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April 16, 2010 by Melinda Beasi Leave a Comment
Viz Releases Kingyo Used Books
Press Release: VIZ MEDIA TRANSPORTS READERS TO
KINGYO USED BOOKS – A FANTASTIC PLACE WHERE READERS FIND THEIR DREAMS IN MANGA
A Charming Bookshop with a Special Inventory Becomes a Place Where Lives Are Changed Through Manga
San Francisco, CA, April 15, 2010 – VIZ Media, LLC (VIZ Media), one of the entertainment industry's most innovative and comprehensive publishing, animation and licensing companies, transports readers to an unassuming store that stocks all the manga a fan could ever desire with the release of KINGYO USED BOOKS on April 20th. The new series, by Seimu Yoshizaki, will be published under the VIZ Signature imprint, is rated 'T+' for Older Teens, and will carry an MSRP of $12.99 U.S. / $16.99 CAN.
In KINGYO USED BOOKS, a businessman discovers how his childhood memories can brighten his day. An art student finds inspiration. An archer hits a surprising bull's-eye. A housewife rediscovers romance. A teenager discovers his true self in the pages of a manga magazine. Welcome to Kingyo Used Books, a place where people find their dreams in manga…
"KINGYO USED BOOKS is the little shop that every fan dreams of. The endearing vignettes that take place there show how peoples' lives can be affected by books in a significant way," says Leyla Aker, Senior Editorial Manager, VIZ Media. "KINGYO USED BOOKS uses a variety of genres to take readers on a journey that traces the history and evolution of manga. We hope this new series will strike a chord that inspires fans to similarly revisit a cherished manga title from their own past."
KINGYO USED BOOKS is currently featured in Japan in IKKI magazine, home to some of the most innovative and compelling titles in the world of contemporary manga. The series is also featured at SigIKKI.com, VIZ Media's unique online destination for edgy new manga designed for mature audiences.
Seimu Yoshizaki was born in Kanagawa, Japan. She made her manga debut with Aka–chan to Tenshi (Baby and Angel) in 1989. Aside from Kingyo Used Books, which is currently being serialized in IKKI magazine, she is the creator of many other titles, including Telekinesis (Yamanote TV Kinema Room), Ugokashiya, Kaban Toshokan and Deka Girl.
For more information on other SIGIKKI titles and to check out a sneak peek of chapter one through eight of KINGYO USED BOOKS, please visit www.SigIKKI.com.
Filed Under: NEWS Tagged With: manga, press releases
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25 M.P.H. Speed Limit Takes Effect in New York - NYTimes.com
The 25-mile-per-hour speed limit that went into effect in New York City on Friday did not slow a black Mercedes that blazed a path down the middle lane of Madison Avenue at a brisk 34 miles per hour around 1 p.m. Nor did it deter the drivers of a tow truck going 32 m.p.h. or a city bus lumbering along at 28 m.p.h. Even a police car was spotted darting through traffic, though no emergency was apparent.
In a city where any hint of open asphalt can take the edge off a day mired in traffic, the dawn of a new speed limit did not change much.
Cluttered roads still seemed to dictate speed far more than did the city's new mandate, which dropped the default limit from 30 m.p.h. to 25.
Fear of enforcement was palpable. "Snitches get stitches!" one passer-by called out to a reporter who was monitoring cars' speed with a radar gun on Madison Avenue near 39th Street.
But for many city residents who still step off the curb with a sense of dread, the first day of a slightly slower city carried with it a sense of promise.
"It's like Nascar out here," Carolyn Coates, 58, said ruefully as she approached an intersection along the Grand Concourse in the Bronx where the more open road invites speeders.
"We need this for the kids, for the elderly," she added, referring to the lowered speed limit.
Though the new limit is already in effect on all city streets unless otherwise posted, city officials said there were no plans for a ticket blitz.
Nor did they expect police officers to begin splitting hairs at speeds just above 25 m.p.h.
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redpajama_set_name: RedPajamaCommonCrawl


For the very first time, Paris's most famous gourmet street is holding a festival this week, entitled Le Bac Sucré. From Tuesday 16 to Sunday 21 June 2015, the Rue du Bac will be demonstrating its glorious deliciousness to the public.
Led by Philippe Conticini of the Pâtisserie des Rêves, six days will be centred around tastings, workshops and demonstrations open to the public, including animations for children.
Other stars of pastry and chocolate will be there, and I'm sincerely hoping to also get a glimpse of Pierre Marcolini and Jacques Genin.
Participating artists include the famous houses of La Pâtisserie des Rêves, Angelina, Hugo & Victor, Des Gateaux et du Pain (Claire Damon), Eric Kayser, La Grande Epicerie de Paris, plus the historical house of Dalloyau.
Download Le Bac Sucré programme here (in French).
For more information, visit www.bacsucre.com. Each year, the festival typically falls during the annual Baccalaureate (BAC) exams, mid June.


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Return to: Will Rogers and Wiley Post - America was in the throes of the Great Depression when another bout of tragic news streaked across the nation: two great men had been killed in an airplane accident in northern Alaska.
Gallery Thumbnails
Winnie Mae fuselage
UAF-1998-129-5
The Winnie Mae's records are posted on the side of her fuselage: Los Angeles to Chicago 9 hours, 9 minutes, 4 second, August 27, 1930; and Around the World 8 days, 15 hours and 51 minutes, July 23, to July 1, 1931. In this 1933 solo flight around the world, Wiley Post would crack that record, circling the globe in 7 days and 19 hours. Archives, University of Alaska Fairbanks.
Contact Us LitSite Alaska, Copyright © 2000 - 2021. All rights reserved. UAA / University of Alaska Anchorage.


Fantastic Batiste Transitional Convertible Sofa By Ebern Designs is a must have in almost any property. You want for the greatest items, and you also want to actually never pay too much for these people. Seems just a little challenging, appropriate? Nicely, this article is here to help. Keep reading and find some very nice skilled methods for seeking the discounts on home furniture pieces you may adore. Before purchasing any kitchen cabinets, open every one of the compartments and appear within. You're not just being sure that all the compartments are constructed to last and available with no hitches, you also want to make sure that the inner from the storage have some form of finishing as well. When looking for Batiste Transitional Convertible Sofa By Ebern Designs, calculate your bedroom before going buying. There may be practically nothing even worse than selecting the excellent list of Batiste Transitional Convertible Sofa By Ebern Designs only to find out that it does not easily fit in your master bedroom when you buy it home. Rather, accurately determine your areas dimensions before you go noting in which door and house windows are located.
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Typically now utilized in homes with a living room or open layout, they are often big configurations that chair lots of visitors. In smaller rooms, they works well for seating in an region that has a strange part or any other space restriction. The ability to combine corner models, end models and lying sections according to space and person choice makes this sofa style extremely flexible. Sectional couches are also available in a multitude of styles, from ultra contemporary or extremely luxe, to much more family-pleasant modern designs.
Copyright © Batiste Transitional Convertible Sofa By Ebern Designs in Living Room Chairs All right reserved.


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Family Educational Rights and Privacy Act of 1974 (FERPA)
The Family Educational Rights and Privacy Act of 1974 protects the privacy of education records, establishes the right of students to inspect and review their education records, and provides guidelines for the contesting of inaccurate or misleading data.
Students have the right to inspect and review all education records maintained by the College. The College is not required to provide copies unless, for reasons such as great distance, it is impossible for students to inspect the records.
Students have the right to request that the College correct records believed to be inaccurate or misleading. If the College decides not to amend the record, the student has a right to a formal hearing with the Dean of Enrollment Management. After the hearing, if the College still decides not to amend the record, the student has the right to place a statement with the record commenting on the contested information in the record.
The College will not release any confidential information from a student's record without the written consent of the student, with the exception of the following: to College officials, including contractors and volunteers performing institutional functions, with a legitimate educational interest, to other Institutions at which a student seeks or intends to enroll, to certain government officials in order to carry out lawful functions, to appropriate parties in connection with financial aid to a student, to organizations conducting certain studies for the College, to accrediting organizations, to individuals who have obtained court orders or subpoenas, and to persons who need to know in cases of health and safety emergencies.
The College may disclose directory information without the written consent of the student. Directory information includes the following: name, address, telephone number, email address, dates of attendance, anticipated graduation date, enrollment status, class, previous institutions attended, major field of study, awards, honors (including Dean's list), degrees/ certificates conferred including date, past and present participation in officially recognized activities, student's photograph and photographic images, height and weight (for athletes only), and date and place of birth.
Students may request the withholding of disclosure of directory information. To ensure that a request is properly processed, it must be submitted on the official "Request to Prevent Disclosure of Directory Information" Form, which is available in the Registration Office. In order to prevent all disclosures of directory information, the official request must be filed prior to the first day of the semester. However, the College will accept requests at any point during the semester. The request will remain in effect until the student submits signed authorization to allow disclosure of directory information. The College assumes that failure on the part of any student to specifically request on the official form the withholding of release of directory information indicates individual approval of disclosure.
Students have the right to file a complaint with the U.S. Department of Education concerning alleged failures by the College to comply with the requirements of FERPA. Contact the Family Policy Compliance Office, U.S. Department of Education, 400 Maryland Avenue, SW, Washington, DC. 20202.
Middlesex County College maintains security and crime statistics in compliance with the Clery Act. Clery Act information can be found on the College website.


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Bills' quarterbacks have 'all worked well together' in competition
Maybe it's all but over, with Josh Allen one step away from becoming the Buffalo Bills' starting quarterback.
His start in Sunday's preseason game against the Cincinnati Bengals — the third and typically the tune-up for the regular season — seems to strongly indicate that he will keep the job for the Sept. 9 opener at Baltimore.
'It's a young group'
But along the way, the Bills have had something that General Manager Brandon Beane said has been exceptional: three QBs who have been cohesive in Allen, Nathan Peterman and AJ McCarron.
"It's a young group and AJ's the veteran," Beane told Jim Miller and Pat Kirwan during the recent SiriusXM NFL Radio training-camp tour stop at St. John Fisher College. "He hasn't played that much in the league, but played some meaningful snaps. The thing that I've really appreciated is they're all three competing for this job, but they've all worked together well, and I know that's not always the case."
'We're trying to give them as many meaningful reps as we can'
The battle was thrown a bit of a curve last Friday night when McCarron suffered what was originally thought to be a hairline fracture of the collarbone but what further testing showed to be a shoulder injury that has limited him in practice this week. Still, he remains in the mix.
"I know (offensive coordinator) Brian Daboll and (quarterbacks coach) David Culley really have done a great job of what we were able to install starting in May to the progression of minicamp in June to (training camp)," Beane said. "And I think all those guys are taking the next step and it's going to be a good battle. It's a hard time frame. We're trying to give them as many meaningful reps as we can and let the best one stand out and start for us at Baltimore Week 1."


This program provides a strong foundation in child development and could be the basis for graduate study in child development and related fields. This major is designed for students interested in having a career in a variety of child-related fields, such as early childhood education, childcare, community settings, and/or agencies serving children, youth, and families. Students who have declared Child and Adolescent Development (CHAD) as their major should meet with the Department advisor for consultation and approval of the program. Information about ChAD advising and how to make an appointment can be found on the department website www.sjsu.edu/chad/.
University electives may be chosen by student, however the department highly recommends the following courses. If not taken above.
Note: The following Capstone courses, CHAD 158, CHAD 160 and CHAD 195 may be repeated only once.


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NEW: District of Sports Podcast The post-mortem from the WFT's disappointing season
Boehner advocates rewrite of tax code
House Speaker rejects president's job stimulus plan
Business_Finance
By Stephen Dinan - The Washington Times - Thursday, September 15, 2011
House Speaker John A. Boehner on Thursday ruled out tax increases as an option for the deficit supercommittee, but in a broad speech laying out his goals for Congress, he urged the 12-member panel to lay the groundwork for a full rewrite of the U.S. tax code.
In a speech that effectively marked the GOP's response to President Obama's address to a joint session of Congress last week, Mr. Boehner categorically ruled out a government shutdown or debt default on his watch, called for a new highway-funding bill to be combined with one to expand U.S. energy exploration, and warned of a long-lasting spiral of economic and social decline.
He also rejected the outlines of the president's job stimulus plan, saying that instead of carving out tax breaks, lawmakers on the deficit supercommittee should focus on a total rewrite of the tax code that frees up businesses. He also said it must be done without tax increases.
"I think tax reform should deal with the whole tax code, both the personal side and the corporate side, and it should result in a code that is simpler and fairer to everyone," he said. "Now tax increases, I think, are off the table, and I don't think they are a viable option for the joint committee."
The Ohio Republican drew several lines in the sand, including asserting there will be no government shutdown or debt default on his watch — a signal to his own party not to delay stopgap funding due by the end of this month.
Grim economic news has dominated Washington since lawmakers returned from their summer recess, and all sides are intent on focusing on job creation.
The president last week called for nearly $450 billion in tax cuts and spending in the near term, which he said could spur jobs and help right the economy. This week, he proposed paying for that package through nearly $470 billion in long-term tax increases — most of which have deep bipartisan opposition.
Still, House Minority Leader Nancy Pelosi, California Democrat, said Thursday that her members are united behind the proposed spending and said Republicans should put the president's jobs package on the floor for a vote.
"On the steps of the Capitol, Democrats stood together enthusiastically in support of the American Jobs Act and its passage now," she said. "In fact, people are standing in line and on the steps of the Capitol trying to be the ones to be the first sponsors of the legislation."
Maryland Gov. Martin O'Malley, who is chairman of the Democratic Governors Association, said the success or failure of the president's jobs-stimulus plan could be the largest factor in whether Mr. Obama wins re-election next year.
"The way the president gets re-elected, frankly, is to do a better job than the other guys of explaining to us, in a forthright and honest way, the changes that are happening in our economy and the choices we need to make as a people," Mr. O'Malley said Thursday while speaking to reporters at a breakfast held by the Christian Science Monitor.
Mr. O'Malley accused Republicans of standing in the way of the president's plans for political purposes.
The two parties agree that job creation is the top priority, but their approaches differ markedly.
Democrats call for temporary tax breaks, aid to help keep state and local government employees on the payroll, and massive infrastructure spending. The GOP, meanwhile, argues that government boosts have failed and said the solution is to shave regulations and free businesses.
Mr. Boehner explicitly linked job creation to deficit reduction, saying the one "has everything to do" with the other.
The speaker also disputed reports that he and Mr. Obama had reached a deal during July's debt negotiations that would have included $800 billion in net tax increases over the next decade.
Mr. Boehner said he and the president had talked about such a plan, but that it had been coupled with major changes to entitlement programs such as Medicare and that Mr. Obama had balked at going that far. Mr. Boehner also said Mr. Obama demanded an additional $400 billion in tax increases late in the negotiations.
The White House on Thursday said it still considers Mr. Boehner's offer to put revenue increases on the table to be operative, but Mr. Boehner, in his remarks, ruled out higher taxes and said the deal he and Mr. Obama had been working on is likely dead.
"I frankly think it's hard to put Humpty Dumpty back together again," he said.
The supercommittee began meeting last week, held a hearing earlier this week and held its first closed-door meeting Thursday morning.
It has been charged with finding at least $1.2 trillion in lowered deficits over the next 10 years in order to win another $1.2 trillion in debt authority. If the committee fails to produce a report, or Congress fails to adopt it, then automatic cuts would take place beginning in 2013.
Mr. Boehner rejected the skepticism many of his colleagues feel over the prospects for the committee, saying it "must succeed."
• Stephen Dinan can be reached at sdinan@washingtontimes.com.


Primitive materials play with fresh proportion. Mango wood is carved to reveal a cutout, bringing unique character to the traditional table lamp. A nickel-toned stainless steel base and pipe for a modern pop.


Micro Bird announced its DRW G5 successfully completed Altoona Testing. Micro Bird submitted the G5 lift bus for a seven year/200,000 miles STURAA test (Surface Transportation and Uniform Relocation Assistance Act of 1987). Testing started Oct. 8, 2012 and was completed Feb. 18, 2013.
Micro Bird outperformed the competition on the interior noise tests with impressive results and got to the finish line with a clean slate on the body structure.
Maintainability - This segment is broken down into three subsections, which focus on the ability and time required to service the bus' components. These subsections include accessibility, service/preventative maintenance, and repair/replacement.
Reliability - Documents unscheduled breakdowns, repairs, down time and repair time that occurs during testing.
Safety - Determines handling and stability of the bus by measuring speed through a double-lane change test.
Performance - Determines acceleration, gradeability, top speed capabilities and braking of the bus.
Structural Integrity - Includes various subsections including structural shakedown, structural distortion, static towing, dynamic towing, jacking, hoisting and durability.
Fuel economy - Provides accurate comparable fuel consumption data on bus product by manufacturers.
Noise - Measures and records interior and exterior noise levels and checks for audible vibration under various operating conditions.
Emissions - Provides comparable gas and emissions data for buses produced by different manufacturers while operating the vehicle over a simulated route.
The Altoona Test, performed in Duncansville, Pa., is required for any bus purchased utilizing Federal Transit Administration funds. While there is no pass or fail designation applied, the standardized test is utilized as a comparison tool for purchase decisions.
Micro Bird buses have continually undergone Altoona Testing since 1993. In the event that a bus experiences substantial product redesign, the Altoona Test is re-administered. With each bus product line tested, Blue Bird is fully-compliant with Altoona Testing.


Save up to 50% on Destiny: The Taken King, and more on several other popular titles.
Just in time for the newly released the April update for Destiny: The Taken King, Microsoft have a few different editions of the game on sale all this week for both Xbox platforms. Also discounted are Blood Bowl 2 and Divinity: Original Sin - Enhanced Edition on Xbox One, and Lost Planet 2 & 3 on Xbox 360.


If you are looking for this drag queen, please visit FeliciaFelicity.
Halifax had a previous drag queen named Felicia. Lynnie writes, March 9, 2005: her 'signature' number was Donna Summer's "She Works Hard For The Money" with her tray of glued glasses? If so, she hasn't been out as Felicia in a looooong time.


You can use CommonJS modules to share reusable functionality. Multiple controllers can reuse the same module.
A module is a .ds or .js file. You put module files either in the special modules folder or in a cartridge's script folder.
The modules folder is a peer of cartridge folders. Commerce Cloud provides it for globally shared modules, such as third-party modules.
You can access modules in your cartridge, in other cartridges, or in the modules folder.
Storefront Reference Architecture (SFRA) provides a server module in the modules folder. This name is reserved for this module and editing the server module voids any promise of backward compatibility or support from Commerce Cloud.
Commerce Cloud B2C Commerce supports CommonJS require syntax to access modules and relative paths.
You can use ImportPackage statement to import B2C Commerce packages into scripts used by pipeline script nodes.
Using the require() function to load a module has an impact on performance. To handle a request, a controller is loaded and then executed on a global level, just as exported methods are executed. When the controller module is initialized, the actual controller function is invoked.
If the dependencies to other modules are initialized on a global level, many modules can be loaded unnecessarily. If possible, place require() statements in the most limited scope that is appropriate (for example, as local variables within a function body). If your require() statements are placed at a global level, they are loaded for every request. For example, require() statements at the top of a controller file are loaded with each request. Globally required modules are loaded even if they are not needed in the current execution context.
If all modules execute their require() statements globally, all modules are loaded for every request. This overhead can significantly degrade performance, depending on the number of modules. We suggest, instead, that you move the require() calls for non-API modules into the function bodies so that they are resolved only when necessary. A require() isn't an import; it's a real function call. An import in Java, in contrast, is only a compiler directive and has no effect at run time.
B2C Commerce searches the cartridge path for a matching controller. If the controller is found, it's used to handle the request.
If no controller is found, the cartridge path is searched again for a matching pipeline. If the pipeline is found, it's used to handle the request.
Note: If a cartridge contains a controller and a pipeline with a matching name, the controller takes precedence.
When searching the cartridge path, B2C Commerce doesn't verify whether the controller contains the called function in the requesting URL. Calling a controller function that doesn't exist causes an error.
For more information about the path lookup function, see Module Lookup.
Often, you can have several layers of cartridges that overlay one another. Each cartridge can import from the previous cartridge and overlay it. To make this easy, Commerce Cloud provides a chaining mechanism that lets you access modules that you intend to override.
The module.superModule global property provides access to the most recent module on the cartridge path module with the same path and name as the current module.
B2C Commerce searches cartridges after the current cartridge on the site cartridge path. It searches for a module with the same name and in the same location in the cartridge as the current module. B2C Commerce skips cartridges before the current cartridge in the path, and it skips the current cartridge, and only searches cartridges after the current cartridge. It continues searching through all the remaining cartridges in the cartridge path until a matching module is found. If no matching module is found, module.superModule returns null.
To create a module that inherits from an existing module, create the existing module in your cartridge and require it in your new module. For example, suppose that you want to create a home page for a specific customer group, named BigSpenderHome.js. To create the homepage, first create Home.js in your cartridge. Next, modify it to include (require) the functionality of Home.js from your cartridge stack.
The Page.js file is located in the folder mysite/cartridges/cartridge_B/cartridge/controllers.
B2C Commerce searches the path starting with cartridge_C.
All cartridges contain a Page.js file in a different location than cartridge_B. null - because none of the files match the location of the file in the current cartridge.
cartridge_C contains a Page.js file in a different location and app_storefront_base contains a Page.js file in the same location as cartridge_B. app-storefront_base Page.js module - because the files must match name and location.
The power of the module.superModule mechanism is that it lets you chain overlay cartridges on top of one another. For example, if cartridge_C and cartridge_D both use the module.superModule function and both add functionality, all of that functionality is available to cartridge_B.
Important: Chaining depends on an expected order of cartridges in the site cartridge path. Therefore, changing the order of cartridges in the cartridge path can impact your code. To minimize code changes, think about the order of your cartridge layers in advance.
You can make a script globally available by adding it to the modules folder. We recommend that you add the script to the storefront-reference-architecture repository's modules folder. We recommend a single modules directory in one repository per site. This approach makes upload work in a predictable manner. The uploadCartridge tool deletes the existing modules folder before upload, and the upload tool doesn't identify or prevent naming collisions when uploading files.


Lewis Hamilton won a strategic battle in Hungary to go into the Formula One summer break with a 24 point championship lead over closest rival Sebastian Vettel.
Looking at the total number of tweets during the broadcast, the 2018 Grand Prix has suffered compared to last year. The amount of authors engaging has also dropped slightly, however the number of impressions did increase from 99M to 101M.
The top 5 countries tweeting around both races are identical, the only difference is the order in which they appear. Italy dropped considerably from nearly 23K in 2017 to just 7K in 2018. Brazil however, are the only country to show consistency over both races with almost the exact same number of tweets.
The official hashtag is still top by a long way, even though it has seen a huge decrease in numbers in 2018 compared to 2017, which isn't too surprising considering the drop in tweets this year. #Kimi7 and #seb5 both appear in each year's top 5, albeit in switched positions and another official hashtag in #f1driveroftheday crept into the 2018 top 5 list.
When looking at the mentions, the accounts mentioned are the same in both races. Lewis Hamilton's win has contributed to him overtaking Mercedes and Fernando Alonso in terms of position in the top 5. Ferrari were represented by 2 of the cars on the podium from the Hungarian Grand Prix, Vettel and Kimi Raikkonen, which aided their handle being mentioned regularly.
The Hungarian Grand Prix was engaged with by a similar audience by country and with a similar output in terms of hashtags used and accounts mentioned, however there was a difference between the volume of engagement. This was surprising considering the lack of sporting competition on the weekend of the race. The Formula One summer break is now upon us but check back at the end of August to see how the Belgium Grand Prix engages with the Twitter audience.


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American Hat Company
5″ Brims
Tuf Cooper
American Heroes: Keith Maddox, The Hat King
Keith Maddox is a legend in the western industry. Plain and simple. His hard work, perseverance, love for the cowboy lifestyle, focus on quality, and infectious laugh are all traits of this great and iconic American cowboy.
Keith grew up on his family's ranch and began rodeoing at a young age, much like his father. He took to the bull riding and bareback riding and was competing in professional rodeos well before the age of 18. He graduated from Eastern Oregon University in 1971 and immediately began what would be a very long and successful career in the western industry. Mr. Maddox first worked for a few different companies such as Tem-Tex Clothing and Heyer Boot Company. In 1972, Keith filled a spot that many people in the western industry yearned for: a sales representative in Wyoming for Tony Lama Boots.
Tony Lama was THE brand of boot to have in the 1970's and Keith Maddox would soon become THE salesman for the thriving company. Always ready for a challenge, it soon became very apparent to Keith that Texas was his next endeavor. He soon answered the call and moved south to service the Fort Worth and East Texas area for Tony Lama. It wasn't long and he was once again on top.
Another challenge successfully tackled, he tucked it under his belt and tried his hand with the Larry Mahan Boot Company and once again skyrocketed sales for his employer. However, it wasn't enough for the ambitious cowboy. He was itching to own his own piece of the western industry and he had just the brand in mind.
He set his sights on American Hat Company in Conroe, Texas. He met with the owners and they agreed upon a price of $10 million. Mr. Maddox left and returned again later with payment only to find that the owners had decided to give the company to their children. If you ask Keith today, he will say he was so heated that he couldn't help but try to tear the steering wheel out of his truck as he left. Not one to be discouraged for long though, he had a new plan and didn't waste any time putting it in motion.
In 1996, Keith opened The Best Hat Store in the Historic Fort Worth Stockyards. He not only sold cowboy hats, he learned how to make the best cowboy hat possible and made them right there in the Fort Worth location. Though they no longer make hats there, the Maddox family still owns the retail store over 20 years later.
Seven years after Keith opened The Best Hat Store, he caught wind that American Hat Company was going bankrupt. He wasted no time in buying the business from the bank and began reviving it to its former glory. His first act was to move the company from Conroe to Bowie, Texas.
A mere two years after Mr. Maddox bought the company, he lost $13 million worth of inventory to a grass fire in 2005. Keith put up everything he had and was prepared to lose it all on this dream he fought so hard for. He borrowed money, took out another mortgage on his house, and even used his retirement to get back to square one. He tirelessly poured his blood, sweat, and tears into something he believed in. He didn't give up, and five years later, American Hat Company was back on track.
Keith persevered when many would have thrown in the towel. When asked what he thought during those hard times, he says, "I always knew it would turn out this way, I just never knew it would take this long. But here we are now! Still making the finest cowboy hat you can get when everybody else started going the cheap route." No matter how many times you hear him say that, it will always be with that smile that only he has, a little chuckle, and a mischievous twinkle in his eye.
Keith Maddox is the patriarch of American Hat Company and the first in a new series we are calling "American Heroes." We will be bringing you the stories of people who embody everything it means to persevere and never give in.
On December 1, 2018 / What's New Page
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Positive Times
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© 2019 American Hat Company


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Q: How to select the nth row of an sql query in php This must be so easy but I'm having trouble. Can someone provide the code lines to print the data from an nth row of a select query?
$sql = $db->query("SELECT * FROM Table")

$num = 5;

//Print array of the 5th row
???

//Print the value of column Name of 5th row
???

redpajama_set_name: RedPajamaStackExchange


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PETER WEIR: TOWARDS THE CENTRE
Interview by Tom Ryan and Peter McFarlaine, Cinema Papers
(September-October, 1981)
Central to most of Peter Weir's films is the attempt to move beyond the surface strata of behaviour, beyond what is readily percieved, to a realm of experience that is equally 'real' but less tangible. In this sense his work reveals a strong impulse towards the abstract, towards the collapse of the forms of the everyday into a stream of "sights and sounds and colors...closer to music". This impulse generally belongs to the practitioners of a particular kind of experimental film, yet here it is firmly rooted in the methods of traditional narrative cinema. The sense of the strange which is evoked in 'Picnic at Hanging Rock' or 'The Last Wave' is initially a creation of a narrative arrangement that refuses to explain itself, that denies its viewers access to ready-made explanations. Like Tom (Tony Llewellyn-Jones) in the former film, the viewer might dwell on the old way: "There's a solution somewhere. There's gotta be!" But part of the pleasure of these films lies in the way in which they refuse such expectations of an easy satisfaction.
The apparent realism of their fictions is insistently challenged, and enriched, by the intrusion of incidents which disturb a familiar order. Like his characters, the viewers of Weir's films are repeatedly faced with the mysteries of the moment, experiences that refuse to succumb to the kinds of patterns imposed by conventional understanding. The films seems to hover as if on the edge of a dream-world, or a place of nightmares, and while Weir's work since 'The Cars that Ate Paris' certainly cannot be classified in the realm of 'horror' film, at least according to the customary use of the label, nonetheless they share this element in common with them. They are pervaded by the inexplicable, by the sense of awe imbedded in a fleeting glimpse of an unknown terrain, an incursion beyond the looking-glass.
The look which guides the viewer is often that of a character - Michael (Dominic Gurad) as he gazes in wonderment at the "Botticelli angels" in 'Picnic at Hanging Rock', David Burton (Richard Chamberlain), fearful of his vision of 'the last wave', or Archy (Mark Lee) and Frank (Mel Gibson) faced by the floating funfair of the threatening shore in Gallipoli. But the starting point is always the everyday, for without that, the films' 'other' dimension would have no context, no point of entrance for the viewer. The characters who inhabit this territory of the familiar seem to exist outside of psychology, archetypes of the common person, their individual features serving as particular aspects of "the greater whole". Their path through the films leads them towards a confrontation with nothing less than their destiny (the rock, the wave, gallipoli via the pyramids), beyond the repressions of a Victorian education, beyond the comforts of middle-class Sydney, beyond the constraints of an Australia isolated from all but an impression of the rest of the world.
- Tom Ryan
Through your films it is possible to get a sense of somebody who is particularly aware of the expectations of his audience and able to play around with those expectations. When you are making a film, how conscious are you of the audience?
Very conscious. It's very important for me to be constantly asking myself, in the scripting process or during the shoot, what the audience will understand from this or that, and what it will expect as a consequence. I feel at liberty to play around to the extent that I can control what I want them to know or feel at any given point. And I guess I like to keep them a step behind or to subvert their expectations.
What you say has echoes of what Alfred Hitchcock used to say about the audience. Do you share his black humour?
It's difficult to see things in any broad view like that; but no, I don't think so. I've seen reviews of some of my films which have seen them in terms of black humour, but I don't think that's accurate. I suppose it depends on the way you see things. Maybe bizarre or strange, but I prefer words like enigmatic, curious and fascinating. When I think about humour, I don't break things down into "black" or anything else. I remember the word "sick" being used in a review of a couple of sketches I did in my university days, but that's a long time ago.
Would you like to make comedy?
Yes. I have an idea for a comedy I'd like to do. My beginnings in this whole business really where in comedy, as a writer-performer in university revue-type things. I am a great Monty Python fan and I remember John Lennon saying that instead of being born a Beatle, he'd rather have been born a Monty Python. I wouldn't have minded that. I love their humour. They may not be on the screens this week, but their humour is in the air. I shot a commercial with John Cleese and we struck up a sort of friendship. We talked about doing something together some day.
To what extent do you see yourself as an 'auteur', as the controlling influence over your films?
I do see myself as exercising a control, but I am not sure what that really tells us. I think the word auteur has become devalued and we must put it aside. it was a very useful word during the late 1950s and '60s, when the cinema was so polarised, but with the great changes in the 1970s and '80s I don't think it is so useful.
In a sense, the most anonymous work you would have done would have been, probably, the earlier work you did for television. How did you get involved in "Luke's Kingdom"?
I was broke after finishing Cars That Ate Paris and there was an awful moment when I didn't know if I could get any work. I contacted the ABC drama department and asked if they knew of me; a guarded "yes" was the answer. So I said, "look, I've a couple of short stories I've written. I'd like to talk to you about developing them into something." I got a very quick "no" on that one. They weren't interested. I don't know if things have changed.
So , I was very glad when Luke's Kingdom turned up. I did two episodes and, once I had accepted the terms of the way it was made, I enjoyed it. There were really two directors: the producer, Tony Essex, and the director of the episode. Tony directly controlled the scripting and the cutting room. I think I accepted that as a challenge: to see what I could do, two hands behind my back. And, of course, I had no control over the casting or the music. I think I was successful in certain sequences, but it was Tony's show. I was able to experiment, however, and Tony encouraged it. He was more a director than a producer and he didn't care about the budget. he didn't care about excess and he even encouraged it.
Whether it was a very good thing or not I don't know, but it was his vision and I thought, in accepting the money, I really had to try and execute his intentions. So it wasn't really me there.
Much is made of the landscape as a powerful force in the series...
Yes. I thought he'd chosen a great location on the banks of the Turron River out of Sofala. It was a country I knew of course from Cars, which I had shot in Sofala. In fact, I remembered driving to the location with a car full of actors in period costume and passing the rusty wrecks of Holdens in the backyards of Sofala homesteads. It was a pleasure to get back into country to which I had already responded.
But Tony also duplicated a location on Smokey Dawson's Ranch in Sydney. I didn't get the same feeling from that kind of scrubby, city bushland on the edge of the city as I'd got from the Turron country. There is something unpleasant about a lot of countryside around Sydney, I think.
Several ideas seem to run through your work, like the one of the ordinary man constantly being under the threat of the extraordinary or the one of the rational man being pushed into areas where rationality won't serve him any more. Are they ideas that interest you?
They did interest me, particularly in The Last Wave. I think my films are a kind of quest for me even though I don't consciously think about it when I am making them. When I face questions about unreality, the bizarre, black humour, any of these areas, I feel the labels are often the wrong way around. The great black joke is that we agree on a certain reality that's to me plainly full of holes, with great gaps of reason.
One issue you rarely tackle is the question of sex. Why is that?
I don't know. I think eroticism has been present in my films and it's an area I find interesting. But I think the subjects of sex is dwarfed by larger questions. I prefer Jung to Freud. I think Freud was a dazzling, original thinker, but I don't feel his theory was ever tested because it was submerged in a moral debate. It was really never fully explored or talked about, because the key issues were lost in the way moral and religious issues were allowed to interfere.
But I'm more inspired by Jung. For him, sex was a part of the great whole and, in that way, I think sexuality is in my work. I direct with my body: I use my sexuality to direct. I have explored the masculine and feminine in my own personality to direct actors and actresses, and that's meant they must explore their duality too. In this way I think I've gained from Jung. When I talk about him, by the way, I must say I have not studied the major body of his work. I have only read the popular works, those half a dozen volumes he wrote for people like me. But it was enough to find some computability and to expand my mind.
"Picnic at Hanging Rock" is a film which is very interesting in its exploration of a sort of smothered sexuality in an environment which represses it...
I was never really interested in that side of the film. I didn't see it as a part of its theme. I remember when I went to London for the promotion, that that was the area which most interested the British critics. Comments ranged from talk of repressed sexuality to the less subtle, talking about lesbianism and so on. But it didn't interest me. For me, the grand theme was Nature, and even the girl's sexuality was as much a part of that as the lizard crawling across the top of the rock. They were part of the same whole: part of larger questions.
It's interesting that you don't feel it to be more important, because it does seem very intelligently worked out through the film. For instance, there are kinds of contrasts you set up between the attitudes of those influenced by Victorian education - the girls and the teachers - and those of the servant, Minnie, and her boyfriend, Tom. Also, there is the contrast between Albert the groom, who makes fairly crude comments about the girls as they go up the rock, and the inhibited, more 'chivalrous' response of Michael. I think you can trace that sort of thing through the film...
Perhaps, but that kind of approach is quite foreign to me. The words and analytical thinking, which come from your side of the table, represent something I have unlearned. It is a tool that I was brought up with through my education, something I was trained to use and something I have found I didn't want to use or live with. I am not trying to imply something mystical, simply that to use words like this, is very distant for me. I think what I have done in my own sort of personality course over the past 15 years is what enables me to make films, or to make them my way, and I think this sort of approach gets in the way. Of course, I sat with Cliff Green and worked things out, and that was a necessary process to get something on to paper, something an audience can understand - a blueprint for the film. Perhaps it would have been easy to talk about this closer to the film, but now, as I am left with a horde of images from that film, it's only the way I began the film, or began thinking about it.
The scenes that seemed to matter in the film were not the ones of the girls going up the rock so much as those of earthy, more human behaviour - like those ones between Minnie and Tom, which give a context to the rest. Here are people behaving like people, and not like those who have been victims of a certain kind of education...
It's an interesting part of the balance, but it didn't interest me then, just as it doesn't now. In the film, what interested me were other areas: sounds, smells, the way hair fell on shoulders, images - just pictures.
One of the things that is said about your films, and you say it too, is that they avoid politics in the broad sense of the term. Yet in "Picnic at Hanging Rock", you have a very political situation: there is a certain sort of education, a certain class structure, that the film seems to deal with directly.
I found it very interesting as an Australian whose origins were in the British Isles, to use the film to sort of wander through the ruins of the class system. And then I went back to that from another angle with The Plumber: to look at class in contemporary terms, to what we might have become in our society where we don't seem to have such a clear working-class, middle-class, aristocracy thing.
David Hare, the British dramatist, has talked about why he thinks it is important to deal with historical subjects rather than contemporary ones, arguing that by looking back, you can see a process of change. You can identify shifts in a way you can't if you look at the present, where you are submerged in this mass of apparently contradictory information...
Yes, that is if your interest lies in a clear line between the two. Again I think it comes back to concepts, on the way you see things. A question that is often asked is, "Why are you filmmakers so concerned with the past? Why are you making so many period pictures? What we need are contemporary films that are relevant." But to me, that just never was the question. Past, present or future - they are all relevant, at least as far as filmmaking goes.
From "The Cars That Ate Paris" onwards, almost all your films, at least as far as your comments are reported, are conceived from a personal incident, and you seem to have rejected "The Thorn Birds" because you couldn't get involved. How important is that personal incident as a starting point?
Since I've become aware that I do this, I am attempting to stop. If something becomes self-conscious and you are continuing to do it, you are just acting yourself out.
The Last Wave was, in a sense, that externalising a feeling that came from picking up a head in Tunisia, and the bottle [Eno Salts] that I picked up, among other items, at Gallipoli. But now having done interviews where these things have been photographed and looked at. It is as if for The Year of Living Dangerously I will have to go and collect something in Indonesia, which is absolutely absurd.
Nevertheless, that kind of connection with a story is important for me; a feeling that it is somehow a part of me - that I am part of the process of the film.
One of the credits for "The Last Wave" reads "based on an idea by Peter Weir". Does this idea come from the stone head you picked up in Tunisia?
In this particular incident in Tunisia, we had stopped at some Roman ruins and I had a kind of premonition. The driver was tooting the horn of the car to make us hurry back, but I delayed. I am glad, because I found a little piece of stone with three parallel lines on it. I pulled it up and it was a hand, a fist attached to a head - about the size of a doll's head. It was a marble figure of some sort, cut from some sort of relief. I later got it dated at the University in Sydney.
I then wondered what was the experience I had passed through, and found myself thinking of it happening to a lawyer or a journalist - someone who dealt with the rational, and with "facts". I let that thought hang about for a while and joined it with some other thoughts I'd been having. A pattern formed and a story began to emerge around that of a lawyer who stumbled across areas of the irrational or the unreal.
To what extent is this notion of the irrational essential for you as a starting point for a film?
I think there are all sorts of other things, too. It may have been important at one point, but I like to feel I am moving in other areas now. We mentioned comedy earlier, and in talking to John Cleese we threw around a couple of ideas and a couple of funny situations. So the search for this story is apparently not following that kind of route.
But the area of creativity is obviously one that can be approached by various avenues. You have to leave yourself open. Just as people jog to keep their bodies fit, there is the equivalent mentally. You must somehow have a set of some sort of exercises. I am not talking about some sort of transcendental meditation, because that's not really worked for me, but you must, somehow, have your mind open like a child. Obviously that is not easy.
In "The Last Wave", was your point of interest the details of the Aboriginal culture? Was it important to you that the audience received those, or that it received the experience of a white Anglo-Saxon man, faced with the area of mystery, the unknown?
I think it was the latter, because there was so much I didn't understand about the Aboriginal people. I still don't understand and I did not want to draw conclusions on their behalf. Also, I had to use the English language when talking with tribal people, and that further opened up the danger of false conclusions.
In talking with them, I had to talk about my character, of course, and what I felt. I had to do that in a particular way to try and get round the language, communication problem. With the tribal people, I did that in a very aggressive way; I had to. The tentative approach just didn't feel right to me; the sort of approach at the "white man's burden" level. I had to come in as an equal, somehow, and that was very difficult.
I also knew that if I thought about it too much, I would never start anything. So I came in talking about what I felt was my own "missing link" and feeling. I tried to explain my attitudes to my own past and the kind of things that I'd felt on finding the Roman head.
I went to meet Nanjiwarra in Darwin. I just steamed in there, not really knowing what the result might be, but just taking a gamble, an intuitive guess, that I was in the right direction. We communicated rapidly, and I learnt things that I wouldn't have through another process.
You seem to share many things with Nicolas Roeg. Not only through 'Walkabout", but also "Don't Look Now", where it seems there is a more or less comparable situation of the rational man being forced to surrender his rationality to come to terms with his situation. Have you ever considered any kind of similarity between your work and his?
I have loved a number of his films and, yes, there are areas where our paths have crossed. But in other areas we diverge. His treatment of sexuality or sex is different from mine or is more predominant. He uses that as a part of his tension. I use other systems. It's like waving at someone in the distance and sharing a smile. But that's about as much as I know about him.
A comparison of "Don't Look now" and "The Last Wave" raises two points of disappointment for me in those films and that is when the mysteries are actually unravelled. In "The Last Wave" it's when one sees the wave with David Burton (Richard Chamberlain) in the last shot. I have always wished that film had ended with his look...
Th ending is still a problem for me.
In David Stratton's book, 'The Last New Wave', he says you wanted to do the ending in a much more lavish way: perhaps streets being flooded and so on. Was the decision to end the film as you did just forced on you by economics or was there an artistic choice?
Both elements were involved, but I think I have to be honest and say that I didn't find the solution to the problem of how to end the film. there is no ending and I was painted into a corner. I have seen it happen with other filmmakers dealing in this kind of area. You can't end it. You can try to be clever, and I tried a couple of other endings that I did stop short of any wave, but they were just too neat. The ending just plagued me, and it was an extremely unhappy period. Part way through the film we broke over Easter. I remember a terrible few days wrestling with this ending and pretending I had found a solution to it. But I certainly had no plan I failed to execute.
Looking at the film now, do you have an idea of how you might end it?
No. It's just the last chapter is missing. I just have to leave it; don't look back.
Do you have a special interest in myths? It seems to be the case in "The Last Wave" and indeed in "The Plumber", where the Judy Morris character is very interested in New Guinea tribal habits...
It's something that comes and goes. I mean, I'd say that, as of this moment, I am not interested, but these things don't go away, they are presumably part of your make-up. They come back when you have worked through it.
Would you suggest that is the case because myths tend to be a way of coming to terms with things otherwise unexplainable?
Yes, I think they are an essential part of civilisation and it's given us particular problems as displaced Europeans who chose, for some extraordinary reasons, to leave our myths behind. I think our films in this period are, at times, an attempt to rediscover them or to reinvigorate them or even to create them, as the Americans have done. I think that part of their mythology can be seen on the screen. They didn't invent it, but they plugged into something. In this context, the ending to The Last Wave becomes less important to me. It was in the centre of the film that my interest lay, in coming close to something and failing to achieve it. I think if I did the film today, I would make it less extravagant from the "disaster" element and stay in the law court.
You say "coming close to something". Is it possible to be more precise?
No. I think you can look at it in a number of ways. I think it was dealing with some very powerful truth, in fact, I was working out while making the film. I don't mean like working out a personal problem, but the chemistry of the people involved and the material we were dealing with became more interesting than the script itself. There was a highly-charged atmosphere.
As most people know, that's true of any film set, given that the material has some potential in it, and this was particularly true with The Last Wave. I have never had one quite like that and others would have taken the material in different directions. But having Nanjiwarra and Gulpilil in the city, dealing with that material produced tensions that were quite extraordinary. And all I could do is try and hold on to it.
It was very exciting, far more interesting than the rules for constructing a dramatic story, even though it may have led me away from finding a satisfactory conclusion for the film.
Is "The Plumber", then, a return to something much safer?
No, it wasn't that so much as being in a period where I had no project ready to go. I had this short story and needed some money.
Your intention was to write the screenplay for "The Plumber", but not to direct it...
Yes, I didn't think there was enough in it for me.
Yet, in the context of your work, it looks very much like a Peter Weir film...
In the end I couldn't let it go.
Was it frustrating making it for television?
Only when I saw it come out on television with the commercial breaks and the small screen. There was a sense of some sort of loss.
In some ways, it seemed like a return structurally to "The Cars That Ate Paris", that is probably more tightly put together...
I always think of it as a companion piece to Homesdale and Cars.
And again, though you may not agree, a sort of black comedy idea seems to go right through these three films particularly...
In the period after "The Plumber", there seems to be a large gap which I gather is taken up with your time in the U.S. and the abandoned "The Thorn Birds". Do you still want to work there?
Well, the U.S. to me now, after so many trips and so many projects that weren't right, has really come down to almost a group of people. I have a number of friends there now, in the business mostly, and I would like to work with them or use them in various capacities. But I feel, at the moment, that it is right for me here. Australia is the most exciting filmmaking country in the world. How long it will last I don't know. These things fade, as film history teaches us.
So, my interest is here now, though if I had found something particularly exciting in the U.S., I would probably go. But it wouldn't be going over for a oncer and then coming back.
Is it that there are a lot of constraints in the U.S., like what happened to "Cars", that seem to be constantly holding you back?
I don't think that's a good example because the McElroys [producers] and I were just extremely naive. Those were very early days and we thought we were in with the right people, and we weren't. We just got ripped-off. But even if they hadn't done what they did with the cut, the film still wouldn't have worked. So I am not worried about that.
I think it's just that they are choked with craft over there. There is just too much refinement, too many filters, too much processing of material. Talk about losing the art! They sure have the craft in great quantity, but if I hear that word "development" again I think I will just cancel the ticket. It's great to put the script through the punishing process they invented, but there is a time when you have to make it or drop it, and both those decisions they will defer as long as they can - to the detriment of the projects.
Would you agree that the title "Gallipoli" refers not so much to a place or a battle as to an idea...
In the desert sequence in "Gallipoli", Frank makes reference to Burke and Wills. It makes some kind of contact between their enterprise and the idea of "Gallipoli"...
Yes, it was a great idea of David's, linking the two failures.
Your collaboration with David Williamson seems to have been a very productive meeting of different interests. Is he happy with the film?
Yes, I think this is evident from the fact that we are going into another one. We had disagreements, but there were only one or two instances where we walked away thinking maybe we won't get over this one. The film and the ideas involved were bigger than we were, so we could always meet again under those terms.
There seems to a be a striking similarity between: "Gallipoli" and "Chariots of Fire". They are both set in the early years of the 20th Century and deal with athletes going off to represent the Empire but not really understanding the implications of what they are doing...
There are similarities but only superficial ones. The tone is very different. I love the music of Vangelis and had planned to use him for some time, and there he is on the soundtrack of Chariots.
Would you agree that "Gallipoli" is a change of direction for you?
Apparently, but at it's heart I don't think so. Its source came from a visit to Gallipoli in 1976, which was the period when I was also working on The Last Wave. So I think you have to look at it as within the same period. I feel it's my most successful film because it has stripped away the cleverness and tricks with a process of refining and simplifying, which I think I began in The Plumber.
It seems to be a very relaxed film without being loose, as if it's in no hurry to get where it's going although it knows where that is...
I think that's something that I have learnt. It's such a long apprenticeship you have to serve in films.
You obviously make a choice not to show very much blood. You showed bodies, but there's none of that Sam Pekinpah-style stuff, which would have made the impact of the actual process of dying pretty powerful and bloody. Were you concerned dramatically to work away from that?
Yes, but I disagree with an aspect of what you have just said. I do think the more you show, the less real it becomes.
How do you feel about Frank? In a sense his destiny remains unsolved...
I think we know Frank. He was a survivor and a type one can still observe today.
Do you agree that the film is less the dramatisation of an anti-war viewpoint than a study of the idea of adventure with one's mates and of their competitive urge?
I saw a headline in the paper today saying, "Americans claim neutron bomb will prevent war". So what does "anti-war" mean? Everyone is anti-war. I think the term was invented in some publicists office. When the war happened, it happened. I didn't really care why it happened. I have heard too much about that. I did it at school and never believed a word of all the explanations of how it happened. My interest was not in the causes of war but in the men who went.
The choice of music for your films seems to be just right. Do you add music after the final cut or do you have some piece of music in mind en route to the final cut?
Both, I think. Quite often I have been surprised to find that music which gives me inspiration during the shoot just doesn't work with the cut. So I have to put it aside; it has served its purpose. In the case of the pan pipes in Picnic, Bruce Smeaton and I were looking for the appropriate sound and the closest I ever got was some Celtic music of Alain Stivel's. But it wasn't right. Then Jim McElroy walked in with this beautiful and appropriate music and said, "I've got it." He'd heard it on television and there it was; he was right.
Is the choice of Mozart in the garden party sequence by the lake in "Picnic" deliberately there to point the oddness of the European culture in this very alien landscape?
Yes. It struck me as very funny. I also liked the music very much. But it's funny how you change with things. At first, my response was purely a visual one - all the people in those clothes by the water - and that pleased me. But as we played the Mozart on the day of filming I just drifted into some other area. I thought, what beautiful music, and who cares about what happened to some British culture and who cares about the point of the British in Australia or the Europeanness in our landscape. Suddenly it was too obvious and nothing compared to that piece of music.
This obviously happens as you are directing. You drift into other areas. You forget trying to be clever. I constantly try to strip myself of cleverness, because I think that old adage is true: that while mastering your craft you lost your art. So many first films have such vigour, energy and originality, yet later works often gain in craft and lose that fire.
In "Gallipoli", you manage to create an atmosphere that seems just right. A good example is that extraordinary sense of a "ghostly funfair", as I think Evan Williams in 'The Australian' described it, when soldiers arrive at Gallipoli...
Yes. I think it's something that's come naturally to me and it's something I know will just happen. But I don't know how.
The scene you mention came from the description of a veteran, a man called Jack Tarrant who came in as a reinforcement. He said "How can I possibly describe it to you? It was a hospital ship and it had its red cross and green lights on. I can't think of the words to describe it. It was just not what we expected." And that was enough of an inspiration. I was so grateful for the experience that came through what he said. He had given it to me.
Evan Williams' description was very apt, I think, for it was exactly how I thought of it.
But it's not just the images. You seem to spend a lot of time preparing the soundtrack...
I love sound. I work with it constantly. I feel it's the final creative stage that a director has at his command. I have always worked with Greg Bell and Helen Brown, who are a great team. We have very inventive sessions which can change the tone and mood of a scene.
They are constantly experimenting , mostly with familiar sounds. They like to work at replacing the natural sound with some other kind of sound: It's part of the secret of creating that atmosphere when a footstep, in fact, is being created by something either electronic or inconsequential - crushing a packet of chips or something. It gives the sound an edge. But you'd never pick it.


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Viscometer / Viscosity Meter / Rheometer
A Viscometer, Viscosity meter or Rheometer is an estimating logical instrument that is utilized to decide the inside stream opposition or consistency of a liquid. For consistency liquids that fluctuate with stream conditions, a gadget called a rheometer is utilized. Hence, a rheometer can be thought of as a unique sort of viscometer. Viscometers measure just under one stream condition. In general, either the liquid stays stationary and an article travels through it, or the item settles and the liquid gets past. The drag brought about by the overall movement of a liquid and a surface is a proportion of consistency. The Reynolds number must be sufficiently little to permit the laminar to stream at its stream position. The term consistency, as a rule, alludes to shear thickness, that is, the manner by which a material responds when shear occurs. Rotational viscometers with turning axles or rotors, otherwise called "cup and bounce" or Searle viscometers, are the most well-known instruments used to quantify sheer consistency of fluids. In any case, the consistency of a liquid can likewise be estimated on a drag premise. The specialized term to allude to it is extensional thickness. Dhanbad Lab Instruments is the authorized distributor of PCE Instruments in India.
Viscometer suppliers in Jharkhand and Bihar | Rheometer suppliers in Jharkhand and Bihar | Viscometer suppliers in India | Rheometer suppliers in India | Viscosity Meter | Viscometer
Atomic Absorption Spectrophotometer | Digital Multimeter | Concrete Moisture Meter | Gloss Meter | Gas Detector | High-Speed Camera | Infrared Thermometer | Microscope | pH Meter | Particle Counter | Power Supply Unit | Paperless Recorder | Spectrophotometer | Torque Meter | Thermometer | Viscometer | Water Analysis Meter
PCE-RVI 2 V1L
PCE-RVI 2 V1L is a rotational viscometer used in industrial and research applications to measure viscosity according to BS, ISO and ASTM standards. Featuring a plug-and-play sensor for temperature control to help ensure accurate test results, this digital viscometer is delivered with spindles L1, L2, L3 and L4 and displays measurements in millipascal-second (mPa.s) or centipoise (cP), depending on the rotational speed and the type of spindle used. - Rotational speed: 0.3, 0.5, 0.6, 1, 1.5, 2,
PCE-RVI 2 V1R
PCE-RVI 2 V1R is a rotational viscometer used in industrial and research applications to measure viscosity according to BS, ISO and ASTM standards. Featuring a plug-and-play sensor for temperature control to help ensure accurate test results, this digital viscometer is delivered with spindles R2, R3, R4, R5, R6 and R7 and displays measurements in millipascal-second (mPa.s) or centipoise (cP), depending on the rotational speed and the type of spindle used. - Rotational speed: 0.3, 0.5, 0.6, 1,
Krebs Stormer Viscometer PCE-RVI 5
Featuring a unique automatic test mode for reliable, consistently repeatable and reproducible test results, this Krebs Stormer viscometer displays measurements in Krebs Units (KU), grams (g) and centipoise (cP). Used in the testing, development, manufacture and quality control of paints, coatings, lacquers, varnishes, adhesives, pastes, and liquid inks. - Rotational speed: 200 rpm - Viscosity range: 40.2 ... 141.0 KU / 32 ... 1,099 g / 27 ... 5,274 cP (mPa.s) - Accuracy: ±1 % full scale (FS)
PCE-RVI 6 is a Krebs viscometer or Stormer viscometer used in industrial and research applications to measure Krebs Unit viscosity according to the ASTM D562, ASTM D1131 and ASTM D856 standards. Featuring an integrated temperature sensor to help ensure accurate test results, this Krebs Stormer viscometer displays measurements in Krebs Units (KU), grams (g) and centipoise (cP). - Rotational speed: 200 rpm - Viscosity range: 40.2 ... 141.0 KU / 32 ... 1,099 g / 27 ... 5,250 cP (mPa.s)
Portable Viscometer PCE-RVI 3 VP20
PCE-RVI 3 VP20 is a portable rotational viscometer used in industrial and research applications to measure viscosity according to the Brookfield method. Featuring an ergonomic design and up to 30 hours of battery life during continuous operation, this handheld viscometer is delivered with spindles R2, R3, R4, R5, R6 and R7 and displays measurements in millipascal-second (mPa.s). - Rotational speed: 20 rpm - Viscosity range: 200 ... 200,000 mPa.s / cP - Accuracy: ±2 % reading (RD)
Viscometer PCE-RVI 4 VP20
PCE-RVI 4 VP20 is a rotational viscometer used in industrial and research applications to measure viscosity according to the Brookfield method. Featuring a simple, lightweight construction for ease of portability, this digital viscometer can be used in the laboratory or in the field. This viscometer is delivered with spindles R2, R3, R4, R5, R6 and R7 and displays measurements in millipascal-second (mPa.s). - Rotational speed: 20 rpm - Viscosity range: 200 ... 200,000 mPa.s / cP - Accuracy: ±2
PCE-RVI 4 VP60 is a rotational viscometer used in industrial and research applications to measure viscosity according to the Brookfield method. Featuring a simple, lightweight construction for ease of portability, this digital viscometer can be used in the laboratory or in the field. This viscometer is delivered with spindles R2, R3, R4, R5, R6 and R7 and displays measurements in millipascal-second (mPa.s). - Rotational speed: 60 rpm - Viscosity range: 66 ... 66,600 mPa.s / cP - Accuracy: ±2%
Flow Cup Viscometer PCE-127 Series
The PCE-127 DIN flow cup viscometer or DIN immersion viscosity flow cup series uses gravity to measure the flow rate of a liquid. Under ideal conditions, flow rate is proportional to kinematic viscosity. Thus, a DIN flow cup is used to determine the kinematic viscosity of fluids. The structure of a DIN flow cup is standardized according to DIN 53211. Designed for use with Newtonian and near-Newtonian liquids, this viscosity cup series features: - Orifice diameter (Ø) of 4 mm - Viscosity range


Please fill out the following order form for each song you want to record. When you're done you'll be able to e-mail it to us along with an .mp3 of the song you want recorded into a Square Dance record and you can make your payment with paypal. If you're recording more than one song you will be given a total.
If you're not sure which instruments you want for the melody or for the main track we can arrange it for you. Some callers have certain instruments in mind so this form gives them a chance to lay out the arrangement exactly how they want it. Again, Circle Left Recording Studios will call you to go over everything for each song to be recorded.


Connie Costa is a Laughter Wellness Teacher (Level 3) and an active Laughter Wellness trainer, based in Sydney, Australia. She is the founder of Laugh and Live Well, an organisation that specializes in corporate wellbeing workshops, team building experiences and Laughter Wellness trainings. Her professional background is in education and she has over 9 years of international teaching experience.
Connie experienced the therapeutic power of laughter for herself, following a prolonged period of work related stress, which impacted her ability to heal from an injury. After six months of regular practice, Connie trained as a Laughter Yoga Leader and then as a Laughter Yoga Teacher, with Merv Neal, expert in Laughter Yoga for Business. She continued her professional development by studying Laughter Wellness (Level 2) through the Laughter Online University. This training deepened her knowledge and complemented her professional programs. In 2016, Connie worked closely with Sebastien Gendry to complete her Level 3 training.
Connie has presented at conferences and training days for Google, the Commonwealth Bank of Australia and Insurance Australia Group, amongst other organisations. She is a regular presenter at the Australian Laughter Wellness Conference and recently opened the first ever Happiness Effect Conference in Kuwait.
As a Laughter Wellness Trainer, Connie is passionate about empowering professionals to incorporate the Laughter Wellness principals and/or exercises into their line of work, to enrich more lives through the power of laughter. Her trainees have included psychologists, nurses, yoga teachers, community workers and a corporate reward and recognition program specialist.
She is also the coordinator of Bondi Beach Laughter Club, a non-profit community club that supports community health, wellbeing and connection.


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Boogie and Eminem Get Stormy in New "Rainy Days" Video
It's the latest 'Everything's for Sale' track to get some visuals
Compton rapper Boogie is throwing more weight behind his Everything's for Sale album via a new video. This time, it's for the record's Eminem-equipped "Rainy Days."
As you'll witness, the clip indeed features some seriously rainy weather — not to mention some blood-streaked walls. Eminem also does get a chunk of screen time, and you watch the video for "Rainy Days" play out for yourself below.
As previously reported, Boogie is heading out on a North American tour this spring. You can see all the dates here.
Everything's for Sale is out now through Shady Records/Interscope and features Eminem, 6LACK, J.I.D, Christian Scott aTunde Adjuah and Snoh Aalegra.
More Eminem
Eminem Can't Shake the Haters on 'Music to Be Murdered By - Side B'
A wise man once said, don't read your mentions. He said to ignore the comments section. He warned artists that it's dangerous to read your o...
Eminem Surprise-Releases New Album 'Music to Be Murdered By - Side B'
Eminem kicked off 2020 with his surprise album Music to Be Murdered By, and now he's closing it with another surprise release: Music to Be M...
Certified Stan Sets Record for Most Eminem Portrait Tattoos
A Scottish woman named Nikki Patterson set the record for most portrait tattoos of a single artist, earning the Guinness World Record for he...
Stream Kid Cudi and Eminem's New Single "The Adventures of Moon Man and Slim Shady"
As promised, Kid Cudi and Eminem's new collaborative track "The Adventures of Moon Man and Slim Shady" is here, and you can stream it to you...
Kid Cudi and Eminem Are Joining Forces for a New Track
Kid Cudi and Eminem are teaming up for a new collaborative track. It's coming under the title of "The Adventures of Moon Man and Slim Shady,...
Moby Readies New Album 'All Visible Objects'
Fresh off the tattoo bed, Moby has returned with details of a new studio album. Titled All Visible Objects, the musician's latest will arriv...
Boogie Announces Headlining Tour Behind 'Everything's for Sale'
Weeks removed from delivering his Everything's for Sale album, Compton rapper Boogie has announced his first-ever headlining tour behind the...
Boogie Everything's For Sale
Has hip-hop finally turned the corner from notorious misogyny to thoughtful, redemption-yearning laments? Maybe not quite yet, but Boogie's...
Watch Elton John Throw Down in Rap Battle
Elton John is no stranger to the world of hip-hop, but he just strengthened those ties tremendously by joining an actual rap battle. Well, s...
6LACK Maps Out World Tour, Announces New Album
Exactly a year on from mapping out his first headlining tour, 6LACK has now lifted the curtain on a world tour of his own. The artist wil...


This will be looked on very poorly by lenders and make them much less inclined to lend to you.
They have many strict conditions, for example, they will probably expect you to accept the first job offer you get, even if it does not pay as well as your last job etc.
If you do opt for this route however, make sure you are very confident of finding employment before putting your home at risk.


Archive with tag: fashion coloring pages for kids | Sweet Sardinia Fashion Coloring Pages.
collection of galleries from Coloring Pages like Fashion Coloring Pages. and other designs you might like Nature Coloring Pages. Girl Coloring Pages. Dolphins Coloring Pages. Baby Animal Drawing. Legend Of Zelda Coloring Pages. Floral Coloring Pages. Coloring Pages Of Animals.


Website which will be looking great in mobile browser will be ranked higher and will get more visibility in Google SERP.
Recently there has been an announcement from Google Webmaster blog about Mobile Friendly sites ranking. They have told that website with Good Mobile visibility and have had no issue with Mobile Friendly test will be ranked higher than other competitor website.
I think this a very great move made by Google Webmasters. Because, there has being tremendous growth in mobile users and still being counted. Hence website which doesn't have mobile friendly layout will not have good impact on small browser, hence there might be distraction in mobile users.
With mobile friendliness, relevance of mobile optimized site will be more. And end user will have better browsing experience.
To check for mobile friendliness for few pages of site, you can use Mobile Friendly Test. If you have big website with multiple site, you can check Mobile Usability score from Google Webmasters tools.
How to Make website Mobile Friendly ?
Next big questions for webmaster is how to make there existing websites mobile friendly. My suggestion would be hire a CSS and JS developer to change the hard coded value to floating values.
For CSS, changing width px to % and display:none to unwanted area of screen would work out. But still, I would have preferred to go with developers or change my existing layout to new layout.
If your site is built on WordPress CMS, then choosing a responsive web theme will solve your problem.


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Jakob Ellemann-Jensen (1973_0, un homme politique danois, membre du parti Venstre ;
 Karen Ellemann (1969-), une femme politique danoise, membre du Parti libéral du Danemark ;
 Uffe Ellemann-Jensen (1941-2022), un homme politique danois.

redpajama_set_name: RedPajamaWikipedia


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San Francisco transportation
BART approval disintegrates
A 2018 survey of passengers show satisfaction sinking to new lows
Photo by Justin Sullivan/Getty Images
Thursday's meeting of the BART Board of Directors will come with a special delivery of bad news, as the board will consider the dismal results of its most recent rider satisfaction survey.
The 2018 Customer Satisfaction Study shows that BART's overall approval rating has plunged a shocking degree in a relatively short period of time.
BART conducted the survey of 5,292 people between September and October of 2018. While historically popular throughout the region, BART has seen its approval ratings slide in recent years, a trend that has become only more pointed with these new insights.
Among other things, BART directors will learn Thursday:
Rider satisfaction is way down. While a majority of riders—56 percent—still say they're happy with BART overall, that's a 13 percent decline compared to two years prior.
Locals are less likely to recommend BART use. Of those surveyed, 73 percent would "definitely" or "probably" recommend that out-of-town visitors use BART; previously, it was 85 percent. The number of passengers who say "definitely not" tripled from one percent to three.
Declines in BART popularity are relatively recent. Between 1998 and 2004 BART's satisfaction rating climbed each year, all the way up to an all-time high of 86 percent. It then remained relatively flat for almost a decade, coming out to 84 percent in 2013. But after that the figures fell off a cliff, plunging to 74 percent in 2014 and descending ever since.
Riders say BART is dirty, unsafe. The most commonly cited reason (35 percent) for decreasing BART use was that riders had moved somewhere with less access. But of those factors that BART has control over the most common complaint was a perceived lack of cleanliness on trains (27 percent), worries about crime (23 percent), and gripes about crowding (21 percent).
New trains get higher marks from riders.
Courtesy BART
Some small things improved. Riders in 2018 said trains were less noisy, were slightly happier with BART's hours of operation and the ease of use of its website. In an encouraging sign, riders' happiness with the elevators at Civic Center station leaped from 44 percent to 93 percent after BART began posting attendants to safeguard the conveyances last year.
New vehicles increase satisfaction. Another hopeful sign for the system is that the new train cars appear to be popular with riders, particularly in terms of cleanliness—90 percent of those surveyed say they appreciate the degree of visible sanitation in new cars, versus just 57 percent for older vehicles.
BART Board of Directors, 1.24.19
BART Extends Elevator Attendants [Curbed SF]
New BART Cars Go Into Service [Curbed SF]
Curbed SF Is Closing
S.F. Skateboarders Bomb One of the City's Biggest Hills for Black Lives
Once a Sign of Blight, Boarded-Up Windows Provide Canvases for Artistic and Political Expression
Here's Why the Golden Gate Bridge Was Singing
S.F. Mayor to Redirect Police Funds to Black Community
City's curfew ends