Mels the Original When You Visit Mels, You’Re Experiencing Part of the American Dream
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Foodservice Toolkit Potatoes Idaho® Idaho® Potatoes
IDAHO POTATO COMMISSION Foodservice Table of Contents Dr. Potato 2 Introduction to Idaho® Potatoes 3 Idaho Soil and Climate 7 Major Idaho® Potato Growing Areas 11 Scientific Distinction 23 Problem Solving 33 Potato Preparation 41 Potato101.com 55 Cost Per Serving 69 The Commission as a Resource 72 Dr. Potato idahopotato.com/dr-potato Have a potato question? Visit idahopotato.com/dr-potato. It's where Dr. Potato has the answer! You may wonder, who is Dr. Potato? He’s Don Odiorne, Vice President Foodservice (not a real doctor—but someone with experience accumulated over many years in foodservice). Don Odiorne joined the Idaho Potato Commission in 1989. During his tenure he has also served on the foodservice boards of United Fresh Fruit & Vegetable, the Produce Marketing Association and was treasurer and then president of IFEC, the International Food Editors Council. For over ten years Don has directed the idahopotato.com website. His interest in technology and education has been instrumental in creating a blog, Dr. Potato, with over 600 posts of tips on potato preparation. He also works with over 100 food bloggers to encourage the use of Idaho® potatoes in their recipes and videos. Awards: The Packer selected Odiorne to receive its prestigious Foodservice Achievement Award; he received the IFEC annual “Betty” award for foodservice publicity; and in the food blogger community he was awarded the Camp Blogaway “Golden Pinecone” for brand excellence as well as the Sunday Suppers Brand partnership award. page 2 | Foodservice Toolkit Potatoes Idaho® Idaho® Potatoes From the best earth on Earth™ Idaho® Potatoes From the best earth on earth™ Until recently, nearly all potatoes grown within the borders of Idaho were one variety—the Russet Burbank. -
Download PDF Menu
3550 LONG BEACH BLVD. 16601 S. WESTERN AVE. 2104 PACIFIC COAST HIGHWAY 57 E. HOLLY ST. LONG BEACH, CA 90807 GARDENA, CA 90247 LOMITA, CA 90717 PASADENA, CA. 91103 562-490-0700 310-329-7266 424-328-0080 626-469-0099 Breakfast SERVED ALL DAY! THE LUMBERJACK THE CLASSIC Two bacon, two sausage, two eggs any style, BREAKFAST BURRITO house potatoes served with two buttermilk Eggs, bacon, sausage, house potatoes, SHORT RIB BENEDICT pancakes - 13 Upgrade to Specialty Pancakes grilled peppers, onions, jack and Two corncakes topped with short rib braised or plain waffle - 2.00 cheddar cheese served in a flour tortilla - 8.75 barbacoa over mexican street cream corn, poached eggs, and a poblano cream sauce - 16.75 THE "ORIGINAL" LOADED THE SOUTHERN HASH BROWNS Two buttermilk biscuits topped with BUTTERMILK FRIED CHICKEN Two eggs any style, bacon, sausage, sausage country gravy served with two eggs Corn cake topped with a buttermilk fried chicken green onions, jack and cheddar cheese any style, two bacon or sausage, and house breast, sautéed spinach, two eggs any style over hash browns topped with chili aioli potatoes - 12 and a roasted red pepper cream gravy - 16.50 and choice of toast - 13 CHICKEN N’ WAFFLES PITAS CHILAQUILES TWO EGG BREAKFAST Buttermilk fried chicken breast with waffle, Fried corn tortillas mixed with red sauce, or green Two eggs any style, choice of meat: bacon, blackberry butter, blackberry syrup sauce, topped with Jack cheese, sour cream and sausage, keilbasa or ham, served with our house and powdered sugar - 14 green onions. Served with two eggs any style potatoes and choice of toast - 10.50 and a side of rice and refried beans - 14 THE BREAKFAST BURGER Add Carne Asada, Chicken or Chorizo - 2.00 THE PAN FRENCH TOAST The all-beef burger (or turkey) with Add Chili Verde - 3.00 Two batter dipped brioche slices with vanilla cheddar cheese, two strips of bacon, butter and powdered sugar. -
Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking
Kimberly Owczarski Becoming Legendary: Slate Financing and Hollywood Studio Partnership in Contemporary Filmmaking In June 2005, Warner Bros. Pictures announced Are Marshall (2006), and Trick ‘r’ Treat (2006)2— a multi-film co-financing and co-production not a single one grossed more than $75 million agreement with Legendary Pictures, a new total worldwide at the box office. In 2007, though, company backed by $500 million in private 300 was a surprise hit at the box office and secured equity funding from corporate investors including Legendary’s footing in Hollywood (see Table 1 divisions of Bank of America and AIG.1 Slate for a breakdown of Legendary’s performance at financing, which involves an investment in a the box office). Since then, Legendary has been a specified number of studio films ranging from a partner on several high-profile Warner Bros. films mere handful to dozens of pictures, was hardly a including The Dark Knight, Inception, Watchmen, new phenomenon in Hollywood as several studios Clash of the Titans, and The Hangoverand its sequel. had these types of deals in place by 2005. But In an interview with the Wall Street Journal, the sheer size of the Legendary deal—twenty five Legendary founder Thomas Tull likened his films—was certainly ambitious for a nascent firm. company’s involvement in film production to The first film released as part of this deal wasBatman an entrepreneurial endeavor, stating: “We treat Begins (2005), a rebooting of Warner Bros.’ film each film like a start-up.”3 Tull’s equation of franchise. Although Batman Begins had a strong filmmaking with Wall Street investment is performance at the box office ($205 million in particularly apt, as each film poses the potential domestic theaters and $167 million in international for a great windfall or loss just as investing in a theaters), it was not until two years later that the new business enterprise does for stockholders. -
View a Printable Menu
BREAKFASTServed until 11 AM CAMPER FAVORITES All sandwichesSANDWICHES are served with fries or a side salad. Add avocado to any sandwich for 1.5 Complete Breakfast 11 Breakfast Sandwich 9 Chicken Tender Basket 10 Garlic Fries 7 Scrambled eggs and hash Scrambled eggs and cheese, Crispy chicken strips, fries, side Seasoned with butter, garlic, Campland Burger 10 Veggie Burger 11 browns, plus your choice of plus your choice of bacon, of ranch dressing. and parmesan cheese. Single beef patty with burger Mixed veggie patty with let- bacon or sausage, 2 pancakes sausage, or ham. Choice of Fish & Chips 10.5 Carne Asada Fries 11.5 sauce or BBQ sauce, lettuce, tuce, cabbage, tomato, pineap- with butter and syrup, or toast croissant or bun. Battered cod fillets, fries, side Topped with guacamole, sour tomato, pickles, American or ple, American or Swiss cheese. with butter and jelly. Pancakes Combo 9 of tartar sauce. cream, shredded cheese. Swiss cheese. Breakfast Burrito 9 Two pancakes served with 2 Loaded Chili Fries 8 Cheeseburger In Paradise 15 BBQ Pulled Pork Sandwich 10 Scrambled eggs, hash browns, slices of bacon or a sausage Double beef patty with lettuce, BBQ Pork with slaw topping on and cheese, plus a side of fresh patty. tomato, pickles, American or a bun. house salsa and your choice of Served with butter and a side Swiss cheese. bacon, sausage, or meatless. of maple syrup Turkey Croissant 9 BLT 9 Add second meat for an extra Short stack (2) 6 SOUTH OF THE BORDER Ham & Swiss Croissant 9 $1. Bacon, lettuce, tomato, on Burritos white or wheat bread. -
The Violating Maxims of Main Characters in the Hangover Movie’S Script
THE VIOLATING MAXIMS OF MAIN CHARACTERS IN THE HANGOVER MOVIE’S SCRIPT *Nanda Chairunnisa **Muhammad Natsir ABSTRACT The study deals with the types of maxims violation in The Hangover movie’s script used by the main characters. The objectives of study were to describe the violation of maxim, to describe the dominant type of maxim violation and to elaborate the reason for the maxim violation. The data were the dialogue of main characters in The Hangover movie. This research was conducted by using descriptive qualitative and limited on the main characters. The data analysis findingsshowthat there are 22 violation of maxim of quality, 2 violation of maxim of quantity, 9 violation of maxim of relation, and 8 violation of maxim of manner.The reason of the violations areto give the lack of evidence, to lying to other speaker in hiding the truth, to save face the embarrassment, to present the strongest information, to represent what is in the speaker’s mind, or to trick audience or listener for making a joke or not. Keyword : cooperative principle, violation of maxim, movie. *Graduate Status **Lecturer Status 156 INTRODUCTION In conversation it is sometimes found that the conversation uttered are notcomplete and clearly, thusit is difficult for listener to get the meaning of our utterances in order to get an effective communication, the speaker should give the complete and clear sentence to the listener(s). So, that the listener(s) can get the meaning of our utterances and understand the exact information that the speaker intends to say. The cooperative principle is the principles of communication to control the speaker and the listeners are add to conduct a good conversation when they perform a talk exchange. -
September 17, 2012
volume 12 - issue 3 - tuesday, september 18, 2012 - uvm, burlington, vt uvm.edu/~watertwr - thewatertower.tumblr.com by rebeccalaurion Let me start out by saying that if you didn’t attend the Seth Meyers comedy show on September 6th, you really missed out. I’ll be the first to admit that the most recent seasons of Saturday Night Live (of which Meyers is the Head Writer, for those of you unaware) haven’t been the show’s best. So I was worried that the evening would be filled with the same lackluster material I’ve come to expect from Meyers, week af- ter week. I was actually concerned that the highlight of the evening would be when ev- eryone decided to simultaneously belt out by bendonovan “Somebody that I Used to Know” when it played over the loudspeakers. In the interest of full disclosure, I should So you can imagine my surprise when start by saying that I have been a lifelong Meyers stepped onto the stage, and pro- Democrat—I’ve worked on campaigns, I’ve ceeded to actually make me laugh. And interned for Democratic politicians, and not just in a chuckle-quietly-at-a-pass- I’ve voted Democrat in every election I’ve ing-humorous-remark style, but actually been eligible to participate in. laughing, leaning-forward-in-your-seat- But at the Democratic National Con- because-you-can’t-sit-upright laughing. vention in Charlotte, North Carolina two The question must be asked, however, weeks ago, and in over the subsequent week of why Meyers was more entertaining live of campaigning, the Democrats pulled off a in person than live on television. -
3. Groundhog Day (1993) 4. Airplane! (1980) 5. Tootsie
1. ANNIE HALL (1977) 11. THIS IS SPINAL Tap (1984) Written by Woody Allen and Marshall Brickman Written by Christopher Guest & Michael McKean & Rob Reiner & Harry Shearer 2. SOME LIKE IT HOT (1959) Screenplay by Billy Wilder & I.A.L. Diamond, Based on the 12. THE PRODUCERS (1967) German film Fanfare of Love by Robert Thoeren and M. Logan Written by Mel Brooks 3. GROUNDHOG DaY (1993) 13. THE BIG LEBOWSKI (1998) Screenplay by Danny Rubin and Harold Ramis, Written by Ethan Coen & Joel Coen Story by Danny Rubin 14. GHOSTBUSTERS (1984) 4. AIRplaNE! (1980) Written by Dan Aykroyd and Harold Ramis Written by James Abrahams & David Zucker & Jerry Zucker 15. WHEN HARRY MET SALLY... (1989) 5. TOOTSIE (1982) Written by Nora Ephron Screenplay by Larry Gelbart and Murray Schisgal, Story by Don McGuire and Larry Gelbart 16. BRIDESMAIDS (2011) Written by Annie Mumolo & Kristen Wiig 6. YOUNG FRANKENSTEIN (1974) Screenplay by Gene Wilder and Mel Brooks, Screen Story by 17. DUCK SOUP (1933) Gene Wilder and Mel Brooks, Based on Characters in the Novel Story by Bert Kalmar and Harry Ruby, Additional Dialogue by Frankenstein by Mary Wollstonecraft Shelley Arthur Sheekman and Nat Perrin 7. DR. STRANGELOVE OR: HOW I LEARNED TO STOP 18. There’s SOMETHING ABOUT MARY (1998) WORRYING AND LOVE THE BOMB (1964) Screenplay by John J. Strauss & Ed Decter and Peter Farrelly & Screenplay by Stanley Kubrick and Peter George and Bobby Farrelly, Story by Ed Decter & John J. Strauss Terry Southern 19. THE JERK (1979) 8. BlaZING SADDLES (1974) Screenplay by Steve Martin, Carl Gottlieb, Michael Elias, Screenplay by Mel Brooks, Norman Steinberg Story by Steve Martin & Carl Gottlieb Andrew Bergman, Richard Pryor, Alan Uger, Story by Andrew Bergman 20. -
The Copyright Implications of Tattoos
the recipient, and are therefore undoubt- The Copyright Implications edly fixed in a tangible medium. Also, the Tyson tattoo was a pictorial work and very of Tattoos likely exhibited at least a “modicum of creativity.” While it is likely that some tat- Why Getting Inked Can Get You into Court toos are so commonplace that they would not even meet the “modicum of creativ- ity” threshold discussed above—such as a BY TIMOTHY C. BRADLEY generic heart with the word “mom” written across it, or a phrase of the recipient’s n the 2009 blockbuster film The Hangover,1 after a particularly unruly bachelor choosing in a commonplace font—the Ty- party in Las Vegas, the film’s main characters wake up unable to determine what son tattoo no doubt was unique enough to Ihappened the night before. Upon realizing that they have kidnapped Mike Tyson’s meet this low threshold.8 Therefore, absent tiger, they endeavor to return the tiger to its master. Tyson’s subsequent appearance in any exceptions, the Tyson tattoo would the film contributes substantially to the protagonists’ “What Happens in Vegas . .” indeed be protectable, giving the copyright experience, and Tyson’s famous facial tribal tattoo (the Tyson tattoo) is featured promi- owner the exclusive right to make copies nently in Tyson’s scenes in the film. and derivative works of the tattoo. In the 2011 sequel, The Hangover Part II,2 after another bachelor party of epic pro- Warner Brothers did not concede this portions, the main characters once again wake up in unfamiliar surroundings, and try point, and instead made the meritless argu- to piece together their previous night. -
Hi Guess the Movie 2016 Answers
33. Argo 75. The Dark Knight 117. Mary Poppins 34. Resident Evil 76. The Matrix 118. Scoob Doo* 35. Up 77. Wall-E 119. Tarzan 36. The Smurfs 78. Amelie 120. Top Gun 37. Gladiator 79. Sin City 121. Tron Hi Guess The Movie 2016 38. Taken 80. The Incredibles 122. Blood Diamond Answers 39. Aladdin 81. Les Miserables 123. Yogi Bear - Man Zhang 40. Ghost Rider 82. Machete 124. The Help 41. G.I. Joe 83. Psycho 125. Spirited Away Main Game 42. Blade 84. Kill Bill 126. Puss in Boots 1. Cars 43. Madagascar 85. Mega Mind 127. Hulk 2. Iron Man 44. The Hobbit 86. Wreck It Ralph 128. The Shining 3. King Kong 45. X-Men 87. Shutter Island 129. The Deer Hunter 4. E.T. 46. Toy Story 88. Green Lantern 130. The Dictator 5. The Godfather 47. Braveheart 89. Hell Boy 131. The Graduate 6. Fury 48. The Simpsons 90. Rocky 132. The Karate Kid 7. Harry Potter 49. Troy 91. Jaws 133. The Sixth Sense 8. The Lion King 50. Tomb Raider 92. Casper 134. The Wolverine 9. Spider-Man 51. The Iron Lady 93. Borat 135. The Great Escape 10. Ice Age 52. Bambi 94. Bruce Almighty 136. The Mask of Zorro 11. Transformers 53. Austen Powers 95. Tangled 137. The Pianist 12. Planes 54. Cinderella 96. Fantastic Four 138. The Terminal 13. Scream 55. Jurassic Park 97. The Green Mile 139. Flight 14. Brave 56. Star Wars 98. V for Vendetta 140. Identity 15. Ted 57. Spongebob 99. Snow White 141. -
1 Forever Alone in a Crowd, Arthur Fleck Seeks Connection. Yet, As He
Forever alone in a crowd, Arthur Fleck seeks connection. Yet, as he trods the sooted Gotham City streets and rides the graffitied mass transit rails of a hostile town teeming with division and dissatisfaction, Arthur wears two masks. One, he paints on for his day job as a clown. The other he can never remove; it’s the guise he projects in a futile attempt to feel he’s a part of the world around him, and not the misunderstood man whom life is repeatedly beating down. Fatherless, Arthur has a fragile mother, arguably his best friend, who nicknamed him Happy, a moniker that’s fostered in Arthur a smile that hides the heartache beneath. But, when bullied by teens on the streets, taunted by suits on the subway, or simply teased by his fellow clowns at work, this social outlier only becomes even more out of sync with everyone around him. Directed, co-written and produced by Todd Phillips, “Joker” is the filmmaker’s original vision of the infamous DC villain, an origin story infused with, but distinctly outside, the character’s more traditional mythologies. Phillips’ exploration of Arthur Fleck, who is indelibly portrayed by Joaquin Phoenix, is of a man struggling to find his way in Gotham’s fractured society. Longing for any light to shine on him, he tries his hand as a stand-up comic, but finds the joke always seems to be on him. Caught in a cyclical existence between apathy and cruelty and, ultimately, betrayal, Arthur makes one bad decision after another that brings about a chain reaction of escalating events in this gritty, allegorical character study. -
Representations of Masculinity in Contemporary Hollywood Comedies a Thesis Presented to the Facult
In the Company of Modern Men: Representations of Masculinity in Contemporary Hollywood Comedies A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Nicholas D. Bambach August 2016 © 2016 Nicholas D. Bambach. All Rights Reserved. 2 This thesis titled In the Company of Modern Men: Representations of Masculinity in Contemporary Hollywood Comedies by NICHOLAS D. BAMBACH has been approved for the School of Film and the College of Fine Arts by Ofer Eliaz Assistant Professor of Film Elizabeth Sayrs Interim Dean, College of Fine Arts 3 ABSTRACT BAMBACH, NICHOLAS D., M.A., August 2016, Film In the Company of Modern Men: Representations of Masculinity in Contemporary Hollywood Comedies Director of Thesis: Ofer Eliaz This thesis discusses the increasing visibility of masculine identity in contemporary Hollywood comedies. I examine how shifting developments in economic, societal, cultural, and gender relations impacted the perception of cinematic masculinity. The men, more specifically white and heterosexual, in these films position themselves as victims and, as a result, turn to alternative outlets to ease their frustrations and anxieties. In order to broadly survey the genre of the past two decades, I focus on three consistently popular character tropes in Hollywood comedies: slackers, office workers, and bromantic friendships. All the male characters discussed throughout the thesis are plagued by their innermost anxieties and desires that compromise their gendered identities. However, these films resort to a regressive understanding of masculinity and functions within the dominant heteronormative structures. This thesis demonstrates how Hollywood comedies present a contradictory and multifaceted image of modern masculinity. -
Race in Hollywood: Quantifying the Effect of Race on Movie Performance
Race in Hollywood: Quantifying the Effect of Race on Movie Performance Kaden Lee Brown University 20 December 2014 Abstract I. Introduction This study investigates the effect of a movie’s racial The underrepresentation of minorities in Hollywood composition on three aspects of its performance: ticket films has long been an issue of social discussion and sales, critical reception, and audience satisfaction. Movies discontent. According to the Census Bureau, minorities featuring minority actors are classified as either composed 37.4% of the U.S. population in 2013, up ‘nonwhite films’ or ‘black films,’ with black films defined from 32.6% in 2004.3 Despite this, a study from USC’s as movies featuring predominantly black actors with Media, Diversity, & Social Change Initiative found that white actors playing peripheral roles. After controlling among 600 popular films, only 25.9% of speaking for various production, distribution, and industry factors, characters were from minority groups (Smith, Choueiti the study finds no statistically significant differences & Pieper 2013). Minorities are even more between films starring white and nonwhite leading actors underrepresented in top roles. Only 15.5% of 1,070 in all three aspects of movie performance. In contrast, movies released from 2004-2013 featured a minority black films outperform in estimated ticket sales by actor in the leading role. almost 40% and earn 5-6 more points on Metacritic’s Directors and production studios have often been 100-point Metascore, a composite score of various movie criticized for ‘whitewashing’ major films. In December critics’ reviews. 1 However, the black film factor reduces 2014, director Ridley Scott faced scrutiny for his movie the film’s Internet Movie Database (IMDb) user rating 2 by 0.6 points out of a scale of 10.