The Loft Cinema Film Guide
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GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
Mourning the Fallen
TONIGHT Showers & T-storms. Low of 48. Search for The Westfield News The WestfieldNews “COURAGESearch forIS TheTHE Westfield MOST IMPORTANT News OF Westfield350.com The WestfieldNews ALL THE VIRTUES, BECAUSE WITHOUT Serving Westfield, Southwick, and surrounding Hilltowns COURAGE“TIME YOU IS THECAN’ TONLY PRAC TICE ANY OTHER VIRTUE CONSISTENTLY. WEATHER CRITIC WITHOUT YOU CAN PRACTICE ANY VIRTUE TONIGHT AMBITION ERRATICALLY, BUT.” NOTHING Partly Cloudy. CONSISTENTLYJOHN WITHOUT STEINBECK COURAGE.” Low of 55. Search for The Westfield News Westfield350.comWestfield350.org Thewww.thewestfieldnews.com WestfieldNews — Maya ANGELOU Serving Westfield, Southwick, and surrounding Hilltowns “TIME IS THE ONLY WEATHERVOL. 86 NO. 151 TUESDAY, JUNE 27, 2017 75CRITIC centsWITHOUT VOL. 88 NO. 122 TUESDAY, MAY 28, 2019 75 Cents TONIGHT AMBITION.” Partly Cloudy. JOHN STEINBECK Low of 55. www.thewestfieldnews.com VOL. 86 NO. 151 MourningTUESDAY, JUNE 27, 2017 the fallen 75 cents By PETER CURRIER Correspondent WESTFIELD- The city held its annual Memorial Day Parade Monday morning, with 29 groups representing the branches of the military, elected officials, first responders and other public services. The parade began on North Elm Street near the Mestek prop- erty and continued south to their destination at Westfield Middle School. Once there, a ceremony was held across the street at Parker Memorial Park. The ceremony began with State Representative John Velis (left) speaks of his experi- remarks from Master of Ceremony Cindy Lacoste, Past ences as a veteran at the ceremony. Cindy Lacoste (right) Commander of American Legion Post 124 in Westfield. She was the Master of Ceremony for the day. (Photo by Peter introduced Westfield High School band member Madison Currier) Curbello, who sang the National Anthem. -
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema. -
Marble Hornets, the Slender Man, and The
DIGITAL FOLKLORE: MARBLE HORNETS, THE SLENDER MAN, AND THE EMERGENCE OF FOLK HORROR IN ONLINE COMMUNITIES by Dana Keller B.A., The University of British Columbia, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2013 © Dana Keller, 2013 Abstract In June 2009 a group of forum-goers on the popular culture website, Something Awful, created a monster called the Slender Man. Inhumanly tall, pale, black-clad, and with the power to control minds, the Slender Man references many classic, canonical horror monsters while simultaneously expressing an acute anxiety about the contemporary digital context that birthed him. This anxiety is apparent in the collective legends that have risen around the Slender Man since 2009, but it figures particularly strongly in the Web series Marble Hornets (Troy Wagner and Joseph DeLage June 2009 - ). This thesis examines Marble Hornets as an example of an emerging trend in digital, online cinema that it defines as “folk horror”: a subgenre of horror that is produced by online communities of everyday people— or folk—as opposed to professional crews working within the film industry. Works of folk horror address the questions and anxieties of our current, digital age by reflecting the changing roles and behaviours of the everyday person, who is becoming increasingly involved with the products of popular culture. After providing a context for understanding folk horror, this thesis analyzes Marble Hornets through the lens of folkloric narrative structures such as legends and folktales, and vernacular modes of filmmaking such as cinéma direct and found footage horror. -
Gesamtkatalog BRD (Regionalcode 2) Spielfilme Nr. 94 (Mai 2010)
Gesamtkatalog BRD (Regionalcode 2) Spielfilme -Kurzübersicht- Detaillierte Informationen finden Sie auf unserer Website und in unse- rem 14tägigen Newsletter Nr. 94 (Mai 2010) LASER HOTLINE - Inh. Dipl.-Ing. (FH) Wolfram Hannemann, MBKS Talstr. 11 - 70825 Korntal Tel.: (0711) 83 21 88 - Fax: (0711) 8 38 05 18 INTERNET: www.laserhotline.de e-mail: [email protected] Katalog DVD BRD (Spielfilme) Nr. 94 Mai 2010 (500) Days of Summer 10 Dinge, die ich an dir 20009447 25,90 EUR 12 Monkeys (Remastered) 20033666 20,90 EUR hasse (Jubiläums-Edition) 20009576 25,90 EUR 20033272 20,90 EUR Der 100.000-Dollar-Fisch (K)Ein bisschen schwanger 20022334 15,90 EUR 12 Uhr mittags 20032742 18,90 EUR Die 10 Gebote 20000905 25,90 EUR 20029526 20,90 EUR 1000 - Blut wird fließen! (Traum)Job gesucht - Will- 20026828 13,90 EUR 12 Uhr mittags - High Noon kommen im Leben Das 10 Gebote Movie (Arthaus Premium, 2 DVDs) 20033907 20,90 EUR 20032688 15,90 EUR 1000 Dollar Kopfgeld 20024022 25,90 EUR 20034268 15,90 EUR .45 Das 10 Gebote Movie Die 120 Tage von Bottrop 20024092 22,90 EUR (Special Edition, 2 DVDs) Die 1001 Nacht Collection – 20016851 20,90 EUR 20032696 20,90 EUR Teil 1 (3 DVDs) .com for Murder 20023726 45,90 EUR 13 - Tzameti (k.J.) 20006094 15,90 EUR 10 Items or Less - Du bist 20030224 25,90 EUR wen du triffst 101 Dalmatiner (Special [Rec] (k.J.) 20024380 20,90 EUR Edition) 13 Dead Men 20027733 18,90 EUR 20003285 25,90 EUR 20028397 9,90 EUR 10 Kanus, 150 Speere und [Rec] (k.J.) drei Frauen 101 Reykjavik 13 Dead Men (k.J.) 20032991 13,90 EUR 20024742 20,90 EUR 20006974 25,90 EUR 20011131 20,90 EUR 0 Uhr 15 Zimmer 9 Die 10 Regeln der Liebe 102 Dalmatiner 13 Geister 20028243 tba 20005842 16,90 EUR 20003284 25,90 EUR 20005364 16,90 EUR 00 Schneider - Jagd auf 10 Tage die die Welt er- Das 10te Königreich (Box 13 Semester - Der frühe Nihil Baxter schütterten Set) Vogel kann mich mal 20014776 20,90 EUR 20008361 12,90 EUR 20004254 102,90 EUR 20034750 tba 08/15 Der 10. -
Language and Monstrosity in the Literary Fantastic
‘Impossible Tales’: Language and Monstrosity in the Literary Fantastic Irene Bulla Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Irene Bulla All rights reserved ABSTRACT ‘Impossible Tales’: Language and Monstrosity in the Literary Fantastic Irene Bulla This dissertation analyzes the ways in which monstrosity is articulated in fantastic literature, a genre or mode that is inherently devoted to the challenge of representing the unrepresentable. Through the readings of a number of nineteenth-century texts and the analysis of the fiction of two twentieth-century writers (H. P. Lovecraft and Tommaso Landolfi), I show how the intersection of the monstrous theme with the fantastic literary mode forces us to consider how a third term, that of language, intervenes in many guises in the negotiation of the relationship between humanity and monstrosity. I argue that fantastic texts engage with monstrosity as a linguistic problem, using it to explore the limits of discourse and constructing through it a specific language for the indescribable. The monster is framed as a bizarre, uninterpretable sign, whose disruptive presence in the text hints towards a critique of overconfident rational constructions of ‘reality’ and the self. The dissertation is divided into three main sections. The first reconstructs the critical debate surrounding fantastic literature – a decades-long effort of definition modeling the same tension staged by the literary fantastic; the second offers a focused reading of three short stories from the second half of the nineteenth century (“What Was It?,” 1859, by Fitz-James O’Brien, the second version of “Le Horla,” 1887, by Guy de Maupassant, and “The Damned Thing,” 1893, by Ambrose Bierce) in light of the organizing principle of apophasis; the last section investigates the notion of monstrous language in the fiction of H. -
From the Classical Polis to the Neoliberal Camp: Mapping the Biopolitical Regimes of the Undead in Dawn of the Dead, Zombi 2 and 28 Days Later
TAMAS NAGYPAL York University, Toronoto FROM THE CLASSICAL POLIS TO THE NEOLIBERAL CAMP: MAPPING THE BIOPOLITICAL REGIMES OF THE UNDEAD IN DAWN OF THE DEAD, ZOMBI 2 AND 28 DAYS LATER Introduction he aim of this paper is to map the (bio)political conflicts around the undead body that emerged in early postmodern zombie films and to look T at a possible contemporary resolution of these conflicts in the genre’s currently dominant form. The theoretical starting point of the analysis is the Lacanian psychoanalytic concept of the living dead developed by Slavoj Žižek1 that links the sublime bodies of the undead, situated outside normative social boundaries, to a revolutionary mode of subjectivity. His model allows to read these films as allegories for popular uprisings against the global neoliberal consensus forming in the late 1970s that stroke a heavy blow at underprivileged populations by advocating the dismantling of the welfare state and the deregulation of the market through an increase of privatization and individual responsibility.2 At the time of George Romero’s Dawn of the Dead (1978) and Lucio Fulci’s Zombi 2 (1979) the new status quo is not yet solidified, which is why, I suggest, these films try to locate the problem of the emergent global mass of bodies, deemed superfluous for the entrepreneurial logic of neoliberal production, in the framework of the classical exclusory politics of the city-state threatened by the revolution of the proletariat. It is Fulci’s film which takes an ultra-leftist stance here by supporting, with the risk of appearing ridiculous, the political takeover of the world by its underclass zombies while Romero’s Dawn remains skeptical about the power of the masses, retreating rather to a conservative position of established middle class family values and patriarchy. -
Jeannie Epper
Jeannie Epper Service: Teddy’s E-mail: [email protected] Website: www.usastunts.com/members/epper_credits.htm Affiliations: SAG/AFTRA/WIF Stats Height: 5’ 8” Weight: 125 lbs. Eyes: Blue Hair: Blonde Abilities Car Work Horse Work Fights Motorcycles Fire Work High Falls Trampoline Tumbling Film True Lies The Package The Quick and the Dead Our Man Flint Die Hard 3 Used Cars Mother Article 99 Blown Away Romancing The Stone Beverly Hills Cop III Day of the Locus I Love Trouble Hallelujah Trail Last Action Hero Elvira The Fugitive Terms of Endearment Your Money or Your Wife Twinkle Twinkle Robo Cop Killer Kane Naked Gun 2 1/2 Roadhouse The Rookies Legal Eagles The Boyfriend School Avalanche Express Foxie Brown Another 48 Hours Switch Black Sunday Outrageous Fortune Earthquake Smokey & The Bandit II McKenna’s Gold Little Big Man Christmas Vacation 1941 Delirious Dead Again Logan’s Run Bound For Glory Cannonball Run The Jerk Peggy Sue Got Married Soylent Green The Jezebels Blazing Saddles Auntie Mame Total Recall Charlie Chan & the Dragon Queen The Naked Gun Million Dollar Mystery Movie Nameless Television Harts of the West Hill Street Blues They Came From Outer Space Cassie & Co. Alien Nation Barnaby Jones Wonder Woman VEGA$ Emergency Max Headroom Rockford Files Mike Hammer Mannix Cagney & Lacey Jake & The Fatman Fantasy Island Simon & Simon Police Woman Gunsmoke Quincy Rip Tide Midnight Caller Stir Crazy Falcon Crest Get A Life Code Name Fox Fire Remington Steele Hunter Bionic Woman Insiders Charlie’s Angels Airwolf Scruples Wild Women Marcus Welby M.D. Escape From Bogan County Hardball Ritual Of Evil Private Benjamin Cabot Connection McClains Law Overboard 240 Robert ADA Me & Mom Man In Cement Moonlighting Tales From The Crypt (HBO) Hardcastle & McCormick Days of Our Lives Stunt Coordinator Murder She Wrote Dynasty Stunt Coordinator Hart To Hart Cassie & Co. -
Sasquatch and the Law: the Implications of Bigfoot Preservation Laws in Washington State
Ilacqua 1 Joan Ilacqua HGSA Conference Paper Sasquatch and the Law: The Implications of Bigfoot Preservation Laws in Washington State The American Pacific Northwest is characterized and recognized by its lush wilderness, mountain ranges, salmon, Starbucks coffee, and most recently, by “Portlandia”esque hipsters. The Pacific Northwest is also the home of the elusive, and presumed bogus, Sasquatch. Although the Sasquatch has its roots in Native American lore, the word “Sasquatch” is an anglicized Salish word, the first Bigfoot story was published by pioneer missionary Elkanah Walker in 1840 and a long tradition of publishing Bigfoot stories has proliferated since. Bigfoot searches and stories culminated in the 1967 PattersonGimlin film of a supposed female Sasquatch, although the myth has found resurgence in modern Bigfoot hunting television shows. Whether or not the elusive Sasquatch exists, ultimately the stories serve as a cautionary tale to act pragmatically in the wilderness. The myth and subsequent stories have become a symbol of the Pacific Northwest region. Bigfoot fervor also resulted in two Sasquatch preservation laws: the 1969 Skamania County Ordinance no. 6901, later amended in 1984, and the 1991 Whatcom County Resolution No. 92043. Each law purports to protect a creature that, if it does exist, is obviously endangered. The laws have a secondary purpose of protecting unsuspecting wilderness seekers from Bigfoot hunters, on their own the laws seem superfluous but they fit into a larger narrative about wilderness conservation and preservation in Washington state. Skamania County is in southeastern Washington state, just south of Mount Rainier, Ilacqua 2 and includes Gifford Pinchot National Forest and Mount Saint Helens. -
October 2016
October 2016 9:00 PM ET/6:00 PM PT 7:20 PM ET/4:20 PM PT 11:15 PM ET/8:15 PM PT 8:00 PM CT/7:00 PM MT 6:20 PM CT/5:20 PM MT 10:15 PM CT/9:15 PM MT Guns of the Magnificent Seven The Forgotten I.Q. 10:35 PM ET/7:35 PM PT 9:00 PM ET/6:00 PM PT SATURDAY, OCTOBER 1 9:35 PM CT/8:35 PM MT 8:00 PM CT/7:00 PM MT SUNDAY, OCTOBER 2 12:20 AM ET/9:20 PM PT The X-Files Great Balls Of Fire 11:20 PM CT/10:20 PM MT 1:05 AM ET/10:05 PM PT 12:05 AM CT/11:05 PM MT 10:50 PM ET/7:50 PM PT 9:50 PM CT/8:50 PM MT Die Hard The Magnificent Seven MONDAY, OCTOBER 3 2:40 AM ET/11:40 PM PT 12:40 AM ET/9:40 PM PT Sixteen Candles 1:40 AM CT/12:40 AM MT 3:15 AM ET/12:15 AM PT 11:40 PM CT/10:40 PM MT 2:15 AM CT/1:15 AM MT The Deer Hunter Guns of the Magnificent Seven The Forgotten TUESDAY, OCTOBER 4 5:50 AM ET/2:50 AM PT 2:15 AM ET/11:15 PM PT 12:25 AM ET/9:25 PM PT 4:50 AM CT/3:50 AM MT 5:05 AM ET/2:05 AM PT 1:15 AM CT/12:15 AM MT 11:25 PM CT/10:25 PM MT 4:05 AM CT/3:05 AM MT The Trailer Show Ravenous The X-Files Great Balls Of Fire 6:00 AM ET/3:00 AM PT 4:25 AM ET/1:25 AM PT 2:15 AM ET/11:15 PM PT 5:00 AM CT/4:00 AM MT 6:50 AM ET/3:50 AM PT 3:25 AM CT/2:25 AM MT 1:15 AM CT/12:15 AM MT 5:50 AM CT/4:50 AM MT Harry and the Hendersons Arthur and the Invisibles 2: The Legend Sixteen Candles 7:55 AM ET/4:55 AM PT 6:00 AM ET/3:00 AM PT 3:50 AM ET/12:50 AM PT 6:55 AM CT/5:55 AM MT Revenge of Maltazard 5:00 AM CT/4:00 AM MT 2:50 AM CT/1:50 AM MT 8:30 AM ET/5:30 AM PT The Magnificent Seven 7:30 AM CT/6:30 AM MT The Legend of Zorro Dazed and Confused 10:10 AM ET/7:10 AM PT 8:15 AM ET/5:15 AM PT 5:35 AM ET/2:35 AM PT 9:10 AM CT/8:10 AM MT The Trailer Show 7:15 AM CT/6:15 AM MT 4:35 AM CT/3:35 AM MT 8:40 AM ET/5:40 AM PT Guns of the Magnificent Seven 7:40 AM CT/6:40 AM MT The Mask of Zorro Robots 12:00 PM ET/9:00 AM PT 10:40 AM ET/7:40 AM PT 7:10 AM ET/4:10 AM PT 11:00 AM CT/10:00 AM MT Reservoir Dogs 9:40 AM CT/8:40 AM MT 6:10 AM CT/5:10 AM MT 10:25 AM ET/7:25 AM PT Harry and the Hendersons 9:25 AM CT/8:25 AM MT E.T. -
May 2019 Digital
MAY 2019 80 YEARS OF CINEMA MAY 2019 MAY GLASGOWFILM.ORG | 0141 332 6535 CINEMASTERS: HIROKAZU KORE-EDA | ITALIAN FILM FESTIVAL | HIGH LIFE 12 ROSE STREET, GLASGOW, G3 6RB WOMAN AT WAR | TOLKIEN | VOX LUX | FINAL ASCENT | AMAZING GRACE CONTENTS Access Film Club: Eighth Grade 20 Nobody Knows 9 The Straight Story - 35mm 8 Amazing Grace 13 Shoplifters 10 MOVIE MEMORIES Arctic 14 Still Walking 9 Rebecca 19 Ash Is Purest White 15 CINEMASTERS: Rebel Without a Cause 19 Beats 14 STANLEY KUBRICK SCOTTISH MENTAL HEALTH Birds of Passage 14 2001: A Space Odyssey 10 ARTS FESTIVAL Dead Good 5 Dr Strangelove or: How I Learned to 10 Evelyn + Skype Q&A 8 Stop Worrying and Love the Bomb Donbass 15 Irene’s Ghost + Q&A 8 13 Full Metal Jacket 10 Eighth Grade SPECIAL EVENTS Final Ascent 13 EVENT CINEMA Asbury Park: 6 Have You Seen My Movie? 13 Bolshoi Ballet: Carmen Suite/Petrushka 18 Riot, Redemption, Rock ‘n’ Roll High Life 14 Margaret Atwood: Live in Cinemas 18 Cléo from 5 to 7 6 The Keeper 15 NT Live: All My Sons 18 Crossing the Line: Al Ghorba: 6 Madeline’s Madeline 14 NT Live Encore: One Man, Two Guvnors 18 Be:Longing in Britain The Thing 14 NT Live: The Lehman Trilogy 18 Dead Good + Q&A 5 Tolkien 15 NT Live: Small Island 18 Inquiring Nuns + Skype Q&A 7 Neither Wolf Nor Dog + Q&A 7 @glasgowfilm Too Late to Die Young 15 ITALIAN FILM FESTIVAL Visible Cinema: Edie 20 Capri-Revolution 11 Preview: Freedom Fields + Q&A 6 Vox Lux 13 The Conformist 11 Preview: In Fabric + Q&A 7 Woman at War 13 Daughter of Mine 12 Preview: Sunset - 35mm + Q&A 5 XY Chelsea 15 -
Birthdays Susan Cole
Volume 27 Number 4 Issue 322 September 2014 A WORD FROM THE EDITOR Amelia Con September 5-7 It was a busy August. First I went to Conjure and got to Atlantic Recreation Center spend some time with some local fans and pros. Then I went to 2500 Atlantic Avenue France and saw the American Cemetery in Normandy. Then I Fernandina Beach, FL 32034 went to London for Worldcon. Along the way I stopped at Guests: Caitlin Blackwood (actress, Doctor Who) Cardiff, Wales to see the Doctor Who Experience. I will be Sonny Strait (voice actor) working on my NASFiC and Worldcon report this month. I am John Beatty (voice actor) trying a new way of con reporting. I planning to have the Detcon Micah Solusod (voice actor) 1(NASFiC) report for next month and Worldcon ready by Ayu Sakata (voice actor) November. In November , I will have pictures of from $10 online or $12 at the door Necronomicon as well. www.ameliacon.com As always I am willing to take submissions. Fanboy Expo See you next month. September 12-14 211 North Tampa Street Events Tampa, FL 33602 Guest: Lee Majors (actor) Umicon Richard Anderson (actor) September 5-7 Jewel Staite (actor) Plaza Resort &Spa Dean Stockwell (actor) 600 N. Atlantic Avenue And many more Daytona Beach, FL 32118 $40 for 3-Day, $20 per day Guests: J.Michael Tatum(voice actor) fanboyexpo.com Justin Cook (voice actor) John Swayse (voice actor) Creative Con Aaron Dismuke (voice actor) September 13 $40 for three day, $20 for Fri and Sun, $30 for Sat Gulf Coast State College at the door Union West www.umicondaytona.com Panama City, FL Guests: Chris Arrant (writer) Dawn Duvurger (actress) Gary Brookins (comic strip artist) Birthdays $10 for the day www.pccreativecon.com/ Susan Cole - Sept.