We have only been discussing and consumed with high-level preoccupations over troop levels, drawdown timelines, surges and sting operations, when we should be examining the details of where the social fabric has been most torn, where the community has improvised and survived and shown acts of resilience and amazing courage just to keep life going.

But in order for us to efficiently recycle a jacket like this, we need to be able to easily remove these items and quickly get down to just the fabric.

Once we have just the fabric, we're able to break it down by shredding it and getting back to thread level, make new thread that then gets made into new fabric and ultimately new clothing, whether it be a new jacket or new T-shirts, for example.

This invisible fish-bone structure can have all of these extra items, the zippers and the buttons and the trim, sewn into it and then attached to the fabric.

So at the end of the jacket's life, all you have to do is remove its fish bone and the fabric comes with it a lot quicker and a lot easier than before.

Neatly sandwiched between THE STRANGER, a small film noir picture that proved Welles can do a formidable genre work on budget and on time and ironically proved his biggest box office success in the forties, and MACBETH, a no-budget Shakespeare adaptation shot in old western shets in 23 days, comes THE LADY FROM SHANGAI, a dark film noir woven from the very same fabric of Wellesian mythos that covers THE MAGNIFICENT AMBERSONS, MR.

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