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first_imgEmbed from Getty ImagesQPR are considering their next move after having a second offer for Danny Ward rejected by Rotherham.West London Sport recently revealed that Rangers had had a £1.2m bid for the forward rejected, later revealed that they planned to make another approach and on Wednesday that an offer of £1.5m has also been turned down.Meanwhile, R’s boss Ian Holloway has confirmed that Karl Henry can leave Rangers.Henry faces falling further down the pecking order if the club sign Sean Goss, 21, from Manchester United.Embed from Getty ImagesMany United fans on Twitter have been reacting with dismay to news that the highly-rated Goss is attracting interest.Stoke City’s teenage defender Kosovar Sadiki is continuing to train with Rangers ahead of a possible move.Tottenham youngster Aramide Oteh, an 18-year-old forward, has joined QPR on work experience.Goalkeeper Joe Lumley has joined Bristol Rovers from QPR on loan for the rest of the season.And Rangers are set to offer improved contracts to Massimo Luongo and Ryan Manning.   Ads by Revcontent Trending Articles Urologists: Men, Forget the Blue Pill! This “Destroys” ED x ‘Genius Pill’ Used By Rich Americans Now Available In Netherlands! x Men, You Don’t Need the Blue Pill if You Do This x What She Did to Lose Weight Stuns Doctors: Do This Daily Before Bed! x One Cup of This (Before Bed) Burns Belly Fat Like Crazy! x Do This Immediately if You Have Diabetes (Watch) x Follow West London Sport on TwitterFind us on Facebooklast_img read more

first_imgFortuna High was shut out in its season opener on the road at Cardinal Newman-Santa Rosa 38-0, Thursday night at Recreation Park in Healdsburg.Cardinal Newman (1-0) stormed out to a 14-0 lead after the first quarter and didn’t look back, more than doubling up its lead before halftime to take a 31-0 advantage into halftime.Cardinal Newman scored on its second play from scrimmage after a lengthy kick return saw them set up shop deep inside Fortuna’s side of the field. Quarterback Jackson Pavitt …last_img read more

first_img29 July 2002Cape Town is many cities – and, indeed, many countries. Sometimes it is San Francisco, lights twinkling with the sea in the background; sometimes it is New Orleans, with the old lacy balconies of Long Street tarted up to resemble that steamy city of the American South; sometimes it is a French street scene; sometimes a German landscape.Or it can present itself simply as an anonymous but breathtaking backdrop – a swathe of green mountainside, a gorgeous beach, a cool, dark forest.South Africa’s oldest city is her newest high-profile actress. Cape Town is starring in commercials and feature films from all round the world, and has become a favoured location for filmmakers keen to make use of the city and its environs’ natural beauty as well as to employ a technically advanced film industry that can compete with that of Europe or the US for skills and savvy.Renowned for some of the world’s finest wines, the vast fertile valleys of the Cape winelands could be mistaken for similar locations anywhere on earth. (Photo: Moonlighting Film Production Services)It also helps that when Northern European or American filmmakers translate their dollars or euros into rands, their budgets suddenly seem to have grown tenfold.South African film: looking backThe film industry in this country goes back a long way. The first newsreels ever were shot in South Africa during the Anglo-Boer War at the turn of the previous century. The weekly cinema newsreel African Mirror was launched in 1913 and ran until the 1980s.In 1916, the magnate IW Schlesinger set up Killarney Studios and began an extraordinary run of productions (43 movies until 1922) that included De Voortrekkers, a piece of Afrikaner nationalist propaganda celebrating the Great Trek from the British colony of the Cape to new pastures further north, and Symbol of Sacrifice, about the Anglo-Zulu wars.As leading South African cinema academic Keyan Tomaselli put it, these movies “were rooted in the ideological outlook of the present, with Boer and Briton standing together under the flame of unity and civilisation against barbaric hordes”.Schlesinger’s production line declined in the Twenties, access to international markets having become limited. What Tomaselli calls a “30-year lull” began, broken by the beginnings of Afrikaner establishment investment in the film industry in the 1950s.What emerged then, and continued into the 1970s, was a plethora of state-funded light entertainment for Afrikaans-speaking whites starring the likes of singer Ge Korsten and comedian Al Debbo.A prominent genre of the time, too, was ‘the border film’, in which South African soldiers fended off the perceived communist-inspired threat on the country’s borders. There was also the international success of Jamie Uys’s politically suspect comedy The Gods Must be Crazy in 1980, but that was a bit of a one-off.South Africa has yet to produce a movie to match it for fame around the world, which is rather embarrassing.In the meantime, though, anti-apartheid cinema had grown as the Afrikaner-dominated state entrenched itself. Lionel Rogosin made the semi-documentary Come Back Africa in 1959, using real denizens of the vibrant and soon-to-be-demolished Sophiatown area in his tale of how the new regime was warping life in this country. Exiled filmmaker Lionel Ngakane contributed to this genre with Vukani Awake in 1964 and 1966.In the 1970s, movies critical of apartheid were made within South Africa by a first wave of true independents. They included Jans Rautenbach’s Jannie Totsiens and the series of films Ross Devenish made with playwright Athol Fugard. Another playwright to move into cinema, though briefly, was township troupe-leader Gibson Kente, though his How Long Must We Suffer? received only a very limited release.In the 1980s, the state funded low-budget feature films specifically for black audiences, and gave tax breaks to foreign companies wanting to churn out cheap product for the straight-to-video market. Some people made money, and many learned new skills, but few of these movies were worth seeing.The real cinema of South Africa was semi-underground, being made by mavericks with low budgets: Darrell Roodt’s Place of Weeping and Jobman, Oliver Schmitz’s Mapantsula, Manie van Rensburg’s The Fourth Reich, Katinka Heyns’s Die Storie van Klara Viljee, and Andrew Worsdale’s Shot Down.In the new post-apartheid era, the South African film industry is still struggling to find its feet when it comes to the kind of feature films seen on screens around the world. Neal Sundstrom’s Inside Out was a pleasant comedy playing with South African stereotypes, and Gavin Hood’s A Reasonable Man is a serious study of tradition versus modernity that has been seen at festivals around the world.A new black cinema has shown signs of coming into being: Ntshaveni wa Luruli’s Chikin Biznis launched the genre of township comedy, and Ramadan Suleman translated Njabulo Ndebele’s short story Fools to the big screen.But the biggest recent commercial success has been Leon Schuster’s excremental comedy Mr Bones, which is now among SA’s top-grossing films in this market, and is making some headway in markets abroad. It seems to be reaching the “lowest common denominator”, if nothing else.Signs of a rapidly maturing industryYet the industry is rapidly growing toward maturity. Infrastructure is expanding all the time, and our industry is networking itself all over the world.Cape Town is the host of Sithengi, the annual Southern African International Film and Television Market, now in its seventh year. Taking place every September, it is attended by some 1 000 delegates from this country and all over the world.About the same number attended the International Public Television Conference, in the same city, this year – the first time the event has taken place outside Europe or the US.A new international festival is also on the cards for Gauteng, when the Jozi Summit Film Festival takes place alongside the World Summit on Sustainable Development in August 2002. There will be workshops and training sessions, with the participation of leading industry players, as well as a host of screenings (more than 600 showings of some 100 movies) at venues ranging from commercial cinemas in shopping centres to township locations.Ongoing festivals such as the Out in Africa Gay and Lesbian Film Festival have a long history, and many foreign countries have annual festivals in South Africa showcasing the best of their national product to an appreciative audience.The audience is there, certainly, as are the technical skills and the lauded locations. As far as the growth of a homegrown movie industry is concerned, more development needs to take place in the realm of scriptwriting and directorial skills, but workshops such as Scrawl, as well as programmes at universities and other educational institutions, are filling the gaps.The potential is huge, as filmmakers have realised. Investment in basic infrastructure is growing fast: the large Sasani Studio has sprung up at Cape Town’s V&A Waterfront, while the same city’s Longkloof Studios are being upgraded to the tune of R20-million. German equipment-rental company CineLicht has established a subsidiary in Cape Town, and British lighting company AFM now has a base in Johannesburg.And movies are being made. Cape Town, once again, stars in several: The Piano Player, featuring Christopher Lambert and Dennis Hopper, recently finished shooting there, as did Manhunt, with SA-born Mummy star Arnold Vosloo; Borderline, starting Sean Patrick Flannery, is in production.Co-productions based on South African subject matter, with international backing, to be shot somewhere in South Africa, are in the works: pre-production work is well advanced on producer Anant Singh’s version of Nelson Mandela’s autobiography, Long Walk to Freedom, and JM Coetzee’s controversial and acclaimed Booker Prize-winning novel, Disgrace, is now casting, to be directed by British director Charles Sturridge.Movies based on the story of Amy Biehl, the young American slain in a Cape township, and that of the “Bang Bang Club” of Eighties news photographers, are in development. Not to mention the slate of German TV movies and the Scandinavian reality TV show The Fear Factor.World-class commercialsBut the biggest, fastest, most lucrative part of the film industry in this country, the part that really gets international filmmakers enthusiastic, is the commercials industry. Over the past few years the number of foreign commercials being shot in South Africa, particularly Cape Town, has just grown and grown.French, German, British, American, Israeli, Belgian, Italian, Scandinavian and even Turkish commercials have been shot in Cape Town, all contributing to the estimated R2-billion total worth of the industry in this country.Cape Town has the looks, and she’s definitely our cover girl, but Gauteng also has considerable resources at its disposal, and accounts for a very substantial portion of local film industry revenue. Cape Town may have the locations, but Gauteng has the sophisticated studios and the editing suites.Between these two centres, and with the whole of a diversely beautiful country waiting for its close-up, it’s hard not to believe that filmmaking in South Africa can only continue to burgeon. We are becoming ever more a part of the international film, television and commercials industry, and soon we’ll be making masterpieces of our own.Shaun de Waal, twice-winner of the Pringle Award for best movie critic in South Africa and former arts and books editor of the Mail & Guardian, is the author of several books and a graphic novel. Want to use this article in your publication or on your website?See: Using SAinfo materiallast_img read more

first_imgShare with your Friends:More SharePrint RelatedCelebrate a year of medieval heritage with the Treasure of the Temple Knights GeoTourAugust 15, 2019In “GeoTours”5 tips for planning your next vacation with geocachingJuly 31, 2017In “GeoTours”GeoTour completed? Souvenir earned!May 21, 2018In “News” You are…The Traveler!You are your own Travel Bug. Your Profile page is plastered with photos of you exploring the 7 Wonders of the World. Who needs a guidebook when you have geocaching to show you all the locals’ favorite spots?You’ll love this geocache: Thingvellir Kastalar (GC3168K)Your ultimate geocaching tools:Caches Along a Route is your geocaching trip planner! Tell us your destination and your route and Geocaching.com will tell you which geocaches are along the way.Be inspired to explore new places with Geocaching Souvenirs – gotta collect ‘em all! See the full list of your collected Souvenirs in your Profile.GeoTours take you to faraway (or sometimes not so faraway) places, and then guide you on custom tours of these destinations.Quick Tip for Traveling and Geocaching: Many GeoTours have passports that you can complete by finding all of the geocaches in that tour. Super secret hint: Completed passports can often be redeemed for awesome prizes. Make sure to print out the passport before you hit the trail. (You can usually find downloadable versions on the individual GeoTour’s website.)Do you have additional tips and tricks for your fellow Travelers? Tell us about them in the comments below. Don’t think this geocacher type fits you? Try taking the quiz again!last_img read more

first_imgTop Reasons to Go With Managed WordPress Hosting Chrome & Keep My Opt-OutsFor its part, Google has announced Keep My Opt-Outs, its stab at addressing the new FTC suggestions. Keep My Opt Outs is a Chrome extension that enables you to opt out permanently from ad tracking cookies.Unlike the Firefox solution that uses the HTTP header, Chrome’s answer does rely on cookies and ad networks. But the extension does address the problem that you face when and if you ever clear your browser’s cookies – that you lose all your customized settings, including any site you’ve opted out of. The new extension for Chrome will keep that opt-out permanently. There are also granular controls for cookies in Chrome, and Google says it’s modified its browser’s incognito mode to ensure that all cookies, including “Flash cookies” can be blocked. Once you download the extension, you can check your privacy settings here.Privacy: The New Browser BattleMicrosoft unveiled its plans for a “Do Not Track” feature for IE9 back in December, shortly after the FTC made its announcement about online privacy. So arguably, Mozilla and Google are both playing catch up to Microsoft here. In a statement, FTC Chairman Jon Leibowitz praised the moves, “Mozilla’s initiative is to be commended. It recognizes that consumers want a choice about who is tracking their movements online, and it’s a first step toward giving consumers choice about who will have access to their data. It also signals that Do Not Track options are technically feasible.” The response to Google’s announcement, however, seemed less favorable. In fact, The New York Times cites an FTC spokesperson saying, “We’re pleased that Google is engaged in the process, but Mozilla and Microsoft are clearly steps ahead.”Image credits: Flickr user mollybob Tags:#Browsers#NYT#privacy#web Related Posts 8 Best WordPress Hosting Solutions on the Market A Web Developer’s New Best Friend is the AI Wai… audrey watters Why Tech Companies Need Simpler Terms of Servic… When the Federal Trade Commission announced late last year that it was investigating ways to protect consumers’ privacy, it suggested a “Do Not Track” option for every browser. This would give users the ability to opt out of online advertising – an effort akin to the “Do Not Call” registry, from that bygone era where solicitations came via the phone rather than pop-up ads.In response, both Mozilla and Google have announced changes to their respective browsers todays, with the addition of “Do Not Track” features for Firefox and Chrome.Firefox & “Do Not Track”According to Global Privacy and Public Policy Leader at Mozilla, Alex Fowler, the new Firefox feature will allow users to set a preference that will broadcast their desire to opt out of ad-based tracking. This will be signalled via a Do Not Track HTTP header with every page view or click they make. “We believe the header-based approach has the potential to be better for the web in the long run because it is a clearer and more universal opt-out mechanism than cookies or blacklists.”Fowler says that this effort is an improvement on cookie-based solutions as it’s more persistent and doesn’t require a user loading lists of ad networks and advertisers for it to work.The challenge, of course, with the header is that it requires both the browser and websites to recognize and implement the opt-out. “Mozilla recognizes the chicken and egg problem,” says Fowler, “and we are taking the step of proposing that this feature be considered for upcoming releases of Firefox.”last_img read more

first_imgOn a dark stretch in Anupshahr, a quiet town on the banks of Ganges in western Uttar Pradesh, Manish Kumar, the 25-year-old lead vocalist of Anil Band, is making a group of young wedding revellers dance to Pallu Latke. The all-male procession swaying to the Kishore Kumar-Asha Bhosle song from Nauker (1979) had no clue it was picturised on Sanjeev Kumar-Jaya Bhaduri, but they all agree it is meant for the “occasion”.New-age Bollywood is yet to make it to wedding procession playlists in this part of the world. They are still swooning to Baharon Phool Barsao (Suraj, 1966) and Saara Zamana Haseenon Ka Deewana (Yaarana, 1981) and, of course, Mere Yaar Ki Shaadi Hai (Aadmi Sadak Ka, 1977). For them, “new” are songs from the neighbouring Haryana, picturised on dancer Sapna Chaudhary. The hot favourite is Teri Ankhiyon Ka Yo Kajal, a number sung by a little-known Ragini-singer D.C. Madana in 2013 which soared when Chaudhary danced to it in 2017.Manish says he loves to sing sadabahar (timeless) songs, a quality he feels new Bollywood numbers lack. The cut-off decade for him is the 1990s, particularly Nadeem-Shravan songs. “It is safe to sing old gems rather than investing in learning a new tune and then being stopped midway by a baarati because he could not relate to it,” says Anil Kumar, the proprietor of the band.Tough times for bandsAnil says these are tough times for small bands spread across the region. “More than 20 weddings are solemnised on any given day during the short wedding season but we could not take more than one booking. Pandits should spread it through the season,” he laughs. DJs are also cutting into their business, he says, though the Allahabad High Court order barring them from playing songs above prescribed decibel and time limits is music to his ears.Waseem Ahmed of Popular Band in Muzaffarnagar tells a similar story. “Earlier we used to bring trained artists from Allahabad and Jaipur. It is hard to find and retain good percussionists nowadays,” he rues.Critic Ajay Brahmatmaj says songs also endure because of their association with stars. “These days such association is not there because songs mostly play in the background,” he says.“Bollywood lately has also been banking on remixes of the hits of the 1990s. It is the simple melodic structure of these songs that keep them in circulation. Complex orchestration can’t work in a wedding procession,” points out Raj Shekhar of Sadi Gali (Tanu Weds Manu, 2011) fame.Meanwhile, Manish ushers the procession into the banquet hall with Jaanewalon Zara Hoshiyar, Yahan Ke Hum Hain Raj Kumar from the 1964 Shammi Kapoor-starrer Rajkumar.last_img read more