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Timeline of her Life
Selena Gomez Pics Subscribe
Selena Gomez has grown as an actress, singer and also as a gorgeous girl.
Selena Marie Gomez was born on July 22, 1992 at Grand Prairie, Texas, U.S. Although she gained a lot of popularity during her performance at Disney, she started years earlier.
Selena Gomez is<|fim_middle|>.
Early in 2011 there was the rumor about Justin Bieber being his boyfriend, it all came to be true later in that year.
The time has passed and we have seen her grown both as an actress and as a gorgeous girl.
Note. This was published a long time ago, since then, Selena Gomez has starred more films, played tons of concerts, and she has been involved in more relationships. There has been a lot around her, and we have been updating the site with this news.
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Contact us Terms & Policies © 2019 BlogUp | a talented artist whose career began when she was 7, at Barney & Friends TV show.
We may not clearly remember her first appearances in shows from Disney Channel such as Life or Zack. But we can remember her debut on her own show "Wizards of Waverly Place".
In 2008 we discovered the romantic life of Selena, with his first famous boyfriend Nick Jonas (from Jonas Brothers).
Then was Taylor Lautner from New Moon movie in 2009 | 100 |
Category: about poetry
Reading Frank: Sonnets by Diane Seuss
September 6, 2021 September 6, 2021 Leave a comment
Reading Frank: Sonnets by Diane Seuss, I recall my life in Athens, Georgia in the early 80s and the punk rock/new wave scene there.
Seuss's poem, [I can't say I loved punk when punk was contagious], brought me back to the times my friends and I drove to New York for a weekend to hear our boyfriends open for bigger bands at CBGB, the Mudd Club, and the Peppermint Lounge.
[I can't say I loved punk when punk was contagious]
Unlike Seuss, I was more of a voyeur of the punk scene, a curious suburban college girl who wanted to graduate from university and study in Spain. For a while, I got sidetracked by punk's promise of anarchy and rebellious art making, but I never had the need to "escape from punk's thesis." That was a forgone conclusion with my conservative, Catholic father hovering in the background of my psyche.
Seuss, raised by a single mother, was the real deal.
The 80's in Athens at UGA was steeped in systemic misogyny that I bumped up against in my creative life, although at the time, I thought this bumping up was due to my own failures as a writer and human being.
I tried to get into Coleman Barks's creative writing poetry class, but when I approached him at his office he practically shut the door in my face.
Instead, I tagged along with the boys in the band, read their chapbooks, gathered at their art openings, and attended theater presentations at the Rat and Duck, named for the rats running along the ceiling above and having to duck from falling plaster.
We slam danced and pogoed at the 40 Watt Club, went to parties on Barber Street, and picked through steamy piles of musty clothes dumped in the back of the thrift store.
We had a lot of fun in the early 80's, but I was an outsider on the periphery of cool, while many of the *boys* were hipper than thou, making pronouncements about art and music as though they were the arbiters of all taste.
I appreciate Diane Seuss's critique of the New York punk scene, especially her lines:
the rest was the same old white boy song
and dance, unaware of its misogyny and convinced its dangers
were innovational … .
April Erasure Poem
My enormously generous and gifted friend Georgia Writer [my name for her on this blog], invited me to an actual community poetry workshop and open mic, in person!
This declaration warrants an exclamation point considering I read two new poems as well as an erasure poem that Georgia Writer guided us to write. I got so emotionally charged during the outdoor reading that I grew flustered and tripped over the mic cord on my way back to the seating area.
Of course, I warned everyone that I had retired from teaching this year and have been pretty much in lock down since Thanksgiving. I've barely seen my own family members, including my 81-year old mother, who, I'm grateful to say, is very healthy because of an active lifestyle, good fortune, and lots of time outdoors in the garden and on trails.
Georgia Writer is a longtime university librarian, poet, and natural historian, a true polymath. Several years ago, when I visited her university office, it was like entering a cabinet of curiosities: sculptures, drawings, birds' nests, wasp nests, animal skeletons, plants and plants and plants under lights and in terrariums. Of course, there were towers of books everywhere, and yes, she really does read them all<|fim_middle|> and the other with Ada Limón at 24Pearlstreet. In both of these workshops, I wrote about the pilgrimage I took to Fisterra this past summer.
I have written many new poems in the last year, but I don't like sending them out into the world because they all feel like works in progress. Maybe once I complete the project I'll feel better about trying to publish individual pieces.
I suppose when I look back on what I did and did not accomplish last year, I will say that my intention (not a goal), is to continue writing. I find inspiration from reading poetry, walking in nature, practicing yoga, just from being alive, really.
But motivation to write comes from discipline. It requires daily practice. That's where the workshops factor in for me. The deadlines to write, read, and comment on other poet's work helps me stay focused.
For more concrete guidance on goal setting for 2018, read "Poetry Action Plan" by January Gil O'Neil at Poet Mom.
For inspiration, take a look at poet Dave Bonta's erasure poems based on the Diary of Samuel Pepys–this one is titled "Gusto."
Writing in Community
December 28, 2017 December 28, 2017 12 Comments
Pyrenees Mountains, Vierge d'Orisson
Led by Kelli Russell Agodon and Donna Vorreyer, a group of poets who used to blog together in the mid-2000s has gathered once again in an effort to revive our blogs and our communal writing space outside of Facebook and Twitter.
I'm not sure about everyone's motivations, but I find that if I have a community of writers to turn to, I stay motivated to write and share my process with others. The 2016 elections and the onslaught of trolls and bots has left me fatigued with and leery of other social media outlets, and so I return to my own private Idaho on the web–my blog!
Of course, blogging is another form of social media, but on my site, at least, I don't have ads popping up.
My project for today is to begin writing a sonnet crown based on the seven words the current occupant of the White House has banned from the CDC budget papers. I'm going to begin with the word "vulnerable."
For more inspiration, I recommend this podcast interview with U.S. poet laureate and Pulitzer Prize winner Tracy K. Smith–American Masters: The Poet: Tracy K. Smith.
Poems about Pilgrimage
October 6, 2017 October 7, 2017 1 Comment
After finishing another online poetry workshop with fabulous writer, poet, and teacher Jenn Givhan, I find myself still steeped in the creative process.
Jenn's narrative poetry prompts at Poetry Barn gave me the nudge I needed to start writing about my experiences this past summer on the Camino de Santiago.
I had started writing a prose travelogue about my first pilgrimage in 2015, and had gotten almost three quarters of the way done, but the project derailed after my father's prolonged illness in 2015 and his passing in April, 2016.
And then the 2016 elections took place.
I found that I couldn't go back to my prose writing after these personal and societal upheavals. So I returned to Spain to take another long walk, this time with a portion of my father's ashes in my backpack. These are the poems I've been writing.
Because I'm in a poetry writing mode, I've stayed quiet on my blog and in my personal life, but in an effort to be a part of a literary and writing community, I'm going to post here more frequently, sharing the books, paintings, and travels that inspire me.
My dad in Spain, 1984. My parents came to visit me at the end of my year of study in Madrid. My mom took the photo. I'm in shadows. All you can see are my legs.
Open Water Swimmer's Collage
The Stockbridge Bowl, one of my favorite places to swim.
To get myself back into writing, I decided to compile different thoughts about the ocean by female swimmers, most of them open-water swimmers, and put them into a single poem, a kind of collage.
To be in the azure blue as if
You're breathing. The body, immersed,
Amplified, heavier and
Lighter at the same time.
Looking down miles and miles and miles,
The sea is like a person–like a child
I've known a long time.
I never feel alone when I'm out there.
You will forget who you are,
What you did in your life,
And which country you are from.
There's a knowledge that you
Really are on edge here,
And that you can push yourself too far,
All the way across that vast,
Dangerous wilderness of an ocean.
When I swim in the sea I talk to it.
No matter how rough, cold, or deep,
The water is your friend.
We go in the pitch black of the night.
When we're in the water,
We're not in this world. You are a swimmer,
And whoever is next to you
Is a swimmer, too, all of us in the water.
During the Olympics, I paid close attention to the swimming events, especially to women swimmers. Yusra Mardini's story and words inspired me. She's an eighteen year-old Syrian woman who swam in the Rio Olympics for Team Refugee.
She and her sister , when Mardini was still seventeen, swam in the open sea from Turkey to the Greek island of Lesbos for three hours in 2015, pulling a dinghy, and saved themselves and twenty other people.
The other swimmers whose words I have included are:
Diana Nyad, first person to swim nonstop from Cuba to Florida without a shark cage;
Gertrude Ederle, first woman to swim across the English Channel;
Lynne Cox, open water swimmer, and author of Swimming to Antarctica;
and Leanne Shapton, swimmer, writer, and author of the new memoir, Swimming Studies.
This kind of writing is called found poetry. As the Poetry Foundation explains, "Found poems take existing texts and refashion them, reorder them, and present them as poems." | .
In the past, she has bequeathed me older but still completely gorgeous poetry journals. She has also inspired my love of making books by giving me decorative paper scraps from former poetry chapbooks she has hand sewn and designed through her poetry press, La Vita Poetica. I still have the paper she gave me even after sharing the bounty with summer camp kids and my own art projects.
I admire her so much and consider her to be a poetry and art mentor. Her own poetry is some of the most beautiful poetry I've read. Although not a strict formalist, Georgia Writer's craft of poetry is sublime.
The librarians provided packets with post-its sharpies, and pages of old magazines or discarded books–– the one that caught my eye was from a Victorian garden periodical. My packet came with a green sharpie, which struck me as an instance of synchronicity, so I went to town with the green.
G.Writer gave a brief lecture on surrealism and Dada, and then we created a spontaneous exquisite corpse, the only constraint being that half of us began our lines with "Either" and the other half with "Or." Our collective poem became so beautiful as we uttered our phrases and images into the dome of blue sky above.
A full pink moon rose over the tree line as I drove home.
A goddess bathes her hands and face in butterfly waves
April 1, 2021 April 1, 2021 Leave a comment
A goddess of nature bathes her hands and face in butterfly waves
Starting in January of 2021, I joined Daily Sketch, a Zoom drawing class that meets three days a week.
The teaching artist is Meagan Burns, who, in the before times, led art workshops in Mexico and other places around the globe.
My friend discovered these daily sketch classes last year, and her enthusiasm for the experience motivated me to try my hand at watercolor sketches myself.
Meagan is a patient and upbeat instructor. She allows light banter during our warm ups, and after each 20 minute sketch, she gives us time to share our drawings. She asks where we started, what materials we used, and at the end shows us her work and how she approached the subject.
The drawing I posted above is a combination of two references, a photo of two hands opened up like a book, and another of a large butterfly that looked like it was superimposed with a layer of neon pink.
Since my drawing skills are limited at best, I always add an element of imagination to camouflage mistakes I make or to get my ego out of the way.
I love surrealism and the techniques the surrealists used to jettison conditioned thinking about art and to let chance operations and stream of consciousness come to the foreground.
So if I make a mistake with the lines, I go with the mistake and improvise with color or context. Then my imagination takes off and I start musing about scenarios and settings that are based in myth or folklore.
The poet Anne Sexton is known to have experimented with her typing mistakes by keeping them in the poem and allowing them to change the direction of her writing. In this way, I can see how my playing with watercolor sketches influences how I write and the kinds of poems I hope to create in April.
Pandemic, Pandemonium, Panic, and Poetry
April 12, 2020 April 13, 2020 1 Comment
Crystals, flowers, and fear
The word "pandemic" derives from the Greek words "pan," meaning "all" and "demos," meaning "people."
The etymology of "pandemic" is different but somewhat related to the word "panic,' which traces back to the French, "panique" and the Greek god Pan, the deity with goat legs, the torso of a man, and goat horns growing from his man-like skull.
According to the Ancient History Encyclopedia, Pan became an exceedingly popular god whose name soldiers invoked in the heat of battle. Later, the terror and chaos that arises during war was also associated with this god.
During Roman times, Pan increased in importance, becoming "known as the All, a sort of universal god, which was a play on the other meaning of the word pan."
My husband, a medical news journalist, began covering daily coronavirus reports the last week in January, after our return from the Palm Beach Poetry Festival.
By mid February, we saw how the virus was spreading like a panic. February 18, the stock market crashed in a virus-related scare, and I began to wonder if AWP would be canceled. But at that point I thought it would be fear mongering to ask my friends if they still planned to go.
Two weeks later, the conference went ahead as planned, but by late February and even into the first week of March, many of my friends decided not to go because they didn't want to inadvertently bring the virus back to their own communities.
It wasn't until the first week in March that the pandemic arrived in the county where I live. That week we were already doing "chicken wings" and "foot bumps" as greetings at the yoga studio where I practice. We were spacing ourselves at least six feet apart. The YMCA where I swim laps closed its group exercise programs, swimming lessons, and their child care hours.
The new coronavirus pandemic has also caused pandemonium, Latin for "the place of all demons." It created "panic buying" among the people, as we raced to stores to buy cleaning supplies, hand sanitizer, and pantry items.
On Thursday, March 5, I pulled into a Trader Joe's parking lot after a blissful yoga class. Even under ordinary circumstances, it's inadvisable to enter a Trader Joe's parking lot after practicing yoga, just because of the parking lot squeeze.
But I braved suburban car frenzy to buy some wine and a few other items for dinner, and was shocked to find almost the entire store depleted of bread, milk, frozen food, and staples like rice, pasta, and canned goods. (Plenty of beer and wine remained!)
It turned out that while I had been supine in savasana in a state of relaxation, the county school system had announced that schools would close and would transfer to an online platform.
One man in the county had been hospitalized and died, and several school staff members had come down with covid19. Apparently, many individuals had traveled to Italy during February and thus were exposed at airports or at their destinations.
Like "pandemic," and "panic," the word "poetry" comes to English from the Greek and Latin. Greeks used poesis and poeitis to denote a maker, an author, a poet.
We are all makers now. We are pan-artists. Some will make songs and stories to express their longings, their fears, their loneliness,
Others will bake bread, make yogurt, and grow gardens, domestic work that many have now recently embraced if they have the privilege of staying home.
I've written only two poems so far this month. The concept of April as poetry writing month has lost urgency for me. Poetry and art and all forms of myth-making and meaning-making are a means of spiritual survival now. It's an ongoing practice that continually renews and sustains me.
Yoga, poetry, painting, long walks, and chopping vegetables are my way of loving the world and loving life. I hope all beings everywhere can look within and find what makes them whole, what heals them.
First Tarot Reading
I received the Oceanic Tarot by Jayne Wallace as a Christmas present from one of my sons. It's a beautiful deck that appeals to my love of water and swimming, and it provides simple, positive explanations for each of the cards. This morning I did my first reading with it.
In fact, it was the first reading I've ever done. Even though the tarot has always fascinated me, I've only used individual cards as writing prompts, and I've never taken the time to learn the symbolism or history behind them.
My interpretation of this three-card reading, which pertains to past, present, and future, is the following:
I need to let go of the guilt I feel about taking a semester off from teaching English. Devoting time to healing from depression, regaining my energy, spending time with family and friends, and completing my current poetry project are more than worthy endeavors–following this path is lifesaving, at least for now.
Time for reflecting on my relationship with my father and also with all the people I met on the Camino will help me finish the poems I've been writing for the last three and a half years.
Time for practicing yoga, reading about Ayurveda, balancing my doshas.
Time for writing in community with fellow poets online–
Thank you to Dave Bonta and Kelli Agodon for continuous motivation and opportunities for building online friendships.
NaPoWriMo Day 1!
April 1, 2018 April 4, 2018 2 Comments
Today I'm continuing the pattern I set up earlier, where I follow this rhyme scheme: ABACCBCA. I'm using near or slant rhyme in many lines. Go to this link to read the entire prompt and the first two stanzas: Getting Ready For April and National Poetry Month.
On the side of the path a pony skull
Picked clean as a bleached sheet
Sinks into the grass, eyes dull.
On the hill they prance and bleat,
Unaware they are alive only to be killed–
Viand de cheval, a delicacy in this ville.
For dinner we ate small pieces of duck's meat,
but didn't imagine it swimming, alive, whole.
January 3, 2018 January 3, 2018 9 Comments
Conventional wisdom holds that the way to begin a productive new year is to set goals, but I'm loathe to do so because I have a rebellious nature. I even rebel against my own goals. How self-defeating is that?
Some of my writing friends have set benchmarks such as accumulating 50 or 100 rejection notices so that they maintain a steady stream of sending out poems for publication. Last year I agreed to shoot for thirty, but I think I only sent work to five or six journals. I did receive two acceptances, though–
"Letter to My Father at the Winter Solstice" at Heron Tree, one of my favorite online journals. They publish one poem a week and then gather all of them together and publish them in one volume. Here is a link to volume 5, which is ongoing: Heron Tree, volume 5.
The other poem I published in 2017 is a contrapuntal poem, a specific form I learned about in a workshop led by talented poet and teacher Amy Pence. I wrote this poem, "Dependent Co-arrising" from a prompt based on the writing of Gaston Bachelard's Poetics of Space at Switched-on Gutenberg.
Amy had already led a contrapuntal poetry workshop based on ekphrasis, where we described an image in one column and then wrote from the perspective of a single individual in the next column.
In the second workshop we used intertextuality as a springboard. I wrote four or five contrapuntal poems last year, and found inspiration from this technique for revising other poems I had abandoned.
I took two other poetry workshops in 2017, one with the poet and teacher with Jenn Givhan on narrative poetry | 2,397 |
Using the hoof pick to remove the impacted straw and manure from the horse's hoofs.
Using the currycomb to raise the dirt from the horse's hair and skin.
Brushing the horse's coat to remove the dirt, mud and loose hair.
Using the grooming cloth to polish the horse's coat and wipe its eyes, nostrils and muzzle.
If the horse was<|fim_middle|> made from a handful of hay or straw and as easily discarded. Approximately one foot long and two to three inches thick, they were used to dry the horses and to loosen and remove caked mud from the legs and heads. When a whisp was made to massage the horse or improve the appearance of the coat, it was usually about ten feet long.
The grooming equipment had to be cleaned occasionally to prevent the spread of disease. This could be done by washing pieces in a strong soda solution, dipping the brushes in a strong solution of salt to stiffen the bristles, and soaking some items in a disinfectant.
Too much currying, especially in the winter, could be harmful, and officers, who insisted upon applying the rules without regard to circumstances, often injured the animals. Too vigorous use of the currycomb and brush could leave the pores open, the skin scratched, and an animal suffering in the cold all night.
The information for this section was taken from the Historic Furnishing Report for The Dragoon Stables by Sally Johnson Ketchum and from an article in Fort Scott's files called Horses of the United States Dragoons. | wet, a whisp made of straw or hay was used as a sponge to dry its coat.
Using the mane comb to remove straw, hay or burrs from the horse's tail and mane.
The currycomb removed caked mud and loosened matted dirt in the hair, but care had to be taken not to scratch or irritate the skin of the horse.
The hoof pick, which sometimes was attached to the back of the currycomb, was used to clean the feet. Farriers could make hoof picks by straightening a horseshoe and sharpening and rounding an end, which then was bent one-quarter inch from the tip. The opposite end was made into a ring for a handle. Cleaning out the hoof prevented thrush and canker and provided healthy growth. When the hoof was washed, and oil dressing was applied to aid the horn in drying to retain some moisture and to prevent it from becoming harder than originally.
The horse brush removed scurf, dirt, and dust; it stimulated the skin, improve the coat and massaged the muscles. Grooming cloths were made from old toweling or condemned blankets. They were about two feet square and were used to wipe the eyes, nostrils and lips, rub the head, ears, and muzzle, remove dust and sweat from the elbows, under the flank, and between the hind quarters, polish the coat, and clean the dock and outside parts of the sheath.
Whisps were easily | 296 |
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When it comes to finding topics for SEO blogging, the best place to start is with keyword research. By choosing topics based on popular search terms, you improve the chances of your content reaching its target audience.
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The LSI generator is another useful tool. By linking central keywords to semantically similar keywords, the generator can help broaden<|fim_middle|> bank up ideas for SEO content.
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To learn more about SEO content contact one our specialists.
What makes data-driven agencies different? | your SEO content ideas, highlighting sub-topics and other relevant themes for a blog.
An easy way of finding ideas for SEO blogging is to repurpose your company news. This could be an announcement of a new business merger, client or staff member. By inserting your targeted keywords into these topics, you can transform internal communication into a blog.
As well as keywords, try to link your company news to current business trends or world events. Tapping into these search topics will both position your business as a thought leader and improve your SEO. Consult an SEO agency if you need direction on this.
Mining social media conversations is another strategy to find topics for SEO blogging. Hashtags are like keywords — they direct you to popular issues and bring attention to your blogs. By looking for what's trending on Facebook, LinkedIn and Twitter, you can discover new ideas and bring your business into a wider conversation.
To make this research more targeted, consider creating specific Twitter lists of competitors and industry leaders. In this way, your business can filter the constant stream of information and more easily identify potential blog topics. Tools like TweetDeck help organise this information and point out what's viral.
Joining relevant LinkedIn groups and discussions and following Facebook influencers can also target your research. Indeed, many businesses use internal Facebook groups where staff and stakeholders share relevant stories and news to | 267 |
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This website uses cookies. By continuing to use this site, you accept our use of cookies as described in our Privacy Policy | Monetization for the Large Financial Institution Rating System (LFI)
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ITAR is meant to support United States national security and foreign policy objectives. ITAR covers items on the United States Munitions List (USML). ITAR enforcement and oversight is handled by several agencies within the United States Department of State, Department of Commerce | 131 |
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Skagen excited to join Crosslake School as its new director
Skagen currently serves as head principal and director of<|fim_middle|>agen
The Crosslake Community School Board voted unanimously Tuesday, Dec. 3, to hire Cliff Skagen to be the school's next executive director.
Skagen was chosen from a field of 10 applications. The board interviewed four candidates, and then narrowed the selection to three candidates before ultimately offering the position to Skagen. The other two finalists were Jill Arendt, director of student life at Crosslake School, and Annette Klang, a grades 1-2 teacher at Crosslake School.
Current Director Todd Lyscio will retire at the end of this month.
"I am so excited to be there," Skagen said. "I like what Crosslake Community School stands for. I think this is a new chapter in my life, and I am just so happy to be there."
"Cliff impressed us throughout the process," board chair Lori Scharenbroich said in a news release. "On paper, his credentials, extensive experience with charter schools and commitment to academic growth by students made him very exciting to interview. Once we had him on site, he had wonderful interactions with students and staff. As we got to know him better, it became clear that he would be committed to the success of our students and staff and work to create deep relationships with parents and our community."
Skagen currently serves as head principal and director of curriculum and instruction at Twin Cities Academy Charter School in St. Paul. Twin Cities Academy is a diverse college preparatory program that has a 98%-100% graduation rate, 95% college attendance rate and is recognized by the Minnesota Department of Education as a Reward School.
Additionally, Skagen served as president of the Minnesota Association of Alternative Programs, and is now ready to settle into his new role in Crosslake.
"I thought it was another step in moving toward where my career interests are," Skagen said. "I was pursuing an executive director position, and this aligns with my dreams of being somewhere that is a little more relaxing, I guess you might say, but still has that commitment to education. I really love the environmental focus at Crosslake and I thought I could use my skills in a different manner, because I have a lot to offer."
He will begin his tenure at Crosslake Community School on Monday, Jan. 27, 2020, and looks forward to continuing his career at a school with classes set at manageable sizes.
"At Twin Cities Academy, it has been pretty low - around 25," he said. "In the large district high schools down the street, they can have 30 or 35 kids in a class and that, to me, is not a great learning environment. It's not that you can't learn (in that setting), but I would rather teach a class of 19 than 35."
With Lyscio's retirement effective Tuesday, Dec. 31, board members will manage the role of executive director during the interim.
CROSSLAKE COMMUNITY SCHOOL
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Alexandria Technical & Community College announces area students on Dean's List for fall 2020
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506 James St. / PO Box 974, Brainerd, MN 56401 | curriculum and instruction at Twin Cities Academy Charter School in St. Paul, a diverse college preparatory program that has a 98%-100% graduation rate, 95% college attendance rate and is recognized by the Minnesota Department of Education as a Reward School.
Written By: Dan Determan | Dec 12th 2019 - 1am.
Cliff Sk | 81 |
I saw this<|fim_middle|> to Post this. | Last night, and FOTFLMAO
NOT WORK or KID SAFE !!!
Profanity.
My Favorite Steve Martin Scene in a Film
(Planes Trains and Automobiles)
French Men's Bathroom Skit
A year after George Harrison passed away, they held a Special concert in his honor.
Filmed on November 29, 2002 before a sold-out audience at Royal Albert Hall in London, "The Concert For George" is a beautifully filmed, joyous celebration of some of the most significant music of the 20th Century. Friends including Eric Clapton, Paul McCartney, Ringo Starr, Jeff Lynne, Tom Petty & The Heartbreakers, Ravi & Anoushka Shankar, the cast of Monty Python and other artists who worked with George Harrison throughout his lifetime, present his music in a special concert to commemorate the first anniversary of his passing.
Netflix has it as a DVD rental - type in - Concert for George.
Monty Python - performing at the concert for George.
Jon Cryer's response to Charlie Sheen's Troll comment
Bad Boys Bad Boys
It was a good plan to eat the evidence
But Maybe NOT on camera. - LMAO
Hmmm Where to put this clip - LOL
I just showed this to my 8 year old daughter and she cracked up watching Blossom Dance.
How it came up is I was watching The Big Bang Theory.
And told her that the actress Mayim Bialik once had her own show called Blossom.
The Theme Song In my "Opinionation" was one of the best Theme Songs ever written
- Performed by Dr. John
F*@#ing Matt Damon
F*@#ing Ben Affleck
Not a fan of Justin Bieber - We'll not just him but most of the crappy music that's out there today. ( the 80's was the last decade for any sort of good music)
When a Good Song finally comes out, I.e. Forget You - Celo Green it gets Overplayed.
Maybe I'm just getting Just TOO DAMN OLD :)
BUT: My Hats off to Justin Bieber for doing this....
It's just Too Cute and Adorable not | 454 |
This article outlines the many resources for caregivers that we have collected.
It's important to know how much family caregiving is worth. Does it reduce the cost of hospital care overall? Are there options for being remunerated? Finances are a very important factor to keep in mind when care giving.
A resourceful calculator that helps you to figure out what the cost of long term care is by city and state.
A listing of potential ways to get paid as a caregiver via programs that are offered depending on one's state and the information on how to find those programs.
Catch up on the latest caregiver news and resources to keep you up to date in the world of caregiving.
News and updates on the latest cutting edge technology in the field of healthcare. Find Equipment information, Education and even positions in an assortment of health fields.
One of the world's leading business magazines for home care professionals and amateurs alike.
One of the largest medical equipment expos and conferences in the US. Medtrade has been connecting the Home Caregiver Industry for over 36 years.
It is a painless way to organize help for patients (things like meals for patient/family, rides for medical appointments etc, bring patients and their caregivers together. There are currently around 1.8M user with 100,000 communities created.
A compilation of important tools, resources and services for home healthcare<|fim_middle|> their loved ones during recovery. There are over 70 fisher houses spanning across the United States. Free round trip airfare is also provided to the families of wounded veterans also going treatment.
Designed for Veterans, Active duty service members and their caregivers, this resourceful website helps both patients and their dependents to manage their health information such as hospital visits, lab reports and appointments. Support is also provided in making informed decisions every step of the way.
A 24 hour, seven day a week toll free hotline available for both veterans and their caregivers and loved ones to call or text during times of crisis. Confidential support is given at any time of the day. | services such as transportation, cleaning and even home helper assistance.
A website specializing in the caregiving of Alzheimer's and Dementia patients. There is 24/7 support, information on the types of Alzheimer's and Dementia as well as training provided.
A nonprofit organization that also serves as a community of more than 90 million care givers from all walks of life who are supportive, provide education and resources free of charge.
Since 1998, Visiting Angels has been providing top quality senior care services for your loved one. These services include but are not limited to 24 hour, hourly and even overnight care.
A community where caregivers go to learn about the positive methods that can help the people they love. Caregivers help build a "Care package" depending on the circumstances that best help their loved ones.
7 Powerful Tools for Caregivers – Check out our blog post here.
Resources and Support for veterans including benefits, jobs and healthcare information.
Warmly dubbed "A Home away from Home" Fisher houses offer support and free refugee for family and caregivers to be close to | 223 |
The iRobots became very popular as our busy everyday life do not leave us enough time to clean. Probably that is why there are new updates their manufacturers do. The latest changes are made in the popular Roomba and the known as Looj home robot.
ABC News inform us that iRobot is changing those two very expensive models. The major change they are doing is in the price which will be cut in half. Most of the home robot vacuum cleaners cost around 600$ but now you will be able to buy one at the half of the price.
Another major change in the machines will be their dust bin which is<|fim_middle|> automatically finding the base docks when they need recharge. | becoming bigger. This will allow the cleaner to collect more dust than before and you don't have to empty it that often. Along with that the brushes the vacuum cleaner uses will be replaced by new ones. The new brushes will easily collect hair.
The manufacturers want to calm us that paying less doesn't mean the robot cleaners will lose some of their main features as cleaning the dirtiest places more than once and | 81 |
Suswam Lays Foundation Stone for Benue Estate, Shopping Mall in Karu
The Governor of Benue State, Dr. Gabriel Suswam, over the weekend in Karu, Nasarawa state, laid the foundation stone for the construction of a mini estate and an ultra-modern shopping mall in an outskirt adjoining the Federal Capital Territory (FCT). The shopping mall and the estate, THISDAY gathered, are to be built in phase1 and phase 2 strategic plans using the Public Private Partnership (PPP) strategy.
Suswam commended the management and staff of the state-owned investment outfit for their ingenious foray into property and real estate business especially in the face of depreciating global oil prices.
The Governor while speaking at the foundation laying ceremony, said the facility when completed, shall provide 79<|fim_middle|>), that the state government acquired the plot and the titled transferred to BIPC.
He said: "BIPC has over the years acquired a strong reputation in real estate development, having evolved in a culture of real estate functionality and sustainability since the 1980s. This reputation will be brought to bear on the landmark project we are witnessing its foundation laying ceremony today. | shops of varying sizes, a restaurants, banking hall, while the mini estate would be made of a total of 52 modern housing units compromising 28 nos 2 bedroom and 24 nos 3 bedroom apartments expected to accommodate over 500 families. He called on the state indigenes to rise up to challenges of setting up businesses adding that there is there is need for the indigenes to assert themselves in business by engaging in legitimate businesses to make their stay in FCT here meaningful.
In a remark, the Chief Executive Officer (CEO) of BIPC, Mrs Brigid Shiedu, hinted that the company's strategic investment into real estate development was to ensure that it is not adversely affected by the global economic recession and therefore had to diversify her revenue generating windows by playing active role in the real sector with plans already in pipeline to also go into agriculture, mining and industrialization.
According to her, the shopping mall which will be executed by Messrs Design Stages ltd will be carried out on contract basis while developers are still being sought to partner with the company on its residential apartments on PPP basis. Shiedu added that the shopping mall is the first phase of the development while the mini estate will come as phase 2 when the development partners are sourced.
In his contribution, the Chairman of the company, Gen. Atom Kpera (rtd), noted that the plot on which the development will be built was initially allocated to Lobi Bank Nigeria ltd in 1992, which was initially called one man village as it was another remote location in the outskirt of the FCT.
He stated that that it was after its liquidation by the Nigerian Deposit Insurance Company (NDIC | 350 |
Essays · Philosophy
Under the Sign of 39: The Case of the Curious Coincidence from Hitchcock to Antonioni and Beyond
Mervyn Nicholson
In movieland, there is also the kind of coincidence where someone indeed has planned it, someone acting from behind the scene, manipulating appearances. In this case, a coincidence is a setup, not accidental at all, but the planning is hidden behind a screen of appearances, appearances that are intended to mislead and distract the protagonist. It is in short a deception.
Coincidences are just coincidences. Accidents.
At times, coincidences feel like fate, especially in the movies. The coincidence is a unit of plot-construction, and it is one that is indispensable to movies. It would be interesting to know what proportion of movies feature a coincidence. Or several coincidences. Most? A great many, for sure – a fact that itself calls for some investigation. Why is the coincidence so important?
We can look at coincidences in a variety of ways, but the basic form is simple: a coincidence is an accidental meeting. Someone runs into someone else. For instance, Scottie in Vertigo "runs into" Judy – or is it Madeleine – or is it Judy after all? – by accident, on the crowded street of a major city, a glimpse so fleeting as to be practically a hallucination. The whole of Hitchcock's masterpiece hinges on this coincidence, this brief glimpse, a matter of a second or two. In the real world, the coincidence is unlikely, but in movie world it is necessary and inevitable. There are other coincidences besides accidentally meeting someone, for example happening to find or "run across" some crucial object, or losing something that turns out to be a critical unit of plot-construction. For example, a distracted Uncle Billy happens to lose the vital bank deposit in It's a Wonderful Life: a coincidence redoubled when Mr. Potter – of all people – coincidentally happens to find that same deposit.
"Judy" or "Madeleine" appears on the street: Vertigo
Money seems to be a magnet for coincidences. No wonder film noir loves coincidences. Take a famous noir, Out of the Past. Jeff Bailey, the hard-boiled detective (played by Robert Mitchum) bumps into his former partner at the race track, and the past that he had escaped now returns with deadly force. Accidental meeting at the race track: it's almost too perfect, since the race track itself is a marker, an omen, as it were, signifying fortune, chance – luck. Bad luck. Coincidence. Or fate. Movie fate, that is. The fate that the story-teller can't resist.
A coincidence is what students of folktale would call a plot-motif, one of the building blocks that recur in plot construction, plot being a sequence of plot-motifs within a larger arrangement. Coincidence is presented as a random happening, but the plot does not see it that way. The plot wants them. Plot has a passion for coincidence. Coincidence generates plot.
For example, Marion Crane "happens" to stop at the Bates Motel, which happens to be owned and run by a multiple murderer who is now alert for prey. An accident, but not an accident. Poetic logic, poetic fate, is at work. Poor Marion could have stopped anywhere. She could have gone on to Fairvale, but, no, she had to stop at the one motel where, in the world of slasher justice, a thief like Marion can find her executioner. Coincidence – or fate? The coincidence is essential to the design of the plot and of the movie as a whole. There would be no Psycho without it. On the one hand, it is a merely random, unplanned, and accidental event that Marion goes to the Bates Motel and meets the multiple murderer who will then slash her to death. On the other hand, the whole episode implies much more than accident, even to suggest that murdering Marion is what a woman can expect if she thinks she can steal money from propertied men – and get away with it. In other words, it is a vision of sexism enacting its abusive and violent logic. But as we know from decades of commentary, that is only one meaning to be found in the "coincidence" that galvanizes the plot of this masterpiece.
"Coincidence – or fate?" Psycho
Interestingly, comedy is even more fond of coincidences than films with the darker shadings of Vertigo or Out of the Past or Psycho. In Bringing up Baby, one of the funniest movies ever made, Susan Vance (Katharine Hepburn) has an aunt who "happens to be" the one person with the money that Dr. Huxley (Cary Grant) absolutely has to bag for his museum. Or Dr. Huxley just happens to go to the splendid restaurant where Susan is playing with olives. Or there just happen to be two leopards on the loose in the vicinity, one a pet, the other "a killer." Or Dr. Huxley and Susan Vance just happen to come across the house of the psychiatrist who gave Susan advice earlier in the splendid restaurant where she was playing with olives. The fabric of the plot is coincidence coincidence coincidence. Comic fate was rushing to arrange things, whereas the (equally) chance meetings in film noir suggest a sinister fate – the mysterious "bad luck" that can stalk a doomed protagonist like a curse. In story world, there are no coincidences, no random happenings: all fit the design of the tale. Fate unfolds its fatal plan. Movie fate, that is, the fate that the moviemakers impose because it plays the audience. In fact, coincidences are what make many stories work; without them, there would be no story at all. Understanding coincidence is understanding story itself. And to understand movie coincidences is to understand movies.1
In real life, of course, coincidences can be startling, but are rarely more than "just a coincidence" – a striking oddity, but not one with intent. Surprising, because life events are largely random – but they rarely indicate destiny, fate, or divine intervention, or even a story-teller's design. Coincidences in life give the impression that life almost makes sense, that life has a shape to it, as Northrop Frye used to say, as if for once it looked like a meaningful design is present in life. Like a story. In a story, everything makes sense. Coincidences are part of the logic of the form itself, because stories do have a shape and a pattern, unlike life. Coincidences in life make life story-like, suggesting a design in experience that gives it meaning – that gives it a plot, in short.
This is the basis of the famous conception developed by Carl Jung known as "synchronicity." "Synchronicity" is essentially a theory of coincidence.2 For Jung, the coincidence is both unintentional and yet intentional in the sense that it has meaning. That is, it is a coincidence that has meaning for the one who experiences it. Its significance is psychological, not scientific. Certain coincidences have emotional and imaginative rightness. However it came about, the coincidence is not experienced as merely accidental, even if it is an accident. Such coincidences mean symbolically, not realistically. It is random in fact but feels planned, deliberate, as if a designing intelligence put it there. Thus it is random, but it does have meaning. Hence Jung's conception of "synchronicity" as an "acausal connecting principle" (ein Prinzip akausaler Zusammenhänge). In this "acausal connecting principle," the coincidence has meaning but not intention. One sees meaning that is not there; more precisely, it is there and not there, at the same time – there, because one experiences it; not there, because it was not put there by anyone. It was not "caused." It was perceived.
In movieland, there is also the kind of coincidence where someone indeed has planned it, someone acting from behind the scene, manipulating appearances. In this case, a coincidence is a setup, not accidental at all, but the planning is hidden behind a screen of appearances, appearances that are intended to mislead and distract the protagonist. It is in short a deception. We can thus distinguish between a genuine coincidence and a false coincidence: one is random but meaningful; the other is designed to deceive, to look like an accident. After all, as the poet Wallace Stevens says, "One confides in what has no concealed creator"; one trusts the accidental and unplanned, because there is no hidden manipulator shaping events in order to entrap the unwary.
39: David Hemmings: Blow-up
One movie coincidence that is particularly striking occurs in Antonioni's provocative 1966 film Blow-Up. Blow-Up puts a specific number on display – the viewer cannot not notice it. It is the number "39" – the un/lucky number 13, times three.3 In Blow-Up it is the street address of the photographer's studio in London: that studio features a large number 39 on the door, stylish, bold, and in-your-face. This is where he lives, or where his ego as a rich-photographer-artist lives, anyway. Coincidentally, the number 39 is the basis of one of Alfred Hitchcock's masterpieces of the 1930s: The 39 Steps, maybe his most important movie of that period. But so what? the spaced-out shaggy-dog story of Blow-Up is far from the taut pace of The 39 Steps, with its out-of-the-frying-pan-into-the-fire rhythm of action. These are very different movies. Can this shared #39 be a coincidence, or are Blow-Up and The 39 Steps connected? Let's explore this coincidence and the implications.
The 39 Steps is a reworking of a novel of the same name by John Buchan. Buchan's The 39 Steps is a best-seller adventure-espionage-thriller type of story that made money for its distinguished author, but would now be forgotten4 if it were not for Hitchcock's extraordinary movie remake of the book. Buchan is not a great novelist,5 and The 39 Steps is one of those cases where the movie is definitely better than the book – an occurrence quite frequent in the Hitchcock canon, it should be noted.6 Very often the source material that he chose to draw upon is, from a literary point of view, unimpressive, sometimes overwhelmingly unimpressive, much as Blow-Up, Antonioni's masterpiece, has a non-impressive source, especially compared to the film he "adapted" from it.7 Antonioni, "like Hitchcock," was "working with literary sources to which he felt no need to be faithful" (Pomerance 238). But Hitchcock saw in Buchan's novel features that would make a terrific film, and the resulting movie proved how powerful his judgment was.8 To call it an "adaptation" is misleading: he remade it, and he did so by picking out certain plot-motifs and allowing these motifs to drive the action. Almost all of the rest could be discarded – and was.9
He had what makes a great director, what you have to have: an educated imagination: "imagination" in the technical sense of that word, that is. This is the power to visualize, to visualize forms latent in the materials that, till now, are not visible – outcomes that others do not see. This kind of imagination visualizes possibilities: it perceives shapes in what to others looks random. The random in this sense is not chaotic: it is, rather, the potentially created. It is unformed, not yet shaped into something, but capable of such transformation. Hitchcock could see a pattern in a body of material that others could not see. Interestingly, he was famous for, and even boasted about, his technique of visualizing each scene before shooting it, a method that is regularly reported by those who worked with him.10 But Hitchcock's success as a director went beyond this practice, and was based on his power of seeing possibilities in material – to see the picture mentally before seeing it physically – an ability that Michelangelo Antonioni shared with Hitchcock, and that Blow-Up is all about.11 For Blow-Up is about nothing if not about seeing things that aren't there – and yet are there. Potentially. In imagination.12
"Seeing things that are not there – and yet are there": Blow-up
The power to visualize possibilities in material, possibilities that others do not see, is not magic; it definitely concerns imagination, but imagination as a professional ability. It is the capacity to see how film creates its impact, as well as the imagining of scenes before shooting. Like other professional abilities, it is a skill that can be developed by study of what others have done before. This type of study is a training in seeing, training in seeing the story as a viewer would see it, to experience it as a plot shape, a pattern or rhythm that interacts with viewer expectations and reactions, a pattern required in order to create maximum impact. Hence the use of coincidence. Coincidences are patterns, patterns in themselves, but also the building blocks of a larger structure. Antonioni puts "39" literally on the Blow-Up door, right at the doorstep, as if to usher the viewer into the world of his weird masterpiece – as if to say, you are now entering the same kind of world as The 39 Steps, where nothing is as it seems, and yet what it seems, it is. Or so it seems.
The use of 39 – the movie address – looks like un hommage, as they say, Antonioni's tribute to a more famous movie-maker.13 After all, "Antonioni knew and often reflected the work of Hitchcock," as Murray Pomerance notes (13), but any such tribute would coincide with the fact that this location is a piece of reality. This 39 was not a fictional location – it was not made up. It was a real address of a real photographer, in fact the address of a famous and fashionable photographer of the time, precisely as Thomas, the lead character in the movie, is an ultrafashionable photographer: "Outside shots of the photographer's studio were at . . . 39 Princes Place, W11. Photographer Jon Cowan leased his studio at 39 Princes Place to Antonioni for much of the interior and exterior filming, and Cowan's own photographic murals are featured in the film."14 This is reality.15 The 39 is thus technically a coincidence and at the same time a meaningful connection, the indication of an affinity between the films.16
This particular coincidence is curious in another way, because it is only the first of a 39 series in Blow-Up. Consider, for instance, the mystery character of Blow-up: the strange young woman played by Vanessa Redgrave, aka "Jane" (Jane as in "Me Tarzan, you . . ."). When the narcissistic photographer orders her to give him her telephone number, she meekly complies. But surprise surprise. No one can reach her – not at that number, because it is concocted by her imagination. She has slipped her bullying pursuer a pseudo-number – an image of a phone number, as it were, not an actual phone number. No one is to reach her – unless she wants to be reached. Her inaccessibility is essential to who she is, her mystery. Thus her number is – it includes – the mysterious number 39. "39" is part of the phony phone number. The phone, the means of communication, has a number that is given and not given: 39.
"No one is to reach her": Vanessa Redgrave: Blow-up
But there is more, because 39 turns up at least once more in Blow-Up. Thus the number of the mobile phone used by the photographer Thomas is – it includes – 39, another phone number again. And this particular 39 is given special emphasis, because the movie emphasizes this phone. It is displayed conspicuously, an object of interest for its own sake. We remember that in the Blow-Up era, a "car phone" was a rare means of communication, and all the more conspicuous for its novelty. In Blow-Up it is a symbol of a lifestyle of ostentatious and fabulous consumption. Totally. He can talk to anyone anytime for any reason. In Thomas's world, there is nothing to see beyond surfaces – there are only surfaces, and nothing beneath, nothing to be seen in the scene. He is outside reality like someone exempt from its contingencies. He is "outside" it and that is why he can take pictures of it. The photographer is detached and detaches images from reality. He is not connected, but floats above reality, detached like his 39 car phone.
Blow-Up displays the "postmodern world," according to Mary Ann Carolan, who identifies the photographer's "misunderstood images" with "the larger scheme of aggression in Thomas's postmodern world" (45). It's about aggression. This photographer goes out of his way to show that he can do whatever he likes to whomever he likes, and till now, he has lived this fantasy, a fantasy enabled by sycophants and hangers-on eager for him to use them, even to prostitute themselves to get his attention.17 This is the glam world, the world of publicity. The world of celebrity – Blow-Up is one of the first movies to be almost literally all about celebrity, about publicity, the profession of celebrity, of taking and selling images. Thomas lives entirely on the surface, propelled by whim. When he can't get what he wants for free, he has money to buy it, such as the propeller he buys on impulse. His purchases matter – people do not matter. Hence he is openly abusive toward the mere wage-labor units that move this awkward piece of conspicuous consumption for him – a point Antonioni goes out of his way to emphasize by showing us the men awkwardly moving it and Thomas verbally abusing them.
Thomas uses his "cell phone" – the proto-cell phone – with the stylish arrogance that his persona projects. It is curious, though, that his phone number also includes 39, just as the magic number of the one woman he cannot buy includes the number 39 . . . the one woman who definitely has something more beneath her surface, whatever that may be that is under the surface.
The coincidence of the shared number – one false, one true – indicates that the two individuals, one known to us and the other unknown, are on the same wavelength. The familiar is in contact with the unknown. For this number is not just a number, a mathematical notation – it is a channel of communication, the means of connection, like the door that bears the number 39. The two characters are communicating with each other, like "the 39 steps" in Hitchcock, spies communing with spies, often people they do not really know. Some connection, some "acausal connection," draws Thomas and Jane together, whether they want that connection or not, and even if their time together is as brief as the mystery woman can make it. There is a pattern in the coincidence of 39. It looks random but it is not random in terms of meaning. It is (not) a coincidence that the photographer, randomly walking in the park, just happens to meet up with "Jane" (compare "Jane Doe") and her mysterious man doing whatever it is that they are doing in the park, engaged in whatever sinister conspiracy they – or she – are engaged in – or not engaged in.18
"Acausal connection": Blow-up
The connecting number 39 links both the lead characters in Blow-Up with each other; it also links Blow-Up with The 39 Steps. But this coincidence is bigger. One of Hitchcock's American films, a movie regarded as a remake or redevelopment or re-creation of The 39 Steps, is the more famous film, North by North West, starring the glamorous Cary Grant, and full of the kind of Hollywood appeal that is alien to the earlier 39 Steps, with its rough-and-tumble working-class English ambience. Many connections link North by North West with its predecessor and model, The 39 Steps. We almost expect it to feature the number 39. And North by North West does. Indeed, the number is conspicuous: attention is brought to 39 with sly and flirtatious energy. Thus the number of the railway car that Eve Kendall, that tricky female (and not, at first, unlike Jane in Blow-Up), shares with the fugitive Roger O. Thornhill just happens to be 3901.
3901: "39" plus "1." In other words, "the next 39, the next 39 Steps."
It is a significant gesture, made in humorous double-entendre style. Thus the mystery woman Eve invites Roger/Cary to her compartment on the train ("a bedroom"); she gives him the car number, the sign, to look for.
THORNHILL: "Such a nice number."
KENDALL: "It's easy to remember."
THORNHILL: "3901"
KENDALL: "See?"
THORNHILL: "No luggage."
He's definitely ready to roll. She is definitely "a nice number." This 39 is a small detail – like the "O," Roger's middle initial, the "O" "that stands for nothing," as he explains to Eve when she asks him about it.19 The dialogue is a not untypical Hitchcock in-joke: "such a nice number," "it's easy to remember" – few phrases are more packed with wordplay. The "3901" railway car and its female-occupied bedroom compartment are critical to more than the plot: the image of the railway compartment is itself critical to the romance of Roger and Eve, as we learn in the climactic last scene of the film as they rush into the magic tunnel of love together.
Of course, in an erotic scene like this, the 39 reminds us of another number, the one with a "6" rather than a "3."20
39 is the sign of the kind of story that features it, a story genre. As a unit of plot construction, the coincidence is not what a coincidence in real life is. It is a fusion, a paradoxical fusion, of the planned and the unplanned, the potential and the actual, the random and the deliberate, the instinctive and the calculated. It includes and transcends these opposites. For a director, the coincidence is the power to see patterns that others do not see, and to take that penetrating insight and develop it into a coherent form, a form that communicates with the audience. This is usually regarded as the "theme" of Blow-Up. Everyone notices the scene in Blow-Up where Thomas's friend, the painter, muses about his painting. He puzzles over his own creative process, the process of gradually perceiving a shape in what at first had none. He sees what isn't there, even though it is there. To create something that was there in potential form, to bring it into reality, requires human action: it is not something simply "there," like a mountain or a snowflake or a random event. It requires a shift from passive to active, from not knowing/seeing to knowing/seeing. The pattern must be created, not just perceived – that is, it must be perceived and created. Perception becomes creation. It is not simply the act of making something, but of liberating the potential in the material itself. It fuses perception and creation, and, it cannot be dominating or forcing, because it is an act of liberation. The sculptor "sees" a figure in the block of marble. Hence it is not creation out of nothing, but the freeing of something "within" the material itself, within it but not evident in it, just as a flower is potential in the seed, even though flower and seed could hardly look more different.
The coincidence is life that is like art – the point where life turns into art, where life is turned into art. It is the point where active replaces passive, where material becomes form, where the unshaped and random becomes meaningful, purposeful, and part of a larger design that sustains it. The point recalls Kant's principle in the Critique of Judgment that art has purposiveness without purpose. The coincidence points to a creative impulse that lies behind it – it discloses a hidden arrangement, a plan that in practice is simply the will of the filmmakers. The coincidence in the plot coincides with the action of creating the movie itself.
The 39 Steps and Blow-Up have much in common with detective fiction, where a pattern emerges out of a distracting complication of events. The pattern is invisible until the detective, like a magician, makes it appear. This "making" requires an act of perception: the moment when the detective "remembers" a detail that turns out to be the clue needed to solve the mystery. Thus the detective "remembers" a vital detail, because they were reminded of it by a coincidence. It's the big scene and we are all familiar with it and we watch for it. Our sleuth, brilliant Miss Maypole, accidentally happens to hear that the vicar, Canon Jones, loathes marmalade. Suddenly, a memory hits her. Jones was seen buying marmalade just three days before Lady Apricot-on-Thames choked to death – appeared to choke to death – while consuming a crumpet spread with poison marmalade! Died with her mouth still filled with the ghastly sticky stuff. Presto! Murder solved. Marmalade did it – Jones did it. The brilliant Miss Maypole has the clue dropped in her lap, as it were, by accidentally overhearing a casual remark about what an eccentric shopper the vicar was. Now she perceives the truth.
Enlarging the real: Blow-up
The coincidence of happening to hear something ushers the sleuth to a realization, and this realization changes the picture. It looked one way before – now it looks totally different. Miss Maypole is not going to say outright what her sudden realization has revealed, of course. No movie magic that way! The movie has to tantalize – stimulate – the viewer. The viewer has yet to catch up with the brilliant sleuth, and has no idea what the magic of the moment signifies, why her face has lit up with fortuitous inspiration.21 That will come only when suspense has been milked to capacity.
The coincidence is the point where what is in front of the screen of appearances coincides with what is inside that screen, behind it, hidden from view. It is the point at which we glimpse what is behind the screen of appearances. A pattern becomes visible that was invisible before: the pattern was in that picture, yet not visible, until now. The coincidence signifies a shift in perception. It is a metaphor for insight. It is insight that dispels an illusion, and it requires a coincidence to make this shift happen.
Blow-Up is in many ways a remake of The 39 Steps, a re-creation that is arguably a more creative version of Hitchcock's earlier movie than his own North by North West is – and North by North West is, in so many ways, a reincarnation of The 39 Steps.22
In all of these movies, the theme of putting on a performance is basic. Performance would seem at odds with the pursuit-escape imperative they depend on, but performance is in fact a requirement of the form. The movie genre at play in each of these films is a form that clearly fascinated Hitchcock – call it the conspiracy narrative. Everything about Hitchcock has been subject to scrutiny, indeed to dispute and argument, but one thing everyone agrees on is that Hitchcock had a predilection for the chase-adventure plot construction, a construct that makes innocence and guilt central to the action. It's a great formula, but there would be no chase-adventure if there were no conspiracy first. By definition, a conspiracy is a hidden intention shared by people who want to remain unseen. What the conspiracy does is to generate a façade of false appearances – a performance. This "screen of appearances," as it might be called, is an elaborate front of deception designed to conceal the conspiracy. The conspiracy of the bad guys then incites a counter-conspiracy, a counter-conspiracy by the good guys, which penetrates the screen of appearances and neutralizes those who have projected it, de-performing and de-forming those appearances.
In the chase-pursuit plot, you have to be running from something, something that is a plot against you – or better yet: a plot that is not against you so much as a plot that you are caught up in, but without understanding what is going on, a formula with big cinematic payoffs. In creative hands of directors like Hitchcock or Antonioni, the chase-pursuit plot acquires another dimension altogether.
On the surface, it is a chase narrative where the action takes us over hurried distances, often employing a variety of means of transportation, including a lot of walking as well as running, climbing – and sometimes falling. In this respect The 39 Steps sets the model for North by North West, where every sort of transportation/travel is evoked and enlisted. Travel – escape – is the first thing we see even in Marnie, a film that is a close variant on the conspiracy narrative. The formula consists of constant movement punctuated by awkward periods of stillness, for instance the scene in North by North West of waiting and waiting on the desolate roadside next to a fatal cornfield, or in The 39 Steps, the tense meal with the religious bigot and his frustrated young bride. Like Antonioni, Hitchcock is very good at these tense pauses (scenes where nothing may happen except the arousal of viewer engagement). In movies of this type, one is either running in panic, in a situation one has no control over, or one is standing around tensely trying (not) to be noticed, a combination that isolates but also exposes the protagonist. Blow-Up uses the same rhythm, with its soundless moments of tense and intense isolation and mounting anxiety, notably when Thomas examines the "blow-up" itself, but also when he returns to the scene of death, with its eerie hyperreality.23 He wants to penetrate his own photograph and to enter the reality that he by coincidence caught on film. The coincidence now controls his life, as if his whims, formerly under his command, have now taken him over and control him. Because of the coincidence, he has seen behind the screen and must now penetrate and dispel it.
Escape: Marnie
Hurried movement is a basic means of creating the kind of rhythm that the conspiracy narrative requires.24 Another basic motif here is that of the crowd. Movement and crowds are features that are automatically gripping, visually speaking, not just because they are stimulating visually but because of the exaggerated quality of crowd emotions. Crowd emotions are ramped-up emotions – emotions by definition larger than individual feelings. They convey a loss of control, even panic or hysteria: useful materials for this type of plot construction. Blow-Up, despite its conspicuous silences and stillnesses, also conspicuously features crowds. There is a surprising amount of running and racing around. The plot barely justifies the crowds, or the running and racing around. The crowds have little plot function, if any, except to rev up the energy level without actually taking us anywhere; one thinks of the opening scene of Blow-Up, of the "revelers" careening through the streets of London going where the spirit takes them.25 They stop when they have the impulse to stop, not because of some compelling agenda. The random-seeming racing and running about in the movie (e.g., Jane in the park at our first meeting, with her mystery man close at hand) is not really randomness at all, but expresses another kind of logic, a logic of image and sensation, rather than a logic of cause-and-effect.26 Movie logic. The logic of the coincidence, where events always have meaning. Synchronicity: "acausal connection."
At its profoundest, the "conspiracy narrative" ushers us into a reality where space and time are different. Different from the space and time of ordinary experience – routine is broken. Indeed, reality itself becomes plastic, fluid, mysterious, operating on principles and codes that are unfamiliar. For instance, at the party, so central to Blow-Up's imagery (but hardly to its "plot"), Thomas asks Veruschka, the famous model, why she isn't where she said she would be – in Paris. She famously replies, spliff in hand, "I am in Paris." (Veruschka is, of course, "a real person," in the real – the non-cinema – world: that is to say, the advertising-modeling world specializing in illusions and manipulations.) Time and space change. The scene presented in the mystery photo, when "blown up," reveals spaces within spaces, realities within realities, possibilities within possibilities.27 In Blow-Up, time and space are different, unpredictable and energized. Such energy and unpredictability are unimaginable in the workaday world where Thomas is a total winner who need never think of anything except self-gratification.
This point is made right away in Blow-Up. Thus the film presents the workaday world immediately at the opening, where we are shown "a column of morose workers emerging from a brick factory" (Schwarzer 212<|fim_middle|> penetration to the depths of American national mythology, exposing "an authentically American set of contradictions," in Fredric Jameson's phrase (230). Hitchcock was gleeful at the idea of a character entering Lincoln's nose. In the dream world of cinema, there are no coincidences, and the symbolism of climbing down the American mountain has deep resonance. Both the director and the protagonist – and the antagonist – were, of course, English, not to mention Leo G. Carroll. Skeptical appreciation of American national mythology is always a factor in Hitchcock's American movies. The bizarre imagery of climbing on giant statues illustrates Neil Archer's point: "political import is achieved through a formal disruption of the classical narrative text" (11). [↩]
Stanley Kubrick's final movie, Eyes Wide Shut, has much in common with the 39 group studied here (The 39 Steps, North by North West, Blow-Up), but has much darker shadings, treating the motifs of the earlier movies in a way that brings it closer to horror. Roman Polanski's Ghost Writer is another important film in this line with affinities to Eyes Wide Shut. [↩]
Some other 39s: Hitchcock's cameo in Spellbound comes at exactly 39 minutes in. In an episode of Star Trek Voyager there is a robot that B'lanna calls "39" (full name/designation: "3947"). There are 39 chevrons on the stargate in Stargate SG1. George Orwell's great protagonist in 1984, Winston Smith, is 39 – and Rossini, the legendary composer, composed 39 operas – yes, 39. And then there is my own 39 . . . the house where I grew up was #39 on Glenwood Avenue . . . it must be fate, not a mere coincidence. [↩]
— Mervyn Nicholson
Mervyn Nicholson is Professor of English at Thompson Rivers University in British Columbia and the author of Male Envy: The Logic of Malice in Literature and Culture and of 13 Ways of Looking at Images: Studies in the Logic of Visualization, in addition to many articles in scholarly journals.
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Love Affairs That Always Fade: Sirk's Doomed Romances April 30, 2005 | ). The sequence is practically black-and-white, a spectacle of zombie-style workers filing across a scene of grim Victorian factories and "doss houses" (not unlike the "doss house" of Hitchcock's '30s film Young and Innocent). In Blow-Up, this routine-work world is visualized as repulsive drudgery, but nevertheless, those who have money, like the photographer or his editor, rather enjoy this repulsive drudgery – for others. Zombie routine and idle waste are literally two sides of the same scene, as Thomas doffs his worker disguise, climbs into his Rolls, and motors off. Thomas is detached from others and indifferent to the reality around him, except as a source of personal gratification, because reality is nothing but ownable surfaces: property, in short.28 Compare the routine world of Roger O. Thornhill at the beginning of North by North West, with its complacent self-satisfaction, exemplified by his sense of complete control. Coincidences in this world are merely accidents. In his time and space and circumstance, everything is predictable, nothing is a surprise, others take care of him (mostly dutiful women), and all is in order. Until he meets Mr. Vandamm in the house of strange appearances: James Mason makes a perfect Mephistopheles to the arrogant and the complacent, like Roger "O." Thornhill.
Thus in the conspiracy narrative the routine world becomes bizarre and the bizarre world becomes routine. In Blow-Up, the mad conflict over the broken guitar ends when Thomas runs off with it, pursued by crazed fans. Then, having won the big prize, as the winner he is, he throws it away. Absurd. The counterpart to this scene in North by North West is the insane auction sequence. As in Blow-Up, we are shown an audience that is calm, controlled, even immobilized; then it explodes into a riot, as standards of value reverse – as the protagonist loudly bids absurdly, bidding expensive stuff down, not up, and even threatening the integrity of numbers, to the horror of the auctioneer. Another scene of this type is the political meeting in The 39 Steps. Hannay must give a speech extempore: it inverts reason, yet somehow makes sense in a different way (as indeed Thornhill's "bidding" in North by North West makes sense in a subversive way, too).
The auction scene: North by Northwest
Thomas the photographer races off with the broken guitar, a prized trophy, then tosses it, because he recognizes it for what it is: a broken guitar of no use to anyone, and an emblem of pointless ego-inflation. Like the propeller he purchases for his studio, it is nothing more than the display of arrogant self-absorption: the status of winner who can do anything whenever whatever. Conventional valuations are inverted and made vacuous, postmodern-style. The absurdity of his pretension as fashionable "artist" is evident in the upside-down world where customary values, even dollar values, are suddenly exposed as madness. He himself feels this exposure, because he has run into something that he wants to control but cannot: and that is, namely, the strange woman he happened to run across in the park, the woman who would not yield to his arrogance – along with the disappearing dead man somehow linked with her, like a shadow to a body.
The relentless chase-pursuit theme, with crowd scenes to punctuate the action, and a rhythm of breakneck action alternating with tense uncomfortable stillness, are all characteristic of this type of story – and The 39 Steps is possibly the most perfect illustration of the type. Nevertheless, incessant activity spread out over chase-distances is only the surface, so to speak. In a sense it is really a distraction. There is another dimension, another axis, to this type of plot construction when employed by a genuinely imaginative director – and this is a vertical action, in contrast to the horizontal rhythm of rush-crowds-escape-tense-waiting-rush.
This is where the coincidence becomes important. In a director like Hitchcock or Antonioni, the conspiracy narrative is not a lateral adventure, sequential, site to site, episodic event to episodic event, so much as it is a penetrative action, a going-deeper type of action. The word "penetrative" needs a caution: it is action that goes deeper but it is not "penetrative" in the sense of male sexual action (especially assault). But vocabulary is lacking when it comes to describing actions that go forward into what is in front of us, or for action that passes through a surface familiar to us, an action that enters into something different "behind" or "beneath" the familiar appearance of things. That is, the action is penetrative in that it takes us deeper into the action, not further along on the action; it takes us behind the action, so to speak, into a different kind of order than what the outer surface shows to the viewer.
Thus the story is about breaking through appearances, rather than hurrying from appearance to appearance, even running, though there is usually plenty of such lateral motion – a necessity in the cinematic world, in any case. Movies must move, after all. But unlike the kind of motion which is built into the form of the movie itself, the action of going deeper into something, of a situation progressively clarifying, is much trickier to present on the screen. It takes skill to do that, and perhaps no movie shows this skill better than Blow-Up. It is not difficult to present linear action, one event after another – in fact, that is practically a definition of movies: one thing after another. What movement means. But the action of finding more in what is already present on screen, within the scene itself, has its own kind of logic. Thus, at first, the situation looks one way – later, especially at the end, it looks another way – passage from outside the action, so to speak, to inside the action. The progression is not a linear movement from varied scene to varied scene, but a change of perception. The progression presents the same thing, same but seen differently. As the movie advances, its presentation goes deeper, in the sense of displaying a different kind of event, a different way of perceiving. The point is not to see what is different – but to see in a different way. The scene has changed, because it is seen with changed eyes. Hence the prominence of the political meeting in The 39 Steps, the auction scene in North West, the concert with the famous Yard Birds band in Blow-Up (where the photographer wins the insane guitar trophy and spirits it away): in Blow-Up routine events are "blown up." Each "inverts" normal reality. The coincidence signals the shift from surface to what is beneath the surface, from random events to a complex pattern slowly revealing itself.
In The 39 Steps, this change of perception is strikingly visualized in the form of one of the oddest characters in all of movies: the strange man known as "Memory," the man we see at the outset performing astounding mental feats, like the ultimate Jeopardy winner on intellect steroids. He is a human encyclopedia. Ask any question and he knows the answer – surely he is a character type unique in cinema history. He even knows something about the remote regions of Canada, such as the distance between Winnipeg and Montréal. That is the question posed by the Canadian protagonist Richard Hannay (played by Robert Donat), who is sure his question about how far it is to Montréal will be a stumper for Mr. Memory. But no – Mr. Memory seems to know everything, even things about a place as uninteresting as Canada. Hannay is not outside the observation of others, as he will soon find out, like the leads in both versions of The Man Who Knew Too Much.
Mr. Memory (center): The 39 Steps
At the end of the movie, Memory is no longer an encyclopedia full of useless knowledge, a kind of upscale circus attraction. He is now the locus of power, the bone of contention, the "MacGuffin." For he possesses the specs for new military technology capable of changing the balance of power between rival nations – a not insignificant matter in 1935, in the gloomy age of Hitler's drive to war. "Memory" appears in the opening sequence as a vaudeville act, on the same level as "performing dogs, a comedy sketch [or] a patriotic effusion" in Jefferson Hunter's words (227). At the close, he is hardly an entertainer – anything but. He has become a technological mechanism to serve others, precisely like the military technology he encodes within his memory. He has become, in short, a tragic figure, a man reduced to the status of a tool for those who care only about his usefulness to them. This man knows but does not know what he knows. He has lost understanding, instead of gaining it. He has the data, but not the meaning – he has the appearance, but not the pattern. As he dies, he repeats the information that is the reason why he is dying, downloading the illicit information stored in his unconscious. On stage, in the background behind him, a file of flashing female legs joyously dance a cancan. We literally see behind the curtain. A man degraded and exploited dies – beautiful young women dance for the titillation of men: "wretches hang [so] that jurymen may dine," as the poet Alexander Pope puts it. This kind of harsh contrast is typical of Hitchcock's British films of the 1930s.29 They have a dark even shocking directness not found in his American postwar movies (e.g., North by North West, even if it is, in so many ways, a remake of The 39 Steps).30
In North by North West, the chase – a chase across a continent (and roughly the distance between Winnipeg and Montréal) – is, finally, a penetration of Vandamm's plot, where, again, the scene that is presented to us "turns out" to be utterly different from our earlier perception of it. This shift of perception is much more complicated than merely switching from episode to episode, or even returning to a scene that is and is not the same scene. The first half of the film follows the pattern set by the superb Long Island mansion scene that opens North by North West. Roger O. Thornhill, advertising executive par excellence, has been kidnapped and taken to a splendid mansion that stands imposingly in the estate of a millionaire. Then, after its bizarre disclosures and surviving the wild alcoholic ride intended to snuff him, he returns to this mansion the next day to expose the facts. As movie fans remember, it is not the same. It is and is not what it was – everything is the same except that everything is different. Apart from the vanishing liquor cabinet, everything looks precisely as before, even if it is totally different. We are shown the same place in two succeeding episodes, the second designed to re-create the first, yet the action remains episodic, one thing after another: no penetration of the screen of appearances, no shift of consciousness, has taken place. One scene overlies the earlier one, like a palimpsest, yet there is no connection between them. Not yet, anyway.
What follows is the familiar lateral adventure, as projected by the overland train journey and the unforgettable scene in the cornfield with the truck that explodes and the airplane that crashes. The critical shift of perception is not realized visually until the end, where it is presented in the form of a vertical action, vertical in the sense both of going upward but also of going downward, in a dramatic descent. The fall from atop Mount Rushmore supplies the classic fate of the bad guy – he plunges to his death off a cliff, like Satan hurtling down to hell in Paradise Lost. The fate intended for the protagonist is the fate of the man who intended that fate. Here the action goes deeper, not merely bouncing from adventure to adventure.31 Vertical action indicates what I have called penetrative action, that is, a going deeper into the story rather than jumping along on the surface. The "screen of appearances" inverts itself; the viewer penetrates the screen and sees it from the other side.
The cornfield sequence: North by Northwest
With a "screen of appearances" the conspiracy creates a false look, a misleading appearance, juggling things into a phony version of reality. The conspiracy manipulates the screen from behind it, using it to subvert the consciousness of those on the outside of the screen, their dupes. The dupes on the outside of the screen of appearances are actually in a state of altered consciousness caused by the false look of things presented to them, a false look that is really an illusion. Those under its spell are being manipulated for the benefit of the conspiracy. This illusory condition confuses the action but also prolongs it, providing the point of the drama, which is to dispel or penetrate the illusion. Hence there is a shift of consciousness, when you go from outside the screen, looking at it and being mystified and deluded by it. Then, after you penetrate the screen and pass through it, you find yourself on the inside, and from that vantage, everything looks different and has a different meaning. Eyes wide shut become eyes wide open.32
This shift accompanies the exposure of a conspiracy, but it is also something else. It stands for or expresses something else. It is a metaphor for attaining understanding, for expanding the powers of perception. It is consciousness, but consciousness intensified. We see it in the look of fascination on the face of the sleuth as the sleuth now "remembers" the decisive clue. It is the "ah ha!" moment, when awareness shifts dramatically. It is not memory but memory transformed by an expanded understanding, when we remember – and understand what we remember in a new way. The coincidence is this moment.
In movies, lateral motion – back and forth on the screen – often projects normalcy and routine. But if you leave normalcy-routine (for example in the shift of perception when penetrating appearances), verticals make sense. "Breakthroughs" call for verticals. Or, if not vertical movement, then a shifting of the camera focus forward from the viewer into the field of vision. Shifting forward – but also the reverse: toward the viewer, from what is distant in the field of vision in toward the viewer. Hitchcock's use of dramatic vertical action at the end of his films is well known, an action that indicates resolution. Most of his outcomes include falls downward or vertical camera movement upward (even in Marnie, where the camera pans back and up in the closing scene, somewhat as the camera pans upward to the diamond drop at the end of Family Plot). Typically, in this scene someone falls off a high place (Hitchcock spares us what they look like when they hit bottom).
Compare Blow-Up. It is not an accident – not a coincidence – that Blow-Up also features such a cinematic gesture to close the film. This cinematic gesture is not a plunge downward, but a dizzying shift upward, high above the scene. The photographer shrinks into a small figure, like someone seen from a high place far below the viewer – then he disappears altogether, as if passing through the vanishing point – and vanishing. The superb sequence of the mimed tennis game emphasizes the same penetration of distance: in it, the tennis ball goes into the distance, as it is thrown, hurled, and returned, but it is a distance present only to the viewer's imagination. The spatiality of the scene, its sense of depth as the ball bounces invisibly away from us, is outstanding, because it is all in our visualizing imagination and not on the screen at all. One is going deeper into the cinematic space itself, penetrating its depths, guided by the playful energy of a tennis ball being watched with breathless interest by a crowd of clowns. Except that the tennis ball is not there at all.
"Deeper into cinematic space": Blow-up
It is, as they say, only in your imagination.
Again, the point is not to see something different – it is to see in a different way. That is what the coincidence is. What it reveals.
The protagonist in all three movies (The 39 Steps, North by North West, Blow-Up) is forced in each case to face a situation so testing that he has nothing to bring to it but his own wits. The resources available to him because of his social standing and the connections he counted on prove useless. He must penetrate the screen of appearances in order to free himself from a trap, the trap of the coincidence: being in the wrong place at the wrong time – or the right place at the right time, depending on how you see it. Hannay in The 39 Steps just happens to meet Annabella at Mr. Memory's show, and everything follows from it. Roger O. Thornhill happens to get up when the conspirators page "Mr Kaplan." Thomas just happens to be scampering around the park where "Jane" is doing something with someone she doesn't want seen. In each case the encounter is an encounter – an "accidental" meeting – with death.
Even in Blow-Up, someone has desecrated Thomas's artist sanctum, invading it in order to retrieve Thomas's incriminating photos – and indicating that he is under observation, and therefore under threat. He has committed the crime of penetrating the screen of appearances and discovering that what-seems is not what-is, and what-seems is produced by others who have something to benefit from it, as opposed to allowing what-is to be open and visible. In North by North West, the protagonist is actually in the business of constructing what-seems rather than what-is – the business known as advertising, with its deliberate, concocted illusions. He enters a concocted illusion himself immediately as the story begins, in the form of the kidnappers and the mystery mansion where he meets the even more mysterious Vandamm; the theme of altered consciousness is emphasized by the alcohol conspicuously on display in the mansion and then poured down his throat. The wild ride that follows is emblematic of the wild ride that is to come in his life, smashing the OCD routines that enclosed him, routines of executive decisions, secretaries, calendar appointments, bureaucratic meetings, bridge games, and predictability: something now in the past.
The "wild ride": North by Northwest
But that is what great movies do for us: they take us deeper into something that is far beyond the colored lights flickering on a flat screen, something far deeper than mere appearances, even if that is, coincidentally, all that they are.
All is revealed – under the sign of 39.33
Andrew, Dudley. "Adaptation." In Naremore, ed. 28-37.
Archer, Neil. "The Girl with the Dragon Tattoo (2009/2011) and the New 'European Cinema.'" Film Criticism 37.2 (Winter 2012-13). 2-22. Print.
Bluestone, George, Novels into Film. Baltimore, MD: Johns Hopkins University Press, 1957.
Cartmell, Deborah, and Imelda Whelehan, eds. Adaptations from Text to Screen, from Screen to Text. London: Routledge, 1999.
Ebert, Roger. "Blow-Up." http://www.rogerebert.com/reviews/great-movie-blow-up-1966
Edgecombe, Rodney S. "The Emblematic Texture of Antonioni's Blow-Up." Film Criticism 36.1 (Fall 2011). 68-84
Garrett, Greg. "Hitchcock's Women on Hitchcock: A Panel Discussion with Janet Leigh, Tippi Hedren, Karen Black, Suzanne Pleshette, and Eva Marie Saint." Literature Film Quarterly 27.2 (1999): 78-90.
Hunter, Jefferson. English Filming, English Writing. Bloomington: Indiana University Press, 2010.
Jameson, Fredric. "Afterword: Adaptation as a Philosophical Problem." In McCabe et al., eds. 215-234.
Kant, Immanuel. Critique of Judgment. Trans. Werner S. Pluhar. Indianapolis: Hackett, 1957.
Kunze, Peter. "Shadow of a Debt: Hitchcock's Literary Sources." Review of Palmer and Boyd, Shadow of a Debt: Hitchcock's Literary Sources. Literature/Film Quarterly 41.2 (2013): 154.
Lamster, Mark, ed. Architecture and Film. Princeton, NJ: Princeton University Press, 2010.
Lee, Sander H. "Escape and Commitment in Hitchcock's Rear Window." Post Script: Essays in Film and the Humanities 7.2 (Winter 1988): 18-28.
MacCabe, Colin, Kathleen Murray, and Rick Warner, eds. True to the Spirit: Film Adaptation and the Question of Fidelity. New York: Oxford University Press, 2011.
MacCabe, Colin. "Bazinian Adaptation: The Butcher Boy as Example." In MacCabe et al., eds. 3-26.
Mulvey, Laura. "Max Ophuls's Auteurist Adaptations." In MacCabe et al., eds. 76-90.
Naremore, James, ed. Film and Adaptation. New Brunswick, NJ: Rutgers University Press, 2000.
Naremore, James. "Introduction: Film and the Reign of Adaptation." In Naremore, ed. 1-16.
O'Casey, Ronan. Letter to Roger Ebert (February 10, 1999). https://sites.google.com/a/blowupthenandnow.com/blowup-then-now/the-ebert-interviews/ronan-o-casey-letter—february-10-1999. Accessed 10 February 2016.
Palmer, R. Barton, and David Boyd, eds. Hitchcock at the Source: The Auteur as Adaptor. Albany, NY: State University of New York Press, 2011.
Pierson, Michele. "The Object of Film Analysis." Millennium Film Journal 58 (Fall 2013): 66-72. http://www.mfj-online.org/issues/mfj-58-since-78-vol-1/#sthash.PxhYe4cC.dpuf Accessed February 2016.
Pomerance, Murray. Michelangelo Red Antonioni Blue: Eight Reflections on Cinema. Los Angeles: University of California Press, 2011.
Pressler, Michael. "Antonioni's Blow-Up: Myth, Order, and the Photographic Image." Post Script: Essays in Film and the Humanities 5.1 (Fall 1985): 42-59.
Schwarzer, Mitchell. "The Consuming Landscape: Architecture in the Films of Michelangelo Antonioni." In Mark Lamster, ed. 197-214.
Truffaut, François. Hitchcock: The Definitive Study of Alfred Hitchcock by François Truffaut. Rev. ed. New York: Simon & Schuster, 1983.
Warner, Rick. "Contempt Revisited: Godard at the Margins of Adaptation." In MacCabe et al., eds. 195-214.
Whelehan, Imelda. "'A Doggy Fairy Tale': The Film Metamorphoses of The Hundred and One Dalmatians." In Cartmell and Whelehan, eds. 214-225.
Unless otherwise noted, all images are screenshots from YouTube trailers and/or the DVD(s).
Also literature, including the most sophisticated and rarified writing. Take Henry James, for instance. The hinge of the plot of his great novel The Ambassadors is the surprise accidental meeting of Strether with Mme. de Vionnet: she is accompanied by her lover Chad, proving that she is indeed having an affair with the young man. Everything in the novel revolves around this scene – this coincidence. [↩]
Synchronicity is the subject of volume 8 of The Collected Works of C. G. Jung (Princeton UP). Perhaps the most interesting exploration of coincidence (apart from Jung) is The Roots of Coincidence, by the novelist and political philosopher Arthur Koestler. [↩]
For many people, 13 is the unlucky number, but for some, it is a "lucky" number. 13 is the number of revolution, traditionally, so perhaps those who like things the way they are find it unlucky, while those who want change find it to be their number. For more on this, see my book 13 Ways of Looking at Images (and the poem by Wallace Stevens, "Thirteen Ways of Looking at a Blackbird"). [↩]
Forgotten, that is, by the general public. Academics and scholars would not forget or ignore Buchan. [↩]
Buchan was a good writer for the kind of genre he was working in, but he had no pretensions as a great novelist. An important English politician and diplomat, Buchan – Lord Tweedsmuir – was Governor-General of Canada until his death in 1940. A vast wilderness park in British Columbia, Tweedsmuir Provincial Park, is named after him. [↩]
Another example of this phenomenon, though not by Hitchcock, is Lost Horizon, the great Capra film of 1938 (not the annoying remake). The movie version of Lost Horizon is far superior to the James Hilton novel, in terms of impact and scope. Pomerance compares Antonioni to Hitchcock on Hitchcock's use of sources (238). In many respects Antonioni was similar in his approach to sources, dramatically changing the original Cortázar story upon which Blow-Up is based. [↩]
Hitchcock's attitude toward his sources is well expressed in the collection of interviews he did with François Truffaut, the one indispensable book relating to Hitchcock. Sources are to be read, selected for the scenario they suggest, and then discarded. See James Naremore, "Introduction" 7. [↩]
John Buchan is an interesting figure for many reasons; probably his most important novel, apart from The 39 Steps, is Greenmantle, a thriller of interest today because its plot concerns Muslim extremism. The 39 Steps is not a book one is eager to reread, unlike Hitchcock's version, a movie which can be screened repeatedly without any loss of interest. [↩]
For a useful survey of Adaptation Theory and its travails, see Colin MacCabe, "Bazinian Adaptation" 3-26. The issues are complicated, as the existence of the Association of Adaptation Studies indicates (not to mention its Journal of Adaptation Studies) – issues too complicated to be more than touched on here. The one thing that Adaptation scholars seem to agree on is that film studies have been contaminated by literary studies. In "the ordinary process of mutation from a linguistic to a visual medium," as George Bluestone puts it (162), the critical, common factor to keep in mind is that both text and film depend upon mental images: the form/trans/forming of mental images. In Dudley Andrew's words, "imagery functions equivalently in films and novels" (34). [↩]
Janet Leigh, star of Psycho, was one of many who observed this method of Hitchcock's close up as he was working. See Greg Garrett, "Hitchcock's Women on Hitchcock: A Panel Discussion with Janet Leigh, Tippi Hedren, Karen Black, Suzanne Pleshette, and Eva Marie Saint." [↩]
As Murray Pomerance observes, "It is immaterial to an analysis of Antonioni's method and effects to dwell at exceeding length on the transformations he effected from his source materials: rather like Hitchcock working with literary sources to which he felt no compulsion to be faithful, he sees in literary works the necessary skeletons upon which he can build his films. . . . What Antonioni retains of this [Julio Cortázar's original story] is the mystery of the photograph that contains multiple meanings, the photographer hungry to photograph, the idea of the sexual setup, the contrast between one apparently blissful eventuality and another that can be taken to be darker" (238). [↩]
Antonioni's style, like Hitchcock's, emphasizes the play of imagination – in Rick Warner 's words, "the innovations of Michelangelo Antonioni (the relentless play of frames within frames, the 'autonomous mediating gaze' of the camera, the 'inquiring detachment' that regards incidental details as elements of suspense)" (199). [↩]
Fresh from North by North West, Hitchcock was then, in the 1960s, at the peak of his fame and his creative power. [↩]
http://en.wikipedia.org/wiki/Blowup#cite_note-19. Wikipedia cites an article in The Independent ("On the Trail of the Swinging Sixties" by Robert Nurden): http://www.independent.co.uk/travel/uk/on-the-trail-of-the-swinging-sixties-415444.html. Mark Lamster emphasizes Antonioni's fascination with buildings and real places: "Unlike such architecture films as Metropolis (1927) . . . the architecture and landscape explored by Antonioni are real" (198). [↩]
See Ian Bolton for photos of sites in the movie, then and now. [↩]
Rodney S. Edgecombe details the puns (including visual puns), and he draws attention to the number 39, but as "an ancestral voice prophesying war" – that is, 1939, not the Hitchcock film (8). [↩]
"Parts of the film have flip-flopped in meaning. Much was made of the nudity in 1967, but the photographer's cruelty toward his models was not commented on; today, the sex seems tame, and what makes the audience gasp is the hero's contempt for women." His identity as aggressor, not simply consumer, is conspicuous. [↩]
A lot of the mysteries of Blow-Up look less mysterious when an important fact is acknowledged: in the words of Ronan O'Casey, "Of course it was mysterious; it was never finished!" [↩]
And much noted by deconstruction-minded critics. [↩]
39 is traditionally a year of crisis, because it marks the end of youth and the beginning of middle age. 39 is the age that women have a reputation for finding especially difficult to let go of. It is the perpetual age of the great comedian Jack Benny. Once you are 40, you are no longer young. The number 39 is a number often related to female body shape. [↩]
In fact, most detective fiction works with – or depends upon – coincidence. A notable example relevant to Blow-Up is Raymond Chandler's great book The High Window, where someone has accidentally photographed a murder. [↩]
Curiously, there is another 39 movie, the 2009 film Glorious 39, directed by Stephen Poliakoff. Its period is the same period as The 39 Steps – the lead-up to World War II. While Glorious 39 draws on the genre of The 39 Steps, it is closer to the conventions of horror, especially Rosemary's Baby, which the director acknowledged as a major influence on his film. Hitchcock would never have made euthanizing cats (as Poliakoff did in Glorious 39) a significant part of his movie! Another 39 movie is Zone 39 (1996), a sci-fi movie directed by John Tatoulis, which I have not seen. [↩]
Hitchcock works partly in the "classical" Hollywood mode – and partly not, thanks largely to his training in German Expressionist filmmaking. David Bordwell argues that European cinema was shaped by its opposition "against the classical narrative mode" ("The Art Cinema as a Mode of Film Practice" 95). Both Hitchcock and Antonioni are stylistically distinctive, no doubt because of their non-American training and origin. [↩]
This kind of hurried movement is basic to TV commercials, even more so, where the pull on attention is designed to be hypnotic, something viewers cannot take their eyes off of. For a good director, the movie tempo of hurried movement is to hold attention – not assault it. [↩]
In Roger Ebert's words, "a British audience would have known they were participating in the ritual known as 'rag,' in which students dress up and roar around town raising money for charity." [↩]
Imelda Whelehan calls it "the determining language of the visual image" (145). [↩]
Of course, the actual nature of what we are seeing/experiencing in film remains a disturbing question: "we know that film analysis cannot but produce a new object: the film as scholar, reviewing it at close range, and in the light of a research question, an idea sees it. Less clear is the relationship between this new object and the film screened for an audience" as Michele Pierson puts it (70). For instance, because the new technology allows us to see the film in a new way it has never been seen before (frame by frame, with easy enlargement) it creates a whole new object – different from what movie goers experience. Hence, to quote Rick Warner again, Antonioni's "relentless play of frames within frames, the 'autonomous mediating gaze' of the camera, the 'inquiring detachment' that regards incidental details as elements of suspense" (76). [↩]
Thomas's behaviour makes his "winner" mentality look ridiculous, while emphasizing what Barry Keith Grant refers to as "the construction of 'natural' behavior in American screen," in which "acting is just that – a construction" (36). Thomas is masculine without being macho: this is not a man who has spent a lot of time in the gym with personal trainers lifting weights. Indeed, he represents what Laura Mulvey, calls "contrasting iconographies of masculinity" (76). [↩]
For example, the Swiss Alps of the original version of The Man Who Knew Too Much are a tourist destination: a symbol of the social status of the upper middle class, the class of the family whose child is kidnapped – a location quite different from the alien emphatically un-American Morocco of the 1956 remake. [↩]
The same contrast between those two movies also appears between the two versions of The Man Who Knew Too Much, where the British film of the 1930s is moving in a world of fascist crisis, and has little time for singing pop songs, let alone for exotic tourist destinations, so conspicuous in the 1956 remake of The Man Who Knew Too Much. The Switzerland we see at the beginning of the earlier Knew Too Much is hardly exotic: it borders Hitler's Germany, and the shadow of a sinister presence is felt in this film, as it is felt in the even more sinister Secret Agent also. Hitchcock's British films, unlike the American ones to follow, have the backdrop of growing crisis and imminent war; the American films by contrast all partake of what the sociologist C. Wright Mills called "the great American celebration." The remake has a different tonality altogether. Unlike the American movies, a deadly seriousness informs the earlier films and is particularly noticeable in the way they close. [↩]
The imagery of statues of American icons, the size of a mountain – Washington, Lincoln, Jefferson, Teddy Roosevelt – suggests a | 7,591 |
boardgame prototype
Analog catch-up
Agent Decker, Blight Chronicles, boardgame prototype, competition, Cortiça, event, Fortune Tellers, media
So much has happened since the last post, I thought I'd do a couple posts to catch up. This one is about my analog projects, in chronological order:
January 7th: I gave my first talk! I was one of the speakers at Run for the Border 2020 in Dundalk along with Jordan Bradley, Pete Mc Nally and Donal Philips. It was a short talk called "So, you've designed a board game. Now what?". It was about the different paths you can follow in order to get your game published, with the suggestion of using print and play as a way to grow an audience before either showing it to a publisher or trying to release a full/premium version of your game.
I'm<|fim_middle|> about scrolling the line at maximum speed. Something that is coming in your direction.
I've got just the thing: bullets!
The final piece of this puzzle creates interesting dilemmas, which I'll cover in the next article.
SUPERHOT: The Card Game is coming to Kickstarter very soon. You can stay up to date by subscribing to the newsletter.
8 de January de 2017 28 de January de 2017 Manuel Correia 2 Comments | not used to public speaking so I must have made all the newbie mistakes but the reaction was very positive and I would like to do it again.
Excellent talk from @gamesbymanuel with pro advice about getting your board game published at #RFTB2020 pic.twitter.com/HvFFEyxN65
— Ellen Cunningham 💖💜💙 (@ephemerellen) January 17, 2020
Thank you Ellen!
May 13: Agent Decker was featured by Shut Up & Sit Down! During the quarantine they've started looking at both solo and print and play games and they noticed mine! I've been a fan of theirs since their first video nine whole years ago, so this was an honor.
"On the off chance that you've not played a deckbuilding game before I would say print off Agent Decker immediately." – Quintin Smith
July 27: It was a long journey but I finally have my copies of Blight Chronicles: Agent Decker. Nine months after the backers got theirs so I might have been the very last person to get one. Board & Dice decided to make it a kickstarter exclusive after the campaign was over so unfortunately you won't find it in stores but there is the option of getting the print and play version online.
They even sent extra goodies like the add-ons, playmats and the smaller version!
On the same day I submitted my first entry in a Button Shy design contest, but that deserves its own blog post. Soon. 🙂
Oct 2: Recently I felt inspired to go back to Fortune Tellers. This is a prototype I was working on 7 years ago. At the time the mechanics had some issues but I was enamored by the theme. Now that I have a bit more experience I might be able to do something with it, even if it means I have to scrap the mechanics and start fresh.
This is what it looked like back then.
I can't stop thinking about this game. I don't know of others like it, which makes me feel like I am on the verge of creating something original and that feeling is so great that I want to share the process with you. Step one was bringing the blog back to speed.
10 de October de 2020 10 de October de 2020 Manuel Correia Tagged Agent Decker, Blight Chronicles, Cortiça, Fortune Tellers, talk 3 Comments
One step forward, two steps back
boardgame, boardgame prototype, game design, playtest, Public Squares
Want to know what's been happening with Public Squares?
1 – Rules and scoring systems
I've been experimenting with sets of rules and scoring conditions to motivate the players to create patterns, and it's dawning on me why I haven't really seen other games attempting this. Even though the brain is great at spotting patterns, turning them into an elegant, intuitive rule set is not easy. If you're not careful there will be optimal patterns and every grid will end up looking very similar.
Ideally the players should be able to rotate shapes and patterns, even mirroring them across the grid. I created a few rule sets which do this in theory, but scoring them at the end of a game took as long as the game itself and resulted in three digit scores. Exhausting!
2 – Shapes
One of the core concepts for Public Squares is to use the pips of standard six-sided die as the shapes that fill the grid. When you take a die you can use a hammer to chip away blocks you don't want, and then draw the remaining shape.
After playing just a couple games, I began to notice a pattern. My largest area was ALWAYS composed of repeated X shapes.
Looking at the die faces it's obvious why. Out of the 6 possible shapes, 5 of them help you make an X! Even without modifying the shapes, you can get an X by combining 1 and 4 or 2 and 3, making it a safe bet.
It would be easy to create six new shapes which correspond to the numbers, but then the game would lose one of its unique features. Fortunately I have a few ideas on how to deal with this one!
3 – Other Games
One of the ways to test rules systems is to cut most of them and bring them back one by one, to see where they break. I always learn something when I do this, and would suggest you to do the same.
While experimenting I stumbled on a couple of rule sets which were a lot simpler but showed promise. I tried them out and they were fun!
That evening I found not one but TWO games which use the same concepts:
Criss Cross (Reiner Knizia): Roll two dice, draw the resulting symbols orthogonally adjacent on your grid. In the end, check how many times each symbol appears in each line and column to know how much that line/column is worth. Add them up to know your score.
Mosaix (Christof Tisch): Roll four dice, arrange them into a shape (reminiscent of a tetramino). Every player fits them in their grid. Their goal is to create several big areas composed of the same symbol.
This was eye-opening. These games are so close to my goal that I'll have to take a few steps back and find a new direction for it.
Glad I found them so early in the process!
23 de June de 2019 23 de June de 2019 Manuel Correia 1 Comment
Public Squares
Last week I woke up at 5 in the morning with an idea for a roll and write game about Portuguese cobblestones. How could I ignore it?
In Portugal the ground is paved with limestone, often in intricate patterns that go from geometrical to historical. These are so common that, in their routine, most people forget to look down – myself included.
I only started appreciating them when I left the country and saw how grey and monotonous foreign sidewalks were.
The main concept of the game is:
Each player is in charge of their own square, which they will decorate using the patterns they rolled. Players take dice, chip pips away using a hammer and draw them on the sheet. Negative space is important, as players score by creating patterns.
How does that sound?
I'm calling it "Public Squares" for now, a suggestion from Carlos Leituga!
This is very different from the other games I've designed so far but that's part of the appeal for me. So much hinges on the scoring system, but that's a topic for a future post.
23 de May de 2019 Manuel Correia Leave a comment
Game news!
Agent Decker, Blight Chronicles, boardgame, boardgame prototype, Multiuniversum, Project Cthulhu, Superhot
Here's a recap of news that have been shared in other social media over the last months:
SUPERHOT: The Card Game has been released in China thanks to Super Banana Games! It's amazing to see my games travelling to countries where I've never been.
Multiuniversum: Project Cthulhu was reprinted! When the Kickstarter launched it was meant to be exclusive, but it sold out rather quickly due to its great reviews. You no longer have to go insane looking for the last copies, just check Board & Dice's shop!
One of my favorite things about print and play is that it allows (and even motivates) the players to get creative and if they love the game some players take their copy to the next level. Look at BGG user BulldogBite's awesome Agent Decker build!
Blight Chronicles: Agent Decker
As for the progression of the development and design perspective, we're almost there, and we can see a bright light there at the end of the tunnel. On that note, we're working hard with David Decker while Zoe and Hideaki are waiting for their turn since we want to have a solid base game before inviting other agents on the mission.
Since working on a game with multiple paths is challenging and we had to develop our own tools to be able to work together from different countries. One tool allows us to access an editable version of the cards at any time, without depending on software licenses and the other allows us to save the game. Saving allows us to "load" the game from that point instead of having to restart every time, and helps us see which cards we picked on our most successful runs.
Now let's get back to work!
4 de November de 2018 4 de November de 2018 Manuel Correia Leave a comment
Blight Chronicles Designer Diary 2 – Your Mission
Agent Decker, Blight Chronicles, boardgame, boardgame prototype, crowdfunding, designer tips, game design, Superhot
Missions are a key part of Agent Decker.
The original game had a fixed sequence of five missions:
Agent Decker (full art version) by Sara Mena
For added variability SUPERHOT: The Card Game ditched the fixed sequence and instead had a deck of goals to draw from. The further you are in the levels, the more goals you draw.
SUPERHOT: The Card Game by Paweł Niziołek
Due to its heavier focus on story and progression, Blight Chronicles needed a new system.
First let's clarify the terms: in this game "Mission" refers to the whole campaign, which is divided into "Stages". Stages define the goals you'll have to complete in order to progress through the Mission.
One of the challenges of letting the players customize their own deck throughout the game is that, depending on the player's choices, some goals might become too easy and there's even a risk of them being solved instantly once the setup is done. This, combined with our motivation to make the goals more challenging and engrossing, lead to the current system:
Multi-goal stage cards!
Blight Chronicles (work in progress), artwork by Ramses Bosque and graphic layout by Paweł Niziołek.
As you can see, the goal is "Discard 6 Mixed resources to jump over the fence", but did you notice the 1-star requirement before it? That means you can't complete it right away.
You see, before the start of the stage a briefing will inform you that you'll need a pair of Night Vision Binoculars in order to keep a low profile when infiltrating the enemy complex.
As part of the setup for the stage the binoculars are in the Obstacle Deck and will eventually make their way to the line. When you manage to eliminate the Guard House you get two things:
The Night Vision Binoculars, an item that you can use from now on.
A star token (currently named Event), which is placed on the Stage Card.
Now that the requirement is met you can finally complete the goal!
I won't spoil the other goals but I hope you can see the potential of this system! We're having a lot of fun coming up with different ways to use it.
"Special Setup"? "Visibility"? What could those other icons mean? Stay tuned for the next Designer Diary!
4 de March de 2018 4 de March de 2018 Manuel Correia Leave a comment
Blight Chronicles Designer Diary 1 – Expanding Agent Decker
Welcome to a series of posts about the design and development of Blight Chronicles: Agent Decker, the expanded official release of Agent Decker, published by Board & Dice.
Agent Decker's campaign is designed around a sequence of five missions.
The good part is that they give the players new objectives along the way, forcing them to adapt as they're gradually forced outside their comfort zone. The bad part is that this only works once. Once you know the missions and how to beat them the mystery is gone and you can prepare for them in advance.
– From "SUPERHOT: The Card Game – Designer Diary 3"
The design for Blight Chronicles started from that very problem and arrived at different solutions, for three reasons:
Story: While it seems subtle on the surface level it is an important part of the process because it informs the design of every card.
Progression: The feeling of progression where you're gradually facing stronger obstacles as your gear (hopefully) improves.
Relevance: The original Agent Decker files are still available online and Superhot: The Card Game is in stores, so why would you play this one instead?
The obvious solution to increase replayability was to leave the obstacles deck untouched and simply increase the amount of goals you need to complete. Instead of a fixed sequence of 5 missions you would have multiple goals for each mission. During setup you shuffle their pile and draw one for each – face down so you can't fine tune your deck in advance.
Simple!
The thing is, this time I am not designing alone.
This is a co-design with Matt Dembek, who was so inspired by the original game that he wanted to expand it in pretty much every aspect. I can't wait to tell you what we're working on, starting with how we changed the missions.
Blight Chronicles: Agent Decker is coming to Kickstarter soon!
25 de February de 2018 25 de February de 2018 Manuel Correia Leave a comment
Agent Decker, Blight Chronicles, boardgame, boardgame prototype, crowdfunding, Multiuniversum, Superhot
Hello everyone! You won't believe how much has happened since my last post. Here are the highlights, one project at a time:
Zee Garcia from The Dice Tower reviewed Multiuniversum and gave it a Seal of Approval. What an honor! I've been watching their reviews for years and this was a definitely a career milestone.
As if that wasn't enough, it also got the Silver Medal at Gamelympics' "Best Hobbies of the Future" category in Boardgame Blender (39:20)!
Thanks to Grey Fox Games Multiuniversum is making its way to the USA, featuring a new cover and these cool new scientist meeples. I want one!
BGG user canglingy wrote this fun thematic interpretation of Multiuniversum.
BGG user Thorin2001 created a Microbadge on BoardGameGeek!
SUPERHOT: The Card Game
I demoed Superhot tirelessly at Essen 2017. It has been getting a lot of reviews both in video and in text but this is my favorite so far.
BGG user jorl created a Microbadge on BoardGameGeek!
Agent Decker
Board & Dice released a version of Agent Decker with brand new art by Paweł Niziołek. You might recall it was one of the stretch goals from SUPERHOT: The Card Game's Kickstarter campaign and the fans are loving it online! It's at 768 downloads at the moment. The number went up as I wrote this post.
Meanwhile the original version of Agent Decker has been downloaded 10.103 times from the itch.io page! What's your favorite version?
My next project was announced and its name is Blight Chronicles: Agent Decker. It's my first co-design, along with Matt Dembek from Board & Dice. I'll be revealing more information about this one soon and you can get the latest news by subscribing to its BoardGameGeek page.
SUPERHOT: THE CARD GAME – DESIGNER DIARY 3
boardgame, boardgame prototype, crowdfunding, designer tips, game design, Superhot
Being a print-and-play game the players would have to assemble it before playing, so I wanted to keep the card amount fairly low. Instead of adding more goals I added a high score system. The first goal is to beat the campaign and the second, if the players want to, would be to beat their previous high score.
This lack of replayability was one of the first things I wanted to address in SUPERHOT: The Card Game.
In the original videogame the main objective is to kill every enemy in the level. That's where my design started, but I quickly ran into three problems. First, it's easy to lose track of how many enemies are left in the deck, and I didn't want the players to stop playing to flip the deck over and count. Second, being a deckbuilding game there was the risk of a player simply adding all the enemy cards in his/her deck in a previous level, preventing the completion of the next one! Third, having a single objective got very repetitive, even if the enemy total would increase throughout. It nudged the players towards building one specific type of deck, ignoring everything else you could do in the game.
To fix this I had to steer a bit away from the original game. Varied goals were added, aimed at exploring the game's mechanics and obstacles while keeping within the focus of the game: manipulating the level, the enemies and the flow of time. The goals can now be shuffled to give the players a different sequence every time, keeping players on their toes.
This meant I had to rethink each goal's difficulty. Agent Decker's fixed sequence let me control the pace at which the difficulty increases. This system doesn't. The goals have to work whether they show up at the start of the game or further along, when the challenge is meant to have ramped up.
The solution was simple: more goals!
Draw 1 goal for Level 1
Draw 2 goals for Level 2
The difficulty comes from the time flow mechanic and the bullets.
The core structure of the game had to change as well. Once a planned sequence of goals where from time to time new cards are added to the deck, now the obstacle card had to be designed for versatility.
To extend the replayability that ramp had to be replaced by a more open design. The cards became a series of dots which the goals ask you to connect into different shapes.
SUPERHOT: The Card Game is on Kickstarter right now! It was funded in the first three hours and is currently at 703% of its goal.
8 de February de 2017 10 de February de 2017 Manuel Correia 1 Comment
boardgame, boardgame prototype, designer tips, game design, Superhot
In the last post I wrote about the time flow, one of the main mechanics that bring SUPERHOT to life in the card game. Now let's talk about the glue that holds it together: the bullets!
Bullets are an ever present threat in the original videogame. Pick any random moment in the game and the odds are you're reacting to a swarm of bullets flying in your direction. If a single one hits it's game over and you have to replay the level.
The most intuitive solution is to dodge, but you must be careful. Time advances with every step you take and dodging a bullet can mean three others just got closer.
Time goes hand in hand with the bullets, but how do they work in the card game?
At the end of the turn the enemies in the Line will shoot. These bullets will go to the objectives discard pile. That's right! The bullets don't go straight to the Line. Just like the original videogame, you have some time to deal with bullets from distant enemies before they come back to haunt you.
When the obstacles deck runs out you shuffle their discard pile to form the new one and from this point onward bullets will sneak into the Line.
If a bullet leaves the line it will go straight into your hand – and stay there. This is a big problem because it has no use, takes up space and blocks you from drawing new cards at the end of the turn. If you get hit by four it's game over!
You might notice it takes four bullets to die when in the videogame one is enough. This is where I had to bend the rules. In the videogame you push a button and the level instantly resets. In a second you're back in the action. In the card game you would have to separate the cards and go through the setup again. Three minutes, maybe?
That's too much. It's punishing and it makes the players dwell on their mistakes rather than give them the will to try again. Making the bullets a growing hindrance instead of the end game also let me bring a key aspect from the videogame, but I can't mention it without spoiling!
SUPERHOT: The Card Game is coming to Kickstarter very soon. The campaign preview is already up, and I'd love to hear your feedback!
28 de January de 2017 Manuel Correia 1 Comment
SUPERHOT is a first person shooter in which time only moves when you do.
I'd like to tell you how I brought that core mechanic to SUPERHOT: The Card Game.
If you look at it closely, SUPERHOT is pretty much turnbased already. The super slow motion gives you time to look around and plan your next move, and the choice of when to speed it up is in your hands.
The mechanics in SUPERHOT: The Card Game are based on Agent Decker, whose core systems are deckbuilding and mission progression. The main thing that didn't fit the theme was the Alarm, which is the main threat and the source of the hardest decisions.
This was the perfect time to bring in SUPERHOT's core concept: "Time moves only when you do".
At the center of the table there's a line of six cards. They represent where you are, what you see and which enemies are there. Using the cards in your hand you can destroy or knock them out, changing the line.
In the following example you have used two cards from your hand. This means the last two cards in the line will be discarded at the end of the turn.
The remaining cards will scroll to the right and the line will refill back up to six cards.
It's up to you. Use one card and the line barely moves. Use your whole hand and it can change radically. Time moves only when you move.
This change worked in both a mechanic and thematic thematic sense but without the Alarm we needed a new source of tension. Something to make the players think twice | 4,595 |
Media Mention: Derek Allen Talks Asheville Beer Week with Mountain Xpress - Ward and Smith, P.A.
Allen frequently partners with Bottego and Stacy Cox, N.C. Alcohol Law Enforcement special agent in charge, to offer educational resources and staff training to area breweries, bars and restaurants, with public safety being the paramount priority for everyone involved.
According to Bottego, large beer events such as the Beer City Festival can be of particular concern to law enforcement as the conjunction of<|fim_middle|> industry professionals and consumers are uniformly well-informed on the letter of the law, it's up to the individual drinker to enjoy Asheville beer responsibly. | crowds and alcohol can create an environment in which people may be more prone to act out.
The cooperative relationship among law enforcement, local businesses profiting from alcohol sales and the craft-beer consuming public is critical to the continued economic growth of Asheville's beer industry, and Allen points out that ongoing collaboration is in the best interests of all involved. While community leaders such as he and Bottego go to great lengths to ensure that | 85 |
*sparks* blog
The latest and greatest happenings at<|fim_middle|> in conferences or meetings, I would be doodling and designing and think, 'This would make a cool book cover or jewelry.'
After retiring, Bette found her passion for art. She learned and honed her skills through attending various workshops and art retreats and from getting to know other artists. One of the artists she met had a deep passion for books and book making and eventually became one of her best friends. Since then, Bette's favorite material to work with has been paper, used to make her handcrafted journals.
"If I had to only do one thing, I would probably just do that, though I can't do just one thing. If I get stuck or am in a stump of what to do, I'll always fall back and make a journal."
Bette is open to many different art forms and often mixes different materials together. Combining found objects, antiques, paper, and metal in her artwork gives it a unique appeal. Her art is one of a kind.
In addition to her journals, Bette enjoys painting, metalsmithing, resin, jewelry making and more. She loves to find new ways to create art, and has a special fondness for all things rusty and vintage.
With a variety of mediums comes a variety of tools, and Bette has a lot of them, each with their own special purpose and contribution to her work.
"I couldn't live without my tools, whether they be jewelry making tools, paintbrushes, drills, sanders, or any number of things," she said, "I even have a t-shirt I bought one time with art friends that says 'tool whore' on it."
In this season of thanksgiving, Bette is grateful for the tools that allow her to create her art and the support and encouragement that she receives from her art friends. From drawing inspiration from them, to collaborating with them, it's clear that these friendships have made an impact on her art career, though she wouldn't consider it a job.
"I knew I was never going to make money to support myself being an artist, so I do it for the joy of doing it. If it started to become a job, I would probably quit, all of it," she said. "As for Art Collective, just being able to have your art on display and being able to sell it and have people appreciate what you have there, that's always rewarding. It's rewarding when people come in and even just admire your artwork. It's rewarding in the sense that people look at it like in an art gallery."
Stop into the shop or set up a virtual shopping appointment to see Bette's work. You can also find her at www.bettescreations.com or www.instagram.com/bettescreations/. | Art Collective
in historic downtown Frederick, Maryland.
Get to know Bette A. Brody, Artner & Manager
Bette Brody has been a part of Art Collective since November 2018 and is affectionately known as the shop's "Artner" and Manager. A self-taught mixed media artist, she became involved with Art Collective after meeting owner Chelsea *Sparks* at Artomatic Frederick, an annual event for artists.
Bette specializes in handcrafted journals and books, paper design, mixed media, and unique jewelry. She did not become a full time artist, however, until she retired from the corporate world.
"A lot of people will say that they have done art their whole lives, but that wasn't me. I started late and it was all because I wanted to make a book and the paper to go in it, and then one thing led to another..."
Bette spent over 30 years working in IT at IBM and it was in corporate meetings where she found her initial inspiration to become an artist later in life.
"When I was working in the professional world and was | 228 |
National Traceability Project
Agricultural Trade Matters
Market access achievements
Australia-China Agricultural<|fim_middle|> and expertise to the project. This will help inform the National Traceability Framework and action plan.
Meet the critical friends and hear their thoughts on traceability.
Download
Transcript DOCX 1 24 KB
If you have difficulty accessing these files, visit web accessibility for assistance.
Their role
The role of the critical friends includes:
participating in working group meetings to stimulate broader thinking
engaging with agricultural industries (organisations and companies) to understand their systems—identifying areas for collaboration and links to government systems, drawing out potential road blocks
participating in national workshops/meetings that inform the policy development process
being available to provide advice to agriculture ministers on the national framework and any associated issues.
The three critical friends for the Traceability project are:
Tania Chapman –Chair of the Voice of Horticulture. Tania has been involved in the horticulture industry for many years, including as a citrus grower.
David Crombie –beef producer in Southern Queensland. David has been part of the beef industry for many years, including holding office with Meat and Livestock Australia and the National Farmers Federation.
Hermione Parsons –Industry Professor and Director of the Centre for Supply Chain and Logistics at Deakin University. Hermione has also worked with the Port of Melbourne and the horticulture industry.
Industry input is critical to the success of this project. It will ensure it is truly an industry-government initiative.
Engagement activities will include:
workshops and meetings with key industry bodies and individuals
project updates on this page.
For more information, or to register your interest in this project, please contact Traceability Project
1 International Organization for Standardization – ISO 22005:2007, traceability in the feed and food chain—general principles and basic requirements for system design and implementation | Cooperation Agreement (ACACA)
Feeding the Future - a joint report
China-Australia Joint Framework on Agricultural Cooperation
Free trade agreements (FTAs)
National Traceability ProjectCurrently selected
Overseas posts network
Sanitary and phytosanitary measures
Australia's SPS contact point
WTO SPS agreement: why you need to know …
Technical barriers to trade
Improving agricultural export legislation
Export Control Bill 2017
Export Control Rules
Consultation Draft Export Control Rules 2020 – Meat and Meat Products
Agricultural Export Regulation Review
Useful legislation links
2030 Agenda and Sustainable Development Goals
Fourth Australia and the Philippines Agriculture Forum
Preparing for Brexit
Our current agricultural traceability systems have recently been assessed and found to be meeting current needs. This project is about enhancing our traceability systems for the future.
The Agriculture Senior Officials Committee (AGSOC) National Traceability Project involves two stages:
Stage 1 commenced in November 2017. It assessed the current state of the Australia's agricultural traceability systems, across most agricultural commodities, and reviewed global drivers for the future.
Stage 2 commenced in October 2018. It involves the development of a National Traceability Framework and Action Plan for enhancing Australia's agricultural traceability systems.
Developing a national traceability framework
The second stage of the project is underway.
In the second stage, the working group, in consultation with industry, is developing:
a National Traceability Framework
an Action Plan to put the framework in place.
Consultation has now closed.
We sought feedback on the action plan template and the National Traceability Framework.
The Traceability Working Group is considering your feedback.
Read more about the consultation process on Have Your Say.
Agricultural industries will work closely with the Traceability Working Group to populate the action plan template. The final version will be published on the Department of Agriculture' website in due course.
Traceability is the ability to follow the movement of a product through stages of production, processing and distribution (ISO 2007).1
Australia's agricultural traceability systems include all government regulation and industry arrangements that enable tracing of agricultural production and products, back and forward along entire supply chains. At each step in the supply chain, participants should be able to trace one step forward and one step back.
Why is traceability important?
Consumers and trading partners want to know more about the products they buy. Including information about:
animal and plant pest and disease status
social matters such as sustainability, and animal welfare practices.
Good traceability supports claims made about food.
Australia has a reputation for exporting safe products that meet importing country requirements, and producing safe food for domestic supply.
This project will further enhance the integrity of our systems.
Many Australian agricultural producers and exporters already realise the commercial benefits of enhancing traceability. It improves competitiveness and provides assurance for customers.
Traceability Working Group
A cross-jurisdictional Traceability Working Group, led by the Commonwealth, with membership from the states and territories, is developing a national approach to Australia's traceability systems. Members of the Traceability Working Group are listed below.
The Department of Agriculture is supporting the Working Group as the Secretariat and the point of contact for stakeholders.
Ms Ann McDonald Assistant Secretary, Trade and Market Access Division, Department of Agriculture
Ms Jo Laduzko Assistant Secretary, Biosecurity Policy & Response, Department of Agriculture
Dr David Cusack Manager, Food Standards and Programs
NSW Food Authority, NSW Department of Primary Industries Biosecurity and Food Safety
Ms Deb Langford Director, Market Access, Agriculture, Food and Fibre Division
Department of Economic Development, Jobs, Transport and Resources
Mr Malcolm Letts Acting Chief Biosecurity Officer, Biosecurity Queensland
Department of Agriculture and Fisheries
Dr Peter Gray Director Livestock Biosecurity
Department of Primary Industries and Regional Development
Dr John Virtue General Manager, Policy, Strategy & Invasive Species, Biosecurity SA, Primary Industries and Regions South Australia
Mr Chris Lyall Manager (Product Integrity), Chief Inspector of Primary Produce Safety, Department of Primary Industries, Parks, Water and Environment
Ms Sarah Corcoran Executive Director, Biosecurity and Animal Welfare
Department of Primary Industry and Resources
Dr Wendy Townsend Chief Veterinary Officer, ACT
Stage 1 – review of current systems
Australia's traceability systems were reviewed for all agricultural commodities, such as food, animal feed, fibre, and timber.
In the first stage of the review the working group:
considered the current state of Australia's agricultural traceability systems, across most agricultural commodities
took a stocktake of current arrangements
reviewed global drivers for the future.
Research was mostly desk-based.
Read the Enhancing Australia's systems for tracing agricultural production and products report of stage 1 findings.
Findings include:
Our current traceability systems meet our domestic needs and those of our trading partners.
There are differences in the sophistication of systems between various industries, mostly due to their varying food safety and biosecurity risk, and the market access requirements of trading partners.
We have an opportunity to enhance our traceability systems to ensure we are prepared for any future changes in requirements, and also to provide all of our exporters with a competitive advantage.
Stage 1 is now complete.
Critical friends of the Traceability Project
The National Traceability Project and working group are supported by three industry experts. They have been appointed as critical friends for the Traceability Project.
The critical friends will provide their industry experience | 1,120 |
Bradenton Beach signs interlocal agreement for jitney trail
A conceptual drawing from Emily Anne Smith, hired by the Bradenton Beach Community Redevelopment Agency to provide an aesthetic vision for the district, depicts the jitney that is proposed to shuttle people between parking at Coquina Beach and shops and restaurants on Bridge Street. Islander Courtesy Graphic
The pieces are coming together for the Bradenton Beach Community Redevelopment Agency jitney trail.
CRA members voted 5-0 Oct. 22 to direct city attorney Ricinda Perry and city engineer Lynn Burnett to finalize an interlocal agreement with Manatee County allowing the agency to reconfigure a section of Coquina Beach, as well as parking along Gulf Drive at Cortez Beach, to accommodate the trail.
The motion also authorizes Burnett and Perry to finalize a white paper proposal for the project, as well as make a public presentation to the county commission if necessary.
CRA members David Bell and Commissioner Randy White were absent with excuse.
The CRA promotes restoration, growth and tourism for the district — bordered by Cortez Road, Sarasota Bay, Fifth Street South and the Gulf of Mexico — by funding capital improvement projects with incremental tax revenue collected by Manatee County since the area was declared blighted in 1992.
The agency includes the mayor, city commissioners and two appointed members — restaurateur Ed Chiles and Bell, a full-time resident of the district.
The jitney project would provide alternative transportation and parking for the district by creating a trail alongside Gulf Drive for the jitney from Coquina Beach to Bridge Street. The jitney would shuttle people between the two locations.
Brian Rick, communications specialist with the Florida Department of Transportation, District 1, wrote in an Oct. 25 email to The Islander that the jitney trail would be part of a preliminary design and engineering study on Gulf Drive in the DOT's upcoming five-year work plan, but it has yet to be approved for funding.
However, that's not stopping the CRA from moving forward with the project.
"If we wanted to wait and have DOT fund everything, and apply for grant funding to have everything accomplished five or 10 years down the road, and not spend any local dollars advancing the effort then, yeah, it would delay it," Burnett told The Islander in an Oct. 25 interview. "But the CRA board has already allocated money towards it."
Burnett added that county administrator Cheri Coryea indicated the county would support reworking its concessionaire agreement with the city to help fund the project.
The interlocal agreement establishes the CRA could begin work Dec. 1 on the first phase of the project, which would consist of modifying parking at the Coquina Beach and Cortez Beach parks — which are maintained by the county — to accommodate the tram service.
Such modifications would include reconfiguring Cortez Beach parking to prevent motorists from backing onto Gulf Drive/State Road 789 and ensuring the jitney trail won't reduce the volume of parking spaces.
Another change involves the installation of the path for the tram, as well as the relocation of the existing pedestrian trail.
Burnett said county commissioners may vote on the interlocal agreement at their Tuesday, Nov. 19, meeting or Tuesday, Dec. 10.
The first phase of the project would be paid for with CRA funds, according to Burnett.
The CRA would then work with the DOT-managed Office of Greenways and Trails' SUN Trail program to subsidize additional complete street improvements.
Burnett said she met with DOT officials in September to discuss using rights of way for future phases of the project, and the state officials were "extremely supportive."
"It will be a group effort (to pay for the project)," Burnett said.
Perry told CRA members she met with the Bridge Street Merchants group about the project and received plenty of positive feedback, but some members were worried about the county locking Co<|fim_middle|>01-30-2019
October 29, 2019 Round 1: Opponents launch challenge to Cortez Bridge plans
October 29, 2019 Bradenton Beach, investors win zoning case
October 29, 2019 City seeks dismissal, sanctions in owner-filed treehouse case | quina Beach at night after it closes, stranding parked cars.
Perry suggested entering into another agreement with the county authorizing the Bradenton Beach Police Department to lock the parks, rather than county workers, so the tram could operate after the park closes.
Perry said she wants to finalize and submit all the necessary documents to the county by Oct. 25 so the CRA could begin work on the first phase of the jitney trail.
"This is a big step for our community," said Chiles, a longtime advocate of a Coquina-to-Bridge Street shuttle.
October 29, 2019 Eyes on the road – | 131 |
Tim is a Founding Partner of Made by Many, a consultancy designed to help businesses to become digital faster, focus on the right opportunity and champion a new mindset.
His day job involves helping C-level clients in global organisations to understand and meet the challenges and opportunities created by rapid, continuous, disruptive change.
He is a passionate design thinker and an engaging and original speaker who is not afraid to poke fun at himself, the strange industry he works in, or the insane world of new experiences and new behaviours unlocked by the tools and experiences he's involved with designing.
Tim 'joined' the Internet in 1999 at digital incubator and agency Interesource in a hybrid role as strategist, product manager and designer where he worked with start-ups as well as major financial services and media brands including the London Stock Exchange and Lloyds of London, the Daily Telegraph and BBC.
He set Made by Many up in 2007 to help corporates develop start-up super-powers using a product-driven approach to deliver tangible and testable ideas into the hands of customers within 100 days to create immediate business impact.
Tim is the UK's Ambassador for the Webby Awards, and an executive member of the International Academy of Digital Arts and Sciences. He was once named as one of Revolution Magazine's '<|fim_middle|> into the heart of the transformation is the best way to reap the value of human centered design. This approach not just empowers employees, but also provides the sense of ownership. This is particularly effective in the context of a broader digital transformation at an enterprise level. Coupled with a product-driven approach, you can make the ideas tangible and create immediate business impact.
This session will provide you with tips on getting it right, as well as real life case studies of co-creation, resulting in dramatically increased productivity, engagement and a happier working environment. | Future 50'. More recently he was listed as one of the "100 most influential people across the breadth of the UK's digital marketing industries" in The Drum Digerati.
Bringing employees | 42 |
Polemics, Notes and Essays from a Concerned Citizen
Blood in the River
Posted on June 8, 2020 by Nick Nakorn
Long read, 17,000 words.
I wrote Blood in the River 15 years ago in 2005 and published it on my old website where it stayed. While I have linked to it from this site in previous pieces, I thought it time to post it here now my old site is no longer in use. I've only edited some of typos I've noticed and have changed the subtitle. I've also changed some of the positions of the images and edited some of the captions.
At the time of writing in 2005, some serious racist incidents were still fresh in my mind and I was emotionally unable to deal with them then. I have since included them in a piece called Yellow Peril in which some of the themes here are revisited and outlined.
A personal account of my experiences of racism and identity.
Early experiences
I remember a moving, shimmering, green and yellow pattern against a blue background, the scents of cut grass and creosote, the gentle crunch of footsteps on gravel, birdsong, the creak of hot corrugated iron and the warm breeze on my cheeks; gradually, the moving image came into focus and I saw that I was looking at the sky through a laburnum tree in blossom. The memory was, for the first few years of my life, purely abstract; colour, shape, noise, smell. But, by the time I was four or five, I knew that the memory was of the time my eyes first focused, the time when I first knew that I was an entity in my own right, that there was a difference between me and those things that were not me. I knew exactly where the world was created for me that day. I was in my pram, I was outside the front of my mother's cottage in Essex, next to the black-stained garage doors, it was early summer, I was a few days old, it was June 1956 and it was the happiest moment of my early life.
Essex 1957, my first birthday: left to right: Father (Pat), Grandmother (Elsie), Mother (Valerie) holding me aged 1, Grandfather (Alf) holding my sister (Jenny) aged 2 1/2. I was not to meet my father again for 45 years. Photographer unknown. Edit 2020: Jenny thinks our dad took the picture using a timer but Khun Pa can't remember.
It's hard to know exactly when I was first aware that I wasn't white. All I knew was that all my family were white and I was supposed to be too. Memories of my early childhood were once only occupied by the faces of those I loved and the sounds and smells of the places they inhabited. But, as I grew older, other memories surfaced. It was if I had been living a double life.
My sister, Jenny, and I lived with our mother, Valerie, and her parents, Alf and Elsie. The house and cottage, Meadowbank, were on the outskirts of Wickham Bishops, a small village a few miles from Maldon where I was born. The village was small and spread out; it had farms, a village hall, a shop and a church. And it had its own rural railway station a few minutes walk from the house. In those days the regular service was still steam powered and the train's whistle was as ordinary then as a diesel's klaxon is now. And while it is our earliest memories that form the basis of our self-identity, it is only with age that we can see that what is not remembered is also of great significance. In modern storybooks for young children, trains are often depicted as steam trains. Toddlers learning to talk can point to a picture of an ancient locomotive and say 'train' as if they are likely to encounter one at a modern station. Likewise, the identities we adopt in childhood that can haunt and enable us in later life are often based upon a romantic fiction of who we are as much as they are based upon factual circumstances.
My own identity anomalies started to become apparent at an early age. For years I thought my grandparents were my parents and assumed my mother was the elder of two sisters. My mother called her mother Mummy and I called my grandmother Memmy and called my grandfather Daddum. I called my mother Mama but had no idea that any of these names had any relational significance until I was six when I said to my mother "Mama, Memmy's our mother isn't she?" My mother, in astonishment and with some amusement, explained who was who and how the names had come about. I also started asking questions about my father who had been, up to that point, not so much an irrelevance in my life, but a non-existent concept. I had thought that father and grandfather were interchangeable terms of endearment for the main male and that all other familial males were uncles. But, by the time I was eight, I thought I had a handle on who I was. Life seemed good. And, even though conversation about my father was usually quickly steered to another subject, I had gleaned that he was a good dancer, an excellent driver, had kept chickens and was from Thailand. All but my mother sometimes referred to him as a WOG. I was told that WOG stood for Westernised Oriental Gentleman and that the term was an endearment. I accepted the explanation as only a child would and did not remember feeling insulted when called all number of things by my classmates in primary school; I did not know then that wog, yellow, jap, foreigner, coon and spic (I have often been mistaken for an Italian) were terms of abuse, but I did sense that I was often singled out for harsher or unfair treatment by my teachers and my peers. I developed a sense of inferiority quite early in life even though I did not then understand the meaning and context of my unfair treatment.
In 1964, Daddum (grandfather Alf) sold some of his business assets, including Meadowbank, and bought a Victorian gothic mansion in Devon. The house at Indio was enormous; in 1850 Count Bentinck had set it on a hill overlooking the village of Bovey Tracey. Four generations of my English family lived there, variously and together, from 1964 to 1997. Daddum's father was a boiler stoker from relatively humble East London stock. My grandfather had made good through starting a bicycle repair business that had become a chain of shops called Castle Sports, and a small property business called Meadowbank Estates. We were proud of his achievements and, when the sun shone, summers at Indio were idyllic. With the care and attention that the new middle classes lavished on every detail, the house was restored with a team of builders working there permanently for nearly three years. And the same makeover had been given to our accents and the way we dressed. Alfred Edward Whybrow, looked and sounded like a retired country gentleman and he would only let his accent revert to it's Woolwich roots when in the company of his best friend and brother-in-law, also called Alf, Alf Martin.
Alf and Alf, the two boyhood friends, had married two sisters, Elsie and Vera. The sisters' brother, Ernest, was Alf Whybrow's business partner. Alf and Ernie almost fell out over business differences and one such event shows just how entrenched were the family's views on race. A friend of my grandfather's was another small businessman called Jack Cohen. He had a grocery business and needed to expand. Sometime after 1945, Jack and my grandfather had the idea of combining their businesses. My grandfather's business, Castle Sports, had around fifteen shops in and around North London and South Essex; the Cohen's business was in the same area and of a similar size. Castle Sports was a bike shop that had expanded into electrical appliances, records and hardware and the Cohen business was basically food and groceries. Jack and Alf thought they could sell all their products under one brand and double the size of both businesses. The business was to be called Whyco; Whybrow and Cohen. But my grandmother and her family would not tolerate the plan. On hearing about it my grandmother said "You are not going into business with that Jew!" So Jack and Alf parted company. Whyco didn't happen and Jack Cohen made a success of Tesco without the help of my grandfather.
Devon 1964, Indio House in the snow: the family moved to Indio in 1964 (later photograph). An Englishman's dream and symbol of Empire? A materially lucky childhood for me nonetheless. Photograph by Nick Nakorn.
I was eleven years old when the ripples from Enoch Powell's Birmingham speech in 1968 reached the ears of my family in Devon. By the middle of that summer, there was little else in the way of political debate amongst members of my family and, as I was later to discover, in the rest of the country too. My grandfather, a long-time Powell supporter, was the head of the family; his financial success, generous spirit, sense of humour and loving nature made him a popular figure wherever he went. With our mysterious father absent, my grandfather was the most influential male in our household for my sister and me, and we loved him. But 1968 was the year I became politicised. It was the year I started to question my identity more fully, it was the year I realised that the racism that I had, by then, begun to recognise at school, wasn't isolated, wasn't simply a matter of my peers not liking me; it was political, it was personal, and it hurt. It was also the year I stopped, in my own mind at least, being just an honorary white boy.
Even at eleven, old habits die hard. By June I had turned twelve and felt that, a year away from rampant teenagerdom, I was already worldly. But it was not as easy as I had imagined to cast off my negatively perceived caste and I slipped right back into it as a default mode. My strategy, such as it was, born out of the necessity to survive more than anything, was to remain an honorary white when situations became tricky and to start to assert my identity when it felt safe, which wasn't very often. At the start of the autumn term, the effects of the Powell speech were already evident. The taunts had become more frequent and more aggressive. In English classes, I was chosen to read a passage aloud from a Biggles book; my memory is one of both deep embarrassment, fear and resentment that I should have to read out lines containing the phrases 'black peril', 'slitty-eyed devils' and 'foreign hordes'. Thenceforth, I was nicknamed Yellow Peril or Yellow. The name-calling started as a taunt but I mostly managed to avoid confrontation by simply adopting the names as part of my identity, even introducing myself to other children as Yellow Peril. It was humiliating but it was better than an escalation of the beatings and thefts that I had to put up with, on and off, for the duration of my entire education.
The school I attended from aged 8 to aged 13 was Wolborough Hill School in Newton Abbot in Devon. Like many of the private boys schools of the period, the children, their parents and the teachers were largely Conservative, misty eyed about lost empire, patriotic and, often, racist. That is not to say that there were not many teachers and pupils who were kind and decent; there were. But the overall culture was most definitely one that revered the idea that Britain should be 'Great' as it was in the days before the Second World War. It is, of course, impossible to know for sure which actions and comments by teachers at Wolborough Hill were racist and which were simply unkind or unpleasant. It is the nature of racism that it can be enacted without the perpetrators saying anything specific against one's race. There is also the additional problem of the odd-one-out being overly sensitive to comments and taunts that are not meant to hurt to the extent that they do; one can hardly expect children, in 1960s Britain, to be particularly aware, or understanding, of difference. But the reading of Biggles was the least of it.
One of the first Scripture lessons involved our teacher, Mr. Leakey, asking us each our religion. As each boy in turn was asked and gave his answer, it occurred to me that I had no idea what religion I was. Indeed, at morning prayers I really had no idea what the Headmaster was talking about. None of my family attended church and I had not been christened. When it was my turn to answer, I replied, "I don't know, Sir." Mr. Leaky told me not to be ridiculous and said, "Well, if you don't have any preference, you must be Church of England." And I was entered as a Church of England Christian in the school records. When it was the turn of another boy sitting further down the row, He said, "Sir, I'm Jewish" and Mr. Leaky dismissed him from the class and told him to go and sit in the School Library till break time. Following this weird introduction to scripture, in which only Christianity was studied, there followed a test of ten questions about the Bible. My score was very low and, after the test, Mr. Leaky aggressively criticized me in front of the class saying, "…with a score like this you have no right to call yourself a Christian!". I replied that I did not call myself a Christian and, as a punishment for that remark, I was told to "..go to the Library and sit with the Jew-boy.." The Jewish boy asked me if I was a Jew too and was not surprisingly a little disappointed when I said that I didn't believe in any religion. Later in the day, I was indoctrinated by my classmates about the meanness and cruelty of Jews and, knowing no better, I did, for a while, think that the word Jew did not describe a religion but a negative attitude of mind. Luckily the Jewish boy put me right about that a few days later.
Asserting my identity positively wasn't easy. The members of my nuclear, and extended, family were racist; my mother less so by commission but her objections to the rest of the family's comments were infrequent. When friends and family visited over Christmas or on other occasions, the jokes around the dinner table were often of a racist nature. Wogs, coons, natives, japs, yids, spiks, niggers, blackies, pakis, chinks, frogs and krauts peppered the conversation. In the Essex days, my mother's attitude to life was decidedly liberal, libertarian and creative. By the time we had settled in Devon, she started dating one of her old childhood friends who later became my stepfather. And, in line with his thinking, my mother stopped voting Liberal, started voting Conservative and would only counter racist remarks when it came to making fun of the Irish. Ed, my stepfather, seemed to think that there was a hierarchy of races. Yet his views that black people lacked intelligence, that the Irish were dishonest and that Jews were out for what they could get, were not applied in some circumstances. Ed's friend Ebon, a black African, only visited the house once and I often wondered if Ed might have fostered such a friendship to annoy my grandparents; it was only in Ebon's company that Ed's racism against black Africans seemed to abate. My parents also had some Jewish friends and at least the racist remarks from my mother and Ed would tail off for a few days after their friends had visited, even if the remarks increased from my Grandparents.
At school, the general opinion that the best Britons were the English and that the worst foreigners were the "Japs", closely followed by "The Krauts" prevailed as a given set of values. One boy, who I thought would become a friend, delighted in torturing small animals and insects in front of me on the basis that I ought to enjoy it as the Japs loved torture. He later bullied me when I made my opinions known. The hatred of the Japanese wasn't surprising given that some of the kids at school had fathers who had been prisoners in Japanese POW camps. But, while a personal story can inform one's prejudice, it might also lead one to greater study. The Second World War had certainly entrenched imperial values but, perhaps, it would have been useful if the teachers had made an effort to explain that the British railway projects in India, taking place at the same time as the Japanese Burma railway project, resulted in around 1,000,000 deaths. The brutality of the Japanese regime was as nothing compared to the British in India. However, such comparisons were never made and, besides, I was one of only three non-white pupils and I'm not at all sure that it was in the financial or political interests of the school to display anything other than the Empire line.
I was a good runner and, though I regularly won or came second in the 800 yards race, I was not allowed in the team for "reasons of morale". This came about because I did not show sufficient partisanship in sports or anything else. Even today I remain positively neutral when it come to the outcome of sporting events, and I think my early lack of a firm identity helped me to put equity and fairness above such feelings as patriotism or the arbitrary support of one team in a fair contest. But while my running could have become a means of proving myself or being accepted, I desperately wanted to be accepted for who I was, regardless of what I might achieve on behalf of a society I found upsetting and bemusing. For me it was not a contradiction in terms to do my best in a running race whilst being neutral about the eventual outcome. No one expects a writer to measure success by how many other writers don't get published (though some do, I'm sure) yet, in sport, though one is told that taking part is more important than winning, the actions of those who support teams display the opposite behaviour. The expectations of my non-white status, that I should excel in sport and that I should want to win, were at odds with my real interests; art and science. But all subjects but art were left to flounder, and, in retrospect, may have been made to flounder by the collective efforts of my family, teachers and classmates. A chain of events that I have only recently started to understand illustrates the point.
Wolborough Hill School was built on top of a steep, round hill on the edges of Newton Abbot. Running around the Hill was part of the sporting week as training for cross-country running. In my first year, aged 8 to 9, I performed very well in these runs. I was also top or second from top in Maths, Physics, English, Art, Geography and Physics. I was useless at French. I was dropped from the football team for not cheering loudly when goals were scored. The French teacher, Mr. Beech, was known as a bully and all of us suffered under his regime – one boy, Luke Rainy, was actually knocked unconscious on two occasions by Mr. Beech who was a crack shot with a wooden black board wiper. Luke's crime was that he was shy and quiet though also moody and prone to highly charged outbursts. He came from a well-to-do background and had been left, at an early age, a collection of vintage Riley sport scars. Luke spent his holidays restoring, maintaining and driving his cars (on private roads) and spent most of the term-time thinking about them. Mr. Beech once asked Luke what he was thinking about when he failed to answer a question in a French lesson. Luke replied (honestly as it turned out though he was not believed), that he was thinking about his Rileys.
Now, Mr. Beech was overweight and had difficulty walking but he had been, in his youth, a works racing driver for the French sport scar manufacturer DeLage. Mr. Beech, who missed his previously dashing life-style and didn't want to be out-done by a wealthy nine-year old, tried to catch Luke out on points of fact about Rileys. Luke had an encyclopaedic knowledge of his cars and all Mr. Beech's questions were answered. Fuming and shaking with rage, Mr. Beech called Luke a liar. Luke lost his temper and called Mr. Beech a fucker. Not a good move in 1964. Mr. Beech threw the hard, wooden board rubber and it hit Luke on the forehead with a resounding crack and Luke went down like a falling tree. Later that day, when Luke had been sent home and branded a liar by Mr. Beech and the rest of the class, Mr. Beech was 'taking' the run around the hill. Being unable to run, Mr. Beech would stand halfway around the course and chastise those he didn't like. I started the run somewhere at the front and expected to finish near the front. But after the first mile I had the most excruciating pain in my chest. By the time I reached Mr. Beech I was in such agony I could hardly walk. I knew the pain was of a different order from 'stitch' and so, staggering up to Mr. Beech, I told him of my plight. Not only did he not believe me, he mentioned that, unlike Luke, who being English should know better, it was not in my nature to tell the truth. Mr. Beech continued that I, of all people, should realise that I was not prone to injuries and that I was making a typical fuss over nothing. It was stitch, he said, and it was typical that it would be me that complained. The only way I was not to be branded a liar, Mr. Beech continued, was to finish the run. So I staggered on in tremendous pain. But what made the matter even worse was that other runners, complaining of a sore leg muscle or a blister, were, while my conversation was going on, told by Mr. Beech that they were excused the rest of the run.
When reaching the school, I sat and waited outside the Headmaster's office hoping to be able to ask for a Doctor to be called or be sent home. But Mr. Beech turned up and said that he had spoken to the headmaster and any mention of the incident would be treated as gross misconduct and I would be expelled from the school.
Wolborough Hill 1966: I was a pirate in a school play. All the boys were in pancake make-up to darken them (2020 edit: only slightly!) to make them look more like 'untrustworthy' ruffians. I was not offered any make-up as it was deemed I was dark enough already. Photograph by Nicholas Horne Ltd. of Totnes.
As I have indicated, Mr. Beech was an unpleasant man, and many boys were mistreated by him. But this was just the start of what became a regular chastisement over my non-whiteness by many other teachers. As I was leaving the corridor leading to the Head's office, the Head himself, Mr. Day, breezed past and, laughing, said, "I hope you've learned your lesson Chulepa.." Now my middle name, then, was Chulapat and might be pronounced pretty much as it is written phonetically in English. My mother explained it was short for Chulapatpong (I changed it two years ago to Chulapatnabongse after a discussion with my father). Mr. Day, however, pronounced the name as if it were French.
When I was picked up from school, I told my mother about the events of the day and to my amazement she completely agreed with Mr. Beech and with Mr. Day. All I can guess is that some telephone calls had taken place and that she thought it easier to go with the flow rather than fight for justice for me. The following week, most of the teachers and some of the boys called me Chulepa as if it was French expletive – so, clearly, the Headmaster and Mr. Beech were complicit in the teasing. My mother, having told me some years earlier how to pronounce my name, changed her mind and adopted the Chulepa pronunciation too. "Thai," she said, "is very like French." As I later found out, Thai is nothing whatsoever like French or any other European language. But what of my illness? Though I was in tremendous pain for weeks after the run and experienced repeats of the illness, I did not find out for sure what it was until around thirty years later when, at Harefield Chest Hospital, I underwent an operation to fix a number of more serious lung collapses. The surgeon remarked that I must have been putting up with a great deal of pain in my childhood considering the age and type of scarring on my lungs. The ancient scars had not shown up on X-rays, but the surgeon had the lung in his hands prior to re-fitting it, and so, at last, I had proof.
With painful lungs, shortness of breath and the threat of expulsion hanging over me if I mentioned again the running incident, I developed an eating disorder and would vomit every day after lunch. My weight, already low, diminished and I don't know to this day if the eating disorder was psychological or a result of an untreated, almost continually semi-collapsed lung. I was told that my sickness was due to eating coffee beans when I was very small (I remember eating them, but not any lasting ill effects), I was told it was because I was of a nervous disposition, I was told it was because I was genetically prone to a lack of gumption. The remedy was to put me on a course of the drug Phenobarbital. I took the drug daily until I left Wolborough Hill at age 13. I went from being at the top of my class to the bottom and only gained entry to my next school on an art scholarship. Academically I was told I was useless. Any thoughts I had at the time that these events had come about because of my race were denied by my family and teachers while, in the same breath, they would suggest that life for me was unfair because of my genetic make-up. School life was a constant stream of taunts against a background of constant and relentless racist opinion. Meanwhile, I loved my parents, including my stepfather, and I loved my grandparents. I loved, too, all the Essex cousins. But the only way to remain vaguely sane was to be the honorary white boy in a sea of white supremacist beliefs.
Teen Years
Though I have painted a bleak picture of my childhood in respect of my identity (and how that identity was not acknowledged positively by school or family), I was not without friends. Though even some of my closest friends at the time would feel free to vent their own racism in my presence, they very rarely aimed it at me personally. And my grandfather's money conferred upon the family a certain status that I was unashamedly hoping to exploit. Perhaps money, and the life that it could buy, could rehabilitate me where my colour could not. As a teenager, I absorbed myself in an eclectic mix of political writing and left-leaning and Beat counter-culture; yet I also adopted the mannerisms, and sometimes the opinions, of the very society I had inwardly rejected and had rejected me. I was constantly arguing for ideas of peace and democracy but I would also sometimes adopt the prevailing attitudes just to avoid confrontation and, I think now, to avoid facing up to the fact that I didn't actually like the people I most loved.
The Enoch Powell issue was a case in point. Some of my left-of-centre friends would feel perfectly at ease denouncing Powell as a racist in the same way that they denounced Norman Tebbit years later over his 'Cricket Test' remarks. But both Powell and Tebbit's attitudes to race were attitudes that my family held too. And I knew my family as only a child who is loved knows a family. And here is the extraordinary realisation that has shaped my attitudes to so many issues over the years; it is that people's opinions, however abhorrent they may be, do not prevent them from being loving and generous people in other areas of their lives. This is not a difficult idea to grasp intellectually, nor is it a concept that is not widely held, but for me, and those who have had similar experiences, such knowledge is not just an idea, a concept or a perception, it is almost a way of being. To live with people, all one's life, who are demonstrably loving, kind and generous and who also view one's own race with, at best a paternal indulgence and at worst a racial hatred of the most venomous kind, enables one to experience the paradoxical nature of human frailty and loyalty to an intensity that is seldom experienced by most people in times of peace.
My grandfather, I think, understood this aspect of my life as he was as perceptive about other people's inner thoughts as he was lacking in intellectual rigour about his own thoughts. Furthermore, his own opinions about race were, he realised, the prevailing opinions that I would encounter as I grew up. But the Powell question still drove a wedge between me and my family that was never resolved. The Powell speech had been made in April 1968. I was 11 and about to be 12 in June. That summer I spent a hot Saturday afternoon watching television with Daddum. After the sports programmes and the early evening news, there was a programme about the Powell speech and many of Powell's supporters were talking about wanting to introduce a policy of voluntary repatriation for immigrants and, if that was deemed insufficient, a policy of compulsory repatriation. In those days, "immigrants" was a euphemism for non-white people in the same way that "ethnics" is now. The Powell supporters, including Powell himself, were asked by the interviewer to define "immigrant" and the answer Powell gave was (I paraphrase from memory in Powell's style) "..those people resident in this country whose origins are not of British extraction or, in cases of the progeny of mixed marriages, those who are fifty percent of British extraction or less than fifty percent of British extraction." My grandfather and I sat silently watching for a few minutes, both of us feeling very uncomfortable; I because I disagreed so strongly, and my Grandfather because he agreed so strongly. I then said,
"Daddum, does that mean I will have to live in Thailand if Mr. Powell gets into power?" Without hesitation, my grandfather replied with a smile,
"No, you don't have to worry, you're English! Don't ever worry about that, Chappy, I'll make sure you're alright."
As much as I wanted to, I simply didn't believe such protection was even in his gift. For a 12 year old, that was not an easy anomaly to accept. The affectionate "Chappy", used by my grandfather, was often reserved for difficult moments and was sometimes accompanied by a return to the Woolwich accent and a cheeky-chappy grin rather like that of the entertainer Bruce Forsyth. And that was, in a way, how my grandfather was viewed by us all: a charming, entertaining, successful and decent man. The darker side of his character, that I was later to discover, was certainly kept hidden from me and my sister and, possibly, other members of the immediate and extended family.
So, a year later, as I attempted to prepare myself, at 13, to leave Wolborough Hill School and get through my exams in a haze of barbiturates, chronic chest pain and daily vomiting, I was not at all confident about my future, my identity or my place in the world. At no time did I experience the confidence that I had felt as a baby as the Laburnum tree in Essex came into focus against a bright blue sky. In conversations with friends, who generally supported Powell though, as I have said, my left of centre friends condemned him, I found myself saying that Powell was not a racist as one has to distinguish between those who think some races are "inferior" and that such "inferior" races should be treated badly and, on the other hand, those who think some races "inferior" but, through Christian charity, think such "inferior" people should be treated kindly. I think I had to believe that my family were in the latter category if I was to continue to be able to live with them. So I found it impossible to condemn Powell as my intellect and emotions demanded. Later in life I found myself warming to Norman Tebbit's strange defence of himself over the 'cricket test' remarks. The Tebbits, coincidentally, used to live near Ashburton, not far from Bovey Tracey, and Norman was a popular local figure admired by both of my parents who had probably met him a few times through their Conservative contacts and friends. It was not the opinions I warmed to, certainly not the racism, it was the familiarity of expression and accent; the slightly nasal, Estuarine twang beneath the middle-class veneer that identified my English tribe.
With more emotional baggage than I care to remember, but with an optimistic outlook, I scraped through my common entrance exams and found a place at Bryanston School in Dorset. I had a miserable 37% average grade but an Art Scholarship made up for it. The art room at Wolborough was pretty much the only place I could exist, and do well, without some comment about "..some people not knowing their place.." as teachers and family used to remark about the politics of the day. But Bryanston was a boarding school and there were several aspects of this that I could not cope with; being away from home and familiar places, being away from family, being in a very male society (in those days Bryanston was an all boys school), and having to cope with a regime that was not what I had expected from a school that was reported, at that time, to be similar to the libertarian schools of Summerhill and Dartington Hall.
I was treated well and kindly by the teachers, for the most part, and things did not get off to a bad start. In fact, the novelty and the opportunities the school offered were in some ways overwhelmingly positive. I made friends and a senior boy was appointed as my mentor. These mentors were known as foster fathers and my foster father was a sixth-form boy called Anthony Appiah. Kwame Anthony Appiah is now a distinguished philosopher. But then he was just a mixed-race boy at a British private school trying to make his way in the world. He was not the first mixed race person I had ever met, but he was the only mixed race person I had met who was in a position of authority. He was extraordinarily kind and helpful. And, to my amazement, there were other non-white boys who were also doing well and were liked by their peers of all colours, Dean Omar and William Quashi, both, I think, African or part African, spring to mind. They were both kind and, I realised later, looked out for me behind the scenes as they and Anthony did for many other boys of colour or of mixed race. It was both a shock and a revelation. But I was also overwhelmed by the confidence displayed by the non-white students: a confidence that I lacked completely.
Perhaps it was because Anthony, Dean and William knew who they were. Perhaps it was because they had solidarity with each other as fellow Africans. There were a few other children who, like me, might be called Oriental. I noticed, too, how many of the students from Islamic or Arabic countries were, like me, sometimes lacking in confidence. Essie Ghani was from, I think, Iran and he was often a withdrawn figure who seemed, like me, to lack a sense of belonging. I was starting to discover what 'like me' meant to a predominantly white society. It seemed to me then that the African boys were considered totemic in respect of the school's and pupils' civil rights leanings but, as far as I could tell, the non-African mixed-race boys were lumped into some other, more amorphous, box.
In my favour, though, was an acquired taste for being an outsider. I was prone to be bookish and creative. But I was also somewhat manic in my approach to life. Coming off the Barbiturates meant I had developed erratic sleep patterns and would stay up all night only to be in a haze the next day. I was drawn, too, to the drug culture that was becoming the hip thing in private schools all over the country. Kids with more money than sense just had to smoke tobacco (I'm a tobacco addict till this day) and just had to smoke marijuana, try LSD and mescaline and reject non-hip virtues like responsibility and hard work. As a former habitual user of class B drugs, I was already well on my way to fitting right in with Bryanston's drug culture. My tutor, the kind and thoughtful Dennis McWilliam, was often at a loss to understand how I could seem so optimistic and buoyant one day and so hopelessly depressed the next. How I could be acutely observant and write good essays one week and be incapable of producing a coherent piece of work the next.
Set against the positive social aspects of drug taking; a circle of friends, a place in the freakier culture of the school and a certain notoriety, was the hatred we, the druggy freaks, received from the Cadets. The Cadets was a set of boys who had joined the quasi-military club that the school ran for boys who thought they might be interested in joining the military, or who had families from a military background. Strangely, this group of boys were also linked into another set of boys who were seemingly more interested in the arts and/or sports. As my group of friends were mostly, but not exclusively, artists, I started to meet and become friends with students who were on the fringes of various groups but not quite 'in' any of them. Some of them turned out to be particularly unpleasant characters and were, I later discovered, instrumental in making my life at Bryanston unbearable. It seems odd, now, to think how a young man from a privileged background could describe life at a top British private school as unbearable. It was not a life of poverty, nor was it a life spent in a war zone. But I was already very shaky about my identity and about my worth as a person. I had been threatened with expulsion from my previous school and expulsion from the country, metaphorically and, in my own mind, perhaps literally, by Enoch Powell's followers. Indeed, I was not even confidant that my own family regarded me as acceptable.
Powell's Rivers of Blood speech turned out to be somewhat prophetic. Though I was aware of the sentiments expressed by racists, reports in the media and my own experiences did not prepare me for what was to happen before my days at Bryanston were to come to an end. I did not expect there to be blood in the river and I did not expect it to be mine.
It is impossible to have anything other than a subjective view of the events I will now attempt to explain. And I would love to know where the truth lies. Truth is never easy to ascertain. Truth as a philosophical concept it is flawed and approximations of truth, which is all one can ever hope for, even in science, are themselves modelled by individuals and cultures, by conflicting evidence and by inexplicable coincidences. However, the following is an honest attempt to show how institutional and personal racism can add fuel to an already heated situation.
As I was an art scholar, two teachers took a special interest in me and helped me enormously. They were Mr. Renwick and Mr. Potter, known as Don to all who knew him. Don taught sculpture and ceramics while Mr. Renwick taught painting, drawing and graphics. At Wolborough Hill I had found an escape from the life of the school in the art room. At Bryanston I found the same escape in the sculptorium. Don was a charismatic teacher who had been Eric Gill's apprentice, was a friend of Henry Moore, Freud, Bacon and others. He had taught many students who went on to produce work of international acclaim. Born in 1902, Don was a year younger than my grandfather and I was used to feeling at home with that generation. Don's attitude to life was extraordinarily robust and his spark was mirrored by his longevity. He was nearly seventy when he taught me and continued to teach full time into his eighties, part-time into his nineties and died only two years ago in 2004 aged 102. Don was the only adult I could talk to without feeling perpetually on my guard. He asked little of me, shared his rolling tobacco, showed me how to carve and would comment, with what seemed like uncanny accuracy and brevity, on my mood. If I came into the sculptorium having been upset he would, before I had said anything, immediately say something like, "the world is full of shits" or "find solace in work and beer, work and beer" or "truth is like a carving in stone before the carving is done" and "school is a waste of time, when you're old enough to fuck you can teach yourself anything". Of course, he had a huge number of such sayings that did not require any special insight on his part, but he did seem to have a knack of knowing what would be appropriate.
Don treated people as he found them. I did not once notice the slightest trace of condescension in his attitude towards me. He also taught as much by example as by tuition which allowed him time to make his own work while teaching. We got along very well and on hot weekends I would sometimes call at his house for a cold beer. Now, the arts 'establishment' in England then, as it is now, was as much about who you knew as it was about talent and I was lucky enough to know Don. I was not convinced that I had the potential that he thought I had so he entered some of my work into some open competitions. When I won a prize I was elated and, being hugely excited that I might actually be good at something, started telling all my friends. As a result of Don promoting me as a success with his colleagues, I was asked to design a set for the school play, much to the disgust of the Drama Society who would not vote me in. It's worth here explaining how all the school clubs and societies worked. Like so many areas of middle-class English life, success is rewarded with more success and failure is rewarded with more failure. If you wanted to learn how to play tennis, then you had to pass a test set by the tennis club. In other words, you could only get tuition if you could already play reasonably well. The Music Society likewise gave one access to music tuition and one had to pass an audition to get in. Needless to say, there were always exceptions. And the exceptions were often driven by simple nepotism; one had to be friends with whoever was in charge of the club or society. Teachers would oversee the clubs but pupils were on the committees. In a culture dominated by wealthy, middle class, young English males, I think it must have needed tremendous confidence for people like Anthony Appiah to become so respected. I had none of Anthony's confidence and used to make up for it with a certain foolish bravado that I will come to later.
Gary Sayer, my English teacher, was overseeing the Drama Society and it was through Don's influence that Gary invited me to do some designs for Love's Labours Lost. Though the Society didn't want to accept the designs, Gary insisted and they were accepted. The committee was upset. One reason was that the committee members were all part of a group of friends who were used to certain people being in charge of the designs. Moreover, that group of friends all knew each other reasonably well outside school through their parents' connections with the arts generally and the Royal Court Theatre in London in particular. You have to remember that these committees were run by children who thought they were adults and behaved as if they were already running the Royal Court Theatre; they did not see themselves as kids running a school drama society. The last thing they wanted was an uninvited interloper, and, to be fair to them, the democratic rights of their Society were over-ridden in order to let someone in that they didn't like. As it happens, some of them did end up running theatres and other Arts institutions in London and elsewhere.
Success breeds success and confidence breeds confidence. But while I was beginning to have a degree of success at school, I had no confidence whatsoever in myself as a person. When word got around that I was to design the set for the play, the spitting began. It was not members of the Drama Society committee who started spitting at me but people who were on the fringes of that group. I think I was tolerated up to a point while I was just another 'freak' who hung out with the other drug-taking freaks. But the sculpture prize (for a national competition and thus not even within the confines of the school) and the set design opportunity seemed to tip the balance somehow; made me less, rather than more, acceptable. After the spitting came the name-calling. The famine in Biafra had been raging for several years and I was a thin boy. So one of the names that was called out was 'Biafra', another was the all too familiar 'Yellow' and then followed as many insults and names as you can count, relentlessly, day after day, week after week. It seemed as if my golden opportunity in education was over before it had started. And the connection between the taunting and the Drama Society was not in my imagination either. Kids who new both my tormentors and the members of the Drama Society actually told me that all I had to do was to pull out of the production and the spitting and name-calling would stop.
Images of Thailand that shaped public consciousness in the UK.
The King and I was released as a motion picture in 1956, the year I was born. The film is based on the diary of Anna Leonowens who taught English at King Mongut's Court in Thailand for 5 years from 1862 to 1867. In her depiction, Mongut was shown to be little more than a 'savage' while, in fact, he was highly educated. Mongut studied continuously before taking the throne at the age of 47. He was multi-lingual (Thai, Sanskrit, English and some Dutch, French and German), a mathematician and an astronomer; predicting a total solar eclipse on August 18, 1868 and determining the best location for viewing the eclipse. Far from being intimate with the King, Leonowens met him only once for a few minutes. Despite accurate Court records and other contemporary accounts, it is only recently that Leonowens' version has been discredited in the West. (2020edit: this is a different poster compared to the one I chose in 2005)
The Bridge on the River Kwai was released in 1957. During the second World War, the Thai Government was co-operative with the Imperial Japanese agenda in the building of the Burma Railway, But the context of the film lacked two salient points: firstly, the Thai bureaucracy and much of the population also supported the resistance movement (In my family there was a secret meeting to see who might be best placed in the resistance and who might be a believable collaborator) – thus helping to safeguard Thai independence after the war and, secondly, while 13,000 prisoners of war and 100,000 conscripted labourers from Burma and elsewhere died of neglect and disease under the Thais and Japanese, it was nowhere mentioned that the British presided over 1,000,000 deaths to achieve their imperial aims by disrupting Indian independence at around the same time. The perceived brutality of the oriental races was thus outdone by the British themselves, not to mention the occidental outrages of the holocaust. (2020 edit: this is a different poster with better resolution)
But I didn't pull out, and the trouble didn't stop. My belongings were stolen. I was often told who had stolen them and sometimes the thieves themselves would tell me. Sometimes friends of friends, who knew the thieves, managed to get some of my things back for me. But many items were stolen and not recovered, including my art materials, school books, school work, drawing pens, records, clothing and my watch. If I managed to replace the items for the following term, then the following term the same people stole them again. Pocket money that I had earned in the holidays doing odd jobs for my grandfather was sometimes spent replacing stolen items. And, after a while, it didn't seem to be about the Drama Society or the sculpture prize, it was about a group of boys, on the fringes of various other groups, taking it upon themselves to torment me. And I had absolutely no idea how to put a stop to it. I had never been in a fight in my life, knew nothing about fighting and had only been on the receiving end of violence. So I did not have the confidence to fight them. I did not have the confidence to report them to the teachers and, anyway, I was frightened of being branded a sneak and a coward. And I was most definitely a coward. I was frightened by violence; as much by what I imagined I might do to others, given the chance, as much as what they might do to me.
The school was set in beautiful grounds. Many of the routes between places that one had to be, or wished to be, were through wooded areas and hedged walks; places where one could easily be ambushed. It was also easy to be caught when going to the toilet or taking a shower. I was attacked about once a week in term-time for two years from 1971 to 1973, that's around 70 attacks. A small number of the attacks were violent but all were relentlessly aggressive and involved some form of physical assault. I only ever suffered small cuts or bruises or humiliation and the violence was not, for the most part, particularly serious. Strangely, I found my dignity in not fighting back, never once making an attempt to defend myself; thinking mostly of Gandhi and the hippy freak mantras of peace and love. But years of intermittent, chronic pain had taught me how to keep on getting up, how to keep on going. The gang at one point became so confident that they used to attack me in quite public places and small crowds of kids would gather to see what happened. After one such incident I received a small cheer from the onlookers as I calmly got up after a brick had been thrown hard, at very close range, at my head. I just stood there as members of the gang came up to me one by one and spat in my face, I remained calm as their spit mixed with brick dust and a small welling of blood in my hair. I walked away as if nothing had happened and, once out of sight, I collapsed into the undergrowth.
But in many other respects, I did not keep my equilibrium. I smoked as much as I could, slept as little as I could, cut as many classes as possible and, worst of all, I stopped washing. I was terrified of removing my clothes and often slept in them; I rarely changed my clothes (often they had, in any case, been stolen) and washed very, very infrequently. I was also terrified of being attacked in the bathroom and the shower. I started to stink. It was so bad that my best friends would not want to sit near me. It was so bad that I didn't even like to be near me. It was so bad that the lice in my hair would fall onto my drawing paper. But I took a perverse pleasure in it. It was as if I was saying" Fuck You!" to all of my tormentors. There were times when teachers ordered me to have bath and threatened to check up on me while I was in the bath to make sure I actually washed properly. I actually preferred that they did – at least I wouldn't be attacked or have my clothes stolen if a teacher was present.
My grandfather was paying for the privilege of me attending one of the most expensive private schools in the country and I was living like a tramp. But who could I confide in? Close friends knew some of the facts but I was very worried that, if I told them what was happening, then, through the grapevine, the gang would hear about it and things might get worse. So I only admitted to what was witnessed by my friends, which wasn't much. I have to thank the people who stood by me, who made my life so much better than it could have been: Peter Burmby, Charlie Lambe, Robin Venables, Tim Nelson, Mark Davies, Mary Bremner (one of the first 6th form girls to attend when the school became co-ed in 1973), Simon Matthews, Adrian Matthews, Richard Whitely, Paul Kelly, Jeremy Maltby, and others were sympathetic and, in some instances, instrumental in helping me through some difficult times.
By the time I was 15 I had, if not accepted my plight, come to terms with having to put up with it. Eventually I managed to tell the teachers what had been going on: this came about through another creative opportunity; a competition to design an adventure playground for primary school children. It was, think, the spring term of 1972. Winter weather and dark afternoons had not yet been shaken off by the hot summer that was to come. I won the competition and had to meet with one of the teachers to discuss how the design would be transferred into three dimensions. I was convinced there would be some reason why I would be unable to accept the commission and had been worrying about it all through the previous week. I couldn't face going to classes, and so, rather than add to my already huge list of punishments for missing classes, I broke into the electrical cabinet of the classroom block and stole the fuse holders from the fuse box. In those days, many buildings still used ceramic fuse holders in which fuse wire was stretched as required. Without the fuse holders, the whole block was inoperative. The following day, the theft was announced in morning assembly and, because for some reason the school was unable to source replacements at short notice (perhaps that type of fuse box was no longer manufactured), an appeal was launched for the thief to come forward.
Wracked with guilt, I had no option but to own up. As it happened, the teacher I had to see was the teacher who was also in charge of the playground project. He had a reputation for being incisive and for being a bit of a disciplinarian. But, as it turned out, he couldn't have been nicer and, amazingly, I was not punished. His sympathetic and understanding attitude let loose a flood of emotions and I poured out my heart to him, explaining as much as I felt I could about my predicament. Not only did my confession about the theft, and about my shameful position as a weak and downtrodden victim, make me feel much better about myself and about my situation, it gave me a little added confidence. The following summer, the adventure playground was built and an article appeared in the local paper about it. I was delighted. It was my first taste of being rewarded at school without any feeing of being patronised or threatened, that I had felt for years. I wish I could remember the name of the teacher who showed me such kindness.
There were two distinct areas of my life that changed as a result of Mr….'s kind and perceptive response to my state of mind. The first was practical and much needed; the bullying stopped. Even though it was made clear by some of the Cadets' ringleaders that my life would be made worse than it had been before, I noticed that the gang avoided me as much as I used to avoid them. Secondly, I became more confident and was able to start treating myself as if I mattered. I started washing more often and changed my clothes more frequently. But I also adopted a kind of bravado that didn't really suit my underlying character. A good friend, Robin Venables, had also had a troubled childhood and we embarked on a series of stupid but invigorating rule violations. Robin could have implicated me in our exploits but he was the type of person not to get his friends into trouble and I will always be thankful to him for his supportive friendship. Robin was intellectually one of the most able people I have ever met. No concept seemed difficult for him to grasp and his memory was outstanding. But Robin had been over weight for most of his early life and his intellect was hidden by his poor opinion of himself and his slow Staffordshire drawl that made him, in many people's eyes, seem dim-witted.
Now you might think that I have blamed all my childhood woes, and subsequent depression, on the fact that I am mixed race and that the childhood I inhabited was bounded by a predominantly racist society. Racism was, in my view, a strong contributory factor but I also realise that many children are bullied for all sorts of other reasons too. Robin had been bullied when younger for being overweight and for being seemingly slow when, in fact, he was as sharp a mind as you were likely to meet. As he grew older, and taller, there were few people who would bully him to his face as he was an imposing figure. But, like me, he had problems with authority and with trust. His academic record was patchy in as much as he would excel in any exam he bothered to take (he would speed-read books, never revise, do as little work as possible and score 90% in most subjects and sometimes 100% in Maths and Chemistry). Robin also loved explosions and we hatched a plan to blow up the school's shooting range. At the time, it seemed like a good idea. These days, where explosions define the territory of terrorism, the idea seems outrageous. But we were both convinced that the Cadets, with their love of guns, their bullying, their ability to pick upon anyone who didn't look and sound like them and their astonishing arrogance, deserved to have their favourite place destroyed.
For a couple of nights running we broke into the chemistry labs and stole the ingredients we needed; Robin going along the shelves saying "..that one! That one!" while I stashed the bottles into a bag. A few days later, Robin had packed an old coffee tin with his mixture, had made a length of fuse out of string soaked in another preparation and had bound the whole thing with a dozen reels of Sellotape. Late at night, Robin, Tim and I went to the firing range and buried the device in the sand that was piled against the wall of the shooting range. Robin lit the fuse and we all ran for cover. Nothing happened. Tim and I went back to where the bomb had been buried to find Robin re-lighting a very, very short fuse.
The explosion was loud enough to wake the school. Lights went on all over the main building some 200M away. A shower of sand and leaves fell around us as Tim and I dived for cover once again. When we dared to look, Robin was nowhere to be seen. When a party of people could be heard running from the school we both fled in the direction of the dormitory only to almost collide with Robin who was running in the opposite direction.
"We thought you had been blown up!" we said only half jokingly. Robin, with a soot-blackened face and with his curly hair full of debris, looking more like a cartoon character than a boy who has narrowly escaped death, said,
" eee, but it were a right good bang weren't it?"
And, with that, we ran back to our respective dormitories. The aftermath, which left a small but, to us, significant hole in the shooting range wall and an enquiry by the school that, as far as I remember, went nowhere, was to be more significant than I had expected. The Cadets were furious.
About the same time as the adventure playground was being built and that Robin and I were planning the explosion, Don had entered one of my small sculptures in another competition. This one, however, was much more serious. The Henry Moore Apprentice Prize was one of the most prestigious and sought after prizes in sculpture. The winner was to be apprenticed to Henry Moore at his studio in Hertfordshire. The shortlist from around the country contained two names, both from Bryanston. How much of that was coincidence and how much of it was nepotism due to Don's connection, I will never know. But being at the top of the list was, for me, an impossible dream come true. Don told me that 2nd on the list was Rick Borrie, now a well-known sculptor in Cornwall. If I was not to take up the apprenticeship, I was to let Don know so that Rick could accept the offer. My immediate reaction was to accept but, for some reason known only to me, a mixture of fear, lack of confidence and shameful undeservedness, I asked to be given a few days to think about it.
It was like a repeat performance of the previous year. Through friends of the Cadets who knew friends of friends of mine, I was warned off. Let Rick have the Apprenticeship or there would be trouble. Rick, who used to hang out with people I knew, never seemed to look as if he knew of the threat and I don't recall any animosity from him at all. We weren't friends but, as far as I was concerned, we weren't enemies either. However, in spite of my newfound bravado, I felt completely unable to act positively and simply told Don I didn't want to take up the prize. Don's reaction was to insist that I accepted and he gave me a further two weeks to come to a decision. For the next few weeks, the threats, taunts and assaults were quite intensive and it ended with a shooting.
The Cadets had access to small-bore rifles for use at the firing range. And some of the boys also owned their own weapons. One summer's afternoon, Tim Nelson and I had gone for a swim in the river beneath a steep wooded ridge called The Hangings. It was a beautifully calm day. The river was slow and deep where we swam and such times were a much needed sensual pleasure. But as Tim and I swam and chatted, members of the Cadets were gathering above us in The Hangings.
I remember swimming down-river, the late sun still dappled the water. We swam through the shadows of overhanging trees, cows on the far bank stood motionless in the heat and the quiet sound of my arms through the water was almost the loudest thing I could hear. Tim was swimming quietly and more confidently behind me. There was the sound of fish breaking the surface to catch insects; their ripples making expanding concentric circles and interference patters across the flat calm. Tim was first to get out of the water and he was drying himself on the bank when it happened. At first I thought the surface of the water was being broken by some large fish, but the sound of the bullets hitting the water was accompanied by the crack of small arms from the path at the top of The Hangings about 50 metres from we stood and about 10 metres above us. The splashes were to my right and in front of me, between me and the riverbank as I turned toward it. Tim, pulling up his trousers, shouted "They're shooting at us!" and looked in the direction of where The Cadets had positioned themselves. I scrambled out of the river and, grabbing a towel, joined Tim as he ran towards our assailants to get a better look. Seeing us, and seeing that we were close enough to recognise some of them, The Cadets ran off along The Hangings path, through the woods and towards the main school buildings about half a mile away. Tim and I immediately gave up any pretence of a chase. As Tim turned back he noticed that the right side of my face was bloodstained. I put my hand to my face but couldn't find anything wrong. On further inspection, Tim found a small hole in my right ear with a crescent-shaped flap of skin hanging out of it. The river water was never particularly warm and I hadn't felt a thing. The small calibre bullet, a point 22 (I later found some casings on the ground on the upper path) had gone right through the back of my ear and had done almost no damage at all.
The ear healed completely and didn't even leave a scar. Something I greatly regret as it is almost as if the event never happened. But I have carried scars of a different kind since my childhood and the events leading up to the shooting incident opened wounds that were to fester for many years. Whether or not the shooting was in retaliation for Robin and me attempting to blow up the shooting range, or whether it was in some way connected to The Cadets' concepts of preventing the likes of me from pursuing my career as an artist, I will never know. But it was more by luck than judgement that Robin did not kill himself in our bid to frustrate The Cadets and it was more luck than Judgement that the small bullet missed anything vital – Tim and I both could have been killed. Looking back on the events after 35 years is a strange experience. It has taken me 35 years to understand the dynamics of how victims become aggressors, how victims are, to a degree, selected for their weakness and how differences such as race, can have a profound impact on how the weak are often convinced of their weakness from an early age.
Bryanston School 1970: the 'House' photo. Dean Omar was the only African in Forrester House at that time and made it to the top to become the Head of House. The other non-white students were myself and Essie Ghani from Iran (2nd row up, 4th from left) Photograph by H. Eckardt of Sturminster Newton
The Reluctant Student
After the shooting, the bullying stopped completely. Why? I don't know. Perhaps the members of the Cadets had been frightened by their own measures as Robin, Tim and I had been by ours. But, in any event, the Autumn Term seemed to be a new start. And there was too, at the beginning of the Spring Term, a reason to want to wash more frequently. In 1973, the school became co-ed. About twelve girls arrived to start the 6th form A-level course. Mary Bremner, known to all as Mog, was a gentle person with a sharp and incisive mind, she had a smile like Janis Joplin's and wore small, wire-framed, tinted octagonal glasses. I was far too shy to admit it, but I thought about her constantly. And she seemed to like many of the freaky dope smoking creative people that I liked. There were several occasions when I realised that Mog liked me too but I was utterly ashamed of my body, was still, in all probability, a fairly smelly individual and I'm sure that I was not remotely ready for anything other than friendship. In Mog I found, too, the thoughtful and less aggressive side of humanity that I was used to.
Though I have painted a stark picture of my family, I have not yet mentioned my sister Jenny in any detail or the influence that women have had on my life. My mother was not a particularly maternal woman, in the traditional sense, but I have no doubt that she loved both her children very genuinely. My grandmother, who was very maternal towards her own child and her grandchildren, was not defined much by her anti-Semitism when judged by the qualities of the internal dynamics of her family. Indeed, apart from her occasional outbursts, she rarely mentioned such things when children were present. And my sister, Jenny, has always had a self-deprecating, quiet and non-confrontational approach to life. All three women were, in their own different ways, much gentler than the male world I had inhabited at my schools. My grandfather too was gentle and patient with children and I don't remember him ever losing his temper with my sister or me. Such an observation on my part might lead one to assume that my stereotyping of gender is, more or less, a similar process to the racial stereo typing I have linked to my childhood experiences. In one respect that is true in that the creation of gender, like the creation of race, has a long history to which we are all complicit to one degree or another. In other words, the functional differences between one sex and another and one race and another, by which I mean the concrete mechanical differences, are overlaid with powerful social distinctions that do not have an independent reality. However, such similarities between gender stereotyping and race stereotyping go only some of the way towards explaining how individuals experience the different worlds of race, gender<|fim_middle|>, one can't choose one's family and there are plenty of people who suffer from a sense of not belonging. For me, though, there was not one institution, not one member of my family and not one personal friend who was able to offer support, advice or comfort concerning my problems with my position as a non-white person in a very white world. Indeed, even to this day, if I bring up this subject with old friends, they say that they have never thought of me as not being white or as suffering from prejudice. I always take the comment in good heart but, equally, feel uneasy that people can know me so well without realising how my situation could often make life much more difficult than it otherwise would have been.
My early days as a student were, then, hampered by a tremendous feeling of otherness, of not belonging, of not being acceptable and of not being allowed to express myself in my own way. My work at Torquay College of Art was unremarkable, derivative and heartless. Not because I had no talent, but because my heart wasn't in it. I was a reluctant student. I found authority figures, however well meaning and kind, difficult to deal with and felt hugely rebellious but could not find a place within myself to allow any independence of action that meant anything to me. The bravado that had emerged at Bryanston had only one focus and that was not particularly constructive; driving very fast at every conceivable opportunity.
Like many boys, I was mad about cars from an early age. It was rumoured (but turned out to be untrue) that my Thai family was related to Prince Bira, the only notable grand-prix driver of his era to come from South East Asia. Bira drove for the ERA team in the 1930's and, like me, had an interest in sculpture. Had I known that he was living in England for much of his life I would certainly have got in touch. But, before the days of the internet, it wasn't always easy to find people and make contact with such people without an introduction. But knowing that he existed, even if not related, was certainly influential in my determination to become a fast driver. Naturally, I was often stopped by the police for driving too fast but what surprised me more was being stopped just as frequently when driving slowly.
Ed had the opinion that women and black people were terrible drivers and, to this day, opportunities in motor racing for non-white people are limited to work behind the scenes. So even though I was encouraged by Ed, on a personal level, I was also aware that the encouragement was at odds with his general opinion that the English in particular and white people in general, were the best drivers. Even the Japanese giants of the global motor industry have had few non-Caucasian drivers in International motor racing. In my teens I had attempted to enter motor racing through karting and, though Ed was very supportive in that regard, the conversations in the race paddock were so soaked in racist and sexist 'humour' that I lacked the confidence to continue.
My mother's worry about safety, though completely understandable on her part, was the final straw for me in that endeavour. One of the ways in which both racism and sexism (and any other prejudice for that matter) works is to produce feelings of failure, in the victims, that are not able to be overcome by expectations of success. I have never thought that I have failed because of my colour, but I have often felt that I have not attempted to succeed because of my expectation that my success would not be allowed and that I did not have the wherewithal to overcome those hurdles.
Under-representation of women and minorities in all sorts of areas of life is thus, in my view, not only due institutional biases but also to biases residing in the victims themselves. For white people in Britain, such feelings can also come about through poverty, disability and any number of other problems. But the support networks for mixed race people are few and far between and those that exist for specific non-white groups are sometimes as separatist in their attitudes as mainstream institutions. In the 1950s, '60s and '70s, I was not aware of any support organisations at all. Families, places of worship, communities, schools and places of work are the traditional institutions that provide individuals with support and a sense of belonging. For many mixed race people, such institutions become part of the problem.
Growing up in the atmosphere I have described produced an acute sense of isolation that did not abate as I grew older and it is something I still feel to this day; seeing all around me people that seemed to belong, while I was being treated as a curiosity, reinforced feelings of apartness and difference that often led to the most surreal conversations. For not only does difference produce a great inquisitiveness in others, it has the effect of others not being able to hear what one says; so strong is their idea of one's difference that information to the contrary doesn't sink in. Most non-white people are used to the question "where are you from?" It is a natural question and does not, in itself, come across as a racist remark if asked in a genuine and friendly manner. But 30 years ago, many people were astounded if one replied in Standard English. On a regular basis, I used to have this conversation (often interspersed with other usual pleasantries) when meeting someone new:
Stranger: "Where are you from?"
Me: "Essex, near Maldon."
Stranger: "No, where are you really from?"
Me: "Well, my father was from Thailand and my mother is English, but I really am from Essex."
Stranger: (after a pause) "Your English is very good!"
Me: "Thank you, but I have lived here all my life, so it's not surprising."
Stranger: (another pause) "Still, it is very good…"
Me: "Thanks again, but I was born here, so…"
Stranger: "Yes, but English is quite a difficult language if..you know.."
Me:"So, where are you from?"
Stranger: "London, that's not far from Essex, have you been there?"
Me: (trying to make light of the situation, with humour) "Your English is very good too."
Stranger: "Are you taking the piss?" (walks off)
These days, such conversations are very rare as people have become used to hearing non-white people speak in Standard English. Naturally, over the years I have tried to explain my situation as gently and as politely as possible but after countless attempts, I don't remember a version of my response that did not lead to some measure of confusion or hostility. Such conversations, and many others like them concerning my racial characteristics and my identity, have had a profound effect on my ability to trust my own sense of self; when one's intellect becomes a source of amazement or disbelief in the eyes of others, and when doubt is expressed by large numbers of people (in my youth, the majority of people but now around 25%), about the clarity of one's thought processes, the use of one's language and the trustworthiness of one's intentions, then it is no wonder that one's confidence as a person is hugely diminished.
On many occasions, perhaps more now than in my youth, I find myself seeing the world as a Kafka-esque dream. In many situations individuals and institutions react very badly to a non-white person displaying intelligence. Often such individuals and institutions are, it seems to me, setting out to ensure that contributions made by non-white people are subsumed, appropriated or belittled. I think I could have coped over the years if those closest to me had not been, often, the worst offenders. That there was no one else to turn to, to compare notes with, to seek advice from or to simply provide emotional support, made life very difficult.
In the feature film "Far From Heaven", set in 1957, a middle-aged black man, Raymond, takes a white woman, Cathy, to his local bar on the black side of town so that she can experience what it is like to be the "only one in the room". Previously, he had caused a stir as the only black man in an art gallery on the white side of town. Being mixed-race in England in the two decades that followed, where there was no mixed-race side of town and, as far as I knew then, no Anglo-Thai people in the UK at all, was a very lonely experience. Wherever I went, I was the only one in the room. The certainty of identity that I had felt in my pram, when the shimmering light became a clear image, has been reversed over the years. As I write this, I am recovering from another bout of depression. This afternoon I was practising my keyboard so quietly that I could still hear the birds chirping gently outside. In the flat above me, my neighbour, who has told me I'm responsible for other peoples' noise in the flats as well as my own, was shouting at me from above and was banging something heavy on the concrete floor in protest. Now I have no idea if this man is crazy or if he just hates quiet piano music. But I can't help thinking that he just doesn't like the fact of my existence. Intellectually, I realise that my assumption has absolutely no evidence to back it up. Emotionally, it's a different story and though I immediately resolved to go upstairs and have a quiet conversation with my neighbour, I didn't. I stopped playing piano.
Nick Nakorn, 9 June to 20 July (2005)
The companion piece to this: Yellow Peril
Corona Virus Community Response
Posted on March 15, 2020 by Nick Nakorn
Ashburton and Buckfastleigh.
Over the past week it has become clear that the UK Government's response to the Covid 19 pandemic is wholly inadequate. Many have noted that the UK does not have the will, the human resources or the command structure to facilitate swift and immediate action to deal with the massive scale of the crisis.
As Professor Ashton has said, we need a community response. I believe that if government is incapable of coordinating such a response we should do it ourselves. Here's how.
I will outline how this will be funded later in this document.
A) The Scale of the problem.
We know that the virus spreads very fast infecting people at an exponential rate with a doubling time of about 3 days; every three days the number of people infected doubles. Eventually nearly everyone will get the disease probably about 80% of the population unless we act now. If we do nothing this is what will happen.
The population of Ashburton is about 4,000 people. The population of Buckfastleigh is about 3,600 people. Add various other people staying in the area but not officially resident and we're talking about around 8,000 people in total.
The mortality rate, death rate to be very clear, is about 2% so we can expect 160 deaths in the next few weeks in Ashburton and Buckfastleigh – over half of those will be elderly but many will not, there will be young people laid to rest too. But we do not know in advance who those people will be because many more will be seriously ill and need intensive care. Up to about 20% of the population – say 1,600 people. Many with pneumonia, or other conditions. I doubt there are currently that number of intensive care beds in the whole of Devon.
Even if only half of the above numbers become ill, we are still looking at 800 people being very ill and 80 dying – that is not acceptable. In fact the more useless government is, the more will die – not because they are not able to be cured but because the hospitals will be full to overflowing.
B) What to do about it.
Voluntary lock-down: close all schools, restaurants, pubs, venues, hotels and places where people meet for unessential activity.
Limit journeys for essential activities only while ensuring essential services can be kept operational.
Ensure that all local people with genuine experience in evidence-based medicine are available to help including the surgeries in Ashburton and Buckfastleigh. Train as many people in basic nursing care as possible.
Approach land-owners and landlords to voluntarily offer their premises as local pop-up hospitals, clinics and testing stations – temporary local hospitals could be in hotels, schools, places of worship, conference venues and other buildings otherwise used for gatherings.
Order sufficient medical supplies for testing, care of the seriously ill and dying – in short equip the local pop-up hospitals.
Test everyone.
Admit those who are ill to the pop-up hospitals.
C) How to pay for it.
I don't have local demographic data to hand but the 8,000 population will live in about 3,000 households. About 4,000 people will be working and about 4,000 will be children and retired people. Home ownership is likely to be at around 75% so assume around 2,250 private homes.
Each working adult puts £100 cash loan into a Community Fund raising £400,000
Each Household pledges to temporarily underwrite the Community Fund to the value of £100 each, allowing the Community Fund to borrow £300,000
Home owners pledge to temporarily underwrite £500 each against the value of their homes to allow the Community Fund to borrow £1,125,000
Let us also try and persuade 100 local businesses to pledge to temporarily underwrite £1,000 each, allowing the fund to borrow another £100,000.
The total available to spend immediately would be £400,000 and a credit line with a bank would be £1,425,000. The total fund for the initial stage of the crisis over the next few months would be £1,925,000 to provide basic nursing and care for the ill and intensive care for the seriously ill and dying.
The Government has pledged to spend what it takes to beat the virus. They have not sent sufficient funds to local government or the local NHS so we must act ourselves. We must act now. To find a suitable bank I would suggest the managers of the two Co-ops approached the Co-operative bank.
If further funds were required later in the year, another round of fundraising would be sort. At the end of the crisis, the total bill would be sent to the UK Government and all citizens would be reimbursed for their cash donations and the borrowing payed off. If the UK Government refuses to pay, we will sue them. If we lose we will all lose money but if our model is replicated all over the country they will have no choice but to pay – just as they paid the banks when they bailed them out. The worse that can happen is that we all have horrible debts but we might well save 160 lives. What price a life?
I will put my money where my mouth is. I am on a very low wage, have chronic health issues and rely on tax credits and housing benefit but will give £100 cash as a household, £100 cash as a working adult and will pledge to temporarily underwrite £1,000 using my work tools as collateral if the scheme goes ahead.
D) Organisation. We would need urgently.
A young, fit, fiercely persuasive and experienced and energetic graduate to co-ordinate.
A green light and endorsement from both Town Halls.
A green light and endorsement from both medical centres/surgeries
Two organisational hubs at each town hall.
A dedicated website
A dedicated computer
A bank account
A team of medical experts
An accountant
A procurement expert
Volunteer drivers, carers and publicity people.
If you think this is a viable idea, even if risky, even if unlikely to happen, please support it. We are in for the toughest of times as a community and the will to say 'yes' will make it happen. We are 8,000 people, we deserve to live.
T H E W I L L T O S A Y Y E S
Nick Nakorn 15th March 2020
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Categories Select Category Astrology Ethics Medicare Political Correctness Public Health Racism Uncategorized | and sexuality that we all have to navigate. My own fear of male social forms and groups is, in large part, due to feelings of rejection as virtually all white boyhood fictions and realities were, in the 1950s and 60s, dominated by white heroes, metaphorically and literally. But there is also the fact that traditional femininity, as represented by my grandmother, mother and sister, was the prevailing hegemony in which I was brought up. The extent to which the male world threatened my equilibrium due to it's maleness and due to its whiteness – as created societal forces rather than mechanical differences – is thus something I will return to a great deal.
My own daughter, Lindsey, has remarked on the different ways mixed-race children are treated in her school. The gender biases evident now, in 2006, are not dissimilar to those I noticed 35 years ago. My daughter is now about the same age as I was in 1973. As then, mixed race girls who are half white and half Asian or oriental, are thought of as 'hot'. In 2006, they are treated as a special case; foreign enough to add some exoticism and white enough to be accessible culturally and (in the minds of many boys) sexually. Lindsey has noticed that there are wholly Asian girls at her school who are hardly ever remarked upon by white boys either positively or negatively. It is as if they don't exist. When my and Jenny's characters were being formed by the world around us, the European, white, Caucasian attitudes to Orientals were ones of extremes. The British, French, Dutch and other European empires and the Cult of Orientalism, in the way in which Edward Said explains it in his book, Orientalism, had produced a defining set of values for Europeans that did not represent the reality of the cultures being studied but a relative fiction that fitted the socio-political requirements of the empires themselves. Today, in 2006, we see similar traits in the way in which many people in the United States and in the UK are misunderstanding Islam. Tourism is, too, another branch of our Imperial past and it is amazing how some seasoned travellers behave in a decidedly colonial way.
Mention Thailand to many people – and I do, often in response to questions about my ethnicity and often in advance of questions that are inevitable – and the replies are extraordinarily Victorian. Here are a few typical examples that I can remember from the past few years:
"Thailand! Wow! Thai women are really beautiful, is your sister married?"
"You have to remember that Thai's aren't like us so you can't expect the same level of conversation."
"They have such amazing skin"
"I expect they really go for you out there, all those little beauties"
"You could live out there and make a fortune"
"Thailand, mmm, I expect you know some good recipes"
"The Tsunami was terrible, a lot of tourists lost everything"
"Buddhists living rough on the streets don't suffer because they are enlightened and are happy, I know, because I've met the Dalai Lama"
"You have to admit that Thai men don't treat their women all that well"
"Weren't you lonely spending a month there?"
"I've never thought of you as mixed race, I don't think of you as anything other than white"
The overall impression one gets from being on the receiving end of these comments on an almost daily basis is not, however, only one of being surrounded by racists but also of being surrounded by fictional characters. In other words, the white, male value system that is perfectly capable of exercising its intellectual and emotional and practical capacities in the context of self exploration and self expression becomes incapable of ordinary observation when it comes to the expression of opinion and action concerning women and other races. The positions of non-white men and non-white women within white society and as seen from a distance are not, therefore, simply analogous with the positions of white men and white women within white society.
For mixed race girls and boys, growing up in a white society, there are further complexities and differences between how girls and boys are treated and how they self-identify. My sister, Jenny, has often explained how she was not aware of much racism in her childhood and has had few if any racist attacks in adulthood. At home, the differences between how Jenny and I were treated were marked. My mother's liberal and libertarian side would surface occasionally after reading books and articles by writers such as Betty Friedan, and Germaine Greer but her growing conservatism (she became a convinced Thatcherite, later in life) also made her prone to extolling the virtues of traditional femininity. I think too that my mother's early life – somewhat of a proto-"it"-girl – had made her wary of too much libertarianism for her daughter. Occasionally my mother would tell me about the wild parties of her youth based in and around a social set that included Clement Freud (a British Liberal, critic and general celebrity), Tony Soper an Ornithologist and Jon Bonner, a farmer and archaeologist. At one time all three were locally and nationally known and represented a glamorous and exciting social opening. It has occurred to me that my mother's love affair and marriage to my father was perhaps a youthful tilt at her conservative roots and he may have been somewhat of a trophy husband to impress her well-travelled friends. Her attitude to my sister's upbringing was protective and conservative while her attitude to my upbringing was to be liberal to the point of almost being uncaring. However, I don't suggest that there was an absence of love, merely a kind of diffidence – as if being "motherly" was too much of a break with her wilder past and too old fashioned to sit easily with her more conservative, but still libertarian, in the atomistic sense, future. My sister was therefore sent to a convent from the age of 10 to 16 and to a finishing school from 16 to 18. Her maternally appointed mission, supported greatly by all the rest of the family, was to be pretty, marriageable and demure.
In practice, the gender differences had been fostered at home in nearly every respect. Jenny was not encouraged to enter into discussions, decisions or physical play. Jenny was reminded often that she must look pretty and ladylike. By the same token, I was reminded often to be Gentlemanly, but also to be rebellious, to ask questions and, something I didn't take to at all, be more aggressive. I was encouraged to enquiry while Jenny was encouraged to acceptance. I was encouraged to join in while Jenny was encouraged to observe. I was encouraged to explore while Jenny was encouraged to timidity. Though we were treated in very different ways, the outcome for both of us had one thing in common; the world did not react to us in the way that our mother had planned. Jenny did not receive a stream of marriage proposals from the "right type" and I did not become an English Gentleman or dynamic entrepreneur. In other respects, I think we did respond to our upbringing in as much as the essential and overriding value system was to make us into honorary white people within a culture that was predominantly Orientalist in outlook; we both behaved as if we were playing our allotted roles but we both became incapable of either competing with our contemporaries, or of going our own way with confidence, and I believe that such an outcome was almost inevitable.
By the time I went to Art College in 1973, Jenny was already established in London with a job as a production assistant for BBC Radio Drama; courageously shaking off her protective shackles to make her way in the world. I spent my foundation year at Torquay and so was living at home for a whole year – something I hadn't done for 4 years. With my sister away and with my grandparents spending more and more time at home I had a chance to observe a few changes in family life and to begin to notice some changes in Bovey Tracey too.
When I was a child, Bovey Tracey, was a large village on its way to becoming a small town. Its attitudes were very rural, very English and very white. There were four non-white residents that I knew of: an Indian Doctor who worked elsewhere but who would occasionally wave when I passed her house, a mixed race (English and African-American) knife and saw sharpener who was the result of a liaison between a local woman and an American G.I. stationed at Indio when it was requisitioned during the War and Jenny and me. Non-white faces were a curiosity and I don't remember any overt racism directed at me personally in the village at all. But, as the village grew and new suburbs sprouted here and there, the atmosphere began to change. Returning from boarding school, I didn't look much like I had as a child and people I hadn't seen for a year or so showed a hostility that was unlike them until recognition set in. New locals, by which I mean those who had moved into the area from cities, mostly to retire, looked on me with suspicion in the pub. Tony and Monica – who looked upon everyone with suspicion until they knew them – were the proprietors of the King of Prussia. They were supportive when a new local suggested that
"..we don't want your sort in here.."
Tony said to him, "..when you've lived here as long as Nick, then you can make your point.."
The housing boom in the mid-seventies, which has continued in Devon till this day, was to house a moneyed and mostly retired population from elsewhere. Many of those people had moved to escape what they perceived as the urban problems of immigration and a blossoming multiculturalism. Politically conservative locals who had been established in the area for many years were becoming more inclined to vote Liberal while the newer arrivals were Conservative (like my family) or further to the right. This trend has continued and it is no surprise that now, in 2006, the local MEP is the Leader of the UK Independence Party. The supporters of UKIP believe that:
"In 2002 the government allowed another two hundred thousand people into the country, plus several thousand asylum seekers, many of whom are simply economic migrants living in our country illegally. This adds considerably to our problems, increasing social tensions and depriving poor third world countries of their brightest and best. We cannot sustain this increase which compares with a city the size of Cambridge coming into Britain every six months, or two million people over the next ten years."2006 UKIP website
Interestingly, the strongest UKIP area is one that has hardly been affected by immigration and the vast proportion of economic migrants into Devon has been white people from other parts ofBritain. The perception, not helped by UKIP one jot, is that race, illegality and social tension are automatically causally linked; as if it is in the nature of non-white people to be illegal and to cause tension. The language used by UKIP is not unlike that used by Powell or the BNP. These days, political parties are very careful not to print anything that might sound overtly racist but the juxtaposition of concepts in the above paragraph suggests a veiled racist agenda; immigrants and asylum seekers are not only thought of as illegal, but also the brightest and best of 3rdworld countries. It is as if the best one can say about an immigrant is also the worst one can say.
In 1973, just 5 years after the Powell speech, with the Devon countryside becoming more red-necked due to the influx of people escaping the cities, life for non-white residents took a turn for the worse. A very small number of mixed-race people, sometimes from wholly white resident extended families, became an easy target; we had been a welcomed curiosity but were rapidly turning into the emblems of what had gone wrong with British values. The 2001 census shows that Devon has a non-white population of 1%. The "other mixed-race" category, to which I belong, in statistical terms, is about 0.1% of the population. That was in 2001. In 1973 and earlier, it is likely that the figure was even lower. So with less than 1 in 1000 people looking like me and Jenny, it is no wonder that we fell so easily into the roles set for us by our parents, family, peers and society at large.
At Torquay College of Art and Design, life went by uneventfully. But it was a highly emotional time. The Vietnam War was still raging in spite of attempts at ending it through the Paris Peace process. Watergate was brewing and Margaret Thatcher was Minister for Education. For my generation, the Vietnam War was part of the global background. It had started the year after I was born and regular news reports from South East Asia were unprecedented in their coverage. Unlike today's more sanitised film reports of, say, Iraq or Afghanistan, the brutality of the Vietnam War was reported for an audience that had seen the Second World War first hand. What struck me very forcefully was that the Vietnamese boys looked like me. In my teens, I had heard a great deal about Vietnam and yet my classmates and teachers rarely wished to discuss it. I had often looked up Thailand on the map and so I knew that my Thai father, whoever and wherever he was, might be involved. I started asking more questions.
I have tried hard, in this piece, to separate what I know now from what I knew as a child and as a young adult. In conversations with my mother, which typically involved me asking long and complicated questions and she trying hard to change the subject, did not do much to demystify my father's place in her life and only served to add conjecture to his place in my life. But, as far as I can remember, this is what I knew at 17:
My father was from an aristocratic Thai family that were distant cousins of the Thai Royal Family, related by marriage. As a young man he had been prone to fits of rage and once threatened my mother with a knife. He was charming and unreliable, he was able yet unfocused. He and my mother had met while they were both studying at a technical college in North London. He was becoming an Engineer while she was studying draughting. They met in 1954 and he left in 1957. In England my father had been a chicken farmer. But the most interesting fact was that my mother considered him to be a great dancer, a great driver, very elegant and extremely good-looking. Sometimes she would say that he was hopeless when it came to anything of any substance and I took that to mean that she thought him not very bright. This was a characteristic that my stepfather, Ed, was particularly keen to agree with. I also was told that they both thought it was better for the children, me and Jenny, not to have any contact when they separated. I asked why they had separated and was told that the family situation in Thailand was very traditional and that, as a daughter-in-law, she would be ruled over domestically by her mother-in-law; that was something my mother said she couldn't tolerate. In fact, as I found out later in life, the matriarchal system amongst the Thai middle classes is sometimes as she has described. At 17, I didn't know what to make of it. I asked if we could visit one day and was told that it would be dangerous for me in Thailand as I might be conscripted – up until the age of 40. This last point I was to use as an excuse not to make any attempts to go to Thailand for many, many years. I still have no idea if it was true and I think the emotional aspects of having to deal with a new family were more significant than I was able to admit.
Bangkok 1976, my Father's monastery garden: Left to right, Grandmother (Pranom), Cousin (Je-ep) in front, Father's second wife (Pusdee) behind, Aunt (Kai) and my father (Pat) in monk's robes. I had no idea where or how my father lived at that time. Indeed, I did not even know if he was still alive. Photographer unknown.
As well as the Vietnam War, there were other world events that made me even less happy with my position as an honorary white boy.
In the British House of Commons the Trade and Industry Sub-Committee of the Select Committee on Expenditure proposes an inquiry "To investigate how far wages and conditions of employment of African workers employed by British companies in South Africa represent a factor affecting investment prospects, export performance, and the reputation abroad of British industry". The proposal is accepted. History of South Africa Website
In 1973, a wave of strikes by black workers was unsettling governments around the world who were worried about the possibility of rising (slave) labour costs of their South African Investments.
The British government publishes in Trade and Industry, guidelines for British companies operating in South Africa. History of South Africa Website
The Sharpeville Massacre in 1960 was often reported and referred to in British media and the unrest of the early 1970's prompted several retrospectives on radio and television. Grandfather hated unions and was not willing or able to think that black people had any rights as employees at all, thinking they were "..like children who need a firm but fair hand.." His admiration of non-unionised free-collective bargaining in the UK did not extend to black people anywhere. The early 70s also saw violence in Northern Ireland escalate, proving to my stepfather and others in the family that Britain had a right to continue its colonial enterprises there and elsewhere.
With my sister away, Ed, my mother and me fell into an evening routine that was good for conversation. I noticed that my mother's views tended to become more liberal and less right wing in the face of Ed's expression of his love of empire, hatred of the Irish and general colonial attitude. It was as if her opinions, subsumed by her father then modified by her second husband were again going into rebel mode. As a result their relationship seemed to suffer and I think Ed blamed me somewhat for that. I also recognised that one's own true beliefs are often held in check in a bid not to upset others and then become more extreme in response to being held back – much like my own apologist's attitude to Powell.
Daddum and I also spent more time together in conversation. But we tended to avoid politics and talked more about his early life and his plans for the future. He had had several heart attacks and was convalescing at home. He was very concerned that Ed should not benefit financially if he should die. It's worth now explaining the dynamics that existed at Indio during this time.
Because Indio was a very large house, it was able to accommodate my grandparents, my parents, Ed's mother, Edna, me and who ever else was at home, with room to spare. The house had 12 bedrooms and numerous reception rooms. I once noted in the 1990's that my modest 2 bedroomed terraced house in Watford, where I lived at the time, would fit in its entirety into the main hall at Indio, such was the volume of space. Ed and my grandfather did not get on, Elsie, my grandmother, used to be best friends with Ed's mother Edna but they fell out at some point. My mother, Valerie, was trying to be the good daughter and the good wife and finding it very difficult. On top of that, there were tensions between Ed and my mother's extended family of Essex cousins – they disliked Ed for reasons that were not apparent at the time. My grandfather, Alf (Daddum), clearly didn't like Ed at all but hid it well from Jenny and me. For my part, I genuinely loved them all. But I was often asked to act as a go-between to make peace between the factions over different issues.
You might have had the impression that Ed and I didn't get along but that was very far from the truth. In many respects he was extremely kind and thoughtful and was, I think, doing his best to make amends for a previously disastrous marriage to his first wife and for his distant relationship with his son, also called Nick, who would visit from time to time. Ed was a good father figure in many ways; he tried to teach me the value of being stoical, tough, logical, hard working and decisive. I was, at that time, none of those things. We also both had a passion for cars and motor racing. He had a dog, a Staffordshire Bull-Terrier called Brutus, and evening walks were always of interest. Ed was an engineer and a talented designer. He could draw beautifully, had a very genuine sense about what constituted good design and was open to many other arts such as music and literature. So we always had a number of non-contentious topics to pursue. But, like my mother, he was not particularly tactile as a father and so both parents seemed somewhat distant to me. But even if the feuds between family members made any feeling of belonging difficult, I did not feel unloved or un-cared-for, it was more a feeling of not being appreciated, not being taken seriously, not belonging and not being encouraged to feel I had a place in the world. Naturally | 4,462 |
Feature Story | 2-Dec-2022
How art can help us understand the hybridization of the real and the virtual
Digital art has become one of the major fields of experimentation and exploration of the various opportunities provided by new technologies and their perception on a social and individual level
Universitat Oberta de Catalunya (UOC)
Since the popularization of technology, the virtual world has grown in leaps and bounds and has become a normal and common element in society. Life today is largely digital and framed by the tools available both for work and for access to entertainment and culture.
Indeed, technologies such as the metaverse are already emerging as the next big step towards the digitalization of society. Now a new project led by researchers at the Universitat Oberta de Catalunya (UOC) is to analyse new immersive technologies, such as virtual reality,<|fim_middle|> processed from a cognitive neuroscience standpoint. This is all to analyse aspects such as the brain's representation and perception of the virtual world. "The different experiments will allow us to study the mechanisms of the internal representation of the body and how this perception can change our behaviour," explained Bourdin Kreitz.
Furthermore, the experts argue that the progress and popularization of these technologies is largely in the hands of big corporations and platforms. This context could lead to major conflicts in the future, as the development logic of these corporations and platforms is focused on survival and profit. "As researchers, we believe that our duty is not to leave this process exclusively in the hands of the big platforms, since the question is not so much whether the population is ready to take on these developments, but whether those who are responsible for how this process is done are ready," the experts said.
"The project fits into a context of strengthening the relationship between art, science, technology and society, which will be a key area of work in the coming years, with the UOC playing a major role, working together with other organizations to promote the Hac Te hub, which will be specifically focused on this task," concluded Soler-Adillon.
This research and practical experimentation work will be carried out over the next three years with funding from the Spanish Ministry of Science and Innovation's Knowledge Generation Projects R&I programme.
This UOC research supports Sustainable Development Goals (SDGs) 4, Quality Education, and 9, Industry, Innovation and Infrastructure.
This project, with reference number PID2021-128875NA-I00, has received funding from the Spanish Ministry of Science and Innovation, the Spanish National Research Agency (MCIN / AEI / 10.13039 / 501100011033) and the European Regional Development Fund (ERDF).
UOC R&I
The UOC's research and innovation (R&I) is helping overcome pressing challenges faced by global societies in the 21st century, by studying interactions between technology and human & social sciences with a specific focus on the network society, e-learning and e-health.
The UOC's research is conducted by over 500 researchers and 51 research groups distributed between the university's seven faculties, the E-learning Research programme, and two research centres: the Internet Interdisciplinary Institute (IN3) and the eHealth Center (eHC).
The University also cultivates online learning innovations at its eLearning Innovation Center (eLinC), as well as UOC community entrepreneurship and knowledge transfer via the Hubbik platform.
The United Nations' 2030 Agenda for Sustainable Development and open knowledge serve as strategic pillars for the UOC's teaching, research and innovation. More information: research.uoc.edu
Anna Sánchez-Juárez P
researchcomms@uoc.edu
Office: 34-932-532-335
Spanish National Plan for Scientific and Technical Research and Innovation
/Applied sciences and engineering/Computer science/User interfaces/Virtual reality
/Social sciences/Social research
/Social sciences/Psychological science/Developmental psychology/Cognitive development/Learning/Learning processes
/Social sciences/Philosophy/Science philosophy/Scientific method/Experimentation
https://www.uoc.edu/portal/en/news/actualitat/2022/301-virtual-art.html | augmented reality and extended reality, through the lens of digital art, in order to understand the importance and dynamics of the space that digital technologies have created between the virtual and the real. It is a study that will be carried out not only in the creative domain, but also from a social point of view.
"This is a project involving an interdisciplinary team that will study the creative strategies behind several experimental projects in a space of hybridization of the real and the virtual, with the aim of generating a dialogue between established creators and making these strategies accessible to emerging creators," said Joan Soler-Adillon and Pierre Bourdin Kreitz. They are members of the teaching staff and researchers at the UOC's Faculty of Computer Science, Multimedia and Telecommunications; Soler-Adillon is the project's coordinator and a member of the Design, Art, Technology and Society (DARTS) research group, and Bourdin Kreitz is a member of the working team and a researcher from the Learning, Media and Entertainment (GAME) research group. "It is important to value artistic research, which is based on practice, as a type of advancement of knowledge that is just as valid as any other," they stressed.
In recent years, the hyperconnectivity of society and the pandemic have accelerated this blending of the digital and the real. Hybridization will become increasingly prevalent in the coming years, and the analysis of the opportunities and shortcomings of new technologies will therefore be a priority. "We must get ahead of this process and draw conclusions from the contributions of past and present artistic research in order to advance application scenarios that are not aimed at commerce, but instead based on social advancement. So, we want artistic practices to regain that element of research and exploration of limits, as we believe this to be fundamental in relation to both hybridization and interaction with users," said Soler-Adillon.
As such, the research is aimed at being better prepared for new challenges. "Future scenarios will force us to rethink many of the activities we have carried out in the past few decades. And here, hybridization, achieving a good balance between in-person and virtual formats in many areas of our working and social life, will be a key element," said Bourdin Kreitz.
Digital art, a key element of experimentation
Digital art has always been one of the main fields of experimentation and exploration of the different opportunities that new technologies have to offer. "Art has proven to be a space that throws itself into testing, hacking and playing around before anyone else, and this naturally places it in this experimental space. What's more, digital art often seeks to push the boundaries of the technology behind it," the researchers explained.
Thus, in this quest, artistic practice participates fully in the advancement of research. And in some cases it even moves ahead of traditional research. "Digital art offers an incomparable position to explore these new hybrid spaces," said the experts.
To this end, they will study the use of new technologies, such as extended reality, which encompasses both virtual reality and augmented reality, with the aim of analysing the interactions between different users and creators, as well as the various interactive and immersive strategies that are developed. "Although the general public is familiar with these technologies from a recreational or entertainment point of view, both augmented reality and virtual reality have a significant track record in terms of research since the 1990s, particularly in relation to health and education," said Bourdin Kreitz.
Analysis of perceptions and behaviour
In fact, a major part of this work will focus on studying how the use of and interaction with these new technologies is | 726 |
Sénac (en occitan gascon Senac) est<|fim_middle|>, soit un indicateur de concentration d'emploi de 17,5 % et un taux d'activité parmi les 15 ans ou plus de 62,2 %.
Sur ces 137 actifs de 15 ans ou plus ayant un emploi, 14 travaillent dans la commune, soit 10 % des habitants. Pour se rendre au travail, 93,4 % des habitants utilisent un véhicule personnel ou de fonction à quatre roues, 2,9 % s'y rendent en deux-roues, à vélo ou à pied et 3,6 % n'ont pas besoin de transport (travail au domicile).
Culture locale et patrimoine
Lieux et monuments
Église de l'Assomption de Sénac.
Personnalités liées à la commune
Héraldique
Les trois croix latine représente le calvaire (le crucifix et les deux croix des Larrons).
Voir aussi
Bibliographie
Articles connexes
Liste des communes des Hautes-Pyrénées
Aire urbaine de Tarbes
Liens externes
Sénac sur le site de l'Insee
Notes et références
Notes et cartes
Notes
Cartes
Références
Site de l'Insee
Autres sources
Commune dans les Hautes-Pyrénées
Commune dans l'arrondissement de Tarbes
Communauté de communes Adour Madiran
Aire urbaine de Tarbes
Aire d'attraction de Tarbes | une commune française située dans le nord du département des Hautes-Pyrénées, en région Occitanie.
Sur le plan historique et culturel, la commune est dans l'ancien comté de Bigorre, comté historique des Pyrénées françaises et de Gascogne. Exposée à un climat de montagne, elle est drainée par l'Estéous, le Lanénos et par divers autres petits cours d'eau. La commune possède un patrimoine naturel remarquable composé d'une zone naturelle d'intérêt écologique, faunistique et floristique.
Sénac est une commune rurale qui compte en , après avoir connu une forte hausse de la population depuis 1975. Elle fait partie de l'aire d'attraction de Tarbes..
Ses habitants sont appelés les Sénacais.
Géographie
Localisation
La commune de Sénac se trouve dans le département des Hautes-Pyrénées, en région Occitanie.
Elle se situe à à vol d'oiseau de Tarbes, préfecture du département, et à de Maubourguet, bureau centralisateur du canton du Val d'Adour-Rustan-Madiranais dont dépend la commune depuis 2015 pour les élections départementales.
La commune fait en outre partie du bassin de vie de Vic-en-Bigorre.
Les communes les plus proches sont :
Mansan (), Mingot (), Lacassagne (), Peyrun (), Montégut-Arros (), Lescurry (), Saint-Sever-de-Rustan (), Rabastens-de-Bigorre ().
Sur le plan historique et culturel, Sénac fait partie de l'ancien comté de Bigorre, comté historique des Pyrénées françaises et de Gascogne créé au puis rattaché au domaine royal en 1302, inclus ensuite au comté de Foix en 1425 puis une nouvelle fois rattaché au royaume de France en 1607. La commune est dans le pays de Tarbes et de la Haute Bigorre.
Hydrographie
Le ruisseau de l'Estéous (affluent droit de l'Adour) traverse la commune du sud au nord en partie nord-ouest et forme une partie de la limite ouest avec la commune de Lacassagne.
Le ruisseau de Lanénos (affluent gauche de l'Arros) traverse la commune du sud au nord en partie est du village et forme la limite est avec les communes de Montégut-Arros (Gers) et Saint-Sever-de-Rustan.
Le ruisseau de Bégole (affluent gauche de Lanénos) traverse le territoire de la commune d'ouest en est et forme la limite nord avec les communes de Mingot et Montégut-Arros.
Les ruisseaux du Hourset, de Larricaudé, de Gélabat (tous affluent gauche de Lanénos) traversent le territoire de la commune d'ouest en est.
La commune possède également deux petites retenues collinaires aux lieux-dits Tailleurgat et las Bordes.
Climat
Le climat est tempéré de type océanique, dû à l'influence proche de l'océan Atlantique situé à peu près plus à l'ouest. La proximité des Pyrénées fait que la commune profite d'un effet de foehn, il peut aussi y neiger en hiver, même si cela reste inhabituel.
Milieux naturels et biodiversité
L'inventaire des zones naturelles d'intérêt écologique, faunistique et floristique (ZNIEFF) a pour objectif de réaliser une couverture des zones les plus intéressantes sur le plan écologique, essentiellement dans la perspective d'améliorer la connaissance du patrimoine naturel national et de fournir aux différents décideurs un outil d'aide à la prise en compte de l'environnement dans l'aménagement du territoire.
Une ZNIEFF de est recensée sur la commune :
les « coteaux de Haget à Lhez » (), couvrant dont quatre dans le Gers et 28 dans les Hautes-Pyrénées.
Urbanisme
Typologie
Sénac est une commune rurale, car elle fait partie des communes peu ou très peu denses, au sens de la grille communale de densité de l'Insee.
Par ailleurs la commune fait partie de l'aire d'attraction de Tarbes, dont elle est une commune de la couronne. Cette aire, qui regroupe , est catégorisée dans les aires de à moins de .
Occupation des sols
L'occupation des sols de la commune, telle qu'elle ressort de la base de données européenne d'occupation biophysique des sols Corine Land Cover (CLC), est marquée par l'importance des territoires agricoles (82,1 % en 2018), néanmoins en diminution par rapport à 1990 (86 %). La répartition détaillée en 2018 est la suivante :
terres arables (44,6 %), prairies (19,7 %), zones agricoles hétérogènes (17,8 %), forêts (14,2 %), zones urbanisées (3,7 %).
L'IGN met par ailleurs à disposition un outil en ligne permettant de comparer l'évolution dans le temps de l'occupation des sols de la commune (ou de territoires à des échelles différentes). Plusieurs époques sont accessibles sous forme de cartes ou photos aériennes : la carte de Cassini (), la carte d'état-major (1820-1866) et la période actuelle (1950 à aujourd'hui).
Logement
En 2012, le nombre total de logements dans la commune est de .
Parmi ces logements, 90,8 % sont des résidences principales, 3,8 % des résidences secondaires et 5,4 % des logements vacants.
Voies de communication et transports
Cette commune est desservie par les routes départementales , et .
Risques majeurs
Le territoire de la commune de Sénac est vulnérable à différents aléas naturels : météorologiques (tempête, orage, neige, grand froid, canicule ou sécheresse), inondations, mouvements de terrains et séisme (sismicité modérée). Un site publié par le BRGM permet d'évaluer simplement et rapidement les risques d'un bien localisé soit par son adresse soit par le numéro de sa parcelle.
Certaines parties du territoire communal sont susceptibles d'être affectées par le risque d'inondation par débordement de cours d'eau, notamment l'Estéous et le Lanénos. La cartographie des zones inondables en ex-Midi-Pyrénées réalisée dans le cadre du Contrat de plan État-région, visant à informer les citoyens et les décideurs sur le risque d'inondation, est accessible sur le site de la DREAL Occitanie. La commune a été reconnue en état de catastrophe naturelle au titre des dommages causés par les inondations et coulées de boue survenues en 1982, 1999 et 2009.
Sénac est exposée au risque de feu de forêt. Un plan départemental de protection des forêts contre les incendies a été approuvé par arrêté préfectoral le pour la période 2020-2029. Le précédent couvrait la période 2007-2017. L'emploi du feu est régi par deux types de réglementations. D'abord le code forestier et l'arrêté préfectoral du , qui réglementent l'emploi du feu à moins de des espaces naturels combustibles sur l'ensemble du département. Ensuite celle établie dans le cadre de la lutte contre la pollution de l'air, qui interdit le brûlage des déchets verts des particuliers. L'écobuage est quant à lui réglementé dans le cadre de commissions locales d'écobuage (CLE)
Les mouvements de terrains susceptibles de se produire sur la commune sont des tassements différentiels.
Le retrait-gonflement des sols argileux est susceptible d'engendrer des dommages importants aux bâtiments en cas d'alternance de périodes de sécheresse et de pluie. La totalité de la commune est en aléa moyen ou fort (44,5 % au niveau départemental et 48,5 % au niveau national). Sur les dénombrés sur la commune en 2019, sont en en aléa moyen ou fort, soit 100 %, à comparer aux 75 % au niveau départemental et 54 % au niveau national. Une cartographie de l'exposition du territoire national au retrait gonflement des sols argileux est disponible sur le site du BRGM.
Par ailleurs, afin de mieux appréhender le risque d'affaissement de terrain, l'inventaire national des cavités souterraines permet de localiser celles situées sur la commune.
Concernant les mouvements de terrains, la commune a été reconnue en état de catastrophe naturelle au titre des dommages causés par des mouvements de terrain en 1999.
Toponymie
On trouvera les principales informations dans le Dictionnaire toponymique des communes des Hautes-Pyrénées de Michel Grosclaude et Jean-François Le Nail qui rapporte les dénominations historiques du village :
Dénominations historiques :
de Senaco, latin (1300, enquête Bigorre) ;
de Senaco, latin (1342, pouillé Tarbes ; 1379, procuration Tarbes) ;
Senac (1429, censier Bigorre) ;
Senac (fin , carte de Cassini).
Étymologie : domaine antique, du nom de personnage aquitain Sendus et suffixe -acum : propriété de Sendos.
Nom occitan : Senac.
Histoire
Ce fut un lieu d'habitat de Moustériens sur un site de plein air.
Cadastre napoléonien de Sénac
Le plan cadastral napoléonien de Sénac est consultable sur le site des archives départementales des Hautes-Pyrénées.
Politique et administration
Liste des maires
Rattachements administratifs et électoraux
Historique administratif
Sénéchaussée de Toulouse, élection d'Astarac, comté de Pardiac, canton de Saint-Sever (1790) puis Rabastens (1801). Sénac et Lahitau, d'abord unies, ont été séparées en 1770 puis réunies en 1836.
Intercommunalité
Sénac appartient à la communauté de communes Adour Madiran créée en qui a la particularité de réunir 72 communes de Bigorre et Béarn.
Services publics
Population et société
Démographie
Évolution démographique
Enseignement
La commune dépend de l'académie de Toulouse. Elle dispose d'une école en 2017.
École primaire.
Économie
Revenus
En 2018, la commune compte fiscaux, regroupant . La médiane du revenu disponible par unité de consommation est de ( dans le département).
Emploi
En 2018, la population âgée de s'élève à , parmi lesquelles on compte 81,6 % d'actifs (77 % ayant un emploi et 4,6 % de chômeurs) et 18,4 % d'inactifs. Depuis 2008, le taux de chômage communal (au sens du recensement) des est inférieur à celui de la France et du département.
La commune fait partie de la couronne de l'aire d'attraction de Tarbes, du fait qu'au moins 15 % des actifs travaillent dans le pôle. Elle compte en 2018, contre 34 en 2013 et 31 en 2008. Le nombre d'actifs ayant un emploi résidant dans la commune est de 137 | 2,901 |
Conservative MP Damian Green told LBC that anyone who thinks a second referendum would solve the Brexit impasse is "deluded".
The former Minister for the Cabinet Office - and de facto Deputy Prime Minister - voted against the motions in yesterday's indicative votes that recommended membership of a Customs Union or Single Market.
But he voted against the motion for a Second Referendum. And he says there would be a lot of issues with the People's Vote.
Speaking to Nick Ferrari from LBC's studio at Westminster, he was asked if we were heading towards a second referendum and he said: "I profoundly hope not. I don't think referendums, as we've discovered, solve problems.
"A referendum<|fim_middle|> start of the process.
"What would happen if it was 51-49 remain? Does that trump 52-48 leave? Do we do best of three?
"People who think another referendum is a way out of the European crisis are deluding themselves.
"I voted against that and will continue to vote against that." | isn't the end of the process, it's the | 11 |
This is a wonderful time of the year to enjoy the harvest from land and water.
On the East Coast, snappers, baby bluefish, are starting to crowd bays and harbors. Snappers, which are also known as "choppers" in some parts of New England, will take all sorts of shiny spoons or jigs. Years ago, my sister and I discovered that an Acme Kastmaster, in smaller sizes, was a perfect snapper lure.
Around the time my daughter was born, someone invented a plug-based snapper lure. The rig starts with a Styrofoam plug that is bright orange and white, at the head of the rig. Then, the rig has about 30 inches of thick monofilament. At the end of the rig is a long-shank, stainless steel hook, that looks to be a number 6 in a 3X long size, that has a piece of<|fim_middle|> for later! | surgical tubing on it.
As this rig is retrieved, the plug ruffles the water and the hook sways back and forth during the retrieve. The snappers come up and make splashing strikes as they pursue the lure. On most every retrieve, a fish is caught. Whatever lure is used, snapper fishing is fast, fun and action packed - - no matter how old the angler is.
When snapper fishing, please take along a hemostat or needle nosed pliers. Snappers have sharp spines in their fins and needle-like teeth. If fishing with the plug and hook rig, take some time to practice, as the length of the leader between the hook and plug requires a side cast, unlike a lure which could be cast overhand.
Things can be doing well in the garden, too. On the West Coast, backyard gardeners are starting to enjoy fresh rosemary and tomatoes. These treats are ripening thanks to gardeners who are carefully conserving water in the frustrating drought.
On the East Coast, string bean harvests may be winding down. Corn, eggplant, tomatoes and Swiss chard are coming in. There's even a change for a second planting of beets and peas!
Pumpkins are starting to ripen. But that's a story | 261 |
News › QU Kicks Off 2020-2021 QU Fund Drive
QU Hawks
QU Kicks Off 2020-2021 QU Fund Drive
Quincy University launched its 2020-2021 QU Fund Drive with a $1 M goal on Wednesday, September 16, 2020,<|fim_middle|>75. Quincy University. Success by Design.
< More News | at a reception held in the backyard of the president's house. Last year, the QU Fund Drive raised nearly $1.2 M in support of campus improvements, technology enhancements and student scholarships. The QU Fund is comprised of unrestricted gifts to the university and temporarily restricted gifts to athletic and academic programs.
"With so much uncertainty in the world today, meeting the QU Fund goal is more important than ever before," said Matt Bergman, senior director of advancement. "The QU Fund is critical to the day-to-day operation of the university and I am confident that our alumni and friends will rise to this challenge and help QU exceed just as they have always done."
Chairpersons for this year's campaign are Steve'78 and Jean'79 (Fruehe) Green. Steve and Jean met while attending QU. Steve is the controller for Phibro Animal Health Corporation. Jean retired from Quincy University after 39 years at the end of February 2019. Jean worked in the business office and was associate vice president for finance/controller. They have been married for 40 years and together have four married sons and seven grandchildren. Several members of the Green's family are also QU alums including two of their sons.
"We are honored to serve as co-chairmen for this year's Annual Fund Campaign, said the Greens. "Supporting Quincy University is an easy decision for us. As alumni, parents of alumni, and retired employee of QU, we feel QU has been the foundation of our relationship and way of life. Our academic instruction was excellent, but we also received education in service-learning and Franciscan values that shaped our lives.
We feel blessed that with the support of past donors, we, as well as our sons were able to attend QU by receiving scholarships and grants. Now, more than ever, it is so important that we all continue to support QU in providing quality education for present and future students. With your help, we look forward to meeting the goals of the 2020/21 campaign"
Remarks were made by the Greens, President Brian McGee, and Fr. John Doctor, OFM, vice president of mission and ministry.
To make a donation to the QU Fund, contact the Office for Advancement at 217-228-5227 or visit www.quincy.edu/give.
Founded in 1860 by Franciscan friars, Quincy University (www.quincy.edu) is celebrating 160 years as a Catholic, co-educational, liberal arts, residential university. Quincy University offers undergraduate, graduate, and adult education programs that integrate liberal arts, active learning, practical experience, and Franciscan values. Faculty and advisors work with each student to design a customized success plan to help them graduate on time, find their passion and prepare them for life. Quincy University's intercollegiate sports are members of the NCAA Division II Great Lakes Valley Conference for men and women. For more information, please contact the Quincy University Office of Community Relations by calling (217) 228-52 | 630 |
Rick Astley is to play a gig at Dalby Forest in 2017.
Soulful-voiced pop icon and multi-million selling artist, Rick Astley has had a lot to celebrate.
With his first No 1 album in twenty-nine years, titled '50' the Brit Award winning singer has pulled off one of pop's most remarkable comebacks. '50' has gone gold and has been well received by fans and critics alike, with singles 'Keep Singing' and 'Angels On My Side' dominating the airwaves and raking in nearly 1.8m views on VEVO and over 600,000 streams on Spotify.
Astley was just twenty-one years old when he unleashed the iconic 'Never Gonna Give You Up' - few debut singles have had the same impact. It became the UK's biggest selling single of the year, going on to hit No 1 in 16 countries.
The song became the centrepiece of debut album 'Whenever You Need Somebody', which sold an astonishing 15 million copies worldwide, cracking the US Top 10 in the process.
Holding the distinction of being the first male solo artist to see his first eight singles reach the UK Top Ten, the hits continued with 'Together Forever'; 'She Wants To Dance With Me'; 'Take Me To Your Heart'; 'Hold Me In Your Arms' and 'Cry For Help'.
Following<|fim_middle|> Rick perform a set of songs from his latest album and greatest hits.
He will play at Dalby Forest, near Pickering, on June 23. | on from a run of sold out indoor spring '17 tour dates, at the Forest Live gigs fans can look forward to seeing | 26 |
Q: Why is Django giving me this AttributeError? Django is giving me this weird AttributeeError :
'Tour' object<|fim_middle|>s=form.cleaned_data['number_of_guests']
total_price=number_of_guests*form.cleaned_data['tour'].price
tour_name=form.cleaned_data['tour'].destination
client = Client.objects.create(name=name,surname=surname,email=email,number_of_guests=number_of_guests,tour_id=tour_id,total_price=total_price)
client.save()
tour=Tour.objects.get(destination=tour_name)
beds_available = tour.check_if_requested_beds_are_avaliable(number_of_guests)
if beds_available:
tour.set_new_number_of_beds(number_of_guests)
tour.save()
message =f'thank you {name} ! Your reservation to {tour} for {number_of_guests} guests , with a total price of {total_price} has been booked successfully.'
return render(request,'aplikacija/home.html',{'msg':message})
else:
form = ClientForm()
return render(request,'aplikacija/client_form.html',{'infoMsg':f"sorry, there are less than {number_of_guests} beds available for {tour_name}",'form':form})
def thanksView(request):
form=ContactForm(request.POST)
if form.is_valid():
sender=form.cleaned_data['sender']
title=form.cleaned_data['title']
body=form.cleaned_data['body']
message=ContactMessage.objects.create(sender=sender,title=title,body=body)
message.save()
return render(request,'aplikacija/thanks.html')
class TourListView(ListView):
model = Tour
def get_queryset(self):
return Tour.objects.all()
class TourDetailView(DetailView):
model = Tour
class CreateClientView(CreateView):
redirect_field_name = "/aplikacija/home.html"
model = Client
form_class = ClientForm
class contactView(CreateView):
redirect_field_name="/aplikacija/thanks.html"
model = ContactMessage
form_class=ContactForm
So , Its pretty clear that I have the method that gives the AttributeError. And like I said the other method in the class works fine. What am I missing?
A: It is due to the typo: check_if_requested_beds_are_avaliable. Can be discovered with search or by using IDE with code completion
| has no attribute 'check_if_requested_beds_are_avaliable'
However, I have the method check_if_requested_beds_are_avaliable() in my Tour class of my model. The other method - set_new_number_of_beds() works fine. I have never experienced this with with Django, can anybody tell me what the solution is?
This is the model :
from django.db import models
from django.urls import reverse
class Tour(models.Model):
destination = models.CharField(max_length=256)
country = models.CharField(max_length=256)
date_of_arrival = models.DateField()
total_days = models.IntegerField()
price = models.DecimalField(decimal_places=2,max_digits=6)
available_beds = models.IntegerField()
photo = models.ImageField(upload_to='photos',default='photos/def.png')
description = models.TextField(blank=True)
def set_new_number_of_beds(self,number_of_guests):
self.available_beds -= number_of_guests
return self.available_beds
def check_if_requested_beds_are_available(self,numb_of_guests):
if self.available_beds < numb_of_guests:
return False
else:
return True
def __str__(self):
return f'{self.destination} , {self.country} , {self.total_days} days for $ {self.price}'
class Client(models.Model):
name = models.CharField(max_length=256)
surname = models.CharField(max_length=256)
email = models.CharField(max_length=256)
number_of_guests =models.IntegerField()
tour = models.ForeignKey(Tour,on_delete=models.CASCADE)
total_price = models.DecimalField(decimal_places=2,max_digits=6,default=0)
def get_total_price(self):
return self.number_of_guests * self.tour.price
def get_absolute_url(self):
return reverse('tour_list')
def __str__(self):
return f'{self.name} {self.surname}, {self.tour}'
and this is the view:
from django.shortcuts import render
from aplikacija.models import Tour,Client,ContactMessage
from django.views.generic import ListView,DetailView,TemplateView,CreateView
from aplikacija.forms import ClientForm,ContactForm
def HomeView(request):
if request.method=="GET":
return render(request,'aplikacija/home.html')
else:
form= ClientForm(request.POST)
if form.is_valid():
name = form.cleaned_data['name']
surname=form.cleaned_data['surname']
email=form.cleaned_data['email']
tour_id=form.cleaned_data['tour'].pk
number_of_guest | 552 |
'TITAN' Software Helps Troopers Enforce Rules Of The Road
By: Rebecca Schleicher
LEBANON, Tenn. - Highway Patrol Lieutenant Jeremy Austin has had a big role to fill. He has been in charge of the enforcement plan for his troopers in Wilson County. But how do you know where to put your patrol officers, and when?
Austin has been using special software called TITAN.
"Having it all combined in this model right here at me makes it so much easier," he said.
The software tells him where crashes could happen and when based on past crashes, weather and special events. There's even a separate model that looks at DUI arrests, locations that serve drinks and past alcohol-related crashes.
And it's easily accessible from the cars of the more than 600 troopers who patrol Tennessee roads. THP reported last year it correctly predicted where accidents would happen 72 percent of the time.
"It gives me the opportunity to give a higher amount of protection to the public with the same amount of resources," said the head of the Highway Patrol, Col. Tracy Trott.
Lieutenant Austin showed NewsChannel 5 a problem spot which appeared red on the screen in a 6-by-7 mile block. Low risk areas appear blue.
"It dips down from noon to four to 35 percent which I'm not worried about, then it comes back up now at about four o'clock," he said, pointing out the probabilities based on the time of day.
He took the crew there and sure enough they spotted reckless driving during rush hour.
"He's doing 86, 87 [miles per hour]" Austin said, pointing out a speeder. Normally, he would pull the driver over and write him or her a ticket. With the news team in the car the driver got a rare pass.
Before implementing the software in a pilot program in <|fim_middle|>014 was already a big improvement on past years in the state.
"Something is working here in Tennessee," Col. Trott said.
He said while other law enforcement agencies have used similar analytics to predict crime, Tennessee has been the first in the country to use it for accidents. And he's getting inquiries from other department heads across the country, taking notice.
The software's initial cost was $265,000. The Department of Transportation and Governor's Highway Safety Office footed the bill along with grants. Troopers have been sharing all their data with TDOT. | 2013, troopers would respond to crashes after they happened. But the software has helped put troopers in high risk areas so they can write tickets to people showing risky behaviors. They said it helps prevent crashes before they happen.
"It's proactive instead of reactive," Austin said.
And when accidents do happen the software has helped troopers position themselves so they're closer to where they're needed when lives are on the line.
"Sometimes minutes matter in a bad crash or serious accident," said Col. Trott.
And as other southern states have watched their crash fatalities climb, Tennessee has been on track to possibly see its lowest year for fatalities ever. As of July 15 there were 461 traffic fatalities on Tennessee roads. That was down by 36 from this time last year. And 2 | 166 |
____<|fim_middle|> C. polyatomic ions D. oxide ions
Weegy: A. hydrogen ions. When dissolved in water, acids produce hydrogen ions (More)
Asked 1/1/2013 10:29:01 AM
How are bases named? A. like monatomic elements B. like ionic compounds C. like polyatomic ions D. like molecular compounds
Weegy: How are bases named: like ionic compounds . (More) | ___ is the everyday language of ordinary people. A. Vernacular B. Latin C. Greek D. Old English
Vernacular is the everyday language of ordinary people.
Expert answered|reubeng8304|Points 40|
Asked 1/8/2013 12:37:17 PM
Updated 5/23/2014 7:29:00 PM
Edited by debnjerry [5/23/2014 7:28:58 PM], Confirmed by debnjerry [5/23/2014 7:29:00 PM]
There are no new answers.
Why are systematic names preferred over common names? A. Common names do not provide information about the chemical composition of the compound. B. Common names are derived from the method used to obtain the compound. C. Common names were assigned by the scientist who discovered the compound. D. Common names are not very descriptive
Updated 2/3/2015 8:48:20 PM
emdjay23
Systematic names preferred over common names because: Common names do not provide information about the chemical composition of the compound.
Added 2/3/2015 8:48:20 PM
In which of the following are the formula of the ionic compound and the charge on the metal ion shown correctly? A. NiO, Ni+ B. IrS2, Ir2+ C. UCl5, U+ D. ThO2, Th4+
Weegy: A (More)
Here_To_Help_You
In ThO2, Th4+ the formula of the ionic compound and the charge on the metal ion shown correctly.
Binary molecular compounds are made of two _____. A. cations B. polyatomic ions C. metallic elements D. nonmetallic elements
Weegy: Binary molecular compounds are made of two nonmetallic elements. (More)
When dissolved in water, acids produce _____. A. hydrogen ions B. negative ions | 442 |
The Connecticut General Assembly's Office of Fiscal Analysis (OFA) in May predicted a fiscal year 2017 deficit of nearly $400 million. OFA cites eroding personal income tax receipts as the primary reason, which fell short of their April target by $300 million. Comptroller Kevin Lembo reports Connecticut's Budget Reserve Fund is insufficient to cover this deficit, and that original personal income tax projections held an overly optimistic outlook on the stock market in late 2016. Benjamin Barnes, Secretary of the Governor's Office of Policy and Management, concurs with these analyses. According to the Office of Fiscal Analysis, the decline in income tax collections is largely a result of a decrease of approximately $200 million from the top 100 taxpayers. Connecticut relies heavily on the taxes collected from these high income earners to create a balanced budget.
The graphs in this visualization show how the most recent revenue projections differ from the original budgeted amounts at the start of the fiscal year. The scatter plot on the left shows individual revenue items based upon their original budgeted amount and the cumulative revisions made on them throughout the fiscal year, with larger line items appearing further to the right. Cumulative revisions less than zero indicate the revenue source did not meet the budgeted expectation, while cumulative revisions greater than zero indicate a revenue source exceeded the budgeted expectation. The bar graphs on the right show how revenue projections have changed throughout the year, with the massive drop-off in April occurring as a result of unrealized<|fim_middle|> Lembo Reports $393.4-Million Deficit After Continued Income Tax Erosion [Press release]. Retrieved from http://www.osc.ct.gov/public/pressrl/2017/May2017FinancialStatus.pdf.
Connecticut School Finance Project. (2017). Analysis of FY 2017 Connecticut Revenue Projections. Available from http://ctschoolfinance.org/reports/fy2017-revenue-projections. | personal income tax projections.
Connecticut could improve its practices for developing revenue projections by consulting with outside experts, as recommended by the Center on Budget and Policy Priorities.
Connecticut General Assembly, Office of Fiscal Analysis. (2017). FY 17 General Fund Budget Projection. Retrieved from https://www.cga.ct.gov/ofa/Documents/year/PROJ/2017PROJ-20170505z_May%205,%202017%20General%20Fund%20Projections.pdf.
State of Connecticut, Office of the State Comptroller. (2017). Comptroller | 139 |
For some reason, I was not expecting<|fim_middle|> for events can be acquired at any of our local information centres or libraries.
I promise you'll find something irresistible. | the celebration of the 400th anniversary of Shakespeare's death to be as magnificently celebrated on the BBC as it was, with the live show from the Royal Shakespeare Theatre in Stratford.
Sometimes, getting the greatest and most talented performers together to rehearse, for instance, can be problematical. But on this occasion we were treated to some wonderful and inventive interpretations of the work of that remarkable man, produced for aristocracy and peasant folk alike four centuries ago.
And in the right hands, his words and creations can still captivate a modern audience and inspire across the board.
Anyway, if you too are keen on good music, drama, art, literature, crafts, walks, talks or local history, then over the next month in Wycombe you will be spoilt for choice as the 52nd annual Wycombe Arts Festival unrolls its ambitious and eclectic programme. There is unarguably something for everybody.
As an aficionado of brass bands (my northern roots showing there) I was sorry that I was unable to attend the Great Marlow Bandfest last Saturday in the Marlow Parish Church, but there are many other musical offerings between now and the end of May that present the talents of our local young (and not so young) musicians, as well as professional musicians from home and overseas. But in some cases choices may have to be made. If you wish to hear our own consistently excellent orchestra, Wycombe Sinfonia, playing the Mendelssohn Violin Concerto in the Parish Church in Wycombe, you'll have to miss out on seeing Les Baladins de Marly-le Roi perform Noel Coward's very English play, Hay Fever in French, in Bourne End!
I certainly plan to go to one of the lunchtime concerts at Marlow Parish Church where there are several opportunities to hear the resonant and sublime tones of their splendid church organ.
There are also Wednesday lunchtime recitals at the Union Baptist Church in Easton Street for those of you who, like me, enjoy the luxury of freedom in the daytime – although they are all timed to fit in with the normal time allotted by most employers for lunch, starting at 1-10.
Check online at http://www.wycombeartsfestival.org/ where you can download a programme or pick one up at many local outlets. Tickets | 477 |
General Synopsis: We've worked on adding defensive options and making the game less punishing in this build. By incorporating feedback from the community for both the speed and defense areas, we've managed to build the game around a faster pace, with a lot of tools and much more leniency to most features. Getting hit by enemies is not as punishing, as the health has been expanded into lifebars, but we've made enemies able to hit the players in combos and added sub-bosses, to add importance to the strategic element to the game, which we want to make a very important element in the game. We also added a new stage, the Ice Wasteland to the game, as we develop towards finishing the game.
Standing near health items<|fim_middle|> were the focus of this update, we also rounded out the character Abilities in the two missing Abilities in Spritz's down + Ability and Safford's jump + Ability. Missing Super Arts will be added in the coming updates. We also worked on stabilizing the characters by fixing the bugs that occurred from time to time and will be toying with some changes to the characters here and there.
Attack speed increased by 22%.
Attack speed increased by 15%.
Attack speed increased by 18%.
Attack speed increased by 24%.
Attack speed increased by 6%.
Attack speed increased by 4%.
Attack speed increased by 7%.
+ Walk and run speed have been increased.
Walk Speed: Increased by 30%.
Run Speed: Increased by 14%.
+ All attack recovery frames have been reduced.
+ Increased input leniency across all attacks.
+/- Health increased from 6 HP → 60 HP.
– Increased cost of 'Hero Fist' Skill Upgrade from 1 → 2.
Fixed a bug that would cause his SA2 Fireball to behave inconsistently.
Fixed a bug where Earle's Upgraded SA1 was not completely invincible.
+ Damage and attack speed changes.
Attack speed increased by 5%.
Attack speed increased by 8%.
Attack speed increased by 10%.
Draw speed increased by 5%.
Attack speed increased by 25%.
Walk Speed: Increased by 25%.
Run Speed: Increased by 10%.
Fixed a bug where Dove's Tumble would not render her invincible under certain circumstances.
Fixed a layering bug where Dove's arrow icons would incorrectly layer over one another on certain stages.
Attack speed increased by 12%.
Walk Speed: Increased by 20%.
Run Speed: Increased by 3%.
+/- Health increased from 8 HP → 100 HP.
Spritz slowly creates a non-attacking projectile in front of an opponent that absorbs all enemy projectiles that make contact.
Fixed a bug where Spritz's TK Wrecking Ball (Up + Ability) would not hit enemies consistently.
Fixed a bug where Spritz's TK Handshake (Jump + Ability) would create the gravity orb in incorrect positions.
Fixed a bug where under certain circumstances Spritz's abilities would not longer hit enemies.
Fixed a bug where Spritz's TK Introducer (Neutral Ability) would grab more enemies than intended under certain circumstances.
Fixed a bug where Spritz's SA3 would not disappear when the shield had no more HP.
Fixed a bug where Spritz could be hit out of his SA2 and be unable to launch the projectile.
Fixed a bug where Spritz' gravity orbs would not appear on screen under circumstances.
Fixed a bug where Spritz's SA1 would behave inconsistently.
Adding a strike box on Spritz's SA1 gravity orb if no enemy is found within range.
Fixed a bug where Spritz would not cast his shield on the correct individual if there were not enough players.
Walk Speed: Increased by 15%.
Run Speed: Increased by 5%.
+/- Health increased from 7 HP → 80 HP.
Safford performs a diving attack that knocks down opponents.
Fixed Safford's Attack 2 strikebox, which was appearing too late.
Fixed Safford's Attack 3 strikebox, which was appearing too late.
Fixed Safford's SA1 sound, which was delayed.
Fixed Safford's SA2 sound, which was playing for too long.
Fixed a bug where Safford could use his Abilities during dialogue.
Fixed a bug where pressing certain buttons during control mapping rendered the mapped motion unchangeable.
Fixed a bug where the Main Menu smoke would not be displayed properly on certain screen sizes.
Fixed a bug where defeating Dr. Chaka under certain conditions would affect the next playthrough.
Fixed a bug where game inputs would be stored incorrectly and played when players press a key repeatedly.
Fixed a bug where enemies could be left offscreen and unable to be killed.
Fixed a bug in the Sewers Stage where dialogue would freeze under certain conditions.
Fixed a bug where enemy AI would become unresponsive under circumstances.
Fixed a bug where the Hillbilly enemy would fail to roll consistently when near a wall.
Fixed a bug where enemies knocked out of their attack animation would retain their strike active frames and continuously hurt the player.
Fixed a bug where players could move during dialogue under certain circumstances.
Fixed a bug where Branzon would not face the player under certain circumstances in Training mode.
Fixed a bug where Branzon would fail to properly seek the player after the player is killed in the Tutorial.
Fixed a bug where Branzon would attack with no player nearby under certain conditions.
Fixed a bug where the Space Centrum grenade strike's active frames would remain longer than intended.
Fixed a bug where the player cursor would disappear while in the Skills Menu.
Fixed a bug where an enemy sound would play twice instead of once.
Fixed a bug where under certain circumstances players could be hurt by attacks that should miss them.
Fixed a bug where the SA1 spark sound was being cut off before completion.
Fixed a bug where performing a Super Art would remove more Super Meter than intended under certain circumstances.
Fixed a bug where the player cursor would move twice instead of once in the Control Config menu.
Fixed a bug where players were unable to press pause under certain conditions. | now indicates on the Player's health bar how much health would be recovered from consuming the item.
Enemy AI's seeking function has been improved, meaning enemies now more accurately locate player positions and attacking more intelligently.
Inputs are more lenient, meaning it is now easier to complete the attack combo and also easier to chain attacks into the attack launcher.
Different types of enemy attacks stun players for different durations depending on the attack, depending on strength / damage of attack.
Players no longer have a small window of invincibility after being hit by a non-knockdown attack, opening up the possibility of being comboed by enemies.
The start-up frames of jumping have invincibility.
After completing Jump + Ability, players regain control while mid-air (for Earle, Dove and Spritz).
Edited Branzon's lighting map to better dynamically light his sprite.
Dr. Chaka's AI is now more aggressive.
Move Speed increased by 5%.
Character Synopsis: All characters are sped up to accommodate the new speed of the game. To further balance the characters, we also kept the difference of HP between characters intact while changing to a lifebar HP system. While General changes | 236 |
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You are at:Home»Success and Money»Containers on Grand repurposes storage containers into living spaces
Containers on Grand repurposes storage containers into living spaces
By on Success and Money
Right now, if you want to live in the heart of Downtown Phoenix, your options would be low-income apartments, pricy luxury condos, high rises or historic homes.
However, StarkJames LLC, a modern architecture and contracting firm in Scottsdale, is presenting Phoenix inhabitants with a unique housing project that is not only low-cost, but is also the definition of sustainable architecture, created with overseas shipping containers.
Sixteen repurposed containers will transform into eight 740-square-foot<|fim_middle|>019 College Times Magazine. All Rights Reserved. | apartments for residents on Grand Avenue no later than June of this year. Although there have been other housing developments like this in the United States, this is the first market-priced multi-family project in the country, making them affordable for renters looking for trendy city living.
The news of these one-bedroom containers instantly grabbed the attention of potential renters when the firm posted a Craigslist ad for them in January. Since then, the waiting list has grown to 105 people for just eight apartments.
Kathleen Santin, one of the investors on the project, says she was surprised that the people who were interested in renting the apartments were actually young professionals between the ages of 25 and 35 years old, and she wanted to know why.
"They loved the idea of something that is creative, innovative and different," Santin says.
Also, some of prospective residents were holding off on purchasing a home because their student loans significantly dropped their credit scores, making it more difficult to own.
Santin says there's no doubt that there is currently a housing shortage in downtown, and even if they are at market price, they don't necessarily have that sleek, modern look that millennials are searching for.
"The majority of people contacting us love downtown but don't live downtown. I just think there's a shift in the generation. People don't want to be in the suburbs anymore," Santin says.
The contemporary apartments will include huge windows, a washer and dryer, bathroom, storage, kitchen, bedroom and insulation to keep the containers cool.
Using recycled containers to build is a smart investment because they are cheap, heavy-duty and most of the work is already done for you.
"The construction is faster because the shell and floors are already there," Santin says.
These containers are built to last. Because of their durability, they will outlive many other buildings in the area because they won't rust or wear down as easily, Santin says.
The original flooring is staying because it is made of "marine-grade plywood," a fancy way of saying mahogany, a very resilient type of wood.
All of the boxes have a unique story to tell, so the blue paint and logos on the outside will also be preserved, making each container one-of-a-kind, Santin says.
Because of the amount of people who inquired about this alternative living location, plans to construct more of these complexes are definite.
"We absolutely think there's going to be some continued projects in the downtown area and maybe in Tempe. We didn't expect people to be so excited about this. It's a whole different generation," Santin says.
Containers on Grand, off Grand and 12th Avenues, Phoenix, 480.994.7340 containersongrand.com
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The show must go on. Under-the-weather host Adam Burke didn't want to leave our BangTheBook Radio listeners hanging to start the week, so he battled through on this February <|fim_middle|> and BangTheBook.com joined us for the second part of the show. The guys followed up with some of the listener questions, including the key numbers in college hoops and also how to determine how pace wars will play out. Then they dug into the Southland conference, as we're just about done with our conference breakdowns. After looking at some fade/follow and some regression teams, the guys previewed some big games for the week ahead. | 18 edition of the show. As luck would have it, the first 25 minutes belonged to Adam with the Monday Mailbag segment, as he answered listener questions on bar games, books taking a side, key numbers in basketball, futures and hedging strategies, totals betting, and pace wars. Kyle Hunter from HunterSportsPicks.com | 69 |
Orbital ATKs 155mm Artillery Precision Guidance Kit Meets All Accuracy, Safety and Reliability Requirements During Lot Acceptance Test
Innovation Systems • Orbital ATK Archive
Orbital ATK s Innovative Approach Transforms Existing Artillery Projectiles
DULLES, Va.Jun. 29, 2015-- Orbital ATK, Inc. (NYSE: OA), a global leader in aerospace and defense technologies, announced today that the U.S. Army's Precision Guidance Kit (PGK) for 155mm artillery achieved another major program milestone, having successfully completed its first production Lot Acceptance Test, demonstrating a median accuracy<|fim_middle|> s Armament Systems division of the Defense Systems Group.
Two additional Lot Acceptance Tests will confirm production consistency while also populating a reliability database that provides information which leads to product improvements over the course of production.
Our precision guidance expertise is making a difference across multiple platforms for our customers, said Mike Kahn, president, Orbital ATK Defense Systems Group. Accuracy translates to effectiveness, an important factor in support of the warfighter.
PGK is a guidance fuze that fits within the fuze well of 155mm high-explosive artillery projectiles and performs in-flight course corrections that greatly increases accuracy. Orbital ATK s design features a fixed-canard guidance approach with gun-hardened electronics and a self-generated power supply. PGK performs all standard fuze functions while also incorporating a fail safe option, preventing the projectile from detonation if it does not get close enough to the target.
Orbital ATK has demonstrated that PGK commonality provides a scalable and affordable precision capability for multiple conventional platforms.
Today s battlefield is extremely complex and continually evolving. Reducing the risk of civilian casualties and collateral damage to infrastructure is critical. These constraints can restrict the battlefield commander s options and limit artillery use to engage critical targets. PGK provides commanders with additional options to use all the tools at his disposal to achieve victory.
Orbital ATK Defense Systems Group is an industry leader in providing innovative and affordable ammunition, precision and strike weapons, electronic warfare systems, and missile components across air-, sea-, and land-based systems.
About Orbital ATK
Orbital ATK is a global leader in aerospace and defense technologies. The company designs, builds and delivers space, defense and aviation systems for customers around the world, both as a prime contractor and merchant supplier. Its main products include launch vehicles and related propulsion systems; missile products, subsystems and defense electronics; precision weapons, armament systems and ammunition; satellites and associated space components and services; and advanced aerospace structures. Headquartered in Dulles, Virginia, Orbital ATK employs more than 12,000 people in 20 states across the U.S. and in several international locations. For more information, visit www.orbitalatk.com.
Source: Orbital ATK, Inc.
Orbital ATK
Bryan Kidder, 410-864-4932
Defense Systems Group Communications
bryan.kidder@orbitalatk.com
Barron Beneski, 703-406-5528
Public and Investor Relations
barron.beneski@orbitalatk.com
Northrop Grumman Technologies Lift NASA's Parker Solar Probe on Mission to the Sun
Past, Present and Future: Northrop Grumman's Solid Rocket Motors
Northrop Grumman Statement on Pegasus/ICON Launch | of less than 10 meters and passing all safety and reliability requirements.
Extensive, rigorous testing continues to prove the maturity of PGK technology in terms of reliability, performance and safety, said Dan Olson, vice president and general manager for Orbital ATK | 51 |
The phrase "sustainable seafood" has increasingly gained traction in the last few years. In 2015, 14 percent of the world's seafood production, including wild-caught and farmed, was certified as sustainable. This is a many-fold increase from the 0.5 percent of the share a decade earlier! You might have seen this label on cans of tuna in the grocery store or at your favorite seafood restaurant, perhaps next to phrases like "pole-and-line caught."
Sustainability — using what's there, without using it up — may seem simple enough to state, but actually ensuring sustainable seafood is not just a matter of securing a certain number of fish in the ocean, but also a matter of maintaining the livelihoods of the communities that depend on fishing.
Fortunately, corporations, academics and coastal communities are coming to a consensus that the multi-faceted challenge of sustainable seafood is worth pursuing, as evidenced by two conferences Claire Dawson, one of our recent Hershman Marine Policy Fellows, attended: SeaWeb Seafood Summit in Seattle, Washington and the Centre for Maritime Research (MARE) People and the Sea Conference in Amsterdam, Netherlands.
On the one hand, SeaWeb attendance was dominated by large businesses and industry leaders. The conference was a nexus of business interests and environmental responsibility<|fim_middle|> and stakeholders will spur creative solutions to this global challenge that best meet everyone's economic, social, health and environmental needs. | . Themes included humane business practices, seafood traceability and community livelihoods. For example, NORPAC is pioneering a barcode system to trace the origins of their fish. From the catch to the market, these bar codes provide travel logs of each fish, including how and where they were caught and processed. Consequently, consumers can be better informed about the sustainability of their seafood while businesses can respond to food-safety disasters by tracking them back to their source.
In contrast, MARE People and the Sea brought together academics and policymakers. The topics were nonetheless intertwined with those of the SeaWeb conference, including issues of social relations and culture, fisheries management, governance and the continuity of the sea. How should seaweed farmers contend with diseases and climate change that could devastate their source of income? How will China's water quality improve as the country scales back its overdeveloped aquaculture industry in response to a growing middle-class hungry for imported seafood? What is the role of small-scale fisheries in the well-being of local communities, such as one octopus fishery responsible for upwards of 40 percent of the annual gross domestic product of a small population in northeastern Brazil?
More than ever, sustainability is becoming a top priority for businesses, consumers and coastal communities. Collaborations among businesses, scientists, policymakers | 261 |
A team of students and alumni from the Vega School of Brand Leadership (Vega), a division of the Independent Institute of Education (The IIE), took top honours at the 2015 Loeries Creative Week, recently held in Durban. Dr Carla Enslin, national academic head, at Vega, says this is an important indicator that industry ready graduates is not only critical to bridging South Africa's skills gap but also key to grooming innovators as well as future leaders.
The twenty-first century has seen an explosion of knowledge and technology. But modern economic activity, innovation and growth cannot take place without skilled human capital. We know that the propagation of knowledge and skills is crucial to the lifeblood of any self-sustaining economy. It is, therefore, important to ask what role higher education can play in nurturing the modern day student with the necessary resources required to prepare them to graduate ready to take on the workplace.
There is a clear skills gap between what employers want and need, and what graduates are capable of offering. This means that institutions of higher learning need to do much more to assist their graduates become 'work ready'.
But is this entirely the responsibility of these institutions?
At Vega our strength lies in our relationship with industry. We know that it is only through collaboration with the working world that the fundamentally synergistic nature of the interaction between creativity and strategy, inspiration and<|fim_middle|> recognition of creative excellence in the African brand communications industry. Their annual awards ceremony is recognised as the region's most prestigious creative festival.
This year current Vega students as well as alumni were nominated for no less than twenty six Loerie awards – taking home thirteen awards. These included four Crafts, four Bronze, three Silver, two Gold as well as the 2015 Young Creative award won by Melusi Mhlungu. Further, for the first time the Loeries awarded an incredible five bursaries and scholarships to talented learners, worth a total value of over R1 million. The lucky recipients will now have the opportunity to study at Vega or at our sister school the Design School of Southern Africa.
Further, Vega students recently won a Wooden and Graphite Pencil award at the prestigious International D&AD New Blood Awards. This confirms Vega's position as South Africa's top training ground for creative talent.
Human capital development and the role of higher education in contributing towards economic growth and societal progress is an age old challenge which requires constant re-evaluation and robust debate. However, there is little doubt that more cross pollination needs to happen between institutions of higher learning and industry so that the two feed into each other simultaneously. | innovation as well as idea and deed can exist. This ensures that we equip our graduates with both analytical and reasoning skills as well as get them ready for the workplace.
Platforms such as the Loeries act as a benchmark to measure our relevance to industry as they highlight the type of professional we mould. The Loeries are a non-profit association dedicated to the | 70 |
Q: What exactly is encoding-independent means While reading the Strings and Characters chapter of the official Swift document I found the following sentence
"Every string is composed of encoding-independent Unicode characters, and provide support for accessing those characters in various Unicode representations"
Question What exactly do encoding-independent mean?
A: From my reading on Advanced Swift By Chris and other experiences, the thing that<|fim_middle|> in swift
| this sentence is trying to convey can be 2 folds.
First, what are various unicode representations:
*
*UTF-8 : compatible with ASCII
*UTF-16
*UTF-32
The number on the right hand side means how many bits a Character will take when it represented or stored.
For a character, UTF-8 requires 8 bits while UTF-32 requires 32 bits.
However, a chinese character which can be represented by 1 UTF-32 memory might not always fit in 1 block of UTF-16 memory. If the character aquires all 32 bits then in UTF-8 it will have a count of 4.
Then comes the storing part. When you store a character in the String, it doesn't matter how you want to read it later.
For example:
Every string is composed of encoding-independent Unicode characters, and provide support for accessing those characters in various Unicode representations
This means, you can compose String by any way you like. And this wont effect the representation when reading on various unicode encoding formats like UTF-8 or 16 or 32.
This is seen clearly in the above example, When i try to load a Japanese Character which takes up 24 bit to store. The same character is displayed irrespective of my choice of encoding.
However, count value will differ. There are other points to consider like Code Unit and Code Point that make up this Strings.
For Unicode Encoding variants
I would highly recommend reading this article which goes way deeper into String api in swift.
Detail View of String API | 334 |
At-home lifestyle sessions focus on highlighting the connection of your loved ones in a natural and relaxed environment. These sessions capture special moments happening at home and are perfect for updating family photos or welcoming a precious newborn baby. Using natural light to showcase your home and all the love shared there, we'll open blinds and curtains to let in soft, flattering rays -- simplifying the process to allow for a relaxed picture-taking environment. In-home sessions are perfect for newborns who feel most comfortable at home and easily allow for feedings and diaper-changing breaks.
Rather than posed newborn portraits, this session is focused on capturing your baby as naturally as possible. Some examples might include the baby: in daddy's arms, swaddled in their crib, rocking with mom, cuddling with siblings, and of course photos of just baby and sweet baby features like tiny fingers and toes.
Capture and preserve the unique bond<|fim_middle|>. In-home sessions don't require a large, fancy home; beautiful portraits can be taken anyplace where window light is found. Typical rooms for in-home sessions include: the living room, master bedroom and the nursery (for newborn sessions). | you share with your loved ones in a natural and relaxed environment | 12 |
In our garden, we have a big stone raised bed filled with herbs, so I like to make this dressing with whatever is growing out there.
Make a small package for the garlic out of aluminum foil and set in a small baking dish. Pour 1 ½ tablespoons of oil in the bottom of the package. Dip the cut side of the garlic in the oil<|fim_middle|> completely. Roast in the oven for 40 minutes. Remove from the oven and cool, still wrapped in the foil, for 10 minutes.
Open the package and press the softened cloves and any oil through a fine-mesh strainer into the food processor. (If there wasn't much oil remaining in the package add a little olive oil.) Add the vinegar, ½ teaspoon of salt, ¼ teaspoon of pepper. Add the yogurt and pulse until combined and creamy. You may need to add 1 to 2 teaspoons of water if the dressing is too thick. This makes about 1 1/3 cups of dressing. Refrigerate in an airtight container for up to 4 days.
Separate the lettuce leaves. Wash and dry well.
Put the lettuce leaves in a large salad bowl. Drizzle in enough dressing to lightly coat the leaves. Toss and then add additional dressing as desired.
To serve family style, arrange the largest leaves around the edge of a serving bowl and working towards the center, decrease the size of the leaves to recreate the look of the whole head of lettuce.
Scatter the herbs over the top, and sprinkle with a bit of Maldon salt. | and place cut side up on the foil. Drizzle ½ tablespoon of oil over the top of the garlic. Wrap the foil around the garlic to encase | 32 |
One Two Testing - Feb 1984 Paradoddle
Paradoddle
by Tony Bacon
Words and pictures for better drumming.
Or eight easy steps to better drumming, thanks to clinician Simon Phillips. The Grand Basher was foolish enough to let One Two into his house armed with tape recorder, cameras and questions. So come with us now as we visit all corners of the drum kit, hit things in a few unusual ways, and end up wiser percussionists.
Can you give some advice on tuning drums?
Simon tends to start with the bass drum, skinning up the "back" head first and gradually tightening the tuners in a circle, "Some people tend to go across and back, across and back over the head, but I find it easier and more effective in a circle." Tune the head to get as low a note as possible which remains clean and pure. Then fold up a towel, lay it on the bottom of the head and gaffer it to shell and head. "Then you put the front head on, stretch it again, and tune it really low." Stretching is important, in the same way that guitar strings should be stretched before bringing the instrument into tune. These general principles apply to toms as well as bass drum.
With the snare, Simon uses a Diplomat head on the bottom and a reverse-dot CS on top. "People tend to overtighten the bottom head," he warns. Then adds a hoop about 1¾in wide cut from an old head and lays it on the top head for dampening. "Don't tape anything to the head otherwise it'll become live again."
Are there any advantages or disadvantages to matched or orthodox grips?
The guiding principle here is the size of kit you use — with a small kit it doesn't particularly matter whether you go for matched or orthodox grip, but with a large kit it's often much easier physically to get around the kit by using matched grip. "I think it's generally best to start off playing these days with the matched grip," says Simon. "It's easier — and it's also a very 'ethnic' way of playing."
Simon stresses here his interest in playing in as many different ways as possible — and this can be a valuable idea for you to bear in mind too. He says that it's a very good thing to experiment with different techniques, if only to get different muscles working. "Orthodox grip was invented for marching drums, it was the only way that you could play the things while walking along. But it does have applications in kit drumming too." So when you're setting up your kit, try angling the snare towards you a little more than usual — that will enable you to play with both matched and orthodox grips, and get those muscles working which usually lounge around in inactivity.
Will the type of stick I use make a difference to<|fim_middle|> Testing - Feb 1984
<ref name="mz6453-paradoddle">{{cite magazine|last=Bacon|first=Tony|date=Feb 1984|title=Paradoddle|pages=72-75|url=http://www.muzines.co.uk/articles/paradoddle/6453|magazine=One Two Testing|publisher=IPC Magazines Ltd, Northern & Shell Ltd.|location=United Kingdom|access-date=2022-01-28}}</ref>
{{cite magazine|last=Bacon|first=Tony|date=Feb 1984|title=Paradoddle|pages=72-75|url=http://www.muzines.co.uk/articles/paradoddle/6453|magazine=One Two Testing|publisher=IPC Magazines Ltd, Northern & Shell Ltd.|location=United Kingdom|access-date=2022-01-28}}
<ref name="mz6453-paradoddle">{{cite magazine
| last = Bacon
| first = Tony
| date = Feb 1984
| title = Paradoddle
| url = http://www.muzines.co.uk/articles/paradoddle/6453
| magazine = One Two Testing
| publisher = IPC Magazines Ltd, Northern & Shell Ltd.
Other articles featuring this artist:
> Simon Phillips MU Dec 82 | the sound I get?
Here it's not so much the size of kit you use — though this may be an incidental advantage — but more the actual style of drumming you're playing which decides for you the type and, most importantly, the bead-shape of stick you use. "If you're involved in a lot of delicate cymbal work, then a pair of sticks with 'acorn'-shaped beads will probably be best for your job," Simon says. These are a more traditional type of stick and are, generally speaking, more subtle in their effect.
If you're more drum-oriented and aren't too bothered about quality and tone of the cymbal sound, then the 'round'-shaped beads will almost certainly turn out to give you the power and volume which you require. "I usually use these round types," says Simon. "The shaft is pretty thick right up to the bead so there's less chance of breakages and the whole sound is a lot more solid."
Simon generally uses sticks made from hickory, which gives a bit more 'absorption' to the drum sound — if you fancy an even tougher, harder sound then oak sticks might be a better bet.
Will I be able to play any better if I just use my toe on the bass drum pedal?
When you start learning how to use the bass drum pedal to best effect it's probably as well to make your starting point that of keeping the heel resting on the ground, and gradually develop speed and response from there as seems appropriate. Simon points out that there's nothing to stop you playing with just the tip of your toe on the pedal, and for some things, particularly the louder bass parts, the toe has distinct advantages.
Simon reckons that when he's playing softly then it comes from the heel, and as things get louder the heel gradually comes off the ground. "I think the more intensity and volume you use, the more you'll use your toe."
Accuracy is probably equal with either method — the vital component that decides the foot position is intensity of sound required. Again Simon finds it very useful to practice going from one to the other — like exercise with the hands, this helps to build up muscles and improve attack.
How do I play a paradiddle, and what's its musical use?
Looking at the handwritten instructions from Simon in the pictures above, you'll probably have gathered that a paradiddle is a type of rhythm that involves a right, left, right, right, and left, right, left, left movement of the sticks. Easy? No? Simon gets basic: "Take the right hand, lift, strike the drum. Then take the left hand and strike the drum once. Take the right hand and strike the drum twice. Then the left hand hits the drum once, the right hand once, the left hand twice. Slowly speed that up, and you've got it."
Simon likes the ambidextrous possibilities posed by the paradiddle: it means whatever you do with your right hand, you also do with your left hand (and vice versa), strengthening the weaker hand in the process.
Musically, you probably use the paradiddle quite a lot without realising it — and the paradiddle doesn't have to be between the two hands; it can, for example, be between the hands and the feet. "One thing I like to do," says Simon, "is to play a rhythm with eighth notes on the hi-hat, and then sixteenth notes between the bass drum and your snare — left or right hand — letting the bass drum play the 'right hand' part of the paradiddle and either your left or right hand play the 'left hand' part." Put some accents in where you need them, and you've got a handy all-purpose rhythm to fall back on.
What can I do straight away to make me a better drummer?
Nothing directly to do with hitting things, suggests Simon, but to do with attitude. The secret? Try listening a bit more. "Not only will this make you a better drummer, it'll make you a better musician." In fact, what you should do is listen to the band more than you listen to what you're playing yourself. When you get to the point where you're not consciously thinking about what you're playing, you can almost listen to the band as if it were a record — except, of course, for the fact that you can change the way things go.
So should you listen to the bass player? "No," says Simon. "Listen to it all. Get a big pair of ears."
The other important thing you can start implementing now is discipline — and this is simply the discipline of knowing where and when to play things, where not to play things, and, fundamentally, what the song really needs. "And you can't really teach anyone that," unfortunately.
What's the most common question you're asked at drum clinics?
Nobody seems to be quite sure whether Simon is left or right handed, and so they often ask which it is. The answer really, is a bit of both. He certainly learnt to play right handed, but recently, over the period of about a year, he taught himself to play some things left handed as well. Is he mad? Not really. The pay-off is in being able to use the kit as a whole, without worrying about the way you should be playing things because that's the way that every other right-handed drummer plays them. Simon's mixed method is also a good way of getting around a big kit.
In the overall scheme of things, Simon admits that there's not too much advantage in ambidexterity. "It doesn't matter how you do it, as long as it sounds good." But playing around with things with your weakest hand can push you to play patterns and rhythms in ways you'd not thought of, and as the eminently sensible Simon points out, "When you're teaching yourself to play, the hardest thing is thinking of different things to do. So give yourself a test and try one of your 'usual' rhythms the other way round."
What's the most interesting question you've been asked at your drum clinics?
Drummers in America seemed very keen on knowing where Simon got his sneakers. So it was with great pleasure that he replied to the questioner that the particular pair he happened to be wearing in Texas — or somewhere like that — came from Europe. "I bought these Lotto sneakers in Vienna," he replied, full of cultural oneupmanship. The audience were suitably impressed.
When we visited Simon, however, he was wearing a pair of Nike sneakers "bought in Swiss Cottage". This might also impress Americans, but we merely groaned. So why sneakers?
"I consider drums a fairly sporty instrument," replied Simon, running on the spot. "So I think it's great attacking them in that way." Sneakers seem ideal for this, and have the advantage over slippers (some people use these, apparently) in that you don't have to cart around an extra pair with you. "You could mention that I'm looking for a Nike endorsement," laughs Simon. Certainly not.
More with this artist
Simon Phillips (Simon Phillips)
(MU Dec 82)
Recording News
Status Bass
One Two Testing - Copyright: IPC Magazines Ltd, Northern & Shell Ltd.
One Two | 1,496 |
Strøget () is a pedestrian, car free shopping area in Copenhagen, Denmark. This popular tourist attraction in the centre of town is one of the longest pedestrian shopping streets in Europe at 1.1 km. Located at the centre of the old city of Copenhagen, it has long been one of the most high-profile streets in the city. The pedestrianisation of Strøget in 1962 marked the beginning of a major change in the approach of Copenhagen to urban life; following the success of the initiative the city moved to place a much greater emphasis on pedestrian and bicycle access to the city at the expense of cars. This approach has in turn become internationally influential.
Geography
The main street is bound on the west by City Hall Square (), the central town square by Copenhagen City Hall, and on the east by Kongens Nytorv ("The King's New Square"), another large square at the other end. But the Strøget area is actually a collection of streets that spread out from this central thoroughfare. Components of the pedestrianised network are:
Frederiksberggade
Gammel Torv / Nytorv
Nygade
Vimmelskaftet
Fiolstræde
Jorcks Passage
Købmagergade (connects to Nørreport Station via Kultorvet)
Amagertorv
Østergade
History
Strøget was known as Ruten until the late 19th century. This collection of streets has been at the heart of the city, and amongst the most fashionable in the city for much of its history. The layout of the streets comprising Strøget has been in place since 1728 when Frederiksberggade was laid out after a fire. Most of the buildings along the street date to the late 19th or early 20th centuries, with the oldest building dating to 1616.
Strøget was converted to a pedestrian zone on 17 November 1962 when cars were beginning to dominate Copenhagen's old central streets. Inspired by a number of new pedestrian streets created in Germany after the war, during the 1950s the street had closed to traffic for some of days at Christmas. The 1962 closure was initially a temporary trial, but the change was made permanent in 1964, and the road has remained closed since. The idea was controversial, some people believing that the Danes did not have the mentality for "public life" envisioned by such a street, and many local merchants believed the move would scare away business. The 'father' of a car free Strøget, Alfred Wassard, Copenhagen's 'mayor for town planning' from 1962–78, even faced death threats. On the opening day, police officers were present to protect against assassination threats, and unhappy car drivers honked their horns on side streets to mark their displeasure although the event was well attended and marked by dancing and music. The posher shops on the east end of the street were particularly opposed to the change, and they tried to have the project restricted to its western portion which was dominated by bars and cinemas at the time.
However the project quickly proved a success, and the area soon boasted more shoppers, cafes, and a renewed street life. Building on Strøget's success, the network expanded piecemeal – another street and a few more squares were emptied of cars in 1968, and further closures took place in 1973, and 1992. From the initial 15,800 square metres of the Strøget, Copenhagen's central pedestrian network has expanded to about 100,000 square metres. In 1993 Amagertorv (Amager square) was re-surfaced in a pattern made of granite, designed by artist Bjørn Nørgaard. Nearby areas were also pedestrianised over the years, for example Nyhavn in 1980 and the town hall square (semi-pedestrianised) in 1996 on the occasion of Copenhagen being the European Capital of Culture (the through road was removed although bus traffic remained, and the square is still bounded by traffic).
Influence
Architect Jan Gehl studied the new pedestrian area starting in 1962 and his influential reports and findings on the subject formed the basis of Copenhagen's subsequent broader policy shift toward emphasising pedestrians and bicycles. Gehl and Copenhagen's policies have later become influential around the world, encouraging cities such as Melbourne and New York to pedestrianise.
Today
The street is often credited as the oldest and longest pedestrian street in the world; in fact neither claim is true, although it was the longest pedestrian street at the time of its conversion in 1962. Rue Sainte-Catherine in Bordeaux is longer, while Lijnbaan in Rotterdam was pedestrianised in 1953. And Laisvės Alėja in Kaunas, Lithuania is longer– stretching to 1,6 km.
About 80,000 people use Strøget every day at the height of tourist season in summer, and about 48,000<|fim_middle|>45 people/minute.
Many of the city's most famous and expensive stores are located along the strip, as well as some of the most famous and expensive luxury brand chain stores in the world. It also features a multitude of souvenir shops and fast food outlets.
The Lonely Planet travel guide noted as of 2014 that although Strøget is "a fun place to stroll," bustling with musicians and people, it seemed to be stagnating, "offering the same old international brand names" and "a scrappy mix of budget clothing stores, tourist shops and kebab houses." They advised that visitors should, "walk down it once, but after that you'll find the side streets far more productive in terms of independent shops and more interesting design."
Transport
Many bus lines have stops close to the Strøget area, and at Kongens Nytorv is a Metro station. Also the S-train stations Vesterport and Nørreport are located nearby. (Nørreport is located very close to a pedestrian commercial street which leads to the "real" Strøget). Two metro stations opened on 29 September 2019 at City Hall Square and Gammel Strand. The latter one is located close to the middle of Strøget.
See also
Galleri K
Tourism in Denmark
Copenhagenization (bicycling)
References
Further reading
Shopping streets in Copenhagen
Pedestrian streets in Copenhagen
Tourist attractions in Copenhagen | do so on a winter's day. On the last Sunday before Christmas as many as 120,000 may use Strøget. Jan Gehl believes that Strøget is now roughly at its handling capacity on a summer's day, given its width at 10–12 metres and space for roughly 1 | 69 |
A limited release of a <|fim_middle|>! | 1 QT Sauce pan. Made from one circle of premium 5-ply metal, our sauce pans cook evenly, have low walls for easier stirring access and a stay-cool long handle. This smaller version is the perfect sidekick for browned butter or small sauces on the side of a larger meal.
In addition to making sauces, this pan is great for boiling, poaching, and reheating. The low walls make for easy stirring and whisking, in addition to higher rates of evaporation for reductions and glazes.
Enjoy free shipping and returns on this product!
I like the pan. It has a solid, strong feel to it. it feels like it will last a lifetime. I like how it cooks my hamburgers. They come out light golden brown rather than dark burnt in my other pans. My only complaint with it is certain foods(like potato or rice) stick on the surface even though it was pre greased with vegetable oil.
Thanks so much, Joseph! The heat may be up a bit too high for the potatoes or rice (usually we cook those over medium-low). Try playing with the heat a bit and let us know if you have any trouble!
Nice addition to my collection of Made In products. Love your kitchen ware!
So far so good. I have only used it a few times but I like it. I'm sure this is the last time I'll have to buy a pot this size.
I'm happy to hear you're loving it, Dennis! Thanks for your review | 305 |
El Calafate is situated on the shore of Lake Argentino in the southern part of Argentine Patagonia. The city is named after a berry that grows in the area which is said that once eaten will guarantee your return to<|fim_middle|> learn more about Argentina with our essential guides. | Patagonia. El Calafate is the gateway to one of Argentina's greatest attractions, the Perito Moreno glacier. You can take a boat trip to watch huge chunks of ice breaking off the glacier and plummeting into the lake or even trek on top of the glacier itself. El Calafate is also the best place to base yourself for further explorations of the vast Patagonian steppe and traditional estancias.
Witnessing huge chunks of ice breaking off the Perito Moreno glacier and falling into the lake is quite a sight to behold!
El Calafate can be visited any time between October and April. The most popular time to go is between December and February which is summer and the high season. Although temperatures are their highest in these months, it is extremely windy and the weather is always unpredictable. March and April, whilst turning colder, can be a lovely time to go to see the Autumn colours. Most hotels close between June and August over winter.
A well thought out selection of hotels can make a good trip truely exceptional and here at The Latin America Travel Company we put a lot of resources into sourcing and visiting hotels. Below are our favourites in El Calafate.
With the incredible Los Glaciares National Park and the vast Patagonian landscapes, El Calafate is one of Argentina's most spectacular destinations. Below are our top highlights in the area.
From El Calafate journey further south to Ushuaia, the southernmost city in the world, or head north to explore the Pampas and traditional estancia life. Use the links below to | 321 |
The Division of Science is pleased once again to announce the availability of Traineeships for Undergraduates in Computational Neuroscience through a grant from the National Institute on Drug Abuse. Traineeships will commence in summer 2019 and run through the academic year 2019-20.
Please apply to the program by February 27, 2019 at 6 pm to be considered.
Interested students should apply online (Brandeis login required). Questions may be addressed to Steven Karel <divsci at brandeis.edu> or to Prof. Paul Miller.
The Brandeis University Division of Science held its annual undergraduate research poster session SciFest VIII on August 2, 2018, as more than one hundred student researchers presented summer's (or last year's) worth of independent research. We had a great audience of grad students and postdocs (many of whom were mentors), faculty, proud parents, friends, and senior administrators.
Summer Materials Undergraduate Research Fellowships (SMURF), supported by the Brandeis Materials Research and Engineering Center.
Cell and Molecular Visualization REU, sponsored by NSF.
MRSEC REU, sponsored by NSF.
Undergraduate Traineeships in Computational Neuroscience, sponsored by NIH.
Quantitative Biology Research Community (QBReC) at Brandeis, sponsored by HHMI.
The 2018 Voice/Web/Mobile JBS will have their final product showcase this Thursday 8/2 from 3-5 in Schwartz 112.
Six teams of three students each have built apps which can be accessed either through voice or through a browser (or both). The presentations will be from 3-4 (right after SciFest though in a different building) and you'll be able to play with their apps from 4-5 at the reception.
CollegeInfo — allows you to ask complex questions about the Brandeis course schedule, such as which Computer Science courses are offered this semester on Mondays at 3:00, and you can also use it to build and view your schedule.
SeniorCenter — matches seniors based on their interests in books, movies, and TV series. This is designed to fight the isolation and depression common in seniors while allowing them to use their voice rather than click buttons on their computer or phone.
DeisTransportApp — allows you to make reservation on the<|fim_middle|> courses, work another job or participate in extensive volunteer/shadowing experiences in which they commit to being out of the lab for a significant amount of time during the summer. Additionally, students should not be paid for doing lab research during this period from other funding sources. | BranVan and query arrival times and bus locations all by voice!
HumanGainz — allows your phone to serve as your personal trainer at the gym. Reminding you of which exercises are next in the workout you selected.
SON – this is a next generation calendar app which incorporates social media so you can ask which of your friends are free at a particular day/time as well as handle all of the usual calendar operations.
Please join us to see the presentations, ask questions, and interact with the apps.
In 2018, the Division of Science will offer seven Summer MRSEC Undergraduate Research Fellowships (SMURF) for Brandeis students doing undergraduate research, sponsored by the Brandeis Materials Research Science and Engineering Center.
The fellowship winners will receive $5,000 stipends (housing support is not included) to engage in an intensive and rewarding research and development program that consists of full-time research in a MRSEC lab, weekly activities (~1-2 hours/week) organized by the MRSEC Director of Education, and participation in SciFest VIII on Aug 2, 2018.The due date for applications is March 1, 2018, at 6:00 PM EST.
To apply, the application form is online and part of the Unified Application (Brandeis login required).
SMURF recipients are expected to be available to do full time laboratory research between May 29 – August 3, 2018. During that period, SMURF students are not allowed to take summer | 319 |
Twice a year the CBTRC hold a research day to allow researchers to showcase their current work with other members of the team.
The CBTRC Autumn event took place in the Nottingham University main campus pharmacy building on the 18th October 2018.
This year the themes of the day included Molecular<|fim_middle|> 'Messy Lab Top Bench cake'. The judges loved her attention to detail and her delicious tasting cake! | Neuro-Oncology, Drug delivery, Brain injury and Bioinformatics. We invited two guest speakers for the research day, Alan McIntyre, Assistant Professor of Cancer Biology, who focused on targeting the tumour hypoxic response as an anticancer therapy for hypoxic tumours.
The second invited speaker was University Academic Fellow, Lucy Stead from the University of Leeds, whose work focuses on investigating intratumour heterogeneity in Glioblastoma.
In between the two invited speakers we concentrated on presentations from numerous PhD students, Post-docs and technicians from the CBTRC. Each presenter had 20 minutes to present their research followed by a question and answer session from the audience.
The large range of topics, such as modelling medulloblastoma in 3D, sprayable drug delivery systems and targeting the immune system in relapsed ependymoma (plus many many more) created a very interactive atmosphere for discussion. We also had different chairs for each theme which gave additional helpful comments for each presenter.
Aside from the interesting academic programme, the organising committee also arranged a science themed bake-off to bring out everyone's inner Mary Berry!
Fantastic cakes ranging from lab coats and periodic tables to beautiful butterfly gardens were submitted and expertly judged according to aesthetics and taste by all attendees. The star-baker of the day was the first year PhD student Louisa Taylor with her | 277 |
Keep your feet happy with Bontrager's Race No Show Socks. The Profila fabric dries quickly and features ribbed arch compression for support. And you won't get the sock tan line.
After races or hard training days, Bontrager's RXL Recovery Compression Socks help your legs recover more quickly. Profila Power yarns provide graduated compression from your<|fim_middle|> ran with it. Material: 75% TurboWool (50% Merino wool and 50% polypropylene), 15% nylon, 10% spandex Origin: Made by Sockguy in the U.S.A. | feet to above your calves for optimal circulation, oxygen flow and recovery. The fit is based on the girth of your calves, so you're sure to get a perfect fit. Although these are called "recovery" socks, we love these socks DURING rides as well, the compression really supports the muscles and helps with endurance. We also swear by them for air travel, too.
We've just made the dumbest socks ever! Go Ride Your Bike! Tiny Hats Forever! The Name: There is a brewery in South Minneapolis where if you're a member of the cycling community no matter when you show up, it's almost guaranteed that a few of your friends are already there. It's the spot to be. One of the bartenders, who previously had not interacted much with cyclists, started using "tiny hats" as a group reference. As in "oh, you're one of the tiny hats." We thought this was hilarious, so we | 193 |
High-angle shots can make your subject appear weak or vulnerable. But what about low-angle shots? Do they help you achieve the exact opposite effect? Well, they can, but not necessarily. In this video from Studio Binder, learn more about low-angle shots the effect they have on your photography or video.
A low-angle shot can be subtle, going only slightly below<|fim_middle|> to convey power, and it depicts both the good and the bad kind of power.
The very first example in the video is Nosferatu, a classic movie from 1922. Thanks to low-angle shots, the vampire seems more powerful in the frame. Many filmmakers use low-angle shots to present frightening and intimidating scenes, filming the vicious characters from down below.
However, low-angle shots can also be used to convey a heroic kind of power, not just the intimidating kind. Filming a subject just a bit below the eye level makes them look heroic, powerful and grand.
You will agree that this is quite different from conveying power. However, some filmmakers have used the low-angle shots to make their characters seem vulnerable. In the video, you can see an example from Citizen Kane, showing failure and vulnerability after lost elections. The floor and the ceiling can be seen in some of the frames, which gives the sense of entrapment.
So, low-angle shots can make your subject seem powerful, or exactly the opposite. As if this weren't weird enough, sometimes it can combine both in the same shot.
Watch the video for an example from Lord of the Rings: The Return of the King. The low-angle depicts both Frodo's heroism and his vulnerability in a fighting scene.
As you can see, the low-angle shot is a very versatile tool. It can aid your storytelling in different ways, so use it carefully and with a plan. Check out Studio Binder's blog for more on low angles, but also for other helpful videos and tutorials. | your subject's eye level; or extreme, showing your subject from worm's-eye view. But when it comes to the functions of low-angle shots, there are three primary ones: they can make your hero seem powerful, vulnerable, or even both at the same time.
It may sound contradictory that the same type of angle can have two completely different functions on your shots. So, let's take a closer look on low-angle shots.
The first function of low-angle shots is | 95 |
It's not enough to play or sing the song without mistakes. Stages can do strange things to performers both physically and mentally. You need to know the song—notes, words, and expression—inside out to protect yourself from errors caused by nerves. Celebrity vocal coach Cari<|fim_middle|>. | Cole has worked with numerous American Idol contestants, helping them find their artistic voice. She recommends practicing with and without accompaniment when you're preparing for a performance. "When you know it a cappella, then you're not relying upon what's happening musically…it just makes it more solid for you," Cole says. For musicians who normally practice on their own, be sure to schedule plenty of rehearsals with your accompanist before you venture on stage.
This may be the last season of American Idol, but there will always be opportunities—and requirements—for musicians to perform in front of a live audience. When it's your turn, make sure you're prepared, reach inside yourself, and give your audience a performance you can be proud of | 150 |
BA Requirements
BS Requirements
Combined Master's Degree
Master's Program Advanced Course Requirements
Summer Research Opportunities
JHU BioRE<|fim_middle|>ery. Annual review of biophysics, 41, 585-609.
Schrank, T., Bolen, D.W., and V.J. Hilser (2009). Rational Modulation of Conformational Fluctuations in Adenylate Kinase Reveal a Local Unfolding Mechanism for Allostery and Functional Adaptation in Proteins. Proc. Nat. Acad. Sci. USA. 106, 16984-16989.
Gu, J and V.J. Hilser (2008). Predicting the Energetics of Conformational Fluctuations in Proteins from Sequence: A Strategy for Profiling the Proteome. Structure, 16, 1627-1637.
Hilser, V. J. and E. B. Thompson (2007). Intrinsic Disorder as a Mechanism to Optimize Allosteric Coupling in Proteins. Proc. Nat. Acad. Sci. USA. 104, 8311-8315.
Whitten, S.T., Garcia-Moreno E.,B., and V.J. Hilser (2005). Local Fluctuations Can Modulate the Coupling Between Proton Binding and Global Structural Transitions in Proteins. Proc. Nat. Acad. Sci. USA. 102, 4282-4287.
Pan, H., Lee, J.C. and V.J. Hilser (2000). Binding Sites in Escherichia Coli Dihydrofolate Reductase Communicate by Modulating the Conformational Ensemble. Proc. Nat. Acad. Sci. USA 97, 12020-12025.
Associate Research Scientist
James Otto Wrabl
Jeremy Anderson
Alexander Chin
Emily Grasso
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Vincent Hilser
PhD, Johns Hopkins University
hilser@jhu.edu
Mudd 123
410-516-4693 | Lab 410-516-6757
Group/Lab Website
Vincent Hilser is a professor and chair of the Department of Biology. He received his PhD from Johns Hopkins University and his research focuses on conformational fluctuations and intrinsic disorder in allosteric signaling, disease, and evolution.
Conformational Fluctuations and Intrinsic Disorder in Allosteric Signaling, Disease and Evolution
Conformational fluctuations have emerged as an important aspect of biological function, playing a critical role in processes ranging from molecular recognition to catalysis and allosteric coupling. Our lab is interested in elucidating the structural and energetic basis of fluctuations, as well as their functional consequences, and applying this information to the development of protein design and optimization strategies and novel fold classification and genomic approaches.
Research in our lab focuses on the development and testing of structure-based models of conformational fluctuations that can capture a broad spectrum of biophysical and functional phenomena within a unified framework. Our goal is to quantitatively link fluctuations to folding and stability, allowing us to investigate the complex interplay between ligand binding, global structural transitions and fluctuations. To challenge and refine our evolving model, we employ a number of experimental systems, using titration and scanning calorimetry, NMR spectroscopy, X-ray crystallography, CD, and fluorescence spectroscopy to provide both global and sight resolved characterizations of proteins.
Please visit the Hilser Lab Website for more information.
Saavedra, H.G., Wrabl, J.O., Anderson, J.A., Li, J. and V. J. Hilser (2018) Dynamic allostery can drive cold adaptation in enzymes. Nature. 558, 324-328.
Li, J., White, J.T, Saavedra, H., Wrabl, J.O., Motlagh, H.N., Liu, K., Sowers, J., Schroer, T.A., Thompson, E.B., and V.J. Hilser (2017) Genetically Tunable Frustration Controls Allostery in an Intrinsically Disordered Transcription Factor. eLife 2017; 6 e30688.
Chin, A.F. and V.J. Hilser (2017) What's in an average? An ensemble view of phosphorylation effects. Structure. 25, 573-575.
Chin, A.F., Toptygin, D., Elam, W.A., Schrank, T.P. and V.J. Hilser (2016) Phosphorylation Increases Persistence Length and End-to-end Distance of a Segment of Tau Protein. Biophys. J. 110, 362-371.
Hilser, V.J., Anderson, J.A., and H.N. Motlagh (2015) Allostery vs. "allokairy". Proc. Nat. Acad. Sci. USA. 112, 11430-31.
Motlagh, H.N., Wrabl J.O., Li J., and Hilser V.J. (2014). The ensemble nature of allostery. Nature, 508 (7496), 331-339.
Elam, W.A.., Schrank, T. P., Campagnolo, A. J., and Hilser, V. J. (2013). Evolutionary conservation of the polyproline II conformation surrounding intrinsically disordered phosphorylation sites. Protein Science, 22: 405–417.
Li, J., Motlagh, H. N., Chakuroff, C., Thompson, E. B., and Hilser, V. J. (2012). Thermodynamic dissection of the intrinsically disordered N-terminal domain of human glucocorticoid receptor. Journal of Biological Chemistry, 287(32), 26777-26787.
Motlagh, H. N., and Hilser, V. J. (2012). Agonism/antagonism switching in allosteric ensembles. Proceedings of the National Academy of Sciences,109(11), 4134-4139.
Hilser, V. J., Wrabl, J. O., and Motlagh, H. N. (2012). Structural and energetic basis of allost | 1,094 |
Enjoy the chic and stylish nautical look opf this versatile wall mirror.
Like a winsome ship's porthole gazing out onto a spectacular sea, you'll like looking into this round, nautical-style wall mirror. The<|fim_middle|> liner port holes.
From the Kenroy Home mirror brand.
Weathered faux steel finish. Cast resin frame construction.
BEST ANSWER: The frame is constructed of polyurethane.
An open frame crafted from wire strands lends an airyuncluttered look to living rooms or hallways.
This contemporary wall mirror from Howard Elliott features an abstract sunflower frame in beautiful aged gold finish. | frame is designed as a window on an ocean-bound liner, finished in faux weathered steel for a realistic appearance. Crystal clear mirror glass sits boldly in the center of this creative accent piece.
24" wide x 24" high.
Glass only is 16" wide x 16" high with a 1" bevel at the edge.
Round wall mirror inspired by classic coastal lighting and ocean | 84 |
HomeSports
It Just Might Pay To Sign Up With All These PA Sports Betting Sites
By Gary Rotstein on Dec 2, 2019 Sports
Here's a message for Pennsylvania's recreational sports bettors that the sharp ones already know about: Register with all the online/mobile sites available, or you're likely leaving money on the table.
The addition of DraftKings and Unibet in November brought the number of Pennsylvania apps to seven, although the two Rush Street Interactive sites attached to the Pittsburgh and Philadelphia Rivers Casinos are essentially one and the same.
But that leaves six options, and while the odds offered by many are the same or very similar because Kambi is the partner originating the lines for Parx as well as the Rivers sites, DraftKings, and Unibet, there's money to be made from both their individual sign-up offers and different bonuses and odds boosts<|fim_middle|> NFL game kicking off the Thanksgiving Day action, for instance, FOX Bet offered a free refund of up to $25 for any bet on the game, while FanDuel offered to double winnings up to $50 on any successful "over" bet on the point total of 39.5.
Betting $25 with FOX Bet on the under and $25 with FanDuel on the over meant the worst scenario was losing a couple of dollars on the vig if the game went under. But you stood to win nearly $50 on the over (which was the result, from a 24-20 Bears victory) from FanDuel doubling your win and FOX Bet refunding your loss with a "free bet" credit to your account.
A savvy, safe, low-denomination play like that won't pay the mortgage, but it provides nice funds for additional betting action for the casual handicapper.
Or consider these three odds boosts that Parx provided prior to the three Thursday games:
The payoff on the Lions-Bears game if it went over was "boosted" from +105 to +130.
A winning moneyline bet on the Bills over Cowboys was boosted from +240 to +300.
The so-called boost in the Saints-Falcons game was actually a reduction in the price paid to take the Saints as first team to score, dropping it from -167 to -110.
And here's what happened: All three of those boosts hit for bettors who opted in. The maximum wager on any was $50, but the favorably shifted odds still put some nice extra dollars into players' online accounts.
Some offers seem random, some are logical in PA
It's a little curious just what drives the sportsbooks' choices of specific boosts or other special options. Some seem random, such as Unibet's willingness Sunday to boost the payoff for 49ers tight end George Kittle to score a touchdown from +210 to +275. Others at least have a local tie-in, such as one from DraftKings where you could have bet the Eagles on the moneyline vs. the Dolphins at -480 Sunday and been compensated for that hefty price by getting $6 in free bets for every TD the Eagles scored.
Do the sportsbooks come up with these to entice bettors they want to steer in a certain direction, because they know something the bettors don't? For instance, when FanDuel offered to double up payoffs on the "over" for all three Thanksgiving games, did it have a good idea that only one (the aforementioned Lions-Bears game) would do so, and so it still wouldn't lose money?
Possibly, but almost certainly, they're employing all the marketing techniques they can to tantalize bettors and keep them coming back due to an offer a competitor may not have. Whatever losses the company takes may be no more than the cost of a TV or radio ad across the state the same week — or even less than that — while building up customer goodwill.
For a recreational bettor, having six different sports betting apps on a phone may seem like overkill. But it doesn't mean you have to use them all; just take advantage of too-good-to-ignore deposit bonuses and risk-free bets for signing up. If you don't want to scroll through them all for daily offers once you're established, you'll be informed about plenty by just checking what they email to you.
With all that in mind, here's a rundown on what new or existing customers could have taken advantage of by computer or phone in Pennsylvania this past Friday (although we may have missed a few things, because they're not always obvious and are frequently changing):
Tied to the Mohegan Sun Pocono casino, the sportsbook is offering new customers a risk-free first bet up to $250 and a pair of free $10 wagers.
All customers currently can access parlay payoff boosts of 10% for three-teamers, 20% for four-teamers, and 30% for five-teamers. They also can receive $25 in their accounts for referring friends who sign up new with Unibet.
And on Friday, it had a total of seven odds boosts available on NBA, NHL, and NFL weekend action, including the Kittle TD. Among other offers: If Lakers stars Anthony Davis and LeBron James both scored 30 points vs. the Wizards, the payoff would be +775. (Unlike some competitors, however, Unibet does not spell out how much "boost" is being offered from what is deemed the original price.)
The big company that entered Pennsylvania through a partnership with the Meadows Racetrack & Casino and that casino's owner, Penn National Gaming, offers new customers a deposit bonus of 20% up to $500, although the bonus is only gradually earned by getting $1 released for every $25 wagered by Dec. 31.
On Friday it also advertised for newcomers a "risk-free betting weekend" with net losses covered up to $200.
Anyone, meanwhile, could take advantage of a "Black Friday sale" in which you were credited with 10% back on any five individual bets of up to $50 made that day.
In addition to the Eagles scoring special vs. the Dolphins, DraftKings offered eight "odds boost specials" involving football, basketball, and hockey.
The one of most interest to Steelers fans offered them a boost from +150 to +175 if they gambled on Pittsburgh beating the Browns and third-string QB Devlin "Duck" Hodges getting over 224.5 passing yards.
Another offer was touted as a "Harbaugh brothers special," in which the payoff for a combination of Michigan beating Ohio State and the Ravens beating the 49ers was raised from +458 to +550.
For new players, the site affiliated with Mount Airy Casino Resort matches an initial deposit of up to $100, with no restrictions. It also provides $20 in betting funds just to reward you for signing up.
Its "Black Friday deal" advised customers that if they bet $25 or more that day, they were immediately entitled to a $10 free wager of any kind.
FOX Bet was offering multiple odds boosts on Friday's college football games, such as lifting the reward to +215 from +185 if either Troy or South Florida won, and raising it from +260 to +290 if Appalachian State and University of Central Florida both covered.
Due to its ties to the FOX network, there are always also a bevy of promotions to click on that are tied to different FOX announcers, many of them involving boosted parlay pay or modest guaranteed refunds for certain losing wagers.
The most popular online sportsbook in Pennsylvania, the partner of Valley Forge Casino Resort offers new sign-ups a very simple and attractive reward of a risk-free first bet of up to $500.
On Friday it was also providing nice refunds of various kinds for all bettors:
With "NFL close-loss insurance," if you made a moneyline bet on a team that ended up losing by 6 points or less, up to $50 from your wager was refunded to your account. The same offer was available for moneyline wagers specifically on the Ohio State-Michigan and Alabama-Auburn college games.
Similarly, with "NBA third quarter insurance," if your moneyline team was winning after the third quarter but ended up losing the game, you got up to $50 back.
If you bet a parlay involving multiple wagers on the same game, you were due a refund of up to $25 if exactly one leg didn't hit.
Parx
The Bucks County casino's app doesn't offer as many promotions as competitors for existing customers, but it sure has a nice enticement for new players: a risk-free first bet of up to $500. It might only be available through Dec. 31, though, based on the terms described on its site.
BetRivers
Originally the site of just the Rivers Casino in Pittsburgh, this is the online location Rush Street Interactive intends to use going forward with ties to both that casino and Rivers Philadelphia, which was initially called SugarHouse Casino and started the PlaySugarhouse app and online site.
BetRivers is generous with new customers, avoiding the "risk-free bet" condition and simply matching a first deposit up to $250 dollar for dollar, with a 1X play-through required over 30 days.
Its special offers for existing customers were more limited than most of its competitors Friday. Rather than touting odds boosts and dangling refunds to players or looking ahead to Sunday's NFL action, it listed three "Friday specials" in the NBA and NHL:
If you gambled on the 76ers, Bucks, and Lakers to all win that night by at least 10 points, a successful ticket paid off at +660.
A LeBron James triple-double ticket was worth +300.
If you wanted to risk the Penguins winning as a favorite plus the Predators and Blues winning as underdogs, that three-teamer paid +770. (As it so happened, the two underdogs won, but the Pens fells short.)
Gary Rotstein
Gary is a longtime journalist, having spent three decades covering gambling, state government, and other issues for the Pittsburgh Post-Gazette, in addition to stints as managing editor of the Bedford (Pa.) Gazette and as a reporter for United Press International and the Middletown (Conn.) Press.
PA Hits New High In Sports Betting, With DraftKings Providing Big Boost
Retired Construction Worker Wins Pro Football Pick'Em In Pennsylvania | offered on a daily or weekly basis.
It's not the kind of profit that would subsidize a professional bettor, but for the casual fan who wants to make up for the sportsbooks' vig, there's hundreds of free dollars to wager with available at sign-up and other extra cash to be had from special offers to all customers, which typically carry a reward on bet maximums of $25-$50.
And by browsing all the sites and playing them off against one another, one can create winning opportunities even better than the "risk-free" or "odds boost" bets advertised on the sites or touted in emails sent to customers.
Thanksgiving's NFL games showed shopping benefits
For the Lions-Bears | 145 |
Learning can happen anywhere! By fueling student interest as we build their knowledge base, we will provide students the opportunity to build the creativity that gave us<|fim_middle|> at the next class. | science greats such as Marie Curie, Isaac Newton, and Albert Einstein.
Junior Master Gardener: Learn Grow, Eat & GO!
Growing good kids through an interdisciplinary program combining academic achievement, gardening, nutrient-dense food experiences, physical activity and family engagement.
Each weekly class combines a lesson, gardening activities, fresh food tastings and student garden journals to increase basic knowledge of nutrition through vegetable gardening in a healthy environment.
Please contact Soozi Pline at spline@hsvbg.orgor 256-837-4344 with any questions.
Enjoy exciting stories, crafts, learning activities, and walks (weather permitting) in the Garden with your little Sprout! Each class explores a different topic to get your little one experiencing nature and all it has to offer.
Pre-registration is encouraged. You can register below or on the phone at 256-837-4104.
$8 for first child, $5 for each additional sibling in the same family.
Parents free with membership or Garden admission.
Take advantage of our Frequent "Sprouters" Program and earn a free class for every three paid classes that you attend. Pick up your card | 243 |
Tag<|fim_middle|> on DIRECTV or DISH? | line: "First in business worldwide"
As sister and flagship channel CNBC keeps its focus on U.S. markets, CNBC World aggregates ALL their international programming, making it easy for forex and global business followers to find the latest breaking news. Specifically, CNBC has affiliates covering the following regions: CNBC Europe, CNBC Asia (previously Asia Business News), CNBC Indonesia and more. So, as different markets open during any 24-hour cycle, CNBC World brings you that feed, direct and uncut. And while the U.S. stock market is open, they usually show re-runs of original shows (The Profit, American Greed, etc).
With regard to satellite or cable broadcast quality, they don't broadcast in HD (likely to curb costs). If you gotta have it in high def, you'll need to subscribe to CNBC Pro and stream it on your TV or device. Also note that CNBC World is not available on DISH and likely won't be anytime soon. Among the other major carriers, you'll find it on DIRECTV, AT&T Uverse, CenturyLink and FiOS. It's a specialty channel so obviously demand is capped but for those really into international business, it doesn't get much more convenient.
Reruns: Shark Tank, The Profit, American Greed, etc.
Is CNBC World Available | 267 |
Frits Henskes
Dining | Written By, NOW! BALI-2 | February 4th, 2015
Frits Henskes is Bailli of the Ubud chapter of the international gourmet society known as La Chaine des Rotisseurs. Frits is also the General Manager of the Ayung Resort. The following is a little background about him, which I am sure you will find interesting.
Born in<|fim_middle|>6 staff glide around the resort almost invisible to the guests, yet magically appearing when they are required.
Accordingly, it was a logical decision for Frits to lead the Bailliage of Ubud and represent Bali to deliver exquisite events for discerning Chaine members. Chaine des Rotisseurs is an exclusive international gourmet society whose members are devoted to the art of fine dining and camaraderie of the table. This society unites professionals and gastronomes in a private, not for profit setting dedicated to raising the standards of culinary arts.
The Chaine supports young chefs and young sommelier by holding annual worldwide competitions. The Chaine also has a charitable arm providing food, support and aid to those in need. Accordingly, the Chaine provides its members with experiences beyond the sharing of fine food, wine and services.
The Chaine also honours chefs, restaurateurs, sommeliers and service personnel, and encourages the development of skills and 'know-how' of young chefs and sommeliers worldwide.
For those interested in becoming members of this exciting worldwide organisation please make your initial inquiry to [email protected]
NOW! BALI-2
A Taste Of Cicchetti At Soleil
Sentosa Seminyak Welcomes Salt tapas
The Flavours of Salt, A Canggu Restaurant
Salt Restaurant's New Tuna Shake Salad | Jakarta of an Indonesian mother and Dutch father, Frits in many ways symbolises the charm and eloquence of the Batavia of yesteryear. Then it was a simpler time with strong traditional values, and Frits understands and practices these true Indonesian hospitalities.
Frits knew from an early age he wanted to be a great hotelier. He began his career at age 14 humbly as a dishwasher working in restaurants and hotels in Jakarta. He discovered hotels were his passion and he quickly rose through the ranks until he reached the position of general manager where he found that his skills and passion were recognised and he was suddenly much in demand.
Stints with renowned hotel groups have taken him around the globe including exotic locations such as the Cayman Islands, Miami, Bermuda, Latin America, Sri Lanka and the Middle East. Even after decades with multinational hotel companies, he confides that his current vocation with the Ayung Resort in Ubud is his favourite!
As befitting any grand hotel, the Ayung has a general manager of distinction to complement the vision of the hotel. Frits has hospitality coursing through his veins, and he still burns with a fiery passion to deliver the ultimate experience to his guests. Service is 'king' in his kingdom, and his hands-on training shows as his 19 | 272 |
Hotel Casa Capsa Distance to the centre of town 1 km price per day from €63
Grand Hotel Continental Distance to the centre of town 1.2 km price per day from €104 Centrally located on Victoriei Street in the heart of Bucharest, Grand Hotel Continental is steps away from the National Art Museum and close to the Athenaeum, Universitate Metro Station, and business district. The sophisticated rooms and elegant<|fim_middle|> day from €112 Offering spectacular views of Bucharest's centre, the 5-star Hotel Intercontinental is situated in the University Square, right next to the National Theatre and within walking distance from the Old Town. All rooms here feature a balcony with city views and are elegantly-furnished, offering a pillow menu, a flat-screen cable TV, a minibar, and surcharge WiFi and wired internet. Guests at the Intercontinental enjoy free access to the Health Club 22nd Floor, featuring an indoor pool, 2 fitness rooms, 2 saunas and a hot tub.
Marshal Garden Hotel Distance to the centre of town 2.6 km price per day from €65
Athenee Palace Hilton Bucharest Distance to the centre of town 1.7 km price per day from €87 Explore Bucharest from the Athénée Palace Hilton hotel, one of the city's historic landmarks, centrally located next to the Athenaeum and offering spacious rooms with views of the Royal Palace and the Revolution Square. Guests can also indulge in a luxurious treatment in the hotel's beauty center featuring La Prairie products. The English Bar offers a wide selection of old whiskies and fine cigars, while the La Strada terrace, open from spring until late summer, features refreshing dishes and cocktails.
JW Marriott Bucharest Grand Hotel Distance to the centre of town 2 km price per day from €611
Radisson Blu Hotel Bucharest Distance to the centre of town 1.7 km
Premier Palace SPA Hotel Distance to the centre of town 5.1 km price per day from €64 | suites offer free WiFi feature a seating area and glass-encased showers and bathtubs. A complimentary fruit basket is provided in all rooms upon arrival.
Intercontinental Hotel Bucharest Distance to the centre of town 1.2 km price per | 49 |
A&J Landscape is a premier contractor committed to delivering a full range of custom landscaping services to Sylvania and Toledo residential clients. Well maintained landscaping greatly enhances the property value of your home and adds to your overall quality of life. Whether your home sits on a spacious terrain with limitless possibility or on a standard subdivision lot, A&J Landscape can<|fim_middle|> hardscaping, including patios, walkways, retaining walls or even an outdoor kitchen; we integrate all these elements into beautiful, harmonious works of art that will provide you with outdoor enjoyment year round. | help transform it into a beautiful oasis that will be a source of pride and enjoyment for years to come. No landscaping job is too big or too small for the A&J Landscape. We have the experience and knowledge to help you plan and implement a landscape design that suits your taste and lifestyle. Whether your landscape is a blank canvas or a work in progress, we can help make your dreams a reality by helping identify the right needs for your property's terrain, soil type and exposure. From selecting the perfect centerpiece tree to accent flowers, groundcover and | 110 |
This step-by-step guide for assessing the pelvis and sacroiliac joint by respected bodywork specialist John Gibbons explores all aspects of this crucial area of the body and how it links within the kinetic chain system. Gibbons--a registered sports osteopath who specializes in the treatment and rehabilitation of sport-related injuries-provides detailed information about how to recognize pain and dysfunctional patterns that arise from the pelvic girdle along with techniques to identify and correct a number of impaired patterns as well as functional exercises that promote recovery. Fully illustrated with 350 color photos, this book will give practitioners, students, and anyone who wants to<|fim_middle|> chain and the pelvis; the laws of spinal mechanics, the relationship of the hip joint, gluteal muscles, and lumbar spine to the pelvis; and sacroiliac joint screening. He discusses role of the Glutes, Psoas, Rectus femoris and other muscles and what happens to the position of the pelvis if these soft tissues become shortened. Detailed exercises and techniques are carefully illustrated with photographs that explain each movement, and an appendix for quick reference adds to the usefulness of the text. | understand pelvic pain and what they can do about it a wealth of practical information. Gibbons addresses key issues such as the walking/gait cycle and its relationship to the pelvis; leg length discrepancy and its relationship to the kinetic | 45 |
"Not-for-profit, not for charity, but for service," is the motto that gave birth to credit unions more than 80 years ago.
Jefferson County Teachers Credit Union was chartered in June of 1964 for the sole purpose of serving its members by pooling of savings and lending of funds. The credit union is governed by a Board of Directors selected by the membership at the Annual Shareholders' Meeting. We have five Board members and three Supervisory Committee members.
In addition to sound management, Jefferson County Teachers Credit Union is federally insured by the National Credit Union Share Insurance Fund (NCUSIF), the federal fund created by Congress in 1970 to insure member's deposits in federally insured credit unions<|fim_middle|>, and any persons living, working or worshiping in Jefferson County.
How are Credit Unions Different than Banks?
Once you join the credit union, you may remain a member for life, even if you leave your present job, retire, or move out of the area. Remember, "Once a member, always a member"! | . Administered by the National Credit Union Administration, the NCUSIF is backed by the full faith and credit of the U.S. Government.
JCTCU serves the employees of the Jefferson County School Board, Employees of the Jefferson County Board of County Commissioners, Employees of the City of Monticello, Employees of Aucilla Christian Academy, Employees of the Jefferson County Senior Citizens Center, Employees of Aucilla Solid Waste Administration, Employees of the Jefferson County Health Department, Employees of this Credit Union, Employees of Somerset Academy Charter School K-12 at Jefferson County, and State of Florida Employees who are currently working, retired, or residing in Jefferson County. Immediate family members of these employees area also eligible to join | 145 |
Agritechnica leaves students full of optimism
All of the manufacturers said they were looking for engineers... So we<|fim_middle|> to work experience and Saturday/holiday jobs as a teenager. | came away optimistic about our futures, and about the course we are doing being valuable and worthwhile."
Harper Adams engineers have finished the autumn term in high spirits, after a trip to Agritechnica in Germany left them with a renewed passion for their subject, and great optimism for their future careers.
Two fourth year MEng Agricultural Engineering students, James Thomas and Kit Franklin, granted a wish for themselves and classmates by arranging the trip in November.
The pair worked out all the logistics and costings, before making bids to the Douglas Bomford Trust, Harper Adams Principal and the Harper Adams Development Trust to secure the £5,500 needed to take 30 students and two lecturers to Hanover for two days.
"We wanted to go both to learn and to make contacts within the industry", explained Kit, 21, from Cirencester, Gloucestershire. "Agritechnica is the show where the most forefront technologies are released. It's the place to be if you want to know about the latest developments in agricultural engineering."
James, 22, from Devizes, Wiltshire, said: "We wanted to go over there and show them what Harper Adams is all about too: to sell ourselves and sell Harper Adams as a worthy employment base. We are very grateful to the Douglas Bomford Trust and the Development Trust who took the time to read our letters, to listen to our justification for going and for making it possible. Everyone who went said it was incredibly worthwhile"
One of the best things about the show was being able to see the technology they had been studying. "We'd just done an assignment about robotics in agriculture, and had to look at lots of case studies. We handed it in and a few days later, we were standing in these huge machinery halls, looking at the robots we had been writing about for real," said Kit, Douglas Bomford Trust scholar and a former Vice Chairman of Cirencester Young Farmers. "Also, there was a big emphasis on electric power take-off, and on smart implements to improve efficiencies. Everything related to precision farming left us excited about the future in our sector and the difference it's going to make on the ground."
James, a JCB scholar, added: "Another great thing was the positivity from industry. Kit and I spent the first day going round all the stands asking about job prospects, and 90 per cent of them said they wanted people. All of the manufacturers said they were looking for engineers, including big names such as Acgo, John Deere, JCB and more. So we came away optimistic about our futures, and about the course we are doing being valuable and worthwhile."
Richard Green, engineering courses manager at Harper Adams, said: "I would like to thank and congratulate James Thomas and Kit Franklin on the success of the tour they organised to Agritechnica. The behaviour of the students was exemplary throughout, making them both a credit to themselves and the College.
"At a time when there are concerns about graduate employment opportunities, it was reassuring to be told by numerous companies that they are seeking to employ Harper Adams Engineering graduates this year and to find our industry so optimistic about the future. It was also very pleasing to observe the students' enthusiasm and the professional attitude they exhibited as they conducted themselves about the show."
The two students, who are clay shooting enthusiasts and have both shot for the Harper Adams team, are on the right path to become chartered engineers. As MEng students, they will complete dissertation research projects in the fifth year, and both plan to investigate some form of smart "precision farming" technology.
Despite both having an interest in farming, Kit and James are both very clear that their passion lies in engineering and technology. Kit's family run a small arable farm and contracting business. While James comes from a military background, but became interested in farming thanks | 786 |
A_FishJump is an action that makes the actor jump up if it is on the ground or at least 64 fracunits below a water surface. It is recommended that this action be called every tic for it to work properly. In SRB2, this action is used by the SDURF and the Puma.
If Var1 is set to 0, the actor's angle determines the strength of the actor's jump. Specifically, the jump strength is calculated as actor's angle ÷ 4; for example, an angle of 40° gives a jump strength of 10 fracunits/tic. Assuming the actor does not change its angle, via other actions or a thinker and so on, this means that the actor's jump strength can be controlled by the Angle value set for its map Thing when placed in a map editor. This method of setting the jump strength is used by both the SDURF and Puma.
If Var1 is a value other than 0, Var1 itself determines the strength of the actor's jump. Var1's value is treated as a fixed-point number, so the jump strength you want (in fracunits/tic) should be multiplied by FRACUNIT.
If the actor's Var1 and angle are both 0, it uses a default jump strength of 11 fracunits/tic; this is equivalent to a Var1 value of 11*FRACUNIT, or an angle of 44°.
Note: The jump strength is scaled with the actor's scale, unless it is determined by Var1. In this case, the actor's jump will have the same strength regardless of the actor's scale.
The actor's displayed animation is also controlled by this action, depending on its point in the jump; the actor's SeeState should be set to the first state of the actor's jumping up animation, the actor's MeleeState should be set to the first<|fim_middle|> or MeleeState.
// Description: Makes the stupid harmless fish in Greenflower Zone jump.
// var1 = Jump strength (in FRACBITS), if specified. Otherwise, uses the angle value.
This page was last modified on 13 May 2018, at 02:30. | state of the actor's falling down animation, and the actor's XDeathState should be set to the last state in the falling down animation (if the actor has only one falling down state, MeleeState and XDeathState should have the same value). This means that that every time the actor starts a jump, the actor will change its state to SeeState. If the actor is instead falling down, this action checks if the actor's current state ID is between MeleeState and XDeathState, and switches its state back to MeleeState if it is outside of this state range. Note that this action will not call the actions of either SeeState | 130 |
When you are a kid, money can seem like a really huge deal. Any amount of money that a child gets can make them feel very important, and the first thing they want to do is go out and spend their money. That is exactly what consumer America encourages them to do in fact. In this day and age however, it might be<|fim_middle|> or stickers or paint it any way they want!
Make a chart: Maybe you can turn saving money into a reward system! The more the kids fill that jar with coins, and with their savings they can earn special prizes. Another use for that chart is to help them save for a goal like a movie or toy they may want. When you create your chart, paste or tape a picture of whatever they want right at the top of the chart, so they will see them getting closer to that goal.
Children learn by example: Experts say that children learn things by the example they see from their parents. Do you have a change jar that you keep your loose change in? If you want your kids to start saving money, then you need to create a change jar or some of other visual way to measure savings of your own so you can set a good example.
Play the match game: To really encourage your children to save, try matching them dollar for dollar. Not only will your child be able to reach their savings goal. But you will really get them excited about starting to save for a new goal.
Use a banking program like 'S' is for Savings: This particular program involves a children's savings account designed to give kids a financial foundation and it is modeled after their popular virtual wallet program. It helps kids practice saving, sharing, and spending. They literally drag and drop their money into different virtual jars showing how they want to divide it up. Parents can automatically deposit money into their kids account, like allowance. I like this concept because it not only teaches them to save it also teaches them how to manage a bank account.
Do you want your child to understand the importance of saving money? Teaching your kids to save money is important because it can show them what it can get them. You will be teaching your child an important lesson that they will take with them for the rest of their lives. | a better idea for a child to save the money they get instead of going out to spend it. This is something we all need to learn how to do unless we want to live paycheck to paycheck. Here are some tips on teaching kids how to save money.
Try a money jar: Nothing can get your kid more excited about saving money than a money jar because it provides a visual reminder of their progress. Heck I still have a money jar and so do my parents! Try using a large glass Ball jar, and store it in a place where it is not likely to be broken, right in their room on a shelf or on their dresser perhaps. Want to make things even more exciting for your child? To really encourage your child to fill that jar with coins, let your child decorate that jar with colors | 161 |
2023 Chevy Equinox Redesign, Colors, Engine
November 4, 2022 by tamcar
2023 Chevy Equinox Redesign, Colors, Engine – Its<|fim_middle|> the suspension although Chevy is still silent about this.
The model is expected to undergo major changes both inside and out. The current model is of low-quality interiors by modern industry standards. The initial point to see is that there are a lot of places that are made of low-quality materials. Additionally, the dashboard has various oddly-styled solutions and is not among the prettiest of the bunch. So, we expect an improvement in the design however we're not expecting miraculous changes, given that it's an update mid-cycle.
2023 Chevy Equinox Interior
This is among the reasons why the current model is decent. This is especially true for technological features, as even the simplest trims come with a lot of features. Basic models include features like a 7-inch touchscreen monitor, a Wi-Fi hotspot, an audio system with six speakers, and 2 USB ports. Other features include Bluetooth, Android Auto, Apple CarPlay, etc. Naturally, higher trims provide additional features. There's a bigger 8-inch touchscreen, more USB ports and navigation satellite radio HD Radio, a seven-speaker Bose audio system, and much many more. Therefore, we don't expect to see any major changes with this update. It's just some minor additions to every trim level.
2023 Chevy Equinox Engine
The engine's changes under the hood aren't to be expected. In 2023, the Chevy Equinox will continue with two engines that are already in the package. The base model will have a 1.5-liter turbo-four engine, capable of around 170 horsepower. It appears to be a sufficient performance for a day-to-day ride. However, upgrading to the 2.0-liter turbo-four is certainly worthwhile. The engine has a power output of around 250 horsepower, and it has an incredible driving dynamic. Both engines offer good fuel efficiency. But, those seeking an efficient fuel option will be disappointed to learn that the turbodiesel option is no longer available. The familiar 1.6-liter model is not accessible anymore.
2023 Chevy Equinox Release Date And Price
Given that we're getting ready for a large upgrade The 2023 Chevy Equinox will arrive longer than the norm. What we see is likely expected to happen next summer will be sometime in three quarters of this year. In terms of cost, we aren't expecting more drastic modifications. The current model costs about 24.000 dollars. On the other hand, fully loaded versions can be more expensive than 35.000 dollars.
Gallery of 2023 Chevy Equinox Redesign, Colors, Engine
Categories SUV Tags 2023 Chevy Equinox Colors, 2023 Chevy Equinox Cost, 2023 Chevy Equinox Dimensions, 2023 Chevy Equinox Engine, 2023 Chevy Equinox Interior Post navigation
2023 Chevrolet Silverado 1500 Interior, Release Date, Colors
2023 Chevy 2500HD Release Date, Dimensions, Interior | 2023 Chevy Equinox is slated to get a mid-cycle refresh. These are the most recent reports regarding the compact crossover which has been in existence since the year 2017. Even though the current model is still relatively new it is likely to get some significant changes. Simply put, the current model can't keep up with the competition and this may mean modifications to help boost sales. At the moment the models that are being tested ride in the streets and sports lots of camouflage and hoods, which could indicate major styling modifications.
We also expect to see some new features on the inside, given that the model currently does not have a particularly stylish interior. On the other hand, there's a chance that we won't see modifications under the hood. In 2023, the Chevy Equinox will continue with the same three engine options, including an oil burner. The new model will be available just a bit sooner than normal, likely in the summer of 2023 or something similar to this.
2023 Chevy Equinox Redesign
Most likely the most significant changes to be made are about the design of exteriors. If we judge by the camouflage design, there will be plenty of changes. As of now, we aren't aware of the details but we could speculate that this model will set to take on the brand's most recent style of design. This will mean a new front design, including new headlights, grille, and bumpers that are made in the same way as the brand-new Blazer that was recently introduced on the market. There will be changes to the rear of the vehicle as well.
2023 Chevy Equinox Exterior
On the other hand, the mechanical component that the car is likely to stay pretty much the same. It is expected that the 2023 Chevy Equinox will be built on the D2 platform, offering an excellent perspective of production and manage quality. In the future, we may be seeing some changes to | 406 |
Even the regimented concept of chapters feels a little confining, so, time for a dose of random!
Writing this book is therapeutic for me. That's not why I am doing it, but I'm finding it to be the case. I have been planning to write this for at least 5 years. I helped a couple of friends with editing and proof-reading on their manuscripts before they were published, and shopped a concept (book proposal) on another book previously, and got some response from publishers with definite interest, but I just wasn't sure that I wanted to do this that way. This was something that, like my rock paintings, is so personal and such a special collaboration with the Lord. I never could sell any of my rocks, I gave each one of them to special people for special reasons. I feel kind of like that about this. I would rather give it away, and let God have His own way and will with it, like casting bread upon the waters. I find that I get to see such amazing things when that happens, and they really are some of my most favorite treasures. The memories of those times are like jewels, and I sort of imagine God keeping them for me, and look forward<|fim_middle|> felt like I was having a sort of a new beginning. | to seeing what He fashions out of them. Meanwhile, down here, even now, reminiscing over those "jewels" in my memory, makes me smile.
I have been mentally collecting thoughts and ideas about what I wanted to someday share in the book, in the same way that I do most things. I first have to sort of get the general, macro-concept together first, so I know going in what the approximate scope is, of what I'm attempting to do, and then I just start letting it happen. I don't know if anyone else operates that way, and I don't really know if I always have, but when you have been through a stripping-down process like the one I've been through, you have to find some way around the meticulous, and be much more expansive in your thinking. I've often quipped that if you want something from in my mind, the best I can do is dump out the drawer I think it's most likely filed in, and let you sort through the contents and if you find what you need, then take it, and if not, well, we can always try another drawer.
So far I have talked about a lot of different things. Like the girl in the Narcolepsy video, I also have a horrible sense of time. It comes with the territory, I think, of Narcolepsy living. So, when I think back right now, over what I have already written, I could tell you what things I've touched on, but if you wanted to know which chapter it was in, or what day I published it, I couldn't tell you.
I wrote about voluntarily checking into an in-patient Christian psych program after the second marriage. There was a lady I met there named Mary. She was British, and was so sweet. We became fast friends. I wrote this poem for her on her last day there. She told me my attempt at a British accent was atrocious, when I read it to her, lol. One of the things we did was art therapy. We drew pictures of the things we had a hard time talking about, and there were no "rules" about it. You could express things however you wanted. I don't have any of those pictures, but I have done others over the years since then. Mary found the color lavender to be very soothing. It is sort of fitting, her being from England and all.
You're a wonderful Mary to know!
A bit cheeky at times, But I never mind, 'cause I know it's all pure from the heart.
Mary Mary with so much inside, special and rare and unique.
All the wholeness and peace which you seek.
Please always do remember that a friend's a friend forever.
You're my friend, I just wanted you to know.
So when I see you up in heaven we shall laugh, and dance 'round the throne.
And we'll all have arrived safely Home.
When my room mate and I stole the pink flamingo, there was a story in the news about this guy who stole a garden gnome off someone's lawn, and took it with him on his travels all over the world, snapping photos of it by the Eiffel Tower, Big Ben, The Great Wall of China, etc, and sending the photos back to the address from where he'd stolen the gnome. That was our inspiration, but we didn't take it anywhere, we just laughed about it and got a kick out of telling the story to our friends. But I guess God taught me a lesson because during that same week, I woke up one morning with horrible pain in both my eyes. I had fallen asleep on the floor and slept there the whole night, and that was how they were when I got up. I went to the emergency room at the hospital where I worked, and they determined it was corneal abrasions. I had to wear an eye patch on BOTH my eyes for several days. My room mate had to cut up my food and feed me. I laughed so hard I could barely eat! Corneal abrasions hurt really bad, so I was probably on pain meds too. Fortunately the tissue of the cornea heals pretty quickly, so after a couple of days, the patch was able to come off of one eye. Your eyes act in tandem, so even if you only scratch one cornea, most docs will apply a patch to both eyes for a couple of days, regardless. I couldn't see myself, so I told my roomie to take a picture.
I believe that our subconscious mind is something like the little macrophages that work within the body to carry the "garbage" out at the cellular level. They take the garbage and process it "behind the scenes". Dreams are our subconscious mind at work, filing, sorting, sifting through all our thoughts and emotions. Two of these mirror sketches are depictions of two "mirror dreams" that I had after I had met Garrett, and the painting is one I painted after we were engaged, but before we were married. The "Oh, There You Are" sketch is one of the dream depictions, and "stripped away" is one of my at-home art therapy drawings. Though I am a word person, things that are very close to my heart are much harder for me to express. Through all the years of working through the stuff in my past, I did a lot of journaling, but the artwork was in those times when I really just couldn't find words. I will write address each of these images separately, elsewhere in the book, and share a professional photo that I had done as a sort of a milestone celebration a couple of years back, after the Narcolepsy had been diagnosed and was being treated, and I | 1,177 |
And a jury awarded a man $80 million in damages after he claimed the chemical caused his cancer.
UPDATE (3/19/2019): On Tuesday afternoon, a US District Court jury ruled in favor of plaintiff Edwin Hardeman in phase 1 of his lawsuit against Bayer. Hardeman claims exposure to the company's herbicide caused his case of non-Hodgkin's lymphoma. In phase 1 of the trial, the jury was asked to decide whether glyphosate use was a "substantial factor" in causing Hardeman's cancer; phase 2, which begins before the same jury Wednesday, will consider Monsanto's liability and damages.
The long-simmering debate about whether the world's most widely used herbicide causes cancer has bubbled up anew. Glyphosate is the key component of weedkillers such as Monsanto's Roundup. On March 12, attorneys made closing arguments in San Francisco on the first phase of a closely watched lawsuit against German chemical giant Bayer, which acquired Monsanto last year. Plaintiff Edwin Hardeman claims his use of Roundup caused him to develop non-Hodgkin lymphoma (NHL), a<|fim_middle|> the US Department of Agriculture expects farmers to plant more than 177 million acres of corn and soybeans—covering a land mass roughly equivalent in size to around 1.75 Californias—the great bulk of them treated with glyphosate-based herbicides. | type of cancer.
The jury is expected to decide Friday whether glyphosate-based weedkillers were a "substantial factor" in causing Hardeman's cancer, as US District Court Judge Vince Chhabria put in his instructions to jurors. If they rule unanimously in Hardeman's favor, the trial's second phase will consider Monsanto's liability in the case. A split decision from the jury will result in a mistrial and likely trigger a new trial for Hardeman.
Major regulatory agencies in the United States and Canada have concluded that glyphosate is not carcinogenic. But the chemical remains under scrutiny. Just weeks before the start of the Hardeman trial, several researchers who once served on a government panel assessing glyphosate's safety released a new study suggesting people exposed to large doses of the chemical have a heightened risk for NHL. Two of the expert witnesses in the Hardeman case cited the study during their testimony.
The team found a "compelling link" between exposure to glyphosate-based weedkillers and non-Hodgkin lymphoma.
The researchers performed a meta-analysis of the epidemiological research around glyphosate and non-Hodgkin lymphoma. In a meta-analysis, scientists combine and analyze data from multiple studies and look for broad trends in the research. The team found a "compelling link" between exposure to glyphosate-based weedkillers and NHL. The study concluded that people exposed to glyphosate at the highest levels have 41 percent higher risk of contracting non-Hodgkin lymphoma than people who aren't, a measure known as "relative risk" in epidemiology.
Rachel Shaffer, a co-author of the paper and a PhD student in environmental toxicology at the University of Washington, put that number into context in a blog post: The results suggest that people who are highly exposed to glyphosate have a roughly 2.8 percent risk of contracting NHL, versus about 2 percent for the overall population.
Agencies including the US Environmental Protection Agency, Health Canada, and the European Food Safety Authority have concluded that glyphosate is unlikely to cause cancer, and they continue to allow its widespread use. The World Health Organization's International Agency for Research on Cancer, on the other hand, decided in 2015 that glyphosate is "probably carcinogenic to humans." That finding prompted charges that IARC had reached that conclusion by willfully ignoring then-unpublished research that might have exonerated glyphosate, a controversy my colleague Kiera Butler laid out here. IARC, in turn, has pushed back against those allegations.
A California jury awarded $289 million in damages to a groundskeeper who argued glyphosate exposure gave him cancer.
Monsanto grew into one of the globe's largest agribusiness firms largely on the strength of its blockbuster glyphosate weedkillers and associated products. In buying the smaller US company, Bayer inherited not only those assets but also lawsuits from approximately 11,200 plaintiffs claiming "personal injuries resulting from exposure to those products, including non-Hodgkin lymphoma and multiple myeloma," Bayer noted in its 2018 annual report. Last August, a California jury awarded $289 million in damages to a groundskeeper who argued glyphosate exposure gave him NHL. (A judge later reduced the award to $78 million, but didn't strike down the jury's judgement that Monsanto had acted with malice—a ruling Bayer is appealing.) Bayer stock has lost nearly 30 percent of its value since last August's big jury award—a possible measure of just how much the question of glyphosate's status as a carcinogen hangs over the company.
Glyphosate has had a rocky road through the US regulatory process, a journey all too familiar to three of the new NHL study's co-authors: Berkeley toxicologist Luoping Zhang, Mount Sinai epidemiologist Emanuela Taioli, and University of Washington biostatistician Lianne Sheppard. All three scientists served on the EPA Scientific Advisory Panel that evaluated the chemical in 2016. While the EPA ultimately declared the herbicide non-carcinogenic, the 15-member panel was divided, as the EPA's final report on the panel's feedback and the transcript of its December 2016 meetings show.
Judging the carcinogenic potential of a pesticide is tricky. For one, you can't ethically dose people with potentially harmful chemicals and then see what happens. And even if you could, cancers can take years to develop. So researchers generally take a three-pronged approach: They study populations known to have been exposed to the chemical and look for disease patterns, a practice called epidemiology; they study the effects on animals like rats or mice dosed with the chemicals; and they test whether the chemical shows potential in a lab setting to harm a cell's DNA and thus potentially cause cancer, also called genotoxicity.
The EPA's scientific advisory panel was charged with sifting through studies of all three types and making a judgement based on the weight of evidence. On all three fronts, dissenting voices emerged. The final report noted that based on studies of populations known to be exposed to the herbicide, "some Panel members believed that there is limited but suggestive evidence of a positive association between glyphosate exposure and risk of NHL." On animal research, the report found that in "the view of some Panel members, there are sufficient data to conclude glyphosate is a rodent carcinogen." On genotoxicity, members pointed to "remaining uncertainty" about several potential ways glyphosate might damage cells.
"Far from settling the matter" of the carcinogenicity of the chemical, "eight of the 15 experts expressed significant concerns about the EPA's benign view of glyphosate, and three more expressed concerns about the data," Bloomberg Businessweek reported in 2017. Ultimately, the EPA "tied themselves in knots to reach the conclusion that they reached—the evidence and the conclusions just didn't align well at all," Sheppard, a panel member and co-author of the new NHL study, told me.
Frustrated by the process, Sheppard and co-panelists Zhang and Taioli decided to band together and investigate what they thought was a particular point of concern in the existing epidemiological research: whether glyphosate might be linked to increased risk to non-Hodgkin lymphoma.
Three previous recent meta-analyses had detected an association—see here, here, and here. (All three surfaced in testimony during the Hardeman trial.) When Sheppard and her co-authors embarked on their own meta-analysis, they were able to incorporate an important cache of data that the earlier studies had not: the latest results of the Agricultural Health Study, a large, multi-decade project led by scientists at the US National Cancer Institute to track health outcomes among US agricultural workers and their families.
Sheppard's team focused on one subset of the same AHS data: the study participants who were exposed to the chemicals at the "highest biologically relevant" levels, with a long-enough time lag for cancer to develop. In their statistical analysis, Andreotti and her team sorted participants who had been exposed to glyphosate into two groups—those with a 20-year lag since exposure, and those with a five-year lag. Among those groups, they broke them into four groups, from least exposed to most exposed. Sheppard and her team used data from the highest-exposed, 20-year-lag subset. This group showed a 12 percent relative risk for NHL. That finding is "not statistically significant" on it own, Sheppard said. But when averaged with data from the five other studies in their meta-analysis, it contributed to their finding of a "compelling link" between glyphosate herbicides and NHL, she said.
A Bayer spokeswoman called the paper a "statistical manipulation" and accused it of having a "number of serious methodological flaws." Bayer's statement claims the study "cherry-picks data" and "combines incompatible data" from the studies under review to get the result.
Sheppard disagreed with the claims, including the suggestion that the team cherry-picked data. She noted that the researchers state in their hypothesis that they planned to focus on "the highest exposed groups," an established way to test for carcinogenicity. The charge of "combining incompatible data," she said, could be leveled at any meta-analysis—which, by definition, combines data from multiple studies with different structures.
However, she added, the assumption that NHL typically requires a 20-year latency period is "probably not as well established as they assert in their meta-analysis." She also noted that the 20-year lag group did not show a consistent pattern of cancer rates increasing with exposure rates. Beane Freeman's team put glyphosate-exposed participants into four groups, from least exposed (group 1) to most exposed (group 4)—the group Sheppard and her team chose. Group 1 showed a relative risk of 1.22, which is higher than group 4's 1.12. "Usually, with cancer, you would sort of expect the more exposure you have, the higher the risk that you have," Beane Freeman said.
"The epidemiology is far from undisputed," wrote Judge Vince Chhabria.
In a March 7 order denying Bayer's move to have the Hardeman case dismissed, the presiding judge, Vince Chhabria, wrote that the company relied "almost entirely on the epidemiological data" to claim that Hardeman's legal team "have failed to present 'competent evidence' that any risk from glyphosate was 'known or knowable' by the scientific community at the time the plaintiffs used Roundup." But, Chhabria wrote, "the epidemiology is far from undisputed," and he cited a 2003 study that's part of the Sheppard team's meta-analysis to underline his point. The company "cannot prevail on a motion" to dismiss the case "by simply ignoring large swaths of evidence," he wrote.
Meanwhile, as questions about glyphosate's carcinogenicity loom, use of the chemical continues unabated. The US agricultural sector went from applying less than 25 million pounds of the stuff in 1992 to nearly 300 million pounds in 2016. In 2019, | 2,119 |
CHARLI XCX – EXCLUSIVE INTERVIEW + PHOTOS FOR THE #GIRLPOWER ISSUE
THE ART ISSUE
THE GIRLPOWER ISSUE
THE LEGENDARY ISSUE
THE MUSIC ISSUE
THE CINEMA ISSUE
UNTITLED EXCLUSIVES
RECENT NEWS IN MUSIC
UNTITLED EVENTS
GIRLPOWER ISSUE 8
LEGENDARY ISSUE 7
MUSIC ISSUE 6
CINEMA ISSUE 5
VOYAGE ISSUE 4
VOYEUR ISSUE 3
SURREAL ISSUE 2
KALEIDOSCOPIC ISSUE 1
UNTITLED PRODUCTIONS
INTERVIEWS, MUSIC, THE GIRLPOWER ISSUE
by Indira Cesarine
"I just drink champagne and have a good time!" For pop-punk phenomenon Charlotte Aitchison, aka Charli XCX, all it takes is some zebra print and a little liquid courage to rock the mic. And not just any mic – after years of paying her dues by performing at illegal underground London raves, Charli is now owning the stage at festivals like Lollapalooza and New York City's Governor's Ball. Her third studio album Sucker came out to rave reviews. Of the title she says, "I suppose it's like a middle finger to the people in the music industry who previously saw me as like, a ridiculous person, or a joke. Or didn't think that I could achieve what I've achieved. Really it was just kind of me being a bitch, which I like," she laughs. "I kind of like it. It's sassy and it's bitchy."
Charli's career took root in 2008 when she started self-releasing tracks on her MySpace page, among them a rendition of "Wires" by Athlete that went viral. Such internet recognition landed her a deal with Asylum, and eventually Atlantic, leading to her major- label debut, True Romance, which was a veritable commercial flop. Charli would have been relegated to musical obsolescence were it not for the lightning that struck the entire pop world when she collaborated with Icona Pop on "I Love It." The song landed at No. 1 on the UK charts, getting licensed in everything from phone commercials to an episode of Girls, in which Lena Dunham does too much cocaine (it was the actual track playing during that specific scene). Thanks to this stroke of luck, her label held onto her for the sophomore release of Sucker, which Rolling Stone placed at No. 6 on their list of top albums of 2014. Now she is firmly planted in the spotlight. Charli's eventual solo success hasn't stopped her from continuing to pursue songwriting. She wrote the hook for Iggy Azalea's summer anthem "Fancy" and has credits on tracks by artists from Gwen Stefani to Rihanna.
The roots of Charli's musical ethos can be pinpointed back to an era of the 90s that is currently undergoing its renaissance, with artists like her leading the charge. It was an entire generation ago, for example, that the Spice Girls (whom she listened to fanatically growing up, to the point where she considered them her personal friends) stormed the pop world, coining a brand of neo-feminism that was as much about empowerment as it was about dancing and wearing heels and not giving a fuck. The Spice Girls' younger audience at the time have now grown into their own, and there is no more definitive an heir to the lineage than Charli. A larger than life personification of that "Spice Girls 2.0" girl power, Charli unabashedly promotes its underlying politics. Something she believes has shifted for the better is women's actual attitudes towards one another when it comes to support. "Within music there's definitely another wave of girl power happening right now… I think that's such a characteristic of our time." Less evolved, Charli believes, is the broader issue of how women are judged for their clothes, their fashion, their decisions about what to wear and what it supposedly suggests about their dedication to the cause.
Whether you call it "sassy," "bitchy," pop punk, girl power or feminism, Charli XCX is bringing her brand of it loudly to the world and has no intention of slowing down. For her, the future is wide open.
Watch The Untitled Magazine's behind the scenes video with Charli XCX here and read the full interview by Indira Cesarine for The #GirlPower Issue below:
Indira Cesarine: Obviously, a ton has happened to you since the last time we interviewed you, which is pretty incredible. What do you consider to be the most standout moment that's happened to you in the last year?
Charli XCX: It was probably when I actually ran into Bill Murray in the lobby of a hotel. That was really cool, cause he's like my dream crush. That was probably the highlight of this year so far for me. And I wasn't very cool, at all. He was like, 'I like your shoes' and I kind of just screamed and ran away! That was definitely a highlight, along with being nominated for two Grammies. That was really cool. Some of the people I've gotten to work with are really cool, from Rita Ora to Eric Wareheim. He directed a video for me. I've always been a fan of his work. I've been able to work with some really talented people this year and that's been really cool.
IC: What sort of musicians or musical inspirations are you into at the moment?
CXCX: Well, for my previous record, Sucker, I was very much inspired by BowWowWow, and by the Ramones, and Weezer, and the Hives, and also Britney Spears who I'm always inspired by. I've just started working on my new record and for this album I'm much more inspired by electronic pop music. I'm really into Robin right now and Sophie, and some Japanese artists, like Kyary Pamyu Pamyu and Tommy february6 and people like that. So that's kind of where my head's at right now.
IC: Amazing. You just mentioned all the collaborations that you've had recently with different musicians. How did you end up working with Iggy Azalea on "Fancy"?
CXCX: Well we actually only met when we shot the music video for that song. I'd just been asked by her people to go<|fim_middle|> I might just say make loads of music. Practice making music, practice writing songs. Just write. Try and write good stuff. Yeah, that's all I would say. I don't know anything about like life. I just kind of muddle through this however I can.
IC: So I know you toured with The Bleachers. Can you tell me a little bit about some of the highlights of the tour?
CXCX: I love Jack, he's great. He actually gets pedicures on tour. He likes to do them once a week, which I feel is quite a high pedicure-to-day ratio. He likes karaoke too, which is awesome. I like karaoke. We get on really well and he doesn't have an annoying ego which is great. He is a clean freak though. Like he's really super clean, but we've spoken about that.
IC: Are you messy?
CXCX: I'm more lazy than messy, but I think laziness needs the mess from time to time.
IC: I know you've been open about doing drugs at festivals. What's your opinion on recreational drugs?
CXCX: Chuckles… I would say, 'everything in moderation'. That's probably the right, correct answer. There's also a camera pointed right in my face right now, while we're doing this interview, so I'm gonna go with everything in moderation being the path I follow.
IC: So, fast forward ten years. What would you want to be doing?
CXCX: Well working in music, definitely. I'd like to direct music videos at some point; that would be really cool. And just writing. I really would love to be one of the best songwriters around. That would be really cool. I would like to write for a lot of different artists, so that'd be really fun.
IC: Do you get very nervous when you perform?
CXCX: No, I just drink champagne and have a good time!
Interview & Photography by Indira Cesarine for The #GirlPower Issue
Stylist: Karen Levitt
Hair by Ryan Kazmarek
Make-up by Colby Smith
Photographed at Haus, NYC
Pick up a copy of The Untitled Magazine's #GirlPower Issue in our online store.
Tags: Athlete, Bill Murray, Blondie, Break the Rules, Charli XCX, Drop That Kitty, Fancy, feminism, fourth wave feminism, governors ball, Gwen Stefani, I Love It, Icona Pop, Iggy Azalea, Lollapalooza, major lazer, Millenial Feminism, Rihanna, Spice Girls, Sucker, The Girl Power Issue 8, The GirlPower Issue, the today show, The Untitled Magazine, The Untitled Magazine Exclusive Interview, Tinashe, True Romance, Ty Dolla $ign
A CONVERSATION WITH MEREDITH GRAVES OF PERFECT PUSSY ON BEING THE "QUEEN OF HARDCORE" AND FEMINISM TODAY
SILK & LACE - PHOTOGRAPHY BY KIM MEYERS ROBERTSON
Indira Cesarine January 21, 2016
Where Art, Fashion & Culture Collide
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Copyright © 2020 The Untitled Magazine, All Rights Reserved. | to the studio and write some hooks for her record. So I went and did a few different things and one of them was over "Fancy" which she'd already done her rap on and I thought it was cool so I did my thing on it. She fell in love with it and decided she wanted to release it as is. And that was how we met. Obviously we spent a lot of time together, promoting that song for about a year, so that's how we got to know each other.
IC: I love the music video, that's so interesting you guys actually met on set. I thought the cheerleading theme was a cool idea. What was the inspiration behind that?
CXCX: Well it's basically like a copy of the movie Clueless, which was Iggy's idea. It's one of my favorite movies ever. I guess that really was the inspiration. We actually shot it in the same high school they shot the original movie in, which was kind of cool too.
IC: Yeah, that is cool. What do you think about the whole cheerleading thing in America? You guys don't have it in England, do you?
CXCX: No, we don't really have cheerleading in England but I actually really wanted to be a cheerleader for a second when I was younger, after I saw Bring It On. I remember I used to design my own cheerleading costumes. I would just draw them for ages. I tried to find a cheerleading squad; there were probably about like ten in the whole of the UK. I feel like I would have made a terrible cheerleader. I would have been donking off and just making the outfits too short probably!
IC: Isn't that the point?
CXCX: Yeah I guess so, right?!
IC: In the video you seemed to do a good job with all the moves, did you have to practice a lot for that?
CXCX: No, I never really practice for videos. I'm not really one for choreographed dance routines or anything like that. Everything I do is just happening whilst it's happening in my brain. You know? It's never a thing that's thought out or anything. Sometimes, I look totally stupid but I kind of like that.
IC: You just like to be spontaneous?
CXCX: Yeah, yeah. You know it's the same when I play live. I really like to be spontaneous on stage. I don't like to premeditate anything.
IC: I know that you recently released a song with Tinashe and Ty Dolla, which is called "Drop That Kitty". Can you tell me about that particular song?
CXCX: "Drop that Kitty" was a song we were trying to write and pitch to Rihanna for a second. And then Ty fell in love with it and wanted it for his own record. And he wanted me to stay on it, and I wanted Tinashe to be on it too, cause I thought it would be cool if it was a super, aggressively girl power kind of thing, especially with those lyrics. So, that's kind of how it all came together. We actually performed it at the MTV Movie Awards, which was really fun. And I dressed up as a zebra, which was cool!
IC: Where do you get your style ideas?
CXCX: From a lot of my favorite movies and movie characters. That's definitely what inspires me most, fashion-wise. I really like a lot of the characters that Rose McGowan plays in movies. From Courtney Shane in Jawbreaker, to her character in Planet Terror and Scream. I really like her, and also I really like her style off-screen, I think it's cool. She's actually in a music video of mine, which is cool because she was such a badass the whole day, which was awesome.
IC: Which one was that?
CXCX: "Break the Rules." She played the kind of evil head teacher, which is cool.
CXCX: I also love movies like The Craft, Clueless and also Ladies and Gentlemen and The Fabulous Stains. All of those movies really inspire me and my fashion sense quite a lot.
IC: You're into Quentin Tarantino and his films quite a bit?
CXCX: Yes, definitely. I think he's so fascinating and I love how he creates such worlds with his movies. It's kind of on the verge of being so bad it's good, but it's always incredible, it's always great. He pushes the genre so far and I really admire that about him. I like the idea of creating a world for people to access. Whether it's Pulp Fiction, whether it's Reservoir Dogs, Kill Bill; I think he just approaches movies and scripts in such a full throttle kind of way.
IC: You are pretty full throttle. You have this incredible, sexy energy; you're so comfortable in your skin. Have you always been like that? Like when you were a kid, I know you started music and performing when you were 14. Were you always like "this is me!"? Did you have any moments when you were younger where you were insecure?
CXCX: Yes, totally. I feel like I only really became comfortable in my skin and in who I was at the end of 2013, I suppose? Where I just kind of thought, 'Fuck it'. I just began to genuinely not give a fuck what people thought about me. Which I'd already said before previously, but never really fully believed. It was only really then that I actually began to believe it, and it so refreshing and liberating. Before that, and still now, I have moments of self doubt, but I think that's just normal human nature. Especially with what I do, and the way that I live my life, there's always moments of doubt, whether that's the way you look, or the music that you're making, you get scrutinized all the time. I guess you do in any walk of life. I think there's always room for doubt and moments of insecurity. That's what makes people people.
IC: What do you think of the whole "body positive" movement, which embraces female curves?
CXCX: It's great. I mean, I love boobs! I'm all for curvy bodies, and boobs and bums. They're all great and feminine and amazing. I think it's wonderful. But I think any body shape is beautiful as long as it's the right body shape for you and the most comfortable and natural and makes you feel good.
IC: And so, tell me a little bit about your album title, Sucker. What was the inspiration behind it?
CXCX: I suppose it's like a middle finger to the people in the music industry who previously saw me as a ridiculous person or a joke, or didn't think that I could achieve what I've achieved. It was just kind of me being a bitch, which I like. It's sassy and it's bitchy. The first song on the album is named "Sucker" also, and it's about my views on the music industry and stuff.
IC: You mentioned people that didn't believe in you. Did you feel like when you were on your path, working on your career that there were people that didn't take you seriously?
CXCX: Yeah, totally. There's always nonbelievers, I suppose. I think that my biggest trouble is that I struggle to accept that that's just the way the industry is. I feel like people are nice to you when you're doing good things, and people aren't so nice to you when you're not, because they don't care, there's nothing to gain. I'm always very cynical. I think, 'You weren't there from the beginning!' but I guess that's part of the game that you have to learn to play, which is stupid and unfair, but that's just the way it is.
IC: Yeah, it is. You've had a ton of hits over the years though, like your song "I Love It" with Icona Pop that you also recorded, which is just brilliant and a huge global success, as well as "Fancy" of course. What do you prefer, between writing and actually performing your own work? Do you have any preference?
CXCX: I can't really pick between writing and performing. For me it's like, they're two different things and I want to do both. I want to have an empire and I want to be a great songwriter and I want to be a great performer and I want to be in front of the camera, but I also really crave to be behind the scenes and working on other things. So I can't pick; both are equally important to me.
IC: I love your song, "Break the Rules", which I think is brilliant and it seems like you totally live by that sort of mojo. What is your favorite rule you've ever broken?
CXCX: My favorite rule I've ever broken? I used to flirt with teachers a lot in school. That was fun. Apart from that, I was kind of a nerd in school. I actually really liked school, which is probably not the rock-n-roll answer that you're looking for! But I like art and I like learning. I actually did one kind of weird art piece video where I put burgers down my pants and danced to Major Lazer. That was kind of I guess a weird rule I broke. My art teacher kind of freaked out.
IC: Does it take a lot to shock you?
CXCX: I don't know, not sure. It really depends. I get shocked by different things. I get shocked by the internet quite a lot, because it literally blows my mind how it's this crazy other realm where people become monsters. That shocks me quite a lot and also petrifies me.
IC: What do you mean, people can become monsters?
CXCX: There's just so much hate floating around on the internet. I don't mean that it's directed at me. It's just that people can become whoever they like on the internet. Sometimes that's a great, fantastic, creative thing, and other times it's totally scary and crazy, especially when some of these people are probably twelve years old. It kind of blows my mind a little bit!
IC: Yeah, they don't have to operate with a filter. You can say or do whatever without any consequences or fear of repercussion… As you know, this is our "Girl Power" issue. What do you think about the word 'Girl Power'? Is that something that you're into? Obviously since the Spice Girls, it's been around a while. Some people love it, some people hate it.
CXCX: Well, I grew up around girl power. I grew up listening to the Spice Girls; they were such a huge part of my life. I kind of felt like they were actually my real friends. So yeah, I love the term! I think it's a really positive term. When it comes to music, there's definitely another wave of girl power happening right now. I think that's great and really amazing and something that a lot of people are talking about. And I think that's such a characteristic of our time. I had an interview with Debbie Harry for a magazine. We were talking a lot about girl power and she was saying how it didn't really exist when she was performing at the peak of Blondie; she was saying how you could really just expect a girl to stab you in the back. I feel like it's kind of the total opposite now. I feel like most females are really on that level of mutual respect and love for one another in their artistry and I think that's really cool. I really respect people who are like that, and people who aren't, I don't have any time for. So yeah, I like girl power, and I like how it's increasing.
IC: Do you consider yourself a feminist?
CXCX: Of course, 100 percent. How could I not? Definitely.
IC: I know you're into super sexy styling and clothing and you've been known to say you love stripper heels. Do you find wardrobe choices that are sexy to be empowering?
CXCX: Yeah, but not exclusively. I like all kinds of clothes. I'm a really big fan of early Vivienne Westwood from the 'Let It Rock' kind of era and sex era and some of that stuff was super sexy but some of it was also really hardcore punk – like huge, oversized, punk, hardened suits with safety pins and shaved heads and I think that's sexy too. I think clothes definitely do make me feel empowered, but they don't necessarily have to be stereotypically sexy to do that. They can just be whatever I feel.
IC: What do you think about the idea that—obviously it's a big, sort of controversy with how women dress—that if you're too sexy, you won't to be taken seriously.
CXCX: I think it's bullshit. I don't think the way that a woman dresses really affects whether she's a valid feminist or not. I think there's so much more to consider than that. Fashion, for example, determines what you wear, not whether you're a good feminist. I think that's so stupid. I think as long as a woman is in control of what she's wearing and what she's saying and doing, because she wants to and loves to and it makes her love herself then I think it's a good thing. Clothing has nothing to do with feminism, to be honest.
IC: So what sort of advice would you give to a girl who really wanted to be a popstar?
CXCX: | 2,851 |
Lake Minnetonka is a trophy lake offering multi species of game fish including Northern Pike, Walleye, Bass, Muskie, Sunfish and Crappies.
When you're looking for some mid-day Minnesota Ice Fishing action during the dead of winter give us a call.
Whether it's 100 people or 2 people Erickson Guide Service can make it happen on Lake Minnetonka for your corporate fishing event.
Your guide boat is a 21 foot Lund Pro V with Kurt Erickson at the wheel as your guide. The Lund Fishing boat is safe, wide and comfortable. You are fully insured for charter fishing<|fim_middle|> boat is equipped with all USCG approved safety equipment and a cellular phone. We provide top quality rod & reels, lures and live bait to meet any presentation need whether trolling, jigging, or casting. If you have your own equipment and would prefer to use it you certainly may.
Also featured is an underwater camera to view fish up close and personal and see the lake you only thought you knew!
Passage way to Lake Minnetonka. If you're searching Minnesota for great, early Spring fishing excitement this side of Canada, you've found it. And it'll be happening all around you... that is if you are willing to brave a little chill. Spring ice out is one of the most tranquil times and most productive fishing throughout the entire fishing season. Why, you ask?
To begin with, there are no crowds and there's certainly no bugs. Besides the ice fishing season, fishing Lake Minnetonka in the Spring is quiet and peaceful. New growth surrounds you. Trees are budding, forest plants are sprouting and critters and waterfowl are easily and often identified. Spring is a time of rebirth, a renewed spirit and a great time to be in the out of doors watching it all unfold Early Spring Lake Minnetonka Fishing What's there to fish for? Primarily crappies and pan fish. Spring is an ideal time to practice your casting and fishing maneuvers fishing for bluegill.
It'll be the big ones you catch. Water temps are chilly, lake vegetation is only beginning to emerge and water levels are high. You're going to have to fish them deep- that is until water temps start reaching 60 degrees.
Ice fishing tactics work best. However, after a good heavy, wet Spring rain you can be assured worms, grubs and night crawlers are appealing appetizers for bonus-sized bluegills and black crappies.
If you can get away early spring, by all means try it... you'll be hooked lined and sinkered for good.
Make Erickson Guide Services your Secret Escape today, you have earned it.
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GMLOKS relay team is aiming for another big state finish
Published 5:13 pm Tuesday, June 7, 2022
By Rocky Hulne
The following GMLOKS runners competed at the Class A state track and field meet. From left, Chantle Reiland, James Howard, Anna Oehlke, Anika Reiland, Garrison Hubka and Breely Galle. Rocky Hulne/sports@austindailyherald.com
The GMLOKS 4 x 200-meter relay team has made a name for itself in the state of Minnesota, and the leader of that relay is hoping to write one last chapter in her final run on the big stage.
Kingsland senior Anika Reiland was the lead runner on that relay team in state as a seventh grader, but she anchored it over the past five years at state, with the last three appearances ending in a state title.
Besides Reiland, GMLOKS also returns Anna Oehlke and Chantle Reiland from last year's state championship team.
From left, Christian Luthe, Lexy Foster and Riley Paul compete in the Minnesota Class A state track and field meet this week. Rocky Hulne/sports@austindailyherald.com
"We've had a new team every year, so it's the same amount of pressure we've had every year," Reiland<|fim_middle|> will be held at St. Michael/Albertville. | said.
As Reiland closes the book on her stellar GMLOKS career, she'll be getting Southland teammate Breely Galle, an eighth grader, a look at the big stage. Galle has had a whirlwind year, but she's kept up with the top runners on the team throughout the spring.
"It's kind of scary being an eighth grader at state," Galle said. "My teammates have helped me a lot."
Oehlke has gone out of her way to help out Galle this season, and although she knows what it's like to win a state title, she's still feeling the pressure.
"We're both nervous and excited. We're mostly nervous and it's probably going to hit us on Friday in the prelims," Oehlke said. "It's nice to compete with all different age levels and we've taught Breeley how to work the handoffs this year."
GMLOKS will be busy throughout the weekend as James Howard will run in the 200-meter dash, Garrison Hubka will run in the 1600-meter run, Anika will run in the 100-meter dash, Chantle will compete in the 200-meter dash, and Galle will also run in the 300-meter hurdles.
GMLOKS also has three throwers competing at state as Riley Paul is back after qualifying last year. He will throw the discus and shot put, along with sophomore Lexy Foster.
"It's the same as a regular meet with a little more pressure. As long as you can handle the pressure, you should be fine," Paul said."
Christian Luthe will throw the discus.
"We've worked together quite a bit and the practice in competition pushes us," Luthe said.
Luthe, who is from Southland, and Paul, who is from Grand Meadow, lined up against each other during football season but they have thrived as teammates.
"We've been friends since eighth grade," Paul said. "We've always played against each other in football. Those games were fun and it's great to be teammates on the track."
Foster has set the program record in shot put and discus for GMLOKS and she's only getting started as she has improved throughout the year.
"We compete against each other, but we come out here every day and work to get better," Foster said. "I've always looked up to my coach Becca. She's pushed me to get harder and she's my role model."
The Class A prelims will be held at 4 p.m. Thursday and the finals are set for 4 p.m. Friday. Both events | 547 |
I'm not a big fan of sock knitting (or at least that's been true historically). However, I recently wanted to knit on something small and rather mindless as - well, a therapeutic escape. This is how the Cabin Socks came into existence!! Find the No-Wrap Short Row Heel tutorial below — and if you need a refresher on my Easy No-Wrap Short Rows, you can find that tutorial HERE. I suggest working through that tutorial first before tackling the heel because I've written this tutorial assuming you have<|fim_middle|> want to whip up the Cabin Socks that feature this shaping (pictured on the right), they will be available SOON!! Make sure to sign up for my newsletter to have the printable pattern sent straight to your inbox. | the basics down already.
I'm also teaching the No-Wrap Short Short Row technique at some upcoming STITCHES events, so head over to the EVENTS tab for more about that.
After working your first set of No-Wrap Short Rows or Wedge 1, you're ready to work Wedge 2, so you'll knit to the first stitch before the gap on the RS of the work. As you can see, the slipped stitch is positioned around the first stitch on the left needle, ready to be picked up and knit together with the stitch on the needle. For full photo tutorial on how to close gaps, check out the Easy No-Wrap Short Rows tutorial.
After turning, slipping the first stitch, and purling to the stitch before the next gap, you'll close the gap as usual, turn and slip the first stitch which is now positioned directly above the previous turn. So far, all of this is done as you would for closing your short row gaps, but as you close a gap, turn, and slip the next stitch, you will have two slipped stitches rather than one positioned around your working stitch on the needle.
Here, you've slipped the first st with RS facing and have knit to the stitch before the gap. Now, rather than having one slipped stitch positioned below the first stitch on the left needle, there are two - the lower stitch has already been picked up on the previous row (pictured on the left), so you want to pick up the upper stitch as pictured on the right. You will then knit those two stitches together as instructed to close gaps.
WS is worked similarly. There are two slipped stitches positioned below the working st on the left needle- the lower stitch has already been picked up on the previous row (pictured on the left), so you want to pick up the upper stitch as pictured on the right. You will then purl those two stitches together tbl as instructed to close gaps.
Ta-Da! As you can see (pictured on the left), there are no gaps and the turns are rather tidy and even. If you | 420 |
Imperial Valley News
Imperial Valley News Center
FTC Imposes Conditions on UnitedHealth Group's Proposed Acquisition of DaVita Medical Group
Written by IVN
Washington, DC - Healthcare provider and insurer UnitedHealth Group Incorporated and healthcare provider DaVita, Inc. have agreed to a settlement to resolve Federal Trade Commission allegations that UnitedHealth Group's proposed $4.3 billion acquisition of DaVita's DaVita Medical Group will harm competition in healthcare markets in Clark and Nye Counties, Nevada.
Under the proposed settlement, no later than 40 days after the acquisition is final, UnitedHealth Group will divest DaVita Medical Group's healthcare provider organization in the Las Vegas Area (known as HealthCare Partners of Nevada) to Intermountain Healthcare, a Utah-based healthcare provider and insurer.
The complaint alleges that without a remedy in the Las Vegas Area, the proposed acquisition will likely reduce competition in the markets for:
Managed care provider organization (MCPO) services sold to Medicare Advantage insurers; and
Medicare Advantage plans sold to individual Medicare Advantage members.
According to the complaint, in the Las Vegas Area, the proposed acquisition would eliminate competition between UnitedHealth Group's OptumCare and DaVita Medical Group's HealthCare Partners of Nevada, resulting in a near monopoly controlling more than 80 percent of the market for services delivered by MCPOs to Medicare Advantage insurers. The complaint alleges that elimination of this competition would increase healthcare costs and decrease competition on quality, services, and other amenities in the affected area.
The proposed acquisition would also result in anticompetitive effects due to the vertical integration of UnitedHealth Group's UnitedHealthcare, the area's leading Medicare Advantage insurer, with a larger combined MCPO service provider. The proposed acquisition positions UnitedHealth Group to raise the costs of its MCPO services to rival Medicare Advantage insurers, or even withhold such services from these rivals, according to the complaint. Without a remedy, the acquisition would increase the likelihood that the Centers for Medicare and Medicaid Services (CMS) will make higher payments to Medicare Advantage insurers, and seniors in the Las Vegas Area would incur higher cost-sharing payments and receive fewer benefits and lower quality healthcare services.
Under the proposed settlement order, in addition to the divestiture obligations, United<|fim_middle|> complete, maintain the assets and marketability of HealthCare Partners of Nevada.
The proposed settlement also appoints John P. Harris as the monitor to ensure that UnitedHealth Group and DaVita comply with all of their obligations under the order. If the parties do not fully comply with their divestiture obligations, the order allows the Commission to appoint a divestiture trustee. Concurrently with the proposed settlement, Intermountain Healthcare will divest its minority stake in rival Las Vegas Area MCPO, P3 Health Partners.
Commission staff worked closely and cooperatively with various state attorneys general throughout this investigation.
The Commission vote to accept the proposed consent order for public comment was 4-0.
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© 2019 Imperial Valley News | Health Group and DaVita are required to:
provide transition assistance to Intermountain Healthcare that includes access to and use of intellectual property and business equipment and information;
properly transfer all confidential business information;
for one year after the divestiture date, provide Intermountain Healthcare with the opportunity to interview and hire employees to fill key information technology and critical services positions in HealthCare Partners of Nevada; and
until the divestiture is | 88 |
Sun., January 24, 2016 12:57 p.m. | Sunday, January 24, 2016 12:57 p.m.
From left: Corrie Stallings, plays Jo, Laurel Semerdjian, plays Meg, Adelaide Boedecker, plays Beth, and Claudia Rosenthal, plays Amy, in Pittsburgh Opera's production of "Little Women".
The small theater at the Creative and Performing Arts High School, Downtown, is a perfect environment in which to experience "Little Women" by Mark Adamo, the appealing contemporary opera based on Louisa May Alcott's famous 19th-century novel.
Pittsburgh Opera's new production of Adamo's work opened Jan. 23 at CAPA and proved a compelling vision of the piece thanks to an excellent cast and chamber ensemble, superb preparation and conducting by Glenn Lewis, and imaginative staging by Crystal Manich.
It's astonishing that "Little Women" was Adamo's first opera, for which he wrote the libretto as well as music, because its mastery is pervasive and its sophistication unobtrusive. The distillation of the lengthy novel into a two-hour opera is brilliant on many levels — from the clarity of the overarching theme of loss and the passage of time to the distinction and development of each of the main characters.
Adamo's musical score is individual and eclectic, employing various musical languages to suit the nature of the situation he's bringing to life. The music expressing the characters' feelings is apt to be mainly tonal. Narrative music, in which most conflicts occur, is well served by the composer's chromaticism and 12-tone harmonies. Best of all, the colors of character and narrative music are wonderfully fluid.
"Little Women" is an opera in which the moment is always well served.
The cast is led by the four March sisters — Jo, Amy, Beth and Meg — growing up in Concord, Mass., after the Civil War.<|fim_middle|> scene, in which she must help Jo accept the unpleasant reality. Her line was finely drawn, and her acting conveyed Meg's generosity and weariness.
Claudia Rosenthal was persuasive as Amy, the smallest role of the four sisters, but dramatically crucial because she marries Laurie. Jo and Laurie were closed friends but she had rejected his suggestion that they become romantic. Adam Bonanni didn't need his full voice to fill the CAPA theater, and sang with beauty and nuanced drama.
Kara Cornell and Daniel Teadt were winning as the parents, while Leah de Gruyl was intense as Aunt Cecilia.
Finally, Matthew Scollin made the most of his role as Friedrich Bhaer, an older German man to whom Jo responds at the end of the opera. He sings her a poem by Friedrich Goethe, "Kennst du das Land" (Do you know the land), as an example of real art. Then he sings it again in English after Jo says she wishes she knew what the words meant.
The staging was mainly quite effective in adapting to the small space of the stage. The costumes were realistic to the time of the novel.
A considerable part of the opera takes place in the attic of the March family home, and it's fitting symbolism that the steps to the attic are oversized books. The one problematic part of the staging involved the furniture hanging above the stage, intended to convey elements of memory falling into place. The hanging props were a step too far from realism. At a minimum, they looked surrealistic, but they also appeared silly.
Glenn Lewis led a confident performance of a score that is more difficult than it might sound. He was as attentive to indicating cutoffs as entrances, and balanced the singers and instrumentalists very well. His pacing felt apt at every moment. | Their parents are not wealthy, but comfortable enough to have a large library and piano. Each child is encouraged to develop her gifts.
Mezzo-soprano Corrie Stallings offered a thoroughly convincing and sympathetic portrayal of Jo, which was especially impressive because of the character's complexity. Stallings' singing easily encompassed not only the wide range of her notes, but also her character's strong will as much as her emerging doubts and personal growth.
Stallings' Act I aria "Perfect As We Are," which expresses Jo's feelings about her sisters growing up, was a highpoint of the evening.
Baritone Brian Vu gave a strong performance as Brooke, handling high tessitura with assurance and finding the strength to deal with Meg's challenging family.
Soprano Adelaide Boedecker's big moment is Beth's death | 164 |
New Grant Opportunities Available Through Wyoming State Historic Preservation Office
The Sweetwater County Historical<|fim_middle|> Compressor Mechanic – Intermediate
Archrock
Kitchen Aide/Center Janitor
Grants and Accounting Technician
Sweetwater County Circuit Court
Methods Chemist
Site HR Partner | Museum in Green River is listed on the National Register of Historic Places.
CHEYENNE — The Wyoming State Historic Preservation Office (SHPO) received $350,000 in grant funding from the Paul Bruhn Historic Revitalization Grants Program through the National Park Service. The objective of this grant program is to support the rehabilitation of historic buildings on rural historic main streets and/or commercial districts in Wyoming.
Grant funds may be used for restoration and preservation projects to historic buildings, including but not limited to, repairing roofs, stabilizing foundations, rehabilitating windows, upgrading necessary infrastructure, ADA accessibility and restoring building interiors. Preference will be given to projects which have not been awarded any form of federal grant funding in the past.
In order for Wyoming properties to qualify, the property must be: a) a commercial or mixed use property; and b) listed or eligible for listing on the National Register of Historic Places. If the property is not listed on the National Register of Historic Places, the property owner must agree to do so by the completion of the project.
Grant funding will be targeted to communities which have a Historic Preservation Board certified by the State Historic Preservation Office or involved in the Wyoming Main Street program. The community must be under 50,000 in population according to the US Census Bureau.
Applications for funding may be submitted from private, educational, tribal governments and nonprofit entities located in these Wyoming rural areas:
Qualifying Wyoming Main Street communities include:
Certified:
Affiliate:
Aspiring:
Goshen County
Qualifying Wyoming CLG Communities include:
Glenrock
Kemmerer
Meeteetse
Natrona County (not including City of Casper)
Park County
Sublette County
Teton County
Washakie County
Weston County
Grant Application Guidelines and Application Form are available on the Wyoming State Historic Preservation Office website, https://wyoshpo.wyo.gov.
Grant Application Deadline: March 1, 2021. (An additional deadline may be established if grant funds remain available.)
For more information about this grant program, please contact: Brian Beadles, 307-777-8594, brian.beadles@wyo.gov or Linda Kiisk, 307-777-7566, linda.kiisk@wyo.gov.
Revitalization, Wyoming State Historic Preservation Office
Palmer, Riskus Named Downtown Rock Springs Volunteers of the Month
Officers Mourn Sudden Loss of Sweetwater County Sgt. K-9 Huk
Entry Level Equipment Operator
Black Butte Coal
Gas | 538 |
Yes, that's a thing. Let's roll with it though! As you are very well aware, I'm L.O.V.I.N.G my frozen Nut<|fim_middle|> may receive a small commission if you choose to use them. Rest assured that I would not promote a company that I do not actually love and use. As always, I appreciate your love and support! | risystem foods! Nothing wrong with their shelf stable foods (honey, I'm all about the white mac & cheese!) but they have stepped up their food game with their frozen foods!
If you're not on the plan but you still want to try their frozen foods, you can order a la carte and try some out. In fact, Nutrisystem is always running deals on their social media sites so get to stalkin'. Follow them on Facebook, Twitter and Instagram and you'll see exclusive discounts. Don't forget about Ebates, too!
One of my favorite frozen meals so far has been the cinnamon roll! I swear to the DIET GODS that this is the best breakfast. Pair it with some coffee and a Power Fuel (I recommend a boiled egg or maybe string cheese) and you'll be in heaven! I thought for sure it would be gummy or dry but it was flakey and just the right amount of gooey cinnamon in the center. I'm drooling!
Chicken parmesan is one of my favorite dishes. Have you ever noticed that when you get frozen chicken parm that the chicken is always spongey? Seriously, I'm gagging thinking about it. Nutrisystem's Chicken Parmesan is nothing like that! Is it my aunt's homemade dish? Not quite! But it is a fantastic HEALTHY option! I'm a picky Petunia when it comes to red sauce and theirs is the perfect balance of sweet and tangy. The chicken has a bite to it and isn't spongey at all. Pair it with a big spring salad and lite dressing and you have the perfect comfort meal. (Don't be afraid to use those extra's, people!).
Let's not forget about dessert! I don't know where to start! Since this is just my first shipment there are still so many that I haven't tried yet. Currently I am loving the ice cream sandwich. I ordered a few of these based solely off the reviews on Nutrisystem's website. It's a 5 star snack and for good reason. It doesn't taste like diet food. That's how I feel about most of their frozen foods to be honest with you.
I'm a mom of 2 young boys and there are some days that I feel like a short order cook. The convenience of just being able to whip something out of the freezer and have dinner prepared in minutes makes my life so much easier!!! I tried to do the meal planning pinterest-y things and I'm just not that organized or thoughtful with food. This is just so simple and effortless.
If you're looking for a flex frozen meal, I have some favorite go-to's as well. My all-time favorite would have to be the Lean Cuisine Mushroom and Spring Pea Risotto. The textures, nutty flavor and the fact that it is so filling makes this a winner – winner – risotto dinner in my book.
Smart Made (made by Smart Ones) has a lot of great choices too. My favorite of theirs is the Chicken with Spinach Fettuccine. Loaded with flavor, real (not spongy) chicken and a creamy sauce makes it feel like such a naughty meal but it's such a great healthy choice.
Ok, so National Frozen Foods day is a bit of a strange "holiday" but it was fun sharing my favorite meals with you. Do you have any frozen favorites? Or do you like to make your own meals to freeze?
Some of the links included in this blog may be affiliate links meaning that I | 716 |
Former Los Angeles superintendent John E. Deasy is heading up a new magazine for school district leaders aimed at promoting civil discourse in education.
The magazine, called The Line, promises to examine some of the most vexing education issues—from school funding and school choice to the impacts of immigration and accountability—but to do so in a way that will cultivate consensus and learning rather than calcify differences, according to Deasy. Frontline Education, a technology company that markets its software to school administrators, helped found the magazine and is providing financial backing for the publication, which will be free to educators.
The magazine is neither left, right, nor center, Deasy said, and, in an increasingly polarized political environment, will endeavor to be a venue where educators can present ideas and learn from each other—particularly from those who may hold ideologically different views.
"It's an incredibly challenging point in the country, and I really think that without both using and modeling civil discourse in education, common ground is really going to erode under our feet," said Deasy, who is The Line's editor-in-chief. "And that's going to have a profoundly detrimental effect on the … young people in our public schools."
Deasy resigned from his post as schools chief in Los Angeles in 2014 after an at-times tumultuous tenure there.
The magazine made its debut in print and online last week. Some of its inaugural articles offer a glimpse into how the magazine intends to try to bridge divides.
One article, based on email correspondence between Deasy and Chester E. Finn Jr., a senior fellow and president emeritus at the conservative, Washington-based Thomas B. Fordham Institute, shows the two men discussing whether lawmakers and everyday Americans fully understand the economic impacts of a "failing education system," the ways in which schools need to change, and how people from different regions—urban and rural, black and white—can come together to think about K-12 schooling.
The Line magazine, whose debut print issue is seen above, will present an array of viewpoints on pressing K-12 issues.
Deasy said he was surprised at how much they agreed.
Another article looks at a perennial K-12 concern—school funding—and approaches districts and states have taken to maximize their resources. And the issue includes discussions of the Every Student Succeeds Act implementation by Arne Duncan, the former education secretary; Michael Mcgee, the CEO of Chiefs for Change; and Hanna Skandera, the education secretary in New Mexico.
It also featured a "leader spotlight," with Kaya Henderson, the former District of Columbia schools chancellor.
Members of the magazine's editorial advisory board reflect its effort to represent political and geographic diversity, as well as the perspectives of individuals who serve in different education roles. Advisory<|fim_middle|> to learn from those differences."
Hess agreed that there should be less yelling and more listening in education debates.
But, he said later, actions are ultimately more important than words.
"It's hard to create policies, routines, and systems that support teaching and learning when we are engaged in bitter fights and calling each other nasty names," he said. "I think if we can talk about things, disagree about these questions in a more responsible, serious fashion, that lets us tackle things like accountability and choice and virtual learning and teacher-quality in a way that doesn't let us get stuck in some of the potholes that we have been stuck in in recent years."
The Line emerged from several discussions between Deasy and Tim Clifford, the CEO of Frontline Education, after the two met at a conference in Boston last year. Frontline had recently launched a research arm, Frontline Research & Learning Institute, and was looking to expand its role in districts beyond being a vendor to share insights from data it had amassed over the years from working with districts.
The magazine will be published twice in print this year, but will be updated more regularly online. Online users will be able to annotate articles as they read them and participate in discussions in what Clifford calls an online "town green." The magazine will be available online at TheLineK12.com.
"Education Next Offers Policy Views, With an Edge," March 25, 2015.
"John Deasy Resigns Top Post in L.A.; Ramon C. Cortines to Be Interim Chief," (District Dossier) October 16, 2014. | board members include Frederick Hess, resident scholar and director of education policy studies at the conservative American Enterprise Institute; Tom Boasberg, the Denver superintendent; Paul Toner, the executive director of Teach Plus Massachusetts and the former president of the Massachusetts Teachers Association; Vicki Phillips, the former head of K-12 grants at The Bill & Melinda Gates Foundation; and Allen Grossman, a senior fellow at the Harvard Business School.
Toner, a longtime union leader, said the magazine's approach to finding common ground was similar to the path that has guided his career.
"I have found throughout my career that the unions that claim all the education reformers are ill-intentioned are misinformed, and all the ed-reformers who claim that all union leaders want to put up roadblocks and prevent good things from happening and are only focused on self-interest, are also incorrect," he said. "I really think in a perfect world we would bring these people together and have a serious dialogue about how we work together."
William Hite, the Philadelphia superintendent, is a member of the editorial advisory board. He said the publication could be an essential resource.
"This inability ... to be respectful when there is difference in our country right now is concerning," he said. "I do think here is an opportunity for everyone | 264 |
Let me start by saying I really like this product. Even if it has about two too many words<|fim_middle|>, an incentive — for the mainstream grocery to carry it, particularly since it is a frozen item. | in its name. I think "vegetarian ham" is easier to understand than a "chicken ham." After all, a vegetarian analog is like the meaty original, but made without animals. But is a vegetarian chicken ham a now-meat-free version of a ham, but originally made with bird flesh? Or pork, made like bird, but now made with soy?
It's none of these, I gather. It's light, savory, lightly spiced vegetarian product that I'd call "imitation chicken lunch meat"– which I think gets the point across, even if that might not pass regulatory muster, and again suffers for having two too many words in it. And to be clear, it's like a processed chicken product, like the inner part of a chicken nugget, so don't expect long fibers of imitation meat.
A confession. I don't think I ate this one hot, but i t has probably enough flavor to stand up in a soup. Indeed, next time I hope to make a pot pie with it. But it's so delicious cold that this is how we plowed through it. Often in strips on a plate with other food, or sandwiches. I think this is the same product that my go-to Vietnamese Buddhist restaurant serves in slivers in a cold lotus root salad (Gỏi ngó sen). Both the restaurant and the supermarket where we got the Lam Sheng Kee Vegetarian Ham (Chicken Flavor) is at the Eden Center, in Falls Church, in the suburbs of Washington, D.C. It comes frozen, in a 1 kilogram log for about $10 at the Good Fortune Supermarket.
My mother used to make a perfect-to-spread "blender chicken salad" and I think this product would be ideal for it. Other ingredients to buy would be the vegan Just Mayo (at Target) and vegan Worcestershire sauce. This used to be easy to find: just get the cheapest brand. But now they all have anchovies. The same supermarket has large, cheap bottles of vegan Worcestershire sauce, from Taiwan, with the soy sauce — a bit thinner than I like, but it's not that you use much, right?
In any case, this vegan ham is a winner, and I'll buy it again. But what if you wanted ham ham? That's for next time.
How on earth might one obtain this product, if living in a small mid-Western city with no Asian market?
Three thoughts, Derek. Because it is frozen and perishable, it's unlikely to be a reasonable option by mail order.
Ask the local large supermarket if they can special order it.
Get it — like an ice chest — when visiting a large city. I find the Asian groceries that cater to Vietnamese people have the best vegetarian options, but that may be a D.C. thing.
If it's the ham flavor you want, there are vegan ham-flavor bullion, too.
I might reach out to a local/campus vegetarian club or an Orthodox or Adventist church either for local info, or to provide pressure — I mean | 628 |
An enjoyable day looking, hearing and talking about art on-site – including the unique opportunity of visiting artists' studios and collectors' homes!
THIS EVENT IS NOW SOLDOUT! Join us at the The Art Week Conversations – Considering Art Markets during Singapore Art Week for more insight in the art world!
This series introduces art processes through various ways of seeing. Starting at the Singapore Biennale, we look at the art scene through the eyes of curators, artists and collectors.
The full-day tour includes on-site discussions and a chance to hear first-hand from the people behind the scenes, including exclusive visits to artists' studios and collectors' homes.
Sessions navigate issues such as: how to appreciate the artist's creative process; approaches to making artwork choices; people and events that have shaped/affected artists' works; what are the challenges for artists and their collectors.
Recommended for ages 16 and<|fim_middle|>ary preferences may be limited but we will do our best to accommodate. | up. The tour includes some walking.
Diet | 10 |
Tribeca Capsule Review: Mr. Long
2017-04-25 09:<|fim_middle|>
Slightly above average or simply inoffensive. Fans of the genre should enjoy it a bit, but a fair few will be left unfulfilled.
Hubert VigillaEditor-at-Large gamer profile
Vigilla is a writer living in Brooklyn, which makes him completely more + disclosures
Also on Flixist: Mr. Long (0) From our database:
Filed under... #Drama #festival films #food #Foreign #Japanese #Reviews #Tribeca Film Festival #Tribeca Film Festival 2017 #violence | 00:00by Hubert Vigilla
Nihilistic Tampopo/Slapstick Unforgiven
Juzo Itami's Tampopo was a quirky blend of western tropes and epicurean delight. SABU's Mr. Long is sort of like a nihilistic Tampopo. We follow a skilled assassin from Taiwan named Long (a brooding Chen Chang) who gets waylaid after a botched job in Japan. Our killer winds up in a Japanese slum, where his stoicism and culinary skills make him a hit with the locals. Yet the love of food and the goofy side characters can't seem to overcome the bleak fatalism at the core of the film. I couldn't help but think of Mr. Long as Tampopo by way of Clint Eastwood's Unforgiven.
So yeah, it's a nihilistic Tampopo and a slapstick Unforgiven.
As an elevator pitch, that sounds like a fascinating genre-mash. SABU shoots the movie sort of like Takashi Miike (he was a co-star in Miike's Ichi the Killer), though a more staid Miike. There are long, slow stretches of the film, and it made me wonder about boredom as a narrative tool. In some ways, the dark and melodramatic punctuation marks of Mr. Long don't work unless parts of the movie are boring.
[This review is part of our coverage of the 2017 Tribeca Film Festival, which runs from April 19th to April 30th in New York City. For tickets and more information about the festival, click here.]
Mr. Long (Ryu San)
Director: SABU
Rating: TBD
Release Date: TBD
While recovering from his injuries, our hero befriends a boy named Jun (Runyin Bai) and his mother Lily (Yiti Yao) in an abandoned slum. Lily is a former prostitute turned junkie, and her story is where so much of the melodrama stems from. There's an extended flashback that shows her tragic fall. The scene initially seems to be dropped in randomly, but thinking about the whole film in retrospect, Lily's backstory comes after a period of slowness and inertness to increase its emotional impact. It's a mood swing done with purpose. The initial outbursts of violence we see in Long's life are eventually followed by cooking and a series of hesitant gestures toward domesticity. The pendulum can only always overcorrect.
I don't think Mr. Long would work as well without these dull, silent stretches, and yet while watching the movie I felt bored in these moments. That's the point. What happens in those boring scenes implies a welcome tranquility in these tumultuous lives. To the outside observer, it's boring, but for the characters, a game or ping pong or a simple day making food or giggling with mom is a reprieve from past misery. For once, the present has some sort of order. The boredom can only last so long--maybe it lasts too long in the early going--before it runs the risk of interruption.
There's a lot to discuss about the film's overall cruelty and fatalism, and whether or not SABU has contempt for his characters like a vengeful god, but that would be getting into major spoiler territory. If you're patient with Mr. Long and follow the film on its own terms, the reward is peaceful boredom for lives defined by pain and heartbreak. I'm not sure what to make of that exactly, but I keep thinking about the soporific/histrionic style of Mr. Long and how it deepens my appreciation for both its quiet and brutal moments.
Mr. Long reviewed by Hubert Vigilla | 774 |
Episode 22 – Hugh Johnson – The Story of a Wine Giant
https://media.blubrry.com/the_stories_behind_wine/p/content.blubrry.com/the_stories_behind_wine/EP-22-Hugh-Johnson-2021_03_15.mp3
Subscribe: Apple Podcasts | Stitcher | RSS
IN EPISODE 22, IN THIS EPISODE, WE CATCH UP WITH WINE LEGEND, HUGH JOHNSON. HUGH HAS BEEN ONE OF THE WINE WORLD'S MOST READ AND INFLUENTIAL AUTHORS OVER A 60-YEAR CAREER. HE HAS INSPIRED SO MANY TO PURSUE FURTHER WINE EDUCATION AND HELPED TRANSFORM HOW WE THINK ABOUT WINE WRITING. HIS STORY IS COMPLEX, THRILLING, AND INSPIRING MUCH LIKE MANY OF THE FINEST WINES OF THE WORLD.
THE STORY OF WINE: FROM NOAH TO NOW
The Story of Wine is his most enthralling and enduring work, winner of every wine award in the UK and USA. It tells with wit, scholarship and humour how wine became the global phenomenon it is today, varying from mass-produced plonk to rare bottles fetching many thousands. It ranges from Noah to Napa, Pompeii to Prohibition to Pomerol, gripping, anecdotal, personal, controversial and fun. This new edition includes Hugh's view on the changes wine has seen in the past 30 years.
$45 PLUS TAX AND SHIPPING
'Who better to supply us with our first comprehensive historical survey than the wine writer with the magic pen, Hugh Johnson?'
~Jancis Robinson MW
Hugh Johnson: [00:00:39] I was a bit precocious as, because I was 27 when I wrote my first book, which is titled just why, I mean, why the four letter word, which was not used 66.
So I suppose 27 minutes per day.
Christian Oggenfuss: [00:00:57] Valley wine Academy. This is the stories behind [00:01:00] wine, a podcast dedicated to the stories, people, places in history that influenced the world of wine. In this episode, we catch up with wine legend, Hugh Johnson. Hugh has been one of the wine world's most read and influential authors over a 60 year career.
He has inspired so many to pursue further wine education and help transform how we think about wine writing. His story is complex and thrilling and inspiring much like many of the finest wines of the world. This is his story.
Hugh Johnson: [00:01:36] Huge Johnson and I I'm a writer. Uh, wine have been a writer about lives for 16 years.
It always amazes me. I've written a number of books contributing, included the world. There's a blind now and it's hates position. My friend James says rubbish pocket wine books, 44 additions. And various [00:02:00] more personal books and particularly a book called the story of wine, which is my favorite, really, because I think to understand why to do need to know something about it.
So that's me, I'm here
Christian Oggenfuss: [00:02:12] Johnson. I look forward to discussing the reprint of story of wine as well with you here a little bit later in the interview, but I want to get started and I wanted to ask you, what was your first introduction? To wind. When did it become part of your life? Well, wine
Hugh Johnson: [00:02:29] was always a whole part of my life because of it.
We drank it in my family. My father was a lawyer and it was part of his culture. Really not, no great deep interest, just regular drinking. Then when I went to university at Cambridge, kind of on the larger pot and various ways, I began to see that there was a serious side to it. Actually it tasted some.
Wonderful burger for the first time. And a friend showed it to me and they said, don't you think it's [00:03:00] extraordinary? How different these two lines off considering they come from the same village, two fields apart, um, actually hang out and it really is interesting and it fit me out, sent me off on a path for them still pushed to reach 60 years later.
So there's never any doubt in my mind that explaining why to people helping them enjoy it is something I was doing. How did
Christian Oggenfuss: [00:03:25] you transition from that curiosity at Cambridge into starting your career and writing about wine? What was the first opportunity that presented itself for you to write about wine?
Professionally?
Hugh Johnson: [00:03:36] My subject is English. I've always. Wanted to be a writer company or anything else really, but I did need to earn a living and I was better, very lucky to get a job as a copywriter on a magazine on Vogue magazine, straight out of college. Very lucky indeed. So I was writing stuff about [00:04:00] galleries, about travel, about, about fashion.
Then I said to the editor, do you think readers would like an article about wine? She said, we're going to try it. That was the Christmas edition London in 1968. And here we are six years later.
Christian Oggenfuss: [00:04:19] What was the article about?
Hugh Johnson: [00:04:21] Oh, you'll never be able to guess. The Christmas edition, what to drink with Turkey,
Christian Oggenfuss: [00:04:28] a subject that has been repeated ever since.
Hugh Johnson: [00:04:31] It's being revisited from time.
Christian Oggenfuss: [00:04:36] Tell me, I'm interested to know, and I'm sure our listeners are as well. What did wine journalism look like back then? Was there wine journalism? Can you give us a little bit of insight?
Hugh Johnson: [00:04:45] Yes. There was one in journalism in the UK and in the us very limited, very few people that was Robert Bowser.
And the key figure in my mind was Frank Studebaker. [00:05:00] Who was imported wine had wrote the absolute to me the first really good Claire, one books about wines of Germany. And he wrote mood of wines and spirits in about 1966. I suppose I was happy enough or lucky enough to meet him. I'd just written my own book, which is called wine.
And he asked me to edit. I'm trying to compete for the London edition, which I did. And I learned a huge amount and had great pleasure with it. He was a great guy. Yeah. He was the man. Frank was the man who really introduced the Rasul labeling by suggesting to Helma them that they should put, they should feature Cabernet.
And now on their labels. I would say Cabernet was the red border wines shut up. And there was a great for the [00:06:00] greatest I'd probably get their wines and believe me, that was a first did it, did it catch on? So that was as much as I knew it in the States in Britain, there was figure who was really my page in a sense.
He was a Frenchman who had lived in England for the whole of the 20th century. He'd written a hundred books. She was an absolute Chama. And I marveled my early writings really on him. Then there were other newspaper writers, not really critics. And then there was Kramen Postgate who produced a good wine guide.
There were a few, but newspapers did have regular column has said, or if they did, they were rare. And that's how I go the [00:07:00] brakes a bit later on, because all Sunday times I was pleased to do it. And
Christian Oggenfuss: [00:07:04] you were quite young at the time. I mean, you were in your twenties when you were editing, helping edit the encyclopedia of wine and spirits.
Hugh Johnson: [00:07:12] was a bit precocious cause I was 27 when I wrote my first book, which is titled just why, I mean, why the four letter word, which was not used 66. So I suppose 27 is pretty
Christian Oggenfuss: [00:07:29] Tell me a little bit about your first book wine. What was the book about,
Hugh Johnson: [00:07:34] do you ever think about why? And really it's first paragraph was a piece of inspiration. Because I wanted to set up why line interests and I go to a good store or you promote for cited to now, but it's the first time I wrote my first book.
And from there now, so many people down the, uh, sort of said to me, I first got into wine. When I read that paragraph, it's amazing. It was a sort of hook how much [00:08:00] I hung, everything that followed. It was about the rods. It was about why is why the interesting subject, because are so many varieties. Is Tom places based on grades, based on personalities, those are all cultures.
So it is not just a, a drink. It is something that sort of encapsulated civilization in a way
Christian Oggenfuss: [00:08:23] at the time of the writing of wine. And in your early career, did you have any mentor that inspired you and that you could go to for support in the early part of your career?
Hugh Johnson: [00:08:37] Same spot and encouraged me. I didn't tell him, ask him questions. I traveled around Europe. Honeymoon was the 1965 vintage, which is remembered as one of the worst ever, never stopped writing. I took a lot of photographs. I read a big circuit of your [00:09:00] unimaginable now. I started, well, I thought great Polish would be earliest pitchers in Portugal, in the port country.
And my wife, uh, drove a little mini miner. John Dontrell Gibraltar to harass Sherry vintage. We put the little, uh, not a liner to Balter to Naples. Was a holiday Italian line that had a ship called the Rafaella alone of the Italians immigrants to the U S crossed the ocean on this ship. We had wonderful company not wearing.
I can tell you. This was traveling in a sense. So most people weren't doing it those days, I suppose, and picking up ideas on the way and realizing I took photographs in Tuscany of the vintage that nobody would believe [00:10:00] how primitive it was. Astonishingly promotes not very clean, but we had a glorious time.
Then we drove up through. Oh, it was a long journey catching up in Germany and it provided me with the color to make my book readable because I hadn't seen these patients. What was I going to say about them? Was that a lot of reading? I put it together.
Christian Oggenfuss: [00:10:25] So you've authored what is considered by many, the first serious attempt at mapping, the world's wine regions, the world Atlas of wine in 1971, before you published it, how did one learn about the different wine regions of the world did want to have to travel?
Or were you reading many different books and putting it all together? Tell me a little bit about that. And what was the impetus for the world? Atlas of one?
Hugh Johnson: [00:10:50] I realized very early on with my first book, that maps were a vital tool and key for understanding what anybody was talking about. [00:11:00] His old very well just reciting a list of village names, but who was at the guns, remembers every shone, uh
et cetera. Nobody's going to remember them until they see them through it becomes graphic. So I always wanted. To do maps and then by the reckless good for, to a publisher who I knew would be publishing. My first book came to be, and he said, who won about five maps? Do you think it would make sense to do?
And I must. And I said, well, it depends on how good the maps are because really detailed ordinance type maps, uh, totally believable. You can't battle around with a, like, Pat you all staging facts in Israel. And I said, if we can have BAPS up to that level of quality. It will be a unique illustration of the venue, [00:12:00] older posts.
We couldn't have that detailed politics. We could do it for the classic front. So, um, that's what I did. I went to the office and I'll do patters, which wasn't a very impressive, how do I say hybrid tended to do and could they help? And they said, Oh, that's a good idea. One of our members thought of that some years ago.
And we gave it to the Portuguese to work on it. And we've got a file here or somewhere. So they went there
with one sheet of paper. So all the drawings have to be done. And it interested everybody. Once I explained what I was trying to do, the real groundwork of mastered for the classic regions of France. Well, it was a series of maps published just before the second world war [00:13:00] by a guy called Louis llama. And they were super curb maps, very large, beautifully produced.
And with a rumor that he couldn't even get the paper
maps. So that was a great kick top for me, but for all the other countries and regions. So I just have to look at it. And I'm 60 years later, I'm prepared to give away the fact that sometimes I made it up, nobody was telling me nobody would believe how disorganized the library was. Then you have personal friends, but those times are sort of real organized.
There were a few laws abate. Um, um, I remember I went to the, when I was in the door doing deport maps, I could get no joy out of anybody. I went to the trainers, shippers like tailors and crafts and Coban [00:14:00] and said, can you help me map? Hey, they did look really excited after months of waiting. And I didn't really have that time to wait.
However, I told him there's only one thing for it. I got a battle map of the Jordan Valley. I drew on it where I thought the
I'm going to try to get runs rulership as much as I could correct this whole. I'm not sure I've got it quite right. Not one of the directors. They all said, yes, that's right. That's right. So that was the original port now. That
Christian Oggenfuss: [00:14:34] is an amazing story. Did you have any idea at the time when you first published the first edition that you would be releasing the eighth edition in 2019?
And how has the book changed over those many additions?
Hugh Johnson: [00:14:48] Well, I actually finished, I did four additions on my own and I sort of fully expected to do that, but it got more and more laborious and I had other. [00:15:00] Um, some other things I was writing and it got a bit wearisome because it was by me being every six years.
So I was working on it. Then I thought not trying to do this again on my own.
By this time I was very good friends with justice Robinson. We've been through a lot of tastings together. We've seen quite a lot of retailers have Nick, her husband, and I sort of rather gingerly approached us and said, how would you feel about helping me? And she said, I have to dock the deck. I'm not sure about that.
It's going to be, but she agreed. And from the fifth edition on no, the last four additions. She has graduated to be doing more and more of the legwork, more of the heavy lifting and is now much, much boat combine. And then that's [00:16:00] as it should be, and to shoot actually much more professional than I have been with, of course, this huge database.
So it's available now. You don't go groping around for officers to questions. You go to the internet. So, and there are literally Google maps to consult. Kind of, we're not dealing with a whole lot of facts that are simply not available, so yeah. Yes. You've got to check.
Christian Oggenfuss: [00:16:25] You mentioned at the beginning of the interview, the book that you're most proud of the story of wine, which has just recently been rereleased and republished by Stephen Spurrier's Academy, divine library.
Tell us a little bit about this book. It is a fascinating read and quite a different approach to writing about wine than the encyclopedia. Or the world Atlas, I should say of one. How did it come to be and what makes you so proud of this book? Well,
Hugh Johnson: [00:16:52] I've been doing reference books of one time or another for a long time.
I also wrote a huge book, jumps, blind [00:17:00] companion that went into additions. And the text of that is I'm quite proud of that on the flip. And then to the last two edition, I had the co-author Stephen, Brooke. Who's a wonderful London wine writer. Now that I realized that I wasn't going to do that anymore. And I began looking at television.
I'm thinking there's a great story here. Could I get it on television then television would not keep the BBC was not keen on wine. GemCis had done some programs for really good programs, but they sent it wine has dotted on a visual graphic subject. How do you show people to taste them look red? So we're all very keen on it.
And then I met one of the great television producers of cover of time, a man called Michael Gill. And he had coined the whole idea of BBC. Serious documentary [00:18:00] with very, very famous Russian civilization kind of clock. Um, I talked to Michael about it and I said, could you imagine, tell me, I guess, about wine.
He said, well, tell me the story. And we ended up making a 13 part television series for public broadcasting at Boston. And for one of the channels kind of fall and many other channels across Europe and even Japan that work very, very well to do it. I had to employ a research, a young historian called Helen.
She was a real fine star. She did so much research for me. She read all sorts of things that I now no time to read. Oakton languages are their daughters. And we built up a fantastic dossier of information. Part of which a small proportion could use in the TV series. I mean, it was all good grounding. [00:19:00] It made me confident that I was telling the right story, but the actual detail, you don't know you can't fit it in, in television time.
So when the series came out, it was a big success. And I had all this documentation. So the obvious thing to do was to write a book and two years loving because then I could really use the detail that Helen had found for me. And I was taught and I'd traveled a lot to put together a history, which I'll just call a history because that sounds a bit pompous and off putting.
So I told them the story about. And that's what you got. I love doing. It's a very long book, huge amount of detail. It was a lot of anecdotes, a lot of personalities. Ventures come into it as it's, it's really a story. It is
Christian Oggenfuss: [00:19:48] a wonderful, wonderful book. And it's one of those reads you pick up thinking you'll read one or two chapters and put it back on your nightstand for the next evening.
And it just one page ties [00:20:00] into the next and pulls you all the way
Hugh Johnson: [00:20:01] through. Well, that's very gratifying. I loved doing it well. It was 30 years old last year, students and his. Publisher Simon McMurtry started this new publishing house called the Academy Duval library. And Steven and Simon said to me, what's happened to your great story as a bullet is just sort of lying really because it hasn't been reprinted for some years.
And they said, well, could we have it? I said, you bet you can have it. Which is how it came up. Almost. I got do books, amazing.
Christian Oggenfuss: [00:20:42] And the Academy Divan library now publishing such great titles. Yours is one of them as well, but almost revitalizing a lost art of wine writing that isn't just a reference book, but real writing about the subject.
Hugh Johnson: [00:20:56] you don't really think there's a lost art.
[00:21:00] Christian Oggenfuss: [00:21:01] Absolutely not. And in fact, it's the joy to discover these writings. I know in, in wine education circles, oftentimes much has talked about the reference books, but there is so much to be learned from books like yours. I just
Hugh Johnson: [00:21:13] want to add to that interject please, because the internet has made reference.
So vailable. So every body there's less need for reference folks. In my opinion, books, books about tastes and the boat motivations and emotion and all the other aspects of wine, which leads me to, if I may talk about our times, or will you come to that? The oxides of Davis came like this because we were moving house eight years ago from the large country, Austria.
To move into a small lodge in London. And I went up into the attic and I found options of boxes, boxes, my writing, proof, [00:22:00] research, materials, all that kind of stuff. I cannot throw this away who would be interested in talking to monitor universities? I realized that UC Davis is really the SI is it. A central point of line scholarship in the technical sense it's library, the shields library is like no other online.
So I went to Davidson. I said, look, what about my archives here? Would you be interested in as a bet, I'd love to have them. So I shipped all these crates of stuff over to California and they said, well, it came in conversation. I did a lecture there. So introducing, and there was a general agreement that they had, why don't other people's end of that moment.
Chapter's Robbins was also moving house. So I said to James is quite, you're [00:23:00] sending your old papers, have them, this began to snowball. And they asked parents people for that paper by Bob Thompson and St. Elena was wrong. So there was. Getting a critical mass. And then the wonderful Warren went there, came to him as these lectures.
Uh, he said, this is something I really support because we've got all the technical stuff we're ahead of the game. But there's another aspect to why to that is fine appreciation. So the reverse with the client there's how is one enjoyed by motivation about the language of art? So that was sort of base and founded on my archive as good as his word.
Very, very generously gave a great big check. So they're going to have us to support, um, uh, many, many people who be an approach to a lot of approach Davis. The massive papers is really [00:24:00] considerable and the wonderful thing is that they're digitizing it. So I'm starting to digitize my body change my correspondence.
So anyone who's interested can Google a letter that I wrote or was written to me back in the 1970s. Richard is extraordinary.
Christian Oggenfuss: [00:24:19] That is truly amazing. I mean, what a gift to give to UC Davis and what a gift to have UC Davis make those available digitally for readers. It is truly a modern technical wonder.
Hugh Johnson: [00:24:30] It's the technical one that I'm just to run the Rapids. I think it's amazing. But within seven years idea being born, it really existed in a big way. It is truly
Christian Oggenfuss: [00:24:41] the wine writing world coming together and thanks to the support of war and we're in our ski and making that possible. I want to transition to a topic that maybe most listeners aren't aware of, that you also write about a different subject than wine, and you have another passion than wine.
Can you tell us a little bit, what [00:25:00] else excites you? And besides this
Hugh Johnson: [00:25:02] arose, when I publish the world, this is. 1971. And it was a big success from the word goes. It had to be with so much detailed Kara, such quality of production on everything else. So James Mitchell, my publisher said to me, okay, here now what's your next project?
And I said, trees and usually cheese. And I said no tea. And he said, no, he said trees and other consumer subjects, wine and cheese. I understand that. Jeez. So with a bit of help from one of the really big paper, cup and dos and counted on the international paper company, we got the thing off the ground and made a magnificent quality tool.
The international book of trees. Came out in 1973. And that really said [00:26:00] I met so many marbles people in forestry horticulture. So I'm going to duplicate my passion by then. I had my own God. So I became a God and I started writing problem. Then I was invited to edit the journal of the Royal horticultural society or to direct it.
And I started a column. Which still goes on 45 years later. And it's called trad diary, Trev being short for tradition. And if you want the background Tradescant was first famous English God in the subject centric. Anyway. So I read his diary and I still do. And it's now online and it has been for years, it's like, gosh, it be.
Semi technical thing about plants, gardens, trees, forest, everything which attracts me in that area. You said to me why the vine is a tree or it would be a tree if it could stand up straight. Um, we have a family [00:27:00] producing beauty useful does involve great skills. I see the relationship between these subjects very
Christian Oggenfuss: [00:27:09] clearly.
Wonderful. Um, when I was doing my research, I found that very interesting is the book about trees still in circulation in publication? Yeah,
Hugh Johnson: [00:27:18] I did the second edition of it after a gap of something like 40 years and it is called the new additions. It's cool priests. Believe it or not. Cree's a lifetime journey.
It's through forests and gardens. Fascinating, beautiful book. But that overreached myself. Cause I, I read a book called the principles of God, Sandra, the pump. I really wanted to understand God and I was just into it. And as any journalist knows, a way to find out about a subject is to write a book about it.
So day I rushed this brokerage came out in 1979. If it exists now, I think it's called the art [00:28:00] school. The principles gardening. I'm not ashamed of it, I
Christian Oggenfuss: [00:28:03] must say. So. I'd like to ask you two more questions before we transition into some contemporary issues. And one is, I was surprised to learn in from some research that from 1986 to 2001, you were a director for the Bordeaux first growth Chateau Latour.
Can you talk a little bit about that and how did that come about and what did that position entail?
Hugh Johnson: [00:28:26] Well, why did they ask me shadow British? No longer is the great Harry Wall. Whose name is familiar to all your readers and listeners blind tag rights, hollering in the stage. He was a board director because he was a director of hobbies, one firm that had bought a big shower.
All this happened in 1962. So it was showed and the [00:29:00] British French and all that that'd be winter is rooted very well. We might want to introduce that until well, now I was explaining why they asked me, I think. My name was quite big in the one. Well, then I had friends and so the chairman invited me to lunch one day said, come on the board, which was of course with fantastic privilege as well.
It was a pleasure and it meant many, many visits to the Chateau and the great defunding of my knowledge. I mean, I would never really found out about how you make the best photo or how you sell it without being on that boat. So a great episode in my life. Wonderful memories. Also, we had the best sheriff in the middle, so that tanked her dad when also Dino's well, the Chateau, well, we were sad, but, uh, it's quite right.
French [00:30:00] fans. He has as much money as anybody could possibly need and more, and he's poured it into making the best possible wine was a brilliant director. A nice spread is addressed
to the Napa Valley and they're all together. He's a, he's a real habitat Mr. Moneybags, because sure. But he also absolutely adores. Right. There's a lot about it. So all
Christian Oggenfuss: [00:30:29] good news. Another interesting fact is you were a co-founder of the Royal Tokai wine company in hungry. What led to this ambitious price?
That was a
Hugh Johnson: [00:30:38] moment of great excitement, the collapse of the communist empire in Europe in 1989. When one or another of these European communist stage collapsed. And it was very clear that that was the skids for communism. I tasted great [00:31:00] from Hungary. I knew that it had been considered one of the world's greatest wines, the most expensive wine of all in the 19th century.
I knew that the communists had screwed it up. Did we just become a sort of sweet Browns, liquid? Why, if a wine has been great, if the vineyards have had a great reputation, they still exist. The same grapes are still planted. The methods it can be realized. So this was the work of great pride to mine.
Danish wine, make a pita vintage Dez. Who is also a historian. And she told her remarkable career Staci to learn about why and talk Africa. And he's made some testing. Ryan Taylor shot. He's not in system day. He'd make great wines wherever he is. He and I are good friends for 50 years. He started to talk about saying, we must go there to help revive it.
[00:32:00] And I went on, came on board with him immediately after the revolution or the freedom of 99 to recollect the, I just want a big change that laws. And we started to sort of grow the grapes from growers around the village and people of course, inevitable joke about that. We started from the beginning by being very, very picky.
I never said it, but he verified. Right? So even a 91 93, we dropped up the name of the royalty company because we didn't have to do a company. Royal sounded sort of grand and hungry to have. So it started being recognized by the few people who would be interested in those days. But you're too, too for a job with the bosses [00:<|fim_middle|> Oggenfuss: [00:34:43] story and what an amazing journey to bootstrap as we Americans like to say the company from obscurity to one of the top wine brands in the world.
Hugh Johnson: [00:34:52] Yeah. It was from zero.
Christian Oggenfuss: [00:34:54] Let's talk a little bit before we wrap up about what inspires you in the wine [00:35:00] world of all the experiences you've had from the beginning of.
Cambridge university, where you were introduced to wine to current day, has there been a common thread of inspiration in wine that has kept,
Hugh Johnson: [00:35:14] she
loves the court who's out with all them folks are tasting a new something new every time, if you'll go on the ride ride. That is what's so wonderful about it. Yeah, there's infinite and a story behind each vibe. I mean, when you get to industrial line, the fascination, perhaps
something that merely tastes of or something, he was saying, well, Oh dear, we need a better chef, but you can say that on mountain, the hand shots around the corner. [00:36:00] Inspiring individuals who really Kaz a Newport she's on sewn into it gives you a new experience with tasting the place where the light is from and no tasting keys.
Enthusiasm had been, hopefully you're tasting good ripe
Christian Oggenfuss: [00:36:14] grapes. Well, the flip side to that is this question, and that is what aspect in the wine industry has frustrated you. I
Hugh Johnson: [00:36:24] think I'd be terribly frustrated. I get annoyed by fashion. Occasionally. I mean, one thing that has always annoyed me is park as a hundred point system.
But I mean, that's anybody who knows anything about me knows that I think it's rubbish. Um, subdued not possible. I'm very depressed by the fact that all the wine journals and magazines now automatically feel that you've got to do it because to me it's just nonsense. But I may be the only person singing that too.
And I don't mind I could do it. There's no way if you gave me a glass of wine and I could [00:37:00] teach it and say, Oh, that's 92 points or something. I just wouldn't know where to stop. Would you so that his business will recover irritation if you like. There are other fashions that fashion there's always somebody who fashion.
I'm not that crazy about all the talk about bachelor, because that is all that natural can be more or less natural, but you can't define something as being actual. I just saw this too, as a good idea to avoid additions. That's what you call them. But then people would say, what about finding something or that you wouldn't actually had it?
That's part of the process really work with simplifications. Every time somebody tries to simplify why they get it wrong or they get off track. It is a very complicated subject. Why should want to apologize for that? Most of the best subjects in the world are complicated. [00:38:00] Are you going to simplify music for job?
Well, you can, but very
Christian Oggenfuss: [00:38:06] well said, a lot of our listeners are probably aspiring wine writers or have fantasized about picking up the pen and writing about this beautiful subject. What advice would you give an aspiring wine writer today on how to get started? Well, right.
Hugh Johnson: [00:38:25] Also will entry into any other kind of writing.
You just call it, do it. Your judge feels judged, but it doesn't exist to do make it. So I just would advise Mr. Well, interesting. All right. It can be, but you know, the other things, the more you feel about it, that could be interesting too. It's a very individual thing. She must be and it got to be [00:39:00] individual.
It's not worth reading.
Christian Oggenfuss: [00:39:01] Who are some of the great contemporary writers that inspire you today? Who do you respect the most in wide writing of the contemporary? Right. I don't really want to get
Hugh Johnson: [00:39:11] into that because I don't read them. I don't really cover the waterfront. I just don't try to be Frank. I mean, I've got people that are great for the ability for me to pick.
I mean, I'll just let Janice Robinson, because we are obviously huge friends and colleagues and her website. Jensen's robinson.com is the other best thing in the business. Had people who write for some are going absolutely first class, but there are many, many others I can't really cherry
Christian Oggenfuss: [00:39:42] pick. So my final question is you in this rich career that you've had of wine writing and all you have accomplished, what is next for you?
What is it the next project for you? I write
Hugh Johnson: [00:39:55] magazine articles still for the decanter magazine, the world of fine wine, [00:40:00] but that's not really a project. No, I rarely have a big project. I just called her on from day to day, enjoying life and writing about the things I enjoy. As I always have. So no, don't sort of chalk me up a huge book to come.
There will be new edition books, but I'm
got involved in a big project.
Christian Oggenfuss: [00:40:24] I want to thank you very much for taking time out of your schedule of this evening, to speak with me and share your thoughts and stories with our listeners. It's been a great honor and a great
Hugh Johnson: [00:40:35] pleasure. No, not at all who doesn't like totally about themselves to such a nice interlocutors.
Christian Oggenfuss: [00:40:42] Well, thank you very much. And I look forward to searching out the book on trees that is going to be in my next read. And I just have to again, tell you how much I have enjoyed the story of wine, reading that book over two sittings. So over two days, phenomenal read and for listeners who would be interested in [00:41:00] picking up.
A copy of that. Please visit the Academy Divan library and get yourself a copy of his latest reprint of one of his greatest
Hugh Johnson: [00:41:08] works. The library
Christian Oggenfuss: [00:41:21] thank you for joining us this week on the stories behind wine. If you would like to suggest an interview, subject, or show topic, please email us@sbhatnapavalleywineacademy.com. Again, that email addresses sbh@napavalleywineacademy.com. If you'd like what you've heard, we hope that you will visit our website Napa Valley wine academy.com forward slash podcast.
And share us with your friends and colleagues. We'd also really appreciate a positive review on iTunes. It really helps out. Be sure to check out the archive section on our website for previous episodes and follow us on Facebook and [00:42:00] instagram@napavalleywineacademy.com. Join us next time for another episode of the stories behind wine until then.
Thank you for listening.
Christian Oggenfuss
Christian Oggenfuss the founder and Chief Executive Officer of Napa Valley Wine Academy is a passionate wine industry spokesman, and educator. He holds the dipWSET, the highest certification from the London-based Wine & Spirit Education Trust, and is an Associate Member of the Institute of Wine & Spirits. Christian also holds the French Wine Scholar (FWS), the Italian Wine Professional (IWP), and the American Wine Expert (AWE), certification. He is also one of only 64 Bourgogne Wine Ambassadors in the world. | 33:00] and London colors of the day.
And I said, this is just amazing how we began marketing it, but we never had any capital. We did the whole thing on the shoe level. So not many people were prepared. I invited all sorts of people to come over and see the venue behind. Eric was getting very interested. At one point, I had friends over from California and they will look at it from their heads and said, you're not going to make any money.
Can I get out to 10 years? I said, no way, this is going to take 25 years to build this up to its full potential. So we didn't get it
all done by Ben Klein, man, who's not written a very good book about Sherry, which published by the accountability library. Um, whatever little coach, really, really great [00:34:00] friends who love wine. So Ben started marketing his wonderful job. 25 years later, it was a new owner. Who is on deck. There's a dongle story attached to that.
Um, something that you're trying to get her, it was exactly 25 years later or so to read the crystal ball, right. That we actually first made any profit out of it. And a lot of talk is a recognized brand in magazines. Just one was a great wine brands of the world. It gets a hundred points. And it's been, it's really a journey, a lot of satisfaction.
I don't actually have any activity in the company. I'd have all adjusted, join the line. What an amazing
Christian | 342 |
Viking 1 and 2, NASA's first Mars landers
Viking 1 and 2 were a pair of NASA Mars landers and orbiters that launched in 1975 and arrived in 1976.
The orbiters created global maps while the landers examined the surface up close.
The landers performed ambitious chemistry experiments to search for life; the results were ambiguous.
No one knew what the surface of Mars looked like up close until July 20, 1976, when Viking 1 snapped a picture of its landing pad sitting on a vast plain of soil and rocks.
Viking 1 and 2 were a pair of NASA landers and orbiters. Each launched as an integrated spacecraft that separated in Mars orbit. The landers headed for the surface, while the orbiters stayed behind to survey the planet from above.
Prior to the landing of Viking 1, the only mission to operate from the surface was the Soviet Union's Mars 3 spacecraft, which touched down in December 1971. Contact with the lander ended for good less than 2 minutes after touchdown.
Viking 1 and 2 provided scientists with their most complete picture of Mars to date. The orbiters had high-resolution cameras that created global surface maps of the planet, revealing that Mars was generally divided into two distinct regions: northern low-elevation plains and southern cratered highlands. The orbiters captured stunning close-up views of volcanoes, dust storms, and canyons.
The landers, meanwhile, measured temperatures at their landing sites that ranged from roughly -120 to -20 degrees Celsius (-190 to -10 degrees Fahrenheit). They found that Mars' reddish soil was composed of iron-rich clay. They also conducted a chemical analysis of the soil to search for the presence of life; the results were ambiguous and the question of life on Mars remains unanswered to this day.
Viking Lander 2 Camera 1 Noon High Resolution Color Mosiac Viking Lander<|fim_middle|> lasted two more years, ending on November 11, 1982.
Viking Orbiter 1 - Valles Marineris Color image of a cloudy afternoon over the Valles Marineris canyon system, taken by Viking Orbiter 1 during its 701st orbit of Mars, on September 29, 1979. This image was constructed using pairs of red and violet filter images that were taken by the spacecraft, with the green channel of this image formed by a 40/60 blend of the two images, respectively.Image: NASA / JPL / USGS / Justin Cowart
Did Viking 1 and 2 find life?
The landers contained life-detection experiments designed to search for biological activity in the Martian soil. Each lander placed a scoop of Martian soil into a chamber and added some water containing nutrients and radioactive carbon. In theory, any microorganisms in the soil should metabolize — in other words, consume — the nutrients and emit the radioactive carbon as a gas that could be detected by the lander.
That's essentially what happened. The landers also performed a control version of the experiment, where the soil samples were heated to sterilize any microorganisms before the nutrient solution was added. In those experiments, the landers did not detect the radioactive carbon, as would be expected.
Many scientists felt the results were too good to be true considering all other data from the mission pointed to the surface being devoid of life. Perchlorate, a non-living compound that is harmful to humans in high doses, was found in the Martian soil by later missions to Mars and could have metabolized the nutrients in the Viking experiments. Further studies have questioned whether perchlorate alone can sufficiently explain the results.
Where did Viking 1 and 2 land?
Both landers targeted flat, level regions of Mars in order to increase their chances of success. Viking 1 landed on Chryse Planitia — Greek for "Golden Plain" — located in Mars' northern equatorial region. Viking 2 landed on Utopia Planitia — Greek and Latin for "Nowhere Land Plain" — a large impact basin north of the equator. China's Zhurong rover also landed in Utopia Planitia in 2021.
Carl Sagan with Viking lander model Carl Sagan stands in front of a Viking lander model in Death Valley, California.Image: NASA/JPL
Planetary Society connection
Planetary Society co-founder Carl Sagan helped design and manage the Viking missions. He also contributed to the selection of the landing sites. A Viking 1 panorama of the Martian landscape at dusk is attributed to one of Sagan's image requests.
The high-dollar Viking program — along with the dual Voyager probes that launched in 1977 — came at a cost, stifling the development of future planetary exploration missions. Policymakers used a perceived lack of public interest in planetary exploration as an excuse to slash budgets. Sagan, along with NASA Jet Propulsion Laboratory director Bruce Murray, decided to build a grassroots advocacy group to prove there was public support for planetary exploration. They teamed up with JPL engineer Louis Friedman and founded The Planetary Society on November 30, 1979.
Mars once had liquid water on the surface and could have supported life. We don't know how it changed to the cold, dry desert-world it is today.
You are here: Home > Viking 1 and 2, NASA's first Mars landers | 2 Camera 1 Noon High Resolution Color Mosiac (high resolution B&W with low resolution color)Image: Data: NASA/JPL Image Processing: E. Vandencbulek
When did Viking 1 and 2 launch?
Viking 1 launched on August 20, 1975. It arrived in Mars orbit on June 19, 1976 and the lander touched down on July 20, 1976.
Viking 2 launched less than a month after Viking 1 on September 9, 1975. The spacecraft arrived in orbit on August 7, 1976 and the lander touched down on September 3.
How much did the Viking missions cost?
The Viking missions cost $1.06 billion, which when adjusted for inflation is roughly $7.1 billion in 2020 dollars. Viking remains NASA's most expensive robotic planetary science mission of all time. More than half of Viking costs ($610 million) went to lander development, while the orbiters accounted for $217 million. Mission operations through 1982 cost $104 million.
How long did the Viking 1 and 2 missions last?
Both missions lasted far beyond their planned 90-day lifetimes. The Viking 2 orbiter mission ended July 25, 1978, while the Viking 1 orbiter lasted until August 7, 1980.
The Viking 2 lander operated until April 11, 1980, and the Viking 1 lander | 339 |
Meet the pride of Manchester
The University celebrated the amazing staff, students and alumni who not only lead busy lives but also go the extra mile for those less fortunate at the Social Responsibility and Volunteer of the Year Awards.
President and Vice-Chancellor Dame Nancy Rothwell – who presented the awards – said: "You give up the most valuable thing to all of us and that is time. At a staff lunch I asked people what they wanted from the University and they said to feel proud – I should have brought them all here today."
Staff winner Lenox Green with his wife Heather re-mortgaged their house to set up a children's centre in Hulme, where he has spent six evenings a week for<|fim_middle|> small business clients; and is about to start a solar lighting project.
And the feeding programme has grown to 200 children and caregivers every week.
View the film testimonials:
Lenox Green
Jack Burke
Estelle Goodwin | the past eight years helping local young people have fun in a safe environment, get good advice on a range of issues and achieve their potential.
Lenox is so well loved that when a local burglar broke into the centre, his mates made him take the loot back.
"They're good kids," he says. "And I get a lot out of it too – every month I get one of those magic moments. Only last week, at the end of the evening a four-year-old girl was waiting for her parents to pick her up and came into the table tennis room where the older kids normally play. I asked her if she wanted a go, she nodded her head, picked up the bat and for the first time in her life played table tennis; the look on her face was priceless. I see that all the time. It's as simple as that really."
Lenox, a postgraduate office administrator in the School of Mathematics, started in his teens by helping with youth projects, summer camps and soup runs in China town then progressed to inviting homeless people round for meals. Then 19 years ago when he met and married Heather they stared running a drugs rehab centre from their home, as well as supporting recovering addicts in rehab centres and youth hostels.
They opened the Rainbow Christian Centre in 2003 to help addicts but, after speaking with locals, focused their attention on preventing addiction and the associated behaviour that led to it. Available 24 hours a day – Lenox has only taken one five-day holiday in 19 years – their projects include a gym for adults, youth groups, food handouts, Saturday social events, prison visiting, court appearances, family liaison and advice on housing, benefits, education, apprenticeships and debt. And in August of each year, he takes a week off work to run a play scheme.
The kids' testimonies say it all. Danni: "He would do anything for us and has worked so hard to make the centre what we want it to be." Antony: "He is a father figure and the kids respect him because he is genuine." And James: "To tell the truth, before the centre was opened I was a pretty bad kid – getting arrested, going to jail – but then things changed. I dropped the bad stuff and as I got older I started helping out with the kids."
Student winner Jack Burke not only runs the Student Action soup kitchen, he has fought for its very survival.
BA History student Jack and his team prepare and deliver fresh food and drinks in a safe place where the homeless can share their concerns and problems. In addition his detailed knowledge of the services available – obtained by various means including meetings with members of the city council – makes a huge difference to those he helps.
And with the council constantly trying to move the soup kitchen out of the city centre, he has spent much of his own time looking at other possible venues, to ensure that it is in a safe place for both volunteers and homeless alike.
If that was not enough, Jack has successfully completed the BOGLE Stroll 55-mile walk twice to raise funds to enhance the soup kitchen.
Alumni winner Estelle Goodwin, who studied for her MA in Ancient World Studies here, founded the charity KIN (Kibera in Need) which supports projects in the vast Kibera slum in Kenya.
Kibera, in Nairobi, is home to up to one million people who live in desperate conditions of poor housing and sanitation, high unemployment, HIV/Aids and low school attendance.
KIN started out helping the Kenyan NGO Riziki fund its small feeding programme, in which 50 Kibera residents got their main weekend meal every Saturday.
It has now developed an Education Support Scheme, a Child Guardianship Scheme, Microfinance and a series of seminars giving guidance on parenting, reproductive health and career choice; funds vocational training for around 220 children and young people; helps 800 plus | 805 |
the art of mindful eating : Simple Things To Make Your Life Happier And Yourself Healthier.
Simple Things To Make Your Life Happier And Yourself Healthier.
You probably know that laughter, hope and optimism make life more enjoyable, but some of us seem to be wired for seriousness, sobriety and pessimism instead.
Recent research shows that genetics may have a lot to do with the level of happiness you experience on a day to day basis. Some people are naturally giggly, cheerful, and happy go lucky, while others are a bit more somber.
However, there are still plenty of things you can do to influence<|fim_middle|> uplifting effect.
Laughter triggers your body to create more antibodies and hormones that build up your immune system.
If you bottle it all up, stress and tension will eat away at you and make you susceptible to all kinds of illness and health problems.
Ready for more? Mindful eating coaching can help you to stop stress eating. | how you feel each day.
You already know what you enjoy doing -- if you can find a way to make a living at it great,otherwise consider spending time doing it as a hobby or just for fun.
Spend one or two hours this week doing something that you truly enjoy.
Spending time with people you love and enjoy has a relaxing and soothing effect. You'll feel wanted, respected and loved -- critical emotional experiences for good living.
Sometimes we just need to remind ourselves that things aren't as bleak as they seem. Repeat a positive affirmations like "Today is a good day," "I'm having fun today," "I'm a great (insert occupation) and I do my job well," or "God works all things for the good of those who love him."
Try not to repeat the same things every day.Spend a few minutes thinking about the items on your list and realize how good you've got it.
As long as you don't over-do it, exercise has an effect similar to chocolate because it releases endorphins, which generally have an | 215 |
Given that it's only June and temperatures have already been registering above 100 degrees F, it looks as though we will have a hot summer ahead of us. But, high temperatures needn't stop us from our bike rides and bike commutes, which is why we want to share with you how we stay cool.
Every bit of water you consume will help your body temperature remain low. Increase your intake of watery fruits and vegetables like watermelon and tomatoes. Sodium helps your body hold on to fluids, so drink something with electrolytes while you're riding. To prevent your drinks from getting warm, freeze one bottle at half full and another at almost-full before topping them off. Aim to drink one 20-ounce bottle every hour.
After your ride, drink something with protein, which will hydrate you quickly because protein brings water with it when it travels to muscles. If you choose to drink water, also eat a snack or meal that contains protein and sodium.
Remember, caffeine and alcohol are diuretics, which means drinking them will make you urinate more and lose more water. When it's hot out, stick with water.
It may be tempting to toss ice cubes down your clothing, but don't. When you put ice on your skin, the blood vessels constrict directing hot blood back toward your core, ultimately making you feel hotter. Instead, bring an extra water bottle and a small towel to pour cool water over your neck and forearms, or wipe them with a cool, damp towel. Consider putting a wet bandana around your neck at the start of your ride.
Leave yourself plenty of time so you don't have to rush. Heading out 15 minutes early can make the difference between a sweaty, draining hustle and a pleasant, breezy ride. It's also worthwhile to budget a few minutes at your destination to splash water on your face and catch your breath.
The coolest hours of the day fall between 4am and 7am, while the evening commute tends to be the hottest time of the day. It's a good idea to have a backup plan, like a filled TAP card to take transit, or a friend you can call if you get partway home and start feeling symptoms of heat stroke (see below).
A sunburn can be more than just painful. Fatigue and an increased metabolism are some symptoms of sunburn, and while the latter might sound good, it will be a problem on hot days as a faster metabolism increases your body's need for liquids. So, do everything you can to prevent sunburn: wear sunscreen, choose clothing with built-in sun protection, and wear a hat under your helmet to shield your face and neck.
Lightweight natural fibers are more comfortable, while lightweight polyester prints won't show sweat. Loose fitting clothing will help you feel the breeze created as you bike. If you need to look professional at the end of your ride, a quick sponge bath and change of clothes will work wonders. And, don't forget to wear your sunglasses!
If you or someone else shows signs of heat stroke, medical attention should be sought out ASAP. While waiting for emergency treatment, get the person in shade or indoors, remove excess clothing, and cool them with whatever means available. You can put them in a cool shower, fan them while spraying them with cool water, or place ice packs on their head, neck, and armpits (source: the Mayo Clinic).
Lastly, when it is hotter outside, people tend to drive more aggressively and impatiently. So, be extra careful out there and stay cool!
We have great news for everyone who cycles in Downtown Los Angeles– the construction of a protected bike lane on Los Angeles Street (from 1st Street to Alameda Street) has been completed. Woo-hoo!
On June 16, a ribbon cutting ceremony for the Los Angeles Street Improvement Project was hosted by CD 14 Councilmember Jose Huizar, LA Public Works Commissioner Kevin James, Deputy Mayor Barbara Romero, and LADOT General Manager Seleta Reynolds. During the ceremony, a group of people rode Metro Bike Share bicycles on the newly enhanced Los Angeles Street.
The protected bike lane, featuring the city's first side boarding islands and bicycle signals, will make bicycling safer and more comfortable from the city's civic core to Union Station. The following image slider show the<|fim_middle|> Netherlands became one of the world's most bike-friendly nations. Before World War II, bicycling was the most widely-used form of transportation. After the war ended, increased affordability of cars encouraged the Dutch to trade in their bikes for vehicles, and bike lanes disappeared as roads became designed for fast-moving vehicles. Over the course of three decades, injuries and deaths of people on bikes, especially children, caused by accidents with cars spurred a series of protests in the 1970s.
Also during this time, increased oil prices simultaneously encouraged people to ride bicycles. With a renewed sense of the health, safety, social, and economic benefits of bicycling, Dutch citizens and government began working to create an expansive transportation network that was accessible and connected by bike.
Students from the University of Delft designed the suspended Hovenring to allow for safe bicycle crossing above car traffic. Can you imagine if we had a bicycle roundabout like this above our freeways? Bikeway connectivity would skyrocket!
Designer Daan Roosegaarde and Heijmans Infrastructure made the Van Gogh-Roosegaarde Bicycle Path out of thousands of twinkling stones inspired by 'Starry Night'. A sparkling bike path? Yes, please.
Dutch company Heijmans Infrastructure created the BikeScout to increase safety at intersections. Radar trackers positioned along the road for 150 ft. leading to the intersection measure the changing positions of people who bike, walk, and drive. If there's a collision risk, the LED lights lining the intersection flash, warning cars to stop. A BikeScout in LA would for sure help us reach Vision Zero goals.
The POMA Group, a French cableway company, built the CycloCable bicycle lift on a steep hill in Trondheim, Norway. The user places their right foot on a footplate while the left foot remains on the bicycle pedal, and once a button is pressed, the bicyclist is pushed to the top of the hill. I can think of a few hills in Los Angeles that would become a lot easier to bike up with the help of a CycloCable!
Red bike lanes keep Dutch bicyclists visible to cars and clearly delineate where bikes should be used. Currently, Los Angeles and many other US cities are working to paint bike lanes bright green to enhance safety for all road users.
Even though I left the presentation and discussion with serious bike envy, it was inspiring to hear from the Rotterdam students about bike culture and infrastructure successes in the Netherlands. Here in LA, we have a lot of basic bikeways improvements to be made before we can even think about some of the complex infrastructure that was described to us by the Dutch students. The fact that it has taken about 40 years for the Netherlands to accomplish what they have reminds us that the changes we are making today will undoubtedly have an incredible impact on future generations. Working toward a safe, accessible multimodal transportation network is what keeps us going everyday at LADOT.
Secure, safe bicycle parking is an essential element of a comprehensive bicycle network. Demand for bike parking in Los Angeles continues to grow as ridership increases and the City's bicycle network expands. A lack of adequate parking not only discourages ridership, but also encourages people to lock their bikes to parking meters, trees, or sidewalk furniture. Where there is bicycle traffic and limited sidewalk space, on-street bicycle parking offers a worthwhile alternative…. That's where bicycle corrals come in!
LADOT's strategic plan, Great Streets for Los Angeles, calls for the installation of over 25 bicycle corrals. We're excited to announce that this past month, LADOT installed three new corrals: Main Street in Venice, sponsored by The Copper Room, Fuller Street at Runyon Canyon Park, sponsored by Friends of Runyon Canyon, and Huntington Drive, sponsored by Barrio Action. The recent installs account for a total of 14 Cycle Stall corrals, bringing our citywide corral total (including the two pilot corral projects) to a total of 16!
This corral can park up to 18 bicycles!
The corral on Main Street complements a highly used bike path, making life easier for people on bikes who commute to work or want to explore local shops, restaurants, and the beach. The corral presents a resting point between Santa Monica and the City of Los Angeles, cultivating a bicycle prioritized business corridor.
We were happy to see that the very first corral-user parked their bike in a secure way by locking the front wheel to the bike frame, rear wheel, and the corral.
Runyon Canyon's corral serves an important function at LA's hippest Hollywood park. Runyon Canyon Park does not provide car parking and on-street parking is few and far between. The Runyon Canyon corral increases accessibility to the park, making it easier for people to enjoy the trails, views, and community spaces that the park offers. Today, people can leave their car at home and have a zero emissions workout with a seamless ride to Runyon Canyon.
Thanks to our General Services crew, bicycling to Runyon Canyon is now a viable and secure option!
The Huntington Drive Corral is located directly in front of our People St and Active Transportation champion, Councilmember José Huizar's El Sereno Field Office. The corral compliments a bicycle repair station to create a bicycle resource center for the community.
More questions about LA's Bicycle Corrals? Maybe you are interested in sponsoring a corral yourself? Our People St Corral application cycle is currently on a rolling basis! Learn more on our People St Bicycle Corral page for FAQs and the application.
Eligible sponsors include business or property owners, non-profits, and community organizations. Sponsors must sign a maintenance agreement with the City in which the sponsor agrees to keep the corral clean and debris-free. Please note that corral placement restricts street sweeping. We suggest reaching out to our staff at peoplest@lacity.org to advise on any proposed location prior to submitting a full application.
We hope you'll come visit our newest corrals! Find a list of all existing bicycle corrals on our corral page, and you can check out our awesome new City of LA Active Transportation Map to find a corral near you.
This past week I took advantage of the nice weather and borrowed LADOT's Active Transportation GoPro to film a bike ride from my home in South Pasadena to the Silver Lake Reservoir. I am a graduate student at USC and typically commute to school by transit and on bike. Initially, I wanted to use the GoPro to capture my experience on a new route to USC, but instead I decided to go for a relaxing ride without having to worry about getting to class on time. Doing so let me reflect on the perceived differences between biking in South Pasadena and Los Angeles. South Pasadena is very small, so it's relatively easy to get anywhere on a bike within a few minutes. Los Angeles, on the other hand, is a lot larger and can seem inhospitable for bicycling. However, if you view each neighborhood as its own self-contained community, riding in the City of Angeles can feel like you are traversing a series of small towns rather than a monolithic sprawling landscape.
My leisurely-paced journey took me through a few LA neighborhoods and along the way I passed by some of my favorite restaurants and cafes. One of the many benefits of biking is being able to stop and walk right into places that seem interesting since parking a bicycle is a lot easier than parking a car. Just lift your bike onto the sidewalk, lock it up to a nearby bike rack, and go. No circling the block for a parking space!
I started my trip at Buster's Coffee, located on the corner of Mission Street and Meridian Avenue near my apartment in South Pasadena. This neighborhood coffee shop is within walking distance from the South Pasadena Gold Line Station and is a convenient place to meet friends getting off the train. There is plenty of outdoor seating, which is great for people-watching, as well as charming indoor spaces for all your reading/studying needs. For those arriving by bicycle, a hand-painted bike parking sign shows you where you're welcome to safely lock your bike up towards the rear of the table-strewn alcove next to the shop while you enjoy your meal.
After coffee I walked across the street to the great used book shop, Battery Books and Music, to pick up a new read. On a typical day after getting coffee and perusing books I might go to Mix 'n Munch, which serves great grilled cheese sandwiches right next door to Battery Books.
On this relaxed sunny afternoon, however, I went one block south on Meridian Avenue and made a right on El Centro Street, to get to Nicole's, which offers tasty low-key French fare in a sidewalk cafe setting. The place doubles as a French market so I loaded up my bike's saddlebags with sandwiches and cheeses, and proceeded to my next destination. After all, you can't stop at a cheese shop on your way to a meadow and not pack a picnic!
After leaving Nicole's, I pedaled from South Pasadena into the City of Los Angeles by way of the York Boulevard Bridge, which brought me into the Highland Park neighborhood. There are a number of restaurants and shops along York Boulevard easily accessible by bike thanks to the bike lanes. If I did not already have lunch packed away in my panniers, I might have stopped at the Highland Cafe for some chilaquiles. Although I am a few miles from my home at this point in the journey, this translates into a mere 20-something minute bicycle ride, which is enough to get my muscles moving but not so far that it feels like a workout.
As I continued west on York Boulevard, I eventually reached Eagle Rock Boulevard where I made a left and continue south. After a short ride down this wide boulevard I find myself in the neighborhood of Glassell Park. I passed by Habitat Coffee, a cafe that recently sprouted up in an otherwise unassuming stretch of Eagle Rock Boulevard. It's not uncommon to see people enjoying pastries, good conversation, and taking advantage of Habitat's outdoor dining to enjoy the sunshine.
Habitat Coffee's frontage is accented by our latest sidewalk bike rack design.
After winding my way through some side streets I reached Fletcher Drive. As with the other streets I used for my trip, Fletcher is its own main street with blossoming businesses. At this point, it was only a 10 minute bicycle ride to the Silver Lake Meadow where I enjoyed my picnic.
To most people, traversing the Los Angeles region by bicycle may seem intimidating. If you watch the video below of my ride, your can judge for yourself how easy it is to get to many local businesses using my bicycle- especially when there are bike lanes available! This trip would undoubtedly be faster by car, there's no secret there, but when we spend our lives focusing on time saved, we tend to forget about time well spent, and this bike ride was an absolute delight.
This blog post was authored by Paul Cipriani, a Student Volunteer Intern in the LADOT Bicycle Program.
This year, LADOT's Sidewalk Bike Parking Program is turning 20! What better way to celebrate two decades of bike parking than by telling you the story of how this indispensable end-of-trip bike amenity in our City came to be.
Our beloved end-of-trip facility is leaving behind its teenage years!
It all started in 1995, when our Senior Project Coordinator Michelle Mowery spearheaded our Department's efforts to provide ample amounts of sidewalk bike parking in the City. Initially, the Sidewalk Bike Parking Program was introduced as a "pilot" and was made possible by funds from a Metro Call for Projects grant. During its pilot phase, the Program purchased and installed approximately 1,700 inverted-U bike racks citywide. This momentous investment marked the beginning of the Department's growing endeavors to encourage and facilitate active transportation in the City. Two years later, in 1997, the L.A. region began experimenting with the first generation of bike racks on buses, as a way to provide greater multi-modal connectivity to people traveling throughout the region.
Since its origin, the Sidewalk Bike Parking Program has relied heavily on the work and dedication of graduate students, including Ben Ortiz, Jose Elias, Kathleen King, Austin Sos, Jose Tchopourian, and others, working part-time at the LADOT Bike Program. Over the years, these bike parking mavens have nurtured hundreds of requests for bike parking, from being a data entry stored in a server to being a bike rack on the sidewalk.
Our Sidewalk Bike Parking Program installs inverted-U bike racks at the request of business owners or any other member of the public, which definitely includes you. Each rack is 36″ tall, 24″ wide and can hold up to two bikes. The rack is designed to provide great support for bicycles, allowing the person parking the bike to lock both wheels and the bike frame to the inverted-U bike rack without worrying about the bike falling over. The City of Los Angeles assumes responsibility for the rack but not for bikes parked on it. Although there is no fee to request a bike rack and installation is free, all racks are City property.
Bike parking installed through the Program can only be placed in the public right-of-way (primarily sidewalks) within the City of Los Angeles. Racks are situated on sidewalks to avoid conflicts with people walking or rolling and people exiting or entering parked motor vehicles or buses. You will find that racks are usually parallel but sometimes perpendicular to the curb and not directly next to building entrances and crosswalks.
Our City's sidewalk bike parking has been turning heads since 1995.
Two decades have passed since some of the first sidewalk bike racks were introduced in LA and now we have over 6,000 bike racks on the ground. Much of our public right-of-way has been accessorized with bike parking, allowing Angelenos to ride and park their bikes at locations convenient to shopping, dining, playing, and most other spontaneous activities you can think of. The Sidewalk Bike Parking Program aims to provide highly visible and convenient short-term bike parking near office buildings and retail destinations near public sidewalks.
Now that you know where all the sidewalk bike parking in our City comes from, it's your turn to tell us where people in your community want bike parking. To request a bike rack, complete an online Bicycle Parking Request Form. To determine if a location you would love to have bike parking qualifies for one of our program's bike racks, please review our bicycle rack location criteria here. You can email bike rack coordinator extraordinaire Jose Tchopourian, if you have additional questions or notice a rack has become loose or damaged.
Today, our Department's Sidewalk Bike Parking Program keeps expanding into new places within the City and upgrading inadequate parking equipment along the way. The Program could not be successful without your requests and feedback. Thank you! Now, walk, ride, or roll to your favorite destination near a sidewalk bike rack to celebrate.
The City of Los Angeles is the backdrop to countless scenes broadcast through the lens of a camera around the world. Most commonly, the City is associated with surfing, high school love, Noirs (animated and acted), miles of freeway, and the apocalypse in the form of volcanoes, meteor showers, martians, zombies, and, of course, earthquakes. While movie directors are interested in portraying the destruction of Los Angeles in cinematic productions, civil servants work day in and day out to make sure these catastrophic plot lines don't unfold and life in the City goes on as usual.
This year, a main focus of the City's is to prepare for the upcoming winter season. Scientists predict one of the strongest El Niño's recorded will torment Southern California and parts of the Northern Hemisphere from January to March 2016. On November, 2015 the City El Niño Task Force was created by an Executive Directive signed by Mayor Garcetti. The goals of the Task Force are to bring together different City departments to collaborate and ensure the City is prepared to respond and, if necessary, recover from any issues caused by El Niño weather conditions. From stockpiling sandbags (200,00 of them!) to scheduling extra street sweeping, City agencies are ready to handle the wet weather our drought-parched landscape will soon receive.
To help Angelenos prepare for changing weather and stay informed about any emergencies, the City has some helpful resources available at its El Niño LA website. Angelenos should check their roofs for leaks, clear gutters of leaves, and make sure their cars' wipers, tires, and brake pads are up to spec. What if you get around on your bike, you ask? With a little bit of know-how under your belt and the right gear, you can keep riding through El Niño too. Stay one step ahead with our helpful tips below to keep moving through the winter, whether on foot, bike, bus, train, or car.
Check the Anatomy of Your Bicycle: The following tips all assume that your bike is working well. Take a few moments to inspect your bike's most critical parts before your ride. If your bike's brakes were having trouble slowing you down in dry weather, this is a good time to fix them or take your bike to a shop for a professional's touch. The rear wheel should lift off the ground when you squeeze your front brake and lean into the front handlebars. Spin your wheels and make sure they aren't loose. The last thing you want on a wet day is for your wheels to pop off!
To ride on streets, California law requires you ride a bike that meets all these specs, rain or shine.
Slow Down: Water between the roadway and your bike's tires reduces traction. Less traction means slowing down and stopping will take more time. The best way to avoid skidding is to lower speed. Take your normal riding speed and ride at 75% that speed or so in the rain. Slowing down gives you enough time to correct any traction issues.
Brake Early: In the rain, roadways, tires, brake pads, and rims all get wet and, combined, extending braking time. If your bike has rim brakes, it will take a few tire revolutions before water between the brake pads and wheel is cleared and the brakes can grip the rim. Plan for this delay, look ahead, and start slowing down early to make a complete stop.
Brake Straight: Your bike's brakes work best when you are traveling in a straight line. If you have to slow down or stop, do so before you're making a turn.
Corner Wide and Slow: Make turns at corners slower and wider than usual. Start further out and take the widest and straightest path possible. Avoid sudden sharp turns.
Braking while Turning: Don't do it! Slow down enough (see 'Brake Early' tip) before turning so you can coast through the motion. Sudden corner braking may cause your back wheel to skid and slide a bit. If this happens, don't panic! Just let off the brake and look straight ahead, the bike will straight itself out.
Now that you're riding, braking, and cornering safely, there are some special surface conditions caused by El Niño you should know how to handle.
Oil Slicks: After the rain, all the oil and gunk leaking out cars will float to the top of puddles and on the roadway. Keep an eye out for an iridescent sheen when riding and try to avoid riding over it to prevent skidding. If you can't avoid a slick, coast through it without pedaling or braking to maximize traction.
Puddles: What looks like a bit of standing water could be a foot of water filling a hole in the roadway. To help avoid puddle-related hazards, ride towards the center of the lane (take the entire lane when possible) to give yourself enough room to move left or right around puddles.
Road Markings and Metal: Road markings can become slicker when wet. Similarly, drainage grates, manhole covers, and other metallic surfaces can become more slippery when wet. Ride slowly enough that you will be able to proceed cautiously over or around these surfaces.
Riding tips will help you maneuver through wet conditions and the right equipment and attire will help you stay warm and cozy in any ride.
Don't let the rain stop ya! Get suited up and arrive on your bike.
Get Fenders: Invest in some fenders for your bike! These metal contraptions keep all the debris washed onto the roadway by the rain on the ground and off of you.
Turn On Lights: By law, you should have a front white light and a red rear light. When it's raining, even if you're riding during the day, you should turn on your lights to increase your visibility.
Wear Waterproof Garments: A stylish rain cape is a particularly useful do-it-all piece of equipment during inclement weather. It drapes over your whole body, so you can wear whatever you want underneath. Other great options include waterproof jackets or plastic bags in a pinch.
Dress in Layers: If you're not outfitted properly, you're going to get wet. Make sure you're wearing clothes that prevent water from getting in while allowing you to vent away excess heat and sweat. It may be cold out but you're going to work up a sweat riding to your destination, so dress in layers to accommodate your needs. Consider wearing thermal under-layers made of wool or some other moisture-wicking fabric under your clothes during colder, windier days. Gloves are another great addition to prevent your wet and wind-blasted hands from getting too frigid.
Save your Stuff: While keeping yourself dry is most important, you should keep your electronics and important documents moisture-free too. Make sure your backpack or panniers are waterproof. If not, cover them with a waterproof layer. You can put the last of your plastic bags to good use here.
Protect your Peepers: Wind-whipped water can take a toll on your eyes, so protect them by wearing clear-lensed glasses. Remember, you should be able to see at all times when riding.
Rainy days, courtesy of El Niño, are rapidly approaching. Share your new found knowledge and preparation skills with your friends, so we can all keep riding through the rainy season. | "Before and After" scenarios of the project area.
Bus platforms that "float" in the middle of roadway are named side boarding islands. Those who bike in urban environments know how frustrating it is to navigate the bike lane while buses weave in and out to reach their bus stops. According to NACTO , side boarding islands eliminate "conflicts between transit vehicles and bikes at stops." Like the sound of that? Well, these bus platforms will also be implemented on Figueroa Street after the construction of MyFigueroa Project .
Two bicycle signal heads are now installed, with one at the Temple Street intersection and another at the Aliso Street intersection. These signals dedicate a separate signal phase to bicycles, which will reduce conflicts between right-turning vehicles and bicycles that travel through the intersection.
At the intersection of Los Angeles Street & 1st Street, and the intersection of Los Angeles Street & Temple Street, there are Two-Stage Turn Queue Boxes . This street treatment allows people on bikes to make safer left turns. As the name suggests, when trying to make left turns, bicycles should proceed to the bike box area first and then wait for another green signal to bike to the left leg of the intersection.
The Los Angeles Street Improvements Project is only one part of the larger scheme to improve the connectivity of Union Station and Civic Center. Metro finalized the Connect US Action Plan in 2015, which provides guidance to implement better pedestrian and bicycle facilities connecting Civic Center, Union Station, and neighborhoods such as Little Tokyo and Chinatown.
And, there are a lot of active transportation projects to be implemented this summer. The Metro Regional Bike Share Project has begun to install its stations and will formally launch on July 7. The long-expected MyFigueroa Project, which features similar roadway improvements to Los Angeles Street (bus platforms, bike signal heads, etc), is beginning construction this summer as well.
As more and more active transportation enhancements get implemented, DTLA will become a better place for people to enjoy walking and cycling!
Last month, City Hall was visited by a team of 10 business students from Rotterdam School of Management in the Netherlands. Hosted by Mayor Garcetti's Great Streets Initiative, avid bicycle rider and Economics Professor Louis Uljee and his students discussed their latest research on biking in Los Angeles.
The class spent their spring semester studying current transportation culture in Los Angeles and opportunities for improvement, and they finished off their research by spending two weeks bicycling all over the City of Angels. They concluded that by creating awareness of the economic and health benefits of riding a bike and increasing safety of bicycle infrastructure, LA can normalize bicycling, generate an inclusive bicycle culture, and increase ridership. You can learn more about their project on their Facebook page, HopOn.
From their presentation, we learned a lot of interesting things about bicycling in the Netherlands. Dutch bike culture is so ingrained in every day life because most people begin biking at a very young age. Usually, families and friends in various neighborhoods accompany young children on the ride to school from when they start school at four years old until they turn 10, at which time all children take a "bicycle exam" at school. The exam tests students' abilities to be safe while riding, including proper hand signaling and bicycle positioning. Passing the test proves to school districts as well as children's parents that the student can ride to school alone.
In the presentation, the business students shared a brief history of how the | 705 |
A Yellowknife dancer broadens her hor<|fim_middle|>WT journalism by Megan Miskiman and Cabin Radio, from just $1/month | izons but keeps the city in mind
Published: August 13, 2022 at 8:06am Megan Miskiman August 13, 2022
Josie Nagel. Photo: Adrien Barrieau
"I had a ton of anxiety. I had northern kid-itis," said Josie Nagel after attending a conference for young women in dance at Canada's National Ballet School last week.
Nagel, from Yellowknife, has spent the past three years at Montreal's Concordia University pursuing a degree in contemporary dance. She was among 30 dancers attending the summit.
"We did a ton of different dance classes and discussions about leadership, diversity, and dance inclusion, and what that looks like in our communities," she said.
"The purpose of the workshop was to bring people from across Canada together and talk about dance in their community and inspire and shape the next generation of leaders in dance."
Nagel said being a dancer in the North can be hard because of a lack of schools that offer lessons at her level. Being at the conference gave her the opportunity to work with others rather than train alone.
"I train really hard when I'm down in Montreal but then, when I come back, I don't have anyone to train with. I'm kind-of on my own, and training as much as I can by myself," she said.
"Going down to the National Ballet School and getting some classes was really nice, and just an excuse to dance and train."
Nagel started dancing in Yellowknife at the age of six with the Bella Dance Academy, where her mom enrolled her to help with her stance.
"When I was younger, I actually walked with my feet turned inwards, so my mom put me in dance to straighten out," she told Cabin Radio.
"And then I took my first dance class and I was hooked. They couldn't get me to leave. I was called a studio bunny, I would just stay there all day."
By the age of 15, Nagel was teaching at Bella Dance Academy, choreographing pieces, and even performing on Broadway in New York.
Now 22, Nagel says going to dance can be challenging at times due to the stigma surrounding arts degrees.
"The arts aren't as widely supported in terms of a career as other programs are. I remember when I first mentioned I wanted to go to school for dance, everyone was asking me: 'What are you going to do after that?', versus if somebody is going to do sports down south, it's celebrated and people are excited for them and they're so proud of them," she said.
"But I don't really care. I love it so much. People can call me stupid – maybe I'll be eating ramen noodles for the rest of my life – but I'll be happy."
Moving south for school, however, was difficult.
"You're a northern kid, then you go down south and you think everyone's going to be way better than you and that you had a disadvantage because you were from the North," she said.
"Then I realized that because I'm from the North, in some ways I actually had more opportunities. I wouldn't have had the chance to choreograph pieces on Broadway at 15 if I was down south, or teach at a studio.
"I think that's one of the big reasons why I got a scholarship to my university and why I got into the National Ballet School summit. I also think it's a little bit of a blessing to be able to come down south and remind people that people actually do live up here."
Going into her last year of her degree, Nagel says she has "three million and six" things she wants to do when she's finished. During the summers, the dancer runs a program for kids with disabilities at Inclusion NWT.
"I definitely want to do choreography, and maybe work with a company, but I was thinking some dance therapy too," she said.
"Inclusion NWT has opened up so much, so I think I will go down that avenue as well. It's a really new field, so I think it would be really cool.
"The biggest piece of advice that I've heard when it comes to choosing what I want to do is: 'Don't choose, just do all of them.' So that's what I'm going to do."
Upon completing her degree, Nagel plans to move back to Yellowknife to work at her home dance studio.
"I just want to give back to the community that fed me for so long," she said. After that, she hopes to land in Europe to start her career with a dance company.
Megan Miskiman
Cabin Radio reporter based in Yellowknife. Contact Megan More »
Drive independent N | 974 |
Database Schema
===============
MongoEngine is used to define schema for records stored in mongodb
Images and Views
----------------
.. automodule:: slideatlas.models.image
:members:
:undoc-members:
.. automodule:: slideatlas.models.view
:members:
:undoc-members:
Asset Stores
------------
.. automodule:: slideatlas.models.image_store.image_store
:members:
:undoc-members:
.. automodule:: slideatlas.models.image_store.mongo_image_store
:members:
:undoc-members:
.. automodule:: slideatlas.models.image_store.ptiff_image_store
:members:
:undoc-members:
Organization and Access Control
-------------------------------
.. automodule:: slideatlas.models.user
:members:
:undoc-members:
.. automodule:: slideatlas.models.group
:members:
:undoc-members:
.. automodule:: slideatlas.models.session
:members:
:undoc-members:
.. automodule:: slideatlas.models.collection
:members:
:undoc-members:
.. automodule:: slideatlas.models.permalink
:members:
:undoc-members:
Legacy Schema is as follows
===========================
.. note::
Schema defined in models always overrides, but for some objects, the schema is formalized, and therefore that specification is manually maintained
.. warning::
Legacy schema is not maintained and should be revied and removed
version s0.3 corresponds to v2.0rc2
.. role:: optionalfield
.. role:: indexedfield
.. role:: sparsefield
.. todo::
Complete the color coding
Color codes
-----------
- optional :optionalfield:`field`
- indexed :indexedfield:`field`
- optional :sparsefield:`sparse indexed field`
.. _admindb-label:
Administrative database (always named "slideatlas")
---------------------------------------------------
'users' collection
~~~~~~~~~~~~~~~~~~
- **'\_id'**: ObjectId
- **'type'**: :indexedfield:`indexed[2] str ("passwd", "facebook<|fim_middle|> comes from NDPA annotations)
- **'points'**: array[n] (n == 2 if 'type' == 'pointer'; n == 1 if 'type' == 'circle') array[3]
- float (x / y / z pixel coords)
'attachments' GridFS
~~~~~~~~~~~~~~~~~~~~
- **'\_id'**: ObjectId
- **'filename'**: str other required GridFS fields...
'sessions' collection
~~~~~~~~~~~~~~~~~~~~~
- **'\_id'**: ObjectId
- **'label'**: str
- **'views'**: array[n]
- object
- **'ref'**: ObjectId (pointer to document in 'views' collection)
- **'pos'**: int
- **'hide'**: bool
- **'attachments'**: array[n]
- object
- **'ref'**: ObjectId (pointer to file in 'attachments' GridFS)
- **'pos'**: int
- **'hide'**: bool
- **'label'**: str
'log' collection
~~~~~~~~~~~~~~~~
- **'\_id'**: ObjectId
- **time** : ISODate("2013-01-07T22:18:07.222Z"),
- **time_str** : str "Mon, 7 Jan 2013 17:18:07",
- **db_id** : ObjectId,
- **db_name** : str "bev1",
- **sess_id** : ObjectId,
- **view_id** : ObjectId,
- **img_id** : ObjectId,
- **image_label** : str,
- **ip**:str ("127.0.0.1" etc)
- **user** : Object
- **\_id** : ObjectId,
- **label** : str
- **auth** : str("admin", "student" etc)
| ", "google")`
- **'name'**: :indexedfield:`indexed[2] unique str` Email
- **'label'**: :str: Name
- **'passwd'**: :optionalfield:`str (required if 'type' == "passwd")`
- **'rules'**: array[n]
- ObjectId (pointer to 'rules' document)
- **'last\_login'**: DateTime
- **'first\_login'**: DateTime
'rules' collection
~~~~~~~~~~~~~~~~~~
- **'\_id'**: ObjectId
- **'label'**: str
- **'db'**: ObjectId (pointer to 'databases' document)
- **'facebook\_id'**: sparse unique indexed str
- **'db\_admin'**: bool
- **'can\_see'**: array[n]
- ObjectId (pointer to 'sessions' document, within a data database)
- **'can\_see\_all'**: bool (effectively populates 'can\_see' with all available sessions)
- **site\_admin'** : tag for super administrator if true
'databases' collection
~~~~~~~~~~~~~~~~~~~~~~
- **'\_id'**: ObjectId
- **'label'**: str
- **'host'**: str (*hostname* or *hostname:port*)
- **'dbname'**: str (name of a data database)
- **'copyright'**: str
- **'users'**: (Proposed for admin interface) List of the following structure
- **'created\_by'**: ObjectId(pointer to users database)
- **'created\_at'**: Time
- **'valid\_until'**: Time
'meta' collection
~~~~~~~~~~~~~~~~~
A location to store confidential configuration parameters in database, so config file can be obsolete,
the run can optionally request parameters for config database.
Storing
- **'\_id'**: ObjectId
- **'key'**: str
- **'value'**: BSON object
Suggested variables for now
# Guest user id
# Guest rules that need to be applied to
# Facebook key for localhost and facebook key for servers etc
Data database ("bev1", etc.)
----------------------------
image data/pyramid collection (named *ObjectId*)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
- **'\_id'**: ObjectId
- **'name'**: indexed unique str ('tt.jpg', etc.)
- **'level'**: int ("0" is lowest-resolution / "t.jpg")
- **'file'**: binary
'images' metadata collection
~~~~~~~~~~~~~~~~~~~~~~~~~~~~
- **'\_id'**: ObjectId (has a collection named the same)
- **'type'**: If this is not set, then assume pyramid2. 'stack' is a simple array of images named 1.png, 2.png ...
- **'filename'**: str file name of uploaded image
- **'origin'**: array[3] (necessary to import NDPA annotations)
- int/float (x / y / z world coords)
- **'spacing'**: array[3]
- float (x / y / z nanometers/pixel or "1.0" if unknown)
- **'bounds'**: array[4]
- float (xMin / xMax / yMin / yMax nanometers or "Units" if unknown)
- **'dimension'**: array[3] (size of non-padded region of base layer. Z dimensions is 1 for pyramid2 and stack size for pyramid3 and stack types)
- int (x / y / z pixel coords)
- **'levels'**: int (specific to pyramid2 and pyrmid3 types)
- **'label'**: str
- **'copyright'**: str
- **'extents'**: array[6] (deprecated)
- int (x / y / z start / end pixel coords)
- **'hide'**: null (depricated; field exists if image is hidden)
'views' metadata collection
~~~~~~~~~~~~~~~~~~~~~~~~~~~
- **'\_id'**: ObjectId
- **'img'**: ObjectId (pointer to document in 'images' collection)
- **'imgdb'**: Optional: For when the image is not in the same database as the view
- **'label'**: str
- **'startup\_view'**: ObjectId
- **'bookmarks'**: array[n]
- ObjectId (pointer to 'bookmarks' document)
Note (a recursive structure, which replaces view):
- User : who created this view / note (email)
- Date : When this view was created (javascript Date.getTime();) (Optional)
- Type : To find out scheme. Currently set to "Note".
- Title : The short label used in note list or session list of views.
- HiddenTitle : Coded title for students. (Optional)
- Text : More descriptive and longer text. (Optional)
- ViewerRecords: An array of objects defining views. The client currently supports an array of up to two views for the dual viewer.
- Children: An array of notes objects that replaces bookmarks. (Optional)
- ChildrenVisibility: A boolean indicating whether the children will be
displayed and traversed by default. (Optional)
- ParentId: Object id of parent note. Used when a student makes a comment
note which is saved in the Notes collection. (Optional)
- SessionId: If this note belongs to a session, this is the session id (Optional)
ViewerRecord (Contains one slide image, camera and annotation).
- Database : String name of the database containing the image.
- Image : ObjectId(imageId),
- Camera : a camera object (optional)
- FocalPoint : [x, y]
- Height : Height of the view in world coordinates
- Width : (Optional)
- Rotation : Rotation of the view in Radians.
- Annotations: An array of annotation objects. (Optional)
- type : one of "circle", "pencil", "text" or "polyline"
- color : [r,g,b]
- (creation camera)
- ...
'bookmarks' collection
~~~~~~~~~~~~~~~~~~~~~~
- **'\_id'**: ObjectId
- **'img'**: ObjectId (pointer to document in 'images' collection)
- **'title'**: str
- **'details'**: str
- **'center'**: array[3]
- float (x / y / z pixel coords)
- **'zoom'**: int ("0" is lowest-resolution)
- **'rotation'**: float (right-handed in degrees)
- **'lens'**: float (not used, but comes from NDPA annotations)
- **'annotation'**: object
- **'type'**: str
- **'displayname'**: str (not used, but comes from NDPA annotations)
- **'color'**: str (6 digit hex)
- **'radius'**: float (exists if 'type' == "circle")
- **'measuretype'**: int (exists if 'type' == "freehand"; not used, but comes from NDPA annotations)
- **'closed'**: int (exists if 'type' == "freehand"; not used, but comes from NDPA annotations)
- **'specialtype'**: str (exists if 'type' == "freehand"; not used, but | 1,563 |
Plenary Talks
Social Events and Lunch
Exhibits and Support
Grant Winners
Post Conference Meetings
Texas Instruments Workshop "Hands-on DSP Teaching<|fim_middle|> organization, title and full contact information including physical address in your email. TI will work to accommodate registrants and preference is given to academic instructors. You will receive a return email of your registration status.
Attendees for the full workshop will receive the Experimenter Board, full version of Code Composer Studio Software, as well as copies of the teaching materials.
©2012 IEEE. Site by Conference Management Services, Inc. | Support: | Last updated Tuesday, February 28, 2012 | with the TI OMAP-L138 eXperimenter"
Monday March 26, 9:30 to 17:00 including lunch
Location: Room-F
Instructors: Donald Reay (Heriot-Watt University, UK) and Jacob Fainguelernt (Tel-Aviv University, Israel)
Register by emailing
This full day interactive workshop will introduce the use of the TI OMAP-L138 eXperimenter for hands-on DSP teaching, using its C6748 floating-point DSP core and Code Composer Studio.
The OMAP-L138 eXperimenter is a low-cost development system utilizing TI's dual-core, ARM + DSP OMAP-L138 processor. The TI University Program is recommending this as the DSP development system that will be a successor to the C6713 DSK with increased performance and additional teaching options. Participants of the workshop will perform hands on lab exercises concentrating on programming the C6748 DSP core using Eclipse-based Code Composer Studio.
Participants will have an opportunity to experiment with a selection of real-time examples that illustrate and reinforce fundamental DSP concepts including sampling and reconstruction, and FIR, IIR, and adaptive filtering at a level suitable for teaching senior undergraduate or postgraduate students. The opportunity to discuss the implementation of hands-on DSP teaching will arise led by the two experienced and dynamic academic instructors.
The workshop will demonstrate how hands-on, real-time experiments may be carried out using the eXperimenter and all, or just a subset, of the following ancillary equipment: dynamic microphone, headphones, mp3 player, oscilloscope, signal generator.
Hands-on DSP teaching using the OMAP-L138 eXperimenter may be used to introduce students to important DSP concepts, real-time programming issues/techniques, use of Code Composer Studio, embedded system concepts, and to the architecture and capabilities of TI's OMAP-L138 processor. The support, training, teaching materials and textbooks available for the platform make it ideal to update or add new courses in your curriculum
Instructor Bios:
Donald Reay (Heriot-Watt University, UK) is the author of two textbooks on real-time DSP including the new book Digital Signal Processing and Applications with the OMAP- L138 eXperimenter. He is a lecturer at Heriot-Watt University. He received a BSc in Electronic Engineering from the University of Sussex, an MSc in Systems Engineering from The City University, and a PhD from Cambridge University. Previously he has worked on speech recognition at British Telecom Research Laboratories and, before that, on industrial robotics at EMI Electronics. He has published over 50 journal and conference papers, mainly concerning the control of switched reluctance machines, and is a member of the IEEE.
Jacob Fainguelernt (Tel-Aviv University, Israel) is an accomplished workshop instructor and author of two DSP Teaching ROMs including the upcoming C6000 Teaching ROM based on OMAPL138/C6748. He is the engineering supervisor of the Signal Processing and Communication labs at the School of Electrical Engineering at Tel-Aviv University. He also works as a consultant in the fields of Telecommunication and Signal Processing. He holds an MSc EE and BSc EE from Technion and an MBA from Tel-Aviv University. Previously he managed the Signal Processing group at Telrad (Lod, Israel), and he was also the system engineering group manager and Chief Engineer of ADC in Israel. He is a senior member of the IEEE and is the recipient of the 3rd Texas Instruments Educator Award (2008).
ELIGIBILITY and REGISTRATION:
Space is limited so please register early by emailing the TI University Program at Please provide your name, | 773 |
Kenny Gates is the co-founder of [PIAS<|fim_middle|> such as Beggars Group - including 4AD, Rough Trade, Matador and XL – Ignition, Union Square, Nuclear Blast, Ninja, Infectious, Ipecac, Ace, Warp, Domino and Secretly Canadian among many others. | ], one of the world's leading independent music companies.
in 1981 passionate music fan Kenny, then 17 years old, met his future business partner Michel Lambot at Michel's Brussels based record store 'Casablanca Moon', which specialized in selling records from independent labels. In 1982 the store closed and Kenny and Michel teamed up to launch a music import company, which became 'Play It Again Sam'.
Play It Again Sam, which was originally based in the basement of Kenny's parent's house, started importing records from UK independent labels and quickly evolved from being simply an importer/wholesaler to becoming a hugely successful record company and distributor offering a wide range of services to third party labels including promotion and marketing.
Over the intervening 35 years, [PIAS] has remained proudly independent and has grown to become an international music company with a flourishing label culture at its heart while offering distribution, label services, music publishing, live music nights and much more. The company now has offices in every major music market around the world and has almost 300 employees.
[PIAS] owns the imprints Play It Again Sam , Different , Harmonia Mundi and [PIAS] recordings or 'Le Label' for local European labels. It has partnered up with the following labels : Bella Union, Heavenly, Transgressive, Mute, Phantasy, 37 adventures, 1965 recordings, Infectious, ATO, Sunday Best, Wichita and DFA.
[PIAS] also distributes labels | 314 |
The Blogdeath-amp-dyinghealthy livingpalliative care
Baby Boomers' Last Revolution Will Be Changing the Way We Die, Part 1
Nell Minow, Contributor
shareholder advocate, movie critic
Jan 5, 2016, 11:56 AM EST | Updated Jan 5, 2017
Baby boomers have spent more than half a century revolutionizing the way we live. Now it is time for us to revolutionize the way we die.
We came of age in the post-WWII era of complacency, consumerism, and conformity. Then we grew up seeing our leaders murdered: John Kennedy, Malcolm X, Medgar Evers, Martin Luther King Jr., Robert Kennedy. The U.S. sent troops to Vietnam and war turned out to be more complicated than we had been told. Politicians did not always tell the truth. Around the time we reached voting age, President Nixon was resigning in disgrace.
And so we became the generation that did not trust anyone over 30. We challenged everything the grown-ups gave us from the draft to healthcare to the toxic substances in air, water, and our homes and the products we produced and used. The "Our Bodies Ourselves" movement shifted the focus of medical treatment to give patients better information and wider choices. Was your father in the room when you were born? Did your mother get to decide how she wanted to manage medication for labor pains? You're welcome.
We saw injustice and so we protested and we challenged more. We changed the laws to protect the rights of women, minorities, the disabled, and the LGBT community. We made consumer goods safer, especially cars and toys. We created the modern environmental movement, stopped the damage to the ozone layer, took lead out of gas, and brought our lakes back from near-death.
We understand that there is much more to do, and we have seen some of our most important efforts rolled back or distorted beyond recognition. But we have never given up on our commitment to questioning what is and pushing for what is better.
We understand that some of you who came after us consider us spoiled and selfish. You're welcome for that, too. We did not invent the idea of complaining about the excesses and failures of the previous generation, but we pretty much perfected it.
Here's a secret -- we're delighted when you blame everything on us. First, it means you learned our most important lesson about your obligation to recognize and repair the failures of the past. And second, we know how cycles of history work, which means that your children will think we were just great, while they are carrying on our tradition of rebelling against you.
We can handle whatever you've got. We survived disco, yuppies, Iran-Contra, the Starr report, the dot.com bubble and the sub-prime meltdown. One word of advice, though: No complaining unless you have a constructive solution to propose along with it. Otherwise, it's just whining.
Before we turn it all over to you, though, we've got one last revolution: end-of-life care.
We used to talk to our friends about caring for our children, about teething, homework, and college applications. Now we exchange stories about caring for our parents, about finding caregivers and assisted living facilities, about durable powers of attorney and navigating Medicare, about dementia and rehab after strokes. There is a growing body of literature by baby boomers writing about caring for their parents at the end of life, including Roz Chast's brilliant Can't We Talk About Something More Pleasant?, George Hodgman's touching Bettyville, and Scott Simon's heartrending Unforgettable.
A director of an assisted living facility says that she began her career helping people in<|fim_middle|>) admission that, "We sure put Dad through the wringer those last few months."
We must do better.
In part 2: Where to start
death-amp-dyinghealthy livingpalliative care right to dieDeath | their 50s care for parents in their 70s, but now works with people in their 70s caring for parents in their 90s. The advances in treatment for heart disease and cancer have given us more time than any generation in history with our parents, for which we are grateful beyond words. But it has also given us unprecedented health care challenges, with the number of people around the world living with dementia predicted to rise from 44 million today to 135 million by 2050. Our health care system is still too focused on treatment rather than prevention, which means that near-endless expensive treatments are covered, whether they will improve the quality of life or not. But until 2016, there was no coverage for conversations about whether a patient wants those treatments.
The numbers in the studies vary, but all of them conclude that a huge percentage of our health care costs are spent treating people in the last six months of life. Anyone who wants that six months should have it. But because doctors and families are skittish about asking patients what they want, too often the result is needless suffering. Over and over, my friends have told me, "I thought I was doing the right thing by seeking out the best treatment options for my parents and insisting on every possible procedure and medication. But now I realize that it was for me, not for them." Dr. Craig Bowron wrote in the Washington Post about the way that family members, particularly those who have not been caretakers, rush in to insist that "we do everything we can," meaning as many medical procedures and treatments as possible. They often use the vocabulary of battle. "This person may think she is being driven by compassion," he says, but it is more likely to be a reflection of "the guilt and regret of living far away and having not done any of the heavy lifting in caring for her parent." It can reflect the adult child's own fear of death, loss, and lack of control as well. Bowron writes:
When their loved one does die, family members can tell themselves, "We did everything we could for Mom." In my experience, this is a stronger inclination than the equally valid (and perhaps more honest | 458 |
Discussion in 'Computer Hardware, Devices and Accessories' started by Commander, Jun 13, 2008.
Some of you may have seen the new monitor that Alienware (Dell) is devising it utilizes 4 900x720 monitors, each on there side tilted slightly inwards to create a curved display, with a total resolution of 2880x900.
It is very deep due the use of DLP technology for the display however this greatly improves image quality. It is also lit by LEDs. And of cor<|fim_middle|> that's probably nowhere near the max.
I run two monitors, laptop monitor down below and a flatpanel desktop monitor up above. Works pretty well, and hey, it reminds me of the DS. ;P Considering how little space I have at school, it works better than trying to do a side-by-side thing. | se an amzing response time of 0.02ms and the decimal place is in the right spot.
I was thinking of buying one of these, currently I am running 3 monitors. The only shame is the height which I personally thought was a little small. Also the seems between the monitors are still visible but Alienware claims this will not be in the final product.
Man oh man, I remember seeing up to five once before, and | 91 |
East Bay Alumnus Umpires For MLB
TUE NAM TON / CONTR<|fim_middle|>Hayward seemed to be the stepping-stone of moral conduct in the veteran umpire's life—one he still carries until this day.
"From the standpoint of being a minister, I feel that God put me in the Major League baseball for a reason. I use the platform to minister to the rest of the umpires. It's very fulfilling."
This university as a whole is something that Barrett truly values.
"I take a lot of pride in Cal State Hayward and when I'm back, it's exciting to see new changes and features being added," said Barrett.
Fresh off his 14th year of umpiring in the majors, Barrett seeks to continue his career as an umpire for many more years to come.
He looks forward to being a part of more special baseball moments and his frequent returns to the area.
Not only does the Bay Area hold important milestones in the career of Barrett, it also holds an important piece of history in his life.
"I used to go to games at Candlestick and the Coliseum, and it's nice when I come back home and walk on those fields.
It puts everything into prospective for me because I used to dream of someday getting out there and umpiring. That dream came true," said Barrett.
Sports and Social Justice in the World Today
NCAA Division II Men's Basketball 2020 fall season cancelled due to COVID-19
Warriors Score Big in NBA Draft Lottery
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Sporting world rallies behind George Floyd death protests
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Decade in Bay Area sports
49ers face difficult path towards 2020 season
49ers vs. Chiefs to clash in Super Bowl LIV | A COSTA TIMES / MCT & JOHN DOMAN / ST. PAUL PIONEER PRESS / MCT
Amanda Zepeda
Ted Barrett would park his car near the current CSUEB campus baseball field for football practice, and on his way back to his car he would watch a Cal State Hayward baseball game.
However, for Barrett, it wasn't so much the teams that would catch his attention.
This Cal State Hayward alumni was fascinated with umpiring.
Due to this fascination, Ted Barrett became one of the most prominent Major League Baseball umpires the game has ever seen.
Ted Barrett graduated from Cal State East Bay (formally known as Cal State Hayward) in 1988.
He was the captain of the football team his senior year and shortly after became a member of the coaching staff for a year.
Barrett chose CSU Hayward because to him, it was home.
He had lived in various parts of the country before he and his family settled in Union City while he was in high school.
"The thing about the Bay Area is that it's such a melting pot of so many people—different nationalities, backgrounds and international people. It really helped prepare me for umpiring. Traveling all over the place, I felt like I had already connected with so many types of people and cultures because of my experiences in Hayward," said Barrett.
Not only is Barrett a highly admired MLB umpire, he is also a part of major league history.
Barrett was behind the plate for former Yankee pitcher David Cone's perfect game on July 18, 1999 at Yankee stadium in New York.
"In the history of baseball, only twenty complete games have ever been thrown. To be a part of this one was truly something special," said Barrett.
But for this East Bay graduate, it's local venues that hold a significant amount of history for him.
Barrett was a part of the first game to ever be played at AT&T Park in San Francisco when it opened in 2000.
In 2004, AT&T Park was the site of Greg Maddux's 300th career win where Barrett worked behind the plate, and it was also at this same park where he worked his first playoff game in the Division Series between the San Francisco Giants and the New York Mets.
Recently, Barrett had the privilege of working the 2010 National League Championship Series between the San Francisco Giants and the Philadelphia Phillies, where the Giants would end up advancing to the World Series to become 2010 champions.
"It was a lot of fun. Anytime I umpire in the postseason it's really neat because the vibe gets turned up and the fans get louder. The city of San Francisco was buzzing," said Barrett.
Ted Barrett currently makes his home in Gilbert, Arizona with his wife and three children.
Along with being a family man and a successful umpire, Barrett is also an ordained minister
in the Christian faith.
Reverend Barrett vividly remembers his times at CSUEB and attributes a lot of his success and the person he is today to this university.
"Not only was it Cal State Hayward where my interest in umpiring started, but it was also in Hayward where I became in touch with my spiritual side. We would go to chapel service before football games with the team, and I would meet in the Student Union once a week where I would be mentored," said Barrett.
| 701 |
Multi-faceted wealth of knowledge and a passionate educator with years of international experience having lived in 5 countries abroad and more than 20 visited. Skilled at developing engaging lesson plans and using novel presentation techniques to inspire children during the educational process. Highly focused and results-orientated with broad knowledge across multiple subjects; committed to continuous learning. Patient and nurturing with the ability to communicate clearly and build strong relationships with students, parents and peers. Leads by example and takes a positive approach to resolving issues. Strong administrative, team management and technical ability. Strongest traits are indisputably commitment and flexibility.
I believe in the limitless potential of all students. My approach varies depending on the student's needs and learning style.<|fim_middle|> Development is an individual process that is marked by specific ages and stages, yet individuals vary in their own, unique age/stage development. I have the ability to see the unique strengths in each student, and I take into account and am sensitive to the whole person and his/her family. I am friendly, fun and responsive. | However my teaching philosophy is based on encouraging students to think for themselves, using real-world examples wherever possible. | 21 |
As a handspinner who teaches spinning it's been getting harder and harder to find good quality fleece. In Barb I've found a<|fim_middle|> email Barb and she can forward your email to me (due to spam I don't want to openly post an email). It was a struggle for me to post such a strong recommendation of her fleece because I'd selfishly like to keep it all for myself but Barb deserves credit for all the hard work her shepherding skills reflect.
©Copyright 2005-2006 Wooly Booly Cormos. All rights reserved. | rare gem, a great shepherd with terrific sheep! Solomon's fleece was one of the nicest Cormo fleeces I've had the pleasure of working with. The staple was strong, long, and fine. It washed to a bright creamy white and didn't require picking prior to washing to remove dirty tips.
Speaking of tips the fleece was strong and soft to the tips with no weathering. After washing unless you looked quite closely it was almost impossible to tell the sheared end from the tip, no tippiness here! The fleece was of even quality throughout with no large changes in length or quality from neck to shoulders to sides. When I unrolled the fleece there were no 'nasty' surprises inside. The fleece had no dags, barnyard or even the expected occasional second cut accompanying it! All of this fleece is useable without hours of picking and sorting.
I could go on and on about how much I love this fleece and how Barb has been so wonderful to deal with. If you'd like to ask me a question about Barb's wonderful fleece or dealing with Barb please | 221 |
Equity, Diversity & Inclusion Working Groups
By: grunin July 19, 2021
As we dive deeper into our equity, diversity and inclusion journey at the Central Jersey Shore, we will be creating three working groups, one for each of the strategies below, inspired by the insight of our nonprofit and community partners:
Empowering Youth Changemakers
Amplifying Diverse Leadership
Empowering Communities that Center Equity
We plan to hold monthly meetings from September to December to determine priorities, metrics and near-term goals. Each working group will meet once per month from September through December 2021.
The goals for each of the working groups for this year will be:
Map projects/activities already being done across the Central Jersey Shore.
Gap analysis of the projects & activities.
Source ideas for future implementation (e.g., Are there opportunities for enhanced support of existing work? Creation of new program partnerships?)
Review opportunities for program measurement.
Make recommendations for 2022 activity<|fim_middle|> be many opportunities for community involvement moving forward.
Learn more about what we are doing to help break down barriers, uplift marginalized voices, celebrate diversity, and champion a more just and equitable society.
EDI Working Group Updates
See All News & Updates | .
We pledge to remain transparent throughout this journey and share the outcomes of the working groups on our website as we move along. We also know there will | 30 |
LLLReptile 888-54-REPTILE
Boas and Anacondas
Cornsnakes and Ratsnakes
Kingsnakes and Milksnakes
Pinesnakes, Bullsnakes, Rear Fanged & Other Snakes
Tortoises and Turtles<|fim_middle|> than those found in opposite sides of the globe. But limitations still exist. While rosy boas and bearded dragons may both be loosely classified as "desert" animals they would fail to make acceptable roommates.
Additionally, there can be great variation among plant life, temperature, and humidity within a relatively small given area. This too must be taken into consideration. For example, a given locale of Panama may have both cool highlands and warm, muggy valleys. Thus one cannot assume that because any two given species hail from the same country, that they have similar environmental requirements.
Some of the most successful multi-species setups contain both arboreal and terrestrial species. Animals that are truly arboreal in nature rarely spend time on the ground, while terrestrial animals will only seldom climb, and when they do it is to a lesser extent. By paring terrestrial species with arboreal ones the keeper can rest assured that the animals will rarely, if ever, be competing for the same space.
Overall demeanor and predatory tendencies should be considered as well. Certain species are more bold and aggressive while others tend to be submissive and timid. When choosing animals to keep communally, one should strive for species with similar levels of activity and aggression.
Furthermore, species that are noted as being especially territorial (male inguanids and agamids) should be avoided in multi-species terrariums. While the majority of this energy is typically geared towards conspecifics, it is not unheard of for males of different species to engage in various combat behaviors.
The size of the animals being considered, as well as their adult size, should be kept in mind as well. Even placid animals may prey upon cage mates if the size difference in great enough. Unfortunately there is no way to predict with any certainty how much size variation is acceptable. However, a general rule of thumb is that the smallest inhabitant should be no less than 75% the size of the largest animal in the enclosure.
CAPTIVE REQUIREMENTS
The specific husbandry needs of a given animal are based mostly on their natural habitats and behaviors. However, even animals with similar natural histories may have differing needs in captivity. Aspects such as basking temperatures, humidity levels, and need for full spectrum lighting should be considered.
Green anoles, American tree frogs, and rough green snakes are often housed together without incidence. However, both the snake and lizard species mentioned will thrive only when provided with full spectrum light, while frogs typically shun such illumination. This is not to say that this trio is not an acceptable grouping, but that dense foliage must be provided to provide the frogs with shade will providing the other animals with appropriate basking spots. This is just one example of the many special considerations involved with designing a communal habitat.
The captive diets of the animals being housed should be kept in mind as well. Some animals are insectivores that will readily accept a variety of small invertebrate prey. Others are vegetarian and will only be bothered by the presence of feeder insects within the enclosure. Still others have even more specialized dietary needs pertaining not only to the type of food, but also to how and when it is offered.
In the case of snakes which are almost always rodent eaters, additional measures will need to be taken to ensure the animals overall health and well being. Most notably is the practice of separating communal snakes during feeding. This allows the keeper to closely monitor which individuals are feeding regularly and which are not while also ensuring that more than one snake does not try to consume the same prey item.
The art of keeping reptiles is just that, an art. While it is a medium that can be easily mastered by anyone willing to learn, there remain certain aspects that are still evolving. Only time and experience can truly prepare a reptile owner for the myriad of surprises that captive herps tend to offer.
However, this is not a bad thing. Simply further evidence that we are always learning and making adjustments based on past failures and successes. This is all particularly applicable to the matter at hand, which is housing various species together in a single enclosure. While it is more often that not scoffed at by many hobbyists, we must not fear experimentation. After all, it was only through much experimentation and trial that our hobby has become what it is today.
Perhaps multi-species vivariums will be the next wave in popular herpeteculture. Perhaps they are the next "big thing" just waiting to be properly explored and implemented. In short, the use of good judgement, moderate experience, and a bit of luck can result in a multi-species habitat that is not only functional, but extremely rewarding to the keeper as well.
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Multiple Species Habitats
If you liked this article, then LIKE this article here!
HUSBANDRY HINTS
MULTIPLE-SPECIES HABITATS
One of the most commonly asked questions among beginning reptile hobbyists is whether or not different species can live together in a single enclosure. While this may seem like a silly question to more advanced keepers, it is not without some merit. Why would it not make sense to keep one desert species with another? Or multiple tropical species in one giant terrarium?
The answer to this herpetological conundrum is neither short nor straightforward. Although many experienced keepers are now realizing that certain species can live together under correct conditions, there are still many details that must be considered and much careful planning to be made prior to undertaking such a project.
In this article the reader will be familiarized with some of the special needs involved in planning, constructing, and stocking a multiple species enclosure. This piece is by no means intended to exclude beginners, but is must be noted that one should have a thorough understanding of basic reptile husbandry prior to engaging in the type of projects discussed below.
Furthermore, readers should understand that much of the content herein is still considered controversial in some circles. Keep in mind that the author nor editor make any claims as to the absolute appropriateness or guaranteed success of keeping multiple species together. The goal here is to introduce the interested hobbyist to some of the pros and cons of multi-species habitats, as well as some of the many considerations that should be made during the planning stages.
As with any aspect of herpeteculture, there is more than one right way to maintain multiple species together. What follows is based upon the observations of the author as well as upon other compiled sources of data and personal communications. Only after carefully reading this article in full should the decision be made to undertake such a "risky" endeavor.
NATURE VS. CAPTIVITY
In the wild, many reptile and amphibian species have overlapping ranges and share their habitats with each other. However, in nature, there are no boundaries. There are no glass walls or screened panels forcing a group of animals to live in close contact. This simple fact is a direct answer to the so often posed quandary, "But they cross paths in nature, right?" Yes, they do, but they don't have to, and they can flee at any time.
Also, in nature reptiles and amphibians are being subjected to their optimal living conditions. This is not to say that contemporary herp keepers are incapable of properly providing for their charges, but that there is no substitution for mother nature. Wild animals receive a perfectly balanced diet, exposure to natural sunlight, and the ability to locate more suitable surroundings should the need arise.
As a result, wild animals are not going to be predisposed to many of the maladies that frequently present themselves in captive animals. Issues with malnutrition and environmental stress are quite rare among animals in the wild, and therefore these animals will often prove sturdier overall than those reared in captivity. So in short, the harmonious cohabitation that occurs in the Costa Rican rainforest is less likely to present itself in the terrarium.
The first and perhaps most basic thing to consider when selecting species to house together are their natural habitats. For example, keeping desert species with tropical species would simply not work. Regardless of how much effort was put into the terrarium design, one or both species would not have their environmental needs met.
On a more specific level, the actual geographic origins of the species should be considered. In general, animals from the same area, be it a region, country, or even mountain range will fare better | 1,481 |
The first month and a bit of the new year has been full of delightful surprises! I feel like my life has changed again in such a small amount of time it's cray cray! But wow I'm loving 2018! So where to begin? I'll start with the best news I could possibly wish for. At the beginning of January I received a phone call from my haematology Doctor who informed me that I can officially come off my medication for my blood clots! YAY! No more setting my 5pm alarm every day to remind me to take my tablet and have a snack (My daily snack I'll keep going though, I'll miss eating my packet of crisps lol). At first I was buzzing, I felt free and that I was finally getting better! But soon enough paranoia kicked in. I was scared that all that was stopping me from developing another clot now, is my compression sock. I never want to go through that pain and stress ever again. The medication kept my mind at rest that I couldn't possibly develop any more blood clots. But now I'm off of the meds. It's vital that I keep my health and mental wellbeing as positive and healthy as can be. I'm ensuring I drink about 2 litres a day so I'm always hydrated and I'm having some me time in-between my busy schedule of full time work and training. I don't want to feel burnt out again or mentally exhausted. By taking all these precautions I feel the little paranoid thought of getting anymore blood clots have subsided. Now I'm feeling really excited about my future plans and goals. I'm using the past heartbreak and pain to spur me on and I'm more determined to achieve success in every aspect of my life.
Once I got the all clear to stop taking my meds. I decided now's the time to start upping my training. I mean there's nothing holding me back anymore, so why not?! Like an excitable child on Christmas Day, I upped my training. Unfortunately my sensible head was away on holiday that week and I ran with my heart. I tried to run the highest mileage week since pre clot (It was nothing special but I was aiming for 30 miles) and I was also attempting to fit in three faster sessions (I'd only done a handful of faster sessions during my recovery), it actually gets worse….. I also wanted one of those said faster sessions to be completed on the track, which I haven't stepped foot on since August last year (I'm<|fim_middle|> shoulders when 2017 ended. All the negative energy of the past year vanished as soon as 2018 started. I've started the year surrounded by my amazing and supportive family, friends and boyfriend (another surprise 2018 brought me lol). I've actually got running goals and planned races for the summer! There is so much more to look forward to, I'd probably bore you if I was to list them all. But for now I'm going to keep working hard and let's hope this fab start to the year continues!
Melanie, your an inspiration. I admire how strong, mentally and physically you must be to be able to have gone through all this, and still smile so soon after. Your story is what it means to have will-power. I want to take what you have taught me from reading this and apply it to my own life. To better my own mind and embodiment of who I am and to change who I am perceived as. I look forward to reading your future posts. Thank you.
I'm Mel. A recent media arts graduate, and running obsessed since day one! This is a blog on my life running with blood clots. When I tried to research for advice and help on the internet, I soon realised that I'm unique and there's not enough awareness or personal experiences out there about living with blood clots and exercise. So I want to change this and share all the details of the highs and the lows of my running and life journey whilst having blood clots. | face palming at my stupidity). As you can predict when I was hitting the back straight of the track on the forth 800m rep, my ("good") calf completely pulled up. I hobbled back and it was in that moment that my brain came back off vaycay and I realised that I'd totally overdone it. I was gutted for a day. But the new positive thinking Mel kicked in. I took a step back and reflected on what I want to achieve and how I could realistically go about achieving it. So I made some decisions about my athletics. From the whole clot experience I've realised that I'm happy simply just putting one foot in front of another. But if I keep getting injured then I'm not going to be able to do what makes me happiest of all. I need to eliminate the injury risks. I've decided, for this year anyway, to step away from the track and focus on the road, and depending on my health, aim for a cross country season. I'll try racing longer distances like 10km and maybe even a half marathon (if I'm brave/fit enough!). This break from track isn't a permanent decision. I feel like I need to get stronger physically (It's a good job I now work in a gym) before I can wear spikes and hit top speed. I'll be racing distances and on a surface that I'm not experienced in, it's a brand new challenge. I can set myself new PB's and targets. I'm so excited! This decision also helped me make another one! I've joined my old athletics club! I'm back home at Milton Keynes. It's where my heart is and where the best memories I have of the sport I love are. I can't wait to start racing for them again! And of course me being me, I do have my eye on some club records lol! Sometimes in life you just have to go back to where you came from. Change is good sometimes as it keeps things fresh and helps to make you focus on what you want out of life.
I feel like a new person and that a weight lifted off of my | 439 |
Hennepin Co. Sheriff's Office receives grant for underwater robot
The Hennepin County Sheriff's Office received a $145,000 federal grant to buy an underwater,<|fim_middle|> Co. sheriff talks gun control with Biden
Sheriff: Violent crime in Hennepin County up slightly last year | remotely operated vehicle (ROV) to help rescue and recover drowning victims, the Associated Press reports.
The funding from the U.S. Department of Homeland Security and the Federal Emergency Management Agency will also cover dive-team training and equipment.
The device would be used in murky or deep-water recoveries like Lake Minnetonka where depths can reach 100 feet, the news service says.
Diving in zero-visibility can be dangerous for divers, the Star Tribune says. The device will can be used to scope out potential finds with the help of a camera, lights and a robotic arm. The ROV could also cut a dive team's recovery time in half.
The Ramsey County Sheriff's Office began using a similar device in 2010. KARE 11 shows how that device works:
Hennepin Countykare11Newspipress
Hennepin County Sheriff's Office tries to secure underwater robot
The Hennepin County Sheriff's Office is attempting to secure funding to purchase an underwater remotely operated vehicle (ROV) to expedite underwater searches and help protect divers. The device will help officers search dark depths in rivers and lakes to help locate criminal evidence and possibly drowning victims.
Hennepin Co. sheriff, other law officers want to shrink national prison population
Goodhue Co. considers joining Hennepin Co. medical examiner's office
An invitation from Hennepin County has Goodhue County commissioners considering the benefits of a merger. The Red Wing Republican Eagle reports extra space — whether for storage, offices or autopsies — was presented as the primary advantage. Goodhue County has also reached out to Mayo Clinic, but it has not yet provided a proposal about offering morgue services.
Hennepin Co. deputy candidates rejected for tattoos
Program to reduce teen pregnancy in Hennepin Co. gets $7.5M federal boost
After 4 children nearly drown, Hennepin Co. urges precautions
Hennepin | 409 |
Chords and Tonalities
Music Theory: Comparing Major Scales with Jazz Chords
While the foundations of Western music are consistent in both classical music and jazz, these two genres take music theory in different directions.
There are places where there are strong similarities (remember, this is just talking about music theory - we're not talking about general similarities between jazz and classical music): a Cmajor7 chord (not necessarily the voicing) includes the notes C, E, G, and B, all notes found in a C major scale. While a blues scale (in C, the notes are C, Eb, F, F#, G, and Bb) seems nothing like the C major scale, this is because the C blues scale actually has more in common with the Eb major scale, and the only note in the C blues scale that goes against the Eb major scale is F# (or Gb), which is not intended to be emphasized in a blues scale anyway.
Put simply, many of jazz chords and scales have a lot in common with classical music scales - but, at the same time, they're not quite the same. The differences are somewhat small, but important.
We will begin by looking at the C blues scale - which, remember, is similar to the Eb major scale. Here are the two scales for comparison (the note an octave above the root note is not included):
Eb major scale
Eb, F, G, Ab, Bb, C, D
C blues scale, with Eb as the root note
Eb, F, Gb, G, Bb, C
Notice how both scales share five notes: Eb, F, G, Bb, and C. That's a lot in common. Yet, the two scales, when used to create musical phrases (as in improvisation), sound different in the following way:
If you try using the notes of the Eb major scale to improvise, you'll find that the scale does not lend itself to improvisation. Sure, you get a few phrases that are okay here and there, but mostly not. The C blues scale with the Eb note as the root, on the other hand, does not lend itself to improvisation either, but sounds much more musical than the Eb major scale. Even if you just run up and down each scale, one at a time, you will find that the blues scale sounds more musical than the other one.
What notes make the difference between the two scales mentioned here? Well, the Eb major scale has some "extra notes" that do not sound especially musical when you're in the key of Eb. In this case, those notes are Ab and D; for some reason, while musically they are correct, they simply do not blend well with the Eb and the rest of the major scale. So jazz music (in particular bluesy music) takes those notes out (not consciously, of course), and what you have left are the following notes: Eb, F, G, Bb, and C. Four of those five notes make a chord that jazz musicians are familiar with, the Eb6, which is musically one of the richest chords in jazz.
The removal of the Ab and D notes give the scale more unity than existed in the original Eb major scale. The Gb note, which jazz musicians add to make the blues scale, should not be emphasized, but should just be passed over quickly to add interest.
To put all that simply (at least, fairly simply), the notes changed between the two scales make the jazz scale (the blues scale with the root note changed) less musically complex than the classical scale (the Eb major scale). Less musical complexity means more unity, and also opportunities to add more musical complexity to a chord sequence. This applies to both the chords themselves and the improvisation built upon those chords, since the two are closely connected - chords are clear statements of a certain tonality, and improvisation involves a collection of notes that fit and often suggest that tonality (sometimes, more clearly than at other times, depending on the improviser and the chord progression).
All of this has a lot to do with why jazz musicians (with the exception of those in traditional jazz) generally avoid chords like "C major" or "F minor" with no sevenths or sixths included - "plain" major or minor chords don't provide enough information to the improviser about what the chord is, and therefore improvisation based completely upon these chords - rather than any other source, such as the melody - will probably not be interesting. Think about it like this: it's a graph. On one end of the graph are chords that are too simple for most improvisation, and on the other end of the graph are chords that are too complex for<|fim_middle|>ths. With these chords, interesting musical phrasing can be developed that is neither too simple nor too complex.
Music Theory Series | listenable improvisation. Unfortunately, modern jazz improvisers like the complex chords, making the music a challenging listen for anyone but the extremely musical. The best is the middle of the graph: the region with chords like sevenths, and sixths - rather than ninths, elevenths, and thirteenths - and chords in the range of dominant sevenths, minor sevenths, and major six | 83 |
Why a few of the world's greatest firms are fearful
Dry cracked earth is visible along the banks of Phoenix Lake on April 21, 2021 in Ross, California.
Justin Sullivan | Getty Images
LONDON — Major companies from across a range of sectors are increasingly concerned about the cost and availability of the world's ultimate renewable resource: water.
The availability and relatively low cost of water does not tend to capture much attention until it effectively runs out. Yet, with the climate crisis seen as a "risk multiplier" to water scarcity, analysts warn that even companies with relatively limited financial exposure to water risk should brace for disruption.
It comes at a time when water prices are rising around the world. The average price of water increased by 60% in the 30 largest U.S. cities between 2010 and 2019, according to data compiled by Barclays, while California Water Futures have regularly jumped as much as 300% in recent years.
In a research note published June 14, analysts at Barclays identified water scarcity as "the most important environmental concern" for the global consumer staples sector, which includes everything from food and beverages to agriculture and tobacco.
Consumer staples, which was said to be the most exposed of all sectors to water risk, faces a $200 billion impact from water scarcity, analysts at the U.K. bank said.
This came down to a strong reliance on agricultural commodities, an extreme vulnerability to water price fluctuation and operational risks — including disruption from extreme events such as droughts and flooding, and fines and lawsuits linked to<|fim_middle|> enabling better access to safe water and sanitation in many water-stressed locations," they added, citing India, Pakistan and Bangladesh.
Unilever and Colgate did not respond to a request for comment.
Physical, reputational and regulatory risks
S&P Global Ratings said that while water scarcity "rarely" has a direct effect on a company's creditworthiness, the issue can have a more subtle impact.
These risks can be physical, reputational or regulatory.
For example, in Germany, cargo barges on the Rhine River, one of the continent's most important shipping routes, faced loading and transportation issues in 2018 as a result of critically low water levels. It resulted in production coming to a halt in places, with increased manufacturing costs and disrupted supply chains in some parts of Europe's industrial heartland.
Elsewhere, Constellation Brands in Mexico and Coca-Cola in India have both been forced to abandon plans to build new facilities in recent years. The projects were dropped following widespread protests about the quantity of water these facilities would require.
Fines related to water pollution have also been on the rise, analysts at Barclays said.
"I don't think water prices in themselves are likely to rise significantly because of the social implications of making that choice. So, the ways that you can potentially see the more hidden costs of water scarcity impacting financial outcomes would be through the sourcing of alternative water sources when your water is insufficient," Burks said.
"If you're having to pipe in water from far away, if you're having to set up desalination to increase the amount of fresh water available, then that all comes with increasing infrastructure costs [and] increasing energy costs," she added.
Doja Cat shares behind-the-scenes pics from her music video "You Proper"
Supreme Courtroom Justice Clarence Thomas says federal marijuana legal guidelines could also be outdated | pollution.
Water scarcity is really important because when it runs out you have really serious problems, and because of its low price it is one of those classic externality risks.
Beth Burks
Director of sustainable finance at S&P Global Ratings
The bank found that water-related comments in company transcripts last year jumped 43% when compared to the end of 2019, which it said reflected a growing corporate awareness of the risks associated with clean water and sanitation.
Sustainable investors, meanwhile, seemed to be prioritizing other environmental concerns. "Our recent conservations with investors suggest that many are instead focusing mainly on the potential impact of rising carbon costs," analysts at Barclays said.
The research found the potential financial impact from water risk was likely to be three times higher than carbon risk.
Cost of inaction
"Water scarcity is really important because when it runs out you have really serious problems, and because of its low price it is one of those classic externality risks," Beth Burks, director of sustainable finance at S&P Global Ratings, told CNBC via telephone.
"It needs to be managed very carefully and thoughtfully and you don't always have that natural pricing signal that helps us conserve it."
Water prices do not tend to reflect its scarcity, particularly because its use is often at a very low cost or even free. However, the availability of water underpins many parts of the economy and analysts at Barclays have attributed the latest rise in global water prices with the asset's growing scarcity.
The bank estimated that the so-called "true cost" of water was three to five times greater than the price companies currently pay, once direct and indirect costs of water shortages and other risks were incorporated.
Half loaded cargo ships pass by the low water in the River Rhine along the vineyards on November 13, 2018 in Osterspai near Sankt Goarshausen, Germany. Summer heat wave in Germany as well unfavorable wind conditions, and no rain left the Rhine – which begins in the Swiss Alps, runs through Germany, and empties into the North Sea – at record low water levels.
Andreas Rentz | Getty Images News | Getty Images
Addressing the issue of proactive water management would cost the global consumer staples sector $11 billion, the bank estimated. This puts the cost of inaction roughly 18 times greater than the cost of action.
Agricultural exposure was identified as the "key determinant" of financial risk from water scarcity, with agribusinesses — such as ABF and Tyson Foods — facing a 22% EBITDA impact, the bank said, referring to the acronym for earnings before interest, taxes, depreciation and amortization.
Of the companies most at risk, global consumer foods giant Unilever, consumer products company Colgate and cleaning products maker Reckitt Benckiser were all said to face a 40% to 50% EBITDA impact, even in the less-extreme of Barclay's possible scenarios.
Reckitt Benckiser says it plans to be "water positive" in water-stressed locations (it currently has 20 such sites) by 2030. The company has started a series of "listening sessions" with key stakeholders to discuss climate change and water risk.
"We recognised the impact that water stress has on people, their lives, their health and also on our business," a spokesperson at Reckitt Benckiser told CNBC via email.
"That's why, through our brands we've been | 716 |
At the London Dental Studio our pricing is<|fim_middle|> is always a pleasurable one. | totally transparent.
At London Dental Studio, we offer comprehensive new patient check-ups with X-rays.
At your first appointment you will be greeted by trained and friendly staff. Our reception and treatment rooms are clinically clean with comfortable seating, relaxing interior colours and air conditioned rooms.
You will be asked to fill out a medical history form which allows us to understand your health better so that we can ensure that you receive dental care that is tailored to your needs.
In the treatment room you will be greeted by Dentists and nursing staff who are only too happy to listen to your concerns and wishes. We give you time to adjust and feel comfortable. Our dentists are extremely conscientious and put the patient first in every situation.
Rest assured that we use the latest technologies such as intra-oral cameras. Our chair based screens allow you to look at these in comfort whilst your dentist explains the details to you. We can even print photos so that you can take them home to decide for yourself. We are fastidious when it comes to Clinical Sterility and cleanliness.
Dental X-rays are included in the cost of your new patient check-up.
Your dental condition is recorded on our dental computer software and, once your dentist has fully evaluated your dental health, you will receive a customised written treatment plan offering all the options to help you improve your oral health.
We hope your visit | 272 |
H<|fim_middle|> | acking incidents at defense contractor Lockheed Martin Corp. and broadcaster PBS that surfaced over the past few days show how widespread corporate breaches have become and underline how any organization can become a victim.
Lockheed Martin said on Sunday that it had stepped up its investigation into a sophisticated hacking attack on its computer networks and bolstered security measures for gaining remote access to its systems.
The new social media provide free megaphones that carry a customer's complaint around the world. Perhaps a little too easily.
The proliferation of prizes, says Josh Lerner, a professor at the Harvard Business School, is part of the larger trend of opening corporations and government to wider networks of people with fresh ideas by using the Internet. Crowdsourcing and open-source software — computer programs developed and debugged by far-flung groups of contributors — are other examples of the "open innovation" approach, he says.
PARIS — The Tuileries Garden in Paris, a celebration of grand geometric vistas and tightly trimmed topiary, will be invaded next week by the denizens of a decidedly more chaotic space: the Internet.
Apple and Google have each said time and again that they are committed to protecting users' privacy," Franken wrote. "This is an easy opportunity for your companies to put that commitment into action. | 255 |
After the last couple of blog posts about different kinds of mothers, and<|fim_middle|> a better mom. | who we choose to love as our mothers, I couldn't help thinking about my own mother.
For some reason, it's difficult to write about my mom. Maybe because the emotions run too deep. She is a huge influence on my life, and a source of strength for me. That was magnified a couple of years ago as she battled her own health issues. Her determination to get through it all was amazing to watch. That same quality of determination, courage and strength propelled her through her years as a military spouse, too. What a wonder she is!
I suppose I could go on and on describing my mom's qualities, but truly, there's only one word to describe my mom: LOVE.
She exudes love. She is sunshine, hope and light. You can't exhibit these qualities without being filled with love. I'm blessed to have a mom who exemplifies love, who showed me love.
Hopefully, I've passed on those lessons to my own kids, and now to my granddaughter.
Now, I would be remiss, for this Mother's Day post, not to thank my mothers-in-law as well. For my Mother-in-law #1, thanks for your laughter and the joy you take in life. And MIL#2 (technically, the step-mother-in-law, but she's a mother-in-law all the way), I thank you (frequently) for your love, support, advice and understanding in taking on a ready-made family. I'm so thankful for our conversations and the fun we have together.
Happy Mother's Day to all my moms, biological, via marriage, or adopted by love. I'm thankful for everything you give to me to make me | 343 |
It was such a pleasure to dress in bright colors for the home-going celebration for sweet Libby Stone. It's what she would have wanted, and it was not a sad affair! Yes, the void she leaves is sad, but not the legacy. Not the piece of her that was really just a piece of Jesus that she left with every person she came into contact. Literally.
Libby was the most<|fim_middle|>. It makes me wonder just how convinced she must have been of God's goodness and love that even dementia couldn't distort God's truth.
Am I that convinced? Lord, let it be so!
I want to live a Libby legacy. She modeled what it looks to live and die for Christ. I hope my kids and grandkids remember me as an example of Jesus Christ.
And I hope I live with Peggy faithfulness. That's her daughter, who tirelessly honored, cared for and served Libby with love, patience, and dignity.
What an example. What a celebration.
I have 2 aunts currently suffering from Alzheimers. If this should ever happen to me, I would hope to have the kind of testimony Libby had– "to be so convinced of God's goodness and love that even dementia couldn't distort God's truth." We also suddenly and unexpectedly lost my dad this past June. We are absolutely certain of his eternal rest in the presence of the Lord, due to his testimony and faithful life for the Lord. We also wore bright colors to his service, even in our deep grief of loss, in honor of his favorites and how he lived his life. Thank you for sharing!
Wow Julie! Thank you so much for sharing that with us. | precious 80+-year-old woman in my Sunday school. I didn't know her long, maybe eighteen months, but she impacted me for a lifetime.
You see, Libby's mind had been slipping for years, but no matter how foggy her mind or how far it slipped at a given time or moment, she never forgot Jesus. She never failed to proclaim His love for others. He was always crystal clear to her, and she was always crystal clear about Him.
Do you know how much Jesus loves you? He really does!
God has something so special for you. He does. I can see it!
What I learned at her home-going celebration is she didn't just do this with me; she did it with everyone she encountered, and one never left an encounter with Libby doubting Jesus' or her love.
Right through the fog of dementia, she believed | 178 |
Q: C# powershell ErrorDetail usage I have a custom powershell command derived from PSCmdlet and on error I want to provide my own error message. As per MSDN ErrorDetails propery on ErrorRecord does that :
Provides additional error information for an error record, such as a
more detailed replacement error message.
How ever I am not able to get it working, I have DisplayStrings.resx, in this I have stored my custom error message with the ID InvalidOrNoSite, but when I execute the following code, it shows the same old style error and not my custom error.
ErrorRecord err = new ErrorRecord(new ArgumentException(), "", ErrorCategory.InvalidArgument, this);
err.ErrorDetails = new ErrorDetails(this, "Resources.DisplayStrings.ResourceManager", "InvalidOrNoSite", null<|fim_middle|> some or all following code.
| );
ThrowTerminatingError(err);
Any examples on how to use ErrorDetails?
A: The customisation of ErrorDetail works if you change your error in a non-terminating error.
This behaviour is not explained in microsoft documentation [ or at least I have not found it :) ] but in a book I've buy some year ago ( Wrox - Professional Windows PowerShell Programming - February 2008 ) at page 97 is reported that in terminating error doesn't work.
My workaround is to set a 'flag' variable to true in the catch and after test this variable and do or not do | 123 |
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