The film’s title, “Uprooting Addiction,” refers to one of the support tools used by a social worker named Hope Payson who has helped hundreds of people with their addiction. The tool is a tree made of paper up on a board that embodies the roots of someone’s addiction and how they managed to heal from past traumas and deal with their vices. The tree shows that the most common cause of addiction is some type of childhood trauma.
On Fidlar’s latest album “Almost Free,” released in 2019, the title track is an entirely instrumental blend of funk and big band music. A track like this seems to contradict the Alt Rock angst they call back to however it seems to fit into the album perfectly. Similarly, SWMRS “Berkley’s on Fire” and “Lose Lose Lose” use groovy basslines and interesting rhythms that separate them from the standard order Alt Rock, but still have enough attitude and Punk guitars to be described as anything else. It feels almost disrespectful to compare these bands with each other because of their undeniable individuality.
Rather than follow “America’s Prince” with increasingly important TV and movie roles, Polaha landed a string of starring appearances in television shows that seemed promising, launched … and then stalled … time and again. From 2004 to 2012, Polaha had key roles in the nighttime soap “North Shore,” the sitcom “Miss Guided,” the romantic comedy “Valentine,” the relationship drama “Life Unexpected” and the Sarah Michelle Gellar thriller “Ringer.”
Over the past five years, though, another kind of press criticism has come to prominence after a period of marginalization. This brand of press criticism takes a free and independent press as a necessity for life in a democratic society. Instead of seeking to delegitimize the press, these critics are simultaneously explaining the workings of the press to the public and holding it accountable in its role as the public’s representative and watchdog.
It’s worth mentioning that Six Minutes to Midnight (a rather outdated reference to the Doomsday Clock, if today’s moviegoers even know what that is) has a few unintentional laughs. It’s tough not to giggle when Jim Broadbent, when threatened with being scalded by the contents of a squealing tea kettle, says, with the kind of conviction that only a master craftsman can muster, “I’m not a bloody traitor. He’s half German, half English. I helped the English half of ‘im.”
A picture painted by Lucy Saunders, another NCO’s wife, hung above the hi-fi set Ray had bought secondhand. Betty Ann flicked the duster over the frame of the oil painting, which captured the romanticism of a real Parisian atelier. Warm light refracted across half-sewn dresses and played in a spill of royal blue velvet. Betty Ann liked to think that her studio was as genteel as this imaginary room, but she might have a real cat fight in it if the general’s wife turned nasty. Mrs. H. could call her out in front of everyone and threaten Ray’s livelihood, or even force her to do the dress for free!
It is this same argumentative viewpoint of legality and fairness that originalists use to call into question the Roe v. Wade decision. It’s why there are still lawsuits making their way up to the Supreme Court that seek to overturn Obergefell and Roe v. Wade. And this is a slippery slope because in its quest to “limit” judicial power, originalism places the burden of slow progress in the hands of the people while erroneously assuming that everyone has equal representation in Congress.
Inevitably, perhaps, readers may wonder what other cities and timeframes Wilson might have chosen for exploration. Why not Berlin in the 1920s? Or New York City in the 1970s? It’s a measure of the author’s success that we want to learn more about how other cities functioned, particularly when under the stress of, say, the tumultuous Weimar Republic, or the reaction among New Yorkers when then-President Gerald Ford famously told the city to (as summarized by popular media), “Drop dead.”
While moral and spiritual comfort arrived in English through Anglo-Norman, our sense of comfortable as being physically content, relaxed and reclined, appears in the late 18th century. Soon after, a type of French easy chair, the confortable, became popular at home and abroad. What made it cozy? The systematic use of springs, hidden beneath inflated upholstery. In the 1800s, it was still possible for J.C. Loudon to claim that “the effect of spiral springs as stuffing has been long known to men of science; but so little to upholsterers, that a patent for using them in stuffing was taken out, some years ago, as a new invention.”
The film’s title, “Uprooting Addiction,” refers to one of the support tools used by a social worker named Hope Payson who has helped hundreds of people with their addiction. The tool is a tree made of paper up on a board that embodies the roots of someone’s addiction and how they managed to heal from past traumas and deal with their vices. The tree shows that the most common cause of addiction is some type of childhood trauma.
On Fidlar’s latest album “Almost Free,” released in 2019, the title track is an entirely instrumental blend of funk and big band music. A track like this seems to contradict the Alt Rock angst they call back to however it seems to fit into the album perfectly. Similarly, SWMRS “Berkley’s on Fire” and “Lose Lose Lose” use groovy basslines and interesting rhythms that separate them from the standard order Alt Rock, but still have enough attitude and Punk guitars to be described as anything else. It feels almost disrespectful to compare these bands with each other because of their undeniable individuality.
