Badlands is a 1973 American neo-noir period crime drama film written and directed by Terrence Malick, in his directorial debut. Starring Martin Sheen, Sissy Spacek, Warren Oates and Ramon Bieri, the story, though fictional, is loosely based on the real-life murder spree of Charles Starkweather and his girlfriend, Caril Ann Fugate, in 1958, though that basis was not acknowledged when the film was released. Like many of Malick's films, Badlands is notable for its lyrical photography, its music, which includes pieces by Carl Orff; the film is the on-screen debut of Sheen's sons Charlie Sheen and Emilio Estevez, as uncredited extras. Badlands is cited by film critics as one of the greatest and most influential films of all time. In 1993, four years after the United States National Film Registry was established, it was selected for preservation by the Library of Congress for being "culturally or aesthetically significant". 1959 South Dakota. 15-year-old Holly Sargis is a teenage girl living in a dead-end town called Fort Dupree.
She lives with her sign painter father, although their relationship has been strained since her mother died of pneumonia some years earlier. One day Holly meets a 25-year-old garbage collector named Kit Carruthers. Kit is a young, troubled greaser and Korean War veteran, who resembles James Dean, an actor Holly admires. Kit charms Holly, she falls in love with him; as Holly falls deeper in love for Kit, his violent and anti-social tendencies start to reveal themselves. Holly's father disapproves of Holly and Kit's relationship, shoots her dog as a punishment for spending time with him. Kit comes to Holly's house and shoots her father dead; the couple fakes suicide by burning down the house and go on the run together, making their way towards the badlands of Montana. Kit and Holly build a treehouse in a remote area and live there for a time and stealing chickens for food, but are discovered by bounty hunters. Kit shoots the three bounty hunters dead, the couple flees, they next seek shelter with Kit's friend Cato, but when Cato attempts to deceive them and go for help, Kit kills him.
Kit and Holly are hunted across the Midwest by law enforcement. They stop at a rich man's mansion and take supplies and his Cadillac, but spare the lives of the man and his housemaid; as the fugitives head across Montana to Saskatchewan, the police pursue them. Holly, tired of life on the run and of her relationship with Kit, refuses to go with him and turns herself in. Kit leads the police on a car chase but is soon caught, enjoys the attention he receives from police and reporters; the crowd engages with Kit as he is waiting in their custody, asking him questions and cracking jokes. Kit is executed for his crimes, while Holly receives probation and marries her defense attorney's son. In addition, uncredited appearances were made by director Malick as the man at the Rich Man's door, by lead actor Sheen's sons Charlie Sheen and Emilio Estevez as two boys sitting under a lamppost outside Holly's house. Malick, a protégé of Arthur Penn, began work on Badlands after his second year attending the American Film Institute.
In 1970, Malick, at age 27, began working on the screenplay during a road trip. "I wrote and, at the same time, developed a kind of sales kit with slides and video tape of actors, all with a view to presenting investors with something that would look ready to shoot," Malick said. "To my surprise, they didn't pay too much attention to it. I raised about half the money and executive producer Edward Pressman the other half." Malick paid $25,000 of his own funds. The remainder of his share was raised from professionals such as dentists. Badlands was the first feature film. Principal photography took place in Colorado, beginning in July 1972, with a non-union crew and a low budget of $300,000; the film had a somewhat troubled production history. The Frank G. Bloom House in Trinidad was used for the rich man's house; the script's beginning was filmed in the southeastern Colorado town of La Junta, including the scene in which Holly was running out of that town's Columbian Elementary School. The closing credits thanks the people of Otero County, Colorado "for their help and cooperation."
The film was set to be edited by Robert Estrin. However, when Malick saw Estrin's cut of the film, he disliked it and removed Estrin from the production. Malick himself and Billy Weber recut the movie. Estrin remains credited as the sole editor, with Weber credited as associate editor. Both Weber and art designer Jack Fisk worked on all of Malick's subsequent features through 2016. Though Malick paid close attention to period detail, he did not want it to overwhelm the picture. "I tried to keep the 1950s to a bare minimum," he said. "Nostalgia is a powerful feeling. I wanted the picture to set up like a fairy tale, outside time." Malick, at a news conference coinciding with the film's festival debut, called Kit "so desensitized that can regard the gun with which he shoots people as a kind of magic wand that eliminates small nuisances." Malick pointed out that "Kit and Holly think of themselves as living in a fairy tale", he felt, appropriate as "children's books like Treasure Island were filled with violence."
He hoped a "fairy tale"
DXCC RMN Cagayan de Oro is the flagship AM radio station owned and operated by Radio Mindanao Network in the Philippines. The station's studio is located at RMN Broadcast Center, Don Apolinario Velez St. Cagayan de Oro City, the transmitter is located at Opol, Misamis Oriental. On August 28, 1952, DXCC was the first radio station established in Cagayan de Oro in Mindanao and it is considered to be the overall number one AM radio station in Cagayan de Oro City. DXCC RMN Cagayan de Oro provides news and information, public service, music and entertainment, catered to class C, D & E market; this station operates Mondays to Saturdays from 4:00 AM to 12:00 MN and Sundays from 4:00 AM to 9:00 PM. During the Holy Week of each year, the station is off the air at 11:00 PM on Holy Wednesday and resumes operations at 4:00 AM on Easter Sunday. Anna Jane Duhaylungsod Annaliza A. Reyes Atty. James Judith Lovelyrose Sambaan Mishelle Mesias-Enloran Noy Losentes Rey Maraunay Ronde Alicaya Zaldy Ocon Further information: RMN stations
Secrets of the Night is a 1924 film made by Universal Pictures. The film was thought lost until it was rediscovered in a basement in Mississauga, Ontario in 2017; the black and white “murder mystery-melodrama comedy” stars James Kirkwood Sr. Madge Bellamy and ZaSu Pitts, it was adapted from "The Nightcap," written by Guy Bolton and Max Marcin. For many years, it was believed a lost film. A partial 16mm print exists in a private collection, missing the original opening credits and three scenes from the ending. A complete copy of the film was rediscovered by Richard Scott in his basement, a former Winnipegger now living in Mississauga, Ontario. Scott's father used to work at the Eatons department store in Winnipeg, his father brought home a projector. The films sat in a box in Scott's basement for 30 years before being rediscovered in early 2017. Upon discovery, Scott contacted the L. Jeffrey Selznick School of Film Preservation at the George Eastman Museum in Rochester, New York about the films. Museum staff put him in touch with a media archivist at the University of Toronto, who went to Scott's home and picked up the box films to examine back at the school.
After a few weeks, the University got back to him. The newly restored Secrets of the Night was screened for Scott and 100 guests at the University of Toronto in March 2017, with a pianist providing the soundtrack. James Kirkwood Madge Bellamy Zasu Pitts List of American films of 1924 List of rediscovered films Secrets of the Night at IMDb synopsis at AllMovie Alpha DVD
What Did You Expect? is a live concert documentary capturing the Archers of Loaf reunion tour. Directed by Gorman Bechard, it made its film festival debut in June, 2012. Indie rock icons the Archers of Loaf reunited in 2011, during the course of their reunion tour played two legendary concerts at Cat's Cradle in Chapel Hill, NC. Combining in-your-face concert footage along with rare interviews of the band, this film by director Gorman Bechard documents those concerts, captures the excitement and explosive energy of what its like to see this extraordinary band perform live; the film is being distributed by MVD Entertainment, was released on DVD in November 2012. It is available on iTunes and Video-on-Demand. Writing in Punk News, John Gentile said, "The wilder songs, like'Audiowhore' where bassist Matt Gentling just gets down, stomping around like a T-rex, are nearly berserk, with the band approaching a Stooges-type thrash.'What Did You Expect?' could pass for Fugazi's wilder side. Gentling just goes nuts on the bass, wild.
Aurelio Peccei, was an Italian industrialist and philanthropist, best known as co-founder with Alexander King and first president of the Club of Rome, an organisation which attracted considerable public attention in 1972 with its report, The Limits to Growth. He was born on 4 July 1908 in the capital of the Piedmont region of Italy, he spent his youth there graduating from the University of Turin with a degree in economics in 1930. Soon thereafter he went to the Sorbonne with a scholarship and was awarded a free trip to the Soviet Union, his knowledge of other languages brought him to Fiat S.p. A.. Although under continual suspicion as an anti-fascist in the early-1930s, in 1935 a successful mission for Fiat in China established his position in Fiat management. During World War II, Peccei joined the anti-fascist movement and the resistance, when he was a member of the "Giustizia e Libertà", he was arrested and tortured. He escaped to hide until liberation. After the war, Peccei was engaged in the rebuilding of Fiat.
He was concurrently involved in various private and public efforts underway to rebuild Italy, including the founding of Alitalia. In 1949, he went to Latin America for Fiat, to restart their operations, as Fiat operations in Latin America had been halted during the war, he settled in Argentina. He realised that it would make sense to start manufacturing locally and set up the Argentine subsidiary, Fiat-Concord, which built cars and tractors. Fiat-Concord became one of the most successful automotive firms in Latin America. In 1958, with the backing of Fiat, Peccei founded Italconsult, became its chairman, a position he held until the 1970s, when he became honorary president. Italconsult was an engineering and economic consulting group for developing countries, it operated on the whole, more as a non-profit consortium. Italconsult was regarded by Peccei as a way of helping tackle the problems of the Third World, which he had come to know first-hand in Latin America. In 1964, Peccei was asked to become president of Olivetti.
Olivetti was facing significant difficulties at that time due to the profound changes occurring in the office machine sector. Peccei, with his foresight and his entrepreneurial vision, was able to turn the situation at Olivetti around, but Peccei was not content with the substantial achievements of Italconsult, or his responsibilities as president of Olivetti, threw his energies into other organisations as well, including ADELA, an international consortium of bankers aimed at supporting industrialisation in Latin America. He was asked to give the keynote speech in Spanish at the group's first meeting in 1965, where the series of coincidences leading to the creation of the Club of Rome began. Peccei's speech caught the attention of Dean Rusk US Secretary of State, who had it translated into English and distributed at various meetings in Washington. A Soviet representative at the annual meeting of the United Nations Advisory Committee on Science and Technology, Jermen Gvishiani, Alexei Kosygin's son-in-law and vice-chairman of the State Committee on Science and Technology of the Soviet Union, read the speech and was so taken by it that he decided he should invite the author to come for private discussions, outside Moscow.
Gvishiani therefore asked an American colleague on Carroll Wilson, about Peccei. Wilson did not know Peccei, but he and Gvishiani both knew Alexander King, by Director General for Scientific Affairs for the Organization for Economic Co-operation and Development in Paris, so Wilson appealed to him for information; as it happened, King did not know Peccei, but he was impressed by the ADELA paper and tracked down its author via the Italian Embassy in Paris. King wrote to Peccei, passing on Gvishiani's address and his wish to invite him to the Soviet Union, but congratulating him on his paper and suggesting that they might meet some time as they shared similar concerns. Peccei telephoned; the two men got on well from the outset. They met several times in the latter part of 1967 and early-1968, decided that they had to do something constructive to encourage longer-range thinking among Western European governments. Peccei accordingly persuaded the Agnelli Foundation to fund a two-day brainstorming meeting on 7–8 April 1968 of around 30 European economists and scientists at the Accademia dei Lincei in Rome.
The goal of the meeting was to discuss the ideas of Peccei and King of the globality of problems facing mankind and of the necessity of acting at the global level. The meeting at the Accademia dei Lincei was not a success due to the difficulty of the participants to focus on a distant future. After the meeting there was an informal gathering of a few people in Peccei's home, which included Erich Jantsch, Alexander King, Hugo Thiemann, Lauro Gomes-Filho, Jean Saint-Geours, Max Kohnstamm. According to King, within an hour they had decided to call themselves the Club of Rome and had defined the three major concepts that have formed the club's thinking since: a global perspective, the long-term, the cluster of intertwined problems they called "the problematique". Although the Rome meeting had been convened with just Western Europe in mind, the group realised that they were dealing with problems of much larger scale and complexity—in short, "the predicament of mankind"; the notion of problematique excited some because it seemed appl
Porto Flavia is a sea harbor located near Nebida in the Iglesias comune of Italy. Built in 1923–24, it served as the mineral production hub of Masua in the west coast of the Sardinian Iglesiente area, it is named after Flavia Vecelli, the daughter of Cesare Vecelli, who engineered and designed the harbor. The harbor's characteristics make it unique in the world, at the time of its construction it was an outstanding engineering feat; the Masua hub was a complex of several mining operations in the Sulcis area, a region of Sardinia rich in coal, barium, lead and other metals. Extraction began in 1600, but became economically relevant only in the early 1900s when the mining business in the whole region experienced a quick expansion; the extraction of the coal caves, was operated on a low-technology basis until the early 20th century. Since the late 1800s metal-gathering enjoyed more modern techniques, as it was controlled by rich north-European corporations more willing to commit money in improving the mining efficiency.
In 1922, the Masua mines were acquired by the Belgian Vieille Montagne Company, exploitation increased with the growing need for zinc and lead for reconstruction after World War I as well as because of technological advance in steel alloys. The zinc and lead ore was extracted in the mines by men, processed by women and children in a centralized "washing plant", was stored; until 1924, sailors from Carloforte moved the processed ore in wicker baskets placed on their shoulders and loaded their bilancelles to their limits. The ore was brought 30 kilometres to Carloforte Island harbor, where it was manually unloaded from the boats; the ore was stored in the magazines or in the hold of waiting steamships until a full load could be shipped to the foundries in France and Germany. The transport process was costly and dangerous; the bilancelle could not stand stormy seas when loaded with lead, so the service was discontinuous and the boats sank. Sailors had terrible working conditions with low wages, no rest, great physical fatigue.
In bad weather, up to two months could be needed to load a steamship in Carloforte, while in good conditions no less than seven days were needed: the cost of the wages for so many workers in addition to the much larger cost of the steamship and quay rent made the transportation of the ore a significant expense in the production process. The mines' owner asked the Italian engineer Cesare Vecelli to devise a solution to improve steamship loading time and cost. Vecelli surveyed the coasts of Masua finding the perfect spot in the high cliffs in front of the Pan di Zucchero stack. Here, the sea was deep enough and well-protected from wind and waves to allow a safe mooring, while the ore could be loaded from the cliffs by gravity. After one year of study, he devised a detailed plan to build two superimposed tunnels, each 600 metres long, that were linked by nine huge vertical reservoirs for the processed ore. In the upper tunnel an electric train was used to bring the load the reservoirs: the ore was unloaded by gravity into hatches on top of the reservoirs.
In the lower tunnel a conveyor belt received the ore from the reservoirs and brought it to an extensible 16-metre long conveyor belt capable of loading a steamship moored at the base of the cliff in about two days. The reservoirs, carved directly into the rock, were capable of holding over 10,000 metric tons of ore. A special crew of miners expert in explosives and rock climbing was assembled, they worked in shifts and night, to complete the excavations in record time. Despite safety measures being ignored to speed up work, no casualties were reported in the building phase; because the tunnel was without angles or trenches, the usual technique for dynamite-drilling was impossible. Instead, small cavities were excavated at regular distances to allow the workers to gain cover after igniting explosives, they are still visible in the guided tour. The workers began drilling the upper gallery, 37 metres above sea-level, with dynamite and mechanical drills until they reached the sea, they hung from ropes and began drilling the lower tunnel from the cliff-face, 16 metres above sea-level, going the opposite direction under the upper gallery.
This way, they could dump the removed rocks directly into the sea. The reservoirs were excavated by creating holes in the basaltic rock, starting from the bottom of the cavities and going up; this again eased the removal of rubble, although this procedure was dangerous. Each storage reservoir was 4 to 8 metres in diameter and 20 metres high. Venting holes were opened on the side of the galleries. Mechanical iron hatches were installed, along with the electric railway into the upper tunnel; the train brought the ore to the loading hatches of the reservoirs, while in the lower tunnel the unloading hatches fed the ore to the conveyor belt leading to the ships. The belt was covered with a steel casing to prevent the wind blowing away zinc oxide powder, it was extensible, retracted after a load was delivered to the ship's hold. The main conveyor belt featured an innovative movable alignment system, designed to reduce the risk of the belt escaping the driving wheels under the pressure of the falling ore.
The main belt dumped the ore on the lower extensible conveyor belt, which could be protruded for 15 metres and channeled the ore powder into a