If I Could Reach Up An Pick One Star For Every Time You've Made Me Smile, The Whole Evening Sky Would Be In The Palm Of My Hand.

METRO VANCOUVER -- A 25-year-old man is facing charges in Coquitlam after a suspect dressed in a BMX bike helmet, skiing goggles and a furry werewolf costume glove allegedly tried to steal items from a truck.

RCMP said Thursday the Prolific Target Team (PTT) was targeting a prolific offender in the Burquitlam area when an unusually dressed bike rider strolled through the area.

Despite the disguise, investigators said they knew who the rider was.

Police said he got off his bike and started rummaging through a parked truck on the street, allegedly stealing surveying tools worth more than $30,000 and hiding them behind a tree. Then he tried to ride away with the tools.

"If it wasn't for the keen observation skill and the swift action of the PTT investigators, the suspect would have gotten away," said Corp. Jamie Chung in a statement. "Needless to say, the suspect was arrested red handed and we were able to recover all the tools."

Jackie Gleason was an American comedian that was extremely famous during the 1950’s and 1960’s. One of Gleason’s most famous projects was the sitcom The Honeymooners, which debuted in 1955. Although it became extremely famous, it suffered initially and was canceled after only 39 episodes. 

What does this have to do with The Flintstones? In 1960, the animated sitcom The Flintstones debuted. While extremely successful, many people recognized that the two shows were extremely similar, with almost identical characters and premise.

There was longstanding controversy over the matter, but an official statement was never given until 1993 when the co-creator of The Flintstones admitted that it was based on The Honeymooners. Before the admission, Jackie Gleason contemplated suing but decided against it saying he didn’t want to be remembered as “the guy who yanked Fred Flintstone off the air.”

Tomasz 

Kobialka

No Parking, Oil paint, dry pastel and spray on linen, 120 x 70cm - 2011 

Julius Hofmann doesn’t illustrate invented stories. He portrays what is inside him: doubt and fear, possible danger and threats, and he plays with temptations, metamorphoses and masquerades. His stories come into being during painting, and are made with brushes and paint, and also with saws, cutters, cardboard, glue or on the computer. Their meaning changes, is expanded or deleted, often faster than they came into being. Julius Hofmann is a filmmaker. He’s a filmmaker, but above all he’s an actor, a make-up artist, a set designer, a cameraman, a editor, a sound engineer and director, all in one. His films, though few, are nevertheless of high quality, and compact in an oppressive way, just like his paintings, which look like condensed films. It is implied that things have happened and that afterwards anything is possible. A road to a dark forest, water that is devoured by the night, a shadow kingdom behind a wall. The young artist appears to have left behind trails, tempting us to look at something. 

Hofmann feels connected to the romantic artists, who always left something open, something to guess at. Like them, he doesn’t feel comfortable with the classical harmony of ‘noble simplicity and silent greatness’. He’s closer to symbolism, just as Francis Bacon, who suppressed his doubts and loneliness with the images he made. But examples aren’t the starting point of the word of forms and motifs of Julius Hofmann. His starting point is the tension between the flood of media images that surrounds him, which he dissects with his keen glance, and the world of silence that he soaks up for his wealth of images and souls during his long cycle rides. In the beginning there is only chaos. Within that he starts weaving his threads and from that he constructs his paintings. Some have enticing, friendly colours, others are brightly coloured. There aren’t many figures, but they are full of symbolism. The most prominent character in the paintings and films is a man with a dog mask. The mask makes him both invisible and acts as a protective helmet, to combat villains and to suffer together with prisoners. Murderers appear too, but they already show the face of death. Femininity looks like cast porcelain and mobile technology is indispensable for the image world of the painter and sculptor. Here, he is a man of his time. But he is also someone who tests the designer’s harmonies and looks for the boundaries of destruction.