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techlearnings · 4 years

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The Best Home Theater Systems of 2020

1. The Smartest Home Theater System: Sonos 5.1 Beam Surround Set with Voice Assistant

Sonos Beam 5.1 System

Why it won

It would appear Sonos is resolved to clearing the field. At first thought about the upstart among industry monsters, Sonos is currently accomplishing for home theater what they accomplished for multi-room music – and the outcomes are great. read more

The Sonos Beam 5.1 Surround Set is all that you'd anticipate from the world's #1 remote sound organization as per CEPro magazine. Highs are completely clear, lows through the Sonos subwoofer punch with power, and exchange through the framework's highlight, the Beam Sound Bar, is both famously reasonable and reliably up front.

Furthermore, the framework is whip shrewd and accompanies a great list of capabilities. It's absolutely remote put something aside for the force line and HDMI yield. (Bye tangled jumble.) The Sonos application remains the best/most astute application in the business. Apple Airplay 2 comes included. It streams pretty much everything by means of the in excess of 50 music administrations upheld by Sonos. Include Amazon Alexa as well as Google Assistant voice control, in addition to a look that is inconspicuous, jazzy, and made to mix in – and you have a great decision. For genuinely vivid 5.1 encompass sound, however for incredible sounding music, as well. Indeed, it's somewhat expensive, however worth each penny as we would see it. Likewise note: Sonos resembles LEGOs (which we expounded all on in our Sonos Buying Guide here).

Reg. Cost: $1,456.00

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#2. The Best Wireless Home Theater System: Bose Soundbar 700 with Bass Module 700 and Surround Wireless Speakers

Bose Sound Bar 700 5.1 System

Why it won

In our "Best Sound Bars of 2020" article, the Bose Soundbar 700 won best-of-show for encompass sound. Presently here as the center segment in the Bose Smart Wireless 5.1 home theater framework, Bose does it once more. The Bose SB700 won since we turned it on and were immediately overwhelmed by a sound field that An) appeared to be a lot more extensive than some other 5.1 pre-bundled framework we tried, B) made discourse – even delicate or murmured exchange – completely clear, and C) was similarly compelling regardless of where we sat.

Each segment in this framework is important for Bose's new group of shrewd remote speakers. Start with this 5.1-channel framework, and spot a Bose Home Speaker 500 in the kitchen and the littler Soundbar 500 in your room for a multi-room sound understanding all through the house. What's more, with Amazon Alexa worked in, you can control everything with straightforward voice orders.

Features

Turn it up, and Bose's Bass Module 700 subwoofer will throw a pleasant left hook without contorting.

Given the Bose Lifestyle 650 won most attractive, we're giving "second place" to this framework. The excellent glass top and punctured fold over metal grille on the Soundbar 700 is a pleasant touch.

To mix in with any home's style, Bose offers this framework in white, as well.

Reg. Cost: $1,797.00

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#3. The Best Surround Sound System for Small Rooms: SVS Prime Satellite 5.1 Package

SVS Prime Satellite 5.1 Package

Why it won

Throughout the most recent twenty years, SVS has developed into one of the most regarded brands in the business. At first known for their sternum-vibrating/room-shaking/grant winning subwoofers, the present new SVS frameworks can rival anybody – and the SVS Prime Satellite 5.1 home venue bundle is an incredible model. Its conservative and simpler to fit in a littler room however turn it up and blast: your little room turns into the Hollywood Bowl.

Each SVS Prime Satellite speaker is about the size of a portion of bread and contains a 4.5-inch midrange driver and a one-inch tweeter. Little, truly, yet they punch like Roberto Duran. The 12-inch driver in the effectively amazing, 300-watt fueled SVS-1000 subwoofer will, then again, make them clutch your seat. It's little, as well, and perfectly tucks into any corner. The framework is wired instead of remote, however at the cost, the SVS Prime Satellite 5.1 Package may simply be the greatest "little" 5.1 framework available. (Need something somewhat greater? Look at SVS's "Ultra" arrangement line of speakers. We convey those, as well.)

Another enormous SVS advantage: gaming. A ton of our clients keep their gaming frameworks in little lairs and extra rooms. Also, on the off chance that you truly need to place yourself in a Gears of War or Call of Duty fight, sans earphones – and you would prefer not to spend a fortune to do it – the SVS Prime Satellite 5.1 Package is for you. SVS rocks.

This Package Includes: 5 Prime Satellite Speakers | SB-1000 Subwoofer

Reg. Cost: $999.99

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Alright individuals – folding tables up and fix those safety belts. We're pulling out all the stops.

Presently we progress from the littler, simple to-set-up home theater frameworks to the greater, take your breath away arrangements. The accompanying frameworks were hand-picked by our specialists, frequently blended and coordinated from various sound brands. Taking all things together, it resembles going from engine bikes to bikes: both are fun, both take care of business, yet the last is more about consummately repeating enormous, genuine, true to life sound at home. Further, these greater home theater frameworks are more adaptable concerning sound and structure feel.

#4. The Best Budget Home Theater Speaker System: KLH Kendall 5.1 Speaker System

KLH Kendall 5.1 System

Why it won

KLH's strategic been and consistently will be: audiophile-commendable speakers at moderate costs. What's more, KLH's most current line-up epitomizes that strategic to say the least. The two Kendall 3-way floorstanding speakers included speak to the organization's new lead models. Flawlessly completed in dark oak and American pecan facade, each contains custom drivers made of Kevlar, anodized aluminum and curiously large magnets. They're huge, they're delightful, and they sound incredible. The KLH Story Center Channel Speaker puts the most significant activity (and on-screen exchange) up front with hybrid hardware produced using top notch parts. The two Beacon encompass speakers are superior to most and work superbly with the framework's left and right back channels.

Balancing everything, KLH's 12-inch, front-terminating subwoofer = the John Bonham of the gathering. The high journey woven Kevlar driver inside, fueled by a 350 watt amp, is all that could possibly be needed to toss you back in your seat.

KLH's 5.1 home theater gathering is a great decision for large, artistic sound. Huge (or rambunctious) parties when added to your music framework. Valid, it's not remote, however it's difficult to beat this sort of sheer influence for the cash.

This Package Includes: 2 KLH Kendall Floorstanding Speakers | KLH Story Center Channel Speaker | KLH Beacon Surround Speaker Pair | Windsor 12 Subwoofer | Available in Black or Walnut

Reg. Cost: $2,796.95

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#5. The Best Dolby Atmos Home Theater System: Klipsch 7.2.2 Reference Premiere Home Theater System with Marantz SR7013 9.2-Channel AV Receiver

Klipsch 7.2 System

Why it won

Two notable, top notch, sound pioneers: One known for dynamite, pull out all the stops or-return home sound and excellent cabinetry, the other for top tier enhancement and driving edge innovation. Between them, two legends – Saul Marantz and Paul Klipsch, more than 100 years experience, and each grant in the book. Welcome to the best encompass sound all things considered.

A couple of years back, the sound masters at Dolby made sense of an approach to settle on what some decision "3D encompass sound" by means of another innovation called Dolby Atmos. (Atmos, as in environment.) What Dolby Atmos truly does is make a layer of sound that not just floats over the crowd, it drifts in various territories over the crowd. Also, it does it so well, you can really pinpoint explicit sounds in explicit spots – noticeable all around. The net impact: Thrilling, invigorating, stunning – in any event, stunning now and again. ("Try not to stress kids, those monsters aren't genuine, it's only a film.")

In spite of the fact that most AV recipients today come Dolby Atmos-empowered, numerous shoppers never include Dolby Atmos speakers. (Abnormal. Similar to living on a boat and never purchasing sails.) So we intentionally concocted a marvelous, yet generally reasonable home venue that really conveys on all fronts: left, right, focus, sides, back, beneath (by method of the subwoofer) and now, with Dolby Atmos, noticeable all around above, as well.

One more thing: If you pick this home theater framework with the parts we prescribe – and you're going to turn it on just because – start with a greater than-life, blockbuster film. The new Jurassic Park, Incredibles 2, whatever. Blockbusters are designed by sound specialists to exploit stature channels, so you're ensured to get the all out impact: pterosaurs and ancient bugs flying around your parlor, jump bombarding the couch, and so forth. You'll know why this specific framework so effectively wins our "Best Dolby Atmos" class.

Features

Mood killer the TV, and this Klipsch/Marantz home theater arrangement conveys an intense, audiophile-commendable, music framework – one that asks for a quality turntable. Despite the fact that with Bluetooth, Wi-Fi, and Airplay worked in, in addition to HEOS remote multi-room music streaming, you can play practically anything from anyplace by means of any brilliant gadget.

The two Klipsch RP-8060 floorstanding speakers are not just fresh out of the box new, they're higher on the pecking list than Klipsch's for quite some time proclaimed Reference II arrangement. Likewise valid for the RP-504C Center Channel Speaker, which at right around 3-feet wide and 34 pounds is the Serena Williams of focus speakers. read more

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bbclesmis · 6 years

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Can the BBC’s Les Misérables do justice to Victor Hugo’s epic novel?

Few who love Les Mis the musical have read its source: a 1,500-page Victor Hugo novel. As the BBC tackles the book, David Bellos explains why it’s such a popular text to adapt.

The Sunday Times, December 16 2018, 12:01am

At dawn on June 19, 1815, in a muddy Belgian field where Napoleon has just lost his last battle, a scavenger filches the watch and purse of a dying soldier; a few weeks later, a long-term inmate of Toulon jail is released with a yellow passport and 109 francs. That’s where interlocking stories of Les Misérables begin, with Thénardier robbing the father of Marius, and Valjean setting off towards Digne.

If you think the magic of Les Mis comes mainly from the operatic version by Boublil and Schönberg, wait until you see the new adaptation by Andrew Davies, drawn from the book and not, like Tom Hooper’s 2012 film, from the musical, which leaves out most of Hugo’s novel’s story and doesn’t even mention the Battle of Waterloo. Davies’s script begins at the beginning, and the director, Tom Shankland, makes a truly memorable opener out of it.

Any adaptation of Les Misérables stands in a global tradition of spin-offs in every medium. In the cinema alone, there are about 70 full-length Misérables, in languages as varied as Russian, Farsi and Arabic. In Japan, there has been an independent strain of Mis-mania, expressed in manga and animé, for 100 years.

It’s not hard to see why Les Misérables is so much more attractive to dramatists than any other novel of the 19th century. Despite long passages of historical and philosophical discussion, Hugo’s saga of the poor has a simple narrative arc. It tells the redemptive life story of the former convict Valjean, from his release at Toulon to his death in Paris 20 years later. And, despite the sufferings that fill its pages, it is an optimistic story of how a man from the bottom of the pile may aspire to goodness and achieve it through persistence and sacrifice (plus the kind of luck that novels can invent). That’s dramatic enough.

Hugo was also a dramatist of genius. He created grand scenes ready for staging. The candlestick episode at Digne; the courtroom in Arras, where Valjean gives himself up to save an innocent man; the hold-up in Boulevard de l’Hôpital and Valjean’s escape from it; and the opening vision of a vulture-like thief robbing a dead man the morning after the greatest battle ever fought. Nearly all these great scenes feature a hero, part Hercules, part Christ, who defines himself through actions, not through thoughts and words. In fact, Valjean hardly says a word to himself, and not many to other people, either.

This leaves adapters and directors free to create their own image of this mythical figure. We’ve had a Valjean who looks like a tramp (the rough-hewn Harry Baur in Raymond Bernard’s 1934 film) and one who looks like a banker (in the Japanese TV serial), alongside handsome young men (Fredric March, Liam Neeson) and an action-movie star (Jean-Paul Belmondo) who had trouble pretending to be the right age. What we’ve not had is a Valjean who looks like Hugo: a short, broad-shouldered man in late middle age, in remarkably good physical shape. Despite being too tall, Dominic West, in this new TV version, comes closer than most. Les Misérables is not autobiographical (Hugo never went to prison, got buried alive or went down the sewers), but the writer’s moral self-identification with the suffering hero is one of the fundamental strengths of his book.

It was destined for the stage from the start. Even before the last volumes went on sale in July 1862, Charles Hugo, the writer’s son, began drafting a stage spectacular. A script doctor was hired to get it into shape for its premiere in Brussels in January 1863. It still flopped. But, published as a book, it influenced adaptations as to what to cut and keep.

The addition of music also has roots older than the West End musical version. Almost as soon as the first American translation of the novel appeared, a dramatist called Albert Cassedy dashed off Fantine, or The Fate of a Grisette, a popular opera with a score by Charles Koppitz. Music also plays an overlooked role in the novel: the tune Cosette practises on her piano- organ and the songs sung by schoolgirls in the Champs-Elysées, by convicts on tumbrils, by students in restaurants, hummed by a hunter in the woods and shouted out by an urchin on his way to the barricade, make up a concert programme of popular music in 19th-century France. It’s time to dust these off and perform them as the music Hugo had in his head.

Britain has had an unhappy relationship with Hugo’s epic tale because its authorised translation, by a retired military gentleman with his own views about what happened at Waterloo, was a complete disaster. For legal reasons, no new version could be brought out for decades thereafter. It didn’t help that the translation was available only in a costly hardback format.

Les Misérables reached its real audience in Britain through stage plays, and it’s amazing to see just how many there were: Charity, by CH Hazlewood, “founded on Victor Hugo’s story of Les Misérables”, was performed in London in November 1862; then came Jean Valjean, by Harry Seymour, Clarance Holt’s Out of Evil Cometh Good, in 1867, and many more. They concentrated heavily on Part I of Hugo’s five-part novel. The battle scene at Waterloo in Part II and the “revolutionary” stories of Parts IV and V seem to have been ignored most of the time.

In Russia, too, Tolstoy’s retelling of Les Misérables in simple language focused on Bishop Myriel’s charitable gift of silver to a rough customer. It was this fable-like episode, transposed into English by Norman McKinnel as The Bishop’s Candlesticks in 1908, that was turned into a silent short film by Herbert Brenon in 1913, which was then remade with a soundtrack in 1929. It never stopped, leaving Andrew Davies with a rich inheritance to renew — and to overturn. But he keeps one of the glitches that early translators made and that all Hollywood movie versions retain: he has Valjean steal the bishop’s silver cutlery, whereas in the novel he steals his silver plates (the French word “couvert” having changed its meaning).

One reason why Les Misérables has been remade in so many languages and periods is sex, or, more precisely, its total absence. It wasn’t prudery that kept Hugo off the topic. (He had plenty of experience, to put it politely.) But Les Misérables is about justice, social morality, crime, punishment, the meaning of history and the full potential of human life.

It’s true that old Gillenormand boasts of his past as a rake, but at 90 years of age, he’s long past acting out. It’s also true that Fantine becomes a prostitute — but Hugo deals with the episode in just seven words. Adaptations that put sex into the story express not what Hugo wrote about, but what some audiences are expected to find alluring.

On the other hand, a belief in the existence of a god is integral to the book’s meaning. Deeply sceptical of the Catholic church, Hugo omits Christian artefacts and rituals (including midnight Mass at Montfermeil and the church wedding of Cosette and Marius) to a degree that is almost comical in a panorama of 19th-century life, but he insisted that Les Misérables was a religious work. The prismatic glint of sunlight through foliage that Shankland deploys in the new BBC version, to show the start of Valjean’s conversion after robbing Petit-Gervais, seems to me an intelligent and respectful way of hinting at what Hugo meant.

One of the more puzzling aspects of Les Misérables and its flourishing international afterlife is its exclusive focus on France. There’s not a single foreigner among the 120 named characters in the novel; barring occasional remarks about London, Poland and the United States, Les Misérables talks exclusively about the history, politics, social structure and social ills of the country that Hugo considered to be top nation for all time, namely his own.

Though largely written in Guernsey and initially published in Belgium, the book was written for the French by a man whose long exile had no foreseeable end. Its first translator into Italian requested permission to cut historical passages because “there are some Italians, rather a lot in fact, who say: ‘This book, Les Misérables, is a French book. It is not about us. Let the French read it as history, let us read it as a novel.’”

Permission was refused. The intensity and completeness of this exposition of the social ills in 19th-century France effectively turned that now mythical place into a stand-in for the whole world. You can’t blame Hugo for not being in tune with 21st-century ideas of the politically correct, but you have to admire him for standing outside the conventions of his day.

His response to the translator has a prophetic sense, and answers in advance the question of why his French-focused masterpiece continues to attract readers, fans and adapters all over the world: “I do not know whether [my book] will be read by all, but I wrote it for everyone... Social problems go beyond borders. The sores of the human race, these running sores that cover the globe, don’t stop at red or blue lines drawn on the map. Wherever men are ignorant and desperate, wherever women sell themselves for bread, wherever children suffer for want of instruction or a warm hearth, Les Misérables knocks on the door and says, ‘Open up, I have come for you.’”

David Bellos is the author of The Novel of the Century: The Extraordinary Adventure of Les Misérables (Penguin £10.99). Les Misérables starts on BBC1 on Dec 30 at 9pm; Dominic West is interviewed in the Magazine next Sunday

‘The Glums’: a potted history

● The full text of Les Misérables in the right order of reading was not available to British readers until 2008, in a version by the Australian writer Julie Rose.

● In 1897, the Lumière brothers shot a one-minute reel of a quick-change artist masquerading as Hugo, Valjean, Thénardier, Marius and Javert. This was the first time fiction had ever appeared on celluloid film.

● Victor Hugo’s wife, Adèle, operated as publicity manager for the novel’s launch. She created a poster campaign featuring illustrations of the main characters, making the novel’s imminent appearance known long before its publication. Nothing like that had been done before. She also had announcements prepared for newspapers and requested that they were held back from publication until she gave the signal, making Les Misérables probably the first work launched under embargo.

● When Hugo was ready to publish Les Misérables in 1862, he secured the publishing deal of all time: in today’s terms, he was paid about £3m as an advance on a contract allowing the publisher Albert Lacroix to print the book for just eight years. Lacroix had to get a huge bank loan to finance the book.

● Charles Dickens met Hugo in Paris in 1847, visiting his splendid apartment on Place Royale. There is not a trace of the event in Hugo’s records, which suggests the British author didn’t make a strong impression on the literary star of his day. In Dickens’s eyes, though, Hugo looked “like the Genius he was”.

● Hugo’s contemporaries weren’t all taken with his novel: “This book is written for catholico-socialist shitheads and for the philosophico-evangelical ratpack,” Gustave Flaubert wrote to a friend.

● When Hugo fled France in 1851, both his sons were in prison and Louis-Napoléon — Napoléon III — was his sworn enemy. “Because we had Napoléon le Grand, do we have to have Napoléon le Petit?” he quipped.

● Les Misérables has been adapted for radio and cinema more times than any other novel.

● Classical literary French had a restricted vocabulary. Racine got by with about 2,000 words. Hugo uses about 20,000 different words in the 630,000 words of the text of Les Misérables — maybe as many as in all of Shakespeare working in English, which has a much larger vocabulary in the first place.

https://www.thetimes.co.uk/magazine/culture/can-the-bbcs-les-miserables-do-justice-to-victor-hugos-epic-novel-50wtqgvdj?t=ie

#les mis bbc #bbc les mis #articles #David Bellos #victor hugo #spoilers #episode 1

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balkinbuddies · 5 years

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We’re celebrating July 4th with the ALAN Review article entitled “Where Are They Now? Remembering Our Most Popular Young Adult Authors.”

An article written by Don Gallo appeared recently in the Summer 2019 issue of The ALAN Review entitled “Where Are They Now? Remembering Our Most Popular Young Adult Authors.” Among those remembered were four authors with whom I worked very closely during my years at HarperCollins and, with Don Gallo's and the ALAN Review's permission, I'm including those remembrances on the Balkin Buddies blog:

Here they are in the order they appeared in the article:

Paul Zindel [Tied for first place with S.E. Hinton in 1988]*

Paul Zindel's death in March 2003 ended the brilliant career of a unique individual. Not only did he win a Pulitzer Prize for Drama and an Obie Award for Best American Play in 1970 for The Effect of Gamma Rays on Man-in-the-Moon Marigolds (1965), but he was also one of the earliest writers in the field of contemporary literature for young adults. The Pigman, published in 1968, is still one of the most well-known and widely taught novels in the genre. He followed The Pigman with My Darling, My Hamburger (1969); Pardon Me, You're Stepping on My Eyeball (1976), The Undertaker's Gone Bananas (1978); Harry and Hortense at Hormone High (1984); and other novels with attention-getting titles. His writing revealed how well he understood teenagers, believing that “adolescence is a time for problem-solving – for dealing with the awesome questions of self-identity, responsibility, authority, sex, love, God, and death” (Gallo, 1990, p. 228).

In addition to Gamma Rays, this versatile author wrote a number of other plays, including And Miss Reardon Drinks a Little (1971) and Ladies at the Alamo (1975), as well as a number of movies and television scripts that include Up the Sandbox (1972), starring Barbara Streisand; Mame (1974), starring Lucille Ball; Runaway Train (1985), starring Jon Voigt; Alice in Wonderland and Through the Looking-glass (1985), with a cast of 50 stars that included Red Buttons, Ringo Starr, Scott Baio, and Shelley Winters; Babes in Toyland (1986), starring Drew Barrymore and Keanu Reeves; and A Connecticut Yankee in King Arthur's Court (1989), starring Keshia Knight Pullman. During those years working in Hollywood, Zindel associated with numerous movie and television actors and became good friends with Walter Matthau who lived in the house next door.

In his later years, Zindel, always knowing what would appeal to teen readers, turned from realistic fiction to monster/horror books, such as The Doom Stone (1996), Rats (1999), and Night of the Bat (2001) – all of them filled with suspense and action and all selected as Quick Picks for Reluctant Young Adult Readers.

Zindel reveals a lot about himself in his 1987 autobiographical novel, The Amazing and Death-Defying Diary of Eugene Dingman, except that the fictional Eugene grows up in Bayone, New Jersey, while Paul grew up on Staten Island, New York. Of his teen years, Paul says bluntly: “I was an awkward freak.” More about Zindel's early life, family, and adventures can be found in his autobiography, The Pigman and Me (1992), which was named one of the 100 Best of the Best Books published for teenagers during the last part of the twentieth century. In 2002, the American Library Association bestowed upon Paul Zindel the Margaret A. Edwards Award for lifetime achievement, and later that same year, he was presented with the ALAN Award for his contributions to young adult literature.

M. E. Kerr [Tied for fourth place with Robert Cormier and Katherine Paterson in 1988]*

Writing under the pseudonym of M. E. Kerr, Marijane Meaker was one of the earliest authors to gain notoriety in the YA publishing world with Dinky Hocker Shoots Smack!, published in 1972. Among her 20 popular novels are Is That You, Miss Blue? (1975), I'll Love You When You're More Like Me (1977), Gentlehands (1978), Him She Loves? (1984), Night Kites (1986), the Fell series (1987, 1989, 1991), and Deliver Us from Evie (1990). Kerr has always chosen to write about differences in people, “understanding them....trying to make sense of it all, never losing sight of the power love lends.”

In an interview published in Teenreads, she explains her motives: “I was very much formed by books when I was young....I was a bookworm and a poetry lover. When I think of myself and what I would have liked to have found in books those many years ago, I remember being depressed by all the neatly tied-up, happy-ending stories, the abundance of winners, the themes of winning, solving, finding – when around me it didn't seem that easy. So I write with a different feeling when I write for young adults. I guess I write for myself at that age” (“M. E. Kerr).

Marijane Meaker began her career in publishing after she was unable to sell any of her stories to magazines. She presented herself as Ms. Meaker, a literary agent with six clients, and sent out her own work under various pseudonyms, male as well as female. One was a middle-aged female teacher writing true confessions (at $300 a story); another was a young college woman selling to magazines, such as Redbook and Ladies Home Journal; a third “author” told a story, titled “I Lost My Baby at a Pot Party,” about her child wandering from a house where a saleslady was pitching Teflon pots. Along the way, a Gold Medal Books editor convinced her to write a novel about sorority life, for which she earned $4,000 a book at a penny a word. This very resourceful writer also published two or three adult mysteries a year under the name of Vin Packer, and other novels were penned as Ann Aldrich and Laura Winston. Her books for children are published under the name Mary James. “A lot of my stories,” she says, “sold well enough for me to enjoy trips to Europe, an apartment off Fifth Avenue in New York City in the 90s, and a Fiat convertible.”

M.E. Kerr's novels for teens have won multiple awards, including a Christopher Award in 1978, a Golden Kite Award from the Society of Children's Book Writers and Illustrators in 1981, a California Young Readers Medal in 1992, the Margaret A. Edwards Award from the American Library Association in 1993 for her lifetime contribution to young adult literature, the Knickerbocker Award for Juvenile and Young Adult Literature in 1991, the ALAN Award in 2000, and the Golden Crown Literary Society Award for her groundbreaking works in the field of lesbian literature in 2013. In 1996, Long Island University awarded her an honorary doctorate.

A collection of her short stories for teens – dealing with dating, love, race, bigotry, homosexuality, self-love, and acceptance – titled Edge, was published in 2015. And Highsmith: A Romance of the 1950s, a memoir recounting Meaker's relationship with famous mystery writer Patricia Highsmith, was published in 2003. Still writing at the age of 91, Meaker recently completed a novel about gay life in New York City during the 1940s and how she became a literary agent for her own work. It's titled Remind Me, based on the lyrics of an old song from that time written by Jerome Kern and Dorothy Fields (1940): “Remind me / Not to find you so attractive / Remind me that the world is full of men.

Katherine Paterson [Tied for fourth place with Robert Cormier and M. E. Kerr in 1988]*

Born in Qing Jiang, China, in 1932, the middle daughter of missionary parents, Katherine Paterson has lived in a variety of places, from Tennessee, Virginia, Maryland, and New York City to China and Japan, where she was a Presbyterian missionary. She now lives in Montpelier, Vermont.

Her highly regarded novels include The Sign of the Chrysanthemum (1973), Of Nightingales That Weep (1974), Master Puppeteer (1975), and Rebels of the Heavenly Kingdom (1983), but she is known best for Bridge to Terabithia (1977), which won the Newbery Medal in 1978; The Great Gilly Hopkins (1978), which won the National Book Award in 1979; Jacob Have I Loved (1980), which won the Newbery Medal in 1981; and Park's Quest (1988), which made The Horn Book Fanfare Honor List in 1988. Published in 1996, Jip, His Story won the Parents' Choice Story Book Award and the Scott O'Dell Award for Historical Fiction in 1997. In 2006, Bread and Roses, Too won the Christopher Award and was a Bank Street Best Children's Book of the Year, a Notable Social Studies Trade Book for Young People, a Parents' Choice Gold Medal historical fiction book, and one of Voice of Youth Advocate's Top Fiction for Middle School Readers.

Paterson has also authored several autobiographical books about her writing, including Stories of My Life (2014), and is a coauthor of Consider the Lilies (Paterson & Paterson, 1986), a nonfiction book about various plants of the Bible that she wrote with her husband, John.

Over her long writing career, Paterson has also received a long list of awards for her body of work. Among them are the Kerlan Award from the University of Minnesota (1983), the ALAN Award (1987), the Hans Christian Andersen Medal for Writing (1998), the Astrid Lindgren Memorial Award (2006), the Laura Ingalls Wilder Award (2013), and the Massachusetts Reading Association Lifetime Award, along with writing awards from Germany, France, and Sweden. In 2000, she was declared A Living Legend by the Library of Congress, and for 2010-2011, Paterson was the US Ambassador for Young People's Literature. She is also the recipient of more than a dozen honorary degrees, including ones from Vermont College of Fine Arts, the University of Maryland, Hope College, and Washington and Lee University.

Paterson's latest novel is My Brigadista Year (2017), set in Cuba in 1961 during the literacy campaign that made Cuba a fully literate nation in one year.

Robert Lipsyte

The author of The Contender (1967) turned 80 years old this spring, as his ground-breaking novel passed the 50-year mark in print. Lipsyte is also the author of One Fat Summer (1977), Summer Rules (1981), The Brave (1991), The Chemo Kid (1992), The Chief (1993), and Raiders Night (2006) for teens, and for young readers, The Twinning Project (2012). Lipsyte's list of publications for teenagers isn't especially lengthy when compared to those of some authors who have been writing for the same length of time, but that's because writing books for and about teenagers is only one kind of work he has done especially well. He has also published a number of short stories, essays about sports issues, and biographies of several sports celebrities, such as Muhammad Ali, Jim Thorpe, and Michael Jordan, as well as several nonfiction books for adults, including Nigger, with Dick Gregory (1964), the African American satirist; Sportsworld (1975/2018); and Idols of the Game (1995). As the author of The Contender, one of the very first realistic novels about contemporary teenagers, Robert Lipsyte was honored with the Margaret A. Edwards Award by the American Library Association in 2001.

And that's not all. Among other things, Robert Lipsyte has been a highly respected columnist and prize-winning sports reporter for The New York Times, a correspondent for the CBS television program Sunday Morning with Charles Kuralt; the host of his own award-winning television interview program, The Eleventh Hour, on New York City's public television station, WNET Channel 13; author of a television documentary series about sports; and the Life (Part 2) series for PBS-TV on subjects of interest to older people. He is also the author of an entertaining memoir, titled Accidental Sportswriter (2011).

In addition to speaking at a lot of high schools, Lipsyte recently has been flying to North Carolina for a week at a time to teach at Wake Forest University, which he says he enjoys very much. He continues to write a monthly column, mostly on local politics, for his hometown weekly, The Shelter Island Reporter, which he says “gives me as much pleasure as the old Times' column.” He also occasionally writes about sports and politics for a site called Tomdispatch, which distributes to a batch of leftish publications like The Nation and The Guardian. If that's not enough, after his cameo on the O.J.: Made in America documentary film (Edelman, 2016) that won an Oscar, he gets called often to pontificate on various TV documentaries, most recently on one about Sonny Liston, three on Muhammad Ali (including one by Ken Burns), and another on that “hard year” 1968.

Meanwhile, this very busy author has been promoting the film, Measure of a Man (Scearce, 2018), starring Donald Sutherland, based on One Fat Summer, Lipsyte's 1977 novel about a bullied teen. View the trailer at https://trailers.apple.com/trailers/independent/measure-of-a-man/. “I have toyed with a new YA novel,” he claims, but where will he find the time?

*Based on the list of 169 authors' names Mr. Gallo sent to 41 present and past officers of ALAN in 1988, asking them “to identify the most important and popular YA fiction writers of the time and to add other names of writers they felt were as important.” Due to space limitations, he “limited this investigation to the top 30 authors included on that 1988 list.”

The ALAN Review Summer 2019

Reprinted with permission from the ALAN Review and Don Gallo.

I hope you enjoyed this excerpt and get to read the entire article. Personally, I feel honored to have worked with such incredibly talented authors as well as with all the amazing people at ALAN.

For information on Balkin Buddies, be sure to visit our website or blog.

Catherine Balkin, Balkin Buddies

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clexaao3feed · 6 years

Text

The Great British Bake Off: Season 100

by sans_carte

“Nervous, Griffin?” Lexa asks.

“What, aren’t you?”

Clarke and Lexa are contestants on the Great British Bake Off. With very different baking styles, they battle over bread, buns, and biscuits...and flirt like mad when they’re not on camera. But it’s just for the duration of the competition, they both agree; no strings attached. Right?

For Day 2 of Clexaweek 2019, prompt: No Strings Attached.

Words: 4789, Chapters: 1/1, Language: English

Fandoms: The 100 (TV), The Great British Bake Off RPF

Rating: General Audiences

Warnings: No Archive Warnings Apply

Categories: F/F

Characters: Clarke Griffin, Lexa (The 100), Raven Reyes, Octavia Blake, Lincoln (The 100), Mel Giedroyc, Sue Perkins, Mary Berry, Paul Hollywood

Relationships: Clarke Griffin/Lexa

Additional Tags: No Strings Attached, Fluff, Baking, Gratuitous use of puns, Strong Language, basically everyone's in it - Freeform, May induce hunger while reading--snacks advised, Alternate Universe - Modern Setting

Read Here: https://ift.tt/2tGlp6M via IFTTT

#IFTTT #AO3 works tagged 'The 100 (TV)'#clexa #the 100 #commander lexa #clarke griffin #clarklexa #c

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silviahullsanfrancisco · 3 years

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[[PDF] FREE’ 100 Great Breads: The Original Bestseller by Paul Hollywood

[Read] Mobi 100 Great Breads: The Original Bestseller => https://mediaflexiblelimited.blogspot.com/book83.php?asin=1788402146

Size: 10,718 KB

D0WNL0AD PDF Ebook Textbook 100 Great Breads: The Original Bestseller by Paul Hollywood

D0wnl0ad URL => https://mediaflexiblelimited.blogspot.com/away12.php?asin=1788402146

Last access: 40286 user

Last server checked: 16 Minutes ago!

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listen-to-the-trees · 2 years

Text

Named Bread

Last bread, guys. LAST. BREAD.

I have officially finished my 100 breads in a year challenge.

WOO HOO!

As to the bread itself…. why would you put a bread recipe in a cookbook that you specifically state is not to be eaten? Why? Who does that, Paul? What were you thinking?

Now, you technically could eat these letters since I left out the WOOD VARNISH in the recipe (yes, I said wood varnish), but you really wouldn’t want to, as they have about two and a half times the usual amount of salt and about a quarter the yeast, so they are *dense*. And also crazy salty.

But you could eat them. If you wanted to. Since I didn’t, you know, coat them with wood varnish.

On the other hand, I guess it could be fun for putting out at a party or something?

#baking #bread #my baking challenge #paul hollywood’s 100 great breads

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la-quarantine-bakery · 4 years

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Frankenstein and math: whole wheat and spelt braided bread

As I become more confident (and competent) at baking bread, I am trying to put my own spin on recipes, both to develop my own style but also to try out different concepts (I don’t eat bread nearly quickly enough to try out every single recipe out there...).

I’ve had my eye on this recipe for a while, even when I was making the first spelt loaf. I love the taste of King Arthur Flour’s white whole wheat flour and the idea of enriching the dough with liquid sweeteners (like honey and molasses and maple syrup) as well as dry milk.

I changed the recipe a little to accommodate a sponge and a tangzhong, and substituted spelt flour for half of the whole wheat flour because...why not? I also used the last of my mom’s ginger honey in the bread, although interestingly the ginger was a lot more muted in this bread than the brioche. When I became intrigued by Paul Hollywood’s braided loaf, I decided to braid my bread as well. Finally, I added an autolyse so I could have some time to clean up the kitchen.

The dough was very soft and sticky, and even though I added quite a bit of flour (which I tried not to do for my other recent breads) it was still having trouble holding its shape after braiding, so I ended up baking it in a disposable aluminum foil pan. The two proofings were great and I probably could’ve used less yeast (for a halved recipe, I used 3/4 tsp, but the 1/2 tsp in the original sponge probably would’ve been enough).

I used oil instead of flour, per Paul Hollywood and the recipe, so the dough was quite oily, which allowed me to add some white sesame seeds before I put it in the oven. I forgot to tent the bread halfway through the baking but it didn’t seem to make a difference. I’m disappointed by the lack of oven spring, however. I wonder if it’s because my bread was too soft or it was underkneaded or the flour used.

The smell and the taste of the bread was great, even though there was no butter or sugar involved. I wasn’t sure before (my first spelt loaf had >1/2 cup of coconut sugar!), but now I’m pretty sure that spelt flour does have its own subtle, sweet taste. I’ll keep experimenting with spelt flour!

Modified recipe:

tangzhong

1.5 tablespoon white wholemeal flour

1/4 cup water

sponge

1/2 scant tsp yeast

1/4 cup spelt

1/2 cup ww

1/4 cup + 1 tablespoon water

the rest

1/2 cup + 1 tablespoon wholemeal spelt flour

1/4 cup + 1.5 tablespoon white wholemeal flour

1/8 cup avocado oil (2 tablespoon)

1/8 cup ginger honey (2 tablespoon)

(if needed) 1/4 scant tsp yeast

1/8 cup dry milk (2 tablespoon, 17g)

1/2 tsp salt

Original recipe: classic 100% whole wheat bread from King Arthur Flour (tutorial)

Braiding video: round challah braid tutorial from Michelle Barbour

#whole wheat spelt bread #recipe

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booksincoursesanddishes · 5 years

Text

100 Great Breads - Paul Hollywood http://dlvr.it/R9p1c8 http://dlvr.it/R9p1c8

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topcookbooks · 5 years

Text

100 Great Breads - Paul Hollywood http://dlvr.it/R8CkDt http://dlvr.it/R8CkDt

#Courses & Dishes

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reactingtosomething · 7 years

Text

Reacting to Atomic Blonde

Suck It, Daredevil

The Setup: Charlize Theron was the best action star of 2015, and two years later she may have just reclaimed her crown, in the solo directing debut of former stunt coordinator David Leitch (half of the duo who directed John Wick and some second unit stuff on Captain America: Civil War, doing their part to save Hollywood action scenes from subpar ALL THE SHAKY CAM AND ALL THE CUTS Paul Greengrass imitation).

Heralded by possibly the coolest trailer of the year -- at the very least, the coolest that didn’t have a House of Mouse effects budget -- and backed by a uniformly stellar supporting cast including Sofia Boutella and John Goodman, Theron’s also making a decent run at James Bond’s status as Most Dashing Lothario Assassin, because why not. (And not just for straight dudes.)

In short, this has too many of RtS’s favorite things not to be an obvious choice for a Reaction. SPOILERS for Atomic Blonde after the jump.

KRIS: I guess I’ll open with a Caroline Framke tweet

MIRI: Please do

KRIS: https://twitter.com/carolineframke/status/891158770117685248

MIRI: I was really hoping it would be that one

KRIS: (The RT:like ratio, as of now, is 146 to 1200)

MIRI: Omg

I may be one of those likes

MARCHAE: LOL

KRIS: RtS is definitely one of those likes

MIRI: Can't remember if I RTd

Update: I did RT

very proud of my lack of shame

KRIS: Although I guess stabbing is really the least of what she does to some of those guys

MIRI: Carry on

Right

But there Is definitely some stabbing

KRIS: So this wasn’t, like, EVERYthing I wanted/expected it to be, but the “long take” fight alone is worth the price of admission twice over

MARCHAE: Yeah she is incredibly hard core (and trust that was not in the source material so i was happy they def. gave her some swag)

did either of you get a chance to read the text it was based on

KRIS: I loved that it was basically telling both Daredevil and Birdman to go fuck themselves

MIRI: Hahahahahahha

No I didn't

I'm not nearly the fight choreography conosieur that Kris is, but I was so fucking into this

(Wow spelled that so wrong autocorrect was stumped)

KRIS: I mean I did not have any reservations about any of the other fights, it was everything around the fights that was kind of uneven

MARCHAE: go on

KRIS: Not BAD, but uneven

MIRI: Say more

KRIS: Pacing felt weird sometimes?

This felt longer than its runtime

MARCHAE: (yes that is truth..>YES IT DID)

MIRI: Yeah, I can agree with that

KRIS: Maybe a little twistier, plot-wise, than was really justified, especially since it end-loaded the twists

MIRI: Yeah, the last few minutes were a bit of a mind fuck and not in a totally earned way

KRIS: The sound mixing was VERY interesting, but I wasn’t always sure it needed to be so showy

MIRI: This movie is showy down to its bones

and some ways that works better than others

KRIS: Although it did add to the disorientation

MARCHAE: (re the twists the text was similar in that way…)

KRIS: The sound mix I mean

Like going back and forth between having music in a scene be diegetic and not

I did like the way they used it in the bar where Lorraine meets Delphine though

MIRI: I feel like it was better directed, acted, and choreographed than it was written. Does that make sense?

KRIS: When you assume the REALLY LOUD CLUB MUSIC is diegetic but it cuts out really suddenly when the guy (was it Bremovych there?) offers a light

Yes

MIRI: Yeah, that moment was very nice

KRIS: But I feel like pacing often comes down to direction

MIRI: Fair

KRIS: All the performances are definitely great

MIRI: Seriously, all of them

MARCHAE: hmmm that’s interesting - I think that comes back to the writing - if the story has pacing problems - then that’s ultimately a structural problem with the story, no?

MIRI: I especially loved Lorraine’s German contact

KRIS: I think editing can have a lot to do with pacing too

MIRI: And obviously Theron, McAvoy, and Boutella

I think it can be any of the three, or a combo

MARCHAE: yeah… i thought about that as well @kris

MIRI: They all need to be good for it to work

KRIS: Did you feel like it at least played fair with the audience for most if not all of the twists?

MIRI: Yeah, I would say so. Things felt justified to me

KRIS: I felt like I got lost two or three or five times but at least some of those seemed to be deliberate and then I had “ohhhh” moments in act 3

MIRI: Hahahah which ones?

MARCHAE: Yeah, I think it is supposed to be a bit of a mystery which is kind of nice

KRIS: God I don’t even know, there’s was a lot happening

But the one I’m still confused about is that I don’t remember what happened to the guy who killed Gascoin

MIRI: I was secretly hoping you’d name them all so I could refer to your superior memory

Ice pick to the brain, right?

KRIS: Oh, my mistake, it is Gasciogne

I’ll take your word for it

But there were several Angry Bearded Men

MIRI: I think that was the same angry bearded man

He had the list and was going to sell it

to the watchmaker man

MARCHAE: Oh yeah

MIRI: and Percival ice picked him because Gasciogne was his friend

KRIS: Oh man I totally thought Marton Csokas was playing Bakhtin but IMDB tells me I was wrong, I guess it was just two Angry Bearded Men

MARCHAE: HA!

MIRI: Shit, who was Bakhtin? Is that ice pick head?

KRIS: Yes

MIRI: I need to open the imdb page

Ok, Bremovych was the one who beat the guy in the warehouse, right? And smashed the boombox?

KRIS: Oh wow Gasciogne was [played by] the stunt coordinator [Sam Hargrave, who also doubled for Chris Evans in Captain America: Civil War]. Did not recognize him with his (not-angry) bread in the post-show interview

not-angry beard, not bread

And yes

MIRI: WHAAAAATTT???

KRIS: Bremovych was the boss

MIRI: He looks SO different with long hair and a beard

KRIS: He was EXTREMELY Angry

MIRI: Holy heck

Also, he grew that beard so fast!!!

KRIS: That scene could have ended sooner

MIRI: Yeah, wasn’t my favorite

KRIS: Not even for the brutality, which was partly offscreen, it was just one of the pacing things where I was like why is this happening

MIRI: Yeah, it dragged a little

And it wasn’t at all shiny

Like, even when things are grungy and bloody in the rest of it, it’s shiny

MARCHAE: so this is my last time brining up the text … it was very similar to me in that way

so similar that indeed some the dialogue came straight from it

MIRI: (not literally, like stylized)

Guys, go to Til Schweiger’s imdb page immediately

Not only is he a fox

KRIS: Like awkwardly long, you mean, Marchae?

MARCHAE: I wasn’t surprised to see that it did have pacing issues - i honestly think that they thought they would make up for that with the action scenes.

MIRI: Apparently he’s Germany's best-known actor and also the country's most successful director

(He’s the watchmaker guy)

MARCHAE: @miri - WOW!

@kris what do you mean the text

KRIS: That scene in particular

MARCHAE: so here’s the thing… she doesn’t fight AT ALL in the text

in fact i think she fires a gun once

MIRI: WHAT

WHAAAATTTTTTTTT

That is a significant change

MARCHAE: and as far as other acts of violence it was literally like a few gun shots if i remember correctly

KRIS: Like is Bremovych’s introduction just panels and panels and panels of kicking noises and pained reaction shots?

MARCHAE: not even…

MIRI: And makes the fact that they stayed so close to the text in other ways fascinating

MARCHAE: it is incredibly slow and much of the action, similar to in the film would be in the last couple of dozen pages

MIRI: What?

MARCHAE: legitimately i believe they slayed her out made her tough because otherwise it would have been a historical drama

and that would have been an entirely different film

MIRI: Also because the director is a stunt guy, probably.

MARCHAE: it was not an excited graphic novel (GN)

exciting*

that’s why i thought it would be interesting to read and see the movie i was like wow this will be an awesome comic

and it is if you are interested in historical GN about russians ( I am not generally)

but I was expecting LOADS of fighting

nope

so to see that on the screen made the film 1000000 times more enjoyable

MIRI: Nice

I really really loved that the fight choreography wasn’t Sexy lady Fight Choreography

MARCHAE: but they definitely compensated for the other shortcomings which i thought was this weird desire to stay close to the source in terms of story but create a film that would be able to kind of catch some of the wind that was left behind by the other female centric films of the summer season

ok that’s all

YES

MIRI: They were deliberate about the fact that she was smaller than most of the guys, yes, but she fucking fought

She took hits

MARCHAE: i also love that she’s not young

or incredibly frail

MIRI: She was brutal and they were too and it was amazing

KRIS: Lorraine getting the shit kicked out of her was definitely the distinctive thing

MARCHAE: that made the back of my knee caps hurt

but she held her own and prevails

MIRI: I do have the tiniest quibble with the fact that they kept her unmarked from fights that totally would have bruised/scraped her up in the beginning because they needed her in sexy club outfits

But past that point they did a nice job of letting her be marked by the fights without being afraid to make her less pretty or whatever

KRIS: It gets you invested in the character AND gives Lorraine the character development/revelation of having the stronger will, as the stunt guy put it

I guess I assumed she was using makeup to cover stuff up early on?

MIRI: Eh, I don’t 100% buy that but it also doesn’t super bother me

MARCHAE: i don’t know that it registers with me much… i think because she’s so battered at the end …

doesn’t she soak in a tub of something at one point?

KRIS: I think the ice bath is just at the beginning, which is advanced in the timeline of the story

MIRI: Yes, in the beginning bookend she’s in her AMAZING giant ass tub filled with ice cubes

And she does something similar in Berlin

All of the tubs in this movie were giant and I want them

The Berlin time was where you got the cool underwater shot of her face in the neon light

KRIS: Oh right

MARCHAE: i just never quite figured out what it was that she was able to look mostly okay…

i thought it was medicinal but i guess it was just ice

MIRI: Well she did do a bunch of makeup after that

MARCHAE: also it was an incredible shot

MIRI: And it couldn’t hide everything

Which? Neon Berlin bath or opening London bath?

Both were cool but I’m assuming you meant the London one

MARCHAE: the blue one?

MIRI: The one they used in the trailers, where she then adds some of the ice to her drink?

MARCHAE: YES

MIRI: Yes! That was very cool!

With the perspective flip and all

M: And the bathtub is SO BIG

MARCHAE: it was so good

so i know you all mentioned earlier that it wasn’t shiny

KRIS: There was a lot of playing with perspective in the cinematography

MIRI: Only that warehouse scene

(re: not shiny)

MARCHAE: gotcha

MIRI: The rest totally was

which I mostly loved

And to Kris’s point--yes! Most of it very cool

MARCHAE: sorry i was just going to add that i thought it was a sexy looking film

which i suppose also goes to kris’ point about cinematography

MIRI: The one I think about most is the sexy one, actually--the cut from them making out in the club to the sex scene

(which again, they used in the trailers a lot)

(well, the red band ones anyway)

MARCHAE: i did like that

KRIS: I feel like there were also a lot of reflections

Like when she’s leaving Delphine’s apartment near the end

MIRI: Yes! God that one broke my heart

MARCHAE: (side note…there is no Delphine in the text)

KRIS: And for awhile it’s just two Lorraines and I was like “hmm this is unnecessary” and then you see Delphine

MIRI: well, Theron did say that she’d need a Bond girl if she ever played Bond

KRIS: I think having a female love interest was actually the writer’s idea

MARCHAE: OhHHHHH

MIRI: That makes me so happy

MARCHAE: yeah it had to be because it didn’t exist… it takes the place of another relationship or is ore of a composite

I liked it and I thought it made the character much more interesting and gave her more than we generally get

MIRI: As does the way Theron has addressed Lorraine’s bisexuality in interviews

I was really afraid that it would be a surface level portrayal of bisexuality

KRIS: “I remember sitting in a room one day thinking about how do you make this different from other spy movies,” Theron says. “It’s really hard. Who is going to be the love interest? Kurt, who’s a punk rock writer, suggested she falls in love with a woman.”

http://ew.com/movies/2017/04/26/charlize-theron-breaks-down-her-steamy-love-affair-in-atomic-blonde/

MARCHAE: Nice!

MIRI: I was afraid she would have an emotional connection to the dude and a purely sexual, over-sexualized connection with the girl

But it was not that at all

MARCHAE: no - i mad that delphine died and i think bugged by how she died as well

KRIS: But I also liked that the emotional connection wasn’t really just “whirlwind romance” but also ended up being about Lorraine mourning what being in “the game” does to people

MIRI: I am angry that Delphine had her damn headphones on when she knew someone might come and kill her

that was dumb

MARCHAE: **snaps fingers @miri and @kris**

MIRI: Kris, that’s a really good point and I agree

MARCHAE: i wished she’d been able to fight more i think.

AND YES MIRI DUMMMBBBBBBBBB

KRIS: It at least didn’t feel like a fridging, though, in that Lorraine’s motivations weren’t really changed and she never had like a breakdown scene or anything

I think on some level there’s an expectation of a Sofia Boutella character Kicking All of the Ass

but at least to me it was important to the story that she be green

MIRI: (btw that’s not to say there aren’t bi people who are bisexual and hetero or homoromantic or to cast shade on them! It’s just a very often a very stereotyped portrayal in media)

KRIS: She’s on her first assignment and “only been here for a year” vs. Percival, a station chief, having “gone native”

MIRI: Yeah, it did mostly work for the character

and I liked that she was green and in over her head

It made her a very nice foil to both Lorraine and Percival

KRIS: Especially with Lorraine being allll the way on the other end of the spectrum as a triple agent

MIRI: How old is McAvoy?

KRIS: 38

MARCHAE: born 1979

MIRI: Oh, he’s a bit older than I thought--he’s only 4 years younger than Theron

I thought he was more in the middle of her age and Boutella’s

KRIS: Boutella is also older than she looks

MIRI: Holy crap she is

born in 82

Wow, I would have said mid twenties

I’m so bad at ages

MARCHAE: I didn’t realize she was as old as she is!

KRIS: I do think mid 20s is what she’s playing here

MIRI: Yeah, seems like

Can we discuss the outfits? Because they are amazing

MARCHAE: OH MY GAAAAAAAAHHHHHHHHH

I turned to my friend and said i need to start dressing like all of these women! it was its own character and kind of a love letter to the era

MIRI: Lorraine’s commitment to GIANT sweaters/tops with no pants is AMAZING

MARCHAE: YESSS

YESSS

KRIS: (To go back for just a second, my objection to “whirlwind romance” definitely applies to couples of all configurations -- it’s the one thing that doesn’t totally land for me in Casino Royale)

MIRI: It says SO much about her

KRIS: I did like that as a consistent choice

MIRI: She’ll dress however she has to for work

But whenever she can be, she’s COMFY AS HELL

MARCHAE: and i appreciated it and she fights in a hoodie i think at one point

MIRI: I mean she still looks amazing, but no pants, giant shirt

Yes!

MARCHAE: although i didn’t love that she was perpetually in heels!

NOPE NOPE NOPE NOPE

my feet hurt for her but that’s an aside

MIRI: Yeah, I feel like some flat ankle boots would have been better

MARCHAE: although am glad she can work it that way

MIRI: But I do believe that she would do it

KRIS: Yeah

MARCHAE: kudos to the women who can fight in heels

oh yeah all the marvel women seem to do it

KRIS: I also thought Theron was taller than me, but she’s the same height

MARCHAE: how tall is that?

so our readers have a frame of reference :)

KRIS: I think we’re not actually supposed to notice most of the Marvel heels though

I’m either 5-9 or 5-10

MIRI: Kris wants to remain mysterious, Marchae

or not

KRIS: IMDB lists her at 5-9 1/2

MARCHAE: LOLOLOLOL

miri i thought the same

(we aren’t?)

MIRI: Not sure. We might be supposed to just accept that that’s how superhero women look

Like Barbies, with their feet always arched

MARCHAE: interesting

KRIS: (I feel like they’re mostly to make Johansson and Smulders tall enough to make framing shots easier? I don’t know though)

MIRI: I think that’s definitely part of it, if not all

I’m just being snarky

KRIS: Gamora being the (infuriating) exception

MIRI: I like to play to my strengths

Ughhhhhhhh readers, please refer to our Guardians Volume 2 reaction for more!

Percival’s sense of dress is batshit and amazing

He wears sweater vests as shirts

And his giant coat!

MARCHAE: LOLOL

KRIS: Hard to go wrong with a good giant coat

MARCHAE: (ok another book spoiler… Percival is an older man who’s always in a trench coat- ALWAYS)

MIRI: Whaaaaaat

Is he all wily and gone-native?

Does he drink Jack and hide things in his fake cast?

KRIS: I loved the fake cast

MIRI: It was brilliant

MARCHAE: well yes and no.. he has no cast at all he’s completely in tact because there was not a ton of violence and he is a bit what’s the word not aways nice

the fake cast was great!

MIRI: Does “a bit what’s the word not aways nice” mean he was a dick in Marchae-speak?

MARCHAE: LOLOLOLOLOLOL

KRIS: I know this wasn’t McAvoy’s first Fun Role but it was the first one I’ve seen him in

MARCHAE: yeah he kind of was

MIRI: He’s fun in First Class!

KRIS: I guess First Class-era Charles Xavier has a little fun but he pretty quickly has to do the Mentor thing

MIRI: Fair

KRIS: He’s fun until he gets his doctorate, basically

MARCHAE: I DID NOT REALIZE THAT WAS HIM IN ELENOR RIGBY

KRIS: Yep

MARCHAE: get the heck out

I liked him in Split

he’s kind of a good actor

KRIS: He rarely gets to do his own accent (Scottish)

MIRI: I LOVE his accent

MARCHAE: (HE WAS ALSO GNOMEO!!!)

KRIS: Oh he’s great, I’ve been a fan since pre-Chronicles of Narnia

MARCHAE: oh my word i am learning of all these movies i’ve loved him in and didn’t realize it was him

wow then i guess i Love him too

thanks gang

how cool!

MIRI: He’s amazing in Atonement

KRIS: I wonder if I should’ve seen Victor Frankenstein

Probably not, but still

MARCHAE: lol

KRIS: Does someone want to talk about the music?

MARCHAE: it was it’s own character and definitely a love letter to the 80s i appreciated it as a detail that was paid particular attention to in the film

MIRI: I like 99 Luftballoons

MARCHAE: and i sometimes watch people when i go to the movies which i know is weird, but you saw a lot of people dancing in their seats and lip singing to it

KRIS: Is “love letter” enough of a reason to do something though?

MIRI: Just in general

MARCHAE: it was cool

KRIS: I liked the use of covers

But maybe post-Baby Driver I’m a little oversaturated on the whole “music as a character” thing

MIRI: I mean, this whole movie is kind of a love letter to its aesthetics

KRIS: Also partly because the composer for this is the composer on the Guardians movies

Which do the same thing -- heavy, showy music supervision, totally forgettable original score

MARCHAE: I don’t know Kris - I think maybe it is sometimes because you interact with people on a different level

MIRI: Yeah, I couldn’t tell you a single thing about any of the original score

KRIS: Say more MM

MARCHAE: I think because i was very young during the time in which the film is set, but the music triggers memories of what was happening, so now in my mind i am going back saying -yes the Berlin wall - and not from something I learned in class - but instead at home as a kid - but it’s because the music triggered that more than the image necessarily… also because of the kind of tv i was watching as a kid so like the cartoons

KRIS: I will say that the near-oppressiveness of the soundtrack in most of the movie made the music-less long-take fight that much better for the contrast

MARCHAE: but then you ALSO now get to engage those people who maybe weren’t sold on the movie at least now excited about how it sounds and what will be next

KRIS: I guess that makes sense, but what does it have to do with how I interact with people?

MARCHAE: I think as a writer/director you are interacting with all of my senses (save smell but I’ll even argue that)

so i hear how it, what it makes me think of after the fact and why

am i dancing in my seat and saying thats my jam

or i loved it

i think that kind of thing

KRIS: Oh, so when you said “you interact with people on a different level” that was the general You, not You-Kris

MARCHAE: yeah general you

not you KM

sorry i should have been more clear

MIRI: The English language is imperfect

KRIS: I’m curious to see more movies from both David Leitch (this) and Chad Stahelski (the other John Wick director, who directed JW 2 solo)

Because I want to know if Stahelski is a better solo director or if there’s something else behind the pacing differences in this and JW2

I mean besides the obvious genre difference

MARCHAE: (aside number 554 from marchae - i need to watch JW and JW2 )

MIRI: I need to watch JW2

KRIS: I keep forgetting MM hasn’t seen the first one, especially ever since we realized she loves action movies

MIRI: I keep forgetting that amazing fact

❤️

KRIS: (WATCH HAYWIRE)

MIRI: (WE WILL AT SOME POINT I PROMISE)

KRIS: I feel like somehow we haven’t said enough about Charlize Theron

KRIS: (WE DON’T HAVE TO REACT TO IT I’m just saying)

MIRI: (ALSO I MIGHT FINALLY BE READY TO WATCH BLAICK SAILS)

MARCHAE: (I WILL)

MIRI: Let’s talk about Theron

Because she is AMAZING in this movie

KRIS: She definitely holds the whole thing together

If the performance had been a few notches less confident I would’ve gotten bored

I think

MARCHAE: she is brilliant

to go back to the text she gives that character so much LIFE

KRIS: I mean even just the button on the first interrogation sequence -- the pause before and the delivery of “Fuck”

MIRI: People laughed out loud at that moment

MARCHAE: oh yea

she has this kind of wit about her that i love and she’s coy which is awesome

and she freaking in her 40s

KRIS: That was one of the more successful uses of a dragged-out moment

50 is the new 40, not to be a cliche

MIRI: Are people saying that?

KRIS: Even more than John Wick this made me think of Banshee, which also has a 40-something female action lead (though she’s not THE lead)

MIRI: I mean I endorse it wholeheartedly

KRIS: I mean just in general with regard to __ is the new __

MARCHAE: LOL

MIRI: Between this and Proud Mary, I’m all in for movies about women old enough to be my aunties killing people with great skill

KRIS: I’m always going to prefer hand-to-hand to gunfights (and gunfights to car chases)

MARCHAE: And doing so unapologetically it’s about time we get to see women use their bodies in ways that are indicative of strength

i do love a good car chase that ends with a fiery crash

MIRI: @Marchae YESSSSSS YES YES

MARCHAE: those are cool

MIRI: @Kris, how did you feel about the Atomic Blonde car chase?

KRIS: It was fine, and it wasn’t really about the cars was it?

Unless I’m forgetting a car chase

Which I would believe

MIRI: Ah, so you mean you’re not into Baby Driver car chases (as much as gun fights, at least)

KRIS: Right

MIRI: No, it was more cars as blunt weapons and gun shields, not a drag race or anything

KRIS: BUT there is a fun little Charlize Theron car anecdote in the Anne Helen Petersen profile I posted earlier

MIRI: About her in the Woody Allen movie?

Oh, I’m mixing up movies from that profile

KRIS: ...I think I am forgetting a car chase

MARCHAE: HA!

MIRI: From Atomic Blonde?

MARCHAE: she also learned a lot of her own stunts

MIRI: Or something else?

KRIS: Yeah

MARCHAE: There were two

KRIS: When you said it I was just thinking of Percival chasing the car Lorraine had gotten into when she landed

Jesus Christ Kris

MARCHAE: YUP

MIRI: Ohhhh, I forgot about that one

MARCHAE: i was just typing that

with the shoe

MIRI: I was talking about the other one

K: I guess I blanked on it since it’s part of the oner and especially because we never leave the inside of Lorraine’s car

KRIS: Start looking for the name 87 Eleven a lot more, I think

MIRI: I did like the shoe thing

KRIS: They’re the stunt/action design people

MIRI: They did damn good work

MARCHAE: they were really good!

KRIS: This and the John Wicks

Also a “Special Thanks” on Power Rangers?

MARCHAE: ok i get it… I’ll watch JW 😊

MIRI: Huh

Maybe they consulted

KRIS: Stephanie Beatriz started training there recently, not for a part but to get in shape for potentially being an action hero

MIRI: WHAT

KRIS: She’s posted a couple of “I’m dying” videos to her Instagram story

MIRI: she'd be good, too. She has dance training

I need to watch more Instagram videos

KRIS: I feel like we’re running out of steam but we have to go back to the long fight

MIRI: Pause for a sec, grabbing my laundry

KRIS: I felt like a lot of the apartment fight was in the trailers so I was a smudge concerned the same would happen in the stairwell

While we wait, here’s Jessica Chastain punching the air:

https://twitter.com/jes_chastain/status/891493560993947648

MARCHAE: LOL

yes

they were both brilliant fight scenes!

KRIS: I absolutely will not accept The Huntsman as the only time Jessica Chastain gets to be an action hero

MARCHAE: she’d make an amazing superhero!!

KRIS: Especially because that was such a stunt-double-heavy character

She’s in talks to be in the next X-Men as a Space Empress

But I don’t think she’d get to do much fighting

MARCHAE: dang! i’d love to see her kick some doors down

MIRI: Ok I’m back!

And I fully support Chasten as action hero!

*Chastain

KRIS: So a bit of this fight is the very first thing most of the world saw of Atomic Blonde

Which obviously turned out to be the smartest possible trailer move

(Maybe “most” is an exaggeration)

MIRI: Right, but the sheer length of it is not something you understand from the trailer, which is nice

KRIS: Yeah, basically the trailer part ends before Spyglass gets his little comic beat

“Two more”

MIRI: Because it means you don’t lose the impact in the moment by showing it in the trailer

KRIS: And I was like “Aw, only two more?”

MIRI: Loved the Spyglass beats

KRIS: But then everyone just... kept... getting... back... up

MIRI: that one, and him doing the tape in the apartment

MARCHAE: RIGHT

MIRI: Yeah, she has the most will, but they all has a LOT

KRIS: So hang on, have either of you watched Daredevil?

MIRI: especially bleach blond guy with the neo nazi haircut

Key-face

KRIS: Or at least that fight? You know the one even if you haven’t seen it

MIRI: I have only watched part of the first season

Not that one, not

*no

MARCHAE: I starting watching part of the first season

MIRI: I’ve heard of the fight you mean

youtube

MARCHAE: ( I actually liked it and am not sure why I didn’t keep going)

KRIS: It’s the end of the second episode

MIRI: Same!

Oh, then maybe I did and I’m just blanking

huh

KRIS: We don’t need to watch it right now but the salient points are that it’s maybe still the best fight scene TV has ever had

And does a similar thing with exhaustion

MIRI: Oh, interesting

KRIS: But they tried to one-up themselves in season 2 with a longer, flashier oner

(Which incidentally also involved a staircase)

But without the exhaustion bit

MARCHAE: Nice!

MIRI: Staircases are good. They give new height differences

KRIS: And it’s Cool and all, but feels much emptier as an exercise than the first one, which is confined to one hallway

MARCHAE: I liked seeing them on the stairs there is also a new element of danger and stakes … like if i fall or get thrown over…

KRIS: Which is why this fight in Atomic Blonde felt almost like a direct response

MARCHAE: ohhhhhhh

KRIS: And specifically a Suck It, Daredevil

I mean I don’t know if it actually was

But I enjoyed thinking it

In that Daredevil s2 fight Matt just absolutely owns everyone who comes at him

Which can be cool

MARCHAE: now i really want to watch

KRIS: But the back-and-forth and the exhaustion justified the technical showiness in AB

MIRI: I liked that Lorraine was really good, but wasn’t Impossibly Better Than Everyone

KRIS: Also really liked the commitment to improvised weapons

MIRI: Key-face is super good too, she’s just got more will in the end

I love that

MARCHAE: Yeah that was brutal

MIRI: The hot plate!!!

KRIS: And the shot revealing the corkscrew, and the audience reaction to seeing the corkscrew

MIRI: WHY IS IT ALWAYS CORKSCREWS????

MARCHAE: I’m cringing thinking of it….

KRIS: I guess because you can hold them for punching?

MIRI: In the last calendar year, I have seen three movies where a woman stabs someone with a corkscrew

THREE

KRIS: What were the other two?

MARCHAE: they are small and compact

MIRI: The Girl on the Train

MARCHAE: OHHHHH yes

*cringing again*

MIRI: and Clinical, which is a Netflix movie the company I used to intern for produced

KRIS: Oh I haven’t seen but I guess there would have actually been wine in proximity

I read Clinical

MIRI: Yeah, the fight between her and the girl in the kitchen

Spoilers for both of those, I guess

KRIS: Yeah to go back to something Miri said it was a cool choice that the fighting in this wasn’t as stylized as in something like John Wick

Which made the choreography in a larger sense more creative

Because of the improvised weapons, the use of the locations, etc

MIRI: I really like how most of the movie is so stylized, but the fights were so gritty

KRIS: Whereas the locations in so many action movies are basically irrelevant

MIRI: I mean, obviously super choreographed because they’re not insane

MARCHAE: they felt authentic

i could not every fight in that way, but you looked at that and thought yup a person could actually do this… it was believable!

MIRI: Honestly, the lack of stunt doubles made this so much better

KRIS: OH

MIRI: Because it can feel that real

What?

KRIS: I really loved that Lorraine covers her face in the end of the apartment fight, when she’s outside before the last two cops arrive

And that I thought this was going to be a moment for a cut to a double

But then they hold the shot until she lowers her collar again

MIRI: Why did you love that?

KRIS: Just to have my expectation of a double subverted

MIRI: Ah, gotcha

KRIS: It felt VERY oh, here’s a good excuse to cut around her

And then it wasn’t, it really was just Lorraine protecting her identity

MIRI: I just didn’t know why she did it--she lowers it immediately after, so it doesn’t seem effective to keep her identity secret!

I guess from those two cops

Or anyone who might have been coming, but then no one did

MARCHAE: that’s what i thought, it also looked really cool, she’s a spy and has to just keep cover, she’s always on alert

KRIS: And of course the other thing about the realism of the fighting in this is the gender thing -- Natasha Romanoff is always kicking and spinning

MIRI: Which is a cool and valid fighting form

But it shouldn’t be ALL THE TIME

KRIS: And Charlize Theron’s legs are like a mile long so not just from gender but from Charlize Theron you would expect something similar

MIRI: I loved that Lorraine was a brawler

KRIS: And obviously men can kick and spin and that’s the point of like, Tae Kwon Do, but outside of Asian productions you don’t see it a lot in movies

MARCHAE: i am thinking and you really don’t, KM

KRIS: There’s so much throwing people into other things in this too, which is great

Just like, use every object and surface that’s harder than a fist

Because hand bones can break relatively easily

MIRI: I loved when they went through the film screen

MARCHAE: that’s what made it so gritty and brutal - it’s like what you’d hope you’d do if an intruder were coming into your house

YES

KRIS: The movie they were watching there, Stalker, is one of Andy S’s favorites

I wonder if there was any significance to that choice

other than the year

MIRI: Of course it’s one of Flash’s faves

Flash/Andy was our screenwriting professor most committed to Art

I really loved the umbrella thing

KRIS: Yeah, I find Convenient Crowd Things hit or miss but this one worked for me

MARCHAE: it looked great too

KRIS: I guess because they’d established Merkel well in advance

MIRI: perhaps because it was an Engineered Crowd Thing

KRIS: Right, but even those

MIRI: I really did love Merkel

KRIS: Just a poor choice of words on my part

MIRI: Oh, gotcha

KRIS: I guess I mean that I bought Merkel having that level of influence

And usually I’m like, really? This would have taken a lot of logistics

MIRI: Yeah, I’m with you

KRIS: Also, it matters that it didn’t ultimately succeed

Because BETRAYAL

MIRI: Multi-layered betrayal!

MARCHAE: HA

it really was (please promise you’ll read the texxxttttt it’s just so awesome to see what was changed and what was kept the same)

MIRI: Now, why exactly was Percival trying to kill Lorraine? (Was he? She says so, but Spyglass makes more sense)

KRIS: I think Spyglass was definitely the main target but she’d have been a loose end, right?

MIRI: That makes sense

I got a little lost in the twists at the end

KRIS: Seriously

MIRI: And he knew she was Satchel

But not that she was a triple agent, of course

MARCHAE: all of these things i agree with

KRIS: Yeah, the Satchel thing is something I’d want to try to pay more attention to on a rewatch

Just a lot of moving parts and sibilants to keep track of

MIRI: Definitely

MARCHAE: and gathered from it… but i do want to rewatch because it was a lot

MIRI: Sibilants?

KRIS: S sounds? Did I use it wrong?

MIRI: No, that’s right! Just didn’t follow and thought it had a different meaning I didn’t know

But you meant names with s sounds, etc. Which there are a lot of

KRIS: And which there’s no good reason for

MIRI: True

MARCHAE: LOL

KRIS: Any other thoughts?

MIRI: I loved it

MARCHAE: READ THE BOOK!

KRIS: I had a brief thought about how nudity was shot

MIRI: Share it

KRIS: Which was just that there’s nudity when it makes sense but even in and around the sex scene the camera didn’t seem to be leering

Like there’s not active avoidance of nipples or anything but also no lingering on them

MIRI: Agreed, though the buzzfeed review I saw earlier mentions the camera leering on her legs a bit, but no more than it leers at punches or neon or anything

KRIS: I mean “showy, aestheticized sex” is also accurate (I do like Alison Willmore a lot as a critic)

MIRI:Your bench of critics is so deep and I love it

KRIS: And now I’m just watching this gif she included of people being thrown down that stairwell

MARCHAE: he does have a good variety

KRIS: I wonder how many actual cuts there were in that oner

MIRI: I’m thinking about how similar Lorraine and Percival actually are

in that they have such long-term false personas and they’re SO GOOD at maintaining them, but also not perfect

KRIS: (Now I want a crossover with The Americans)

MIRI: Also we have not discussed her scene with the Russians at the end

And we should because it was baller

The shot of the gun in the ice was great

KRIS: Yeah

MIRI: Like, we saw a decent amount of it in the trailer

MARCHAE: ohhhhh yessssss

MIRI: and yet is was still so effective

And that wig and the outfit were amazing

MARCHAE: she was also barefoot

KRIS: Right, the story context automatically makes it way more interesting

MARCHAE: ( i mean she was probably just over it after wearing heels the entire movie)

KRIS: I had more or less forgotten there was one more action scene left

MIRI: There’s so much in this movie

KRIS: And it’s the most stylized fight but still had that, I guess, un-rushed quality to it?

MARCHAE: there is a lot - i repeat again, they knew they had to to make this an action film! those scenes let you forgive so much

MIRI: Yeah, there never felt like much danger to her in that one, whereas there was in the others

KRIS: Lorraine wasn’t like a John Wick-level gun wizard

K: I might be wrong about this, actually, GUESS I’LL JUST HAVE TO REWATCH ALL THESE MOVIES

Yeah! I guess that’s it too, that she felt totally in control of it

MIRI: She knew exactly how it would play out

And that she’d get to go home soon

Also, can I just say how much I loved the “cocksucker” moment, and the end callback to it?

KRIS: YES

Surprisingly hilarious take on the “What?” “What?” conversation trope

MIRI: You can play the tape back

They did a good job letting there be comedic moments without shoehorning them in

KRIS: (This is minor and SUPER action-nerdy but I also appreciated Theron/Lorraine’s pistol handling when she wasn’t shooting -- how she folds her arms in to keep the barrel at the right height and orientation for having to quickly aim and shoot)

(You can tell if an action star did their homework by how often they keep their arms totally extended when holding a handgun)

K: Actually I think worse is the thing where they hold it by their face while pointing the barrel straight up

MIRI: I did not at all notice it, but that’s a cool detail!

(I’m now sitting on my bed holding out a finger gun in various positions to see what feels right)

KRIS: I don’t think we can do a better, more fitting ending line than the movie’s own

You want the honors?

MIRI: I’m honestly blanking on what it was! I’m so embarrassed!!!

KRIS: I’m glad it was convincing

Follow us on Twitter for steady retweets of even more critics Kris likes to namecheck, along with screenwriters and general entertainment reporting. Also for links to future Reactions, of course.

Next up: X-Men cartoons with a Guest Reactor. Unless Liz and Marchae get around to watching The Bold Type soon enough. (WATCH THE BOLD TYPE, LIZ AND MARCHAE.)

#Atomic Blonde #Charlize Theron #James McAvoy #Sofia Boutella #David Leitch #Lorraine Broughton #movies #Miri #Marchae #Kris #reaction #Literally Strong Female Characters

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itunesbooks · 6 years

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100 Great Breads - Paul Hollywood

100 Great Breads The Original Bestseller Paul Hollywood Genre: Courses & Dishes Price: $3.99 Publish Date: July 2, 2015 Publisher: Octopus Books Seller: Hachette Digital, Inc. TV's Paul Hollywood conveys his love of bread-making in this collection of fantastic recipes. He reveals all the simple techniques you need to make this staple food and shows you that baking bread is far easier than you could possibly have imagined. 100 Great Breads features a wide range of recipes, from a basic brown and white loaf to savoury and sweet, Mediterranean, traditional and ancient breads. http://bit.ly/2Euh0tQ

#Courses & Dishes

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scottmapess · 4 years

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I CAN’T BELIEVE I’M DOING THIS WITH MY BITCOIN!!

VIDEO TRANSCRIPT

The ocean, the largest economic playground for would-be moon boys out here in the cold, cruel depths of the sea. Many, sadly, get completely wrecked. However, quietly lurking below the surface. A remarkable turn of events. It’s whale breeding season unperturbed by Coronavirus and its uncertainty for the global economy. The world population has been spotted to be increasing rapidly. This, as they say, is definitely good for Bitcoin. I think David Attenborough has done a great job moving on with the Times and staying relevant with his commentary. If more nature documentaries were like this, then I’d probably watch some. What he’s referring to, of course, is market research conducted by glass notes showcasing entities holding a thousand Bitcoin or more, a.k.a. Bitcoin. Whales are increasing as visualized by this spiking blue line. Two very interesting takeaways from this chart for myself. Our number one, the rates of increasing whales only briefly halted despite a 45 percent crash in Bitcoin’s price earlier in March. And number two, practically this entire year. Whales have been breeding, growing. This analysis is further corroborated by studying what’s going on with the Bitcoin balance on exchanges, which has currently faced its sharpest decline in all of Bitcoin history. More people are withdrawing from exchanges to store their Bitcoin themselves as they should. Promoting, holding. And as Mr Asim Breath tests, definitely good for Bitcoin. That’s just the greatest audio snippet of all time. I want a button that I compress that just plays it when I hit it. Bitcoin is possibly the scarcest asset known to humanity. But let’s put that all aside for a moment. Yes, I know it’s mildly interesting information, perhaps even comforting for those who are maybe buying Bitcoin regularly or have been long term holders of the coin. But what we really want to see is crypto daily trade. You talk the talk, but now let’s see you walk the walk. Well, to be fair, I have been holding you talk about trading, so let’s see you trade, bruh. Okay. Sheesh. I have never had so many Dems about anything I’ve ever talked about, even as I did when I first mentioned that I wanted to do something like this late last year. Sorry to have kept you waiting. It’s finally time now to be fair. I was busy in the interim cofounding exchange, one that does not trade against its customers. But with this whole coronavirus going on, fundraising was postponed indefinitely, shall we say. So now I’ve got the time to focus on trading. Silver lining. The rules are very simple. I take one bitcoin and I try and trade it into two or see if I can hold on to the one. The USD value will, of course, be important. However, that will be secondary to the primary goal of stacking Satz because I have a long term belief in bitcoin and just want to accumulate as much as I can. The second rule, every win or loss will be a matter of public record, as I think some cryptocurrency activity should be. Yes, I believe in privacy, but I also believe in no openness and verifiable openness where appropriate. So I will be opening a fund on literally the most ethical exchange I could find in the industry, prime expertise, funding it with one Bitcoin, calling it crypto daily and have my activity visible by anyone anytime. The third rule will be no exit scene of my position. I don’t want to be trading into USD or in my case, TBP and exiting my positions. I will be staying in Bitcoin leveraged trading. So that’s longs and shorts for those that don’t know. But I will probably never go beyond five X leverage. Yeah, I know it’s kind of boring, but I also think it’s not really appropriate to ever really go beyond that Mark. Now, I hear some of your concerns, but Krypto daily, you’re an idiot and you’re not a pro trader. And to that, I say I’m well aware of these concerns. To compensate, late last year, I completed reading a bunch of highly recommended books on trading. I’ll show you them now. So we’ve got how to take profits, cut losses and benefit from price declines. Pretty relevant with Bitcoin over the last two years. Trends following how to make a fortune in bull-bear and black swan markets may be also very relevant right now. Paul Hollywoods 100 Great Breads Always relevant. Well, I actually recommend that book, by the way. Not very good. I also have done pretty well for myself trading historically. I swing trade where I take large positions two or three times a year. Basically only when I think it’s very overbought or very oversold. As an example, I can proudly say I bought to the absolute bitcoin bottom in twenty eighteen, which I did make videos about at the time. But I must admit, this trading challenge is definitely the scariest thing I’ve ever done with my bitcoin, probably even my channel where you get to laugh at me if I lose it all and I get to claim your praise. If I actually win, there is definitely going to be some added pressure on myself to perform because no one likes to look silly. But one of the things that these books tend to reference is the need, the importance of a training mentor. One, you can discuss your trades with bounce ideas off of. To that end, I have sought out a pro trader friend of mine who has actually been living off of his trading ability, a rarity in crypto, I’ll tell you that. It’s on Twitter app block, chain blitz. Give him a follow. Also, just as an aside, if you’re not following me, why I put out highlights from videos in case you missed him. I also recently shared the greatest moment to have ever happened in my life. There is an Easter egg somewhere in the photo. You’ll have to find it. But looking at the charts again for a moment, I could definitely talk about the holiest of Bitcoin indicators, the gold and cross. This is where the 50 days in the 200 days moving average cross and it heralds in a bull market. The last one occurred in mid-February to not much fanfare, almost an immediate dump, and then eventually followed by a death cross. But this time. Things are very, very different because can you believe this, guys? I would be literally shaking if I was cold. So I think this is another reason I need to do the trading challenge because I just think it a little bit disingenuous to talk about trading like primarily orce or a lot and not actually do any kind of. See, the problem with that and I’m not taking shots at influences here. If you’re offended, I don’t really care. It’s not aimed at anyone specifically. There are some interesting tidbits of information to be gleaned from a chart and make a video on like I do that as well. But I just think you as the viewers deserve better, honestly. I. I’m only burning my half. All you care about is money. This town deserves a better class. I’m going to give it up. So if you want to see me burn all my money away or potentially turn it into more. Make sure to subscribe with notifications. I never asked for that before. I feel dirty. Now, interestingly, you can join my fund by going into prime SBT, hitting co vesting, looking for Krypto daily and hitting invest once you put like ten bucks there. There are fees applied when you withdraw. But these fees are only applied on top of profits if any. Don’t make any guarantees. I’d get a portion of those fees. The platform gets a portion. Majority of it comes back to you. Again, only if we’re in profit. I don’t make any money from training fees. I don’t make any money from liquidations, literally. Only if I first make you more money, which I think is a great situation. It’s a situation I’d like to see more influencers in, but it is what it is. So hopefully this is the start of something amazing. I am somewhat terrified, but I’m also very excited if I am able to help you make money and get paid for doing it. That’s the best job in the world. That’s literally one of the main reasons I started YouTube. So maybe you wait first. See how I do. I’ll even link Downbelow if you do want to support the idea of throw five or ten bucks into it. No guarantees though. I will never, ever make any guarantees. But let’s find out. Wish me luck. Blinded by the touch./otw_shortcode_content_toggle] source https://www.cryptosharks.net/im-doing-this-with-my-bitcoin/ source https://cryptosharks1.blogspot.com/2020/05/i-cant-believe-im-doing-this-with-my.html

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