David L. Lawrence Puns

Reasonable walking distance, for me, is preferably within half a mile; while I'm certainly physically capable of a longer walk, I'd rather not spend TOO much time walking to and from restaurants in summer when the con is going on.

Last time I went, nobody in my group was all that familiar with the area and we ended up just going to the nearest Subway, which is tolerable but not exactly interesting. I mean, I can eat all the Subway I want here.

$20 for a sit-down meal (counting soft drinks, but not alcohol) or $12 for fast/fast-casual would be about as high as I'd want to go, although cheaper is certainly okay with me. I looked at Google Maps, but it doesn't give enough information, and I'm having trouble getting a sense of distance and walkability by looking at it.

Edit: Thanks for the many, many suggestions! I really appreciate it.

This movie... is something else. From the outset it always looked interesting. The first I ever heard of it was through it's music, specifically a piano version of it's main theme, which is done by Ryuchi Sakamoto. I looked up where this piece of music came from, and not only did I find out that Sakamoto also acted in it, but David Bowie was the central character, Beat Takeshi was another, the director was massively controversial in Japan, and that this was a story about some British dudes butting heads with their Japanese captors. I was also shocked that this wasn't just a Bridge on the River Kwai rip-off, but seriously. It seemed like such a random hodgepodge of people and ideas, but it looked so fascinating. And... it is.

After finishing the movie I went and watched an short documentary on the cast and crew at Cannes, and Bowie remarked how Oshima didn't necessarily go for an impression with this film, but an expression. That is to say, he sought emotional resonance, not necessarily pretty landscapes or pictures. And Oshima succeed with flying, if also forbidden, colors.

At the heart of this film is the complex relationship between Bowie's character, Jack Celliers, and Sakamoto's Captain Yonoi. The two share a strange kinship that neither want to admit, and their refusal to admit these feelings put them, and everyone around them, into conflict. Yonoi, desperate to not feel for his prisoner, and Celliers, determined to defy him to the bitter end. The result is both gripping and tragic, an exploration of inner human emotion and want, and what happens when we repress those feelings and instead opt to destroy that which we love.

On the other side are Tom Conti's titular Mr. Lawrence and Beat Takeshi's Sergeant O' Hara, who are friendly with each other, but even this relationship is ultimately that of master and slave, Lawrence being subject to beating and potentially death at any moment. This culminates in two touching moments in the film that perfectly encapsulate the complicated feelings the film pulls out of you.

The final thing to discuss is the cinematography and music. Man, I miss this kind of cinematography so much. Oshima isn't afraid to let shots linger, and yet there's no fat as a result, no scene where you aren't fully invested in these characters. The music ties it all together in such a fascinating style. By fusing east and west, Sakamoto creates something that is of neither and both, and accentuates the most dramatic scenes in the film.

Has anyone ever been to one of these? My 7 year old daughter wants to go and the entrance cost seems right but was wondering if anyone had ever been to this one and is it worth it? There is one in Monroeville this up coming weekend but the entrance cost is way more than the one at David Lawrence convention center

The Complete AMA Schedule.

From the website:

The MOM-n-PA mission is a large-scale dental clinic where dental treatment is provided at no cost to individuals who cannot afford dental care. Treatment is provided on a first-come, first-served basis and it is expected that several hundred individuals will be attending this year's event, so please come early! Patients do not preregister.

Q: What else should I know?

Come early! Patients will be lining up starting Thursday evening. No appointments will be taken or are necessary. Patients are seen on a first come - first serve basis. The number of patients seen will be limited to up to 1,000 patients per day. Once the total number of patients we can see each day have been registered, no additional patients can be seen. Please be prepared to wait several hours for service.

MOM-n-PA provides dental care for the relief of pain to thousands of the most needy, many of whom are from working families who do not have access or cannot afford dental insurance.

Many of these patients might otherwise have no hope of receiving care.

Our inaugural two-day mission took place in Philadelphia in 2013. With the help of 1,001 volunteers, MOM-n-PA provided $850,000 in free dental care to 1,820 patients.

Our second mission took place in Allentown, Pennsylvania where we provided care to 2,047 patients and our 1,020 volunteers donated $1,004,179 worth of care to those in need.

Our 2015 mission took place in Harrisburg where 976 volunteers provided $875,905 worth of care to 1,705 patients.

As of today, MOM-n-PA has completed 18,291 procedures on 5,572 patients. The total value of dental care donated is $2,730,084 and we have had 2,997 volunteers.

Lost my phone in February 2020 in the David Lawrence computer lab. I stupidly left it charging and forgot about it, came back a few hours later, and it was gone. Asked the computer lab staff, and they said no one turned it in. Went to Panther Central, no luck. Filed a report to the police, haven't had any leads. It's been almost 2 years, and I still get pangs of sadness because I didn't have the pictures backed up, and lost 5 years of captured memories on that phone.

Honestly, just getting off this chest. I know it's been a long time, and at this point, there's not much hope it'll be found.

This movie... is something else. From the outset it always looked interesting. The first I ever heard of it was through it's music, specifically a piano version of it's main theme, which is done by Ryuchi Sakamoto. I looked up where this piece of music came from, and not only did I find out that Sakamoto also acted in it, but David Bowie was the central character, Beat Takeshi was another, the director was massively controversial in Japan, and that this was a story about some British dudes butting heads with their Japanese captors. I was also shocked that this wasn't just a Bridge on the River Kwai rip-off, but seriously. It seemed like such a random hodgepodge of people and ideas, but it looked so fascinating. And... it is.

After finishing the movie I went and watched an short documentary on the cast and crew at Cannes, and Bowie remarked how Oshima didn't necessarily go for an impression with this film, but an expression. That is to say, he sought emotional resonance, not necessarily pretty landscapes or pictures. And Oshima succeed with flying, if also forbidden, colors.

At the heart of this film is the complex relationship between Bowie's character, Jack Celliers, and Sakamoto's Captain Yonoi. The two share a strange kinship that neither want to admit, and their refusal to admit these feelings put them, and everyone around them, into conflict. Yonoi, desperate to not feel for his prisoner, and Celliers, determined to defy him to the bitter end. The result is both gripping and tragic, an exploration of inner human emotion and want, and what happens when we repress those feelings and instead opt to destroy that which we love.

On the other side are Tom Conti's titular Mr. Lawrence and Beat Takeshi's Sergeant O' Hara, who are friendly with each other, but even this relationship is ultimately that of master and slave, Lawrence being subject to beating and potentially death at any moment. This culminates in two touching moments in the film that perfectly encapsulate the complicated feelings the film pulls out of you.

The final thing to discuss is the cinematography and music. Man, I miss this kind of cinematography so much. Oshima isn't afraid to let shots linger, and yet there's no fat as a result, no scene where you aren't fully invested in these characters. The music ties it all together in such a fascinating style. By fusing east and west, Sakamoto creates something that is of neither and both, and accentuates the most dramatic scenes in the film.