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Array Of course I don’t need to say the reason why The Interior ministry doesn’t like anyone to speak in religion not from fear of the terrorism but for fear the people demand their rights according to their religion Al-Azhar doesn’t like him because he exposed how retarded and I am sorry to use this word and how far is the great Islamic Sunni institution from the people especially the young people from the middle and high class The new preachers who started after him don’t like him because he is still Amr Khaled and they are still far away for the huge masses the man reached not only in Egypt or in the Arab world but beyond, as soon as you hear the attack from anyone of them like Khaled Abdallah or Sawfot Hagzy you feel the hate and jealousy It is not something new to find someone on TV or newspaper attacking him but in the last few months they seemed to forget him because they got busy in other stuff Till the Time list of the most influential 100 People came last week with a very big surprise For the first time Amr Khaled was listed in it as the only Egyptian in this year list in the rank 62 in the section of heroes and pioneers just before Al Jore and according to the time tradition Khaled will attend a celebration , an international one held by the time in D.C attended by all those who appeared in the list , well most of them,I don’t think King Abd Allah of Saudi Arabia will leave the kingdom to attend the big gala party According to what is announced Khaled will be attending the same party with Condy and Levny and how could he attend such event where such personalities attend ??
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Today, for instance, I was stuck at a consulting event all day and I mentioned to the person at the next table that I didn’t get cell phone reception in the room (and therefore missed my crazy boss’s three frantic phone calls and my husband’s frantic phone call informing me that my boss had also called him to track me down. Yes, jobs suck.) Suddenly, this stranger was opening up about cell phones and his cell phone plan, and then his cell phone costs, and then was asking me to guess how much he spends for the Triple Play plan. His costs include:,300 Rent (I overheard later that he lives on West 145th, so why the hell he’s spending so much is beyond me)60 Triple Play (phone, internet, cable)0 Cell Phone (including 0 just so he can do text messaging)0 Con Edison Netflix Gym Membership plus extra fees to have a racquetball courtWe were interrupted before I could hear the rest, unfortunately. DH and I continued to pay a ridiculous cell phone bill long after the contract expired just because we were both used to it. I even continued to make the payments after DH decided to get a second pay-as-you-go phone, despite the fact that I hardly used any of the free minutes because I just don’t use my cell phone that much. And yes, you can take your old number to a pay-as-you-go phone, which was another excuse I used to justify paying for a lousy plan.The same thing happened with our New York Times subscription. Why did we need a home phone when DH and I both had cell phones? Why has the make it automatic theory of paying yourself first to save money morphed into the automatic habit of paying for crap you don’t want or need?But hey, I spend 00/month to repay a student loan for a useless (in hindsight and according to Ben Stein) MFA degree, so who am I to complain if this man wants his Triple Play, Netflix, and racquetball court?
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　ようこそ。管理者の毛利です。まずはじめに、「誰がどんな映画を作ったかを忘れてしまった」という方のために、映研でこれまでに作られた８ｍｍフィルム作品のうち、2007å¹´5月現在に視聴可能な作品を、一気に紹介いたします。なお、以降のブログには、各作品のストーリーや鑑賞ポイントなどを掲載していますので、ぜひお読みください。1.Day Dream（’79／23分）監督　今野正裕2.Regardez jusgu’d la fin（’79／46分）監督　鷺巣美影　　　※サイレント。（音声素材紛失。）3.オモチャの木（’79／５分）監督　松下昌代4.源氏物語＆うんこ（’79／9分）監督　今野　正裕ほか5.パープルヘイズ　ブルース（’79／43分）監督　桜田信6.偽りの中で（’79／17分）監督　？7.狂った歯車（’79／24分）監督　富岡正幸8.大学への道（’79／３分）監督　？9.風にも道がある（’79／16分）監督　ニシムラアキラ10.風媒花（’79／35分）監督　五十嵐敬右11.夢の彼方に（’79／９分）監督　今場敏宏12.106.4（’80／18分）監督　大隅利保13.721（80link

Available at Amazon:Benjamin Britten, Owen Wingrave, G. Finley, P. Savidge, Deutsches Symphonie Orchester Berlin, K. Nagano, directed by M. Williams (released February 22, 2005)Benjamin Britten, Owen Wingrave, in box set of Britten operas conducted by Britten (vol. 1, with Albert Herring, Billy Budd, and Peter Grimes) (released in 2004)Owen Wingrave is one of the Britten operas I have never seen staged. It does get staged from time to time (just last month by the Royal Opera, for example), although Britten and his librettist, Myfanwy Piper, conceived the work first for television broadcast in 1971 and then for the stage. This film version by Margaret Williams was also made for television, in 2001, and has recently been released on DVD. The narrative comes from a short story of the same title, by Henry James (completed 1892-93), for which you must at least take a quick glance at this incredible hypertext version by Adrian Dover at The Ladder. The opera preserves the short story’s time frame, the 1890s, although Britten was probably drawn to the story because of his own experience as a pacifist, facing considerable public criticism during World War II, at a time when public opinion had turned again the Vietnam War. In her film, Williams updates the stories to the 1950s, with an abundance of visual references to monuments to the veterans of the two World Wars.Williams makes a nice combination of actual dialogue, with characters singing on screen, with inner monologue, in which we hear the singers in voice-over. The medium of film allows for an interesting incorporation of flashbacks to Owen’s childhood, too. Sometimes, Williams goes for shots that are too gimmicky (Janet Tovey was the cinematographer), as in the family ensemble, when members of the family come in and out of closeup, wagging their fingers at Owen. Just as often, Williams’s eye creates gorgeous tableaux, like the three women of the family seated at table, cutting their meat, and berating Owen in rage. The location for the family manor, Paramore, brings home the wealth of Owen’s family, with generations of soldier-ancestors glowering from painted portraits on the Gothic manor walls. When Owen returns to the house, he sings (in voice-over), And now to face them, all of them, / The living and the dead.Reviews of Royal Opera Production, 2007:Anna Picard (The Independent, April 29)Anthony Holden (The Observer, April 29)Andrew Clark (Financial Times, April 27)Warwick Thompson (Bloomberg News, April 25)Rupert Christiansen (The Telegraph, April 25)Dominic McHugh (The Opera Critic, April 25)The Times (April 25)The gorgeous, brooding score features haunting celesta and often percussively treated strings. It is cut from the same cloth as Britten’s earlier scores: in particular, we hear a repeated-note motif quite similar to Down with the Etruscans/Romes for the Romans” theme in The Rape of Lucretia. It is played beautifully by the Deutsches Symphonie-Orchester Berlin, under Kent Nagano. The choristers of Westminster Cathedral give just the right wistful background to the Ballad of Paramore, in which Owen describes the legend of his ancestor who, in a room in the mansion now considered haunted, struck his son and killed him. The singers are all cast well by look, which is important in a film with numerous closeups. Most sing equally well, especially baritone Gerald Finley, who is a fine Owen, and mezzo-soprano Charlotte Hellekant as Kate Julian.The opera is rather short, but the DVD is rounded out with a bonus that is almost as much of a draw as the main feature. The documentary Benjamin Britten: The Hidden Heart, directed by Teresa Griffiths, is an hour-long profile of Brittens relationship with tenor Peter Pears. There is little by way of new information, but the film clips of Britten and Pears are wonderful: Britten playing some of the sea music from Peter Grimes at the pianolink

N’ayez donc pas honte de vos vices….Vos points: 60 sur 154.Résultat Global:39 %.La paresse: 45 %La gourmandise: 60 %L’avarice: 18 %L’orgueil: 58 %la luxure: 81 %l’envie: 6 %La colère: 43 %.Alors on remarquera que je suis gourmand, orgueilleux et paresseux mais surtout..
link

Array Of course I don’t need to say the reason why The Interior ministry doesn’t like anyone to speak in religion not from fear of the terrorism but for fear the people demand their rights according to their religion Al-Azhar doesn’t like him because he exposed how retarded and I am sorry to use this word and how far is the great Islamic Sunni institution from the people especially the young people from the middle and high class The new preachers who started after him don’t like him because he is still Amr Khaled and they are still far away for the huge masses the man reached not only in Egypt or in the Arab world but beyond, as soon as you hear the attack from anyone of them like Khaled Abdallah or Sawfot Hagzy you feel the hate and jealousy It is not something new to find someone on TV or newspaper attacking him but in the last few months they seemed to forget him because they got busy in other stuff Till the Time list of the most influential 100 People came last week with a very big surprise For the first time Amr Khaled was listed in it as the only Egyptian in this year list in the rank 62 in the section of heroes and pioneers just before Al Jore and according to the time tradition Khaled will attend a celebration , an international one held by the time in D.C attended by all those who appeared in the list , well most of them,I don’t think King Abd Allah of Saudi Arabia will leave the kingdom to attend the big gala party According to what is announced Khaled will be attending the same party with Condy and Levny and how could he attend such event where such personalities attend ??
link

Today, for instance, I was stuck at a consulting event all day and I mentioned to the person at the next table that I didn’t get cell phone reception in the room (and therefore missed my crazy boss’s three frantic phone calls and my husband’s frantic phone call informing me that my boss had also called him to track me down. Yes, jobs suck.) Suddenly, this stranger was opening up about cell phones and his cell phone plan, and then his cell phone costs, and then was asking me to guess how much he spends for the Triple Play plan. His costs include:,300 Rent (I overheard later that he lives on West 145th, so why the hell he’s spending so much is beyond me)60 Triple Play (phone, internet, cable)0 Cell Phone (including 0 just so he can do text messaging)0 Con Edison Netflix Gym Membership plus extra fees to have a racquetball courtWe were interrupted before I could hear the rest, unfortunately. DH and I continued to pay a ridiculous cell phone bill long after the contract expired just because we were both used to it. I even continued to make the payments after DH decided to get a second pay-as-you-go phone, despite the fact that I hardly used any of the free minutes because I just don’t use my cell phone that much. And yes, you can take your old number to a pay-as-you-go phone, which was another excuse I used to justify paying for a lousy plan.The same thing happened with our New York Times subscription. Why did we need a home phone when DH and I both had cell phones? Why has the make it automatic theory of paying yourself first to save money morphed into the automatic habit of paying for crap you don’t want or need?But hey, I spend 00/month to repay a student loan for a useless (in hindsight and according to Ben Stein) MFA degree, so who am I to complain if this man wants his Triple Play, Netflix, and racquetball court?
link

　ようこそ。管理者の毛利です。まずはじめに、「誰がどんな映画を作ったかを忘れてしまった」という方のために、映研でこれまでに作られた８ｍｍフィルム作品のうち、2007å¹´5月現在に視聴可能な作品を、一気に紹介いたします。なお、以降のブログには、各作品のストーリーや鑑賞ポイントなどを掲載していますので、ぜひお読みください。1.Day Dream（’79／23分）監督　今野正裕2.Regardez jusgu’d la fin（’79／46分）監督　鷺巣美影　　　※サイレント。（音声素材紛失。）3.オモチャの木（’79／５分）監督　松下昌代4.源氏物語＆うんこ（’79／9分）監督　今野　正裕ほか5.パープルヘイズ　ブルース（’79／43分）監督　桜田信6.偽りの中で（’79／17分）監督　？7.狂った歯車（’79／24分）監督　富岡正幸8.大学への道（’79／３分）監督　？9.風にも道がある（’79／16分）監督　ニシムラアキラ10.風媒花（’79／35分）監督　五十嵐敬右11.夢の彼方に（’79／９分）監督　今場敏宏12.106.4（’80／18分）監督　大隅利保13.721（80link

Available at Amazon:Benjamin Britten, Owen Wingrave, G. Finley, P. Savidge, Deutsches Symphonie Orchester Berlin, K. Nagano, directed by M. Williams (released February 22, 2005)Benjamin Britten, Owen Wingrave, in box set of Britten operas conducted by Britten (vol. 1, with Albert Herring, Billy Budd, and Peter Grimes) (released in 2004)Owen Wingrave is one of the Britten operas I have never seen staged. It does get staged from time to time (just last month by the Royal Opera, for example), although Britten and his librettist, Myfanwy Piper, conceived the work first for television broadcast in 1971 and then for the stage. This film version by Margaret Williams was also made for television, in 2001, and has recently been released on DVD. The narrative comes from a short story of the same title, by Henry James (completed 1892-93), for which you must at least take a quick glance at this incredible hypertext version by Adrian Dover at The Ladder. The opera preserves the short story’s time frame, the 1890s, although Britten was probably drawn to the story because of his own experience as a pacifist, facing considerable public criticism during World War II, at a time when public opinion had turned again the Vietnam War. In her film, Williams updates the stories to the 1950s, with an abundance of visual references to monuments to the veterans of the two World Wars.Williams makes a nice combination of actual dialogue, with characters singing on screen, with inner monologue, in which we hear the singers in voice-over. The medium of film allows for an interesting incorporation of flashbacks to Owen’s childhood, too. Sometimes, Williams goes for shots that are too gimmicky (Janet Tovey was the cinematographer), as in the family ensemble, when members of the family come in and out of closeup, wagging their fingers at Owen. Just as often, Williams’s eye creates gorgeous tableaux, like the three women of the family seated at table, cutting their meat, and berating Owen in rage. The location for the family manor, Paramore, brings home the wealth of Owen’s family, with generations of soldier-ancestors glowering from painted portraits on the Gothic manor walls. When Owen returns to the house, he sings (in voice-over), And now to face them, all of them, / The living and the dead.Reviews of Royal Opera Production, 2007:Anna Picard (The Independent, April 29)Anthony Holden (The Observer, April 29)Andrew Clark (Financial Times, April 27)Warwick Thompson (Bloomberg News, April 25)Rupert Christiansen (The Telegraph, April 25)Dominic McHugh (The Opera Critic, April 25)The Times (April 25)The gorgeous, brooding score features haunting celesta and often percussively treated strings. It is cut from the same cloth as Britten’s earlier scores: in particular, we hear a repeated-note motif quite similar to Down with the Etruscans/Romes for the Romans” theme in The Rape of Lucretia. It is played beautifully by the Deutsches Symphonie-Orchester Berlin, under Kent Nagano. The choristers of Westminster Cathedral give just the right wistful background to the Ballad of Paramore, in which Owen describes the legend of his ancestor who, in a room in the mansion now considered haunted, struck his son and killed him. The singers are all cast well by look, which is important in a film with numerous closeups. Most sing equally well, especially baritone Gerald Finley, who is a fine Owen, and mezzo-soprano Charlotte Hellekant as Kate Julian.The opera is rather short, but the DVD is rounded out with a bonus that is almost as much of a draw as the main feature. The documentary Benjamin Britten: The Hidden Heart, directed by Teresa Griffiths, is an hour-long profile of Brittens relationship with tenor Peter Pears. There is little by way of new information, but the film clips of Britten and Pears are wonderful: Britten playing some of the sea music from Peter Grimes at the pianolink

N’ayez donc pas honte de vos vices….Vos points: 60 sur 154.Résultat Global:39 %.La paresse: 45 %La gourmandise: 60 %L’avarice: 18 %L’orgueil: 58 %la luxure: 81 %l’envie: 6 %La colère: 43 %.Alors on remarquera que je suis gourmand, orgueilleux et paresseux mais surtout..
link

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