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Keep Kids In Rear-Facing Car Seats Until They Turn 2

On March 25, 2011, in Uncategorized, by duordered

Enlarge Harry Cabluck/AP A booster seat sits atop a chair in the Texas House of Representatives back in 2009, when a bill was passed requiring their use for kids under 8 years old.

Harry Cabluck/AP A booster seat sits atop a chair in the Texas House of Representatives back in 2009, when a bill was passed requiring their use for kids under 8 years old.

Don’t rush to turn your toddler around in her car seat. A leading group of pediatricians is advising parents to stick with rear-facing car seats until their children turn 2, or the kids exceed the limits for weight and height in the seats. Older kids should stay in booster seats until they are between 8 and 12 years old. The key is for kids to be at least 4 feet 9 inches tall, so seat belts are in the proper position to protect them in case of an accident.. An older recommendation by the American Academy of Pediatrics from 2002 had been less emphatic, saying kids should ride facing backward until they turned 1 or hit 20 pounds. So many parents, eager to get on with easier-to-use seats, are quick to get their kids looking out the front windshield as soon as possible. And the kids I know seem happier not staring at upholstery, for that matter.   That’s not the best bet for safety. The pediatricians note that auto accidents are the leading cause of death for kids older than 4, causing more than 5,000 deaths in children and young people under the age of 21 each year. Proper use of child seats can help a lot. The pediatricians cite research that suggest safety seats can reduce the risk of injury 71 percent to 82 percent. The seats can reduce the risk of death by 28 percent compared with kids wearing seat belts alone. The recommendations, as written for doctors and policymakers, appear in the latest issue of the journal Pediatrics. Parents can find more practical advice on car seats and the new recommendations on the HealthChildren.org website here.

 
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The Unjust: Film Review

On March 22, 2011, in Uncategorized, by duordered

The Bottom Line
A breathlessly-paced thriller that swings a mighty blow against state and corporate corruption in Korea. 
 

Director
Ryoo Seung-wan
Screenwriters
Ryoo Seung-wan
Cast
Hwang Jung-min, Ryoo Seung-bum, Yoo Hae-jin

A crime thriller that pits an errant, bellicose cop against a miscreant, maniacally ambitious prosecutor, The Unjust, achieves a happy marriage between commercial savvy and artistic integrity in its hard-hitting depiction of Seoul as a city of corruption. Social realism rarely sits comfortably with technical razzle-dazzle, punchy storytelling and larger-than-life star performances, but Ryoo Seung-wan pulls it off with direction that balances cool cynicism with seething moral outrage.

According to Ryoo, the plot is partly derived from several recent government scandals. The shocking examples of social injustice on display probably touched a raw nerve among local audiences, bringing him $18.7 million’s worth of ticket revenue. Asian genre fans familiar with Ryoo’s repertoire of macho action films (Crying Fist, City of Violence) may need time to adjust to the way he turns his emphasis from physical combat to a war of wills.

The catalyst in The Unjust is an unsolved series of schoolgirl murders that is rocking police credibility. The police’s crisis management proves that citizens’ mistrust is totally justified – Captain Choi Cheol-gi (Hwang Jung-min) is put in charge and told to find a fall-guy for them to stage a media stunt. Choi enlists the help of Mafioso-cum-property-magnet Jang Seok-gu (Yoo Hae-jin). By doing so, Choi becomes Jang’s pawn in his land-bidding wars against another corporate shark Kim (whom Choi put behind bars sometime ago). This triggers the hostility of Kim’s protégé prosecutor Joo Yang (the director’s brother Ryoo Seung-bum), who retaliates with unscrupulous tactics.

The film evinces a deep irony: while the initial crime continues to elude closure at the end, everyone else, especially defenders and enforcers of law behave like pathological criminals. Arguably Korea’s most masculine action director, who excelled in shooting boxing, gang fights and martial arts, Ryoo turns The Unjust into his vehicle for a most scathing rebuke of machismo. In his predominantly male world tempers are almost always on boiling point, fueling the narrative’s nervous tension like a volcano in perpetual eruption. 

What sets this apart from other Korean thrillers exposing corruption like the Public Enemy series is the anti-heroic and gritty nature of the action. There is not a single mano-a-mano fought as a test of strength or honor – just a cycle of violence whereby everyone takes it out on whoever’s lower down the pecking order.

The tough personalities and fiery clash between the lead roles maintain a grip on the audience till the end. They are matched not only in intelligence, but in egoism, selfishness and ruthlessness. Choi’s increased desperation to cover his tracks makes him a tragic anti-hero. He is neatly foiled by Joo, who is so ready to be bad as long as it advances his career. But ultimately, Choi and Joo are engulfed by the greater rivalry between judiciary and police departments. The three leading men turn in flaming performances. Ryoo trumps them by giving unthinkable gradations in vileness.

Like a recklessly speeding car, the narrative pacing barely allows the audience to take in screenplay’s intricate plotting, which neatly unravels cause and effect. Technical credits, especially cinematography, are excellent — dynamic swooping shots and tight handheld camerawork exaggerates spatial contrasts to symbolize class inequality. 

 
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For Matadora, Bullfighting Is Her ‘Absolute Truth’

On March 18, 2011, in Uncategorized, by duordered

Last Sunday, a 32-year-old bullfighter named Lupita Lopez appeared in Mexico City’s Plaza Mexico — the largest bullring in the world — and was inducted into the tiny sorority of matadoras, or professional female bullfighters. Lopez, 32, has wanted to be a bullfighter since she was 11. A month earlier, Lopez had traveled to south Texas, deep in the thornbrush country north of McAllen, to put on an exhibition fight at a bull ranch called La Querencia. The owner, Fred Renk, is a burly, 74-year-old former amateur bullfighter who swaggers about wearing his guayabera shirt open at the top, macho style. In the afternoons, you can find him in his cantina listening to Spanish guitar music, enjoying a beer buzz and talking up Mexico’s hottest new lady bullfighter. “She’s gonna be great,” Renk says, “She’s got this quality and this desire to burn and create art. And you’ll see it tomorrow.”

Enlarge Katie Hayes Luke for NPR Lupita Lopez tests a cow at the Santa Maria Bull Ring. Before becoming a full matador, toreros often fight young bulls or test female cows for courage.

Katie Hayes Luke for NPR Lupita Lopez tests a cow at the Santa Maria Bull Ring. Before becoming a full matador, toreros often fight young bulls or test female cows for courage.

Renk is Lopez’s patron in the style of benefactors who help aspiring boxers and opera singers get a start. He and his friends put up $10,000 for her sword, cape and intricately embroidered traje de luces, the “suit of lights” that bullfighters wear. “We just took her on and we helped her. She fights and she fights well,” he continues. And she draws. Renk has promoted Lopez’s appearance at his bullring as “the Mayan Princess.” Her appearance is striking: a cascade of dark hair; a fighter’s arms; a dancer’s body; and frank, disarming eyes. During an interview, Lopez sits on a sofa in a guesthouse. She will not talk of animal cruelty. Bullfighting is a medieval entertainment, but it remains a cultural fixture in some Latin American and European countries as it is in her own family. “I come from a family of bullfighters, from my great-grandfather, grandfather, father, uncle and cousins,” she says. “And so coming from this family, obviously from the moment we wake up until we go to sleep, we talk about bulls.” Growing up in the city of Merida, on the Yucatan Peninsula of Mexico, Lopez decided she wanted to be a bullfighter when she was 11. During her long apprenticeship, she faced the challenges of a young woman entering the quintessentially male domain of bulls. “When I’m traveling alone, there are men who think that a female bullfighter is an easy woman. And promoters who think because they put me on a bill, I have to sleep with them. I think being a woman is an obstacle,” she says. Her gender cuts both ways. Some impresarios won’t allow her to fight in their plazas. But others actively promote female bullfighters as a novelty and pay them more. Lopez is married to an Italian filmmaker who tolerates — but doesn’t support — her bullfighting career. She’s been gored three times, once seriously in the groin. At 32, she figures she has three or four years left in her career. She’d like to have children.

Enlarge Katie Hayes Luke for NPR Lopez waits in the Santa Maria Bull Ring before fighting her second bull of the day.

Katie Hayes Luke for NPR Lopez waits in the Santa Maria Bull Ring before fighting her second bull of the day.

Why does she do it? “In the duration of a bullfight,” she says, “these are 20 minutes of absolute truth.” On a recent weekend at La Querencia ranch, Lopez will not conclude the fight by killing the toro bravo, the brave bull, with a sword, as is customary. It’s against the law. She’ll be fighting and testing vacas bravas, brave cows, to see if they have the valor to be returned to the pasture and bred with a fighting bull. Under the rules of “bloodless bullfights,” she will pluck a plastic flower from the black hide of their backs. The stands fill up with tourists in caps and sunglasses, most of whom know nothing of the precision and danger of what they’re about to witness. Finally, Lopez strides into the bullring in her blue and gold suit, her magenta cape over her shoulder, a long braid falling down her back. She fights the animals in the classic style: with feet planted, back arched, caping to the right, haughty and graceful. The spirited young cows charge and jab with their sharp horns, just like their brothers. That happened a month ago. Up until this point, as a novillera, an apprentice, she had been allowed only to fight young bulls. Last Sunday, in the Plaza Mexico, Lopez graduated. She confronted mature, 4-year-old bulls that weigh 1,000 pounds and more. Now, she can be called matadora de toros. She becomes one of four professional female bullfighters who are active in the world.

 
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Impressionistic paintings by Eric Robison

On March 15, 2011, in Uncategorized, by duordered

We’re proud to present surf art paintings from an extraordinary artist in Hawaii – Eric Robison. Eric is best known for his extensive work for Disney! Since 1989, he’s painted over 600 interpretations of Disney characters and is a best selling artist in Disney’s theme parks, galleries and stores worldwide! His most famous work was his “One Hundred Mickeys” series of 100 paintings of Mickey Mouse in commemoration of Walt Disney’s 100th birthday.
For our purposes we’re showcasing Eric’s surf art, but be sure to follow the links in his biography on his COTW profile for links to his Disney work…
www.clubofthewaves.com/surf-artist/eric-robison.php

www.ericrobisonstudios.com

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Yoshiro Higai – Cold Frame in Niseko

On March 10, 2011, in Uncategorized, by duordered

Posted by: Angelo
/ added: 03.07.2011
/ Back to What Up

Every once in awhile it’s nice to take a break from monster tricks and fast-twitch editing to appreciate the simple beauty that is a board slicing its way through the snow. Yoshiro Higai, whose book Cold Frame we reviewed in Issue #8.4 Photobook, captures that sentiment with this detail focused, slow motion edit from Japan.

cold frame in niseko from Yoshiro Higai on Vimeo.

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