For those caught in the often tense, tedious-at-best present day, nothing can spark more enthusiasm than a voyage back to the past?especially when that age is set in the roaring 20?s, the time of prohibition in which unabashed debauchery and reckless nihilism soared to new heights. Chicago: The Musical is just such a blast from the past, giving boundless drama which begins from the very opening act. The entertainment value of the tale alone is reason enough to see this performance, but for those who desire further motivation, here are five motives to go watch Chicago: The Musical. 1. The Music Guaranteed to continue to keep you interested, each number in Chicago is based on a traditional vaudeville act; most of them are also inspired by specific famous vaudeville performers, just like Judy Garland and Mae West. The score itself was composed by John Kander, winner of the Tony, Laurence Olivier, Emmy, and Grammy Awards. Songs include ‘All that Jazz’ and ‘Razzle Dazzle’ 2. The Awards Chicago: The Musical has been the winner of a number of awards, which includes eleven Tony nominations in the 1976 original run of the show and a Tony in 1997, the Drama Desk Awards, Outer circle Awards, and Drama League Award. An Academy Award-winning film adaptation of the musical was produced to abundant critical acclaim in 2002. 3. The Dance numbers The musical Chicago has become associated with its choreography, engineered by highly regarded choreographer Bob Fosse, who himself has won eight Tony Awards for his occupation. Of specific interest here are the musical numbers ?Razzle Dazzle,? ?Cell Block Tango,? and ?We Both Reached for the Gun.? 4. The Staging Sets, style, choreography, and utter aesthetic spectacle for this stage show are unparalleled and the performance often destroys the fourth wall, drawing the audience towards its visceral world. 5. The Idea If absolutely nothing about musicals ensnares you, then the intelligent fodder set out by the topics in the tale of Chicago: The Musical is enough to get anyone?s mind working. Chicago isn?t timid about mentioning how glamorized criminals become once they enter the public eye, nor does it refrain from the central theme that people everywhere you go are absolutely in love with scandal, no matter how depraved. Find more information and buy tickets for Chicago the Musical
There are various good reasons to see Les Miserables in the West End of London. The long running remarkable musical has packed concert halls around the globe for decades. Making London’s West End its residence since 1985, the hundreds of fans for this remarkable stage performance musical are testament to the great portrayal of the characters brought to life on such a profound and heartfelt level. The story of Les Miserables is set in early 19th century France and is modelled on Victor Hugo?s 1862 entitled Les Miserables. The special story of characters that struggle against hardships for redemption is both endearing and fascinating. Through the lives of student revolutionaries and factory workers the story of Les Miserables unfurls before your very eyes. The creation of Victor Hugo, Les Miserables carries on to be one of the most flourishing musicals the planet has ever seen. Les Miserables first opened its doors on December 4, 1985 at the Palace Theatre. The Palace Theatre stage shows were the tip of the iceberg as just ahead of the big West End opening Les Miserables encountered a sell out season at the Barbican in London. Les Miserables has had some of the theatre industries gifted stars bring to life the most heralding shows the theatre going masses had ever seen. Newly confirmed shows are predicted to feature one of the pop sensation Jonas Brothers bringing to the stage yet another resounding yet unparalleled element. Nick Jonas, 17, is set to make his West End debut as Marius from June 21st. Another excellent motive to go to Les Miserables is the addition of British singing sensation Susan Boyle. Boyle, 49, is in talks with the production company to take to the stage on time for the musicals 25th anniversary performances. Boyle broke onto the international scene during her audition for ‘Britain’s Got Talent.’ Her haunting version of ‘I Dreamed A Dream’ made her a household name instantaneous. Boyle is expected to take up the part of Fantine and perform her planet famous version of ‘I Dreamed A Dream.’ Les Miserables approaches its 25th anniversary in the west end. The celebration of this great achievement makes this musical a must see and experience. The production celebrated the 21st anniversary in a grand fashion in 2006. Queen?s Theatre has been the long standing location for the world renowned musical production. The background of the musical encapsulated within the halls and corridors of this incredible theatre is legendary. Last but not least, the most predominate reason to go and see Miserables is so that you also can feel a bit of history and theatre magic. The Tony Award winning musical took top honors for its most prominent song ‘I Dreamed A Dream.’ Over time ‘I Dreamed A Dream’ has resonated profoundly with all who have had the opportunity to hear it. ‘I Dreamed A Dream’ has coined various cover versions since its 1985 introduction. Some of the most well known recordings comprise of Neil Diamond, Arethra Franklin, David Essex, Michael Crawford and Susan Boyle. Discover more information and book tickets for Les Miserables Tickets
Utilizing its reputation for cutting-edge style, structure and also art, it’s no surprise London is home to a number of the coolest design-led hotels globally. Here is our own choice of the 5 best London hotels when the surroundings will definitely be as striking as the service
Sanderson
A hidden diamond in the West End, the Sanderson London hotel’s a significant blend of unique, stylish and refined. Where else could you locate Salvador Dali’s iconic red lips sofa along with classic sixties mosaics and hand-crafted African furniture? The nineteen fifties building that houses the 5-star hotel was transformed into a dazzling, dreamlike world by well-known French designer Philippe Starck. One additional design high light is Philip Hicks’ open-air Courtyard Garden, a personal place filled with luxurious plant life, water fountains, mosaics and a reflecting pool.
Charlotte Street Hotel
A stay at the wonderful Charlotte Street Hotel London, located just north of Soho, is usually a must for literary and creative kinds going to London. Influenced by the renowned ‘Bloomsbury set’, a 20th century group of artists and writers which included Virginia Woolf, interior designer Kit Kemp has introduced original art work from the group’s own illustrious artists: Vanessa Bell, Duncan Grant and Roger Fry. Their fascination with Matisse and other vibrant French painters meanwhile creates the basis for the drawing rooms, while the inspired theme continues in the brasserie with a mural of modern-day London life.
The Zetter
In a former life, this attractive boutique hotel in east London would have been a Victorian warehouse. Refurbished by restaurateurs Michael Benyan and Mark Sainsbury, The Zetter opened in 2004 to instant acclaim and was identified as one of the world’s 50 coolest hotels by Cond© Nast Traveller. Each one of the London hotel’s fifty nine rooms ” including the luxurious roof-top pad ” is individually designed using an assortment of vintage and modern. The attention to detail and design persists through the entire hotel and in to the adjoining Bistrot Bruno Loubet and Atrium Bar.
St Martin’s Lane
Using encouragement from the theatrical surrounds, St Martins Lane hotel is really a extraordinary addition to London’s West End. Found in Covent Garden, the snappy design combines the modern and baroque with a playful sense of humour. From the oversized luminescent yellow-glass revolving doors to the jam-packed art columns of the Asia de Cuba restaurant, there is lots of eye candy to feast on. While for individuals who wish to communicate their own creativeness, many of the London hotel’s rooms incorporate a distinctive light installation with a colour to reflect your every mood.
The Mandeville
Located in London’s stylish Marylebone Village, The Mandeville Hotel lately underwent a £15million refurbishment. Interior designer Stephen Ryan has provided the London hotel’s public areas a fresh, modern day twist with French upholstered walling, Venetian masks, witty paintings and neon lighting. Meanwhile in the bedrooms, the marriage of classic and contemporary continues with luxurious fabrics from leading design houses such as Canovas, Zubor Catherine Huntley and Brunswick.
Click here for more information on London Hotels
When choosing a conference venue for your business the venue you select can reflect on your brand name. Will the people be impressed? A clinical office surroundings maybe enough for a lot of conferences but if you are trying to instill something great into the event then the conference venue will have a big impact.
Consider not only the brand name of your organisation but the impression on the people. If your message is about importance or business growth, challenge does the centre convey this? What about Flair? Don’t have a conference concerning productivity in an unproductive environment.
From the instant the visitors get there, what is their first feeling? Style, growth, partnership? This will set the conference tone. The surroundings will influence the work that goes on at a conference. Do you need an outdoors area? Is bigger better or is intimacy important? How are you balancing these? The ambient sounds at a venue will have an influence. Tiles sound very different underfoot to carpet.
Emotions are brought to the surface by smells & things we hear. We associate them with our own experiences. Does the entrance to the conference centre need to be impressive? Does it inspire creativity? How does it reflect on you as the conference organiser? Does it have to be great? What are the ideals you are trying to convey? Does the centre reflect these things?
A fireworks extravaganza is destined to Belvoir Castle on Saturday based against the brilliant back drop.
MLE Pyrotechnics is hosting this for the 2nd go and is having the event in the premise of the Duke of Rutland’s family house this will be judged by the crowds.
Vanessa one of the organisers, said: “It’s a stunning locale where we truly delight putting on an event. The fireworks are all set off from behind the lake and are reflected in the H2O.”
Visitors will be treated to three organisations from across the land contending for that extra pizazz to win over the audience’s vote.
The firms are Celebration Fireworks from Evesham, Pyromania Displays, Knaphill in Surrey and Spyrotechnics from Chesterfield a 10 or 15 min show with music will be show but that isn’t the close of it
Before the competition there will be a demonstration to learn about the various types of fireworks and see how the squads use them to make their extraordinary exhibits that dance to the music.
and to cap it of a exciting pyro-musical demo by the promoters will be done while the visitors are voting
With beginnings in 2002 this annual event, Is proving to be vastly productive. The three lead professional firework companies chosen for this year’s display have gained many important titles between them including the British Champions, British Musical Champions and Firework Champions.
And it’s more than fireworks, a Khoom Fay or Sky Lanterns are seen to alight the sky as they gently float in the distance.
Parking and camping is available on site and from 5pm visitors can arrive so bring a picnic or relish the solid food and booze available from accredited vendors while relaxing in Belvoir Castles gorgeous grounds
Hairspray is the story of a bubbly school girl named Tracy Turnblad, a wannabe performer who wishes to gain a place on a neighbouring TV series called the Corny Collins Show. The programme is really based on a Baltimore-based telly show named the Buddy Dean Show in Baltimore, Maryland.
Tracy is unfamiliar in the performing arts arena when she tries out, even so she is chosen for one of the dancing roles and against all odds becomes a dancing celebrity practically overnight. Tracy is glad by this newfound fame, and she comes to a decision to use her recognition to help make positive developments to the television show. The essential reason for these positive developments relates to race. Tracy desires to racially unite the television program, and as anyone might well imagine, Tracy is confronted with a serious amount of opposition. Find London Theatre Tickets offers with great savings on all top West End musical.
Hairspray came to the West End in London in two-thousand & seven, opening for previews at the Shaftesbury Theatre on October 11, before being uncovered to the paying public at its official opening on October 30, 2007. The musical show has had some big name actors — Michael Ball takes one of the lead roles as Edna Turnblad, Tracy’s very own mother, delivering a persuasive performance in this taxing female position, whilst Mel Smith played joke shop owner Wilbur Turnblad, Tracy’s father. The original cast in the London West End also includes newcomer to the theatre scene, Leanne Jones, in the part of Tracy.
Hairspray has received a range of upbeat remarks from critics & theatre enthusiasts alike. Jacqueline remarked: “I have been four times thus far & I will unquestionably be going back again at some point next week & a few more times also. I love the show and wish they could stay on longer. Ben Ellis is excellent as link & Leanne Jones as Tracey and Michael Ball, well they are all simply great. The musical play hairspray is unquestionably my favourite, simply because it is upbeat & if you’re feeling dejected then it is certain to make you feel a great deal better. I give it a 10 out of 10 - I love it well done to everyone concerned.
Hairspray the musical play is playing at the Shaftesbury Theatre throughout two thousand & nine, get theatre information & procure your seats on the World Wide Web.
Did you know that you can ride in some of the most famous railway coaches in the world, that have been featured in many movies and TV shows?
The Vintage Carriages Trust (VCT) is a volunteer body, based on the Keighley & Worth Valley Railway in Yorkshire, England. It was formed in the late 1960s by a group of volunteers whose interest was in wooden bodied carriages. They could see that there was a need to concentrate on the preservation of these historic items which were in grave danger of disappearing due to the weather and vandalism damage and unsuitability for regular use and to held in trust for future generations.
The Collection held by the Trust is at present nine historic railway carriages, also three small industrial steam locomotives, and a collection of railway posters and other miscellaneous railway items. At present the Trust has on loan from the National Railway Museum (NRM) a fine selection of railway dining and catering exhibits. The Trust owns the Museum of Rail Travel at Ingrow - the first station from Keighley on the Worth Valley Railway. By three phases of building work over the last ten years this has developed into a large museum display and associated workshop, and is the Trust’s headquarters. Although the building is named a “museum”, the Trust stresses that it is the Trust as a whole that is a “Museum on the Move”, and functions as a Museum anywhere where the Collection can be seen in action or on static display.
Filming and other carriage hire is an important source of income, and this is where you as a visitor can enjoy traveling in or behind a star! The number of movies and TV shows that have used the VCT facilities is huge, but here is a shortened list:
The Virgin and the Gypsy. Film with Honor Blackman, Mark Burns, Joanna Shimkus, Franco Nero, Fay Compton, Kay Walsh and Maurice Denham.
The Private Life of Sherlock Holmes. Film with Robert Stephens, Colin Blakely, Genevieve Page, Christopher Lee, Irene Handl, Stanley Holloway and Peter Madden.
The Railway Children. Film with Jenny Agutter, Bernard Cribbins, Sally Thomsett, Dinah Sheridan, Iain Cuthbertson, William Mervyn and Gary Warren.
Yanks. Film with Richard Gere, Vanessa Redgrave and Rachel Roberts.
The League of Gentlemen. BBC TV comedy.
Possession. Cinema film with Gwyneth Paltrow, Aaron Eckhardt, Jeremy Northam, Jennifer Eleh.
The Forsyth Saga, Granada TV series with Emma Griffiths Malin, Lee Williams.
Interested in this subject? Try this link for more of the same
The Texas Hold’em poker phenomenon has taken the country by storm. There are reportedly over 100 million active poker players worldwide. Poker’s popularity is largely the byproduct of technology and several recent trends: 1) online gaming, where players engage and socialize in real-time over the Internet, and 2) the broad publicity created by high profile TV shows like the World Series of Poker and World Poker Tour.
With all the poker-mania, there’s an amazing shortage of quality information to help people learn how to play properly and become great players quickly. This is the first in a series of Texas Holdem strategy articles aimed at helping players learn how to win at Texas Hold’em poker. Tournament play is a popular, fun sport. These articles will help players understand how to approach tournaments, which differ greatly from regular “ring game” play.
This installment deals with the most-asked question: “How do I deal effectively with aggressive players?” Many players struggle against “maniacs”, the aggressive, wild players who play most every hand, somehow seem to pull cards out of thin air, and often manage to dominate the table.
Here’s what actually happened in a recent poker tournament. I entered a tournament at the Seminole Hard Rock Hotel and Casino in Hollywood, Florida, about 20 minutes from my home in South Florida. This weekly $300 entry-fee tournament fills the poker room with 220 players every Monday night.
The blinds start at 50/100 and go up every 15 minutes. I spent the first 30 minutes just hanging out and occasionally limping in to see a flop. The reason for “treading water” was to study my opponents and their playing patterns very closely. There were a number of solid poker players, but right away I spotted the aggressive ones.
I was sitting in the middle, directly across from the dealer. There were two “wild men” to my right. These two participated in most every hand, and agonized with themselves whenever they had to throw a hand away. This was hilarious to me, and it was also very telling. I knew these dudes were doomed from the onset, yet they were extremely dangerous if they caught something with one of their trash hands. These types are great targets, but only when you know how to play them correctly. If you do, you’ll end up with most or all of their chips in your stack. The key is to get to their chips before someone else does.
There were some squeaky-tight and solid players, as usual. Finally, there were two other players to my left who knew one another very well and spoke what sounded like Russian. These two played very aggressively. They rarely called or checked. They would bet or raise the pot significantly, so if they played a hand, you knew they were going to bet it big and you’d better be prepared to push a bunch of your chips into the middle. As a result, the table became tight overall, except for these four players who controlled the early action and the dictated the table tempo for the first hour or so. They gambled with wanton abandon, trading chips with each other as the rest of us just observed and wished for a real hand to materialize.
It became apparent that our maniacs were playing mostly garbage hands, and using assertive chatter in an attempt to intimidate everyone. They were enjoying pushing everyone around with their aggressive betting and raising style. Humorously, they got into a number of showdowns, causing all of their trash hands to become openly exposed; e.g., 69 off-suit, Q3 suited, etc. I definitely had these guys pegged now - if only I could get a strong hand…
Later, one of my Russian “friends” came in over the top of a bet I’d placed with a huge raise, then smiled at me as he leaned his head back as if to say “Go ahead. I dare you”. My middle pair just wasn’t strong enough to engage with him, but I remembered this little “lesson” and my mistake. He’d used this tactic many times against the others and I should’ve expected it. I also realized that we had not seen any of his supposed “big hands”, as he always mucked them. Whenever you see an aggressive player dominating, and then mucking all those supposed “great hands”, you know you’ve spotted a target.
We played on, with the two maniacs to my right getting busted out by the Russian contingent. It’s been an hour and fifteen minutes - and I still haven’t seen even one decent hand yet! This is, unfortunately, typical poker.
After about an hour-and 45 minutes, I finally pick up a pair of wired 9’s (99). Now I was hoping the flop would yield a set (trips). Sure enough, it came: 9, K, 5. I was elated and jumping up and down (inside). I was finally in a position to make my move, and hoped it would be against one of my aggressive Russian friends with their big stacks.
To prepare my trap, I delayed and muddled around for about ten seconds, and then casually “checked” verbally and using my hand in a chopping motion, with a slightly disgusted look. Next, the younger Russian moves in with a big bet of 3,000 chips. I was sure I had him now. As expected, everyone else quickly folded and got out of his way - except me. This fellow had pushed everyone around and I was finally properly armed and ready to do battle on my own terms. Note that this had been my “battle plan” all along. I was deliberately targeting these aggressive characters, knowing that when the time was right, their ill-gotten stacks would become mine!
The action came back around to me, so now it was just the two of us heads-up. The two Russians said something to each other that the rest of us couldn’t decipher. I delayed and bobbed my head around as if to be struggling with my decision. Then, I motioned with both hands and uttered “I’m all-in”. I knew this series of actions would likely trigger an aggressive reaction, since my “check-raise” made it appear as if I was trying to steal this pot! A check-raise almost always triggers a full-tilt response from an aggressive player.
He immediately called me - he was so aggressive (and pot-committed) that it was like a fish taking the bait and running for deep waters - hook line and sinker! I threw my pair of 9’s over, revealing the trip 9’s. There was a low murmur around the table from the other players. My young Russian friend reluctantly flipped his five/trash hand over - he had a pair of fives (with a King over-card showing on the board!). He was definitely angling to drive me out of this pot with his ascertive play - one too many times…
You see, no one actually gets that many great hands in poker - nobody. If someone plays 30% to 40% or more of the time, they’re just “gambling” and bluffing. This guy thinks he has a “good” hand, because he actually had a real pair - something he doesn’t often have when pushing everyone around with mostly aggressive betting as his only real weapon.
The turn came and it wasn’t a five - then someone pipes up and says “he’s drawing dead”. Believe me, you never want to hear that when you’re in a showdown! I looked over as he said something in Russian to his buddy - another violation of tournament rules, as everyone is compelled to speak English at the tournament table. It wouldn’t matter, as he stood up, grabbed his jacket and left after receiving some consolation from his friend.
His older friend glared over at me and uttered something derogatory in Russian. I had no clue what he said, but I knew from his tone that I didn’t like it. I also knew I’d gotten under his skin by taking down his buddy and raking in all of his chips. I responded with “what’s that, I don’t understand what you’re saying since you’re not speaking English?” loudly so everyone at the table could hear me.
He mumbled something about his friend…I smiled and said politely with a smile “I deliberately laid that trap for your friend and he fell right into it!”, pushing the knife in deeper, knowing he’d be gunning for me anyway - might as well make sure my next trap was fully set. This also signaled to everyone else at the table that whenever I checked or limped, it could be extremely dangerous if assumed to be a sign of weakness - something I’d leverage later as the blinds and antes rose and the proper time to bluff and steal blinds actually arrived.
After a slight pause, my Russian friend noticed that everyone was now looking at him. He looked down at his chips and said “nice play” with a reluctantly polite tone.
Boy, I was elated! My battle plan was definitely becoming field-proven here - and my next target was clearly sighted. It had taken careful observation, planning and a lot of patience to wait for the right hand, and then play it correctly to take this highly-skilled, aggressive player out and rake in all of his chips.
About ten minutes later, it was tournament break time, after two hours of play. I counted my chips, which totaled 14,900 (we started with 5,000 each), then grabbed a quick bite to eat, reflecting on what had just taken place.
Within ten minutes of returning from break, I finally picked up a serious starting hand: Cowboys (KK). I knew it was time for my new Russian friend and me to tango, so I fired out a bet of 3 times the big blind: 3,000 chips, bait that I was sure he couldn’t turn down. Sure enough, he bit - big time. His all-in raise came almost instantaneously, before I could even get my bet onto the table. He was totally ready to engage, and had been laying in wait for me - just like I had planned. I had set him up by taking out his friend and then challenging his poker ego in front of everyone. He just had to retaliate against me - it was a totally predictable “full-tilt” response from this kind of player.
This is what the game of poker is really all about - having a well-defined strategy, the patience to wait for the right hand, and then executing properly. It’s what makes poker a game of strategy instead of a game of chance (for some of us).
He raised by going all-in with around 8,000 chips to my roughly 14,000. I quickly called his all-in bet. Everyone else quickly folded and got out of our way.
I flipped my pocket kings over, then looked him straight in the eye and just smiled. Then someone says “Yeah! Now we’ve got some action!” He sighed and flipped over QQ - he actually had a real hand for a change. That’s one of the problems with these kinds of “semi-solid, aggressive” players, like my Russian friend here, and other poker greats like Gus Hansen. You never really know exactly what to expect from them. Of course, my opponent could’ve held pocket rockets (AA), but I’ll play those KK cowboys strong each and every time I get them, since there’s only one hand that can beat them heads-up. I also knew this aggressive player on tilt was likely to be overplaying his hand, improving my odds significantly.
The flop, turn and river came and went without another Queen and it was done - my cowboys stood up and I had all of both Russian’s stacks, which included most of the other two poor maniac’s chips (who lost to the Russians earlier). This instantly made me by far the chip leader at our table with well over 22,000 chips!
I went from having an average chip stack to being the table chip leader, against tough, aggressive opponents, within less than half an hour by:
a) Playing solid, reasonable tournament poker,
b) Not taking big, undue risks with weak or “drawing” hands,
c) Studying my aggressive prey and where the chips were sitting,
d) Formulating and refining a battle plan while observing the game progress,
e) Remaining patient while waiting for the right hand to make my move, and
f) Executing this plan with precision against a predetermined opponent, and on terms of my choosing - not the opponent’s.
There was no luck involved at all - except that my opponent didn’t hold AA or pull some lucky cards with a trash hand - which was simply playing the odds in my favor.
I started out with a high-level strategy to target aggressive chip leaders, and go after them with strong hands from the right position. I planned this before I ever arrived at the casino that day, or knew who these players would be. Then, I refined my plan once I knew for certain whom the evening’s targets would be and how I’d provoke them. It certainly helped that I caught two decent hands during those first hours of play.
Unfortunately, I later lost to a legitimate full house, but made it into the top 40 - it happens…
The key to playing against aggressive and maniac players is having a viable Texas Holdem strategy you can profit from when you get some good hands. If you have a good plan, you can convert it into a formidable stockpile of chips - a stack that you’ll definitely need as the blinds and antes increase and the tournament field narrows in the latter stages.
This is how I approach Texas Holdem strategy for tournaments now - at least when the tables are full with 8 or more players, some of them aggressive and maniacs. So, the next time you encounter wild and aggressive players at your poker table, get ready to have some fun! It’s like Tae Kwon Do - using the opponent’s own energy and momentum against them.
In the next installment, we’ll detail this Texas Holdem strategy more formally, along with exploring some other tournament tips for playing better Texas Holdem poker.
Until then - good luck!
Rick
About the Author
Rick Braddy is an avid writer, Texas Holdem player and pro software developer and marketer for over 25 years. His websites and software specialize in helping people become better Texas Holdem poker players. If you’re a poker player, be sure to visit his BetterHoldem.com website today and learn how you can play better Texas Holdem, too.
In the USA there are 2 types of satellite TV systems. The first is TVRO which stands for TeleVision Receive Only. The second is DBS which stands for Direct Broadcast Satellite.
TVRO – TeleVision Receive Only
TVRO was the first satellite system available for home viewing of satellite TV. It required a relatively big dish of 3 to 6 feet in diameter and worked in C-Band. Frequencies of around 4 G Hertz are called C-Band and require bigger dishes because the wave length of these frequencies is longer than in Ku-Band which requires a much smaller dish of about 18 inches. Ku-Band is at 12 to 14 G Hertz.
TVRO systems also need a movable dish because it needs to get all the channels of many satellites. C-Band satellites have much less channels available than Ku-Band satellites and therefore more satellites are needed to provide enough channels. Possibilities that exist with TVRO systems is that you can also receive free channels and independent feeds from for instance news companies. You could for instance receive the unedited material that is broadcasted from a news crew somewhere in the coverage area of the satellite. They transmit their materials to their headquarters using a C-Band satellite. Many of these types of feeds are not scrambled and are available to everyone with the proper equipment.
TVRO systems are often referred to as Big Dish TV, C-Band Satellite TV and BUD (Big Ugly Dish).
DBS - Direct Broadcast Satellite
Satellite TV via DBS is done in the Ku-Band. These satellites work on higher frequencies and can transmit higher power signals. This means that much smaller dishes can be used to receive the signal. A small dish of 18 inches is already enough to receive all satellite TV by Satellite TV. This makes it possible to have satellite TV from an apartment on the 10th floor, if you have a clear line of sight to the south.
DBS is for everyone. The satellite dish is so small that it is not an obstacle like with for instance the TVRO dishes of 3 to 6 feet. Once installed the dish needs no maintenance since it is aimed at just one satellite. Some dishes actually have 2 or more feeds which makes it possible to receive the signals from more than 1 satellite.
There are no free channels available on DBS satellites as these are often owned and used by the satellite TV provider it self, while TVRO satellites often are used by those who rent space on the satellite for a limited time. TVRO systems are meant for, for instance, transport of unedited materials between continents, but also within one continent.
DBS is meant for everyone with a simple, low cost installation of the system. Often the installation is for free as it really is very easy to do. The only thing that is needed is a bit of knowledge of where to find the satellite and the tools that make this even easier. A qualified installer will find the satellite and point it to maximum reception within minutes.
How can anybody categorize Machiavelli Hangman into a single genre? There are those films that you watch and you immediately can tell that they will be thrown into the same box as Pulp Fiction or Memento or Usual Suspects. Others will fall into the quiet road-trip flicks like Almost Famous, Thelma and Louise, Stand by Me. Then, there are the big Hollywood flicks like War of the Worlds, Jurassic Park, Batman Begins, Superman Returns.
Before seeing the film, I had the strong sense that Machiavelli Hangman was going to be an exact replica of Pulp Fiction because all the articles referred to it as a Quentin Tarantino-esque picture. They couldn’t have been further from the truth. Originally, I thought that the filmmakers would attempt at impersonating the director of Reservoir Dogs like so many have before (a prime example was the awful Go). Usually, it either is Tarantino dialogue or it’s crap and knowing for a fact that Tarantino had nothing to do with Machiavelli Hangman (http://www.hangmanmovie.com), I went in automatically thinking it was going to be crap.
Which brings us back to what we were just discussing about how there are some films that you can’t categorize. The Raiders of the Lost Arch (beside the other Indiana Jones installments) was one of those films because it was not just an action-adventure film. It had a great deal of comedy and at the same time some very dramatic elements infused into the storyline.
These days it seems that most films stick to their genre and they go with it without trying to give their stories any additional depth. After all, movies are like people and as human beings, we not all just sad, or all just happy.
Machiavelli Hangman blew me away in that it transcended every type of categorization and it became so human in its approach that it moved me beyond words. It was the best of those comedies like Some Like It Hot while being a great drama like Crash and still managing to feed the minds of those arthouse film lovers - it is up there with Mullholland Drive and Memento without losing its audience like the previous two did.
Shervin Youssefian (http://www.imdb.com/name/nm1352346/), whom many have already started calling the next Alain Resnais or Jean-Luc Goddard, takes a single event and he stretches it over a period of two days and as an audience we get to see the subtle exchanges between the characters. While a film like Armageddon doesn’t leave you enough breathing space in between the thunder-fast editing, Machiavelli Hangman understands and uses the power of silence and music to convey secrets.
In the test-screening theatre, there were viewers between the ages of 14 and all the way to their late 70’s who were equally entranced into the film, their eyes glued to the silver screen. When a film lives in this middle ground and can achieve such a universal appeal without categorization, then it is the true work of a master filmmaker and it will surely stand the test of time.
About the author:
Robert Mortenson is a movie reviewer.
Machiavelli Hangman
http://www.hangmanmovie.com
