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Friday, July 20, 2012
This Photo of the Storm That Hit New York Today Is Insane [Image Cache]
Thursday, July 19, 2012
Thai, Cambodian troops withdraw from disputed area
PREAH VIHEAR, Cambodia (AP) ? Cambodia and Thailand have withdrawn their troops from a disputed border area to comply with a ruling by the International Court of Justice.
Nearly 500 Cambodian troops and an undisclosed number of Thai forces withdrew Wednesday from a demilitarized zone near the 11th-century Preah Vihear temple, which the court awarded to Cambodia in 1962. Thailand accepts that the temple belongs to Cambodia, but both countries lay claim to land around it. The dispute has led to several rounds of armed conflict in recent years.
Last year, the court responded to an appeal from Cambodia by ordering both countries to withdraw their troops completely and simultaneously from the 17.3-square-kilometer (6.7-square-mile) demilitarized zone around the temple.
Both countries will deploy police forces in the demilitarized zone.
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Tuesday, July 17, 2012
Deep Purple's Jon Lord dies at age 71 - KansasCity.com
LONDON -- British rocker Jon Lord, the keyboardist whose powerful, driving tones helped turn Deep Purple and Whitesnake into two of the most popular hard rock acts in a generation, died Monday. He was 71.
A statement on Lord's official website says the Leicester, England-born musician suffered a fatal pulmonary embolism in London after a long battle with pancreatic cancer."Jon passed from Darkness to Light," the statement said.Lord co-wrote some of Deep Purple's most famous tunes, including "Smoke on the Water," and later had a successful solo career following his retirement from the band in 2002. The statement posted on Lord's website said he died "surrounded by his loving family."Emily Freeman of The Agency Group, which represented Lord for all his live concert work, confirmed the news in an email.Tributes to Lord flooded Twitter, with artists such as Rage Against the Machine's Tom Morello and Toto's Steve Lukather expressing sadness over his death and praising his musical contributions.Earlier this month, Lord canceled a performance of his Durham Concerto in Germany for what his website said was a continuation of treatment. He had told fans last year that he was fighting cancer.Lord got his musical start playing piano, first taking classical music lessons before shifting to rock and roll.After moving to London to attend drama school, he joined blues band the Artwoods in 1964 and later toured with The Flowerpot Men - known for their hit "Let's Go To San Francisco" - before joining Deep Purple in 1968.Deep Purple - which featured Lord along with singer Ian Gillan, guitarist Ritchie Blackmore, drummer Ian Paice and bassist Roger Glover - was one of the top hard rock bands of the '70s. Influenced by classical music, blues and jazz, Lord took his Hammond organ and distorted its sound to powerful effect on songs including "Hush," "Highway Star," "Lazy" and "Child in Time."The group went on to sell more than 100 million albums before splitting in 1976.Lord went on to play with hard rock group Whitesnake in the late 1970s and early 1980s and later, a re-formed Deep Purple.Associated Press writer Dave Zelio in Chicago contributed to this report.
Source: http://www.kansascity.com/2012/07/16/3707144/deep-purples-jon-lord-dies-at.html
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Tuesday, July 10, 2012
Weird Minor League Hitting Contest Features Fans On Field, Singer Serenading Hitter, Trampoline And ?Golf Ball Picker-Upper?
(Photo by Larry French/Getty Images)
(WSCR) The minor leagues are known for their quirky promotional ideas, but we?re not sure if we?ve ever seen anything like this.
The Reading Phillies ? the team White Sox bench coach Mark Parent managed the last two seasons ? are hosting the Eastern League All-Star Game this week. Among the All-Star festivities is a hitting contest Tuesday night ? a hitting contest unlike one you?ve ever seen.
For one, there?s going to be a VIP party in the infield while the hitters are hitting balls right at them. There?s also going to be singer performing right next to the batter.
And how do the hitters earn points? Well, they have plenty of options. They can either hit a ball to the guy jumping on the trampoline in left field, hit a ball to the guy sitting in the dunk tank in center, or nail the ?golf ball picker-upper? (their words, not ours) as it drives around the outfield. Oh, and they can also lose points if Quack The Rubber Ducky, Changeup The Turtle, the crazy hot dog vendor, Phil Lee, Blooper, Screwball or Bucky The Beaver catch the ball.
Confused? Let Reading Phillies general manger Scott Hunsicker explain:
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Monday, July 2, 2012
94% Moonrise Kingdom
It feels good to be a Wes Anderson fan once again. The indie auteur has a very distinctive style that he seems to have little regard in altering. I've been critical of Anderson's idiosyncratic style, comparing it to crafting wonderfully composed, intricate dollhouses minus compelling or relatable characters to inhabit these artfully constructed mini-worlds. Without that necessary element, it's all just fancy window dressing. Finally, Anderson, with Moonrise Kingdom, has concocted another movie where the characters grab more of your attention than the backgrounds. Set in 1965 on a small island just off the New England coast, the movie follows the adventures of Sam (Jared Gilman) and Suzy (Kara Hayward), both twelve years old. Sam has run away from his summer camp, the Khaki Scouts, led by Scout Master Ward (Ed Norton). Suzy has run away from her parents (Bill Murray, Frances McDormand). The small island's one police officer, Captain Sharp (Bruce Willis), enlists the help of several Khaki Scouts he deputizes to find the missing duo. It's revealed through a serried of letters, and flashbacks, that Sam and Suzy have been plotting their escape for over a year. They're in love, and they're going to make sure nobody interferes. What more relatable than young love? Sam and Suzy just want to be together and the rest of the adult world seems intent on keeping them apart. Right away you're pulling for these kids, rooting for their triumph, and the movie does a fantastic job of replicating the innocence of young love without overly romanticizing a very nervous, awkward time in life. When Sam and Suzy practice kissing, for what is obviously the first time, I defy anyone sitting in the audience not to feel a recognizable pang of insecurity. The experimentation is a tad more realistic than you might expect with the PG-13 rating but still nothing to shatter the youthful innocence of the picture. There is not a tawdry moment in Moonrise Kingdom. It's a time in life when the knowledge of sex existed without a keen understanding of sensuality, like in Miranda July's Me, and You, and Everyone We Know. It's more like fumbling around with what you think is appropriate activity. Still, the fact that the movie features twelve-year-olds in their underwear dancing and mildly experimenting means Moonrise Kingdom might draw a swath of ticket-buyers for the wrong reasons (beware the patron in a raincoat). The scrupulous attention to detail is the same obsessive quality you come to expect from a Wes Anderson movie. He builds living worlds and his color schemes and shot arrangements add much texture to this idiosyncratic landscape. Unlike Life Aquatic and Darjeeling Limited, these artistic elements work in harmony rather than conflict; Anderson actually seems to care about the people here. Chances are if you're not a Wes Anderson fan, Moonrise Kingdom will probably not be the movie to win you over. The whimsical, storybook nature of the film actually accentuates the broader themes; bright-eyed exploration, the magic of possibility with love, and an unyielding hope. The movie feels like one of Suzy's storied adventures come to life but without compromising the relatable character conflicts. The movie does build a nice head of steam thanks to the pursuit of our runaway romantics. There's also a palpable sense of danger lurking, as the kids risk life and limb and even experience death, albeit a dog (Suzy: "Was he a good dog?" Sam: "Who's to say?"). It's a poignant tale of childhood but it doesn't feel childish, a family film meant for people probably too young for families. Moonrise Kingdom walks a fine line between whimsical and overly precious. Less skilled filmmakers haven fallen suit to making insufferably twee film productions consumed by their own indulgent sense of preciousness. Moonrise Kingdom is full of the typical Anderson quirk but it doesn't overpower the narrative or define the characters in such limited personal scopes. There's plenty of laughs to be had with the film, most in the wry chuckle variety; I was laughing throughout, finding those staple peculiar touches to be the most amusing, from the Scout Master reading a magazine titled "Indian Corn," to Bob Balaban's questionably omniscient narrator, to some improvised natural earrings. The movie is consistently funny but also far sweeter than I would have imagined given the detached, arch nature of Life Aquatic and The Darjeeling Limited. Again, the kids are precocious and the adults act more like children, but everyone is really hurting and lonely and looking for a means of coping or persevering, with the biggest source of pain being love; the longing, the ache, the uncertainty of when and if it will return. Usually Anderson's films involve dysfunctional families mending some degree of their brokenness by film's end and formulating a connection. With Moonrise Kingdom, the plot is on two kids falling in love and their will to endure. I appreciate that Anderson and co-writer Roman Coppola (Darjeeling Limited) do not trivialize or look down upon the relationship between Sam and Suzy ("Oh, it's just puppy love you silly, na?ve, waifs."). To them it feels like everything. The tender approach to young love opens the film up to a broader audience without compromising the director's unique vision. I'd hardly say the film approaches overt sentimentality. What's there feels earned and more reserved than what we might expect from burgeoning romance. When the expressions of affection occur, they have greater weight and make a greater impact charming the audience. The first-time child actors do a credible job with carrying the film. Hayward and Gilman are charming and easy to like, though I wish Anderson had pushed his young actors a tad harder. They seem stiff at times and a little above-it-all in attitude. I applaud the kids for acting somewhat reserved rather than going crazy with their budding hormones. Both characters are also characterized as "emotionally disturbed," though this seems like another of the film's damning details about the out-of-touch adults dictating their lives. I just wished we sensed a greater degree of urgency from them about this whole adventure and the possibility of losing one another. They feel a tad blas?, all things considered. The bigger celebrity names in the cast assume smaller roles, and many of the supporting characters are thinly sketched with personal conflicts mostly kept at a simmer. These are grownups that, at their heart, don't know what to do with their feelings. Sam and Suzy feel liberated by their feelings. I found Murray's blustery sense of anger amusing, and Willis does some subtle work to give you a sense how truly lonely his character is to the core, but it's Jason Schwartzman (Scott Pilgrim vs. the World) who steals the show in my book as the fast-talking, mercurial, scheming Cousin Ben who seems to have whatever somebody needs. When he agrees to marry Sam and Suzy and acknowledges that their marriage will not be deemed official under any court whatsoever, you get a sense that Moonrise Kingdom has been missing a propulsive and delightful character like Cousin Ben. I wish he had been inserted earlier, but this is Sam and Suzy's movie, after all. It's not on the same level as Rushmore of The Royal Tenenbaums (my favorite Anderson films), but it's a film that feels a lot more alive and emotionally resonant. It feels like a return to form for Anderson, remembering that the characters and their drama need to be as engaging as the set design. The turbulent young love of Sam and Suzy is sweet and leads to some tender yet poignant moments that warm the heart without making you overdose on cheap sentiment. The idiosyncratic touches are all there, the ironic humor, and the stellar soundtrack selection (Benjamin Britten's deconstructive orchestral marches stand out as a thematic core), everything you'd expect from a Wes Anderson movie, except this time you'll find the characters recognizable, their struggle compelling, and the end rewarding. Moonrise Kingdom isn't the most substantive film playing in theaters but damned if it isn't the most alluring, amusing, and affectionate, yet all on its own terms. Who would have guessed that a pair of twelve-year-olds would help us show what real love is in 2012? Nate's Grade: A-
June 29, 2012Source: http://www.rottentomatoes.com/m/moonrise_kingdom/
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