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You Can Count on Me

You Can Count on Me is a 2000 American drama film written and directed by Kenneth Lonergan in his feature directorial debut. Starring Laura Linney, Mark Ruffalo, Rory Culkin, and Matthew Broderick, the film follows a single mother living in a small Catskill Mountains town, and her complicated relationships with family and friends.

You Can Count on Me premiered at the Sundance Film Festival on January 21, 2000, where it tied with Girlfight for the Grand Jury Prize, and Lonergan won the Waldo Salt Screenwriting Award. It was theatrically released on December 22, 2000 to widespread acclaim, with particular praise for Linney's performance. At the 73rd Academy Awards, Linney was nominated for Best Actress and Lonergan was nominated for Best Original Screenplay.

Plot
As children, Sammy and Terry Prescott lost their parents to a car crash. Years later, Sammy, a single mother and lending officer at a bank, still lives in her childhood home in a village in the Catskill Mountains region of New York, while Terry has drifted around the country, scraping by and getting in and out of trouble.

After months of no communication with his sister, Terry and his girlfriend, Sheila, are desperate for money, so he comes to visit Sammy and her son, Rudy, who are excited about reuniting with him. Despite the disappointment of learning that he cut off contact because he was in jail for three months, Sammy lends him the money, which he mails back to Sheila. After Sheila attempts suicide, he decides to extend his stay with Sammy, which she welcomes.

For a school writing assignment, Rudy imagines his father, who he has no memory of, as a fantastic hero. While Sammy has always given him vague yet negative descriptions of Rudy Sr., Terry is frank with him that Rudy Sr. is not a nice person – though Rudy naively believes his father has changed. Sammy rekindles a sexual relationship with Bob, an old boyfriend, but is surprised when he proposes to her after a short time and says she needs time to consider it.

At the bank, the new manager, Brian, tries to make his mark with unusual demands about computer color schemes and daily timesheets. While co-worker Mabel works well with the changes, Sammy is upset when Brian requests that she make arrangements for someone else to pick up Rudy from the school bus rather than Sammy leaving work at random. After some minor arguments, they start having sex, despite Brian's wife being six months pregnant.

Terry grows close to Rudy during their time together. Yet he pushes the limits of Sammy's parental control, keeping Rudy out very late as the two play pool at a bar. She turns to Ron, her church minister, to counsel Terry about his outlook on life. While Terry resists his sister's advice, he and Rudy grow steadily closer. Realizing her own questionable decisions, Sammy turns down Bob's marriage proposal and breaks off her relationship with Brian.

After a day of fishing, Terry and Rudy decide to visit Rudy Sr. in a trailer park in a nearby town. Confronted by his past, Rudy Sr. denies he is Rudy's father and starts a brawl with Terry. Rudy watches silently as Terry beats Rudy Sr. and gets arrested.

Sammy brings her brother and son home. When Rudy insists that Rudy Sr. is not his father, Sammy finally tells him the truth. Sammy asks Terry to move out, but admits how important he is to her and Rudy, suggesting he get his own place in town and get his life back on track. He scoffs at Sammy's idea and plans to go back to Alaska. While at first it appears the separation will be another heartache, they reconcile before Terry leaves, coming to terms with their respective paths in life.

Cast

 * Laura Linney as Sammy
 * Mark Ruffalo as Terry
 * Matthew Broderick as Brian
 * Jon Tenney as Bob
 * Rory Culkin as Rudy
 * J. Smith-Cameron as Mabel
 * Josh Lucas as Rudy Sr.
 * Gaby Hoffmann as Sheila
 * Adam LeFevre as Sheriff Darryl
 * Amy Ryan as Mrs. Prescott
 * Michael Countryman as Mr. Prescott
 * Kenneth Lonergan as Ron

While listed in the main opening credits, Amy Ryan and Michael Countryman, playing Sammy and Terry's parents, appear for only a few seconds in the cold opening of the film, caught in the headlights of the truck that kills them.

Production
The story takes place in the Catskill region of south east New York state, in the fictionalized communities of Scottsville and Auburn. While there is an actual Scottsville and Auburn, New York, they are over 200 miles away, in the north west Great Lakes and Finger Lakes regions of the state, respectively. The film was primarily shot in and around Margaretville, New York, a village on the border of Catskill Park, in June 1999.

While the bank exteriors were filmed at Margaretville's NBT bank, the interiors were filmed in an unrelated bank closer to New York City, since NBT considered interior filming a security risk.

The scenes where Rudy Jr. walks home in the rain were filmed with the assistance of the Margaretville Fire Department, which used their trucks and hoses to create the rain.

Some outdoor scenes, most notably the fishing trip, were filmed in Phoenicia, New York. The Margaretville cemetery could not be seen from the road, so those scenes were shot at a cemetery 4 miles outside the village, on Route 30.

Reception
On Rotten Tomatoes the film holds an approval rating of 95% based on 105 reviews, with an average rating of 8.1/10. The website's critical consensus reads, "You Can Count on Me may look like it belongs on the small screen, but the movie surprises with its simple yet affecting story. Beautifully acted and crafted, the movie will simply draw you in." At Metacritic the film has a weighted average score of 85 out of 100, based on 31 critics, indicating "universal acclaim".

Reviewer Stephen Holden described the film as "the perfectly pitched directorial debut of the playwright (This Is Our Youth) and screenwriter (Analyze This) Kenneth Lonergan. Because it arrives near the end of one of the most dismal film seasons in memory, this melancholy little gem of a movie, which won two major awards at the Sundance Film Festival, qualifies as one of the two or three finest American films released this year....You Can Count on Me is an exquisitely observed slice of upstate New York life that reminds us there are still plenty of American communities where the pace is more human than computer-driven. The movie dares to portray small-town middle-class life in America as somewhat drab and predictable. Without ever condescending to its characters, it trusts that the everyday problems of ordinary people, if portrayed with enough knowledge, empathy and insight, can be as compelling as the most bizarre screaming carnival on The Jerry Springer Show."

David Edelstein called the film the "best American movie of the year", noting that "[w]hat the film is 'about' can't be summed up in a line: Its themes remain just out of reach, its major conflicts sadly unresolved. But Lonergan writes bottomless dialogue. When his people open their mouths, what comes out is never a definitive expression of character: It's an awkward compromise between how they feel and what they're able to say; or how they feel and what they think they should say; or how they feel and what will best conceal how they feel. The common term for this is "subtext," and You Can Count on Me has a subtext so powerful that it reaches out and pulls you under. Even when the surface is tranquil, you know in your guts what's at stake." Edelstein concludes "Lonergan doesn't yet know how to make the camera show us things that his dialogue doesn't, but when you write dialogue like he does, you can take your time to learn. Hell, he can take another 20 movies to learn."

According to Roger Ebert, "Beyond and beneath, that is the rich human story of You Can Count on Me. I love the way Lonergan shows his characters in flow, pressed this way and that by emotional tides and practical considerations. This is not a movie about people solving things. This is a movie about people living day to day with their plans, fears and desires. It's rare to get a good movie about the touchy adult relationship of a sister and brother. Rarer still for the director to be more fascinated by the process than the outcome. This is one of the best movies of the year."

In a 2016 BBC poll, You Can Count on Me was voted by four critics as one of the greatest films since 2000.

Home media
The film was released on DVD and VHS from Paramount Home Entertainment on June 26, 2001. It comes with commentary from director–writer Lonergan, cast and crew interviews, plus the theatrical trailer.

title: You Can Count on Me


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Gluino

In the particle physics theory of supersymmetry, a gluino (symbol ) is the hypothetical supersymmetric partner of a gluon.

In supersymmetric theories, gluinos are Majorana fermions and interact via the strong force as a color octet. Gluinos have a lepton number 0, baryon number 0, and spin 1/2.

Experimentally, gluinos have been one of the most promising SUSY particle candidates to be discovered since the production cross-section is the highest among SUSYs in the energy-frontier hadron colliders such as Tevatron and the Large Hadron Collider (LHC). The experimental signatures are typically a pair-produced gluinos and their cascade decays. In models of supersymmetry that conserve R-parity, gluinos eventually decay into the undetected lightest super-symmetric particle with many quarks (looking as jets) and the standard model gauge bosons or Higgs bosons. In the R-parity violating scenarios, gluinos can either decay promptly into multiple jets, or be long-lived leaving anomalous sign of "displaced decay vertices" from the interaction point where they are generated.

There has been no sign of gluinos observed so far. The strongest limit has been set by LHC (ATLAS/CMS) where up to minimum 1 TeV and maximum 2 TeV in gluino mass has been excluded.

In Popular Culture
In graphic novel Watchmen, chapter 1, page 23, Dr Manhattan is about to locating a gluino.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Gluino


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Tony De Vit

Antony de Vit (12 September 1957 – 2 July 1998) was an English DJ and music producer. He is considered one of the most influential of his generation. He was credited with helping to take the "hard house" and fast "hard NRG" sounds out of the London and Birmingham gay scene into mainstream clubs. His single "Burning Up" reached number 25 on the UK Singles Chart in March 1995, with "To the Limit" making number 44 in September 1995. During that year, he won BBC Radio 1 Essential Mix of the Year Award, as voted by listeners of the show, and Music Week's re-mix of Year Award for Louise's "Naked". He remixed several UK top 40 hits during his career with artists such as Taylor Dayne and East 17. Between 1994 and 1998 his popularity with the clubbing public was rivaled by only Paul Oakenfold and Carl Cox. In September 2010, Mixmag UK announced the nominations of 35 DJs chosen by other big names in the world of dance music as those they considered the best DJs ever. A subsequent 15-month survey, which polled hundreds of thousands of global votes, asked who was the "greatest DJ of all time" and when the result was announced in January 2011, de Vit was ranked number 9.

Early life
Antony de Vit was born to Raymond de Vit and June Silcock in Kidderminster.

Career
Tony de Vit began DJing at the age of 17, as a wedding DJ in 1976 playing at local pubs in his home town of Kidderminster, followed in his early 20s, by his first residency at the Nightingale in Birmingham on a Monday night where he played pop and hi-NRG. He would often have to sweep floors and empty ashtrays after the club had closed. During the early 1980s, he worked at Wolverhampton's Beacon Radio, playing club tracks during a regular late-night slot on the show hosted by Mike Baker of Smooth FM.

Around 1988 London's gay superclub, Heaven was looking for an alternative DJ. For which De Vit was employed, playing the main floor two Saturdays a month.

In 1990, another soon-to-be-influential club named Trade emerged onto the scene. De Vit stood in one night for DJ Smokin' Jo. Following his set, de Vit landed his own residency at Trade. Later in his career he would perform a 12-hour DJ set on two occasions at Trade; some consider these his defining moments as a DJ.

In 1992, the illegal raves in the UK moved into the clubs in a bid to legalise the scene. One of the key figures of the house music scene at this time was a Birmingham promoter called Simon Raine, who took an interest in de Vit's career. He put de Vit on the bill alongside Fabio and Grooverider at The Institute and encouraged him to move into other house parties as de Vit had predominately played in the gay club scene. Raine had launched the Gatecrasher club nights and, taking his advice, de Vit played at the 'Chuff Chuff' events sharing the bill with Sasha.

In the same year, de Vit teamed up with Simon Parkes to create the V2 recording studio based in The Custard Factory, Gibb St, Birmingham with a view to co-write new material for de Vit to play within his sets.

At this time he recorded and released his first record, "Feel the Love". His second release was a track called "Higher & Higher", which became the future benchmark for de Vit and Parkes' V2 concept. De Vit's/Parkes' track "Burning Up" went to No. 24 on the UK top 40 charts.

In 1995, Radio 1 contacted de Vit for his first Essential Mix. de Vit featured on a number of compilation dance mix albums during this year including Fantazia House Collection Volume 2 and the Remixers album, Sound Dimension's Retrospective of House Volumes 2 & 4, Boxed's Global Underground series Live in Tel Aviv, Live in Tokyo, Kiss Mix 97, Trade Volumes 1 & 3, and the international release, Trade Global Grooves.

With the launch of Jump Wax Records in 1996, hard house music in the UK became more mainstream. De Vit's "Are You All Ready?" and "I Don't Care" received radio play and sales. Following the closure of Jump Wax Records in 1996, de Vit launched his own label (TDV Records), which saw him release "Bring the Beat Back" and "Get Loose", both co-written with Simon Parkes. De Vit went on to play at dance clubs/events in the UK, including Legacy @ The Manor in Ringwood, Slinky @ the Opera House in Bournemouth, Cream, Gatecrasher, Godskitchen and Creamfields. He garnered a string of awards and nominations during the year, including Mixmag's '2nd Best DJ of the Year 1996', M8 magazine's 'Best DJ of the Year 1996' and was selected by Music Week as 'Top Remixer of 1996'. His remix of Louise's "Naked" earned Music Week's vote as the 'Ground breaking Remix of 1996'.

In 1997, de Vit was offered a show on 'Kiss 100'. He was ranked number 5 in DJ Magazine's Top 100 DJs in the World the same year. In early 1998, de Vit recorded "The Dawn" with Paul Janes and Andy Buckley, which was part of the six-track Trade EP. De Vit commented that he was 'very proud of it'. Paul Janes went on to remix "The Dawn" as a tribute to de Vit's work. The track has been considered to be his best work.

Death
He tested HIV+ in 1996. His drug regime never settled and he suffered many side effects. On 2 July 1998, at the age of 40, he died of bronchial failure and bone marrow failure at Heartlands Hospital in East Birmingham. He had collapsed a few days earlier during a holiday in Miami, Florida. After de Vit's death, a conflict kept his records unavailable for many years, but finally a compilation album of his songs and remixes was released called Are You All Ready? on Tidy Trax records.

Influence and legacy
The influence of the Tony De Vit is sufficiently significant for the music press to dub him the "godfather of UK hard house", and in 2023 the DJ Mag journalist Stewart Who cited him as a "true hero of UK dance music". A number of artists have cited Tony de Vit as an influence, such as Fergie, Andy Farley, Dave Pearce, Paul F1 King, Steven J, and Lisa Lashes.

In 2022 a blue plaque commemorating De Vit was unveiled at the Custard Factory in Digbeth, Birmingham, where he had a recording studio. In 2023 to commemorate the 25 year anniversary of his death, the record label Tidy Trax released a compilation of remixes of De Vit's work by artists including Eats Everything, Nicole Moudaber and Hannah Laing, and a documentary about his life was released by Restless Films, called Don't Ever Stop: Tony De Vit.

Discography
Releases

Albums

 * Are You Ready 2xCD, Tidy Trax, (2003)
 * TDV25 – Tony De Vit – Greatest Hits 2xCD, Tidy Trax, (2023)

Singles & EP's

 * Feel the love/Make love to me (12"), V2, (1993).
 * Burning Up (7 versions), Icon Records, (1995).
 * To the Limit (4 versions), Xplode Records/PWL International, (1995).
 * 99th Floor Elevator's (5 versions) featuring Tony De Vit-Hooked, Labello Dance/PWL International, (1995).
 * 99th Floor Elevator's (3 versions) featuring Tony De Vit-I'll be There, PWL International, (1996)
 * I Don't Care/Resistance is Futile (9 versions), Jump Wax Records, (1996).
 * Are You All Ready/UFO (4 versions), Jump Wax Records, (1996)
 * Feel My Love/Get Loose (3 versions), TDV Records, (1997).
 * Bring the Beat Back (Club & Trade Mixes) (12" White Label), TdV Records, (1997).
 * Don't Ever Stop/Bring the Beat Back (3 versions), TdV Records, (1998).
 * Steve Thomas/Tony De Vit-Trade EP Disc 02 (12" EP), Trade Records, (1998).
 * Tony De Vit featuring Petronella-Do What You Do (3 versions), TdV Records, (1998)
 * Paul King/TdV-Kick it In/Bring the Beat Back (3 versions), TdV Records, (1998).
 * Splash Down/Are You All Ready (2 versions), Tidy Trax, (1999).
 * The Dawn (3 versions), Tidy Trax, (2000)
 * Tony De Vit-Stimulant DJ's (Tidy Trax Sound EP 12"), Tidy Trax, (2000)
 * Destination (2 versions), Plenty Records, (2002)
 * Tony De Vit (feat) Niki Mak-Give Me A Reason (4 versions), Tidy Two, (2003).
 * Give Me A Reason/Bring the Beat Back (12" TP), Tidy Two, (2003).
 * The Dawn/I Don't Care (12"), Tidy White, (2004).
 * Tony De Vit/Lee Haslam-The Dawn/The Music is a Drug (12"), Tidy Classics, (2005).

DJ Mixes

 * Mark Moore/Tony De Vit-Chuff Chuff Chuff Summer Ball 93 (2 cassette mixed), (1993).
 * The Fantazia House Collection 2 (CD3) – Tony de Vit (1995).
 * The Remixers-Tony De Vit (CD Mix), Fantazia Records, (1995).
 * Tony De Vit & Jon of the Pleased Wimmin live at Bangkok (1995).
 * A Retrospective of House '91–'95 2 (CD2) – Tony de Vit (1995).
 * A Retrospective of House '91–'96 4 (CD1) – Tony de Vit (1996).
 * Trade Volume Three, Steve Thomas (CD1) & Tony De Vit (CD2), Feverpitch, (1996).
 * Global Underground GU001 Live in Tel Aviv (4 versions), Global Underground Ltd, (1996).
 * An Introspective of House 3 (CD2) – Tony de Vit (1997).
 * Graham Gold and Tony De Vit-Kiss Mix 97 (2x Mix CD), Polygram, (1997).
 * Jim 'Shaft' Ryan-Mark Moore-Tony De Vit-Glamorous One, Miss Moneypenny's Music, (1997).
 * Global Underground GU005 Tokyo (5 versions), Boxed, (1997).
 * Trade Global Grooves Volume 1 (2 versions), Feverpitch, (1997).
 * Seb Fontaine-Tony De Vit-Elements (1st Testament) (2x CD Mix Compilation), Warner Music UK Ltd, (1998).

Discography other releases

 * Notes: This section includes the body of Tony De Vit's work other than his own releases during his career.

Appearances (170)
Include:
 * Albums (4)
 * Compilations (51)
 * Mixes (109)
 * Singles & EP's(5)
 * Videos (1)

Unofficial (32)

 * Mixes (27)
 * Singles & EP's (5)

Credits (304)

 * Acting, Literary and Spoken (1)
 * Featuring and Presenting (8)
 * DJ Mix (25)
 * Production (35)
 * Remix (2013)
 * Technical (4)
 * Writing and Arrangement (18)

title: Tony De Vit


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Hush kit

A hush kit is an aerodynamic device used to help reduce the noise produced by older aircraft jet engines. These devices are typically installed on older turbojet and low-bypass turbofan engines, as they are much louder than later high-bypass turbofan engines.

Hush kits are used because the engines on jet aircraft generate a large amount of noise, which significantly increases noise pollution near airports.

Design

The most common form of hush kit is a multi-lobe exhaust mixer. This device is fitted to the rear of the engine and mixes the jet core's exhaust gases with the surrounding air and a small amount of available bypass air. Modern high-bypass turbofan engines build on this principle by utilizing available bypass air to envelop the jet-core exhaust at the rear of the engine, reducing noise.

Most hush kits make further modifications to the exhaust, including acoustically treated tailpipes, revised inlet nacelles and guide vanes. They reduce the forward propagating, high-pitched noise caused by the small, high-speed fan.

This kind of high-pitched noise is much less of an issue on modern high-bypass turbofan engines as the significantly larger front fans they employ are designed to spin at much lower speeds than those found in older turbojet and low-bypass turbofan engines.

Use

Modern aircraft equipped with mid and high-bypass turbofan engines are designed to comply with contemporary aviation noise abatement laws and ICAO regulations. Several older aircraft that are still in service (typically in a cargo capacity) have hush kits retrofitted so that they are able to conform with noise regulations needed to operate in many commercial airports. Some of the examples include:

 * Boeing 707
 * Boeing 727
 * Boeing 737-100
 * Boeing 737-200
 * Douglas DC-8
 * Douglas DC-9
 * Gulfstream II
 * Gulfstream III
 * Learjet 23
 * Learjet 24
 * Learjet 25
 * Learjet 28

Impact
Hush kits can adversely affect the range and performance of the aircraft they are fitted to because of the extra weight. It also reduces engine performance and aerodynamic efficiency. For example, the hush kit fitted to the Gulfstream II adds 106 kg to the total airplane weight of 65500 lb, causing around a 1.6% reduction in aircraft range.

Meanwhile, the hush kit for the Gulfstream G-III jets weighs about 370 lb and cause a calculated 2% drop in range, although the reduction in range has not been noticed during actual flights, which are rarely made to the very limit of the aircraft's range.

On a larger aircraft, like FedEx's Boeing 727s, the hush kits add 900 lb of extra weight (total airplane weight up to 190000 lb) and this results in an overall 0.5% increase in fuel burn for short trips (but no measurable increase for long flights).

Regulation
While hush kits effectively reduce noise emissions from older aircraft, noise cannot always be reduced to the level of modern planes at a reasonable cost.

In 1999, this concern led to a regulatory dispute between the United States and the European Union, where the EU proposed a new noise ordinance which effectively prevented the use of hush kits in Europe. By December 31, 1999, all Stage 2 noise jetliners 75,000 pounds or more operating in the US must have Stage 3 hush kits in order to continue to fly in the US after January 1, 2000. This regulation threatened to reduce the value of the mostly-American used airplanes that employed hush kits and hurt the profits of American hush kit manufacturers. EU Regulation 925/99 was passed over US threats to ban Concorde but was superseded (and effectively repealed) by EU Directive No. 2002/30/EC issued March 26, 2002.

In 2013, the FAA modified 14 CFR part 91 rules to prohibit the operation of jets weighing 75,000 pounds or less that are not Stage 3 noise compliant after December 31, 2015. Any Stage 2 Business jets 75,000 pounds or below that have not been modified by installing Stage 3 noise compliant engines or have not had Stage 3 hush kits installed for non-compliant engines will not be permitted to fly in the contiguous 48 states after December 31, 2015. 14 CFR §91.883 Special flight authorizations for jet airplanes weighing 75,000 pounds or less – lists special flight authorizations that may be granted for operation after December 31, 2015.

title: Hush kit