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Incomplete list of international GG days - Last updated in 2018jul1   


Jan - Republic & Freedom Day Month

Jan1 New year/hope day, UN declaration  day, Time Start Day

Jan6 Four Freedoms Day; (State of union-day)

Jan8 League-of-nations-day (14-points-day)

Jan10 free forever Light day (nikola tesla day)

Jan15 good dream day( mlk-day);neutrality-day(wikip)

Jan15/16 thirukkural/thiruvalluvar/gods first day

Jan-mid Pongal Festival

Jan24 non-profit day; creative capitalism day

Jan26 Republic Day (india)

Jan27 holocaust remembrance & prevention day

Jan30 martyrs day, FDR day

Feb- Love Day Month

Feb3 magellan day, feb4 Anti- cancer day

Feb12 of/by/for the citizens day (Lincoln day)

Feb14 International Love Day

Feb15 chelyabinsk meteor awareness day

Feb 3rd monday(15–21) Leadership/President’s Day

Mar-  Equality Day & Helping Day month

Mar4- good gov day ( thomas jefferson inauguration day)

Mar8 Women's Day or Gender Equality Day

Mar14 Help Humanity Forward Day (Einstein Day)

Mar20- International Day of Happiness

Mar22- Water Day

Mar-Apr- Good Friday & Easter-Day

Apr- Earth/Nature Day Month

Apr4- your potential our passion day(ms-day)

Apr7 World Health Day

Apr14 law & order day( ambedkar),honesty day

Apr22 International Mother Earth Day

Apr23 English Language Day

Apr25 universal family day,abdul kalam eu day

May- Workers Day Month

May1 International Workers Day

May3 World Press Freedom Day

May4 Firefighter’s Day

May 2nd Sunday- Mother's Day

May8 RedCross Day; Greater Good movie day

May8–9 Ending Day of World War 1945

May12 International Nursing Day

May24 Day of Inconvenient Truth movie

May29 International Day of Peacekeepers

May-Last-monday Memorials Day

May/june- Ramadan

Jun- Environment day month

Jun1 World parents day

Jun5 World Environment Day

Jun7 greater good definition day ( GG Harvard Commencement speech day)

Jun8 oceans day

Jun10 Peace Definition & Meaning Day (JFK’s speech-day on world-peace)

Jun12 World Day Against Child Labour

Jun14 World  Blood Donor Day

Jun15  Magna Carta day; massachusetts constitution day

Jun 3rd sunday- Father's Day

Jun20 refugees day

Jun21- Yoga day, physical fitness day

Jun23- Public Services Day; olympic day, Sports Day

Jun26- UN charter signing day; Save Succeeding Generations Day; Day in Support of Victims of Torture

Jun38 Versailles treaty day; jun30 tunguska event day

Jul-  Safety & Life Liberty Pursuit of Happiness (LLPH) Day Month

Jul4 safety day; life,liberty,pursuit of happiness LLPH day ; govt day

Jul11 World Population Day

Jul15 school children day ( kamaraj day); jul21- moon landing day

Jul18- equal justice day ( nelson mandela day)

Jul30 & Aug-1st-sun  International Friendship Day

Aug- Friendship Day Month

jul30 & Aug-1st-sun  International Friendship Day

Aug6/9- prevention day of usage of weapons/lethals/harmfuls (hiroshima/nagasaki)

Aug14 Atlantic Charter Day

Aug15 Day of Peaceful transfer of Power ; indian independence day

Aug17 better future day (ronald reagan's speech at RNC on 1992aug17 )

Aug20 Better Universe Day; compasion day  ( Narayan Murthy’s autobiography Day)

Aug26 Day of serving lesser fortunate underprivileged  citizens in world(Teresa day)

Aug29- Day against Weapons Testing

Sep- Peace Day & Sustainable Development Day Month

Sep 1st monday Labor-Day(1-7)

Sep4 dont be evil day ( google day)

Sep6 good purpose day

Sep5 International Day of Charity (mother teresa death day)

Sep8 MDG Millennium Development Goals day, Poverty line reform day; Star Trek Day

Sep10 world day of Prevention of Suicide

Sep11 day of brothers/sisters (day of parliament of world religion); Anti-terrorism-day, 911 phone day

Sep16- Day for the Preservation of the Ozone Layer

Sep15 international Democracy Day

Sep21 Universal Peace Day; sep24 Mars Orbiter Mission day

Sep25 Day of global goals or sustainable development goals

Sep26 International Day for the Total Elimination of Weapons

Sep28- Day for Universal Access to Information

Sep30 International Translation Day

Sep/Oct/Nov Diwali Festival Day; Vijayadashami/Dasara/Pooja festivals

Oct- Unity/Union day & NonViolence Day  month

Oct2 nonViolence day,UF-day,day of rights of animals & other non-human-lives (gandhi-day)

Oct5- teachers day

Oct10- mental health day; Ten Commandments day (10/10)

Oct11- Eleanor Roosevelt day

Oct12 better organised world for peace day( nobel peace for UN day)

Oct13 Disaster Reduction day; finance reform day ( microfinance nobel peace day)

Oct15 students day

Oct17 International Day for the Eradication of Poverty

Oct21 nobel prize day( alfred nobel day)

Oct24 United Nations Charter Day

Oct28 free forever high-quality universal healthcare day; doctors day;  (jonas salk day)

Nov- Children's Day Month

Nov-3rd-Sun international Day of Remembrance for Road Traffic Victims

Nov8 Day on honest monetisation for better world

Nov11- Veterans Day

Nov13 World Kindness Day

Nov19 World Toilet Day

Nov20 international Children's Day; Nov23- Heal the World Song Day

Nov 4th thursday(22–28)- Thanksgiving Day

Nov26 Constitution Day(india)

Dec- Universal-Rights Day Month

Dec9 Anti-corruption-day

Dec10 Human Rights Day & UDHR-day

Dec11 UNICEF day

Dec12 Universal Health Coverage Day, climate deal day

Dec25 Good-governance-day (india) & Christmas-Day

Dec26 Tsunami & Other Natural-disasters Awareness Day

Dec31 New Year Eve Day, End of Time Day


Lincoln Navigator Fuse Panel Diagram   


Lincoln Navigator Fuse Panel Diagram


Diagram For Lincoln Ls   


Diagram For Lincoln Ls


Super easy ways to handle your extra sites   


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The King and I, 10 Dec 2019 - 4 Jan 2020   


10 Dec 2019 - 4 Jan 2020 - Theatre at New Alexandra Theatre

(suitable for under 18s)


Starring Jose Llana direct from Broadway as The King and Annalene Beechey from the West End production as Anna. Hailed as ‘the theatrical event of 2018’ the multi-award winning and critically acclaimed Lincoln Center Theater’s production of Rodgers and Hammerstein’s The King And I is embarking on a World Tour direct from its record breaking sold out season at The London Palladium.

The King And I is the greatest musical from the golden age of musicals – adored by the public and critics alike - with one of the finest scores ever written including; Whistle a Happy Tune, Getting to Know You, and Shall We Dance, featuring a company of over 50 world-class performers and a full-scale orchestra.

A celebration of the lavish heritage of the very best in romantic musical theatre from an unparalleled multi-award-winning creative team, hailed as one of the best working in theatre today, directed by Tony Award winner Bart Sher (South Pacific & My Fair Lady - Broadway). This is a once in a lifetime opportunity to witness this glorious production, as you have never seen it before.


LCM and GCF Using the Ladder Method with Kermit   


Riled ThumbNail


Find the LCM and GCF using the ladder method with Kermit. Part of the student-created tutorial project at Mathtrain.TV. Mathtrain.TV is a free, educational "kids teaching kids" project from Mr. Marcos and his Students at Lincoln Middle School in Santa Monica, CA.

Duration: 00:02:19 / Uploaded: 2013-07-18 05:13:49


The KIN-fusing KIN-clusion to KIN, and FY11 Microsoft Layoff Rumors   


Get out of the way Microsoft Bob, you have a replacement that Microsoft's Gen-Y employees can claim for their own! It's spelled K-I-N.

KIN's demise can't surprise anyone. When I looked at the phone's features, I thought: alright, an incomplete Facebook experience that I cannot improve by installing new applications... and I pay $$$ through the nose for a plan. But I've got a green dot and KIN Studio... maybe that will be enough to sell enough units to justify the Danger acquisition and the person-years of work behind getting KIN out. What the hell where all those people doing? I couldn't imagine anyone wanting the resulting iffy feature-phone at a smartphone cost, but KIN wasn't made for me. I was willing to let the market be the judge of KIN.

Verdict? Guilty, guilty, guilty.

The original Zune/Pink phone had interesting momentum but it all got squandered. What's the one ThinkWeek paper I want to read this year? Lessons Learned from Microsoft KIN and How Microsoft Must Change Product Development. You can't have a failure like this without examining it and then sharing what went wrong, all with respect to vision, execution, and leadership. How big was the original iPhone team? How big was the KIN team? Why did one result in a lineage of amazingly successful devices in the marketplace, and the other become a textbook extended definition for "dud" ?

Interesting comments:

All I can say as a former Windows Mobile employee who is now working for a competitor in the phone space is that this is good news for the rest of us. [...] Personally I quit because of the frustrating management and autocratic decision style of Terry Myerson and Andrew Lees. The only exec in the team myself and other folks respcted was Tom Gibbons who is now sidelined. Lees and Myerson don't know consumer products or phones. Gibbons at least knows consumer product development. We often talk about how Andrew Lees still has a job but Microsoft's loss is a gain for the rest of us.


And now Kin is killed *after* it has shipped in June 2010. You can bet Andy was involved in the development of Kin, the partnership agreements with the OEM, Verizon and most importantly the "ship it" approvals all along the way. And Microsoft discovers its a bad idea after it blows up in the broad market. Absolutely no thanks to any pro-active decision making on Andy's part.

Now there is spin that Andy killed kin to put all the wood behind Windows Phone 7. Er, the guy was in charge for two years of Kin development. He could have made this decision far earlier.

Similarly Windows Phone 7 has two years of development under his watch. Based on his past performance, 99% chance this is also going to be a total catastrophe. It further doesn't help that much of the Windows Phone 7 leadership team was kicked out of Windows when they screwed up Vista.

And finally, one Danger-employee's point of view of why they became demotivated:

To the person who talked about the unprofessional behavior of the Palo Alto Kin (former Danger team), I need to respond because I was one of them.

You are correct, the remaining Danger team was not professional nor did we show off the amazing stuff we had that made Danger such a great place. But the reason for that was our collective disbelief that we were working in such a screwed up place. Yes, we took long lunches and we sat in conference rooms and went on coffee breaks and the conversations always went something like this..."Can you believe that want us to do this?" Or "Did you hear that IM was cut, YouTube was cut? The App store was cut?" "Can you believe how mismanaged this place is?" "Why is this place to dysfunctional??"

Please understand that we went from being a high functioning, extremely passionate and driven organization to a dysfunctional organization where decisions were made by politics rather than logic.

Consider this, in less than 10 years with 1/10 of the budget Microsoft had for PMX, we created a fully multitasking operating system, a powerful service to support it, 12 different device models, and obsessed and supportive fans of our product. While I will grant that we did not shake up the entire wireless world (ala iPhone) we made a really good product and were rewarded by the incredible support of our userbase and our own feelings of accomplishment. If we had had more time and resources, we would of come out with newer versions, supporting touch screens and revamping our UI. But we ran out of time and were acquired and look at the results. A phone that was a complete and total failure. We all knew (Microsoft employees included) that is was a lackluster device, lacked the features the market wanted and was buggy with performance problems on top of it all.

When we were first acquired, we were not taking long lunches and coffee breaks. We were committed to help this Pink project out and show our stuff. But when our best ideas were knocked down over and over and it began to dawn on us that we were not going to have any real affect on the product, we gave up. We began counting down to the 2 year point so we could get our retention bonuses and get out.

I am sorry you had to witness that amazing group behave so poorly. Trust me, they were (and still are) the best group of people ever assembled to fight the cellular battle. But when the leaders are all incompetent, we just wanted out.

I guess we need another ThinkWeek paper on how to successfully acquire companies, too. Between this and aQuantive, we only excel at taking the financial boon of Windows and Office and giving it over to leadership that totally blows it down the drain like an odds-challenged drunk in Vegas. And the shareholders continue to suffer in silence. And the drunks are looking for their next cash infusion.

Dude, Where's Ray? You see more and more yearning for the days of BillG at the helm, perhaps because at least he was an uber geek that could drill your team's presentation like nobody's business and understand what your team was doing. And occasionally get enthralled by technology choices that would confound your average user (WinFS). Ray was supposed to serve as a replacement architect at Microsoft's technical helm, yet his impact seems to be superficial (and pretty disparaged if you chat with any leader in the company). Here's a snippet of a great comment about Ray and his impact at Microsoft:

The problem is, Ray doesn't see himself as the "Chief Software Architect" of the company. He sees himself as the "Chief Visionary Officer" (to borrow someone's phrase from early comments). He sees his job as being the person who regularly kicks "old" Microsoft in the butt to wake them up to whats going on in the world.

All of his behavior lines up with this: His correcting of Ballmer (in public!); His team's building Mesh, an expensive, buzz-generating, science-project app beloved by those who know about it, but irrelevant to those who don't (which is 99+% of the planet); More recently, his team's building of -- another expensive, buzz-generating app that has no business model and no path to ever having one (if you need an indication of how pointless an exercise is, just look at the visitor trends for it since launch:

Meanwhile, Ozzie has made enemies of most of the leaders of the actual products that pay for his "Labs". He's made no secret of the fact that he thinks that Windows is run terribly, or that Office is dead technology. Behind closed doors, he is openly dispariging of Microsoft development practices and Microsoft technology. His efforts to build product display a stunning lack of a caring about how much things cost to run, or whether they will ever make money. To my knowledge, he doesn't care in the slightest about the enterprise businesses at the company.

Dude, Where's My Job? Folks have been talking about ongoing stealth layoffs and the impending July FY11 layoffs reacting to teams with reduced budgets. I've scanned some various HR calendars and found some interesting appointments more around next week vs. this week, but the layoff rumors have spilled over beyond here and into TechFlash: Microsoft pruning more jobs. A follow-up by Ms. Mary-Jo Foley: More Microsoft job cuts coming ZDNet. So I'd expect more news next week than this week, but one commenter has noted:

Layoffs confirmed for tomorrow. I see long meetings booked by HR-types in Lincoln Square and RedWest-C. Didn't go through all the calendars for you main-campus types.

If Microsoft is doing this to appear fiscally responsible, they really can't tell just this half of the story. The other half of the story is the number of contingent staff positions, which if you open up Headtrax for yourself to investigate be prepared to tell Elizabeth you're coming to join her, because it about gave me a mild heart-attack.

If you learn anything, please comment regarding the group and the size of the hit and any impression about the folks impacted (e.g., 10%'ers, long-term employees, etc).

-- Comments


France - Azazel Jacobs's French Exit Will World Premiere as Closing Night of the 58th New York Film Festival   


Film at Lincoln Center announces Azazel Jacobs's French Exit as Closing Night of the 58th New York Film Festival, making its World Premiere. In the film, Michelle Pfeiffer is...




How we communicate and, in doing so, present ourselves to others is a matter of personal preference. Assuming we share the same goal of making a positive connection and being heard, then the question revolves around choosing how best to do it and carrying out strategies with which we feel most comfortable. It is the choices we make that provide others with a window into the kind of person we are. For instance, is our outreach loud, overbearing and boastful? Or is it subtle, fact-driven and inviting? My contention is the answer to those serves as a direct link to those characteristics that define us as to who we are.

For myself, I have always tried to adapt a humble approach. I see my general my outreach as being more inclusive than confrontational. Even in situations such as job interviews or teaching students in a classroom setting, my tendency has been to keep the spotlight on me as less as possible. (At this point, I will acknowledge that this is only my perspective and that others, including those with whom I have interviewed or taught, may disagree.) People, myself included, tend to be more receptive to what is being communicated to them if they feel less threatened or under attack. When it comes to communicating with others, I have tried to be sensitive to this.

Arguably, the public figure who best personified humility when communicating with others was President Lincoln. Our sixteenth president came from humble beginnings. The influence of that background never seemed to leave him in his efforts to sway public opinion, deal with political enemies, and keep a nation together. Perhaps it was that that made so many of public pronouncements as powerful and inspiring as they proved to be. This is one more case where many of us can learn from Lincoln. Also, humility is a way to keep us as grounded as we need to be when others seek to communicate with us.


Prepare your team, you're about to be hit with problems around great content   


Block articles you don't want Google to waste time crawling Keyword Research. Nowadays, everyone's in a hurry, and the online world is no different. There are two main philosophical buckets of practices for SEO: black hat and white hat.

Maybe canonical URLs will be a thing of the past

Nonetheless …


Write a 1000+ words article about keywords   


People don't read online; they scan to save time. Never start a new sentence on a new line just because it happens to look neater; there needs to be a reason for making a new paragraph. Some topics require less formal expertise. Many people write extremely detailed, helpful reviews of …


Kesamaan Aneh Antara 2 ex Presiden Amerika   


Abraham Lincoln masuk kongres tahun 1846.
John F. Kennedy masuk kongres tahun 1946.
Abraham Lincoln terpilih jadi presiden tahun 1860.

John F. Kennedy terpilih jadi presiden tahun 1960.

  • Keduanya sangat peduli hak-hak sipil.
  • Kedua istri mereka kehilangan anak saat di gedung putih.
  • Kedua presiden ditembak hari Jumat.
    Kedua presiden ditembak di kepala.
  • Sekretaris Lincoln bernama Kennedy .
    Sekretaris Kennedy bernama Lincoln .
  • Keduanya dibunuh oleh orang dari daerah selatan.
    Keduanya digantikan oleh orang selatan yg bernama Johnson.
  • Andrew Johnson, yg menggantikan Lincoln , lahir tahun 1808.
    Lyndon Johnson, yg menggantikan Kennedy, lahir tahun 1908.
  • John Wilkes Booth, yg membunuh Lincoln , lahir thn 1839.
    Lee Harvey Oswald, yg membunuh Kennedy, lahir thn 1939.
  • Kedua pembunuh terkenal dengan tiga namanya.
    Nama keduanya terdiri dari 15 huruf.
  • Lincoln ditembak di teater bernama ‘Ford.’
    Kennedy tertembak di mobil ‘ Lincoln ‘ dibuat oleh ‘Ford.’
  • Lincoln tertembak di teater dan pembunuhnya bersembunyi di gudang.
    Kennedy tertembak dari sebuah gudang dan pembunuhnya bersembunyi di teater.
  • Booth dan Oswald terbunuh sebelum diadili.
  • Seminggu sebelum Lincoln tertembak, dia berada di Monroe , Maryland
    Seminggu sebelum Kennedy tertembak, dia bersama Marilyn Monroe.


Should we not protest against Supreme Court Decisions?   


During the course of JNU row many have contended in TV debates and online discussions that ordinary people in India do not have a right to protest a Supreme Court Decision.   One anchor even asked a JNU student leader, ‘Do you think you know more than the Supreme Court judges that you could protest their decision?’

Most Indians tend to think that a protest against Supreme Court decision should not be allowed.  However, in most mature democracies, including India, people have protested against Supreme Court decisions.   There are many examples.  But here I describe a notable one.

When Abraham Lincoln was the President, the US Government passed 13th, 14th, and 15th Amendments to US Constitution to emancipate Black people in that country, giving them equal rights.  For about twenty years they enjoyed this freedom as equal citizens.  However, a Supreme Court Decision (Plessy v. Ferguson 1896) reversed most of these amendments thereby creating Jim Crow laws that implemented ‘separate but equal’ doctrine.  Blacks were segregated, lynched, and denied voting rights.  Basically, the Black man was not treated as equal citizen.

It took major protests of 1950s and 1960s to reverse the Supreme Court decision of 1896.  People came out in thousands to protest these laws.  Martin Luther King is one of the leaders of this Civil Rights Movement.

The doctrine set forth in US in 1896 was eventually reversed by another Supreme Court decision (Brown v. Board of Education 1954) which later led to equal rights to Black people. 

If we were to go about disallowing all protests against Supreme Court decisions, we would have missed out on giving equal rights to Black people in US.

In recent times in India, people came out onto streets to protestone more Supreme Court Decision that sought to criminalize homosexuality. Examples are abound where Supreme Court decisions were challenged in public forums and through protests on streets.

There is a strong reason why people should protestSupreme Court decision regarding Afzal Guru.  The reason is clearly laid out in the Supreme Court verdict itself.   It says (emphasis mine):

“As is the case with most of the conspiracies, there is and could be no direct evidence of the agreement amounting to criminal conspiracy. However, the circumstances, cumulatively weighed, would unerringly point to the collaboration of the accused Afzal with the slain ‘fidayeen’ terrorists”.

“The incident, which resulted in heavy casualties, had shaken the entire nation and the collective conscience of the society will only be satisfied if capital punishment is awarded to the offender.”

Supreme Court admits there is ‘no direct evidence’, and that there was only circumstantial evidence.  Next, it says it gave the death sentence to satisfy the collective conscience of the society.  Now, that is quite troubling to some of us.  When did we start giving out death sentences based on circumstantial evidence to satisfy the collective conscience of the society? Especially when death sentence is awarded in 'rarest of rare' cases? Isn’t the entire premise of modern legal system based on treating everyone the same without getting biased or prejudiced by who is protesting outside the courtroom?


Keeping Showmanship Alive: Interstellar   



“Go Further”

The Digital Bits is pleased to present this handy, quick-reference guide to the theaters in the United States and Canada that are screening large-format film prints of Christopher Nolan’s Interstellar beginning November 5th.

(The movie is also being released in 35mm on November 5th, and on November 7th in 2K DCP, 4K DCP and IMAX Digital.)  [Read more here...]


70MM Logo


7OMM (5-perf 2.20:1 aspect ratio + 5.1-channel Datasat digital sound)


  • Oakland – GRAND LAKE 4




  • Plymouth – WILLOW CREEK 12


  • New York (Manhattan) – CITY CINEMAS
  • New York (Manhattan) – ZIEGFELD


  • Toronto – VARSITY 12


  • Arlington – STUDIO MOVIE GRILL
  • Dallas – LOOK CINEMAS

IMAX reels


70MM (15-perf 2.35:1 letterbox with fullframe IMAX sequences + 5.1-channel digital sound)


  • Huntsville – U.S. SPACE & ROCKET CENTER IMAX






  • Los Angeles (Hollywood) – CHINESE THEATRES IMAX
  • Sacramento – ESQUIRE IMAX
  • San Francisco – METREON 16 IMAX












  • Chicago – NAVY PIER IMAX






  • Dearborn – THE HENRY FORD IMAX




  • Branson – BRANSON IMAX




  • New Rochelle – NEW ROC STADIUM 18 IMAX
  • New York (Manhattan) – LINCOLN SQUARE 13 IMAX
  • West Nyack – PALISADES 21 IMAX




  • King of Prussia – KING OF PRUSSIA STADIUM 16 IMAX




  • Providence – PROVIDENCE PLACE 16 IMAX


  • Nashville – OPRY MILLS STADIUM 20 IMAX


  • Dallas – CINEMARK 17 IMAX
  • San Antonio – RIVERCENTER 11 IMAX





Chistopher Nolan


- Michael Coate




Fortune & Glory: Remembering “Indiana Jones and the Temple of Doom” on its 30th Anniversary   


Indiana Jones and the Temple of Doom

“This picture is not called The Temple of Roses; it is called The Temple of Doom. The warning is clearly marked on the box.” — Steven Spielberg

The Digital Bits is pleased to present this retrospective commemorating the 30th anniversary of the release of Indiana Jones and the Temple of Doom, the follow-up to the incredibly popular Raiders of the Lost Ark.

The Bits celebrates the occasion with this retrospective column. It features some quotes from movie critics, some trivia on the film, an interview segment (featuring film historians Scott Higgins and Eric Lichtenfeld), a list of the movie’s premium-format (70mm) presentations, and a compilation of box-office data that places the movie’s performance in context. [Read on here…]




  • 1 = Number of weeks nation’s top-grossing movie
  • 2 = Rank among top-grossing movies of 1984 (calendar year)
  • 3 = Rank among top-grossing movies of 1984 (legacy)
  • 7 = Rank on all-time list of top-grossing movies at close of original run
  • 86 = Rank on current list of all-time top-grossing movies (domestic, adjusted for inflation)
  • 25 = Number of days movie took to gross $100 million
  • 28 = Number of months between theatrical release and home-video release
  • 35.3 = Percentage of second-week drop-off in box-office gross
  • 180 = Rank on current list of all-time top-grossing movies (domestic)
  • 243 = Number of 70mm prints shown in North America*
  • 266 = Rank on current list of all-time top-grossing movies (worldwide)
  • 1,687 = Number of theaters showing the movie during opening-weekend
  • $4.7 million = Opening-day box-office gross
  • $9.3 million = Highest single-day gross (May 27)*
  • $25.3 million = Opening weekend box-office gross (3-day, May 25-27)*
  • $28.2 million = Production cost
  • $33.9 million = Opening weekend box-office gross (4-day holiday, May 25-28)*
  • $42.3 million = Opening week box-office gross (6-day, May 23-28)*
  • $45.7 million = Opening week box-office gross (7-day, May 23-29)*
  • $64.3 million = Production cost (adjusted for inflation)
  • $102.0 million = International box-office rental (% of gross exhibitors paid to distributor)
  • $109.0 million = Domestic box-office rental
  • $153.2 million = International box-office gross
  • $179.9 million = Domestic box-office gross
  • $211.0 million = Worldwide box-office rental
  • $333.1 million = Worldwide box-office gross
  • $426.1 million = Domestic box-office gross (adjusted for inflation)
  • $760.1 million = Worldwide box-office gross (adjusted for inflation)

*Established new industry record

George Lucas and Steven Spielberg



“The monster hit factory of George Lucas and Steven Spielberg has finally produced a monster: an unpleasant, slapdash, chaotic and finally yawn-inducing follow-up to Raiders of the Lost Ark…and for the first time Lucas/Spielberg cross over the line between fantasy violence and real pain. They’ve also come up with a heroine who’s such a charmless bimbo that you have mixed feelings every time she’s in jeopardy.” — John Hartl, The Seattle Times

“This movie is one of the most relentlessly nonstop action pictures ever made, with a virtuoso series of climactic sequences that must last an hour and never stop for a second. It’s a roller-coaster ride, a visual extravaganza, a technical triumph, and a whole lot of fun.” — Roger Ebert, Chicago Sun-Times

“Yech! I don’t care if this film makes $100 million. Since when does big box office equate with intelligence, quality, culture or even a smidgen of social conscience?” — Gary Franklin, KCBS-TV, Los Angeles

“If at all possible, see Doom in a movie house showing it in 70mm and Dolby Stereo. Why settle for half the effect?” — Rick Lyman, Philadelphia Inquirer

“This time the 1930s archaeologist/adventurer has a weaker story and wimpier heroine.” — Leonard Maltin, Entertainment Tonight

“Though it looks as if it had cost a fortune, Indiana Jones doesn’t go anywhere, possibly because it is composed entirely of a succession of climaxes. It could end at any point with nothing essential being lost. Watching it is like spending a day at an amusement park, which is probably what Mr. Spielberg and his associates intended. It moves tirelessly from one ride or attraction to the next, only occasionally taking a minute out for a hot dog, and then going right on to the next unspeakable experience.” — Vincent Canby, The New York Times

Indiana Jones and the Temple of Doom has to be the greatest action movie ever filmed. No other movie ever has offered such a generous feast of breathtaking thrills, rough-and-tumble spills, colorful-and-funny frills and heart-grabbing chills. Yes, Spielberg and Lucas have done it again.” — Jack Garner, (Rochester) Democrat and Chronicle

“One of the greatest assets Spielberg and Lucas have had was their ability to go straight to the movie myths of their childhoods and, in reworking them, enrich a new generation of moviegoers. This time it feels as though they could never erase these movies from their memories, and now no one else will be able to either.” — Sheila Benson, Los Angeles Times

Indiana Jones and the Temple of Doom has a lot of laughs, thrills, noise, detail, darkness and sheer entertainment packed into it. It’s a tribute to hokiness through and through. For being exactly what you’d expect, I give it four little men leaping out of their chairs (though two of them aren’t clapping, they’re gagging on monkey brains). — Peter Stack, San Francisco Chronicle

“There’s so much movie in this movie—that’s the basic reason that Indiana Jones and the Temple of Doom is so appealing. Its main show, a five-minute chase sequence in mining cars between Indiana and Short Round and Willie in one car and the henchmen of the evil child-abuser Mola Ram in another. This beautifully directed and edited chase is even more exhilarating than one’s childhood memory of the roller-coaster sequence in This Is Cinerama (1952). And it’s almost as exciting as a real trip on Walt Disney World’s Space Mountain. Credit Spielberg and producer Lucas’ special effects team at Industrial Light & Magic for this entry on anyone’s list of filmdom’s greatest chases.” — Gene Siskel, Chicago Tribune



Indiana Jones and the Temple of Doom (Advance B)On May 16, 1984, in conjunction with the release of Indiana Jones and the Temple of Doom, Steven Spielberg and George Lucas placed their hand and foot prints in the cement courtyard of Mann’s Chinese Theater in Los Angeles.

During an era where six months was the average amount of time between theatrical release and home-video release, Indiana Jones and the Temple of Doom had a theatrical-to-video “window” of 28 months by arriving on home-video formats in September 1986.

The first network television broadcast was on ABC on October 1, 1989. Its first letterboxed release (on LaserDisc) was in 1992. Its first DVD release was in 2003. Its first Blu-ray release was in 2012.

The THX Sound System “Broadway” snipe was introduced with Indiana Jones and the Temple of Doom.

Indiana Jones and the Temple of Doom is set one year prior to the events in Raiders of the Lost Ark.

Indiana Jones and the Temple of Doom was screened on the eve of its release as part of the Seattle Film Festival.

The names of the film’s three principal characters were inspired by the names of the filmmakers’ pet dogs: Indiana (George Lucas), Willie (Steven Spielberg), Short Round (Willard Huyck & Gloria Katz).

The movie’s original titles were Indy II and Indiana Jones and the Temple of Death.

The miniature stop-motion-animation footage for the mine-car chase sequence was filmed using a consumer Nikon SLR 35mm camera.

The name of the bar in the opening Shanghai sequence was Club Obi-Wan, an inside joke and reference to one of the popular characters from Star Wars.

The opening of Indiana Jones in the United Kingdom was preceded by a Royal European premiere. The charity event was held on June 11, 1984, and attended by Prince Charles and Princess Diana. Attending on behalf of the movie were Steven Spielberg, George Lucas, Kate Capshaw and Ke Huy Quan.

As with Raiders, where he played the German Flying Wing pilot, producer Frank Marshall had a small role in the movie, this time appearing as a sailor riding a rickshaw during the Shanghai chase scene.

Members of the production crew, including Spielberg and Lucas, played missionaries during the airport scene. Also look for Dan Aykroyd in same scene.

Reaction to the violence and overall intensity featured in the movie (and in the Spielberg-produced Gremlins released two weeks later) prompted the formation of the PG-13 rating.

The movie’s 70-millimeter print order (243) was the largest ever for a North American release. It was reported that the 70mm presentations, which represented 13% of the movie’s bookings, accounted for 30% of the box-office gross during the movie’s first week of release.

Awards won included Visual Effects (Academy Awards) and Special Visual Effects (BAFTA).



Temple of Doom newspaper adThe following is a list of the 70mm Six-Track Dolby Stereo premium-format presentations of Indiana Jones and the Temple of Doom during the initial weeks of its first-run theatrical release in the United States and Canada. These were, arguably, the best theaters in which to experience the movie. Any move-over, sub-run and international bookings have not been included. As well, the second wave of THX certifications were made in conjunction with this release and are noted in parenthesis where applicable.

** shown on two screens

*** shown on three screens


There were no 70mm first-run engagements in Alabama.


There were no 70mm first-run engagements in Alaska.


  • Calgary – Famous Players PALACE
  • Edmonton – Famous Players PARAMOUNT
  • Edmonton – Famous Players WESTMALL 5


  • Phoenix – Mann CHRIS-TOWN 5 (THX)
  • Phoenix – Plitt CINE CAPRI
  • Tucson – American Multi-Cinema CAMPBELL PLAZA 3
  • Tucson – Mann BUENA VISTA TWIN


  • Little Rock – United Artists CINEMA 150


  • Burnaby – Famous Players LOUGHEED MALL 3
  • Vancouver – Famous Players STANLEY
  • Victoria – Famous Players CORONET


  • Berkeley – Cinerama BERKELEY
  • Clovis – Festival Enterprises REGENCY CINEMAS
  • Corte Madera – Marin CINEMA
  • Costa Mesa – Edwards SOUTH COAST PLAZA TRIPLEX
  • Fremont – Syufy CINEDOME 7 EAST**
  • Fresno – Festival Enterprises FESTIVAL CINEMAS
  • Hayward – Festival Enterprises FESTIVAL CINEMAS
  • La Mesa – Pacific CINEMA GROSSMONT
  • La Mirada – Pacific LA MIRADA 6
  • Laguna Hills – Edwards/Sanborn LAGUNA HILLS MALL TRIPLEX
  • Lakewood – Pacific LAKEWOOD CENTER
  • Long Beach – United Artists MOVIES 6
  • Los Angeles (Hollywood) – Mann CHINESE TRIPLEX*** (THX)
  • Los Angeles (Northridge) – Pacific NORTHRIDGE 6
  • Los Angeles (Sherman Oaks) – Mann LA REINA
  • Los Angeles (Westwood Village) – Mann NATIONAL (THX)
  • Los Angeles (Woodland Hills) – Pacific TOPANGA 1 & 2
  • Modesto – Festival Enterprises FESTIVAL CINEMAS**
  • Monrovia – Mann HUNTINGTON OAKS 6**
  • Montclair – Sterling Recreation Organization MONTCLAIR TRIPLEX
  • Newport Beach – Edwards NEWPORT 1 & 2
  • Orange – Syufy CINEDOME 6**
  • Palm Desert – Metropolitan TOWN CENTER 7
  • Palm Springs – Metropolitan CAMELOT TRIPLEX
  • Pleasant Hill – Syufy CENTURY 5
  • Riverside – Sanborn CANYON CREST 9**
  • Sacramento – Syufy CENTURY 6***
  • San Diego – Mann LOMA
  • San Diego – Pacific LA JOLLA VILLAGE 4
  • San Francisco – Blumenfeld REGENCY I
  • San Francisco – Blumenfeld REGENCY II
  • San Jose – Syufy CENTURY 22 A-B-C***
  • Santa Barbara – Metropolitan ARLINGTON
  • Stockton – Festival Enterprises REGENCY CINEMAS**
  • Temple City – Edwards TEMPLE 4
  • Thousand Oaks – United Artists MOVIES 5


  • Colorado Springs – Commonwealth CINEMA 70 TRIPLEX
  • Colorado Springs – Commonwealth MALL OF THE BLUFFS TWIN
  • Denver – Mann CENTURY 21 (THX)
  • Littleton – American Multi-Cinema SOUTHBRIDGE PLAZA 8


  • East Hartford – Redstone SHOWCASE CINEMAS
  • Orange – Redstone SHOWCASE CINEMAS
  • Stamford – Trans-Lux RIDGEWAY


There were no 70mm first-run engagements in Delaware.


  • Washington – Kogod-Burka CINEMA


  • North Miami Beach – Loews 167TH STREET TWIN
  • Orlando – Plitt PLAZA 1-2


  • Atlanta – Georgia Theatre Company LENOX SQUARE 6
  • Atlanta – COLUMBIA
  • Augusta – Georgia Theatre Company NATIONAL HILLS
  • North Atlanta – Storey 12 OAKS TWIN
  • Savannah – Litchfield TARA
  • Tucker – American Multi-Cinema NORTHLAKE FESTIVAL 8**


  • Honolulu – Consolidated CINERAMA


There were no 70mm first-run engagements in Idaho.


  • Belleville – Bloomer Amusement Company CINEMA
  • Calumet City – Plitt RIVER OAKS 1-2-3-4-5-6
  • Chicago – Plitt ESQUIRE
  • Chicago – Plitt NORTOWN 1-2-3
  • Chicago – Plitt STATE-LAKE
  • Evergreen Park – Marks & Rosenfield EVERGREEN 4
  • Hillside – Marks & Rosenfield HILLSIDE SQUARE 4
  • Lombard – General Cinema Corporation YORKTOWN CINEMA I-II-III (THX)
  • Mount Prospect – General Cinema Corporation RANDHURST CINEMA I & II
  • Norridge – Marks & Rosenfield NORRIDGE 4
  • Orland Park – Plitt ORLAND SQUARE 1-2-3-4
  • Peoria – Kerasotes BEVERLY
  • Schaumburg – Plitt WOODFIELD 1-2-3-4
  • Skokie – Marks & Rosenfield OLD ORCHARD 4
  • Springfield – Kerasotes TOWN & COUNTRY


  • Fort Wayne – Mallers-Spirou HOLIDAY I & II


  • Cedar Rapids – Dubinsky PLAZA
  • Des Moines – Dubinsky RIVER HILLS
  • Dubuque – Dubuque CINEMA CENTER


  • Overland Park – Dickinson GLENWOOD I & II
  • Wichita – Commonwealth TWIN LAKES
  • Wichita – Dickinson MALL


  • Erlanger – Redstone SHOWCASE CINEMAS
  • Lexington – Mid States SOUTHPARK 6
  • Louisville – Redstone SHOWCASE CINEMAS


  • Baton Rouge – General Cinema Corporation CORTANA MALL CINEMA I-II-III
  • Marrero – Gulf States BELLE PROMENADE 6
  • New Orleans – Mann ROBERT E. LEE


There were no 70mm first-run engagements in Maine.


  • Winnipeg – Famous Players METROPOLITAN


  • Baltimore – Durkee SENATOR
  • Woodlawn – General Cinema Corporation SECURITY MALL CINEMA I-II-III-IV


  • Boston – Sack CINEMA 57 TWIN
  • Brookline – Redstone CIRCLE CINEMAS
  • Dedham – Redstone SHOWCASE CINEMAS
  • Revere – Redstone SHOWCASE CINEMAS
  • Seekonk – Redstone SHOWCASE CINEMAS**
  • Worcester – Redstone SHOWCASE CINEMAS


  • Ann Arbor – United Artists FOX VILLAGE 4
  • Bloomfield Hills – Redstone SHOWCASE CINEMAS
  • Dearborn – United Artists THE MOVIES AT FAIRLANE
  • Flint – Butterfield FLINT
  • Harper Woods – Suburban Detroit EASTLAND TWIN
  • Lansing – United Artists SPARTAN TRIPLEX
  • Southfield – Suburban Detroit NORTHLAND TWIN
  • Sterling Heights – Redstone SHOWCASE CINEMAS


  • Bloomington – General Cinema Corporation SOUTHTOWN CINEMA I & II
  • Minneapolis – Plitt SKYWAY 5
  • Minnetonka – Plitt RIDGE SQUARE 1-2-3
  • Roseville – General Cinema Corporation HAR-MAR CINEMA XI (THX)
  • West St. Paul – Engler SIGNAL HILLS 4


There were no 70mm first-run engagements in Mississippi.


  • Chesterfield – Wehrenberg CLARKSON 6
  • Creve Coeur – Wehrenberg CREVE COEUR
  • Independence – Mid-America BLUE RIDGE EAST 5
  • Kansas City – Commonwealth BANNISTER SQUARE MALL 5
  • Springfield – Dickinson CENTURY 21


There were no 70mm first-run engagements in Montana.


  • Omaha – American Multi-Cinema WESTROADS 6
  • Omaha – Douglas CINEMA CENTER
  • Omaha – Douglas Q CINEMA 6


  • Las Vegas – Syufy CINEDOME 6
  • Reno – Syufy CENTURY 6


There were no 70mm first-run engagements in New Brunswick.


There were no 70mm first-run engagements in New Hampshire.


  • Edison – General Cinema Corporation MENLO PARK CINEMA I & II
  • Paramus – RKO Century ROUTE 4 TENPLEX
  • Pennsauken – SamEric ERIC 5 PENNSAUKEN
  • Sayreville – Redstone AMBOY MULTIPLEX CINEMAS
  • Secaucus – Loews MEADOW SIX
  • Wayne – Loews WAYNE SIX
  • West Orange – General Cinema Corporation ESSEX GREEN CINEMA I-II-III (THX)


  • Albuquerque – Commonwealth CINEMA EAST TWIN
  • Albuquerque – General Cinema Corporation LOUISIANA BLVD. CINEMA I-II-III


  • Cheektowaga – American Multi-Cinema HOLIDAY 6
  • Levittown – Loews NASSAU SIX
  • New York (Bronx) – Redstone WHITESTONE MULTIPLEX CINEMAS
  • New York (Manhattan) – Loews 34TH STREET SHOWPLACE
  • New York (Manhattan) – Loews ASTOR PLAZA
  • New York (Manhattan) – Loews ORPHEUM
  • Pittsford – Loews PITTSFORD TRIPLEX
  • Schenectady – CinemaNational MOHAWK MALL 3
  • Valley Stream – Redstone SUNRISE MULTIPLEX CINEMAS
  • West Webster – Loews WEBSTER 8


There were no 70mm first-run engagements in Newfoundland.


  • Charlotte – Plitt PARK TERRACE 1-2-3
  • Raleigh – Plitt CARDINAL 1-2


There were no 70mm first-run engagements in North Dakota.


  • Halifax – Famous Players SCOTIA SQUARE


  • Beavercreek – Mid States BEAVER VALLEY 6
  • Columbus – Mid States CONTINENT 7
  • Dayton – Chakeres DAYTON MALL 8
  • Springdale – Redstone SHOWCASE CINEMAS
  • Summerside – Redstone SHOWCASE CINEMAS EASTGATE
  • Trotwood – Mid States SALEM MALL 4
  • Whitehall – Chakeres CINEMA EAST


  • Tulsa – United Artists BOMAN TWIN


  • Hamilton – Famous Players TIVOLI
  • London – Famous Players PARK
  • Newmarket – Famous Players GLENWAY 5
  • Ottawa – Famous Players ELGIN
  • Richmond Hill – Famous Players TOWN & COUNTRYE
  • Toronto – Famous Players CEDARBRAE 6
  • Toronto – Famous Players CUMBERLAND 4 “LA RESERVE”
  • Toronto – Famous Players RUNNYMEDE 1 & 2
  • Toronto – Famous Players UNIVERSITY


  • Beaverton – Luxury Theatres WESTGATE TRIPLEX
  • Eugene – Moyer WEST 11TH TRIPLEX
  • Portland – Moyer ROSE MOYER 6


  • Monroeville – Redstone SHOWCASE CINEMAS EAST
  • Philadelphia – SamEric SAMERIC 3***
  • Robinson – Redstone SHOWCASE CINEMAS WEST


There were no 70mm first-run engagements in Prince Edward Island.


  • Laval – United LAVAL 4
  • Montreal – United IMPERIAL
  • Quebec City – United CANADIEN


  • Warwick – Redstone SHOWCASE CINEMAS**


There were no 70mm first-run engagements in Saskatchewan.


  • Greenville – Martin ASTRO TWIN


There were no 70mm first-run engagements in South Dakota.


  • Antioch – Martin BELLE FORGE 6
  • Goodletsville – Martin RIVERGATE 6
  • Knoxville – Simpson CAPRI 4
  • Nashville – Martin BELLE MEADE


  • Addison – United Artists PRESTONWOOD CREEK 5** (THX)
  • Amarillo – United Artists CINEMA 6 (THX)
  • Arlington – Loews LINCOLN SQUARE 6
  • Austin – Mann FOX TRIPLEX
  • Beaumont – United Artists PHELAN 6 (THX)
  • Carrollton – General Cinema Corporation FURNEAUX CREEK CINEMA VII
  • Dallas – General Cinema Corporation CARUTH PLAZA CINEMA I & II
  • Dallas – United Artists SKILLMAN 6 (THX)
  • Dallas – United Artists SOUTH 8 (THX)
  • Dallas – United Artists WALNUT HILL 6 (THX)
  • Fort Worth – United Artists HULEN 6 (THX)
  • Highland Park – Beirsdorf & Brooks VILLAGE 3
  • Houston – American Multi-Cinema WESTCHASE 5
  • Houston – Loews SOUTHPOINT 5
  • Houston – Plitt CINEMA 5
  • Houston – Plitt WEST OAKS 7
  • Hurst – United Artists CINEMA 6 (THX)
  • Mesquite – United Artists TOWN EAST 6 (THX)
  • San Antonio – Santikos GALAXY 10
  • San Antonio – Santikos NORTHWEST 10
  • White Settlement – United Artists LAS VEGAS TRAIL 8 (THX)


  • Salt Lake City – Mann VILLA
  • Salt Lake City – Plitt CENTRE
  • South Ogden – Plitt WILSHIRE 1-2-3


There were no 70mm first-run engagements in Vermont.


  • Baileys Crossroads – Kogod-Burka CINEMA 7
  • Fairfax – United Artists THE MOVIES AT FAIR OAKS
  • McLean – Neighborhood TYSONS CORNER 4
  • Richmond – Litchfield MIDLOTHIAN 6
  • Richmond – Neighborhood RIDGE 4
  • Springfield – General Cinema Corporation SPRINGFIELD MALL CINEMA VI (THX)


  • Bellevue – Sterling Recreation Organization JOHN DANZ
  • Seattle – Sterling Recreation Organization NORTHGATE
  • Seattle – Sterling Recreation Organization UPTOWN
  • Spokane – Sterling Recreation Organization STATE
  • Spokane Valley – Luxury Theatres EAST SPRAGUE 6
  • Tacoma – Sterling Recreation Organization TACOMA MALL TWIN
  • Tukwila – Sterling Recreation Organization SOUTHCENTER
  • Union Gap – Yakima MERCY 6


There were no 70mm first-run engagements in West Virginia.


  • Brookfield – Marcus BROOKFIELD SQUARE 2
  • Fox Point – Capitol BROWN PORT
  • Greenfield – Capitol SPRING MALL 3
  • Madison – Marcus EASTGATE 4
  • Milwaukee – Capitol LOOMIS ROAD 4
  • Milwaukee – Marcus NORTHTOWN 4


There were no 70mm first-run engagements in Wyoming.

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Scott Higgins is Associate Professor of Film Studies at Wesleyan University, where he teaches a course on The Action Film.  He wrote a book about the history of Technicolor called Harnessing the Technicolor Rainbow: Color Design in the 1930s, edited a book about the work of early film theorist Rudolf Arnheim (Arnheim for Film and Media Studies), and is finishing a book on the sound-era serial entitled Matinee Melodrama.

Eric Lichtenfeld is the author of the book Action Speaks Louder: Violence, Spectacle, and the American Action Movie, an authoritative and entertaining study of the action film genre. In addition, he has written about film, interviewed filmmakers, and moderated panel discussions for the Academy of Motion Picture Arts and Sciences (including a 2011 screening of Raiders of the Lost Ark), the American Cinematheque, Slate, The Hollywood Reporter, and more. He has taught film to students at Loyola Marymount University, UCLA, Wesleyan University, and the Harvard School of Law. He is also a communications and film industry professional whose specialties include motion picture advertising, speechwriting, and others. Eric has also contributed supplemental material for several DVD and Blu-ray releases, including Speed, Predator, and Die Hard.

Temple of Doom logo

Michael Coate (The Digital Bits):  Indiana Jones was the most successful 1980s movie series. Why?

Scott Higgins:  Partly, the answer is timing.  All three Jones films were released in the 80s vs. only two of the Star Wars franchise.

Eric Lichtenfeld:  They weren’t just great movies; they were also great experiences.  And each was a great experience in its own way—more or less.  And the movie—especially the first and third—lend themselves to both repeat viewings and to all audiences, so you could go back and back with different groups and kinds of the people in your life.

Coate:  In what way is Indiana Jones and the Temple of Doom worthy of celebration on its 30th anniversary?

Higgins:  The film is a cultural touchstone for a generation, and so it has every right to an anniversary celebration.  It is not as innovative or important as Raiders, which set the iconography in place and launched a cycle of lesser films and television shows, but Doom was hugely popular and well marketed – it left a big footprint.

I think that when people return to Doom they will be surprised by how 80s it seems.  Raiders made the leap to “timeless icon” pretty quickly.  As with Star Wars, it can be difficult to get critical distance from a film like Raiders.  Doom isn’t burdened by being a “classic.”  Things like the Dan Aykroyd cameo, Kate Capshaw’s haircut, and the “racy” sex jokes are abysmal in a very historically specific way.

Lichtenfeld:  I’d like to think that the 30th anniversary of Temple of Doom might lead viewers to revisit and reevaluate the movie.  For the most part, it has a reputation it doesn’t deserve and it doesn’t have the reputation that it should.  It’s not the masterpiece that Raiders is, but it’s a brave movie.  And visually, it’s practically a feast.  The cinematography is some of my favorite of all time—not just of the series.

Coate:  How are the Indiana Jones movies significant within the action-adventure genre?

Indiana Jones and the Temple of Doom (Version 3)Higgins:  It is interesting that you should specify, “action-adventure” rather than “action” as the genre in question.  I think our conception of “action-adventure” as a distinct part of the action film tradition comes largely from the Indiana Jones films.  Part of what makes them “adventure” is tone – they are throwbacks to Fairbank’s Thief of Bagdad and Flynn’s Adventures of Robin Hood in their broadly drawn subsidiary characters, gleefully obvious comedy, and basic sincerity.  These films are rollicking, in a way that adult-oriented action films were not.  For better or worse, they created a model for the “family actioner” – movies pitched broadly enough to play cross-generationally, but still crafted around physical problem solving and violent encounters. I guess I’m describing the basic tent pole film – and it has served the industry well (ID4, Avengers) and disappointed terribly (Wild, Wild West, anyone?). The Indiana Jones films didn’t invent this approach, but they carried it off with originality and set a certain standard.

The Indiana Jones films are also important as an American answer to Bond, which is probably the century’s most important action franchise. It is clear that Spielberg and Lucas were emulating Bond, replacing 007’s romantic and exotic Britishness with an equally romantic and exotic nostalgia for America during the good war. Jones substantially cleaned up Bond’s sexuality, but kept his humor and physical cleverness.

If you think of the landmarks of the contemporary action film, Raiders definitely belongs among the fantasy-oriented trend: Star Wars, Superman, Terminator, The Matrix, etc.

Lichtenfeld:  Strangely, I’ve always seen them as something apart from the action-adventure genre.  At the time the first three were released, they didn’t really look like the rest of the genre.  After all, this was still the era of the R-rated action movie that generally didn’t have the scope or craftsmanship of the Indiana Jones movies.

Coate: How do the Indiana Jones movies pay homage to and improve upon the serials that inspired them?

Higgins:  The Jones films draw iconography and plot devices from serials and studio-era B adventures more generally.  Lucas and Spielberg wanted to recapture the thrills they remembered experiencing in local revival houses when they were growing up, and so these films are steeped in nostalgia for an older cinematic language.  Like serials of the 30s-50s, the Indiana Jones films have a sort of crackpot optimism set alongside stunning depictions of depravity.  Like serials, the Indiana Jones films can fail to make sense on a very basic level.  Like serials, they cover plot holes by simply speeding forward through stunts and chases.

Unlike the serials, the Jones films tend to be unified, coherent, and centered on psychologized characters.  In other words, these are feature films, and they are far more tightly plotted than, say, Captain Midnight.  Also, unlike most serials, Indiana Jones has the benefit of huge budgets.  Spielberg can realize warhorse serial set pieces, like the rope bridge, the crushing room, the abandoned airplane, the ritual sacrifice, or even the horse/car chase and booby-trapped temple at a much, much higher level than the B serials.  What those original movies lacked in budget they made up for in cockeyed ingenuity.   In serials, Spielberg and Lucas found a storehouse of ideas that they could raid and renew.  Incidentally, the Bond franchise first inherited and embellished the serial’s territory, so Indiana Jones is re-appropriating it to American shores.

I think the Indiana Jones films are most successful in emulating the serial’s relentless rhythm of action.  Raiders hits a serial-like tempo of stunt-per-minute toward the end of its second act (from the snake-tomb through the truck chase). In Doom, it feels like the filmmakers realized this was their most successful sequence, and so extended that kind of pacing across the entire second half of the film (everything that occurs underground through the climax).  That decision made the second half of Doom hard to beat in terms of action and absurd spectacle.  Alas, that left too much time in the first half devoted to clumsy exposition and Kate Capshaw.

Lichtenfeld:  They’re structured like serials and they capture the spirit of serials, but they have real production value and, even more, craftsmanship.  It’s hard to get pulpier than with Temple of Doom and yet John Williams’s score is so rich and complex, it’s practically operatic.

It’s as if these are the movies the serials wanted to be, and in that sense, they’re the fulfillment of—I was going to say “a potential” or “a promise,” but that’s not quite it, because the serials could never really hope to achieve that in their lifetime.  People use movies to help them dream of being something else.  If movies could dream of being something else, than the serials dreamed of being the Indiana Jones series!

Coate:  Can you recall your reaction to the first time you saw Indiana Jones and the Temple of Doom?

Higgins:  Disappointment.  I didn’t see it twice.  In comparison, seeing Raiders for the first time was pure awesome.  That film has this momentum that feels like it can go anywhere, and it had just enough horror and sex to keep my 13 year-old self on the edge of my seat.  It stuck around all summer, so we kept going back, following it through the runs.

Coate:  Was the controversy over Indiana Jones and the Temple of Doom’s violence that led to the formation of the PG-13 MPAA rating justified?

Harrison Ford as Indiana JonesHiggins:  Yep.  Thing is, Doom’s violence comes straight from the world of serials, but mixed with a Hammer Horror color design and graphic sensibility.  Serials could be terribly violent, and they were full of graphically violent ideas if not always images.  Dumping people into fire-pits was no big thing.  But serials were not generally submitted to the Hays Office for approval, because they weren’t booked into the major’s theaters.  They got away with a lot during the 30s and 40s.  Hammer slipped through between the end of the Hays Code and the ratings system.  It is fitting that, in trying to tap this tradition of intense violence for kiddies, Spielberg raised the MPAA’s hackles.  Serials benefitted from staying under the radar.

Lichtenfeld:  Personally, I don’t think the violence was as problematic as the nightmarish imagery.  (Of course, you could argue that extracting a still-beating human heart qualifies as both!)  Either way, I think the controversy was justified, as was the creation of the PG-13 rating.

The new rating was Hollywood at its most inspired: socially responsible and good for business!  It would edge up “younger” movies so that younger audiences would want to see them.  As I think Steven Spielberg himself has said, PG-13 is like hot sauce on your movie.

Coate:  Where does each Indiana Jones movie rank among the series?  Among director Steven Spielberg's body of work?

Higgins:  Raiders is clearly the best of the series.  Jaws is the best of Spielberg’s genre films, with Raiders just under that.

Lichtenfeld:  Ranking the Indy movies is harder for me than it should be.  On the one hand, Raiders is clearly a masterpiece that leaves Temple of Doom and Last Crusade duking it out for second place.  I’d give the edge to Temple, because it may be much more flawed than Crusade, but it’s also more daring.  And it looks and feels like a movie with a capital M.  Crusade, on the other hand, feels less ambitious.  And while it’s a much more polished machine than Temple, it’s also a little too safe.  It’s very enjoyable, but Temple is more sumptuous, and of the sequels, it’s the one I respect most.

On an (even more) subjective level, though, I’ve seen Raiders so many times, and studied it so closely, that if I had to pick one to see on the big screen right now, it would be Temple.  In fact, whenever the movies are screened in Los Angeles, it’s Temple that’s the draw for me — and I say that having been the host and moderator for the Academy of Motion Picture Arts and Sciences’ 30th anniversary celebration of Raiders of the Lost Ark!

Coate:  Was it an ideal choice to eliminate Marion from Indiana Jones and the Temple of Doom?

Higgins:  It still boggles the mind.

Lichtenfeld:  Was it ideal to eliminate Marion? I don’t know. Show me the version that has her in it, and I can answer that!   But ultimately, I do think it was a good choice.  The charm of these movies is that each one is, essentially, a standalone adventure.  Fans refer to the first three as “the trilogy,” but it’s not really a trilogy — not in the sense that Star Wars or Back to the Future or Star Trek II-IV are.  There’s something nice about each movie starting with an unattached Indy.  He could have had one adventure since the last movie or a dozen.

Coate:  Was it essential that The Temple of Doom be a prequel?

Higgins:  This makes very little sense, actually.  For one, wouldn’t an Indy who burned magic stones using an incantation be a lot less skeptical of the whole Ark thingy?  For another, blood cults in 1930s India instead of Nazis???

Lichtenfeld:  I don’t know if it was essential that Temple be a prequel; I always thought more was made of that than was warranted.  But it was useful to make it a sequel in one respect: in this movie, as in Raiders, Indy charts a path from being cynical about the treasures he seeks to having awe for their power.  It humbles and humanizes him.  Had Temple been a typical sequel, it would have been hard to buy his jadedness after what he had witnessed (or not witnessed, as his eyes were shut!) on the island with the Ark of the Covenant.

Coate:  The sidekick, Short Round…what were the pros and cons of the character and performance?

Higgins:  Spielberg handles kids especially well, and this is a good example.  The kid sidekick is another lift from serials, and it could be precious – but Short Round is neither that precocious nor that much of a punching bag.  He works.

Lichtenfeld:  The light touch that Short Round brings offsets the darkness of the movie nicely.  And his relationship with Indy—somewhere between father-and-son and two brothers—gives the movie a warm underpinning, too.

Coate:  The heroine, Willie Scott… what were the pros and cons of the character and performance?

Higgins:  Honestly.  What was anyone thinking?  I’d like to hear someone try to defend this choice.  Admittedly, it is a really tough character to pull off – it requires subtlety and timing that Capshaw just doesn’t have.  I used to think Willie was just a terrible character and a thankless role.  I’ve changed my mind, probably because I’ve seen quite a lot of Jean Arthur, Claudette Colbert, and Barbara Stanwyck since then.  Watch The Lady Eve, or It Happened One Night and then tell me that the problem is the role.

Film frame from Temple of Doom

Lichtenfeld:  Kate Capshaw’s performance nicely distills the problems with the movie.  It’s a little all over the place, not very modulated, not disciplined enough.  And it’s too bad because Willie could have been a great foil for Indy.  Unlike Marion, she’s obviously very much at home with her femininity and her sex appeal, which made for a different dynamic between Indy and “the love interest.”  But where the movie uses her for comic relief, she comes off as shrill. Indy says it himself: “The biggest problem with her is the noise.”

Coate:  Given the late 1970s/early 1980s track record of Lucas and Spielberg, was it surprising Indiana Jones and the Temple of Doom was not the top-grossing movie of 1984?

Higgins:  Going in to 1984 it seemed like the obvious box office champ, but Ghostbusters and Beverly Hills Cop were funnier and fresher, I guess.  By ‘84 Tales of the Gold Monkey had come and gone from the airwaves, and High Road to China and Romancing the Stone had been through the multiplexes. Fatigue.  Also, Capshaw.

Lichtenfeld:  Given how dark Temple skews—even darker than, say, The Empire Strikes Back — it’s not surprising to me that it wasn’t the top-grossing movie of its year.  What’s interesting to me is that even with its darkness, and the controversy surrounding it, an R-rated movie ended up being the top grossing film of the year—and for only one of two times in the entire decade.

Coate:  Should there be more Indiana Jones movies?

Higgins:  NO.

Lichtenfeld:  It’s tempting to say yes. Who wouldn’t want to hear the Raiders March issuing from a movie theater sound system again?  But there probably shouldn’t be.  Rightly or wrongly, the fourth one is a much maligned movie, but one moment I’ve always liked a lot is when Indy’s friend says, “We seem to have reached the age where life stops giving us things and starts taking them away.”  At this point, it may be that the most graceful thing the franchise can do is resist the urge to prove that idea wrong.

Coate:  What is the legacy of Indiana Jones and the Temple of Doom?

Lichtenfeld:  I think its legacy is the PG-13 rating — which the movie didn’t even have!  Unfortunately, I don’t think Temple of Doom is remembered the way it should be.  It’s generally seen as the weakest of the (first) three, and I think that’s unfair.  It doesn’t help that Spielberg has basically disowned it.  I wish he’d stick up for it more!  There are a lot of gems to be mined from it—which is a pretty apt metaphor for this movie, when you think about it.

Temple of Doom DVD    Temple of Doom Blu-ray    Temple of Doom soundtrack CD



Raymond Caple, Miguel Carrara, Nick DiMaggio, Scott Higgins, Bill Kretzel, Eric Lichtenfeld, Jim Perry, Tim Schafbuch, and a huge thank you to all of the librarians who helped with the research for this project.



Numerous newspaper articles, film reviews and theater advertisements; Bantha Tracks, Boxofficemojo, The Hollywood Reporter, Time, Variety, and The Wall Street Journal; the books The Complete Making of Indiana Jones: The Definitive Story Behind All Four Films (Ballantine/Del Rey, 2008) and George Lucas’s Blockbusting: A Decade-by-Decade Survey of Timeless Movies Including Untold Secrets of Their Financial and Cultural Success (George Lucas Books/Harper Collins, 2010); the films Indiana Jones and the Temple of Doom (1984, Lucasfilm Ltd./Paramount Pictures) and The Making of Indiana Jones and the Temple of Doom (1984, Lucasfilm Ltd./Paramount Pictures).

- Michael Coate


By: M. Takhallus    


A couple of other factors in our preference for big cars -- more of our cities and communities were built after the advent of the car: L.A., Phoenix, Houston and so on, so we tend to have a more hospitable environment for cars: more parking, wider streets. Even in downtown Chicago it's easy (not cheap) to find parking. And because we started with large cars we've developed a sort of automotive arms race: I'll give up my big car when I don't have to worry about going head-to-head with a Lincoln Navigator. If I lived in Europe I'd happily move to a smaller car. We also have bigger houses because land is relatively plentiful and because, again, most of the US was built post-car, so it's relatively easy to commute from big house to distant workplace. Big houses, great distances, lousy weather everywhere but California, and a system of roads and cities purpose-built for the car, not retrofitted from the era of carriages and hay wagons. The US will be tough.


Episode 18: Michael Stodola at Lakefront Brewery   


This episode of Brandstorm features Michael Stodola, brand manager at Milwaukee’s largest craft brewery, Lakefront Brewery. Michael talks about the brand’s history, how Lakefront distinguishes itself from other craft breweries and its grassroots marketing efforts.

Michael Stodola
Michael has a wealth of experience in brand strategy and development, having served as a motivational brand speaker adept at explaining the benefits, value and relevant moving parts of a successful brands. He was previously director of brand strategy at Boelter + Lincoln Marketing Communications in Milwaukee, where he was also the creative director for many years.

Lakefront Brewery
Originating in 1987 by its owners Russ and Jim Klisch, Lakefront Brewery is an industrious and inventive microbrewery located along the Milwaukee River. Its rich history includes partnerships with local taverns, preservation of local historical pieces, unique tours, family-style dining and great beer. Lakefront Brewery created the first gluten-free beer, New Grist, and the first certified organic beers, Organika and Fuel, in the nation.

Carving a Niche in a Crowded Space
The craft brew industry is a crowded space with more than 5300 craft breweries in the U.S. alone. Lakefront Brewery went through a branding process six years ago, rediscovering its positioning as a regular guy brand that is honest, true and hardworking and creating a persona of its core user to measure its design and marketing efforts against. The brewery makes 30 different beers each year and is present in 39 states and in several international companies.

Defending the Homefront Through Grassroots Marketing Efforts
Lakefront Brewery aggressively markets its beer locally through attention-grabbing internal and external special events, beer tastings and taps, sponsorships. It also leverages its brand with unique and hilarious beer tours, a gift shop, beer hall and original recipes that create an authentic Milwaukee experience.

Contact Michael:
Brew Tour Reservations:



Episode #44: Brandstorm Talks to North America's Leading Augmented and Virtual Reality Expert   


Ready for a reality check? This week’s episode of Brandstorm features XR Futurist Alan Smithson. Alan talks about the differences between Virtual Reality (VR), Augmented Reality (AR), Mixed Reality (MR) and Extended (XR), what they can do, what you will need to participate, and how it is changing how companies market brands.

Alan Smithson

Alan is an XR futurist, inventor, author of DJ Prophets, mentor for Techstars, and CEO of MetaVRse, North America’s largest VR and AR consultancy. More than 20 years ago, Alan started his interest in technology while working as a DJ. The convergence of his love for music and technology led him to invent the Emulator, the world’s first, multi-touch application for Windows that let musicians create music using a giant, see-through touch screen. Alan began working with huge brands and musicians like Lincoln Park, Infected Mushroom and Armin Van Buuren.

In 2014, Alan saw VR for the first time and realized this was the start of everything, in his mind. He learned everything he could about 360 videos, AR apps and VR training. He invented the first VR Photo Booth and is currently working with the Museum of the Future, in Dubai, and the Ontario Science Center to develop the XR Learning Center.


North America’s largest Virtual and Augmented Reality consultancy, the mission of Alan’s company is to inspire and educate the next generation of young entrepreneurs to think and act in a way that is socially, economically and environmentally sustainable. With that in mind, MetaVRse is working on two initiatives, XR for Education and the XR Learning Center.

Reality 101

What is the difference between VR, AR, MR and XR? Alan says virtual reality is when you put on headsets and it transports you to a whole other destination or world. The technology takes over your hearing and vision senses and immerses you into where you are. Augmented Reality is when you can take your phone and hold it over something and you can see data overlaid on it. Google Maps is a good example of AR. Mixed Reality takes elements from both VR and AR. Extended Reality covers all of the immersive technologies and puts them under one umbrella.

Is Immersive Technology for Real?

Alan believes we are in the third phase of adopting these technologies. The first was making sure the technology works. The second was when marketers started using the technology to create gimmickry the drew attention to their brands. Now in the third, or utilitarian phase, we are just scratching the surface of what immersive technology can do. For example, IKEA has an application called “Place” that lets you place their furniture in your home in real sizes, so you can see how everything fits. Cases like this will allow consumers to make better purchasing decisions and help brands to better connect with consumers.

Alan says we are currently seeing a shift to 3-D everything. Facebook recently announced 3-D assets that let you turn your shoes, sunglasses or other products into 3-D. Snap Chat has millions of viewers under the age of 30, and is pushing the limits of what you can do with mobile phones.

AR/VR Uses

In the next three to five years, Alan believes there will be a significant uptick in using VR in marketing and sales, as well as training. He also sees great potential in mobile-based AR. By the end of 2018, more than 1.6 billion mobile devices will by AR-enabled. Alan thinks this is an untapped market. While the U.S. has been slow to adopt, China has invested trillions of dollars in mobile e-commerce. Amazon and Wal-Mart are also making great strides in mobile e-commerce. Alan has coined the term “v-commerce,” intersecting VR with AR in e-commerce for retailers.

AR and VR Costs

Creating an AR or VR experience doesn’t have to be expensive. 360 videos are relatively cheap. Car companies are using what is called “3 Degrees of Freedom” to allow the customer to look left, right, up and down and see what it’s like to be in their car. Not enough of an immersive experience, there is now “6 Degrees of Freedom,” where customers can move left, right, up and down to feel more of what it is like to drive the car. From something as simple as placing a camera in the car while you are driving, the cost can be as little as $10,000 to $100,000. Creating a full-on motion-simulated experience can be anywhere from $500,000 to several million dollars.

In AR, companies are spending anywhere from $10,000 to $20,000 to do things like bringing a label to life. A company in Australia, makes a wine called 19 Criminals. Each of the 19 people on the bottle have committed a crime and if you hold your phone over the label, their stories are told.

AR/VR Devices

A VR experience can be as simple as having a computer or phone to pan around 360 videos. The next step up is Google Cardboard, which costs about $10 - $20. It is a cardboard box with a pair of lenses that you put your phone in and use the phone’s onboard technology. For mobile phone-based VR, there a what is called a Google Daydream. Alan says it’s just a nicer cardboard box made of material. The next step up in investment are VR headsets like the Focus, Pico Neo and Oculus Go. With the Vibe, Oculus Rift and PlayStation headsets, you can actually move around in a VR space. The various headsets run anywhere from $100 to several thousand dollars.

When will XR become Commonplace?

Apple is very quietly working on XR technology with its Apple Glasses, but Alan feels it will be some time before the company can create glasses that are small and comfortable enough to wear for extended periods of time, possibly five to seven years. In the meantime, both Apple and Google have released its developer’s kits, putting all of the technology in an AR-enabled mobile phone to help developers begin to think in 3-D and eventually create this technology.

AI or Artificial Intelligence

AI is a broad term for computer vision and machine learning, which is vital to Mixed Reality, or MR. Headsets with 3-D scanners collect point cloud data and convert the data into 3-D objects. It maps the world around you in real time. AI needs to be able to distinguish a cat from a dog, or a car, or a person. Once AI can do that, there will be no delineation between AR, VR, 5G, MR, IOT, or Quantum Computing. Everything will just be computing.

L’oreal recently purchased technology from Modiface that uses AR-enabled phones to map a customer’s face in real time and allow an individual try on makeup. The company has seen a 60 percent increase in mobile shopping, just another example of the potential in v-commerce, according to Alan.

AR/VR Education and Expertise

Unfortunately, schools lag way behind in teaching XR technology to marketing students. Alan knows of no other university that does so. It’s one of the main reasons Alan and his company are working on XR for Education and developing the XR Learning Center. As a consultancy, MetaVRse is always looking for the best and brightest in this field. If you have an idea and don’t know how to execute it, Alan's team can help you find someone who can. Or, Alan recommends that you reach out to a local chapter of the AR/VR Association, to help find experts in your market.


Email: (Y) to make public


Social Media:







The Trail Went Cold – Episode 43 – Joan Risch   


October 24, 1961. Lincoln, Massachusetts. 30-year old housewife and mother Joan Risch vanishes from her home and the evidence at the scene suggests a violent abduction. Witnesses report seeing a bloody, disoriented woman matching Joan’s description walking down the road that day, but this woman is never found. Over one year later, evidence is uncovered to suggest Joan might have decided to stage her own disappearance. Was Joan Risch abducted, did she disappear voluntarily, or is there an altogether different explanation for what happened? We shall explore all the different angles of one of our most baffling and requested cases on this week’s episode of “The Trail Went Cold”. Additional Reading: "The Search for Joan Risch: Presented by New England's Untold Stories" Thanks to Winc for supporting our podcast. Get $22 and free shipping on your first order of wine at Please take a moment to complete a listener survey on behalf of our sponsors. Click here to subscribe to the podcast on iTunes. Click here to listen to the podcast on Stitcher. Click here to subscribe to the podcast on Google Play Music. The Trail Went Cold is produced and edited by Magill Foote. All music is composed by Vince Nitro.


Independence Market    


This is a year.  A year I won't be setting up at any craft fairs or even the Very Vintage Christmas Show in Lincoln. Priorities have shifted. That being said, I keep making jewelry! This morning I reloaded my jewelry boards at Independence Market in Seward. It felt really good. My favorite is a necklace that says "Blessed are the Peacemakers".


Miscellaneous Political Buttons (Satirical and Official)   


Dublin Core


Miscellaneous Political Buttons (Satirical and Official)


Political Buttons include:
-Barack Obama presidential buttons for 2008 and 2012
-Women for Barack Obama in 2004
-Women for Hillary from either 2008 or 2016
-Bill Clinton and Al Gore in 1992
-A plethora of gay pride buttons including Illinois gay pride buttons.
-Acting Mayor of Chicago- Eugene Sawyer
-Roland Burris for Governor of Illinois from 2008.
-Babe Lincoln button-Origins unknown.
-Planned Parenthood Buttons- Origins unknown


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Kathryn Harris


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Used Ford Ranger Myrtle Beach SC 29577   


Ford Ranger XLT

The 1999 Ford Ranger. This 2 door, 3 passenger truck provides exceptional value! The following features are included: variably intermittent wipers, a rear step bumper, a front bench seat, and much more. We know that you have high expectations, and we enjoy the challenge of meeting and exceeding them! Please don't hesitate to give us a call.


Used Pontiac Grand Am Myrtle Beach SC 29577   


Pontiac Grand Am

The 1999 Pontiac Grand Am. This 4 door, 5 passenger sedan has just over 90,000 miles. Top features include front bucket seats, 1-touch window functionality, variably intermittent wipers, air conditioning, power door mirrors, power windows, cruise control, and more. Passengers are protected by various safety and security features, including: dual front impact airbags, traction control, ignition disabling, and ABS brakes. We have a skilled and knowledgeable sales staff with many years of experience satisfying our customers needs. We'd be happy to answer any questions that you may have. Stop by our dealership or give us a call for more information.


Used Ford Escape Myrtle Beach SC 29577   


Ford Escape XLT

You're going to love the 2010 Ford Escape. Top features include a split folding rear seat, 1-touch window functionality, variably intermittent wipers, an automatic dimming rear-view mirror, air conditioning, power door mirrors, remote keyless entry, and power windows. Ford ensures the safety and security of its passengers with equipment such as: dual front impact airbags with occupant sensing airbag, front side impact airbags, traction control, brake assist, ignition disabling, and ABS brakes. Electronic stability control ensures solid grip atop the road surface, no matter how challenging the driving conditions. We have a skilled and knowledgeable sales staff with many years of experience satisfying our customers needs. We'd be happy to answer any questions that you may have. Please don't hesitate to give us a call.


Used Ford Explorer Myrtle Beach SC 29577   


Ford Explorer Limited

Get excited about the 2012 Ford Explorer. A 3.5 liter V-6 engine pairs with a sophisticated 6 speed automatic transmission, providing a smooth and predictable driving experience. Four wheel drive allows you to go places you've only imagined. Top features include power front seats, leather upholstery, adjustable headrests in all seating positions, an automatic dimming rear-view mirror, heated seats, adjustable pedals, cruise control, and seat memory. Premium sound drives 12 speakers, providing you and your passengers a sensational audio experience. Ford ensures the safety and security of its passengers with equipment such as: dual front impact airbags, front side impact airbags, traction control, a panic alarm, and 4 wheel disc brakes with ABS. Various mechanical systems are monitored by electronic stability control, keeping you on your intended path. Our aim is to provide our customers with the best prices and service at all times. Stop by our dealership or give us a call for more information.

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