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lca-portfolio · 4 years

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Cloaks of Deception: An Analysis into Psycho’s Voyeuristic Techniques - Lucia Conde Arenas

The unnerving sense of sheer terror in Alfred Hitchcock’s Psycho can be ascribed to the unique position one is placed in as the viewer, standing alongside the characters as a voyeur. Released in 1960 from Universal Studios, Psycho revolves around the aftermath of a secretary arriving at a motel after embezzling 40,000 dollars to marry her boyfriend. Hitchcock highlights essential thematic ideas such as criminality and voyeurism through use of genre conventions as the plot follows a murder and its path to revenge, and utilises cinematic elements to create a sense of vulnerability and uncertainty. Psycho is an iconic horror film, and considered a major work of cinematic art, as its layered storyline and groundbreaking plot twists redefine the horror genre and break away from many cinematic conventions of the time. The use of voyeurism runs through Hitchcock’s oeuvre, in Psycho the audience is forced to intrude upon the lives of Marion and Sam, making for a more uncertain and suspenseful audience experience.

Psycho is a prime example of a film that questioned the morality of the production code through controversial portrayals of violence and sex. The Motion Picture production code set industry guidelines, deciding what was acceptable to be shown on screen. Between 1930 and 1968, their guidelines were rigidly enforced through restrictions on the use of profanity, suggested nudity, brutality or gruesomeness, and negative representation of law enforcement. Psycho was unprecedented in its contentious depiction of these guidelines; for example, Hitchcock’s depiction of the bathroom shows Marion visibly flushing a toilet, which had never before appeared in mainstream film. The opening scene is also controversial as it illustrates Marion and Sam in the same bed, with Marion in a bra, questioning the standards of the production code as unmarried couples depicted in the same bed was frowned upon. Moreover the opening scene questions the American views of a family household as Marion and Sam’s relationship goes against cultural norms of the time. Furthermore, I will be looking into the opening scene for its suggestive content which foreshadows themes that repeatedly present themselves in the film through use of score and cinematography depicting the motif of birds and the film’s voyeuristic nature.

The atmosphere of the film as well as symbolic references to the central themes can be detected in the first few seconds of Psycho. The title sequence by Saul Bass subconsciously creates a sense of apprehension through use of the fragmented musical score and accompanying stark visuals. The musical score by Bernard Herrmann epitomises a sense of suspense and terror as the ensemble of string instruments creates a stylistically sparse texture to the piercing shrieks of the instruments. The film opens with a series of short violent chords juxtaposed with a desolate silence, following the imagery of piercing cuts of black lines across a grey screen. The score continues the sequence of sharp chords, including snippets of high pitched notes, in unison with the horizontal lines cutting across the screen to reveal Alfred Hitchcock's name. The sharp lines enter the screen in black on a grey background, the fabrication of the black lines however reveals the slashes of grey, which in turn utilises black as the new background as the grey cuts through the scene. This symbolically presents the crossing of paths flipping the role of the cuts to design a different illustration. The viewer’s attention is focused on reading the names between the lines. Metaphorically foreshadowing later events in the plot, such as the crossing of paths of Norman Bates and Marion Crane starkly shifting the course of the film. Additionally the most intense scene of the film, the shower scene, is referenced in the musical score as the high pitched shrieks in the shower are a version of the same chords of the string instruments in the title sequence.

The continuous use of juxtaposition between the emptiness and sharpness in the score and the imagery sets up the film to contrast itself in genre and plot. Bass and Herrmann create a parallel visual to the film embodying its tone while guiding the audience point of view. The title sequence is mocking the audience by anticipating the twisting plot points, while embodying the tactics of the film with the jagged distractions of the musical score and visual polarity, before the film even starts.

The manipulation of the audience continues throughout the opening scenes of the film as Hitchcock plays with voyeurism through the motif of birds. The scene opens with the wide shot cinematography by John L. Russell revealing the city of Phoenix, Arizona from a bird’s eye view. Hitchcock devises the atmosphere to be unsettling by abruptly altering the jagged intense pace of the musical score to be passive in its weighted tempo. Each chord of the string instrument descends, releasing the level of high tension, until the chords hold on two leaden notes persisting one after another. The two notes experiment with flat and sharp notes lending itself to a chilling tonality manifesting the audience apprehension on what will ensue. The bird motif is first established through the name of the city revealed on the screen as Phoenix. Phoenix, is a mythical bird that remarkably burns itself into ashes when it dies, henceforth the allusion to the phoenix immediately creates an association between birds and death. The camera continues to pan, revealing the view of the whole city, presenting another example of the bird motif, as the camera angle depicts the perspective to that of a bird, it mimics the movements of the bird looking over all the city. More specifically, the high angle of the camera might be associated with birds of prey on the lookout for their hunt. The symbol of the bird is recurrently repeated throughout the film, depicted through two main undertones: as birds of prey or as a representation of death. This is notably suggested later in the film in the parlor scene, as Norman’s hobby of bird taxidermy decorates the parlor, the act of taxidermy illustrating the relation between birds and death. Furthermore, the polar symbolisation is recognised as many of the birds mounted on the wall are birds of prey. In essence, the two undercurrents used to present birds oppose each other as one is the victim and the other the perpetrator, the hunter and the hunted. Curiously, Hitchcock places the perspective of the viewer in the place of the bird of prey immediately introducing the audience as a voyeur. As the camera continues to pan the city, the two deep heavy notes, establish a sense of foreboding through the uncertainty of what will occur. As the camera registers a point of interest and starts to zoom into a hotel, the chords of the string instruments increase in tension as it ascends in notes and recurrently repeats two sharp, high pitched notes aggressively indicating the unraveling of the plot at the point of interest. The shot cuts to the side of the building looking down where one window is slightly open, the downwards angle mimics that of a bird swooping down to its prey, the steady pace at which the shot zooms into the window imitating the gliding of a bird as it flies, increases the tension as the pace is elongated. Hitchcock presents the voyeuristic nature of the film through the opening perspective in which the audience is placed, as a bird of prey looking for its hunt.

The voyeuristic nature reveals a sense of uncertainty to what is intensified by the slow pace. The musical score complements this tonal unease while the shot drifts just outside the window, as it darkens the mood by descending the chords, accompanying the darkened lighting of the gap looking into the room. This darkness attracts the viewer's attention as it contrasts the white blinds and the bright daylight of the city, compelling the viewer to be hesitant on whether to enter the window or not as the viewer feels the shot to be in their own perspective. Hitchcock employs this darkness to ensure the viewer is never a step ahead of the camera, denying the audience the ability to predict what will come next, itching for the viewers want to know more and jump ahead of the story.

In addition, the paired nature of the viewer and the camera is achieved through a 50mm lens giving the closest approximation to human vision, deceiving the audiences into becoming a voyeur into Sam and Marion’s life. As the viewer enters through the window, the lighting and cinematography gives the camera a humanistic tone as it adjusts to the dark lighting inside the apartment framing the sensation of a change in setting. The musical score parallels this in its increasing chords, giving a lighter tone to the sound design. Contributing to an overarching impression that the audience member has entered the room, emphasising the position of the voyeur. The camera pans to reveal the bright white sheets of the bed and Marion’s white bra. The stark contrast in colour highlights Marion as she looks up at Sam. This emphasis on Marion’s nudity and the establishing of an illicit affair in the first shot starkly transmits her vulnerability to the viewer, giving the scene a visual impression of despair and solitude. The unexpected vulnerability of these characters in turn makes the audience become more aware of their position as the voyeur, fully stepping into the scene. Hitchcock emphasises the viewer experience of being a voyeur calls for a sense of shock and uneasiness as the connection to the camera reveals a sense of intrusion and the audience feels complicit in the role of the peeping tom or the bird of prey.

The opening of Psycho ultimately sets the film up stylistically and thematically through provocative shots and intense musical score depicting sexuality which attracts the viewer's attention as Hitchcock deliberately establishes motifs for the rest of the film. Psycho is considered a cinematic masterpiece and has been internationally praised by film critics and scholars as it set a new level of acceptability in controversial themes and hatched a new genre of the slasher film. The film received four Academy Award nominations, and is described as a “blazing masterpiece” () by The Telegraph. The film is innovative in its camera techniques employing voyeurism and point of view shots, impacting contemporary culture in cinematography and acceptability of what can be shown on screen. The film created a new lens through which the audience can see and experience film as a voyeur and a bird.

Words: 1749

Works Cited

Barson, Michael. “Sir Alfred Hitchcock.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 9 Aug. 2018, www.britannica.com/biography/Alfred-Hitchcock.

Kapsis, Robert E. “Hitchcock in the James Bond Era.” Studies in Popular Culture, vol. 11, no. 1, 1988, pp. 64–79. JSTOR, www.jstor.org/stable/23413984.

“Marion, Norman, and the Collision of Narratives in Psycho.” Reel 3, 5 Nov. 2013, reel3.com/marion-norman-and-the-collision-of-narratives-in-psycho/.

Monahan, Mark. “Psycho, Review.” The Telegraph, Telegraph Media Group, 30 June 2015, www.telegraph.co.uk/culture/film/filmreviews/11025424/Psycho-review.html.

Leitch, Thomas M. “It's the Cold War, Stupid: An Obvious History of the Political Hitchcock.” Literature/Film Quarterly, vol. 27, no. 1, 1999, pp. 3–15. JSTOR, www.jstor.org/stable/43797750.

Person. “The Greatness of ‘Psycho.’” The New Yorker, The New Yorker, 18 June 2017, www.newyorker.com/culture/richard-brody/the-greatness-of-psycho.

“Psycho: Inside and Outside the Frame.” Film Remakes as Ritual and Disguise: From Carmen to Ripley, by Anat Zanger, Amsterdam University Press, Amsterdam, 2006, pp. 13–26. JSTOR, www.jstor.org/stable/j.ctt46mtk0.5.

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claravix50 · 5 years

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Para quem tem curiosidade saiu a lista dos 20 maiores bilionários brasileiros e do mundo 2018. Dos 20 mais endinheirados brasileiros temos as seguintes fontes principais das fortunas: 9 banqueiros/mineração 4 investidores/industriais 4 comunicação/mídia 1 comerciante 1 cervejaria 1 plano de saúde Para efeito de comparação, dos 20 mais ricos do planeta temos 7 nos setores digitais, relacionados a nova economia, tecnologia, comunicação e e-comerce (Google, Facebook, Amazon, Microsoft, Bloomberg, Claro, Net, Oracle etc) No Brasil temos apenas o Eduardo, Saverin, um dos fundadores do Facebook, colega do Mark em Harvard na época. Tanto na lista 20+ Brasil, quanto na 20+ mundo temos apenas 1 mulher. A primeira mulher a aparecer na lista mundo é Francoise Bettencourt Meyers, herdeira da L'Óreal. No Brasil é Ana Lucia de Mattos, herdeira do Itaú. Outra curiosidade, na lista mundo aparece apenas 1 banqueiro, na lista Brasil temos 9. Bilionários tipicamente varejistas na lista mundo temos os donos da Zara, Amancio Ortega e do Wall Mart , Rob Walton. No Brasil, Abílio Dinis, Carrefour e outras participações (inclusive a capixaba Wine) É claro que quando se chega ao patamar do bilhões as atividades comerciais costumam ser muito diversificadas, portanto as referências levam em conta as atividades pelas quais eles são mais conhecidos. Da mesma forma, quanto as cidades onde vivem, pois este perfil costuma ter vários endereços pelo mundo. 1 – Joseph Safra Posição no ranking geral: 31 Fortuna: US$ 25,2 bilhões Fonte de riqueza: Banco Safra São Paulo 2 – Jorge Paulo Lemann Posição no ranking geral: 35 Fortuna: US$ 22,8 bilhões Fonte de riqueza: 3G Capital Rio de Janeiro. 3 – Marcel Herrmann Telles Posição no ranking geral: 138 Fortuna: US$ 9,9 bilhões Fonte de riqueza: 3G Capital Rio de Janeiro 4 – Eduardo Saverin Posição no ranking geral: 140 Fortuna: US$ 9,7 bilhões Fonte de riqueza: Facebook Singapura 5 – Carlos Alberto Sicupira e família Posição no ranking geral: 162 Fortuna: US$ 8,8 bilhões Fonte de riqueza: 3G Capital Rio de Janeiro 6 – José João Abdalla Filho Posição no ranking geral: 645 Fortuna: US$ 3,4 bilhões Fonte de riqueza: Investimentos diversos, banco. São Paulo. 7 – Abilio dos Santos Diniz Posição no ranking geral: 715 Fortuna: US$ 3,1 bilhões Fonte de riqueza: Comércio São Paulo. 8 – Fernando Roberto Moreira Salles Posição no ranking geral: 715 Fortuna: US$ 3,1 bilhões Fonte de riqueza: Banco Unibanco e mineração São Paulo 9 – João Moreira Salles Posição no ranking geral: 715 Fortuna: US$ 3,1 bilhões Fonte de riqueza: Banco Unibanco e mineração São Paulo 10 – Pedro Moreira Salles Posição no ranking geral: 715 Fortuna: US$ 3,1 bilhões Fonte de riqueza: Banco Unibanco e mineração São Paulo 11 – Walther Moreira Salles Júnior Posição no ranking geral: 715 Fortuna: US$ 3,1 bilhões Fonte de riqueza: Banco Unibanco e mineração São Paulo 12 – André Esteves Posição no ranking geral: 745 Fortuna: US$ 3 bilhões Fonte de riqueza: Banco BTG Pactual São Paulo 13 – Alfredo Egydio Arruda Villela Filho Posição no ranking geral: 877 Fortuna: US$ 2,6 bilhões Fonte de riqueza: Banco Itaú São Paulo 14 – Jayme Garfinkel Posição no ranking geral: 916 Fortuna: US$ 2,5 bilhões Fonte de riqueza: Porto Seguro São Paulo 15 – João Roberto Marinho Posição no ranking geral: 916 Fortuna: US$ 2,5 bilhões Fonte de riqueza: Grupo Globo Rio de Janeiro 16 – José Roberto Marinho Posição no ranking geral: 916 Fortuna: US$ 2,5 bilhões Fonte de riqueza: Grupo Globo Rio de Janeiro 17 – Roberto Irineu Marinho Posição no ranking geral: 916 Fortuna: US$ 2,5 bilhões Fonte de riqueza: Grupo Globo Rio de Janeiro 18 – Ana Lucia de Mattos Barretto Villela Posição no ranking geral: 962 Fortuna: US$ 2,4 bilhões Fonte de riqueza: Banco Itaú São Paulo 19 – Walter Faria Posição no ranking geral: 1,008 Fortuna: US$ 2,3 bilhões Fonte de riqueza: Grupo Petrópolis Rio de Janeiro 20 – Candido Pinheiro Koren de Lima Posição no ranking geral: 1.008 Fortuna: US$ 2,3 bilhões Fonte de riqueza: Grupo Hapvida Fortaleza Fontes: Exame, Forbes e Infomoney - março 2019

Hugo Gaspar via Facebook

#acaradariqueza #concentração de riqueza

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klara-radio · 7 years

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tracklist:

Amiina: Juve & Fandor (Comp. Amiina) - Fantômas - Mengi ?06 - [0:05:30]

Meredith Monk; Katie Geissinger, Bruce Rameker, Ellen Fisher, Sidney Chen, Allison Sniffin, John Hollenbeck, Bohdan Hilash: Dark/Light 1 (Comp. Meredith Monk) - On Behalf of Nature - ECM 2473 - [0:04:27]

Kronos Quartet: The Sea Ranch Songs. Chapel, Rainbows (Comp. Aleksandra Vrebalov) - Aleksandra Vrebalov. The Sea Ranch Songs - Cantaloupe CA 21122 - [0:03:54]

The Colorist & Emiliana Torrini: Nightfall (Comp. Emiliana Torrini; Kid Koala; arr. Tim Vandenbergh) - The Colorist & Emiliana Torrini - Rough Trade 816 - [0:02:52]

Bosques De Mi Mente: Resuenan Sus Ecos En Las Despiadadas Cumbres Nevadas (Comp. Bosques De Mi Mente) - ...De Los Valles y Las Montanas - Fluttery Records FLTTRY103 - [0:02:00]

Montserrat Figueras ; Jordi Savall ; Hesperion XX: Estat ai en greu cossirier (Comp. Beatriz de Dia; Arnaut de Maruelh) - Cansos de Trobairitz - Virgin Classics 561964 2 - [0:06:10]

Gareth Davis: Filament (Comp. Gareth Davis) - Filament - Slaapwel Records ?xiii - [0:04:26]

Asamisimasa: Events (1997) (Comp. Laurence Crane) - Sound Of Horse - Hubro 2582 - [0:10:25]

Dominique Petitgand: Une Protection (Comp. Dominique Petigand) - 11 Petites Compositions Familiales - Staalplaat STmCD 006 - [0:04:34]

Ghedalia Tazartes, Pawel Romanczuk, Andrzej Zaleski : Zither Song (Comp. Ghedalia Tazartes, Pawel Romanczuk, Andrzej Zaleski ) - Carp's Head - Monotype Records monoLP018 - [0:01:51]

Dominique Petitgand: Robe longue et p'tite cravate (Comp. Dominique Petitgand) - 11 Petites Compositions Familiales - Staalplaat STmCD 006 - [0:02:47]

Bruno Sanfilippo: II (Comp. Bruno Sanfilippo) - Piano Textures 4 - AD21 Music ad118 - [0:03:12]

Colin Stetson; Shara Worden: Lord I Just Can't Keep From Crying Sometimes (Comp. Blind Willie Johnson) - New History Warfare Vol. 2: Judges - Constellation CST075-2 - [0:04:49]

Lucia Cadotsch; Otis Sandsjö; Petter Eldh: Slow Hot Wind (Comp. Henry Mancini; Norman Gimbel ) - Speak Low - Yellowbird YEB 7761 - [0:04:42]

Matt Haimovitz and Christopher O'Riley: Vertigo Suite (Prelude) (after Bernard Herrmann) (Comp. Bernard Herrmann; Christopher O'Riley) - Shuffle.Play.Listen - PentaTone Classics PTC 5186546 - [0:03:24]

Nakama: Most Intimate (Comp. Christian Meaas Svendsen) - Most Intimate - Nakama Records NKM008 - [0:04:31]

Daniel Taylor; The Trinity Choir: The Deer's Cry (Comp. Arvo Part) - The Tree of Life - Sony 88985387032 - [0:04:03]

Meredith Monk: Eclipse Variations (Comp. Meredith Monk) - Immersion - Starkland S-2010 - [0:06:11]

Barbara Sukowa and The X-Patsys: Sonnet 43/When Most I Wink (Comp. William Shakespeare) - Devouring Time - Winter & Winter 910 164-2 - [0:02:08]

Siân Phillips: Sonnet 43 (Comp. William Shakespeare) - Take All My Loves: 9 Shakespeare Sonnets - Deutsche Grammophon 4795508 - [0:01:13]

Anna Prohaska: When Most I Wink (Sonnet 43) (Comp. Rufus Wainwright; William Shakespeare) - Take All My Loves: 9 Shakespeare Sonnets - Deutsche Grammophon 4795508 - [0:04:56]

Ann Murray, Ensemble Intercontemporain o.l.v. Pierre Boulez: 3 Songs from William Shakespeare (Comp. Igor Stravinsky) - Boulez conducts Stravinsky: Songs - DGG 20th Century Classics, 431 751-2 - [0:07:16]

Collegium Vocale Gent; I Solisti Del Vento o.l.v. Philippe Herreweghe: On a Day (uit "Sonnets to Sundry Notes of Music") (Comp. Luc Brewaeys; William Shakespeare) - Concert 8 oktober 2015, Muziekgebouw aan 't Ij Amsterdam - [0:09:36]

David Robertson: Royal Concertgebouw Orchestra: Along the Shores of Lorn (Comp. Luc Brewaeys) - Horizon 6 (Live) - RCO 15001 - [0:13:03]

#Bart Vanhoudt #Valckenaers & Vanhoudt #klara radio #Valckenaers Vanhoudt

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northshoregadgets · 7 years

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Visit Nipper the RCA Mascot!

Nipper the RCA Mascot now greets Albany, New York visitors in a special city-wide exhibit of statues depicting this famous dog on display through May 2018.

Since 1958, the 28-foot-tall fiberglass figure of Nipper the RCA mascot has watched a steady stream of sightseers go by from his perch atop a building in Albany, New York’s warehouse area. Today tourists can view not only the famous homage to the Vitaphone-loving dog, but also a series of three-foot-tall replicas of the renowned Rover which will help homeless pets who long for the day when they can hear “His Master’s Voice.”

On display through May 2018, a total of 20 Nippers decorated by area artists can be seen on the streets of Albany, New York thanks to the Downtown is Pawsome public art project. At the end of the exhibition the sculptures will be auctioned off by Albany BID, with a portion of the proceeds from each fiberglass Fido that finds a ‘permanent pet parent’ at the sale benefiting the Mohawk Hudson Humane Society’s efforts to find forever homes for dogs and cats in need.

Following are just a few of the notable Nippers that can be spotted across the city. For a map of all 20 Nipper the Dog sculptures, visit http://ift.tt/2sfywbR.

A model of modernity, the mirrored exterior of 80 State Street–a 12-story building which houses shops, restaurants and businesses– presently reflects the image of a retro-futuristic Fido named “Steampunk” in a tip of the hat to the neo-Victorian genre.

A post shared by katiepants (@misspatatie) on Jul 20, 2017 at 10:32am PDT

Celebrating the city’s Dutch roots, artist Jessica Mansmith turned to the colors of the Netherlaands’ classic blue and white Delftware pottery for inspiration when painting “Een grote delft blauwe doggo (A Big Delft Blue Doggie),” which sits outside for the Albany Heritage Area Visitors Center.

A post shared by ️️Jessica Sarah Mansmith (@je55man5) on Jun 20, 2017 at 7:18pm PDT

The Delft-themed dog statue stands near The Olde English Pub & Pantry, where pups are welcome on the patio!

A post shared by Fitz Gannon (@airedale_fitztagram) on Jun 28, 2017 at 8:36am PDT

Canines getting ready to play in the new 15,000-square-foot fenced-in dog park within Wallenberg Park opening in July 2017 will spot “Second Chances,” the Spot that sits at the park’s entrance.

A post shared by 518 Cheerleader (@tourthe518) on Jul 3, 2017 at 1:21pm PDT

Enjoying his new found “Fame,” Nipper’s nod to David Bowie looks positively fetching by the entrance to Albany’s Palace Theatre. Acting today as a concert venue with has welcomed on stage such diverse artists as Tony Bennett and The Rolling Stones, the former RKO movie house is an entertainment icon in its own right, and an appropriate setting for a Rover-field rendition of the Starman.

A post shared by Ali Herrmann (@aliherrmann) on Jul 20, 2017 at 1:43pm PDT

While the bronze figure of Finn McCool– a golden retriever who was the four-legged friend of former Albany Mayor Thomas Whalen III– has a permanent place in Tricentennial Park, for the next year fans of Fidos will also get to enjoy the canine creation “Mark,” a pup festooned in a plethora of playful colors by artists Sarah Bassett and Hannah McGrath.

A post shared by Haley Viccaro (@hviccaro) on Jun 27, 2017 at 7:44am PDT

A much photographed Albany landmark, for the next year many tourists’ snapshots of the SUNY System Administration Building will no doubt include “City Lines,” artist Mitchell Biernacki’s colorful Nipper.

A post shared by David MacDonald (@davemac02) on Jul 7, 2017 at 2:18pm PDT

Sightseers with a craving to see all of the canine creations can find number 18 on the map at 42 State Street. Artist Kristen Dahms'”Explore” is currently savoring a taste of the good life outside of Jack’s Oyster House, a culinary institution in Albany since 1913.

A post shared by caralina (@caralina_mia) on Jul 23, 2017 at 9:55am PDT

“Scooby Doodle”, Where Are You? UpsideCollective’s Nipper can be found at the entrance to the Jennings Landing footbridge:

A post shared by Albany Center Gallery (@albanycentergallery) on Jul 26, 2017 at 11:52am PDT

Sitting across the street from the Renaissance Albany hotel, Melanie Lucia Clarke’s Nipper named “Bright Side” gazes at guests from outside the Albany Capital Center, a venue for events ranging from roller derbies and martial arts competitions to holiday happenings like the BOO-Jolais Vampire Ball and Crafts & Christmas.

A post shared by Renaissance Albany (@renalbanyhotel) on Jun 22, 2017 at 7:52am PDT

A post shared by Jemma • (@jemmavrowlands) on Jun 25, 2017 at 9:38am PDT

Tourists writing home about the surreal series of Spots that presently dot the city of Albany will see “Frida Fido,” Burnt Barn Studio’s homage to surrealist painter Frida Kahlo, when they stop by the post office on Hudson Avenue:

A post shared by caralina (@caralina_mia) on Jul 23, 2017 at 9:51am PDT

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