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Eight
vehicles you can still buy new - Click above for high-res image gallery
Was your heart crushed when vehicles like the Mercury
Sable, Pontiac
Grand Prix or Dodge Durango got the axe?
Well, fear not - these hot little numbers (and many more!) are still available from dealerships all
across the country.
Automobile magazine has detailed a list of eight cars that are still on sale - brand new -
even though they aren't 2010 models. And while these vehicles don't necessarily represent the
sexiest cars currently sitting on dealer lots, it's probably safe to assume that they're all being
offered with substantial incentive packages, not to mention full warranties (we hope).
Click through the gallery below to see high-res shots of all eight rides, and head over to Automobile to read the full details.
With a new collection of short stories to his name and two of his plays currently showing in New
York, the notoriously private Pulitzer prize-winner discusses masculinity, his battle with drink
and his 'tumultuous' relationship with Jessica Lange
Where do you even begin with Sam Shepard? With his Pulitzer prize? His Oscar nomination? The fact
that he's routinely described as "America's greatest living playwright?" Or if you're going to be
superficial about it – and I am, just for a moment – maybe
the place to start is with the image of him as the tall, taciturn test pilot, Chuck Yeager, the
cowboy-ish character he played in The Right Stuff; a man whose life was spent exploring
the outer edge of what is and isn't possible.
But then I speak to Patti Smith on the phone and ask her what her impression was of Sam Shepard
the first time she met him back in 1970 (shortly before they began an affair), and it's the first
thing she says too: "He was just everything that one could want. He was –
still is – a very handsome man. And he had this animal magnetism. It was
almost visceral. He was so high energy and had a real glint in his eyes. He was born for
rock'n'roll. I had no idea who he was when I met him. He was a drummer in a band, the Holy
Modal Rounders, at the time and he just had something in him that made him a great, great
performer. I just thought he was the future of rock'n'roll. I had no idea that actually he
was this great writer too." If you had to invent an all-American literary hero, he'd be something
like Sam Shepard. With his slow, western drawl, and his love of the open road and the empty
badlands way out west, he's always seemed like the authentic voice of a certain sort of American
manhood; telling stories – of suffocating families and wretched lovers
– from the forgotten, inbetween places of the American outback. He wrote the
screenplay for Paris, Texas, the great, atmospheric Wim Wenders film, and played another
cowboy-ish character in Robert Altman's adaptation of Shepard's stage play Fool for
Love, fixing an image in the public imagination of both him and a remote, fly-blown America
a world away from the metropolises on either coast. But then Sam Shepard is that man. He
comes to New York for work but his heart is with his horses back at the ranch in Kentucky that he
shares with the actress Jessica Lange, his partner now for nearly 30 years.
All this, then, and a literary reputation that it's hard to overstate. According to Christopher
Bigsby, professor of American literature at the University of East Anglia, who I consult on the
matter, he's simply the most significant playwright of the past 50 years. His biography groans
with accomplishments, he's written nearly 50 plays, acted in dozens of films, directed others,
and written the screenplays for still more. And then there's the books about him, the academic
treatises on his art, a Cambridge companion to his work, critical exegeses of his themes,
analyses of his stagecraft... oh, the list goes on and on.
The one thing he isn't, though, is much of a talker. He doesn't often give interviews but when he
does he's routinely described as "taciturn" and "private"; his answers are "curt" or "terse".
He's "famously press-skittish". Worse, I read time and again of how he's "notoriously protective
of his privacy" and won't answer personal questions. Which is a shame because there are so many
personal questions I want to ask him. About his relationship with Jessica Lange, and his time
with Patti Smith, and his three children, and being on the road with Bob Dylan. He's spoken
extensively about his relationship with his alcoholic father before, but not about his own
drinking: last year he was arrested for driving under the influence and ordered to attend an
alcohol rehabilitation programme.
He'll talk about the work but there's nothing I read which gives much sense of him as a man. I
can't help but feel a pang for the journalist who asked him if, one day, he might turn their
conversation into dialogue in one of his plays. "We're not having a dialogue, this is question
and answers," he says curtly. "Dialogue is like jazz. Dialogue is creative.'"
I am prepared for the worst, then, and when he ambles into the restaurant he's chosen near New
York's Times Square, it seems this is probably just as well.
How long have we got, I ask, while fumbling with my tape recorder.
"Well," he says sitting down and ordering tea, "that all depends on the questions."
It's a heart-sinking moment and, as it turns out, a completely misleading one. Because it
transpires that Sam Shepard isn't actually cold or taciturn or intimidating at all. Or at least
the Sam Shepard I meet isn't, because it turns out that there seem to be several different
Shepards co-existing side by side. At one point, he says of Jessica Lange that her greatest
quality, or the one that struck him most acutely when he first met her, was her modesty. "I'd
never met anybody like her," he says. "She was astounding. One of the great things about her,
aside from her natural beauty, which was remarkable, was her humbleness."
But he has it too. He's dressed in country clothes – a checked shirt and a
nondescript jacket – and, unlike most writers, he has an outdoors complexion;
a lived-in face. But what's most noticeable is his sense of humour. It's a lovely, gentle thing;
he pokes fun at me, at himself; and when I listen back to the tape, I realise something more
shocking still: he doesn't just laugh, and on occasion guffaw, he actually giggles. Sam Shepard
is a giggler.
The private, difficult Sam Shepard is nowhere to be seen. Or at least not for a good three hours
of tea drinking and conversation that is remarkably relaxed. The restaurant, an unpretentious
place he's chosen, is deserted when we arrive. It gradually fills with the pre-theatre dinner
crowd, becomes loud and noisy, and has started to empty again by the time I finally blow it
and ask a question too far. Nice, easy Sam vanishes instantly, replaced in a second by cautious,
wary Sam. "Oh, he's a very charming guy," Patti Smith tells me. "Very compassionate and
thoughtful about other people's feelings. But he's not one for bullshit either."
But then I ought to know something of the idea of two Sam Shepards, existing side by side,
because it's how he wrote himself in his most famous play, True West: as two warring
brothers, Austin the Hollywood screenwriter, and Lee the desert drifter, two sides of the same
Sam Shepard coin, intellect versus instinct locked in an eternal battle for supremacy.
Perhaps the most astonishing thing of all about Shepard's talent is the sheer range of it. He's
risen to the top of his field in almost everything he's tried his hand at, but, despite all the
diversions, the acting and the directing and the music playing, he is, at heart, a writer. Who
simply can't stop writing. Not one but two of his plays are currently playing in New York
– Ages of the Moon, a new work, and A Lie of the Mind, a
modish revival directed by Ethan Hawke. On top of which, a new collection of short stories,
Day Out of Days, has just been published. It's the kind of success that most writers
would maim and kill for, although it's largely beside the point, says Shepard.
"The funny thing about having all this so-called success is that behind it is a certain horrible
emptiness. All this stuff is happening. And yet it is not what you are after as a writer. Even
though they are relatively successful. Ages of the Moon has sold out, the book is doing
well, and yet it's not The Thing. And then you're left... there's this feeling... what is it,
then? And, I guess, it's the writing itself which is important."
His sheer output is evidence of Shepard's drive to write. He burst on to the off-off-Broadway
scene in 1964, writing in his off-duty hours from waiting tables in the Village,
enthralling his audience with his exotic tales of the badlands way out west, puncturing the
greatest American myths, and he hasn't stopped writing since. It's the process, I say, not the
results, that makes you happy?
"Yeah, yeah, yeah. Although happy isn't the exact word. It makes you feel that you're not
useless. That you're at least putting your hand in. I think without writing I would feel
completely useless."
These days he seems to have it all: as much professional success as he can handle, a long and
steadfast relationship, three children, the ranch in Kentucky and bolt holes in New York and New
Mexico. And, in some ways, he's the American dream personified: he was born Samuel Shepard Rogers
in Fort Sheridan, Illinois, the son of a second world war bomber pilot. As a child he was "Steve
Rogers" but after a short stint at college studying animal husbandry he lit off across America,
finally landing in New York, where he emerged as "Sam Shepard". His life is the ultimate act of
self-creation; he came from nowhere, was little-read and poorly educated, and he turned himself
into one of America's leading literary lights.
"And yet still feel so unfulfilled?" he says, and ponders on it for a moment or two. But then
anyone with even the slenderest acquaintance with Shepard's work knows that "the American dream"
is to be treated with circumspection; in Shepard's universe it's a false concept to be blown wide
apart and splattered across all surfaces.
"The great thing for me, now, is that writing has become more and more interesting. Not just as a
craft but as a way into things that are not described. It's a thing of discovering. That's when
writing is really working. You're on the trail of something and you don't quite know what it is."
He writes on a manual typewriter, and refuses to so much as look at the internet. "I have a
cellphone but I have no Google, I have no gaggle."
Really? But everything you've ever wondered, ever, is out there, I say.
"No, no, no! The things that I wonder about most are not on the internet, I promise you that."
He's still, even after all these years, he says, an outsider. "I'm inhabiting a life I'm not
supposed to be in... and at certain times in my life I have felt a wrongness. And not a moral
wrongness but a sense that this isn't what I was born to be doing." The writers who he responds
most to are those who seem to share a sense of "aloneness", and "writing is almost a response to
that aloneness which can't be answered in any other way".
For Shepard, the heart of this, seemingly, and a recurring theme in his work, is bound up with
the relationship he had with his alcoholic, abusive father. It's there in True West,
Fool for Love, Curse of the Starving Class, Buried Child and A Lie
of the Mind, and even now, at the age of 66, it troubles him still. In Fool for
Love, written almost three decades ago, the main character is haunted by the chilling
possibility that he is turning into his father. Back then it was a fear; now, he says, it has
become a fact.
"You think about it, you talk about it, analyse it, and then all of a sudden you have become the
thing that you were most vehement against. It's very Greek. They invented this shit. Or at least
gave it a name."
He's been sober, he says, since the drink-driving incident a year ago. "And prior to that I was
sober for four years and then I relapsed. It's a constant struggle. It's such a knucklehead
disease because you refuse to see it. It wasn't until the 90s that I actually started going to AA
and made a real compact with myself to quit. And I did quit for four years. And then I picked it
up again. It's like being a junkie. I think I have that sort of thing in my blood, in my psyche.
I can become addicted very easily, although the curious thing is that I have two sisters who are
not. So I don't know. Maybe it's just a toss of the dice."
It's the sort of thing a Sam Shepard character might say. In the new book, Day Out of
Days, characters wander through the pages, lost within their own lives (one of the most
memorable features a man trapped in a public toilet who is literally driven mad when he's forced
to listen to Shania Twain on an endless loop). They struggle for personal agency or a sense that
they're in control of their own lives.
"And they never are," he says. "That's the one thing about being an author as opposed to being in
one's life is that you have the illusion that you can bring some form to it. Which is the
beautiful part of it. You don't feel that you are so much in chaos. I don't know what it would be
like if I didn't have some form, short stories or plays or whatever."
He feels "blessed", he says, to have discovered writing. "It fulfils something in me that I don't
know how I'd serve otherwise." His father was a bright man, the winner of a Fulbright
scholarship, a fluent speaker of Spanish, but he never found that outlet. Or at least the outlet
he found was drink. He struggled with the return to civilian life after the war, moving his
family from airbase to airbase, training as a Spanish teacher, until he was sacked for drinking,
and then moving the family to Duarte, California, where he attempted to farm, his drinking
increasing year by year. "The alcohol just completely deranged him," says Shepard.
Roxanne, his younger sister, told People magazine back in the 80s: "There was always
this kind of facing off between them [Shepard and his father], and it was Sam who got the bad end
of that. Dad was a tricky character because he was a charismatic guy when he wanted to be. And at
the other side he was like a snapping turtle. With him and Sam it was that male thing. You put
two virile men in a room and they're going to test each other."
It's this quality, of a simmering, barely controlled violence that disrupts and distorts all of
Shepard's families, that is at the heart of much of his best work. In Shepard's world, romantic
love as the meeting of two souls and the family as the nurturing heart of American life are
nothing but delusions. "They're wonderful retreats from the illusion of being protected from
spinning off the planet. But I don't believe it. And I never did."
So you didn't celebrate Valentine's Day then?
"Oh yes. We just did. I bought her a couple of bottles of wine. I don't drink."
It's not the most romantic gift, I say.
"They were two really good bottles of wine. Really good ones. Oh, and a tape measure. Because she
was putting up a painting."
Love in Shepard's universe is never straightforward, never wholly life-enhancing; it's
life-destroying, too, a struggle for power or control; a curse as well as a blessing. He and
Lange have survived but the relationship was "tumultuous" from the outset. "I mean, we have long
periods of relative calm. But then you know..."
But you've always seemed like such an incredible match.
"Yeah, well, we're definitely an incredible match. But, you know, not without fireworks...
although at this point, you know, she's the only woman I could live with. Who could live with me!
What other woman would put up with me?"
She is, he says, the most honest person he's ever met. "I've never known her, ever, to lie about
anything. And I couldn't say that about..."
Yourself?
"About myself. About anybody. Men lie all the time."
Really?
"You don't know that?" he says and raises his eyebrows. "Whereas Jessica has this absolute
honesty. I think it's a direct quality of the midwest, of that background that she's from."
While the children were growing up, that's where they lived, in Jessica's hometown in Minnesota,
down the road from her mother (and with Jessica's daughter from her relationship with Mikhail
Baryshnikov, Shura). It's the equivalent, today, of Brad and Angelina deciding to settle in a
suburb of Wisconsin. But then, although Shepard and Lange have both appeared in movies, and been
nominated for Oscars – Shepard, one; Lange, six (and she's won two)
– they've always refused to be movie stars.
There's a couple of great quotes from Jessica about you, I say.
"Is there? My God. What? Actually, no. Just give me the good ones."
She said: "No man I've ever met compares to Sam in terms of maleness."
"Well, that's a double-edged sword."
Really? I took it as a compliment.
"This morning she had a conversation with me about France, because she was in Paris in the 70s,
about the gay scene in Paris, which she was very enchanted with. She was talking about a couple
of incidents, and at the end of it I said: 'Well, that's very charming.' And so I think she now
thinks I'm a homophobe because she said: 'Asshole!' and stormed out of the room. I thought, 'Oh
my God, well obviously I'm not sophisticated enough to talk about the gay 70s in Paris.'"
He was married once before, to another actress, O-Lan Jones. She was 19 at the time, he was 26.
Their son, Jesse, was born shortly after the wedding, and then Shepard met Patti Smith. The
attraction was instantaneous, as was their affair, an intense, full-throttle romance, conducted
mostly at the Chelsea Hotel. It was Shepard who encouraged Patti Smith to become a performer.
"She already had this incantatory, lyrical, chanting way of talking, all she needed was a little
shove. She was inhibited by not knowing guitar. I said: 'Guitar is just a back-up for your voice.
You're not going to be Jeff Beck, don't worry about it. Just learn these chords and you'll be
able to back yourself up.' And then it turned out she has this extraordinary voice too."
Reading about the Jones-Shepard-Smith triangle, it all seems very 60s somehow, an amicable
bohemian ménage à trois. When I speak to Patti Smith, though, she puts me straight:
"It was the early 70s. And it wasn't that amicable."
Shepard had decided to return to his wife and baby. "And it was painful," says Smith. "We knew it
was going to end and we were in a room at the Chelsea Hotel. And instead of sitting around and
moping, Sam said: 'Let's write a play.' And I said: 'I don't know how to write a play.' And he
said: 'I'll be one character, and you can be the other.' And we just sat up all night, him
writing a line and then pushing the typewriter across the table to me, and then I'd write a
line."
The result was Cowboy Mouth, which opened at the American Place Theatre with Sam Shepard
and Patti Smith playing themselves, in a double bill with Shepard's play Back Bog Beast
Bait in which O-Lan played a character based on Patti. It was too much, and without warning,
Shepard quit, and fled with O-Lan and Jesse to London.
There are so many of these ruptures in the story of your life, I say to Shepard. You're doing one
thing and then suddenly you're doing something else.
"I know. I don't why it had to be so traumatic. It very definitely felt like these were
earthquakes when they happened. They're terrible and yet on the other side of the coin they're
ecstatic. Like when I met Jessie. It was terrible leaving my oldest boy at that time. He was 13,
which is a really hard age. And, in one way, I can't forgive myself for that. And, in another
way, I'm glad of the life that I've had with Jessie. What's the trade-off? It's always felt like
that. The other thing that's kind of amazed me is that I've had absolutely no qualms about
setting off into unknown territory. I've never been afraid to just start something new."
It was on the set of the film Frances that he met Lange. I tell him that one critic I
read claimed that after meeting Jessica his depiction of male-female relationships became more
complex and interesting. He says that you started writing meatier parts for women.
"Hmm. I guess that's true. Fool for Love came out of my relationship with Jessica and
that's pretty powerful."
Fool for Love features a tumultuous relationship between two characters, Eddie and May,
who both attract and repulse each other. And who, it turns out, are half-brother and sister.
I was looking at photographs of you and Jessica next to each other and I was struck by how
similar you look, I say.
"We do, kinda."
Is the theme of incest in Fool for Love in some way borne out of that?
"I'm sure there's something about that. I'm sure when you're looking for someone, you're looking
for some aspect of yourself, even if you don't know it... What we're searching for is what we
lack. You lack something and your hope is that it'll be fulfilled by who you find."
His relationship with his father has had such a profound effect upon his life, his work, it's
inevitable that he must have reflected upon his own effect upon his children, Jesse, 39, Hannah,
24, and Samuel Walker, 22.
He hesitates when he replies. "I would like to think... you can never determine how you are going
to influence someone, particularly your children. I mean, they are all musicians in some way or
another, so I feel as though... I think that's a result... And my daughter is also a really good
writer. Really good."
The thing about your children compared to you, I say, is that they had a very stable...
"Stable?"
Oh, is that the wrong word?
"Well, relatively stable."
They haven't had the childhood that you had...
"They haven't had an abusive childhood. On the other hand, they have a different set of
problems."
Having a father who is very successful..."
"And a mother," he says. "Yeah. There's a lot of stigmas. My youngest boy is very, very shy. He
doesn't want anything to do with celebrity. And my daughter, she's not crazy about it. None of
them covet fame."
He shies away from speaking about his sons but he seems happy enough to talk about Hannah, his
daughter, currently studying for a PhD at the University of Galway.
"I never thought about having a daughter and then I had a daughter and it was a remarkable thing.
It was very different from having a son and your response to it. With a son, it's much more
complex. And it's probably because of my stuff in the past. With a daughter, I was surprised at
how simple it is."
It's to her, he says, that he intends to leave his notebooks, "because she's the one who's asked
for them."
He's obsessed with his notebooks, he says; they travel with him wherever he goes, "like
gremlins". And he fishes his current one out of his coat and shows it to me. On the inside back
cover he's written the places it's been to with him over the year – Sicily,
Kentucky, New Mexico – and then he flicks through the pages and says, "Look at
this! Look at these drawings." And he shows me some stick men, riding the sort of horses I drew
aged eight. "You know, I was sitting in the University of Texas where they have the original
manuscript of Watt by Mr Beckett and it was amazing because there were all these
drawings on them, so I sat there one afternoon and copied them!"
It's almost as if Sam Shepard has spent his life circling around Samuel Beckett. It was
discovering his plays as a young man that first inspired him to write, and Patti Smith says that
in those days he never went anywhere without a copy of one or other of his plays on him. "Of
course, now he's read everything. He's always discovering something new, whether it's Japanese
death poetry or some new Venezuelan writer or whatever."
Not meeting Beckett is his greatest regret, he says. "My greatest literary regret."
Do you think you're starting to look like him, I say, tongue-in-cheek, although there's an
element of truth to it; he's still recognisable from his cinematic glory days but his face is
craggier now, crisscrossed with experience. He guffaws, enjoying the joke.
"No! It'd be flattering if I did but I think my features are a little bit more savage."
Themes of regret and remorse, of time passing and humans ageing have started to creep into his
work. "I don't believe people who say, 'I have no regrets'. How can you not have regrets?"
Death, he says, changes all perspectives. When I ask him how old his father was when he died, he
replies immediately. "A year older than I am. He was 67."
Does that weigh on you?
"I think about it. But it doesn't weigh on me because of the way in which he died." His father
was run down by a car while drunk. "So I don't worry about it that way. I don't worry about the
way I'm going to die...
But do you think about death?
"Yeah. There's not a day goes by. But that has always been the case. We're all haunted by it in
one way or another. And it's the easiest thing in the world to push it away, you just get a
cappuccino. But, yes, you're haunted by it in a different way [as you get older]. I feel its
presence. I feel it in sleep, in dreams, in waking. Particularly in the morning."
Do you think about the things that you would lose?
"No. You feel that you're diminishing in some way. You feel that your senses are diminishing. I
don't see as well. I'm not as quick as I used to be. Things like that. Knock on wood, I'm not
sick. I don't how people deal with that... I mean life is tough enough. And now you're going to
die! Wow!"
In Ages of the Moon his central character, Ames, has been unfaithful to his wife. "She
discovers this note, this note from this girl, which to this day I cannot for the life of me
remember," says Ames. "Some girl I would never in a million years have ever returned to for even
a minor blow job."
"Minor?" asks his friend, Byron.
In his earliest plays, Patti Smith says, his characters had to act. "They had to do something,
kick a door down or whatever. Now they tend to be more introspective. They're more likely to
examine what they're doing and why."
And Shepard too. His life is in his plays, he's always said that. And so I ask him. About Ames's
infidelities. About whether that's been a source of regret for him too.
"I'm not going to talk about that. You're not going to sucker me into that one! When did you
think I was born?"
Oh dear. It's a classic interview mistake: the question too far. He's amicable enough, and we
carry on for five or so more minutes, but I've got the other Sam. He looks the same but I
can tell he's scanning the horizon for an escape route; it's Sam Shepard, the cowboy, the
character in all his plays; the desert drifter, shifty, cautious, suspicious of strangers.
The giggles are over. And then he's gone, with the briefest of handshakes and a rush to the
door. It's not an entirely inappropriate ending. Shepard's world is a place of blundering people
and blundered words; where plots are never neatly tied up and truths are only ever hinted at,
never fully revealed, least of all to the characters themselves.
(Par contre, on peut acheter Kramix un peu partout.)
C'est vraiment un chouette magazine, papier de qualité, belle mise en page, grand format, et
de très bons auteurs: Clarke, Lucile Gomez, Nix, Relom, Dehaes, Lynda Corazza, B-gnet,
etc.
J'y ai une petite série, "Le temps de Cerise", reprenant les personnages du blog.
Mon but à plus long terme serait d'en faire un album... Ce serait vraiment chouette. Qu'en
pensez-vous? :)
En tout cas, sur
le site de la Fnac par exemple, il est à 1 euro 90, frais de port offerts, alors
n'hésitez pas! Honnêtement ça vaut le coup.
iCalamus 1.20iCalamus is a desktop publishing solution that allows you to create
documents with text, photos and other visual elements. Some demonstration videos are available.
The unregistered version of iCalamus already offers a cool feature: You can create professional
photo books and calendars like in the full version and order high-quality prints at the
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price.
iCalamus has been developed completely new for Apple's operating system. iCalamus is an excellent
choice for all layout purposes from simple posters and business letters over complex layouted
magazines up to books and scientific works. Complete Unicode support and the smart PDF import
offer easy access to creating and layout work. The reasoned user interface with its low learning
curve guarantees for fast success. iCalamus doesn't limit your layout freedom by offering
prepared layouts. Its practical tools offer all options for your own creative and productive
layout work.
iCalamus is a modular program which will grow in future by external modules, even from
third-party developers. Therefore invers Software will create an Open Development Area (ODA) and
publish the plug-in interface. iCalamus has been developed in Objective C with intensive usage of
Apple's Cocoa library.
You can import all image and text formats which are supported by Mac OS X into iCalamus
documents. Images from digital cameras scanners or iPhoto libraries can be imported as well as
whole web page content and PDF documents. Grab text content from large PDF documents easily for
further text processing. Elaborated masking options and many predefined, partly dynamically
changeable frame shapes offer freedom for creativity. Working in precise measurement units is the
other side of the iCalamus world. Use virtual copies for multiple document elements and change
them afterwards with a few mouse clicks.
Print output uses all printers which are supported by Mac OS X. Optionally output documents in
various PDF formats (e.g. PDF-X, encrypted PDF, PDF Fax).
WHAT'S NEWVersion 1.20:
Operating System Compatibility
New: [650], [651]: Snow Leopard is now supported.
Fix: Many memory leaks fixed.
Photographerbook
New: [655]: iPhoto 09 is now supported.
New: Leather books can be ordered.
New: Books can get book corners and wadded covers.
New: Books pages can get UV lacquer on both front and back sides.
New: Photographerbook's product prices have been lowered up to 40%.
Fix: Document uploads > 2GB are no longer allowed, due to PDF standards which do not allow
larger PDF documents.
Document Views
Fix: [639]: Images without embedded dpi resolution are no longer re-scaled to 72dpi by
default.
Text Style Inspector
New: [644]: Dialog Edit Text Style redesigned and enhanced.
New: [79]: The dialog Edit Text Style shows a font preview now, using all available text
style parameters.
Text Ruler Inspector
New: [640]: New function Create and Apply Text Ruler Styles from Selection in the action
menu.
New: [641]: Dialog Edit Text Ruler redesigned and enhanced.
Text System
Fix: [252], [253], [469], [658]: Text formatting rewritten and enhanced.
Fix: [593]: Text frames with page text field contents can be copied in all available methods
correctly.
Fix: [610]: Text frames with text field contents can be vectorized.
GUI
New: [418]: Three new Toolbar icons are available now: Document Grid, Page Guides, and Frame
Guides. These three icons are equivalents for the relevant View menu items.
New: [609]: Windows menu offers a Zoom entry now.
New: [642]: New View sub menu added to Context menus. It reflects the three View menu items:
Show Document Grid, Show Frame Guides, Show Page Guides.
New: A Swedish version of iCalamus is also available now, localized by Karl-Johan
Norén.
New: [671]: The Preferences window dispenses with the still redundant switch Show All.
Fix: [643]: Number of pages in dialogs New Document and Default Document can no longer be
< 1 and > 9999.
Tous les samedis soirs, c'est télé-radio-web sur RTL ! Autour de Christophe Decroix,
des spécialistes médias vous dévoilent "Les dessous de l'écran". Au
programme de l'émission du samedi 20 mars 2010 : retour la nouvelle formule de France-Soir,
sur le nouveau magazine féminin Be, focus sur le conflit entre CNN et Twitter et enfin, pour
finir, une analyse de la baisse des revenus pubs des grands médias.
Quand j'ai ouvert ce blog, je travaillais dans l'industrie du luxe. A ce moment là, Elle,
Vogue et les autres étaient disponible au service de presse et je lisais plutôt les
magazines de cuisine. Quand j'ai rejoint l'univers de la cuisine, la mode a [...]
Très souvent , je trouve mes idées d’articles sur d’autres sites (bien
souvent consacré aux logiciels privateurs) ou dans la presse papier. Pour ce tutoriel gimp
, c’est dans un magazine consacré a Photoshop (que je n’ai pas acheté ,
presque 15 euros) qui m’a inspiré. L’effet a déja été
utilisé dans des pubs avec aussi des sportifs en mouvement. Le but sera donc de supprimer
le fond pour ne garder que le sujet et créer une sorte d’aura lumineuse. (un peu
comme dans un certain dessin animé qui passait au club do’)
Je vais donc tenter de refaire quelque chose qui ressemble a ce que j’ai vu dans cet
onéreux mag tout en utilisant gimp et mes connaissances qui sont ce quelles sont
    (je ne suis pas un pro)
Voici un petit exemple de ce que l’on peut faire dans le même style :Â
(c’était un essai un peu raté)
Pour mon tuto, j’ai utilisé les éléments suivants :
- les brosses gimp (.gbr) que vous pouvez trouver sur trois pages deviantart : aurora / edge / odysee
Comment installer les brosses sous gimp ?
Sous linux, c’est très simple ! (hihi) Un dossier
«Â brushes » se trouve dans le répertoire caché
.gimp2.6 de votre «Â home ». Placez les fichierz .gbr dedans
et redémarrez gimp.
Sous windows, il faudra chercher dans program files/gimp/gimp2.6/share/brushes (je ne me rapelle
plus de l’arborescence exacte). Placez les gbr dedans et le tour est joué.
J’avais oublié de le préciser , quelques connaissances de bases de gimp sont
nécessaires.
C’est parti !
Â
Première chose, il faut charger la photo du sportif et commencer a supprimer le fond.
C’est l’opération la plus longue et franchement la plus chiante. Il faut de la
précision et de la patience (pas trop mon truc la patience). Pour éviter non pas de
faire une fausse manipulation sur le détourage (c’est inévitable le mauvais
coup de souris) mais pour revenir en arrière plus facilement , j’opte pour le masque
de calque.
Pour commencer :
- Ajouter le canal alpha sur le calque contenant l’image chargée
- Créer un nouveau calque et placer le en dessous de la photo, il va nous servir de fond
noir par la suite.
- Ajouter le masque de calque a la photo en laissant l’opacité complète. (
clic droit sur le calque / Ajouter un masque de calque)
Le principe du masque de calque est simple , on peint en noir les zones de l’image que
l’on veut cacher. Si l’on a fait une boulette , il suffit de repeindre une zone en
blanc pour qu’elle redevienne visible. Pour gagner du temps, je sélectionne des
zones du fond avec la baguette magique puis je resélectionne le masque calque et je
remplis cette sélection en noir. (menu Edition / remplir avec la couleur de premier plan)
Une fois rempli de noir la sélection celle ci devient transparente ! Toutes les zones plus
chiantes car trop complexes comme les trous entre les cheveux devront être terminées
avec un pinceau blanc a bord flou.
C’est un vrai jeu de patience !
Voici une zone a ne pas oublier ! Avec la baguette magique et quelques coups de pinceaux, elle
sera effacée très facilement.
Voici le gros avantage du masque de calque. Comme vous pouvez le voir sur
l’image précédente, la baguette magique a débordé sur la jambe.
Ce n’est pas grave du tout car il suffira de repeindre en blanc sur le masque pour
corriger. Ce petit travail est largement compensé par le temps gagné par la
baguette.
Maintenant, on peut remplir le calque du fond avec une couleur noire. L’image commence a
prendre une bonne tournure ! Encore un peu de patience et on accède au plus amusant.
La chevelure est une partie délicate de l’image. Il faudra sortir le pinceau pour
éliminer au mieux les zones encore vertes.
(une partie a ne pas oublier)
baguette magique !
On remplis de noir et on corrige au pinceau.
Si on passe un coup de baguette magique sur le fond noir on peu s’apercevoir qu’il
reste des pixels a effacer. Bien faire le tour pour tout éliminer avec un pinceau noir.
C’est pour ainsi tout bon pour le détourage. Il peut rester un peu de vert tout
autour du coureur. Pour réduire ce défaut, j’ai une petite combine.
Sélectionnez avec la baguette le fond noir autour du coureur avec la baguette magique.
Allez dans le menu Sélection / Adoucir. Mettez 4 pixels. Retournez ensuite dans le menu
sélection et choisissez Agrandir , mettez 2 pixels. Puis remplissez en noir par le menu
édition / remplir. Le fait d’agrandir la sélection va rogner tout autour du
personnage et «Â manger » un peu du vert restant.
Ceci fait, créez un nouveau calque et placez le entre le calque fond et celui qui contient
la demoiselle. Remplissez ce claque de bleu.
Ajoutez un masque de calque complètement noir. (transprence totale)
Sur ce nouveau masque , peignez avec un pinceau blanc tout autour du coureur. Le bleu
d’origine va apparaître.
Toujours le masque de calque sélectionné, allez dans le menu filtre / Flou / Flou
cinétique et appliqué ce effet avec une longueur de 200 et un angle de
90°. On peu réduire l’opacité du calque pour voir une aura plus ou
moins forte. Pour changer la couleur de l’aura, il suffit de sélectionner le calque
entier et de remplir avec une nouvelle couleur.
Créez un nouveau calque placé en dessous du coureur.Utilisez les brosses
«Â aurora » tout autour en faisant attention de ne pas
créer quelque de répétitif. Jouez avec plusieurs brosses pour obtenir
quelque chose d’équivalent a l’image suivante. Changez également la
taille de la brosse pour diversifier les motifs.
Créez un autre calque et utilisez les brosses edge et odysee pour donner un impression de
vitesse.
Voici le résultat avec la totalité des calques visibles :
Pour voir plus en détail, téléchargez le fichier XCF ici. 10 mo
Merci d’avoir lu jusqu’ici et amusez vous bien avec gimp.
Revolution Magazine conducted a "Then and Now" interview with vocalist Chuck Billy of San Francisco
Bay Area thrash metal veterans TESTAMENT on March 16, 2010 at the Baltimore stop of the band's
North American tour with MEGADETH and EXODUS.
At the MIX10 conference this past week, MAKE had a booth
embedded inside the Coding4Fun exhibit. We showed off MAKE magazine, some of our Make: Books, and a few kits. Our Coding4Fun neighbors had a
lot of great projects on display, including their Coding4Fun Cannon, which was a robotic t-shirt
launching platform with two barrels. What's more, it was controlled by a Windows Phone 7 app, and
they completed it in two weeks. Here's how Clint Rutkas of Coding4Fun described it:
Mid-February, we were asked to build a t-shirt shooting robot for the Mix conference on March
15th, 2010. This required us to pitch our vision and then research, build, test, and ship our
project--all in about 3 weeks. After Scott Guthrie gave us approval based on our SketchFlow demo,
we had to divide and conquer the application with only 2 weeks left to build the physical robot,
the server software, and the phone software. And on top of all that, since we were consuming an
unfinished product, everything had to have backup plans.
Officialisé à demi-mots lors du précédent E3, le développement
de Pikmin 3 semble bien avancer et la Wii un long fleuve tranquille. C'est Shigeru Miyamoto himself
qui s'est confié à l'Official Nintendo Magazine à l'occasion de des BAFTA
(Académie Britannique des Arts de la Télévision et du Cinéma) où
il a reçu un prix BAFTA Academy Fellowship récompensant un peu l'ensemble de sa
carrière. Mais c'est surtout à cette occasion que la tête pensante de Nintendo
a révélé que le développement avait commencé en 2008, que le jeu
était 'en bonne voie' et qu'il suivait particulièrement son bon développement.
Une aubaine pour ceux qui attendent la suite des aventures du Capitaine Olimar depuis
l'épisode GameCube (voir Wii pour les récents acquéreurs des titres sortis
dans la gamme Nouvelle Façon de Jouer !).On peut dès lors aisément s'attendre
à voir le jeu présenté lors du prochain salon de Nintendo. Mais qu'est-ce
qu'on en attend justement de ce troisième volet ?
Si comme moi vous êtes un grand fan d’Evolution, vous serez sûrement
intéressé par evolution-rss, un plug-in permettant de parcourir vos flux RSS
à partir d’Evolution.
Evolution-rss
Lire les flux, les classer selon vos goûts, les importer depuis un autre client au formal
OPML sont autant de fonctionnalités offertes par evolution-rss. Vous réaliserez
ainsi l’économie d’un programme supplémentaire en intégrant au
sein d’Evolution votre lecteur de flux.
Evolution, grâce à son système de plug-in prend en charge cette nouvelle
fonctionnalité de façon élégante. Si vous souhaitez aller plus loin,
un article a été publié dans le numéro 25
d’Opensource-magazine qui présente de manière complète les
fonctionnalités offertes par evolution-rss.
"Une démonstration digitale impressionnante par Alexx
Henry pour cette version très spéciale du magazine VIVmag. Une exploitation au
maximum des capacités de l’iPad afin de présenter ce magazine web rempli
d’animations 3D, d’interactivité et de graphisme." :
Le sélectionneur de l'équipe de France de football et sa compagne Estelle Denis
assignent le magazine people Voici.
Pour préjudice extrêmement important au vu du caractère très
attentatoire des photographies, tant à leur vie privée qu'à leur
sécurité. En cause, précise Christophe[...]
Selon le magazine people Closer, Direct 8 prtoposera prochainement Les jouets
de l'extrême, série documentaire sur les jouets les plus hors norme sur notre
planète...Lionel Rosso fera les lancements.
We've
recently seen augmented
reality used in some pretty clever ways in the gaming space, but Sony subsidiary ConnectedED
has come up with a way to turn real-time
graphical overlays into an educational tool. Using a PSP equipped with a camera, the "Second
Sight" technology allows tags embedded in textbooks or magazines to cue relevant audio or video
clips directly on the PSP.
The program can also create interactive 3D models which the user can examine by changing the
orientation of the PSP. Check out the video after the jump to see a video demonstration of what
we're talking about, and then imagine how awesome school is going to be in like, fifteen years.
We've
recently seen augmented
reality used in some pretty clever ways in the gaming space, but Sony subsidiary ConnectedED
has come up with a way to turn real-time
graphical overlays into an educational tool. Using a PSP equipped with a camera, the "Second
Sight" technology allows tags embedded in textbooks or magazines to cue relevant audio or video
clips directly on the PSP.
The program can also create interactive 3D models which the user can examine by changing the
orientation of the PSP. Check out the video after the jump to see a video demonstration of what
we're talking about, and then imagine how awesome school is going to be in like, fifteen years.
Lu dans 'Le Parisien' : le comédien Vincent Cassel sera le rédacteur
en chef du numéro spécial Cannes du magazine Première. Daté mai et
à paraître en avril. Il succède à ce poste à Isabelle Huppert et
Catherine Deneuve.
Pour rappel, 'Aujourd'hui en France' nous apprenait il y a peu[...]
Watch as the always unlikable duo of Kane and Lynch (that's
Bruce Willis and Jamie Foxx
to you People magazine types) get reunited on the streets of Shanghai and, before catching
up over a couple cold ones, find themselves caught up in a shootout and chasing a naked person
through the streets. This is just how these guys get acquainted after "a while" apart! Kane & Lynch 2: Dog Days
welcomes you to Shanghai on August 24.
Watch as the always unlikable duo of Kane and Lynch (that's
Bruce Willis and Jamie Foxx
to you People magazine types) get reunited on the streets of Shanghai and, before catching
up over a couple cold ones, find themselves caught up in a shootout and chasing a naked person
through the streets. This is just how these guys get acquainted after "a while" apart! Kane & Lynch 2: Dog Days
welcomes you to Shanghai on August 24.
Still, good to hear that the game is still going on, considering that we've only seen the barest sprouts of
information about it so far. Maybe Miyamoto should give his team a 30-day time limit within
which to finish the game, and see how they feel about that.
Still, good to hear that the game is still going on, considering that we've only seen the barest sprouts of
information about it so far. Maybe Miyamoto should give his team a 30-day time limit within
which to finish the game, and see how they feel about that.
HiFi is the best rock'n'roll bar in NYC.The room
is covered with empty album sleeves and the juke box is hands-down the best in the city
– I believe there are about 3,000 albums on it, so you can't complain about
them not having your song. There is a fantastically affordable happy hour and a great local
crowd. Like the rest of the East Village, it can get a bit much on weekend nights, but most of
the time it's my favourite bar in town. · 169 Avenue A, +1 212 420 8392. Craig Finn, lead singer of the Hold Steady
Pegu Club, New York
The entrance to the Pegu is an unassuming
doorway on the south side of West Houston Street. It's only when you are up the stairs that the
glory of this place hits you. It is like going back to the great clubs of the 20s, when the staff
were pretty and jazz and cocktails ruled. On a recent visit, two amazing Django Reinhardt-style
guitarists were swinging through 30s classics. Cocktails are taken seriously here
– the art of proper, classy drinking is almost a motto. At the weekend it can
get pretty busy as it is becoming the "in" place. · 77 West Houston Street, +1 212 473 7348. James Pearson, artistic director,Ronnie Scott's, London
Po' Monkey's, Mississippi
It was a balmy night in September when I visited Po' Monkey's juke joint. It's a ramshackle hut
powered by a single cable in the tiny town of Merigold, deep in the Mississippi delta. A poster
on the door warned: "Bring your liquor inside but not your beer." The walls were cluttered with
posters and age-old postcards, while toy monkeys swung from the rafters. It was low lit
– smoky but inviting, with beer and whiskey flowing freely. Terry "Harmonica" Bean took to the tiny
stage, elbow to elbow with the crowd, and delivered a mind-blowing, foot-stamping performance
that will stay with me forever. Delicately soulful cries came from his ageing gruff voice, while
stupendous bluegrass melodies oozed effortlessly from his antique steel guitar. This was raw
blues at its authentic and spine-shivering best. · +1 662 514 7488, 15km from Cleveland. Dan Hipgrave, co-founder ofOriginal Music
Company(originalmusictravel.com), which launched this month and specialises
in music-themed holidays
The Spirit Store, Ireland
The Spirit Store in Dundalk, County Louth, is
on the edge of town beside a small harbour. There's a small, friendly bar downstairs which opens
around 4pm, but it is the live music upstairs that is the main draw. You would be hard-pressed to
find anywhere as welcoming to an artist and more genuinely music-driven in its programming of
events. That's why I keep going back there to play, and why many other artists who have outgrown
the 120- or so capacity venue keep returning. So many venues and promoters are about the money
but Derek Turner, who books the music, is driven by something much more. · +353 42 9352697. Duke Special,
musician. His DVD box set, The Stage, A Book & the Silver Screen is out now
The Hideout, London
Not exactly a venue, not exactly a bar, entrance to Trishas/The Hideout/that door on
Greek St (as it is variously known), is obtained by boldly knocking on what appears to be the
entrance to a flat above a shop, striding through a starkly lit corridor and down a flight of
stairs, before mumbling an explanation to the owner as to why you don't appear to be in
possession of a membership card – having accidentally put it through the
washing machine normally does the trick. Inside, you'll find a cupboard-sized, candle-lit cavern
which can be hired out for private music showcases. But stumble in unannounced after hours on a
weekend and you might also find a doo wop or jazz band sandwiched into the corner between the
usual crowd of transvestites, metropolitan hipsters and veteran Italian locals. 57 Greek Street, Soho, London. Krissi Murison, editor,NME
The Shed North Yorkshire
I first played at this blink-and-you'll-miss-it shed in the tiny village of Brawby back in 1998.
It only held 64 people and we scraped our legs on the front row's knees. It has since moved to
Hovingham village hall, though it retains its name. The man behind The Shed, Simon Thackray, has
presented events from the Fish and Chip Van Tour with a trombonist, to mixed media knitting
installations – saxophonist Lol Coxhill playing free jazz in a skip to coach
trips for folks in knitted Elvis wigs touring sites of Elvisian interest in Ryedale. My own band,
Hank Wangford and the Lost Cowboys, started a tradition of Christmas gigs at The Shed, where we
play morose songs and have a riotously miserable time. The Shed was the inspiration for my
village hall tour around Britain, which I am currently writing up as a book. And, after 235
villages, The Shed is still the loony best. · 01653 668494. Hank Wangford, writer and musician. His CD,Whistling in the Dark, is out now
A38, Budapest
For me, the greatest gig of 2009 was at A38, a
huge old ship that used to lug coal up and down the Danube. The lower deck is now a
state-of-the-art live music venue, but bits of engine room equipment are still there. Even though
the boat is held down in dry dock by 100 tonnes of concrete, the bottles still jingle on the
shelves of the bar when the parties get wild. The booking policy is great –
they've had cutting-edge electronic artists such as Ikonika, Dorian Concept and Foreign Beggars
play recently. And nothing compares with the signature dish of the restaurant on the upper deck:
rooster stew, complete with the crest and testicles of the bird. · +36 1 464 39 40. Mary Anne
Hobbs, Radio 1 DJ. Her show is broadcast on Thursdays 2-4am
Wild At Heart, Berlin
Wild At Heart is a
whisky-soaked, no-nonsense rock'n'roll joint in Berlin's old anarchist district, Kreuzberg: a
seven-nights-a-week venue painted blood red, crammed with Elvis memorabilia, Hawaiian gods and a
lifetime's supply of hard liquor. For 15 years it has presented bands from all over the world
– mostly punk, rockabilly, psychobilly, 60s garage and surf. I spent a
memorable evening there talking to TV Smith from the Adverts and another with Wreckless Eric,
both of whom started out with punk label Stiff Records in 1977, and I've played there with my
band, the Flaming Stars. The music's loud, but the welcome is friendly, and the club also runs
the Tiki Heart cafe and clothes shop next door,
where you can eat, drink and kit yourself out in a spectacular variety of rock'n'roll
clobber. · Wienerstrasse 20, +49 30 610 747 01. Max Décharné, singer in the Flaming Stars and author of A Rocket in My
Pocket: The Hipster's Guide to Rockabilly, to be published by Serpent's Tail in June
Mesa de Frades, Lisbon
Mesa de Frades in Alfama, the oldest district of Lisbon, is the sort of place you dream of
hearing fado, the traditional soulful Portuguese music. A tiny converted chapel with
tiled walls, it is full of locals and quality performers booked by owner Pedro Castro, a great
guitar player. You can come for the music, which starts late – around 11pm
– or book a table and come for an excellent dinner beforehand. A couple of
years ago I sat here watching Carminho, the amazing young fado singer who is now the talk of
Lisbon. When the music starts, the doors are shut to enclose the tiny performing space. It's what
fado in Lisbon should be, but so rarely is. · Rua dos Remedios 139A, +351 91 702 9436, mesadefrades.com. Booking is
essential. Simon Broughton, editor of Songlines magazine (songlines.co.uk/musictravel)
Il Folk Club, Turin
In the heart of Turin, off Piazza Statuto, you'll find the best of all worlds: from Wednesday to
Saturday Il Folk Club plays host to Italian and
international jazz, folk and world musicians. How this Italian institution –
legendary in Turin for over 20 years – has remained generally unknown to
travellers and music junkies outside Italy is a mystery. Alongside its regular programme, Il Folk
Club is also the launching point for Radio Londra, a monthly mini-festival which fuses British
musicians such as Jim Mullen, Kit Downes, Brandon Allen and Quentin Collins Quartet, with local
stars such as Mario Pozza, Enzo Zirilli and Dado Moroni. The bar is simple –
one central room with space for about 150 people, exposed brick walls, and a stage
– so the focus is always on the incredible music. Via Ettore Perrone 3, Turin. Sam Sollai, buyer and events coordinator, Ray's Jazz at Foyles
Gerbard, Barcelona
This little neighbourhood bar used to have a green door with panes that rattled when you opened
it, but it has now been replaced with something more solid, partly to keep the sound in. It's run
by Mar and Nacho, both dyed-in-the-wool culés (Barcelona supporters), and nights
there are long and loud. You can hear Sam Lardner, an American resident who plays his own fusion
of flamenco and bossa nova, or wonderful classical and flamenco guitarists like Daniel Figueras
and Pedro Javier Hermosilla, or the Covers Project, with frontman Philip Stanton. The eating and
drinking are delicious too – Galician-style octopus, traditional meatballs,
pimientos de padron (small green peppers), and wine for not much more than a euro a
glass. A great night out in the Alta Zona. · C/ Ivorra 24, Sarria, Barcelona, +93 203 4988. Rupert Thomson, author living in Barcelona. His latest book, This Party's Got to Stop,
will be published on 8 April
La Casona del Molino, Salta, Argentina
Salta, in north-west Argentina, is well-known for its folk music heritage. This has given rise to
the creation of pena, which roughly translates as a place where musicians and music
lovers come together. Seven nights a week you can experience this at La Casona. The venue's five
colonial rooms are filled to the brim with musicians, professional and amateur, folk, jazz and
others, locals who come down from the Andes bearing pan pipes and drums, and some foreign
visitors, all coming together to jam the local tunes. As a musician, I found great comfort in the
fact that this kind of place exists in the world. And of course, many people come simply for the
music. · La Casona del Molino, Caseros. Lizzie Ball, violinist
and singer. She will be performing – and launching her album
– with Machaca at La Linea Festival in thePurcell Roomon London's South Bank on 27 April
Salón Rosado de la Tropical, Havana
The first time I asked a taxi driver to take me to Havana's Salón Rosado de la Tropical
back in 1989 he said it was a place for Cubans, not foreign tourists – and
certainly not lone women – and I'd better watch out as it could be rough. He'd
obviously never been inside this mecca of Cuban dance music, where all the top bands play
regularly, testing their latest material in front of the sexiest dancers on the island. In Cuba,
most music venues are geared to tourists and too expensive for ordinary Cubans, who are often not
allowed in anyway. Not so the Salón Rosado. This is the closest you can get to hanging out
with a Cuban clientele. Dedicated to the memory of Beny Moré, Cuba's touchstone band
leader of the 1950s, it started out life a Spanish cultural centre at the beginning of the 20th
century. These days there's a balcony reserved for tourists overlooking the dance floor where, if
you're lucky, you may rub shoulders with the musicians as they gather for the gig. Although today
reggaeton and hip-hop dominate street tastes, Salon Rosado continues to offer a window on to the
latest music scene and is a dancer's dream. · Avenida 41 esq. 46, Nicanor del Campo, Marianao, +53 7 203 5322. Jan Fairley has been travelling to Cuba since 1978 and is writing a book on women and
music in Cuba
Liquid Room, Tokyo
Leading Japanese venue Liquid Room has been going for about 15 years and hosts weekly bands and
DJs from Japan and around the world. The website may say it closes at 12, but the last time I
played there, as The Orb, they didn't let us out till 6am. There's a beautiful cafe upstairs and
the friendly enthusiasm of Tokyo clubbers has to be experienced to be believed. The last time I
played there I took a bag of Space Dust (the sweet!) which made me very popular.
· Higashi, Shibuya-ku, Tokyo, +81 3 5464 0800, liquidroom.net. Alex Paterson, co-founder of The Orb and HFB, his new project. HFB's first three EPs are
available from 12 April on Malicious Damage Records
New Africa Shrine, Lagos, Nigeria
Lagos is not your classic tourist destination; it's a prohibitively expensive city of 14 million
people and a crime record to frighten even the toughest traveller. But Nigeria's notorious
capital does have one musical landmark worth going the extra mile for: the New Africa Shrine. It's named after the
legendary club run by the late musical activist Fela Kuti, which was razed
by soldiers. Fela's daughter Yeni and her musician brother Femi have built up a nightclub that
can hold thousands and has live music throughout the week. It's not for the faint-hearted, but
the Shrine is probably the safest place in Lagos: it has its own police force. You'll get a warm
welcome, and hear some of the best live music in the region. · Pepple Street, Ikeja. Rose Skelton, music and travel journalist specialising in West Africa
Linux Magazine: "When other mailers aren’t doing the trick, it’s time
to break out Claws: An extremely configurable and extensible GUI mailer that gives you all the
control you’d ever want over your mail without sacrificing ease of use."
This episode of 4MR is brought to you by the Knight Digital Media Center, providing a
spectrum of training for the 21st century journalist. Find out more at KDMC's website. It's also underwritten by GoDaddy, helping you
set up your own website in a snap with domain name registration, web hosting and 24/7 support.
Visit
GoDaddy to learn more.
Here's the latest 4MR audio report from MediaShift. In this week's edition, I look at Google TV,
the new alliance between Google, Intel, Sony and Logitech to create a new TV or set-top box that
will finally connect the TV with the Net in a simple way. Plus, Facebook last week surpassed
Google in traffic for the U.S., according to Experian Hitwise, and Facebook referrals to news
sites were more loyal visitors than referrals from Google News or the Google search engine. And I
asked Just One Question to Time magazine TV critic James Poniewozik, getting his take on Google
TV.
Mark Glaser is executive editor of MediaShift and Idea
Lab. He also writes the bi-weekly OPA Intelligence Report email newsletter for the Online Publishers Association. He lives in San Francisco
with his son Julian. You can follow him on Twitter @mediatwit.
This episode of 4MR is brought to you by the Knight Digital Media Center, providing a
spectrum of training for the 21st century journalist. Find out more at KDMC's website. It's also underwritten by GoDaddy, helping you
set up your own website in a snap with domain name registration, web hosting and 24/7 support.
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Sur le site Tendance Santé, proposé par Orange Healthcare en partenariat avec
Santé Magazine, le Coach forme s’adresse directement à toutes les femmes qui
souhaitent se remettre au sport, prendre soin de leur santé ou améliorer leur
bien-être au quotidien. Le Coach forme propose un accompagnement sur quatre sports
– jogging, natation, vélo et roller- ainsi que des exercices de fitness.
Le programme est personnalisé en fonction des aptitudes et des préférences de
chacune.
Once upon a time, you had to bring travel guides, maps and paper tickets
on every trip. Today, you can just take your smartphone and get access to all of this information
without having to lug a couple of books and magazines around with you. Today, according to a
new
study by analytics firm Compete, 38% of smartphone users conduct travel research on their
devices and 28% use their phones to book at least some of their trips and travel activities.
Sponsor
Compete found that the most popular travel-related activity for smartphone owners is finding more
information about a destination while they are already traveling (34%). Close to a third of
smartphone owners who responded to Compete's survey also use their phones to check up on the
status of their lodging and transportation reservations. For most smartphone owners, this
probably means checking up on the status of their flights. A quarter of smartphone owners also
use their phones to research lodging, destination and transportation options. Marketers will be
happy to hear that 22% of users look for a specific transportation company's or hotel's website
and 21% use their devices to do research on a specific travel agency's site.
Interestingly, though, while about a third of smartphone owners use their devices for
travel-related activities, only one-fifth of all smartphone owners have installed travel apps on
their devices yet. Those who haven't installed travel apps yet are looking for comprehensive
services that can notify their users of unplanned schedule changes (52%), notify users of rate
changes (48%) and consolidate all travel reservations into one itinerary. While there are already
numerous apps like WorldMate and TripIt that solve these problems, there is clearly an opportunity for
these companies to market their apps to a wider audience that isn't aware of them yet.
The will to learn brings confidence, and the ability to view society through truthful eyes
The socialist paradise in which I'm now sitting is a place where people from all walks of life,
young and old, firm and somewhat less firm, have – through a combination of
apprenticeship and self-examination – come to learn together about the world,
without having to pay for the privilege.
It's a public library, of course: a place which you visit voluntarily in order to learn more
things than you were taught at school. I call it "the place where dreams can come true". It's
where the project of learning continues, at your own pace and of your own volition, and where you
are understood to be an equal participant in the making and changing of your mind. No possibility
is closed off to you.
Good fortune favours the well-primed, and the habit of seeing yourself as someone who doesn't do
that sort of thing, or have that kind of luck, can be hard to get out of. But oh, to be a child
in Newham now! The east London borough has just announced a policy of giving every pupil in its
primary schools free music lessons for a minimum of two years, and the loan of an instrument of
their choice. You can almost hear its mayor, Sir Robin Wales, rubbing his hands together at the thought of spending
£1.25m a year making Every Child a Musician, as the scheme is known.
Knowing that my nan, who left school at 11, could play a bit of piano, whereas I barely know one
end of the instrument from the other, proves that no skill is transmitted by osmosis. It has to
be passed on deliberately, which is why progress can never be taken for granted, and why the
invidious nature of cultural dispossession must be kept in mind.
It's hard to convey the sheer desultoriness of our music teaching at my secondary school. For a
start, we were given one half-hour lesson a week, of which 25 minutes were spent trying to wind
up the plainly contemptuous teacher. When she couldn't be bothered, she looked out of the window
and let us get on with pressing the demo button on our Casio keyboards: playing at playing and
learning nothing in the process because the person we needed to guide us didn't think it was
worth her while.
This is shown more powerfully in 36 Children, Herbert Kohl's account of teaching in a Harlem elementary school
in the late 1960s. He shows the children that they have brains when every other teacher has told
them they're brainless. He invites them round to his apartment and puts on jazz music while they
rifle through his books and artefacts. They quickly become fascinated by Greek myths and work
together to produce a literary magazine full of allegory, truth and creativity.
Middle-class children are subjected to "accelerated learning" virtually from birth. The nascent
person of power is treated as a sponge who can take it all in, because they're assumed to have
the potential for discrimination and specialism later in life. Start with piano, violin, trumpet,
ballet and chess club and you can always drop one when, as expected, you start to show
exceptional talent in one or more of them. This enrichment of the domestic environment
– turning home life into an extension of schooling – is
taken as a given by teachers at largely middle-class schools, which stretch their children to the
extent that excelling becomes the norm.
Note that accelerated learning programmes – or "wraparound schools" which
start early and finish late, the better to fit more of these "middle-class" activities into the
daily life of working-class children – are intended to do the opposite: to
make school an extension of the home. However, the value of making educational activities
something you do outside of school, as well as inside, is surely that you stop associating
learning exclusively with schooling.
Richard Sennett, author of The Craftsman, writes convincingly of the role that
learning to read and play music has in building confidence. Mastery is a transferable skill
– once you've mastered, or at least gained a working knowledge of, one thing,
there's nothing stopping you from trying another. When my husband takes his Grade 8 exam in
classical guitar next month he'll be 35, but that won't stop him picking up another instrument to
learn straight afterwards (I know what he's like). Playing music gives him another kind of voice,
and affords him a sort of enviable mental polyphony.
You can keep people down with this kind of power: the power to deprive, to impoverish, to make
ignorant. But you can't keep them down for ever. At some point it will warp and blast out some
other way, in bitterness, in fighting, in baying for blood, the consequences of having just
enough knowledge to know you're ignorant. Learning is what enables us to look at ourselves and
our society through more detached, more truthful, eyes. Who would deny anyone that?
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It is all FREE!
Find here the history of the stories you found interesting.
Show this to people who share the same interests as you,
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    (je ne suis pas un pro)
Billet original de 
Billet original de 
Selon le magazine people Closer, Direct 8 prtoposera prochainement Les jouets
de l'extrême, série documentaire sur les jouets les plus hors norme sur notre
planète...Lionel Rosso fera les lancements.
The Official
Nintendo Magazine UK is hanging out at 
Once upon a time, you had to bring travel guides, maps and paper tickets
on every trip. Today, you can just take your smartphone and get access to all of this information
without having to lug a couple of books and magazines around with you. Today, according to a
Recommandations
)
and reject those that you are not interested in
(
)
