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  1. countries - USA
  2. 2019
  3. liked it - 21 Votes
  4. Directed by - Rotimi Rainwater
  5. A documentary film that follows director Rotimi Rainwater, a former homeless youth, as he travels the country to shine a light on the epidemic of youth homelessness in America
  6. Creators - Rotimi Rainwater

I remember in an interview, Alice Cooper said Desmond Child worked him so hard during the making of this album, his throat would bleed. 1 win & 1 nomination. See more awards » Learn more More Like This Comedy | Romance 1 2 3 4 5 6 7 8 9 10 7 / 10 X Albert Brooks directs himself as a successful film editor with far too many issues that affects the relationship between him and his remarkably patient girlfriend. Director: Albert Brooks Stars: Albert Brooks, Kathryn Harrold, Tyann Means A film crew sets out to record a year in the life of an average family, but things quickly start going wrong. Dick Haynes, Matthew Tobin Drama Fantasy 7. 2 / 10 In an afterlife way station resembling a block of hotels, the lives of the recently-deceased are examined in a court-like setting. Meryl Streep, Rip Torn 5. 3 / 10 To improve its relations with Muslim countries, the United States government sends comedian Albert Brooks to south Asia to write a report on what makes followers of Islam laugh. Sheetal Sheth, John Carroll Lynch 6. 9 / 10 A neurotic, twice-divorced sci-fi writer moves back in with his mother to solve his personal problems. Debbie Reynolds, Paul Collins Take two rival television reporters: one handsome, one talented, both male. Add one Producer, female. Mix well, and watch the sparks fly. James L. Brooks William Hurt, Holly Hunter 5. 7 / 10 With his career on the skids, a Hollywood screenwriter enlists the aid of a modern-day muse, who proves to test his patience. Sharon Stone, Andie MacDowell Documentary A documentary film that follows director Rotimi Rainwater, a former homeless youth, as he travels the country to shine a light on the epidemic of youth homelessness in America. Rotimi Rainwater Rosario Dawson, Halle Berry, Tiffany Haddish 5. 2 / 10 A young New York woman, devastated to find out that her husband has been cheating on her, decides to hop a plane to Paris to get away. However, she falls asleep on the plane, misses her... See full summary » Amos Kollek Julie Hagerty, Amos Kollek, Shmuel Shiloh Certificate: Passed 7. 4 / 10 When the co-workers of an ambitious clerk trick him into thinking he has won $25, 000 in a slogan contest, he begins to use the money to fulfill his dreams. What will happen when the ruse is discovered? Preston Sturges Dick Powell, Ellen Drew, Raymond Walburn Crime A free-spirited woman "kidnaps" a yuppie for a weekend of adventure. But the fun quickly takes a dangerous turn when her ex-convict husband shows up. Jonathan Demme Jeff Daniels, Melanie Griffith, Ray Liotta Sport 5. 4 / 10 The story of a baseball scout who discovers a talented but troubled baseball player. Michael Ritchie Brendan Fraser, Dianne Wiest Edit Storyline David and Linda Howard are successful yuppies from LA. When he gets a job disappointment, David convinces Linda that they should quit their jobs, liquidate their assets, and emulate the movie Easy Rider, spending the rest of their lives travelling around a Winnebago! (This is a kind of large, luxurious mobile home which suits a 1980's yuppie more than the counterculture dropout approach of Easy Rider. ) His idealized, unrealistic plans soon begin to go spectacularly wrong. Written by Reid Gagle Plot Summary Add Synopsis Details Release Date: 8 February 1985 (USA) See more » Also Known As: Lost in America Box Office Opening Weekend USA: $154, 877, 17 March 1985 Cumulative Worldwide Gross: $10, 179, 000 See more on IMDbPro » Company Credits Technical Specs Color: Color (Technicolor) See full technical specs » Did You Know? Trivia In his autobiography, Garry Marshall (who played the casino manager) wrote that he was initially exasperated by Albert Brooks demanding take after take of their scene. But once he saw the rushes and realized that his frustration made his character funnier, he deferred to Brooks's comic judgment. See more » Goofs The hair color, thickness and grooming of Paul Dunn, David's boss, changes radically several times in a matter of moments. See more » Quotes David Howard: I lost a woman! A whole woman! Connections Featured in Precious Images (1986) Soundtracks Bubbles in the Wine Written by Bob Calame (uncredited), Frank Loesser (uncredited) and Lawrence Welk (uncredited) Performed by Lawrence Welk and His Champagne Music Makers Courtesy of Ranwood Records See more ».


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Free Watch Lost in america. Helloween is back. Something went wrong, but don’t fret — let’s give it another shot. Free watch lost in america movies. Thank you for your show in Royal Arena in Copenhagen, Denmark, recently. It was tremendously inspiring. It's been too long since I saw a real rock show, like that. Do you remember you dropped your Alice-stick early on, to some crowd-fan, because you felt like it? And then later on, you asked (the crowd :D) if you could have it back. And you could not :D Your show was uber-pro, like a half n half Circus/theater, and you still managed to just give your stick away, because you felt like it. The biggest moment was when you gave your stick away, because it was out of order. It was rebellious. To do something like that, in a post 9/11 world, simply unthinkable. One would almost think you were some kind of rebellious mofo that didn't give a fuck. Also, the scenery, the Castle, the lighting, it was just top notch. The scene alone is already worth minimum half the concert-ticket, right there, at least when it is put to good use, like yous did tonight. It's obvious where King Diamond has it from. Rødgrød med fløde.

Amo esta cancion que bueno que le sacaron video. I feel like AC was more shocking in the 80s than during the 70s... Trash & hey stupid best alice cooper álbums. Unfortunately, i cannot double like on youtube. Free Watch Lost in american. Free watch lost in america cast. Helloween is one of our influences. Perhaps one of the best directors who is never really spoken about as such is Albert Brooks. Delivering quality film after quality film in the 1980s and 1990s, Brooks is the indier version of Woody Allen. Often starring in his own films, exploring relationships between men-and-women, Perhaps one of the best directors who is never really spoken about as such is Albert Brooks. Often starring in his own films, exploring relationships between men-and-women, exploring mortality, exploring weird life decisions, and always led by a neurotic and frantic demeanor, the work of Brooks may be rather unsung nowadays, but is impossible to ignore. In Lost in America, Brooks' David Howard gets fired from his high-paying advertising job after missing out on a promotion. Convincing his wife Linda (Julie Hagerty) to quit her boring personnel director job, the two liquidate all of their assets and buy a camper to travel across America. With about $150, 000 to their name, the two hope to see the country, find themselves, and finally settle in some small town on a huge lot of land that costs just $50, 000 or some other cheap figure. Naturally, things wind up going very differently. Lost in America is a film about the death or misuse of the American dream. Told from youth that if you are smart, go to college, and put your nose to the grindstone, you will rise to the very top of the corporate world. Unfortunately, what is neglected to be mentioned is that there are only so many chairs left and the music is just about to end. Hoping to become Senior VP, only to be transferred across the country, David is a man scorned by this dream. Linda, for her part, is stuck in a dead end job. Both have given just under a decade to their current positions and, yet, both have found there to be no more upward mobility. If they are content, they can stay in these jobs for the rest of time while rotting away on the inside. Or, if the feeling of just waiting for one's death is not appealing, they can always try to find a new job. However, they will never be able to get their present salary, position, or respectability. In essence, at a certain point, there is no more stone to grind with one's nose. Instead, there is a status quo that will remain until action is taken. For David and Linda, the best option is to just drop off of the grid and travel the country. By his own admission, this is a path that David once mocked people for in his youth, but it is one he is not greatly envious of being able to accomplish. Likely a by-product of life always being greener on other side, the idea is nonetheless rather admirable. Similar to the counter work culture experience in the 20th century via films such as Fight Club, American Beauty, and Office Space, Lost in America speaks about the hollow existences experienced by those in the workforce. Get up, get dressed, go to work, come home, pass out, and then do it all over again. This robotic lifestyle has turned us all into corporate drones, merely waiting for our next promotion or opportunity to prove ourselves at work when, in reality, investing in ourselves and in our lives is far more worth our while. Rather than kissing ass at work, why not let loose and live a little for our own mental health? Yet, Brooks' film is smart. Never idealizing the lifestyle of just living on the road, Lost in America shows the perils and sore points that could arise. Loose spending and celebrating one's newly found liberation a little too much could lead to great stress and anguish in the blink of an eye. In essence, Lost in America argues for a balance. Taking time away from work to live one's life is a vital part of living that everybody should attempt. Becoming a mindless zombie who only knows how to go to work is not what the American dream is truly about, no matter what we have been taught growing up. Rather, the American dream is about the freedom to live one's life as they choose. We can never entirely drop off of the grid, as a source of income is a necessary evil in the world. Yet, that necessary evil is no reason to remain stationary and never utilize the freedom of movement. As a result, the American population have misused the American dream through misinterpretation. Believing it to be solely about how anybody can make themselves into something through hard work - implying dedication work - the American dream is truly about how anybody can live their life as they wish and by their own design. Striking a balance between what we need to do - work - and what we want to do - in the case of the film, travel and move to new locations - is where the key to truly utilizing the American dream lies. Becoming a slave to work or an unemployed drifter are perfect examples of taking a lifestyle to the extreme with that way of life feeling too restrictive and dull after a while. Blending the two together allows one to truly find a measure of happiness in a world so dictated by success in the workplace. If, as a society, we came together to realize that work-life balance - and thus, truly realizing the American dream of building a family (life) and a career (work) no matter who you are … Expand.

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GET OUT OF MY HEAD STEVE CARELL. In no literature in the world has the immigrant novel been more varied, more original, more persistent than in ours--and this for the most obvious of reasons. In no literature in the world has the immigrant novel been more varied, more original, more persistent than in ours–and this for the most obvious of reasons. The word “America” has been experienced, for at least 150 years, by millions all over the world, as a euphemism for the fabled land, where, washing up half drowned on a richly receptive shore, one is assured salvation of an undreamt-of order. So they have been driven to come–wave upon wave upon wave of Jews, Italians, Irish, Latinos, Asians, Africans–and, sooner or later, large numbers of them produce the written document detailing the disparity between the fantasy and the actuality: the one that is so powerful it seems to the writer that now just to utter the word America in quotes is to achieve metaphor. Only rarely do these novels have a life beyond the one given them on publication day. Even when well written, they are, all too often, claustrophobically enclosed by a tale of survival beyond which America itself remains an abstraction, hardly ever quickening into the life with which a real–rather than a testifying–protagonist would have to engage. A perfect example is Abraham Cahan’s 1917 The Rise of David Levinsky, an early rags-to-riches story with a strong psychological bent that fails to deepen precisely because Cahan’s character is sealed into a ghetto environment that remains static. Levinsky’s New York is crowded with Lower East Side Jews who hand him on, one to another, until at last he prospers, but the city itself never emerges as a place of vast and varied doings beyond the streets of the ghetto, where the characters soon become indistinguishable. The sole development in the novel, finally, is Levinsky’s awareness of the absence of development. Yet the genre is a resilient one. To read an immigrant novel of, say, 1910, conceived in social realism and sentiment, followed by one written fifty years later, in the wake of Modernism and the Holocaust, is to see how stubbornly it has kept itself alive–and every now and then sheltered a piece of work that bursts the bounds of its own conventions, thereby announcing the presence in our midst of a genuine writer. Lore Segal was born in Vienna in 1928, the daughter of educated, fairly well-to-do Jews. Nine months after Hitler took Austria, she was sent, just 10 years old, to England, as part of the rescue mission that came to be known as the Kindertransport. The clever little girl wrote an affecting letter to the British refugee committee and within a year her parents, sponsored by well-to-do Brits, were admitted to England as a cook and a butler. For the next seven years the parents worked as a domestic couple in one upper-class house or another, while Lore lived separately, also in one English household after another. When Lore’s father died at the end of the war, she and her mother made their way to the Dominican Republic, where an uncle was waiting to be admitted to the United States. In 1951 visas came through for the whole family, and Lore’s life as a refugee was transformed into that of an immigrant. Her story took twenty years to tell, and came in two volumes–the first published in 1964 as a fictionalized memoir, Other People’s Houses, the second in 1985 as a novel, Her First American. Together, these books–both reissued this fall by the New Press–reflect, with peculiar power, both the change in European literary sensibility brought about by the Second World War and the one jolted into life by the very American 1960s. Other People’s Houses begins in Vienna in the fall of 1937, rapidly sketching in the speed with which the Nazi takeover is accomplished, and the Jews from one day to the next are either running for or losing their lives. In all this mayhem, a little girl of novelistic intelligence and enterprising temperament is caught up, observing herself at the same time that she is being pushed–both frantically and as in a dream–into fear and excitement. When the arrangement is made to secure Lore a place on the first experimental children’s transport to England, even as she is feeling “as if my inside had been suddenly scooped away, ” she thinks, “Wow! I’m off to England! ” This complicated inner circumstance–a sinking heart coupled with unquenchable curiosity–develops in the young Lore what she later called “a survival trick with a price tag. ” In England, in 1938, the “trick” enabled her to endure brilliantly the double isolation of being separated from her parents and repeatedly having to absorb the sometimes even greater pain of her refugee status. Early on, she wets her pants and overhears her first foster mother–the self-satisfied Mrs. Levine of Liverpool–say to her daughter, “I told you they don’t bring up children over there the way we do here in England. ” The little girl understands with a shock that she is being perceived as “other. ” Watchfulness of a high order becomes second nature to Lore. Called out of class in March of 1939 by the formidable Mrs. Levine to be told that her parents have arrived in England, she listens with the now habituated gravity that Mrs. Levine finds so irritating. “Well! So! Aren’t you excited, you funny child? ” Yes, Lore tells her, she is excited. “But, ” she tells the reader, I was busy noticing the way my chest was emptying, my head clearing, and my shoulders being freed of some huge weight that must, since I now felt it being rolled away, have been there all this time without my knowing it. Just as when the passing of nausea or the unknotting of a cramp leaves the body with a new awareness of itself, I stood sensuously at ease, breathing in and out. This is the true end of childhood: heedless spontaneity giving way to the self-protection of neutral observation. Standing in a schoolyard among other refugee children, she is told that the parents of a little girl she knows, also in the schoolyard, are dead and that she is now an orphan. Lore stares openly in the child’s direction: The word “orphan” interests her. “I kept looking curiously at Helene who was an orphan. She stood by herself in the middle of the schoolyard looking before her. She still wore her little thick coat and her rabbit’s-wool hat tied under the chin. One would never have guessed from looking at her that her parents were dead. ” It’s the tone of the narrating voice in Other People’s Houses that lends the book its distinction. In other circumstances Segal’s predilection for observation without commentary in the face of human extremity might sound slightly mad. But these are not other circumstances. These are circumstances that require precisely her degree of remove. An ironic intelligence coupled with a gift for detachment is speaking out of a time and place that strongly encourage what might best be called engaged wariness: precisely the psychological balancing act out of which postwar minimalism was born. How many European novels of the 1950s have we read in which the reader finds oneself cast adrift on a tide of surreal-sounding prose because while the characters seem ordinary enough, the remove is disorienting: Where are we? Who is speaking? What are we to make of what is being said? Something stunned, dreamlike, permanently anesthetized in the narration. And then we realize: It’s the war that is haunting these pages. The war is the drain, the gap, the terrible lassitude at the heart of the writing. It is a remarkable memoir indeed that, written in New York City in the late 1950s, can so strongly resemble not the structure but the feel of postwar European fiction. While Other People’s Houses is filled with vivid portraits and some marvelous closeups–England certainly escapes abstraction–what dominates the book is this tone: the tone of one whom history has stunned, and made go cold all over. When Lore is trapped in the Dominican Republic for three years, the full meaning of her permanent statelessness begins to dawn on her. Who is she? Where does she belong? What does the future hold? In a paroxysm of youthful defiance (she’s now 21) she begins to long for England–that’s who she’ll be: English! –carrying around in her head some emblematic memory of geese on a lawn under English trees. But when a woman who works at the British consulate actually provides her with a visa, she freezes: I was horrified: Behind the memory of white geese under the great plane trees on the jewel-green lawn appeared, like a double exposure, my bespectacled self, in mackintosh and oxfords, on a cold drizzling English June day, coming across the bridge into Baker Street in such an agony of loneliness that I can recall it in my memory like an event; I remember I stood a moment to diagnose the cause and felt my feet wet and knew I hadn’t a six-pence left for my gas meter. America, the natural recipient of stateless desolation, it will have to be. It is here and now that the wonderfully chilled Lore of Other People’s Houses begins the thaw that, twenty-one years later, will release the unmatched vibrancy of Her First American. Twenty-two-year-old Ilka Weissnix, a refugee from Hitler’s Europe living in New York’s “Washingstein Heights, ” takes a trip west, gets off the train in Cowtown, Nevada (“I have believed I am being in Utah, isn’t it? ”) and meets Carter Bayoux (on his way East) in a bar beside the railroad. He is big, he is middle-aged, he is hard-drinking, he is black. Ilka tells Carter that she is looking for the real America. New York is not the real America; there she only meets other refugees. You, she announces triumphantly, are “my first real American. ” Carter looks at her and replies drily, “Of the second class. ” What means second class, please? Ilka wants to know. The rest of the book is about how Ilka herself becomes an American as she learns, over the course of a two-year affair with Carter, what means second class please. Carter Bayoux is one of the great creations in American literature. A black intellectual of the 1950s–journalist, teacher, writer, former adviser to the UN on race relations–he knows “everyone” yet is terminally alone, his spirit howling in the wilderness, doggedly drinking himself to death while begging whatever sympathetic woman comes along to hang in there with him while he destroys himself. Eager, poetic, on the brink, sole survivor Ilka becomes the designated caretaker during one of Carter’s last attempts to pull himself out of the void. He, in turn, as they tumble about together, gives her the education of her life, letting her experience New York, the world and herself–as he does. In the bar beside the railroad station Carter tells Ilka he’s going to teach her how to smoke and drink, and she tells him he doesn’t look like a teacher. What exactly do I look like? he asks. Ilka shakes her head; she cannot find the words in English: She meant that she did not recognize his hair, and that the size of his mouth and his laughter did not go with the urbane way he bent his wrist and crossed his ankles; that the luxurious tweed of his jacket contradicted his flattened nose with its small outgrowth of wild flesh at the bridge, which intimated to the girl disastrous chances, moving accidents his youth had suffered. Later, they take a walk through the garish streets of Cowtown. Passing Harry’s Hash and the Steak and Swill, Ilka asks Carter what sort of men these are whom she sees drinking inside. “Good enough fellows, ” he tells her, ” as fellows go–care for their kids, satisfy their wives some of the time, do their work as well as can be expected, and pay their taxes, mostly, go to church, or not, and will string me up as soon as look at me. ” What means “string you? ” she is thinking, but what she says is, “I believe you have conjured this all, isn’t it? ” “I have conjured, ” said the big American, looking at her. Then he looked deliberately across the street and back at Ilka and said, “You and I stand here, side by side, but I don’t know what the hell you’re seeing. ” “That is it, which I have been meaning, ” said Ilka with a sensation of bliss. She came, afterward, to identify this as the moment in which she had fallen in love; it coincided with a break in the traffic and the man’s first, slightest touch, under her elbow. Back in New York Carter settles into the Bloomsbury Arms (read: Chelsea Hotel), and he and Ilka start the series of mangled dinner dates, disastrous parties, disheveled outings and emergency rescue calls that become their relationship, throughout which Carter sends the bellboy for bourbon, Ilka tries to make him stop drinking and their conversation mounts in a kind of intelligent hilarity that, for the reader, is pure joy. Two of the brilliant ingredients Segal throws in to enrich the situation even further are the reappearance of Ilka’s DP mother whose crazed behavior Carter understands to perfection, and the introduction of a group of Carter’s oldest friends, black and white ex-Communists who provide Ilka with the excitement of seeing herself in a bad light. Among these people is a couple who seem ill matched in every way. “Why would Doris Mae marry…” Ilka starts to ask Carter, and stops. “A Negro twice her age? ” “ You think I mean that? ” cried Ilka. “What did you mean? ” “ That! ” said Ilka with a thrill of revelation. “I’m a racist! ” “Not to worry, ” said Carter. “Some of my best friends are racists. ” This conversation echoes another one in which Carter tells Ilka that when Uptown moves to Washingstein Heights, she will move out. Everyone does. She thinks this over and insists that she will not. “You will move, ” said Carter. “I will not move, ” said Ilka. “You will be the last to move, ” said Carter, “but you will move. ” By the same token, he predicts that sooner or later she will leave him; she will have to. No, Ilka insists, she will not. You will, he mourns. You’ll be the last to go, but you will go. And indeed, within the year she sees what he sees–and feels what he feels: Carter’s door stood ajar. Carter slept with his face to the wall. Ilka made a pass at cleaning up, but there was something ferocious about the mess of soiled clothing, bottles, papers, wires. It came to Ilka–and not for the first time–that she must disengage herself, and the prospect produced a familiar blackness of pain, as if a hand had thrust into her gut and emptied her out. Exactly 10-year-old Lore’s reaction, upon being told that she must leave her parents if she was to survive–and exactly what Carter feels all the time. It was a stroke of genius on Lore Segal’s part to see in the character of Carter Bayoux the mirror image that would allow Ilka Weissnix to Americanize her outsiderness. Carter’s savvy is so elegant, so original, so bottomless that, exposed to it long enough, Ilka is bound to realize, “Oh, now I see how it is done. ” It is not so much that Carter himself deepens (he simply accumulates); it is his situation that deepens; and as it does, Ilka’s clarifies. Carter in America is sufficiently similar to the Jew in Hitler’s Europe that she comes to see herself in him. It’s this necessary reversal that supplies the book its radiance. The objective correlative to Ilka’s growing illumination is the exactly right, real and convincing way in which her English improves in response to Carter’s conversation. As Ilka takes into herself the experience of Carter Bayoux, letting her knowledge of him reshape her, it becomes the key element to how the American language now lives in her. The immigrant experience is completed.


Lost in America Lost in America is a 1985 satirical road comedy film directed by Albert Brooks and co-written by Brooks with Monica Johnson. The film stars Brooks alongside Julie Hagerty as a married couple who decide to quit their jobs and travel across America. David and Linda Howard are typical 1980s yuppies in California, he works in an advertising agency and she for a department store. But after he fails to receive a promotion he was counting on and is instead asked to transfer to the firm's New York office, David angrily insults his boss and is fired, he coaxes his wife to seek a new adventure. The Howards decide to sell their house, liquidate their assets, drop out of society, "like in Easy Rider ", travel the country in a Winnebago recreational vehicle, they leave L. A. with a "nest egg" of a hundred thousand dollars but do not get far. The plan goes awry when Linda loses all their savings playing roulette at the Desert Inn Casino in Las Vegas, where a desperate David tries in vain to persuade a casino manager to give the money back as a publicity gimmick. With nowhere to go, the couple quarrels at Hoover Dam ends up in Safford, Arizona. David unsuccessfully applies for a delivery job at a local pharmacy and resorts to an employment agency. After a counselor obnoxiously reminds him that he was fired from his high-paying job in advertising, David accepts the best position available — as a crossing guard, taunted by local school kids. Linda, finds employment as the assistant manager at the local Der Wienerschnitzel, working under a kid half her age. Only a few days after beginning their pursuit of the dream of dropping out of society and Linda are living in a trailer park broke, working dead end jobs and accountable to brats, they decide. They point the Winnebago toward New York. Albert Brooks as David Howard Julie Hagerty as Linda Howard Maggie Roswell as Patty Michael Greene as Paul Dunn Garry Marshall as Casino Manager Donald Gibb as Ex-Convict Charles Boswell as Highway PatrolmanBrooks did not want to direct himself and had wanted Bill Murray for the part of David Howard. Lost In America received positive reviews from critics and holds a 97% rating on review aggregator Rotten Tomatoes, based on 32 reviews, with the consensus. The film was a commercial success; the film's script won the National Society of Film Critics award for Best Screenplay. The film is number 80 on Bravo's "100 Funniest Movies", it is recognized by American Film Institute on these lists: 2000: AFI's 100 Years... 100 Laughs – #84 Warner Home Video released the film onto VHS and Laserdisc in 1985 and reissued it twice on video, in 1991 and 1997. The film made its DVD debut on April 3, 2001, was made available for streaming on Netflix on July 1, 2016. Criterion released this on Blu-Ray on July 25, 2017. Lost in America on IMDb Lost in America at Rotten Tomatoes Lost in America at Box Office Mojo Lost in America: The $100, 000 Box an essay by Scott Tobias at the Criterion Collection Hoover Dam Hoover Dam is a concrete arch-gravity dam in the Black Canyon of the Colorado River, on the border between the U. S. states of Arizona. It was constructed between 1931 and 1936 during the Great Depression and was dedicated on September 30, 1935, by President Franklin D. Roosevelt, its construction was the result of a massive effort involving thousands of workers, cost over one hundred lives. Known as Boulder Dam from 1933, it was renamed Hoover Dam, for President Herbert Hoover, by a joint resolution of Congress in 1947. Since about 1900, the Black Canyon and nearby Boulder Canyon had been investigated for their potential to support a dam that would control floods, provide irrigation water and produce hydroelectric power. In 1928, Congress authorized the project; the winning bid to build the dam was submitted by a consortium called Six Companies, Inc. which began construction of the dam in early 1931. Such a large concrete structure had never been built before, some of the techniques were unproven. The torrid summer weather and lack of facilities near the site presented difficulties. Six Companies turned the dam over to the federal government on March 1, 1936, more than two years ahead of schedule. Hoover Dam impounds the largest reservoir in the United States by volume; the dam is located near Boulder City, Nevada, a municipality constructed for workers on the construction project, about 30 mi southeast of Las Vegas, Nevada. The dam's generators provide power for public and private utilities in Nevada and California. Hoover Dam is a major tourist attraction; the traveled U. Route 93 ran along the dam's crest until October 2010; as the United States developed the Southwest, the Colorado River was seen as a potential source of irrigation water. An initial attempt at diverting the river for irrigation purposes occurred in the late 1890s, when land speculator William Beatty built the Alamo Canal just north of the Mexican border. Though water from the Imperial Canal allowed for the widespread settlement of the valley, the canal proved expensive to maintain. After a catastrophic breach that caused the Colorado River to fill the Salton Sea, the Southern Pacific Railroad spent $3 million in 1906–07 to stabilize the waterway, an amount it hoped in vain would be reimbursed by the Federal Government. After the waterway was stabilized, it proved unsatisfactory because of constant disputes with landowners on the Mexican side of the border; as the technology of electric power transmission improved, the Lower Colorado was considered for its hydroelectric-power potential. In 1902, the Edison Electric Company of Los Angeles surveyed the river in the hope of building a 40-foot rock dam which could generate 10, 000 horsepower. However, at the time, the limit of transmission of electric power was 80 miles, there were few customers within that limit. Edison allowed land options it held on the river to lapse—including an option for what became the site of Hoover Dam. In the following years, the Bureau of Reclamation, known as the Reclamation Service at the time considered the Lower Colorado as the site for a dam. Service chief Arthur Powell Davis proposed using dynamite to collapse the walls of Boulder Canyon, 20 miles north of the eventual dam site, into the river. The river would carry off the smaller pieces of debris, a dam would be built incorporating the remaining rubble. In 1922, after considering it for several years, the Reclamation Service rejected the proposal, citing doubts about the unproven technique and questions as to whether it would in fact save money. In 1922, the Reclamation Service presented a report calling for the development of a dam on the Colorado River for flood control and electric power generation; the report was principally authored by Davis, was called the Fall-Davis report after Interior Secretary Albert Fall. The Fall-Davis report cited use of the Colorado River as a federal concern because the river's basin covered several states, the river entered Mexico. Though the Fall-Davis report called for a dam "at or near Boulder Canyon", the Reclamation Service found that canyon unsuitable. One potential site at Boulder Canyon was bisected by a geologic fault. The Service found it ideal. Despite the site change, the dam project was referred to as the " Boulder Canyon Project ". With little guidance on water allocation from the Supreme Court, proponents of the dam feared endless litigation. A Colorado attorney proposed that the seven states which fell within the river's basin form an interstate compact, with the approval of Congress; such compacts were authorized by Article I of the United States Constitution but had never been concluded among more than two states. In 1922, representatives of seven states met with then-Secretary of Commerce Herbert Hoover. Initial talks produced no result, but when the Supreme Court handed down the Wyoming v. Colorado decision undermining the claims of the upstream states, they became anxious to reach an agreement; the resulting Colorado River Compact was signed on November 24, 1922. Legislation to authorize the dam was introduced by two California Republicans, Representative Phi Real Life (1979 film) Real Life is a 1979 American comedy film starring Albert Brooks, who co-authored the screenplay. It is a spoof of the 1973 reality television program An American Family and portrays a documentary filmmaker named Albert Brooks who attempts to live with and film a dysfunctional family for one full year. Charles Grodin co-stars as the family's patriarch who consents to permit cameras in his Arizona home. Real-life producer Jennings Lang has an acting role in Real Life. A documentary filmmaker enlists a family for a new cinematic and scientific experiment that intends to capture every waking moment of their daily life on film. Out of all the families that are chosen, the ordinary family of the Yeagers of Phoenix, Arizona are chosen, it is a project Brooks confidently announces to a large gathering in the city greeting them with a song. Two other doctors are enlisted in order to evaluate the family through the progression of the project; the concept is for the Yeagers and their two children to go about their business at their Phoenix home and school as if nothing is different from a typical day, ignoring the fact that men wearing cameras that look like Star Wars helmets are recording every move they make and every word they say. Brooks promises to be as unobtrusive as possible, taking up a separate residence in the neighborhood and promising not to interfere. Little by little, the stress of everyday life is complicated by the presence of the film crew. Brooks becomes the unwitting object of Mrs. Yeager's attentions. Yeager, a veterinarian, becomes grief-stricken when he is filmed accidentally causing a horse's death. A grandparent's death upsets Jeannette. Soon the couple stops becoming, as Brooks puts it, "lifeless" in their every day life; the unscrupulous man from Hollywood is to go to any lengths to make his film more interesting if it means dressing up as a clown to cheer them up. After a meeting between Brooks and the others, one of the doctors leaves the project, citing how it seems to have lost control, he soon publishes a book, negative of the project, equating it to a cult. At one point, a film crew from a television station attempts to write a "fluff piece" about the family, but Brooks angrily throws them out of the house. Soon after, the news stations attempt to get coverage of the family, barraging their lives no matter where they go. Not long after, another meeting of Brooks and the people of the institute occurs, revolving around the possibility of ending the project. Brooks attempts to defend keeping the project going by bringing the Yeagers, but the family decides to abandon the project. Despite his pleas for them to stay, they do not change their minds. Soon after, Brooks decides that the only way to keep the project going is to set their house on fire, citing the burning of Atlanta from Gone with the Wind, joyfully exclaiming on how spectacular of an ending this is. Albert Brooks as Albert Brooks Charles Grodin as Warren Yeager Frances Lee McCain as Jeannette Yeager J. Preston as Dr. Ted Cleary Matthew Tobin as Dr. Howard Hill Jennings Lang as Martin Brand David Spielberg as Dr. Jeremy Nolan Norman Bartold as Dr. Isaac Steven Hayward Julie Payne as Dr. Anne Kramer Johnny Haymer as Dr. Maxwell Rennert Leo McElroy as Jim Sanders Lisa Urette as Lisa Yeager Robert Stirrat as Eric Yeager Roger Ebert gave the film one star out of four and wrote that it "gets most of its laughs in the first 10 minutes, slides into a long middle stretch of repetitive situations and ends on a note of embarrassing hysteria. An idea is not enough for a movie. Characters have to be developed, comic situations have to be set up before they can pay off and the story should have a conclusion instead of a dead stop. 'Real Life' fails in all of those areas — fails so miserably that it lets its audiences down. " Conversely, Janet Maslin of The New York Times praised the film as an "often funny assault on manners, moviemaking, an typical American family and everything its members hold dear... Its manner is so sly that some viewers may not find it comic at all, but for anyone well-disposed toward Mr. Brooks, never without his absolute insincerity and irrational good cheer, 'Real Life' is full of delightful nonsense, a funny account of one man's crusade to capture all the truth and wisdom that money can buy. " Variety noted, "Expanding on the deadpan satiric tone of the short parodies and pseudo-documentaries he's filmed in the past for NBC's'Saturday Night Live' into his first feature, Albert Brooks has come up with a very funny take-off on social-minded docu filmmaking that stands to draw boxoffice support from the young adult college crowd that's made the late-night tv show the success it is. " Gene Siskel of the Chicago Tribune gave the film three-and-a-half stars out of four and wrote, "Admittedly, documentary filmmaking doesn't sound like the greatest subject to be satirized, but'Real Life' is full of undeniable laughs. " Charles Champlin of the Los Angeles Times called Grodin "wonderful to watch" and thought that the film "generates some spectacular moments, " but "the movie, like the experiment, runs out of steam well before it is finished and, like many a promising routine, is stuck for a sock ending. " Gary Arnold of The Washington Post stated, "Albert Brooks may be the Woody Allen of the 1980s. His extraordinary first feature, 'Real Life, ' demonstrates a potential genius for movie comedy and is animated by a peculiarly fertile and subtle imagination. " David Ansen of Newsweek wrote. It feels like a 30-minute gag stretched to fill a feature film, the repetitiousness of the situation gets wearisome. It's a one-note movie, Brooks's performance DVD DVD is a digital optical disc storage format invented and developed in 1995 and released in late 1996. The medium can store any kind of digital data and is used for software and other computer files as well as video programs watched using DVD players. DVDs offer higher storage capacity than compact discs. Prerecorded DVDs are mass-produced using molding machines that physically stamp data onto the DVD; such discs are a form of DVD-ROM because data can only be not written or erased. Blank recordable DVD discs can be recorded once using a DVD recorder and function as a DVD-ROM. Rewritable DVDs can be erased many times. DVDs are used in DVD-Video consumer digital video format and in DVD-Audio consumer digital audio format as well as for authoring DVD discs written in a special AVCHD format to hold high definition material. DVDs containing other types of information may be referred to as DVD data discs; the Oxford English Dictionary comments that, "In 1995, rival manufacturers of the product named digital video disc agreed that, in order to emphasize the flexibility of the format for multimedia applications, the preferred abbreviation DVD would be understood to denote digital versatile disc. " The OED states that in 1995, "The companies said the official name of the format will be DVD. Toshiba had been using the name ‘digital video disc’, but, switched to ‘digital versatile disc’ after computer companies complained that it left out their applications. ""Digital versatile disc" is the explanation provided in a DVD Forum Primer from 2000 and in the DVD Forum's mission statement. There were several formats developed for recording video on optical discs before the DVD. Optical recording technology was invented by David Paul Gregg and James Russell in 1963 and first patented in 1968. A consumer optical disc data format known as LaserDisc was developed in the United States, first came to market in Atlanta, Georgia in December 1978, it used much larger discs than the formats. Due to the high cost of players and discs, consumer adoption of LaserDisc was low in both North America and Europe, was not used anywhere outside Japan and the more affluent areas of Southeast Asia, such as Hong Kong, Singapore and Taiwan. CD Video released in 1987 used analog video encoding on optical discs matching the established standard 120 mm size of audio CDs. Video CD became one of the first formats for distributing digitally encoded films in this format, in 1993. In the same year, two new optical disc storage formats were being developed. One was the Multimedia Compact Disc, backed by Philips and Sony, the other was the Super Density disc, supported by Toshiba, Time Warner, Matsushita Electric, Mitsubishi Electric, Thomson, JVC. By the time of the press launches for both formats in January 1995, the MMCD nomenclature had been dropped, Philips and Sony were referring to their format as Digital Video Disc. Representatives from the SD camp asked IBM for advice on the file system to use for their disc, sought support for their format for storing computer data. Alan E. Bell, a researcher from IBM's Almaden Research Center, got that request, learned of the MMCD development project. Wary of being caught in a repeat of the costly videotape format war between VHS and Betamax in the 1980s, he convened a group of computer industry experts, including representatives from Apple, Sun Microsystems and many others. This group was referred to as the Technical Working Group, or TWG. On August 14, 1995, an ad hoc group formed from five computer companies issued a press release stating that they would only accept a single format; the TWG voted to boycott both formats unless the two camps agreed on a converged standard. They recruited president of IBM, to pressure the executives of the warring factions. In one significant compromise, the MMCD and SD groups agreed to adopt proposal SD 9, which specified that both layers of the dual-layered disc be read from the same side—instead of proposal SD 10, which would have created a two-sided disc that users would have to turn over; as a result, the DVD specification provided a storage capacity of 4. 7 GB for a single-layered, single-sided disc and 8. 5 GB for a dual-layered, single-sided disc. The DVD specification ended up similar to Toshiba and Matsushita's Super Density Disc, except for the dual-layer option and EFMPlus modulation designed by Kees Schouhamer Immink. Philips and Sony decided that it was in their best interests to end the format war, agreed to unify with companies backing the Super Density Disc to release a single format, with technologies from both. After other compromises between MMCD and SD, the computer companies through TWG won the day, a single format was agreed upon; the TWG collaborated with the Optical Storage Technology Association on the use of their implementation of the ISO-13346 file system for use on the new DVDs. The format launched on November 1, 1996 in Japan only with music video releases; the first major releases from Warner Home Video arrived on December 20, 1996, with four titles being available. Movie and home entertainment distributors adopted the DVD format to replace the ubiquitous VHS tape as the primary consumer digital video distribution format Liga 3 (Indonesia) Liga 3 is the lowest tier in Indonesian football league system. Formed as Liga Nusantara in 2014, this league occupies the third tier and consisted of 2 rounds: provincial qualification—held in every provinces in Indonesia, national round, competed by provincial qualifiers. In 2017 Liga Nusantara was renamed to Liga 3, along with Indonesian Super League and Indonesian Premier Division which were renamed to Liga 1 and Liga 2, respectively.. The competition was established after Liga Indonesia Second Division and Liga Indonesia Third Division merged in 2014. Starting in 2015, the Liga Indonesia First Division was merged with Liga Nusantara making it the third-tier level in Indonesian football system. Persatu Tuban won the competition's first season. 2014–2015: Liga Nusantara 2016: ISC Liga Nusantara 2017–present: Liga 3 Lake Constance Lake Constance refers to three bodies of water on the Rhine at the northern foot of the Alps: the Obersee or Upper Lake Constance, the Untersee or Lower Lake Constance, a connecting stretch of the Rhine, called the Seerhein. These waterbodies lie within the Lake Constance Basin, part of the Alpine Foreland and through which the Rhine flows; the lake is situated where Germany and Austria meet. Its shorelines lie in the German states of Bavaria and Baden-Württemberg, the Swiss cantons of St. Gallen and Schaffhausen, the Austrian state of Vorarlberg; the Rhine flows into the lake from the south, with its original course forming the Austro-Swiss border, has its outflow on the Lower Lake where — except for Schaffhausen — it forms the German-Swiss border until the city of Basel. The most populous cities on the lake are Constance, Radolfzell am Bodensee and Lindau; the largest islands are Reichenau in the Lower Lake, Lindau and Mainau in the Upper Lake. Lake Constance is the third largest freshwater lake in Central and Western Europe in surface area, after Lake Geneva and Lake Balaton. It is 63 km long, nearly 14 km at its widest point. It covers about 536 km2, is 395 m above sea level, its greatest depth is 252 metres in the middle of the Upper Lake. Its volume is about 48 km3; the lake has two parts: the main east section, called Obersee or "Upper Lake", covers about 473 square kilometres, including its northwestern arm, the Überlinger See, the much smaller west section, called Untersee or "Lower Lake", with an area of about 63 square kilometres. The connection between these two lakes is the Seerhein. Geographically, it is sometimes not considered to be part of a river; the Lower Lake Constance is loosely divided into three sections around the Island of Reichenau: The two German parts, the Gnadensee north of the island and north of the peninsula of Mettnau, the Zeller See, south of Radolfzell and to the northwest of the Reichenau island, the Swiss Rheinsee – not to be mismatched with the Seerhein at its start! – to the south of the island and with its southwestern arm leading to its effluent in Stein am Rhein. The river water of the regulated Alpine Rhine flows into the lake in the southeast near Bregenz, Austria through the Upper Lake Constance hardly targeting the Überlinger See, into the Seerhein in the town of Konstanz through the Rheinsee without feeding both German parts of the Lower Lake, feeds the start of the High Rhine in Swiss town Stein am Rhein. The lake itself is an important drinking water source for southwestern Germany; the culminating point of the lake's drainage basin is the Swiss peak Piz Russein of the Tödi massif of the Glarus Alps at 3, 613 metres above sea level. It starts with the creek Aua da Russein. Car ferries link Romanshorn, Switzerland, to Friedrichshafen, Konstanz to Meersburg, all in Germany. Lake Constance is a zungenbecken lake. After the end of the last glacial period, about 10, 000 years ago, the Obersee and Untersee still formed a single lake; the downward erosion of the High Rhine caused the lake level to sink and a sill, the Konstanzer Schwelle, to emerge. The Rhine, the Bregenzer Ach, the Dornbirner Ach carry sediments from the Alps to the lake, thus decreasing the depth and reducing the extension of the lake in the southeast. In antiquity the two lakes had different names. In the 19th century, there were five different local time zones around Lake Constance. Constance, belonging to the Grand Duchy of Baden, adhered to the Karlsruhe time, Friedrichshafen used the time of the Duchy of Württemberg, in Lindau, the Bavarian Munich time was observed, Bregenz used the Prague time, while the Swiss shore used the Berne time. One would have needed to travel only 46 kilometers to visit five time zones. Given the amount of trade and traffic over Lake Constance, this led to serious confusion. Public clocks in harbors used three different clock faces, depending on the destinations offered by the boat companies. In 1892, all German territories used CET, the Austrian railways introduced CET in 1891, Switzerland followed in 1894; because traffic timetables had not been yet updated, CET became the sole valid time around and on Lake Constance in 1895. The Roman geographer Pomponius Mela was the first to mention the lakes around 43 AD, calling the upper lake Lacus Venetus and the lower lake Lacus Acronius, the Rhine passing through both. Around 75 AD, The naturalist Pliny the Elder called them both, Lacus Raetiae Brigantinus after the main Roman town on the lake, Brigantium. This name is associated with the Celtic Brigantii who lived here, although it is not clear whether the place was named after the tribe or the inhabitants of the region were named after their main settlement. Ammianus Marcellinus used the form Lacus Brigantiae; the current German name of Bodensee derives from the place name Bodman, which originally derived from the Old High German bodamon which meant "on the soils", indicating a place on level terrain by the lake. This place, situated at the west end of Lake Überlingen, had a more supraregional character for a certain period in the early Middle Ages as a Frankish imperial palace, Alamannian ducal seat and mint, why the American Idiot World Tour The American Idiot World Tour was a concert tour by American punk band Green Day in support of the group's seventh studio album, American Idiot, released in September 2004. The tour began in Los Angeles at the Grand Olympic Auditorium on July 29, the last show was in Australia at the Telstra Dome. During the tour, the band played at the 2004 Reading Festival in England. During the tour, Green Day recorded a live album, Bullet in a Bible, released in 2005, as a CD/DVD set; the concert at which the album was recorded was in England, at the Milton Keynes National Bowl, was attended by more than 130, 000 people. The DVD went Platinum in the UK and in the United States. Dates for the second North America leg was announced in February 2005, lasted from April to May 2005; the third North American leg was announced in May 2005. Opening acts included Kaiser Chiefs, My Chemical Romance, Simple Plan, New Found Glory, Jimmy Eat World and Against Me!. The setlist throughout the tour remained the same. Green Day played several songs from American Idiot, Insomniac and Warning. Since the Fort Worth, Texas, USA concert in October 19, 2004. "American Idiot" " Jesus of Suburbia " "Holiday" "Are We the Waiting" "St. Jimmy" " Longview " " Hitchin' A Ride " " Brain Stew " " Jaded " "Knowledge" " Basket Case " "She" " King for a Day "Shout/Stand By Me" " Wake Me Up When September Ends " "Minority" Encore "Maria" " Boulevard of Broken Dreams " " We Are the Champions " "Good Riddance"Concert Length: 1 hr 45 minutes - 2 hours 20 minutes List of festivals Billie Joe Armstrong – Lead vocals and rhythm guitar Mike Dirnt – Bass, backing vocals, lead vocals on "Homecoming" Tré Cool – Drums, backing vocals on "King For A Day/Shout", lead vocals on "Homecoming" Jason White – Lead and rhythm guitar, backing vocals Jason Freese – Keyboards, trombone, acoustic guitar, backing vocals Kurt Lohmiller – – backing vocals, trumpet Ronnie Blake – – backing vocals, trumpet Mike Pelino – Rhythm guitar, backing vocals on "St. Jimmy" Bobby Schneck – Rhythm guitar, backing vocals on "St. Jimmy" Official website.

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