Carlos Delgado, Vladimir Guerrero, David Oritz.If Jackie Robinson hadn’t ever broken baseball’s color barriers, the above stars wouldn’t be guaranteed to be in MLB’s spotlight today.As the start of the 2007 season marks the 60th anniversary of Robinson’s big league debut, much has been made of the Brooklyn Dodger second baseman’s contributions to not only baseball, but also society.And rightfully so, but don’t forget about Roberto Clemente.Just as Delgado, Guerrero and Ortiz wouldn’t be around if it weren’t for Robinson, the same could be said for Clemente. The Pittsburgh Pirates right fielder broke just as many color barriers as Robinson, yet his name isn’t acclaimed to the same extent. Clemente was to Hispanics what Robinson was to African Americans.Now don’t get it twisted — I’m not advocating for MLB commissioner Bud Selig to retire Clemente’s No. 21 as he did Robinson’s No. 42 like the Hispanics Across America advocacy group pushed for last year. That would dilute Robinson’s honor and would just create a snowball effect of whose number to retire next, but MLB should find a way to highlight Clemente’s accomplishments more prominently, as they are a major part to the game and American culture.Last year we saw a glimpse of it at the All-Star Game as many players wore wristbands with his initials, and Roberto’s widowed wife, Vera Clemente, accepted the Commissioner’s Historic Achievement Award prior to the fifth inning in his place. But would that honor — as great as it was — really have happened had the game not been in Clemente’s adopted hometown of Pittsburgh?Either way, it was long time coming.Nine years after Robinson burst onto the scene, Clemente came along, making his major league debut with the Pirates — the only team he would ever play for. But it wasn’t the only he was on.In fact, Clemente was initially signed to the same Dodgers team Robinson played for. However, the Brooklyn franchise was worried about the negative feedback it would receive if it brought a Hispanic player up to the majors. The Dodgers already had Robinson and a number of other black players on their roster — something that was far from ordinary in the mid 1900s. The Dodgers had already taken enough heat; they felt Clemente would only make it boil over.Thus, Brooklyn tried to hide Clemente on its minor league team in Canada, but his talent was just too good, and Pittsburgh snatched him up after one season.Once in the majors, it didn’t take Clemente too long to find success. In his fifth season, Clemente made the All-Star team, and Pirates knocked off the Yankees in the World Series. He batted .314 that season, and wouldn’t dip under .312 for the remaining 12 seasons of his career.While Clemente was smooth with the bat, he was known for his rocket arm in right field. To this date, many still consider his arm to be the best ever, and his 12 Gold Gloves are representative of that.Yet even with his immense talent and accomplishments, Clemente found it difficult to break through with the media. With his dark skin, it’s true that if Robinson didn’t break through in 1947, Clemente probably wouldn’t have soon after him, but Clemente endured problems of his own as a Hispanic player.Often, journalists quoted Clemente’s broken English to make him appear uneducated. Even The Pittsburgh Courier — the nation’s major African-American newspaper at the time — misquoted and grilled Clemente over whether or not he considered himself black because of his dark skin.The media’s prejudice spilled over into the MVP ballots, too. Despite his breakout season in 1960, Clemente finished eighth in MVP voting. That year, his teammate Dick Groat, who was white, received the award. Although he would go on to win the 1966 MVP award and another World Series, Clemente reportedly never wore his ’60 ring in protest.Clemente was overlooked in the media then, and it seems he still is today.David Maraniss of the Washington Post attempted to enlighten America about Clemente’s achievements in his book, “Clemente: The Passion and Grace of Baseball’s Last Hero,” published last year.”He broke racial and language barriers and achieved greatness and died a hero,” Maraniss writes, as Clemente lost his life in a plane crash attempting to deliver goods to Nicaraguan earthquake victims. “[Hero] can be used indiscriminately in the world of sports, but the classic definition is of someone who gives his life in the service of others, and that is exactly what Clemente did.”And in its review of the novel, Publishers Weekly put the lack of recognition for Clemente in comparison to Robinson perfectly: “Jackie Robinson may have suffered greater hardships during his career, but Clemente’s nobility, charity and determination make him far more appropriate for a postage stamp.”Michael is a senior double majoring in journalism and communication arts. He can be reached at [email protected]
If you are looking for something to do this Sunday then you could use a bit of ‘horse sense.’That’s because the first horse and pony race meeting of the new season takes place.The first of an eight race card gets underway at 3.30pm at Falcarragh beach. Now all we need is a bit of sun and a couple of winners! USE A BIT OF ‘HORSE SENSE’ THIS SUNDAY IN FALCARRAGH was last modified: May 18th, 2013 by StephenShare this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:Falcarraghhorse racing
FIRE crews have put out a car fire in Newtowncunningham this evening.The vehicle was burnt out outside the Logan recycling centre. Gardai are investigating the cause of the blaze just before 7pm.FIRE BRIGADE TACKLE CAR FIRE IN NEWTOWNCUNNINGHAM was last modified: January 3rd, 2015 by John2Share this:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Reddit (Opens in new window)Click to share on Pocket (Opens in new window)Click to share on Telegram (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to print (Opens in new window) Tags:FIRE BRIGADEfire crewsNewtowncunningham
ARRI has just announced the ARRI ALEXA Mini LF, combining the company’s new large-format sensor with the popular compact body.Well, the rumors were off. Looks like the ARRI ALEXA Mini LF is now a 2019 camera instead of 2020. ARRI just announced the Mini LF, a new ALEXA Mini using the company’s latest large-format sensor.The new camera comes just a year after the release of the ARRI ALEXA LF, and it’s incredibly impressive that the company was able to build a comparable mini version so close to its release. Dedicated regulated 12V and 24V accessory power outletsTwo built-in microphones3 internal large-format FSND filtersND 0.6, 1.2, and 1.8 Prototypes weigh 5.7 lbs (2.6 Kg) for the bodyCompatible with nearly all Alexa Mini devicesARRI also announced the new MCF-2 high-contrast HD viewfinder, which has an HD OLED display and ARRICAM eyepiece. The 4″ flip-out monitor shows image or camera menu, and it includes three operation modes: single operator, crew, or remote.As for glass, you can obviously use ARRI Signature Primes, but the company went on to say the following:Optimized for large-format lenses, the LPL lens mount fitted to ALEXA LF and ALEXA Mini LF cameras accepts ARRI Signature Primes, ARRI Rental DNA LF and 65 format optics, and third-party LPL lenses. The PL-to-LPL adapter, which attaches securely to the LPL lens mount without tools, offers backwards compatibility with all PL mount lenses, be they Super 35 or full frame. LDS-2 or /i lens metadata is accessible via the LPL mount, and LDS-1 or /i via the PL-to-LPL adapter. ARRI’s Frame Line and Lens Illumination Tool, available in the Learn & Help/Tools section of the ARRI website, illustrates how much of the large-format sensor is covered by a given lens.Other manufacturers, such as Panavision and Vantage, offer proprietary lens mounts for the ALEXA LF and ALEXA Mini LF cameras, to support their own lens ranges. Cinematographers therefore have an almost unlimited lens choice when shooting with ARRI large-format cameras.If you’re headed to NAB 2019, be sure to head over to the ARRI booth and see if you can catch a glimpse of the new ALEXA Mini LF — as well as a look at all of their ALEXA and AMIRA cameras.Top image via Michael Trammer/ARRI.Looking for more on filmmaking and video production? Check out these articles.Hands-on Review: Is Syrp’s Genie the Lone Filmmaker’s Ultimate Tool?The Cameras and Lenses Behind HBO’s Original SeriesGear Roundup: The Top Three Audio Recorders Under $3007 Master Cinematography Techniques from Iconic DirectorsHow to Create a Mid-’90s DV Camcorder Look in After Effects LPL and PL mount lenses, Super 35 and full frameSupports all anamorphic de-squeeze ratios New Internal RecordingNew Codex Compact Drive (SSD)1TB driveWrite rate of 8 Gb/sUncompressed and unencrypted MXF/ARRIRAWFast MXF/Apple ProResARRIRAW and ProRes can be recorded on the the same media without reformatting Color OutputRec 709Rec 2020Log CCustom Look (ARRI Look File ALF-2) It was originally believed that the Mini LF was years off, as there were technical challenges in putting a large-format sensor in a smaller body while also maintaining a look that matched the full-size ALEXA LF. The prototype Mini LF is already being tested, and we don’t have a set release date for the final camera body yet.ARRI ALEXA Mini LF Specs:Same sensor and recording formats as the ALEXA LFALEV 3 A2X CMOS sensor36.70 x 25.54 mm4448 x 3096Same photosite size and type as Super 35 ARRI digital cameras0.75 – 90 fps
The Pacing QuestionerPulp Fiction was a stylistic tour de force that put Tarantino on the map, introducing us to many of his visual signatures. In one of the first scenes, where Jules (Samuel L. Jackson) interrogates his prey, Brad sits in a seat as Jules paces back and forth in front of him. The camera follows him as he walks, turns, and looms over Brad, before finally shooting him. The tight framing means that the camera pans back and forth as Jules stalks his prey, turning what could have been a straight exchange between two men into a tense standoff.Tarantino’s framing and blocking mirrors the psychological game Jules is playing with Brad, going from friendly to menacing and back to friendly, as the frame goes from wide to extreme closeup and back to wide. French OversFrench overs originally came from the difficulty of getting a camera in front of actors in a car scene. Instead of the kind of typical side coverage you’d shoot of two actors on a couch, French overs capture the scene from behind, so you only get part of the actor’s face in their close-up, and are far from the eyeline.Even outside of the car scenario, French overs are a great way to shoot a scene — making it seem like the two characters have something to hide. It’s perfect for spy thrillers — or anytime the characters know things the audience doesn’t. We are outside of their personal space, peeking into the conversation and unable to read their full expressions. Here are three ways some leading filmmakers have broken new ground and freshened up what could otherwise be shoot-by-numbers footage.If you shoot many dialogue scenes, it’s easy to fall into a routine — a wide to mid shot, then matching over-the-shoulder shots, with some clean singles for coverage. The characters might be facing each other (or side by side), but this formula pretty quickly becomes stale, unless you find new ways to approach it. So here are a few angles you might want to consider to mix things up.High, On-Axis SingleFor the Academy Award-nominated cinematography of The Grandmaster, Philippe Le Sourd decided to shoot some clean singles of the actors, not to one side of their eyeline but above it. The result certainly looks different and is undeniably engaging because it’s in line with the eye. It distorts the face in a new way that makes us feel as though we’re standing behind the character being spoken to, instead of to the side. The Girl in the Spider’s Web.The traditional approaches to shooting a scene can be great to fall back on if time is tight or you don’t have a lot to work with. A scene shot this way allows for plenty of options in the edit, but it’s no substitute for approaching your subjects with imagination and experimentation. Even the most pedestrian dialogue is an opportunity to find and express something about the characters and their world.Cover image via The Girl in the Spider’s Web (Columbia Pictures).Looking for more cinematography tips and tricks? Check these out.Pocket 4k and Pocket 6k Owners – BRAW Comes To Premiere ProHow to Develop and Shoot Memorable Character IntroductionsLearn Francis Ford Coppola’s Signature Dolly MoveIs Autofocus Finally Ready to Take The Filmmaking Field?From “True Lies” to “Die Hard”: Simple-Yet-Brilliant Costume Designs
Prodl thankful for Watford return after falling out with Graciaby Ansser Sadiq18 days agoSend to a friendShare the loveSebastian Prodl has expressed his gratitude after making his Watford return. The Austrian started his first Premier League game since April 2018 in Saturday’s draw with Sheffield United.”It felt good personally, I’m blessed and glad to be back in competition at Watford,” he said.”I suffered a lot the last couple of months, with injury, with comebacks, also with being out of favour, I have to admit it.”I put on my goals that I want to be back for Watford in the Premier League, especially in this very very weird and difficult situation, get back with my experience to help the team out with clean sheets, working hard and putting that work load in.” About the authorAnsser SadiqShare the loveHave your say
About the authorPaul VegasShare the loveHave your say Nailed it? Tottenham boss Pochettino explains sluggish formby Paul Vegas2 days agoSend to a friendShare the loveTottenham boss Mauricio Pochettino says a late start to preseason has hindered his side this term.Spurs snapped a three-game winless streak with an emphatic 5-0 win over Red Star Belgrade in North London on Tuesday.Asked if there had been an overreaction to Spurs’ poor form, the Argentine provided an excuse for their poor start to the season.Pochettino said: “My theory is we started late in our preparation. We used pre-season not just to settle our principles of play and build fitness, but also to build a dynamic of the group and I believe that was affected because we started so late (due playing in the Champions League final).”During competition to get that dynamic right is so difficult because the competition does not wait for you.”The most important thing is to stay calm and believe.”
As expected, Duke freshman forward Justise Winslow is entering the 2015 NBA Draft. He’s the second Blue Devil freshman to declare for the draft, joining big man Jahlil Okafor.Winslow acknowledged the news with an eloquent Instagram post moments ago. I would like to thank Duke University for allowing me to be a part of such a prestigious institution where I have learned more about myself inside and outside of the classroom than I ever thought I could. I would like to thank the students of Duke University for allowing me to develop my character and be myself without any judgment. You all have made this year extremely entertaining. I would like to thank Coach K and the rest of the coaching staff for helping me become a better player mentally and physically. I would like to thank the entire Duke Basketball Program for accepting me with open arms and caring for me unconditionally. Lastly, I would like to thank my teammates who over the course of this past year have become my best friends, my brothers, and NATIONAL CHAMPIONS. Duke University will forever be in heart and I am proud to say that I am DUKE BLUE DEVIL for life.A photo posted by Justise Winslow (@_rubdi) on Apr 14, 2015 at 1:43pm PDTWinslow is expected to be chosen in the top 10 picks of June’s draft, perhaps even within the top five. The versatile 6-foot-6 Houston, Tex., native averaged 12.6 points, 6.5 rebounds and 2.1 assists in his lone season as a Blue Devil. With Winslow and Okafor both turning pro, attention shifts to freshman point guard Tyus Jones, who has yet to announce his intentions for next season but is a projected first-round pick if he foregoes his eligibility.