsequently be seen during the hostilities of the war in the South Atlantic, to what extent covering up the truth and misinformation were essential to the most important acts of the military governments between 1976 and 1983.  

There are no political prisoners in Argentina, except for a few persons who may have been detained under government emergency legislation and who are really being detained because of their political activity. There are no prisoners being held merely for being political, or because they do not share the ideas held by the Government. (Roberto Viola, 7 September 1978.)

A substantial number of reports and testimonies received by this Commission corroborate the presence of high-ranking military officials in the detention centres. Martha Alvarez de Repetto (file, No. 7055) states:  

I was arrested in my house in the town of Corrientes, and taken to offices of the Federal Police in that town. There I was hooded and tortured, and later transferred to the officers’ mess of the 9th Infantry Regiment, where they set up simulated executions and also tortured people. One of the visitors I saw myself and was even interrogated by was the then Commander of the 7th Brigade, General Cristino Nicolaides. Another of the visitors was the then Commander of the 2nd Army Corps, General Leopoldo Fortunato Galtieri, who was there in mid-November 1976.  

The prisons were crammed with political prisoners, whom the authorities tried to present as common criminals, avoiding any recognition that ideological persecution was reaching levels unheard of in our country before. This legal structure, however, was intimately connected to the other one, of darkness and death, where thousands of disappeared suffered without the slightest chance of protection.  

Thus, after lengthy periods in secret detention, many of those released would find their abduction made official by their transfer to public prisons or to police stations.  

[365footballorg-blog]

Stejskal: Rivalry reignited, but questions remain for US after Mexico win

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September 12, 20181:40AM EDT

NASHVILLE – It took nearly 70 minutes, but an old-fashioned U.S. vs. Mexico match broke out on Tuesday night at Nissan Stadium.

After over an hour of sloppy play, few chances and minimal excitement, U.S. center back Matt Miazga and 18-year-old Mexico whiz-kid Diego Lainez gave a lackluster match an iconic moment. Miazga took exception to the young attacker’s jersey-pulling in the 65th minute and Lainez, all 5-foot-6 of him, went chest-to-chest with the 6-foot-4 defender.

Miazga, to put it plainly, wasn’t having it.

Here’s the whole Miazga/Lainez/Alvarez confrontation pic.twitter.com/DEHFq0ykjh

— Juan Velazquez (@JuanDirection58) September 12, 2018

The exchange ignited the match, transforming a sleepy affair into a no-holds barred slugfest reminiscent of some of the top U.S.-Mexico encounters from the last couple of decades. Tensions rose immediately after Miazga and Lainez came together, culminating just a couple of minutes later when Mexico striker Angel Zaldivar received a straight red for a studs-up tackle into Wil Trapp’s ankle.

The US capitalized on their man advantage shortly thereafter, with New York Red Bulls midfielder Tyler Adams slotting home an Antonee Robinson cross in the 71st to give the US a 1-0 victory. More memorable than the result, however, was a new generation of American and Mexican players continuing Concacaf’s most important rivalry.

“We talked a little smack. It’s part of the game. It’s mental warfare,” Miazga said of his confrontation with Lainez. “They got a red card right after it. It took a toll and we won the game.”

A heated match like Tuesday’s is a good chance for a team to grow, and the young USMNT side will take some confidence out of the win. Miazga, Adams and head coach Dave Sarachan all felt like the Americans showed solid character, battled bravely and defended well against a similarly experimental Mexico team, and they all said they’ll carry some solid takeaways into next month’s friendlies against Colombia and Peru.

“The thing that we try to keep talking to this group about right now is what’s the identity of this team, when fans watch the team what do they come away with,” said Sarachan. “We nitpick on the technical side, but we saw a team tonight that played aggressively, competed hard, won most of their duels and I think that’s been a constant over the time I’ve had the group and over these past two games.”

So the postgame vibes were positive. But they shouldn’t paper over the fact that there a still a ton of questions for the U.S. to answer – perhaps even more than there were heading into Friday’s loss to Brazil.

Entering this camp, the general consensus was that the U.S. were in at least a decent place with their first-choice goalkeeper, right back, center backs and holding midfielders. Goalkeeper Zack Steffen, right back DeAndre Yedlin and the center back pairing of Miazga and John Brooks did nothing to dispel that notion. The grades on the rest of the roster, however, ranged from incomplete to pretty damn bleak.

The center midfielders fall into the incomplete category. Adams showed well on Tuesday and Trapp and Weston McKennie performed better than most of the rest of their teammates during camp, but the USMNT missed an opportunity in these matches to play two of their potential building blocks in their best positions.

Adams and McKennie are both best as holding midfielders, and they’ll likely play the spot once Christian Pulisic, who missed this camp due to injury, returns to the fold. That trio of young stars will likely be critical to the U.S. over the next two World Cup cycles, and they need all the reps together that they can get.

Pulisic’s absence prevented all three of them from playing together this time around, but Sarachan could’ve easily paired Adams and McKennie at holding mid in both matches. Instead, he ran out of a 4-1-4-1 formation in both games, starting Trapp at the No. 6 and lining up Adams and McKennie in somewhat unnatural spots ahead of him.

The setup didn’t work out. The U.S. struggled mightily in the three halves that they used the formation until McKennie came out of Tuesday’s match due to a minor injury late in the first half. They largely failed to create chances, hold possession or string together solid sequences on the ball. It never looked like there was much of a thought process, and, for much of Tuesday night, the US were relegated to launching hopeful long balls to striker Gyasi Zardes.

Things got marginally better after McKennie was forced off and a third attacker was brought on in the form of Julian Green, but the USMNT’s play before Mexico’s red card still left plenty to be desired.

A lot of that came down to the rest of the roster looking largely anonymous. We saw flashes on Tuesday from winger Tim Weah and Robinson recovered from a rough night against Brazil with an assist off the bench at left back, but no one really stepped up and made a starting spot their own. That that was the case despite the U.S.’s glaring holes in the attack was disappointing.

The good news is that the USMNT got a win and gained valuable experience against a hated foe in a heated environment. The rivalry with Mexico might be back, but, as we saw on Friday and again on Tuesday, this US team still has plenty of questions to answer before they can realistically think about hitting the level that past American squads achieved in their most memorable matches against El Tri. 

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Stejskal: Rivalry reignited, but questions remain for US after Mexico win was originally published on 365 Football

[humor-mascotas-diversiones]

New "Millennium" movie to reveal more about Lisbeth Salander

Star Claire Foy and director Fede Alvarez talk about the upcoming film - and the iconic character. Rough cut (no reporter narration) Video provided by Reuters        Atribución de la publicación original: De: USATODAY - Life Top Stories Publicación: https://www.usatoday.com/videos/life/2018/04/15/new-"millennium"-movie-reveal-more-lisbeth-salander/33859373/ Autor/Editor: Newslook, Newslook URL: http://api-internal-usatoday.production.gannettdigital.com Términos de búsqueda: Cine, Películas, Trailers, Series, Videos, Cartelera Fecha: April 15, 2018 at 05:31PM Haz clic en la foto de abajo para ver otro de mis Blogs. Encontraras mas publicaciones interesantes. Visita mis Blogs: El Mundo de las Princesas Muñecas y Peluches: http://mi-barbie.blogspot.com/?m=0, Entretenimientos y diversiones: http://entretenimientos-diversiones.blogspot.com/?m=0, Sucesos histórias y documentales: http://sucesos-historias-documentales.blogspot.com/?m=0, Humor Mascotas y Diversiones: http://humor-mascotas-diversiones.blogspot.com/?m=0, Curiosidades y Entretenimientos: http://curiosidades-entretenimientos.blogspot.com/?m=0, Competencias y deportes: http://competencias-deportes.blogspot.com/?m=0, Paisajes imagenes y lugares interesante: http://paisajes-imagenes-lugares.blogspot.com/?m=0 http://dlvr.it/QPmDfF