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Tag: Orlando
A Reflection on Hate
June 20, 2016 April 4, 2017 by Emma, posted in PhD
It's been a tough week. It has been globally terrible. There was the mass shooting at Pulse in Orlando and one of our brilliant female politicians was murdered in the UK. It has been a week showcasing the power of hatred, how infectious it can be, spreading pain from person to person, a rippling impact.
These two events share one thing in common, the media has taken pains to emphasise that the perpetrator was mentally ill. Now, of course, mental illness can lead to people doing terrible things, but it's not the be all and end all. Mental illness is not an excuse, and it is not the sole reason for a person's actions. No one lives in a bubble. Both of these acts of violence are a product of the society that they occurred in. They are the result of a society that perpetuates the demonisation of certain groups of people – homosexuals, immigrants – a society in which hate speech is not only excusable but actively used within our politics. As my friend Cheryl Morgan said, hate speech is a gateway drug for hate crime. In the US there is Trump, in the UK there is Brexit – both are stirring up hatred, and both have blood on their hands.
As someone who is both queer and has an active awareness of her mental health, this week has been very trying. My people are by turns victimised and demonised. But it's also made me think about issues of intersectionality. The majority of the victims of the Pulse shooting were Latinx, something that the media seems to have skimmed over. Was it a coincidence that the shooter chose a Latinx night to attack? Subjugation has layers, we are not equal in our suffering. Any sexism I face as a white woman is nothing compared to the racism and sexism faced by women of colour, and again nothing compared to the racism, sexism and transphobia faced by trans women of colour, who face disproportionate levels of violence, even compared to other groups within the LGBTQI community.
The murder of Jo Cox, a British Labour politician who spent her career fighting for the underdog – the rights of women, the safety of refugees and migrants, the poor and disadvantaged – was an act of hatred by someone who named himself 'Death to traitors, freedom for Britain'. This was an act of both sexism and racism. There are plenty of other politicians who shared Jo's views, but it was her, one of the few female politicians we have, who was murdered. Wherever you stand in the EU argument, it is unquestionable that this was also an act influenced by racism, symptomatic of the political rhetoric that has invoked a fear and hatred of migrants – migrants, I might add, who are escaping a war-zone that we, the UK, helped to create. Imagine how you wish the Germans had treated the Jews, now apply that to the UK's treatment of migrants. One far-right politician literally remade Nazi propaganda and used it to try and make his point. This is what some areas of British politics has become.
It's easy to get bogged down by all of this hatred, I certainly did for a number of days, but I think it's also important to see the love and kindness. The number of people who rushed to help during the shooting; the people who stayed in the club when they could have escaped just so they could find their friends and give them the chance to escape too; the number of people who have donated blood to help the victims; the amount of money that has been raised for the Jo Cox Memorial Fund to support her favourite charities – those supporting volunteers, Syrian rescue workers and to combat hate within local communities. I heard somewhere that whenever you see terrible things happening or on the news, you should always look for the helpers – they are always there.
I haven't worked on my PhD this week, I've been too sad or angry in turns. But it has emphasised to me how important it can be – education, visibility, representation – it all adds up to hopefully reduce the hate and fear that can be manipulated with terrible impact. Always remember who the real bad guys are, always look out for those with less power than yourself.
Tagged Academia, academic, Brexit, depression, Intersectionality, JoCox, LGBT, LoveWins, Orlando, PhD, phdchat, phdlife, postgrad, Pulse, Student, Study, Thesis, University2 Comments

redpajama_set_name: RedPajamaCommonCrawl


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Amazing Asians in the Arts: Emily Kuroda
December 26, 2020 10 min read
Emily Kuroda is an actor, writer, and producer based in Los Angeles!! Since her humble beginnings at East West Players, she has run the gamut from stage to screen, acting in TV shows like "Gilmore Girls" and "The Good Doctor" to new works like "Endlings," a play about the henyos in Korea, which she had performed in Boston right before the shutdown this year. Keep reading to find out more about what makes Emily an Amazing Asian in the Arts!
Name: Emily Kuroda
Heritage: Japanese
Current City: Los Angeles, CA
Lots of different virtual readings and workshops. I was supposed to do a TV show that was shooting in South Africa before Covid cancelled it.
I was doing a play called Endlings at the New York Theatre Workshops. It's one of my favorite plays. I did it once before in Boston in the dead of winter! It's a play about the henyos, the Korean women (most of them are older, in their 50's or their 80's!), that are sea farmers. Every morning they work 7 days a week as the weather permits, and they farm the sea. The boat comes in at the end of the day to buy their stuff. They live in little shacks. And the reason that they're mostly older is because they pinch and bend every nickel so their children can get out of there! So their children go to college in places like England and other Western countries, and very few henyos are left under the age of 50. Our director and producer actually went to Korea and hung out with the henyos there, and we had some of their actual wet suits on our set! It was a nice exploration into that part of the world that I wasn't familiar with before. We had a pool on stage, it was like a fish tank, and I went in and out of the pool 5 times per show, and did the show sopping wet!
Do you have any favorite moments in your career that you'd like to share?
I did a lot of theater, and those are all my favorites lol
As far as film I did American Geisha, where we shot in Kyoto and we were dressed by real geisha Japanese dressers, and it was based on a book about a Caucasian lady, the only one ever at that time that was allowed to join a geisha house, so the movie of the week was about that. We all went over to Japan and were trained by the real geishas, and we were privy to a lot of things that the public was not privy to. We got to go to their actual wigmaker's huts and some geisha parties for businessmen. It was a very magical experience for me.
I also did a series called Gung Ho on ABC. We only lasted 1 season so no one ever remembers it ha ha ha
Cambodian Rock Band. I was in NY in Jan through March, and we had 5 kick ass shows, Asian Americans did. And we were getting great reviews and sold out houses. It was the first time I'd ever seen this. Usually there's one Asian show that does really well and it's a fluke. The rest of the time we're in little closets playing to 40 people and nobody comes. So it was like "OH! Our day finally came!" and we were so happy! Then the pandemic closed us down.
It's just something to do. It's not you. I think more of you comes from your family, your history, your family's history. Your grandparents and great grandparents. Study them. Talk to them while you can. That's where your power comes from. Go to college. Learn, read. Read books. I know for an actor, people go "I want to be on a tv show. I want to do commercials." Well I hate to tell you but those kind of actors that don't read and all they care about is how they look. They don't last. The people who last are the ones who are not so egocentric. Who can listen to other people who can learn by watching who have empathy. Those are the people who last. Those are the people who can really do their art. The other people usually are just temporary little celebrities who don't last. Then they become terribly unhappy because they become old and then they feel like that's the worst thing in the world to happen to them, because they have no core. They haven't worked on themselves, on their soul, and they end up paying for it down the line. So I caution young people not to go there and always be aware of your friends and your family and your history and the world around you. Not just the art, but the world around you because your art is a reflection of the world as well. I have always admired people who didn't sell out for the money or compromise their beliefs. I was talking to John Cho, and this was when he drove this little red Toyota with a coat hanger antennae lol He had just started working and he was teaching English and I said "John, what if you're poor and you need a new car?" and he said "I can teach or scoop ice cream. I will never, never compromise my beliefs for money. No," and he never, never did. Do not compromise. He didn't say it's because I'm going to be a star. He just said "I would rather wash dishes." You don't need that much, really. I guess in LA you do because rents are so high lol When I started I was working 2 jobs and doing every show at EWP and I was so happy. And even now, I remember one time my agent called and said they want to give you a guest star spot on some big sitcom, but I had promised a friend that I was going to do a reading of a play for free, so I said no, I gave my word on this play. But my agents are used to me so they said ok . But you can't go wrong if you follow your instincts.
Do you have any organizations or nonprofits you work with you'd like to highlight?
East West Players. All the theaters. Right now all the organizations that are feeding the hungry. With all this going on that there's a lot of families that don't have dinner on their table. I would like to remind everyone let's not forget that there are a lot of people that are hungry. I do a lot for them.
I was very shy and I didn't talk all through grade school. In high school there was a class called Oral Interp where we would say monologues and stuff, and I really liked that, so I started talking only doing that. Then for some reason I went into theater, but because I was Asian I could only direct, or if I was in it I could only be a chorus member, so I directed in high school and then I went into drama in college, and they told me I would have to teach because, come on, let's get real. So I was getting my secondary credential and East West Players were at the student union and I happened to see them and I thought "Oh, they lied to me!" I talked to them and they said "Yeah, you can act and also be Asian" so that summer I went to EWP and signed up for their summer workshop. Then I auditioned for their fall show I got into that, then I ended up doing almost every single show for the next 5 years. I took every single class and I just stayed. And the people that I met there in 1978 are still my best friends in the world.
Interesting facts about yourself?
I have 2 cats
My husband is an actor. He used to direct, but now he's an actor. It's easier LOL
I always wanted to be in the arts. I used to play the violin (not well). I was in a quartet and in the orchestra, and you know when everything works and your spine tingles? It's like "OH! I want to do this again!" It doesn't happen all the time (at least not the groups I was in) but it's the same with theater or any kind of art I suppose, where all of a sudden you lose yourself and you soar. It's the best high in the world, and it happened early on for me in orchestra before I found theater. But I always wanted to get that feeling again so that's what I've been striving for. A lot of people don't understand it unless they've experienced it. They think you want it for the fame or the money or the adventure. Mako, who was my first acting teacher, said "if there is anything else you could possibly do in your life, do it. I wouldn't wish this lifestyle on my kids, this uncertainty."
I came to an odd little turn about 10 years ago where I used to hate teaching because I'm really shy and I'm not good with people. But all of a sudden EWP asked me to teach, and I started enjoying it. Working with young people that have talent, it's exciting! John Cho was one of my "kids." I knew him when he was an English major at Berkeley. Once you really connect with a student, it's really gratifying. You changed something. By changing that person you have changed the world.
Did you have any mentors?
Mako. He was one of the founders of EWP.
No one and everyone LOL
Were your parents in the arts and do you see any parts of your parents in yourself?
No, My dad was a farmer. He wanted to be a doctor. He was going to Stanford, then the war hit and they were relocated and they lost everything. They were in the Poston Interment Camp in Arizona. Then he joined military intelligence because he spoke Japanese. He decoded Japanese signals in India. When he got back it was such a racist world that he just became a vegetable farmer. He met my mother in Tokyo before she came over. But it was just not a Japanese friendly world after WW2, so my dad was planting vegetables and he had to work 24/7 and my mother worked in a sewing shop. I started working when I was 14, me and my 2 brothers. If we wanted money we had to work for it.
I think I'm more like my mom than my dad, but it's mostly just I love organizing. And we both love Costco. Must be an Asian lady thing!
I'm really boring. I'm like a jack of all trades, master of none!
Did you ever have an odd jobs?
I was a framer. I worked in a framing shop so I framed. I've been a waitress. I was a house cleaner but I only lasted one day. I was a car hop (not the kind on roller skates!). And when I was at EWP I did publicity. I've been a photographer. Done some writing, producing.
Do you have any special skills?
Probably nothing. I don't have a lot of special skills, and I have more limitations than anything!
What have you found challenging in your career?
The problem is every 10 years I'll do an Asian show, and they'll go "oh that doesn't sell" then they don't do it anymore except for recently with the success of Fresh Off The Boat, so I'm hoping that breaks a cycle that lasted for decades. First there was Pat Morita's show, years passed then there was us (Gung Ho), then a decade passed, then Margaret Cho's show All American Girl, then nothing, because it didn't sell. The next one I think was Fresh Off The Boat. Then Ken Jeong's show Dr. Ken that lasted 2 seasons. It's also very difficult, I think, and I don't know if this has anything to do with the longevity of Asian shows or movies, but, Asians just criticize each other's shows. Like Mulan. They're like don't watch! Let's boycott! Now, granted, there's a lot of white people involved, but they said let's put all this money into a blockbuster movie (I hope) and hire all my friends, so there's a give and take there, but pisses me off because we can't even applaud them and go ok, next time we'll do it better. Next time we'll be a little more culturally sensitive. It happened with All American Girl too. The same thing happened and people were picketing and boycotting and she said "give me a break!" I don't know if that had anything to do with the fact that there are so few Asian projects.
I like people. I would categorize myself as socially inept. I'm not good in social situations, but I like watching people, and it gives me great joy sometimes.
What helped you most to rebound from what you considered your biggest failure or mistake in your career?
I didn't really have any. Except the time my phone went off during takes on "The Good Doctor." Twice. THAT was a failure. By the time I left they hated me. That was a mistake! But aside from that, I can't think of anything, because even when I fail and I'm bad, I still learn something. You don't get any better unless you're bad every once in a while. If you're not bad, then you're safe. And boring.
What made you take the leap from acting to writing or directing, and how did it change your way of thinking?
When you're an actor and you forget a line, you think it's the end of the world. On the other side of the table, it doesn't mean anything. It's fine!! You're looking for a quality, an honesty, a passion. So you mess up your lines. You'll get better.
Everything. Nature.
When you're looking at new projects, what do you look for that catches your eye?
I saw yes to everything. I don't even read it. And only twice have I had to say "Uh, I'm sorry. I can't do this." LOL And I'm like, old, so.
To find out more about Emily, please visit her at:
Instagram: @emily.kuroda
Twitter: @EmilyKuroda
www.EmilyKuroda.com


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Ten players on standby as COVID-19-hit Zimbabwe submits squad for CHAN
0	January 8, 2021 3:37 PM
Zimbabwe have submitted a larger squad for the upcoming AfricanNations Championship (CHAN) with 10 players on standby after being hitby an outbreak of coronavirus within the camp.
Source: Ten players on standby as COVID-19-hit Zimbabwe submits squad for CHAN
Nine players and five members of staff have tested positive for COVID-19, delivering a huge blow to Zimbabwe's preparations for the tournament which is due to start on January 16 in Cameroon.
With nations due to submit their 23-player squads today, the Zimbabwe Football Association (ZIFA) sent a letter last week to the Confederation of African Football (CAF) asking for an extension to the deadline.
But according to Bulawayo24, the ZIFA has yet to receive a response, forcing them to add an extra 10 names to the squad as doubts reign over the involvement of the players that have contracted coronavirus.
"We are submitting a list of 33 players to CAF," said Wellington Mpandare, general manager for the Zimbabwean national team.
"We are sending the names of the final 23 players that are in camp as well as the 10 that are on standby."
The players and staff that tested positive as well as those that have been in close contact remain in isolation while the ZIFA has suspended all training sessions for the Zimbabwe CHAN team.
The organisation described the development as a "painful scenario" and a "huge setback" ahead of CAF's second-tier tournament.
A further round of coronavirus testing is scheduled to take place on January 10.
SRC has approved CHAN participation. Warriors depart for Cameroon on the 13th of January. pic.twitter.com/O9jKI7wVgH
— Zimbabwe Football Association (@online_zifa) January 7, 2021
Devon Chafa, Nqobizita Masuku, Tymon Mvula, Diro Nyenye, Frank Makarati, Ishmael Wadi, Tichaona Chipunza, Thomas Chideu, Phineas Bamusi and Jeansmith Mutudza have all been placed on standby.
The group are expected to be tested for COVID-19 before joining up with the squad which is due to depart for Cameroon on January 13.
In a statement released today, the ZIFA said the nation's participation in CHAN had been approved by the Sports and Recreation Commission.
The announcement comes after the Zimbabwean Government suspended all sporting activities in a bid to halt the spread of coronavirus.
"We wish all those tested positive a swift recovery," the statement read.
"ZIFA appeals to all stakeholders to remain vigilant in the face of a renewed COVID-19 threat.
"Please observe all health and safety guidelines to keep everyone safe.
"We wish our Warriors all the best and we hope they will prevail in Cameroon."
CHAN was due to be held in April 2020 before being pushed back to this year because of the coronavirus pandemic.
Zimbabwe have been drawn in Group A alongside hosts Cameroon, Mali and Burkina Faso.
Only players involved in domestic leagues are eligible to take part at the CHAN.
Spectators will be allowed to attend matches at this year's competition, but will be limited to 25 per cent of their capacity.
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Govt likely to impose lockdown: Mangwiro
Govt slammed for politicking in resolving water crises
Ex-minister case deferred to next year
Indeed, the US never been paragon of democracy, but laughable that a worse tyranny would dare comment
Doctors warn Zimbabwe healthcare could face collapse as hospitals are overwhelmed amid Covid cases spike


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China's First Space Lab Carrying Flags Flown on US, Russian Spacecraft
By Robert Z. Pearlman 2011-09-29T22:44:14Z
International Astronautical Federation (IAF) president Berndt Feuerbacher, left, and Shenzhou 7 taikonaut Zhai Zhigang hold one of the 300 flags that are now in space onboard China's Tiangong 1 space lab.
(Image: © Xinhua )
China launched its first space lab Thursday (Sept. 29), the unmanned Tiangong 1 module, on a two-year mission to test technologies needed to build the nation's first space station. The spacecraft also returned to space a commemorative cargo that was earlier flown aboard both American and Russian spacecraft to and from the International Space Station.
The 8.5-ton (17,000-pound) Tiangong 1 lifted off atop a Long March 2F rocket at 9:16 p.m. local time (1316 GMT/8:16 a.m. CDT) Thursday from China's Jiuquan Satellite Space Center in the Gobi desert. Now circling the planet, the module will await the arrival of Shenzhou 8, an unmanned capsule scheduled to launch in November, to perform a series of rendezvous and docking demonstrations.
Two additional capsules, at least one of them crewed, are planned to visit Tiangong 1 over the next two years before the 34-foot (10.4-meter) long module is de-orbited. [Photos: China Launches First Space Lab, Tiangong 1]
Tiangong 1's launch marks the latest milestone for China's human spaceflight program, which began in 2003 with the flight of taikonaut Yang Liwei on the Shenzhou 5 mission. Just the third nation to put a human into space, China has since launched two more crewed flights — the most recent in 2008 highlighted by the country's first spacewalk — and intends to be the third nation to deploy a space station.
Packed on board Tiangong 1 are 300 flags that previously flew aboard spacecraft belonging to Russia and the United States, the two countries that preceded China into space.
Around the world in three ways
The small yellow and blue flags celebrate the International Astronautical Federation's (IAF) first 60 years serving as a worldwide coalition of organizations active in space. They were presented to China to fly on Tiangong 1 at this year's Paris Air Show, where IAF president Berndt Feuerbacher presented them to Shenzhou 7 spacewalker Zhai Zhigang.
Last year, the same flags were launched on Russia's Soyuz TMA-20 spacecraft to fly to the International Space Station. Russian Federal Space Agency cosmonaut Dmitri Kondratyev, NASA astronaut Catherine "Cady" Coleman and European Space Agency astronaut Paolo Nespoli delivered the flags to the orbiting complex in December 2010, where they remained for five months. [9 Weird Things Flown on NASA Space Shuttles]
On June 1 of this year, the IAF flags returned to Earth on board the U.S. space shuttle Endeavour flying its final mission. Endeavour's commander Mark Kelly and his five STS-134 crewmates landed with the flags after completing a 12-day mission to install the Alpha Magnetic Spectrometer on the space station, a science experiment built in 16 countries, including China.
By the end of their first spaceflight, the 300 IAF flags had logged 169 days in space.
China launches the Tiangong-1 space lab module Sept. 29, 2011 atop a Chinese Long March 2F rocket from the Gobi desert. (Image credit: CCTV)
Promoting peace in space
With their second launch on board Tiangong 1, the flags have now fulfilled the IAF's desire that they fly on "all types of active manned spacecrafts in the world." They are slated to be returned in 2012 by the yet-to-be-named crew aboard Shenzhou 10, which may include China's first female taikonaut, Chinese space officials have said.
Upon receiving them back, the IAF has said it will give a flown flag to each of its member organizations, "so as to promote human peaceful use of outer space and develop international cooperation for manned space," Feuerbacher said.
Continuing reading at collectSPACE.com about China's "Heavenly Palace" Tiangong 1 space lab.
Follow collectSPACE on Facebook and Twitter @collectSPACE and editor Robert Pearlman @robertpearlman. Copyright 2011 collectSPACE.com. All rights reserved.


We received another 0.03 BTC for joining IPO.
Though it was interesting to see his move, right? It reminded me of some of the children's psychology. I will be watching.
Can someone comment on the technical aspect of this coin?
Yea. Plenty if its real. It is similar to Datacoin and Skycoin to put in simple comparison. Except for it is a scam and nothing but a scam and only a fool would invest in here. Any poster that tells you to invest are either part of his crew and most likely a newbie status. DO NOT TRUST!
Well, StorageCoin is a scam. Siacoin is not. Wish I had seen this back in February when he made the first post. The technology is real (only starting to be implemented).
Just at today, the Poscoin ran away, took all the investor's BTC away.
I just want to say, be careful with IPO, though I really like STC's idea.
Thanks! I've worked hard on it.
In the diagram you can see that blockchain 1.1 tracks wallets 1.1.w1 and 1.1.w2. The combined balances of all the wallets in 1.1 is 4, so 1.1 reports its aggregate balance as 4. Similarly, blockchain 1 tracks the two blockchains 1.1 and 1.2, which have a combined balance of 14. Blockchain 1 then reports its aggregate balance as 14.
Here we have two example transactions. The first is from 2.w1 to 2.w2. Blockchain 2 confirms that 2.w1 has sufficient balance, and then confirms the transaction. In this case, only a portion of the network knows about the transaction, as the aggregate balance of blockchain 2 did not change.
In the second example, 1.w1 sends money to 2.w2. First blockchain 1 confirms that 1.w1 has sufficient balance. Then, the root blockchain confirms that blockchain 1 has enough aggregate coins to send the transaction to 2.w2. The root blockchain does not know about wallet 1.w1, it only knows that blockchain 1 has a large enough aggregate balance to send money to 2.w2. Finally, blockchain 2 receives the transaction and allocates the coin to wallet 2.w2.
Uhh, we don't rest on top of Nxt. I'm not sure why the guy added that in, maybe to sound more credible? Regardless Nxt is an entirely separate project and we don't rely on it in any way.
1) What is the purpose of the blockchain tree?
2) What is the root supposed to be?
3) Why focusing on the hosts for providing storage?
In the Nxt realm, we focus on accounts as the primary subject. They might have several hosts associated with them but that is all. In case of StorageCoin, the hosts attribute of a Nxt account would be available for the network to send requests directly to specific hosts (to query data or store data).
1. The purpose of the tree is to spread out the load. Sia hopes to house billions or more files. If you have 1 billion hashes on your machine... that's a lot of overhead data. We needed a way to spread things out and a tree seemed like a reasonable approach.
2. Not sure how to answer this, because I'm not sure what you are asking. The root is the highest level of the tree and it manages the most aggregate info. It also makes the decisions like the price of storage.
3. The focus is hosts because we're trying to store files at extreme efficiency. I believe that Sia can be hyper-competive with S3, being cheaper than Amazon Glacier, more secure (colocated), faster, and equally low-latency as S3. I'm somewhat ashamed to admit it, but I don't really know much about Nxt. There's a lot of noise in the bitcoin world and it's hard to tell what's legitimately innovative.
Thanks for posting here David. I'm looking forward to learning more about your plans for Sia.
+1, would like to hear from Dev on this one.
Maybe, I expressed myself not well enough. Let me clarify.
1) I see, that trees could help here. Why exactly this type of tree? There are many other types of tree(-like) structure?
2.1) So, StorageCoin will not only use 1 parallel Nxt blockchain but many?
2.2) Each child node needs to implement the master/slave protocol?
2.3) How deep will that tree structure supposed to be? Will is build up dynamically?
3) Err, wait. Account != Node. Node = physical device; Account = virtual entity. What is a host? I cannot be both.
So, Sia is broken up into hosts (now called 'participants') and accounts, or 'wallets'. Participants provide storage and participate in the quorums that compose the blocktree. (eh sorry for all the vocabulary). They also manage transactions. Wallets are clients that upload files to the network and pay for the files. I have no idea what this guy was saying.
We should continue this discussion in the Sia thread.
That's my code. See the github page from above post. Well, it's mostly my code. Not sure what nonsense he's added to it.
are you kidding?a hand-draw plan?
I don't know how to use graphical tools, and was eager to release something. Those are my drawings, and yeah I penned them onto a notebook and took a photo with my phone. Hopefully have something cleaner in the future.
Yeah it's golang. They have some great support for production level scaling and testing. Initially I was opposed to the idea (I usually use C) but I think golang was the right choice for the project.
Alright I think that covers most everything. Completely new here, not really sure where to post next. I guess in the same sub-forum? anyway, working on a post. Thanks for all the support and expect to hear more soon.
You might want to post in the StorageCoin thread on the NXT forum too.
This forum has a scam accusation board, but you should probably post your Sia thread in the altcoin announcement board. That's where this StorageCoin thread is.
Great to hear from you David. If you do make an announcement or discussion thread on this board (or another), be sure to link to it here so those of us interested in your technologies can follow it.
@StorageCoin, Karma will take care of you.
We're planning on doing giveaways at some point (using our own coins - Sia is not premined but we'll have coins nonetheless) so we'll try and hit all the investors in this thread.
Unfortunately the giveaways will not amount to more than a few dollars each =/. Terribly sorry for what happened but we can't take responsibility.


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Wheeler Armorer's Handgun Sight Tool
Nov 7, 2016 - 8:01pm By GUNSweek
From one of the most famous and prominent brands of the Battenfeld Technologies group comes an interesting multi-compatible tool for the installation...
Springfield Armory SAINT, the new 5.56mm semiauto rifle
Advertised as representing "the next generation of America's personal defense rifle", the SAINT is Springfield Armory's first AR-15 platform and will...
Gun Ban: US and EU, two shores of one same dividing Ocean
Oct 29, 2016 - 11:10am By GUNSweek
Could the outcome of the U.S. Presidential elections have repercussions on the European fight against senseless gun control measures? With the matter...
Walther Arms introduces the Creed semi-automatic pistol
Oct 28, 2016 - 7:18pm By Pierangelo Tendas
For the US market, Walther Arms introduces the new Creed polymer-frame 9mm caliber semi-automatic pistol at the 2016 NASGW expo
Z8i and X5(i) riflescopes: Swarovski's latest, and best
Austrian-based Swarovski Optik company launched the new X5(i) and Z8i riflescopes early on this year; now finally available worldwide, those...
Caldwell's DeadShot line of hunting rests
Oct 23, 2016 - 5:16pm By GUNSweek
Manufactured and distributed by Caldwell, the DeadShot line of hunting rests and tripods are some of the best and most popular available on the...
Caracal upgraded Model F replacement pistols are available
Caracal USA, a subsidiary of Caracal International and the exclusive importer and manufacturer of Caracal products in the United States, announces...
Ruger Firearms introduces the LCP II pocket pistol
Oct 9, 2016 - 9:40pm By Pierangelo Tendas
Ruger upgrades its "Lightweight Compact Pistol" design in 2016 with the launch of the LCP II model with modern styling, improved features and a...


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The interview is part of series by the authors dedicated to museum directors but this one conveniently falls hard on the heels of an exceptional string of censure for MoMA, not just for The Forever Now and the Björk retrospective that followed, but even for the massive Polke retrospective – Alibis from 2014. While most public exhibitions are expected to generate a healthy amount of controversy, the depth and vehemence of rejection over this run exceeds any comfortable tolerance of dissenting views. There is a real problem with MoMA's programme and as much as Pissarro (a former curator at the museum) sides with Lowry and pleads for curatorial adventure over 'playing it safe'; along with an expansive ambit that accommodates high and low culture (while begging definition of 'culture') Lowry's remarks merely confirm how untenable this position has become, how confused and inconsistent the museum's whole rationale has become. Not surprisingly, Lowry's position is rumoured to be under review. His divisive management of curators has allegedly created fierce rifts between departments, and especially in the case of Klaus Biesenbach. Significantly, no mention is made of Biesenbach, his special recruit and his disastrous Björk retrospective. From the outset this is to be a timely and elaborate exercise in flattery and reassurance.
Indeed, constraint to excessive pluralism is never adequately addressed. The model of steadily broadening interests is certainly declared but what is missing is an awareness of the loss of focus in a bid for greater scope. He recognises that they cannot collect everything and that even with a plurality of interests there must be consensus at some point, but how is this arranged? When do irreconcilable differences between diverse interests somehow get funnelled into a compromise? "We can't be and won't be an encyclopaedic institution in that respect: it's a fool's errand. It's not about collecting a little bit of everything, it's being aware of critical traditions and trying to make judicious acquisitions." But which critical traditions? How many? The smooth rhetoric conceals a deeply suspect method. Judgement is really steered behind a wall of red tape or committee speak. In any case, the priorities of the museum must lie with its core disciplines in the fine arts rather than a recondite attraction for intramural or marginal novelties. 'Critical traditions' are firstly to be confined by this much; lest the museum decline into a 'jack-of-all-arts, master of none', home of the generalist or dabbler.
On the second count Lowry simply chooses to ignore results or criticism confident that his administration has done enough in merely provoking or 'enabling' them. " I think our responsibility is to set the table—it's to make a set of choices about what to show and how to show it, how to foster a relationship between how we've set the table and our public. But then to stand back and not try to control that as much as we often try to do... it's more like: look, this is what we think and we really want to share with you and learn from you. It's not simply a one-way relationship." Yet when pressed by Collins-Fernandez for instances of this dialogue, Lowry confesses it has yet to happen. To be clear: In his twenty years as director there has not once been any response to an experiment or so-called disruption that the museum felt it could learn from or apply to future efforts. This is an extraordinary admission, given the professed aim to share and learn from, given the forthright feedback from the press and public. It is hard not to see this as a one-way relationship. It strongly suggests someone is not paying attention or that some things are just not working, at the very least. It confirms that change is overdue. Even where criticism is acknowledged, the impulse, again, is to generalise, to accept with a shrug that there will be a spread of opinion and that these divide between pro and con and to skip more substantive engagement. This too is dishonest. It is not enough simply to pretend that responses come down to hostile or friendly and that some of each equates with broad participation. No wonder the museum has not learned anything. It cannot bear to learn that its judgement has been in some way less than illuminating.


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Communities, Interview,
By The Native
The NATIVE Exclusive: Nnedi Okorafor on Africanfuturism and the challenges of pioneering
Words: Edwin Okolo, Toye Sokunbi and Tomiwa Isiaka.
Nnedi Okorafor is as revered as she is controversial, especially for a writer whose canon is almost entirely fantasy and science fiction. But her talent and her relevance to the world of Africanfuturism, science fiction and representation cannot be denied. The most decorated African Sci-fi/fantasy writer working today, Nnedi has taken on the institutions that govern the genre and won, highlighting the racist origins of these genres and offering a more inclusive alternative. However, she has also been chastised by indigent Africans who feel she has hatcheted their cultures as fodder for her fantastical novels.
We tracked her down at the last Ake Book and Arts Festival where she was a headlining guest author to discuss her writing process, her thoughts on the future of afro-fiction and her inspirations.
Mine and Tochi Onyebuchi's Book Chat at Ake Fest. Finally got a chance to spend some time with Tochi. 😊Fantastic Naijamerican fantasy and scifi writer; like me, he's also published by Penguin. Seek out his work! #akefestival #akefest18
A post shared by Nnedi (@nnediokorafor) on Oct 29, 2018 at 9:39am PDT
NATIVE: How was the day at the Ake festival at Radisson? What were the highlights?
NNEDI: I was only able to be there for one day. To me, that whole day was the highlight… I mean I love coming to this festival, it's incredible. The minds and topics, all of that
NATIVE: I know you were at Ake last year as well. Would you say that was more interesting? Since you were there to experience all of it?
NNEDI: I wouldn't compare. Each time I've been here, it has been its own thing. Its grown each time. But what seems to remain consistent is that its a meeting of really great minds and incredible discussions and topics and I always feel like I've come away with more. I always feel like I've come away knowing a lot more and feeling energised afterwards.
NATIVE: African mythology informs much of your writing, who is your favourite mythological God and why?
NNEDI: It's more than African mythology. Its African culture, people, futures. But in terms of mythology, my favourite is a little-known piece of Igbo mythology, Udide The Spider Artist, that's probably my favourite. He, she, it comes up a lot in my work.
NATIVE: Can you tell me why Udide is your favourite?
NNEDI: Well I think the spider is my spirit animal, though I'm terrified of spiders (Laughs). I can't stand them at all but at the same time, they do a lot of weaving and building and their artists. They create beautiful webs; they build webs and if you look closely, you can see the mathematics in the web, and… I love spiders. They're sneaky and they're horrible at the same time. But the spider webs are used to create all things… to create stories… diverse stories. It's also a projection of me, so yeah, it's perfect.
NATIVE: How do you reconcile how the perfunctory translations of African culture in English has misrepresented some of these gods in (even African) literature, in your work?
NNEDI: I think that a lot of times, African Gods are portrayed through a Western lens. And I'd like to see less of that. I'd like to see African Gods portrayed in the way they were imagined and not as a human thing. Also, African Gods are portrayed in a lot of situations as evil, something to stay away from. Non-Christian, Non-Muslim. But I'd like to see them portrayed in all their diversity; positive, negative and neutral. I'd like to see more of that.
NATIVE: What folk share inspired your debut novel, 'Zahara the Windseeker'
NNEDI: Several. 'Zahara the Windseeker' was my first novel, it was influenced by Igbo culture, Hausa, Yoruba culture and Efik. A bit of everything I was exposed to at the time. Since then, I know more about other minority groups as well. But I was taking everything and blending it into a fantastic futuristic world. So there were several cultures there. Even the name Zahara was taken from the Hausa culture.
Whenever I travel, my daughter Anyaugo (she's 15) likes me to do some henna on her the night before. 😊 🌀 Did this before leaving for Champaign. #Home
A post shared by Nnedi (@nnediokorafor) on Oct 20, 2018 at 10:08am PDT
NATIVE: You said you've learned about more cultures since would you say this has influenced your work?
NNEDI: Certainly. There are so many different ethnic groups. At least for me being a Nigerian American, you only hear about three main languages. The reason I know about Efik is my father was born in Calabar, so his first language was Efik, second was English and third was Igbo. My mother grew up in the North, She was born in Jos. Her first language was Hausa, second was English and third was Igbo. So, in that way, somewhat of an early age I knew that things were different. But it took several years for me to learn about other ethnic groups that aren't the main ones. And the grand of Nigeria's diversity. There's so much culture here, so many languages and then dialects within dialects, which makes it very difficult to learn languages, especially as a Nigerian American… but i love that too. I think that's helped shape the way that I view the country
NATIVE: Has this influenced your creative process?
NNEDI: Certainly, it has. Just this idea of there being so many and there not being a centre. And that is something I play with; there not being a default. I play with that a lot in my work and I think a lot of it has to do with being connected to this part of the world.
NATIVE: What would you say the most important thing for fantasy writers to know in world building and character development?
NNEDI: I think it's the same thing any writer should note about character development: The character should be real. Even if you're writing about a rabbit living in rabbit land and with rabbit cultures, those rabbits should have character. They should have flaws, they should be believable, even if you're writing fantasy. Always veer towards believability.
The Issue #3 cover of Shuri. Painted by Sam Spratt. I got to write Groot and Rocket, 😃!! #Shuri #GuardiansoftheGalaxy #WakandaForever #nnediokorafor
A post shared by Nnedi (@nnediokorafor) on Sep 20, 2018 at 9:40am PDT
NATIVE: Your work Marvel's Venomverse anthology, can you tell me what inspired Ngozi?
NNEDI: A lot of aspects of her were based on me: she loves bugs, I love bugs; she's in a wheelchair, I have been paralyzed before so it's drawing off of that. And then when she gets the chance to change her body; when the alien covers her body and she gets a chance to shapeshift, the first things she shapeshifts into is a grasshopper, the grasshopper is my favourite bug; and she has wings– she can fly, flight is one of my favourite superpowers. So there's that. She also has strong will… a lot of her character was taken from me.
Her name was taken from my sister, my sister's name is Ngozi. Also, Ngozi means blessing, which is a perfect theme for the story. Also, the Chibok Girls tie in. It came in when we were starting to think about what she should look like. I started thinking about Ngozi being in the wrong place at the wrong time and her life-changing. So I was like I'd like her to look like them. The ending of her story is a lot more positive than many of the girls. I just felt like that was a way to empower them in the small way that I could give.
NATIVE: Why did you choose to set it in Lagos?
NNEDI: That was the first thing I wanted to do! (Laughs). As soon as Marvel asked me to write this short for this anthology. Even before I knew who it was about, I knew I wanted it to be Lagos. I was like 'I'm going to find a way to make sure it's not set in the United States like… everything'. Part of it was because I've seen Lagos portrayed in Marvel movies, I believe twice—Black Panther was one, X-men was another—and they were not positive portrayals. Black Panther didn't even look like Lagos, the accents were not even Nigerian.
In all, Lagos has not looked positive. Its all this window dressing; the outsiders just came in and destroyed everything and had their adventure, and the Nigerians were just looking on the sideline like 'ohhhh'.. So I wanted to add a character who is from the area, who has an adventure there that is positive. Just Lagos, in its three-dimensionality. So I knew from the moment that i wanted Lagos. It's not that I just want to write for Marvel, that's not a big deal to me. But if I get a chance to enhance or add, that is where my inspiration is. And this is a moment I saw that I could get Nigeria in there in a positive and informed way. So I knew from the beginning that I wanted Lagos.
I have a story in this anthology that gives the trash compactor monster in Star Wars: A New Hope a personal name and a story. #MayTheFourthBeWithYou 🐙
A post shared by Nnedi (@nnediokorafor) on May 4, 2018 at 6:59am PDT
NATIVE: How would you define your identity as an African Nigerian with a wide range of inspirations?
NNEDI: I would define it as just me… I do 'AfricanFuturism', not Afrofuturism, Africanfuturism (one word). That falls under science fiction. I've written what I call Juju fantasy (laughs). I think it's a little different because a lot of the things considered fantasy aren't fantasy. There are things people believe in that would be in there with the stuff I have made up
NATIVE: I read an interview where you said "you wouldn't believe how much I don't have to make up"
NNEDI: Yeah, especially in the Akata series. Many of it is what people have told me, and some things that I've seen. What I write is very imaginative. I wouldn't call it 'realism', but I would call it realistic. I like to look at our world, I like to look towards the future. I've written very few things that are set in the past, I've written things about the present and near future and far future. I don't like to dwell on what's behind, even though the past always influences the present and future, I wouldn't say that I can categorise myself very easily….
NATIVE: Part of the on-going conversation in cultural diversity globally is for big platforms to allow new voices and new stories to be shared from around the world. Who would you describe a new voice?
NNEDI: I can't really name a person, but I can name movements. Nigerian Americans are certainly doing things. We tend to bridge between our Nigerian-ness and our American-ness There are lots of indigenous writers who are doing things right now. I wouldn't say there is just one. To name just one would kind of be to reduce what's happening. There are several writers who are doing things and many different things too. I think now more than ever, we have many African writers, many diasporic writers who are writing not just literary fiction, we're doing fantasy, we're doing science fiction, crime fiction. We're doing just a bit of a lot of different things and I think we're going to see more writers writing different types of things, too.
NATIVE: What stories do you think these people should be telling?
NNEDI: Their stories. I think these writers should be telling their own stories and not be afraid of that old adage of 'no one is going to care', or 'this story is too specific', that's what publishers in the past would tell writers; like 'This story is good, but it's too specific'. 'Specific' meaning its too set… like 'Rafiki', 'Rafiki' would be considered too specific because of its set in a part of the world that is not the default. Its set in some part of Africa and its very close; the language is local, the food is local, the styles of dress. Everything you see is very local and the story happens within that. Those are the stories we need more of but I think writers are afraid to tell these stories because they want to be universal. But I think that's what we need: more writers writing what they want to, not what they're told to or what they think would sell. I think we need to control more of our narrative.
NATIVE: Public figures are expected to stand for something or say something or be something. Do you think this is a personal responsibility a transferred social reality or considerable consequence of the digital age?
NNEDI: I think its always been that way. I think even before social media, but social media amplifies everything. You say something completely insignificant and it gets blown out of proportion. I think that part of it is social media, like anything, can be spun into whatever, but I think public figures have always been asked to give their opinions on stuff and people listen.
Cue the Alfred Hitchcock Presents theme music. 😆🌸 Photo taken by @obiudkcali. #africanfuturism
A post shared by Nnedi (@nnediokorafor) on Sep 19, 2018 at 4:43pm PDT
NATIVE: Do the lines between Nnedi the public figure and private Nnedi blur and should they?
NNEDI: I think that's the thing for almost anyone. For me it's the same. The only difference between public Nnedi and private Nnedi is that I don't say as much publicly. Even though people think I say a lot, I only say about 25% of what I'm thinking and I keep most of it in my inner circles. But whatever you see publicly, you see privately. What you see privately you may not necessarily see publicly. That's it. I'm very honest, I don't change what I am… I don't have the time or the patience (laughs) for that and I'm not good at that. I'm very who I am.
NATIVE: What should we be expecting from the project with HBO?
NNEDI: That's in progress, we're still working on the pilot. But it's going to take a while because for something like this because it's so unique, there's a lot more that needs to happen. If it were something that is…like, your typical drama, like a type of drama that is in itself new but has been done before, that would move faster. But this is something that's never been done before, so that means you've got all these things that need to be explained, ironed out, done, created… it's hard to pioneer, it's really hard because there's no template to follow. We're creating everything as we go, so it's going to take a lot longer. But that's actively going, we're actively working on that.
Native Exclusive: Lady Donli talks couch surfing in lagos, touring America and feeling homesick
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20th Century Films
Four Factors in Paranoia: The Treasure of the Sierra Madre (1948)
by Christopher Lindsay February 27, 2014 July 1, 2018
3 Comments on Four Factors in Paranoia: The Treasure of the Sierra Madre (1948)
Paranoia is "an unfounded or exaggerated distrust of others, sometimes reaching delusional proportions."1 In John Huston's The Treasure of the Sierra Madre (1948) Fredd Dobbs (Humphrey Bogart) becomes paranoid that Curtin (Tim Holt) and Howard (Walter Huston), want to kill him and steal his gold. There are four factors in Dobbs's descent into paranoia: feelings of powerlessness, the experience of broken trust, the fear of loss, and an uncontrolled imagination.
Unable to find work, Dobbs feels powerless to change his life. In the opening sequence, he asks the same man for money three times, and the look on his face is one of utter helplessness. He is subject to economic forces that are beyond his control, making him vulnerable to paranoia.
Dobbs's luck appears to change when McCormick (Barton MacLane) offers him a job. However, after Curtin and Dobbs work for several weeks, they do not get paid and give McCormick a severe beating. This scene reveals Dobbs's true nature: He is a man of violence when he feels he has been wronged. Dobbs's experience of broken trust will make it difficult for him to trust anyone again.
Dobbs's ability to trust other people is put to the test when he strikes a deal with Curtin and Howard to go prospecting for gold. When the three men strike it rich, Howard says, "Each of us will have to hide his share from the others, and after that he'll have to be forever on his watch." Although Dobbs initially rejects this idea, the seeds of suspicion and fear are firmly planted in his mind. Soon he will no longer trust his partners.
Fearing the loss of his gold, Dobbs descends into paranoia. When he and Curtin transport their gold across the desert, his imagination runs wild. He accuses Curtin: "For a long time you've wanted to bump me off and bury me." Even though Curtin seizes Dobbs's gun and does not shoot him, Dobbs still believes he wants to kill him and steal his gold. At the end of the film, Curtin and Howard laugh when they lose their gold, but Dobbs is emotionally attached to it. He becomes paranoid because of his greatest fear: the fear of becoming poor and destitute again.
Paranoia is a prison of the mind, a place of alienation and isolation. To escape this prison, a paranoid person must be willing to take the risk of trusting people again. They must also learn to control their mind and not believe everything they think. The tragedy of Dobbs's life is that he was his own worst enemy. His paranoia distorted his perception of reality, leaving him unable to tell the difference between his enemies and his friends.
The Free Dictionary, s.v. "Paranoia," accessed February 20, 2014, http://medical-dictionary.thefreedictionary.com/paranoia
My Free eBook ⇒ The Donkey King and Other Stories
Tags: paranoia The Treasure of the Sierra Madre
Christopher Lindsay says:
Thank you, Anna. I'm away on holidays with minimal access to Internet. I will check out your latest when I get back in May.
Anna Waldherr says:
An excellent analysis. Have a Happy Easter, Chris!
samwa2014 says:
Interesting. In fact, Dobbs merely put in a little extra money, they had $500, and he added 100.00 more, plus Howard said that he was saving $100 in the bank, so he could have been convinced to part with that.
Further, there is nothing whatsoever, that anyone did, to give even the slightest indication that they would steal from him, in fact just the opposite.
This characterization of Dobbs, is what makes the movie extremely disturbing to watch. That element, is most bizarre and takes what could have been a great movie, into one that isn't worth watching.
It is difficult to understand how one could use psychological terminology, and references, to analyze the film.
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Bison Bonasus for iOS — a Fantastic Photographic Journey
As you may or may not know, photography is one of my favourite hobbies. As soon as I heard that Marek Moi was working on a new app, I reached out to him to get me on the beta program. Thankfully, he obliged and provided me with some unique insight into the design process. My enthusiasm was based on his earlier project — Dearest Bialowieza Forest [App Store link] — which featured Jaroslaw Chyra's photography from that beautiful region of Poland. Marek rewrote his entire engine for Bison bonasus and the results do not disappoint — it offers a truly immersive experience into the work of photographer Krzysztof Onikijuk.
Pygmy Owl by Krzysztof Onikijuk
Bison bonasus, in its app form, is based on the paper photography album which is currently being printed in limited quantities. It will be extremely hard to come buy and quite frankly, at this point and despite knowing Marek, I'm worried that I won't be able to purchase my own copy. From what I've heard and seen, no expense has been spared to create it (including absurdly expensive paper which barely anyone ever uses), hence the quality is supposedly outstanding. I truly do hope I'll get the chance to judge this for myself.
Krzysztof Onikijuk lives close to Bialowieza Forest — a truly amazing place which I have had the the opportunity to visit but once in my life. This allowed him to spend many years travelling through that region, taking photographs of European bison — magnificent beasts — pygmy owls and various other wildlife. I once met buffalo personally, in the wild — this happened a few years ago and I can still clearly remember the emotions that surged through my body at that moment. It was a breathtaking eternity, where we stared into each other's eyes. I can only try to understand what Krzysztof felt when he looked at them through his viewfinder and I am not in the least surprised that he kept coming back. He has captioned a number of his photographs, describing his thoughts and emotions. Many of them were shot by pure luck, by being in the right place in the right time. The rest, through persistence and hard work.
Krzysztof is a wedding photographer by day — I haven't seen his commercial work, but looking at the spirit emanating from his wildlife work, I'm sure his gift of capturing emotions is even more impressive while shooting couples on one of the happiest days of their lives.
European bison by Krzysztof Onikijuk
I had dreamt about such a photo and tried for several years to achieve one: bison galloping straight at me, and not, as usual, in the opposite direction. I was unknowingly helped by a farmer's small dog, whose barking drove the herd from the other end of the clearing. I was shooting film until the last moment, hidden in the tall grass, with the bison flashing past me. A real heart stopper…
I envy Krzysztof greatly. I envy his work, his talent and that he lives so close to one of the amazing forests on Earth. It is said that Bialowieza is the last of it's kind…
The App & it's Maker
Marek Moi strived to create a diaporama — a slide show often accompanied by music — to showcase the work of Krzysztof Onikijuk and I'm proud to have been able to offer some insight. His taste is outstanding (he is a photographer himself) and the same can be said of the final product.
The app is divided into four distinct sections — the foreword/introduction, the diaporama itself, an about section and information about the authors. Once you click on "Diaporama" you will have a hard time getting back to the other sections and that's why I advise everyone to read them first — they help set the mood and get a feeling for what to expect from the photographs and slide show itself.
Bison family by Krzysztof Onikijuk
Please make sure to have the time to watch the whole slide show, consisting of over one hundred stunning shots. And if you have a good set of speakers and Apple TV I can heartily recommend mirroring it with AirPlay onto your TV, which I am doing now, while writing these words. The app also allows the user to pause the slide show and continue on manually, flicking through the photos left or right. The diaporama can also be sped up with left/right gestures to advance or return to the next or previous photography. Marek also included the ability to share your favourites via Twitter or Facebook. Every frame can also be saved to the Camera Roll.
This is the first app that has had such a strong effect on me — I could go down into the nitty and gritty technical details of it, but I choose not to. Those are unimportant in the grand scheme of things. The attention to detail from Marek, the subtle parallax effect behind the menu and Krzysztof Onikijuk's work is so much more important. Just thinking and writing about his photos, recalling my time spent in the app, imagining the music, cause me to well up inside. And this is coming from a guy who is rarely emotional…
If you care for the finer arts, have an affinity for wildlife and want to see who lives in one of the most amazing forests in the world, make sure to purchase Bison bonasus — you will not regret it. The app will be on sale for a limited time.
★ Bison bonasus — iOS — €1.79 / $1.99 »
More information about Marek Moi and his apps can be found here.
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Categories: Photography, Software / Apps · Tags: App, Photography, Review
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Free summer football camps for Tower Hamlets' future stars
Published: 10:45 AM July 16, 2013 Updated: 6:19 PM December 7, 2020
Football stars of the future are being given the chance to hone their skills at free soccer camps throughout the summer holidays.
Children aged 8-16 can sign up to camps at four locations across the East End. The scheme attracted more than 1,000 players last year.
Tower Hamlets Council's cabinet member for culture Cllr Rania Khan said: "I am pleased this scheme is continuing after its successful pilot last year.
"Group activities like football are not only enjoyable but teach important skills like team work, discipline and perseverance."
The sessions will be held at locations in Wapping, Stepney Green, the Isle of Dogs and Poplar.
For more information, contact Tower Hamlets Council's football development officer Derek Bennett on 020 7364 2681.


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Dinosaur fossils to be featured in Oshkosh
The Boys & Girls Club of Oshkosh will display more than 200 dinosaur artifacts.
Dinosaur fossils to be featured in Oshkosh The Boys & Girls Club of Oshkosh will display more than 200 dinosaur artifacts. Check out this story on fdlreporter.com: https://fondul.ac/1iPwbQv
Action Reporter Media Published 2:15 p.m. CT Sept. 16, 2015
This replica of a Tyrannosaurus rex will be on display.(Photo: Courtesy of Boys & Girls Club of Oshkosh)
Dinosaurs of all shapes and sizes will be at the Boys & Girls Club of Oshkosh, 501 E. Parkway Ave., Sept. 17-19.
Wausau-based nonprofit Colossal Fossils will showcase its traveling dinosaur history exhibit containing museum-quality replicas of more than 200 prehistoric artifacts. Some artifacts will be available to touch.
A focal point of the exhibit is a giant replica skull of a woolly mammoth. The exhibit will also include fossils ranging from tiny shells to the jaws of a Tyrannosaurus rex and the skeleton of a saber-tooth cat.
The skeleton of a saber tooth cat will be on display. (Photo: Courtesy of Boys & Girls Club of Oshkosh)
"We're excited because the club has never offered a learning experience of this kind to club members or the community," said Marc Dosogne, the CEO of the Boys & Girls Club of Oshkosh. "It's becoming increasingly important for today's youth to focus on STEM (science, technology, engineering and math) learning, and this really will give us a unique opportunity to present science and natural history in an accessible way for kids."
Exhibit hours are 6 to 8 p.m., Thursday and Friday, and 1 to 5 p.m., Saturday. Admission is $10 adults, $7 children, and free for children younger than 3. School groups receive a discount.
Contact Katie Huebner at katieh@bgcosh.org or 920-233-1414 for more about the exhibit, or visit www.colossalfossils.com.
Read or Share this story: https://fondul.ac/1iPwbQv
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Dance party features classic rock group
Posted: May. 9, 2019 12:01 am
VERNON -- Back by popular demand, Joe Zisa and Friends classic rock and doo-wop group will provide live entertainment for the Spring Dance Party and Silent Auction on May 18 at St. Francis de Sales Church, from 6 to 10 p.m.
The cost for a four-course dinner, silent auction and dance is $50 per person. To purchase tickets, mail a check or money order to the Vernon Township Historical Society, P.O. Box 387, Vernon, NJ 07462 or call 973-764-6545 for information.
Joe Zisa and Friends grew up in Paterson. Members of the group include Bernie La Porta and Lenny Conforti, who were formerly of The Happenings, a pop music group from the 1960s with the major hit "See You in September."
The Happenings had nine Billboard Hot 100 singles from 1966 to 1968. La Porta and Conforti now perform with Joe Zisa and Friends, along with Zisa, Sal Selitto, Dennis Oricchio and also Tommy Bialolow of The Duprees.
Doors for the dinner dance and silent auction will open at 6 p.m. Dinner will be served at 6:30 p.m. The entertainment and dancing will continue throughout the night. There will be many door prizes and a 50/50 raffle. Dress is casual.
St. Francis de Sales Church is located at 614 County Road 517, Vernon.
Funding for this event has been made available in part by the New Jersey Historical Commission through the County Historic Partnership Program, as administered by the Sussex County Arts and Heritage Council.
Sparta Summer Concerts continue with Jesse Terry
Tequila Rose at Jefferson gazebo


Native to Asia, star fruit—also known as carambola—is low in calories and high in vitamin C. It's also a great source of polyphenols, antioxidants that fight cardiovascular inflammation. Plus, it's unusually delicious—the flavor is best described as that of an ultrasweet tropical plum. It's in season from July through September. You can eat star fruit whole—skin included—or slice it into little stars and feel like a kid again.


text:
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Interviews November 2018
How did you become the master whisky blender for Johnnie Walker?
I joined the company back in 1979 so I've been here nearly 40 years. I trained as an analytical chemist and it was good fortune that I started doing stuff at university that could be applied to flavour research.
I spent a lot of time in our distilleries exploring how both malt and grain influences the character of the whisky and how the different single malts change in the barrel.
I spent 10 to 15 years in different distilleries, delving deep into the character of the different spirits and learning how to evaluate each one from a sensory perspective, and really understanding the science behind it all.
But then I swapped my lab coat and became a master blender and I could apply what I learned from all those years spent in the different distilleries.
What do you need to make a great blended whisky?
I think there are three parts to this. You must have good malt whiskies, great grain whisky and great wood. That gives you the tools to create the blends but you do need to understand how they work together – which is why all those years looking at the different single malts has been hugely beneficial.
Is blending a science or an art?
It's like any craft. You learn the basics that are grounded in science and as you get to grips with the technical aspects, it becomes more instinctive and more of an art. The bedrock is science and technical knowledge but then you can express yourself as an artist.
That said, I'm still a student and I want to discover more. I'm hugely inquisitive and I'm always learning. For the very simple art of blending we work with building blocks of flavours that can be appraised logically – but it still springs surprises.
"THE BEST THING YOU CAN DO WITH MALT WHISKY IS BLEND IT WITH A GRAIN WHISKY…YOU BRING THE WHISKY ALIVE WHEN YOU START BLENDING AND MIXING IT."
How has the blended whisky landscape changed since you began your career?
When I first started working with blends like Johnnie Walker, the consumer experience was very traditional – a glass of whisky, a drop of water and maybe a chunk of ice. This was how whisky was communicated, it was very old-fashioned and the occasion was very rigid.
But now, the consumer experience has changed enormously. People want to experiment much more with it. The blended whisky occasion has been expanded and we are having to respond to this which is very exciting.
Are single malts superior to blended whisky?
Single malts are great but Johnnie Walker Black Label contains over 40 malt whiskies, of which some are more than 30 years old, and they are combined by a team of master blenders with huge experience and expertise. That's an amazing story in itself. The single malt story is a compelling one but I believe the blended whisky story is richer.
How important are bartenders in communicating this message?
Bartenders are really important conduits to the consumer. They are the bridge between blenders and the consumer and their knowledge and enthusiasm are key to the success of blended whisky all over the world.
They are blenders themselves – working and understanding flavours, whether they are making a complex cocktail or a simple, well-constructed Highball.
Do you think the Highball is a good way of showcasing blended whisky?
Yes, but like any drink, it needs to be served correctly. The soda water needs to be correct, the proportions and the ratios need to be right – it's incredibly important that bartenders do these things properly.
It's a blend of ingredients that looks simple to make but is in fact easy to get wrong. There's much more to a Highball than people think but when it's done right, it's a great way to introduce consumers to blends.
If you had a £100 to spend on a Scotch whisky, would you spend it on a blend or a single malt?
I'm going to cheat on this one. I would buy a single malt whisky and a grain whisky and blend them together. The best thing you can do with malt whisky is blend it with a grain whisky – and I would love to do that. You bring the whisky alive when you start blending and mixing it.
Why are blends important if you're serious about spirits in your bar?
I think that as a consumer, bars can be very confusing. There's a tyranny of choice. One of the greatest assets of blends is that they have a certainty about them. Blends offer consistency and what you are buying is not just the varying components, but also the skills of the blenders and the science behind the art of blending.
What blends should you stock?
Your blended range should be distinguishable and different and designed for separate occasions. The Johnnie Walker variants are all based on different occasions.
What is the secret behind the sustained success of the iconic Johnnie Walker Black Label?
It's been true to the tradition and it's a very drinkable bold expression with lots of layers of flavour that can be used in all kinds of different occasions and serves.
Blended whiskies such as Johnnie Walker have a rich history but what are you doing to help blended whisky innovate?
Back in 2016, we launched the Johnnie Walker Blenders Batch series which has been a great way of showing bartenders the variety of flavours within Johnnie Walker and especially how these different flavours can be expressed in different serves – it's something that we are working on with bartenders within outlets. At the Diageo Reserve World Class 2017 cocktail competition in Mexico City, we revealed three new expressions and the reaction from bartenders was incredible.
What is your favourite blended whisky and why?
It depends on the occasion but if I had to pick one the it would have to be Johnnie Walker Black Label – as it reminds me of all the amazing single malts I have worked with over the years.
Favourite serve?
I take a tumbler containing a large ball of ice and then pour the whisky over the top. It's viscous and then the ice melts and opens up the flavours. Otherwise, a well-made Highball is great and, just the other day, I drank a whisky neat over lunch with a touch of water – and it was fabulous.
What is your favourite whisky bar and why?
There are some amazing whisky bars in Tokyo that I would urge everyone to visit. I like to have a good choice of whiskies and I like any bar where the staff make you feel special.
Have you been impressed with any bar professionals and their approach to blended whisky?
I've been lucky enough to meet a lot of very skilled bartenders who do great things with whisky. But the ones that impress me the most are the ones that engage me and want to know what I think – not just about the whisky but other things too.
More from the Journal
Liqueurs October 2019
Agave Affection
The rise and rise of agave spirits, and the basic understanding most people have around Mexican food, makes the match of spirit and cuisine an easy win at the bar.
Interviews September 2019
London Cocktail Club
Last year, JJ Goodman celebrated a decade of shaking up the UK bar scene courtesy of his lively and legendary "London Cocktail Concept"
Glassware September 2019
For those prepared to take the theatre of glassware and pouring to a new level, we introduce Last Drop's "Penelope".
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A South American classic for you today: Pisco Sour. I've used fresh egg white for the texture; some notes on that in the video link. @barsolpisco have a few variants; here I'm using Quebranta, which is full of orchard fruit flavours. Enjoy responsibly! https://t.co/I0cosa7FWl
@BaileysOfficial @KetelOne 🍸👌👌👌 https://t.co/0q8mEQQf6R
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"Era of you know, maybe maybe too young and not not experience enough for the job. But but the way usually talk he he he could be the guy that actually gets them climate change message across to the general public and people that are the purple people that may otherwise be doubting it as a real issue than he's he's somebody did when he speaks. He's he's he's to be taken seriously. So I just wanted to get his name out there. And then just you know, maybe you talking about him and other people listening. Yeah. I you know, I I wish in thank you for the call."


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Movie: Chinese Box
Chinese Box
Length: 1 hour, 40 minutes
Studio: Trimark Pictures
Website: http://www.trimarkpictures.com/chinesebox/
Cast: Jeremy Irons, Bong Li, Maggie Cheung, Michael Hui, Ruben Blades
Director: Wayne Wang
Screenwriter: Jean-Claude Carriere, Larry Gross
Music Score: Graeme Revell
WorkNameSort: Chinese Box
Director Wayne Wang's "Chinese Box," a lovingly photographed, elegantly acted evocation of his native Hong Kong, is a film which practically declares itself an Important Cultural Experience. This must be good for us, viewers may repeat to themselves, as the lethargic film slides laboriously toward its conclusion. And, title be damned, there's no intricate puzzle to be solved.
Wang ("Smoke," "The Joy Luck Club") certainly loads "Chinese Box" with convincing performances and striking images. The setting -- Hong Kong on the eve of its 1997 handover to China -- boasts plenty of dramatic potential.
Jeremy Irons probes deeper into chilly self-absorption than in his usual performances as John, a dashing British journalist hopelessly in love with mainland refugee Vivian (Gong Li), a dazzlingly beautiful bar hostess with a tawdry past and a fascination with Marlene Dietrich. She's bound by an unspoken debt to her older, wealthy Chinese boyfriend, Chang (Michael Hui). John, who regularly soaks his world-weary soul with booze, is also intrigued by Jean (Maggie Cheung), a native street vendor and con artist who covers her badly scarred face with a scarf.
John, after learning he has only six months to live, gradually abandons his work and intensifies his pursuit of Vivian. He drifts around Hong Kong, video camera in hand, capturing vivid, unsettling images. The city is in the throes of transition, thriving on a newfound consumerism and hurtling toward an uncertain future. That footage, along with cinematographer Vilko Filiac's gritty shots of several real-life events, add up to a rich visual style that effectively conveys the look and feel of the exotic setting.
So far so mesmerizing. Unfortunately Wang and co-writers Paul Theroux and Jean-Claude Carrière felt obligated to make every major character do double duty as a great, big symbol. John isn't only dying of disease and heartbreak, he's also the post-colonial British empire, doomed to a dignified retreat from a land never quite conquered. The supposed expert on Hong Kong politics and economics somehow fails to capture its soul. Vivian, glamorous, troubled and known to many men but owned by none, represents China. Jean, elusive, youthful and always on a quest for the perfect shortcut to survival, is Hong Kong. To match her physical condition, she bears a heart scarred by a long-ago passion for a British schoolmate.
"Chinese Box" is imbued with a palpable emotional resonance. It's easy to connect with the overwhelming melancholy exuded by every frame of Wang's most ambitious effort yet. There's a sense of loss that seems as deeply felt as the concluding burst of lyrical exhilaration over Hong Kong's rebirth. On those terms, the film succeeds. Lazy pacing, though, and a certain incompleteness doom this thoughtful meditation to the category of beautifully flawed.


2 What does your category of novel excel at? Embrace that…then outdo it.
My genre excels at adding the jam in the doughnut: the unexpected, the sweet, and the challenge.
WHICH CATEGORY OF NOVEL ARE YOU WRITING, AND WHAT DOES THAT CATEGORY EXCEL AT?
I have decided to join and post with The Broke and the Bookish's Top Ten Tuesday.
I have been reading Holly Black: Tithe and Valiant so far. I love the summer, I finally get to read the books that have been marking time (in dust) on my TBR shelf.
7. An electronic reader within reach just in case I HAVE to read a book - RIGHT NOW!
9. I have a garden reading nook – summer house – it's perfect except for the bugs it attracts. I can't kill them! So I need reading assistant whose main job is to fan the air and keep the bugs moving on.
I have just completed an MG novel, it's ready to query. I'm moving on to the YA idea I've had irritatingly clawing at me while I've been doing rounds of edits and revisions. Now, I'll find tome to let it scratch at some paper.
As always, I've been following Don Maass' advice when planning my novel.
Truthfully, I had trouble with this one: the loner, troubled, gifted teen has to have a feckless mother. I guess I could give her a devoted (but physically) distant dad. It seems that it's important that she is neither overly keen nor particularly reluctant either.
WHAT OTHER MUST-HAVE WOULD MAKE MY READING LIFE EASIER?
I'm hardly back from my holiday and I'm already thinking about the end of summer and my new Y2 class: fourteen days and counting!
As I'm only a weekend writer of Romance, Darrah is still having trouble with Sark Hale Tarla; although, today, she is feeling a little lost.
In a time long past in our history, a Sarkisian ship is stranded on Earth. Assimilation is at an early stage but it has not proven to be an easy option for either people. Now, Hale has been assigned to Darrah and her arm of men. His role is to smooth over any diplomatic - or worse - problems that might arise in the Outlands, where the Sarkisians were allowed to settle, when they are sent to find the missing human heir to the Thorn Throne, Erishdren. Rogue Sarkisians are thought to have been behind the abduction.
Darrah woke as a chill breeze lifted the fine hairs at her nape. She sat up and forced her senses to absorb the scene around her as she confirmed the stillness, and the scentless air.
It took moments to control her breathing. She had to calm her racing heart, and build composure at the core, to ready herself to deal with the dizzying rush of information.
Not one who expected to see the same four walls around her when she woke, Darrah took time, as she checked close, near, and more distant, that there were no apparent dangers, to recall her whereabouts and her current assignment. The foliage on the trees moved only with the wind, and the shadows conformed to the expected shapes and sizes. The high-pitched calls and other sounds were exactly as she would expect in The Forest of Drer, all species of the Outlands: peckers, blackbirds, nutscurries, and fleetdeer. Only her glance had confirmed that the other tents were empty – hide walls raised – and her bow rested on a rock a long-arm's reach away.
Is your setting historical, exotic or invented? Add immediately one common thing we'll recognize from our own reality.
DID YOU FIND SOMETHING EXCITING TO DO DURING JULY AND AUGUST? HAVE YOU POSTED THIS WEEKEND?
For work, I'm writing Individual Activity Support Plans and Risk Assessments: lots and lots of them. And, in my spare time, I'm applying for jobs. You know when you see the perfect job: not a comparable job... or even a well-paid one, but the job you find totally inspirational; the job you've always wanted but didn't know exists? I'm only allowing myself to glance over my shoulder at one of the jobs I'm applying for - I don't want it to know how much I want it. I'm working out how to sell my skilful self without resorting to grovelling or, worse still, to opting for the Oliver Twist's-eyes approach.
On the Reading front, I'm having so much fun reading Tessa Dare: yet, I rarely read Regency novels.
71 Pick a character other than your MC. What would your MC never, ever guess about this person? Spring that surprise.
Jude and me. It is nothing like a kind of gentle nurturing. How does that make me feel? I remember all the moments when I knew he was there even before he spoke. Jude is the crumble of tension on the surface of my pretty, serene life. I hesitate. It's funny, when I think of Jude I find I hesitate a lot. I call to mind how it feels when his calloused fingers drag across the smooth surface of my skin. With him, I always feel I'm on the verge of some kind of beautiful. Not pruned, tamed, or even predictable, this flower is every kind of random.
So much for my patio life. Jude found the cracks in that theory. He blew in and shattered it. Now, anything is possible. I'm more than the sum of my plan when I am in his arms.
With him, even I am wild.
What is your first thought when you hear the word IMPOSSIBLE?
When he is obliged to return to his family home in widest Devonshire, war hero, Rhys St. Maur, is certain his damnable good luck has again found a way to torment and punish him.
Believing in the importance of hard work and determination, innkeeper, widow, Meredith Maddox, is pragmatic and yet – when faced with scarred and damaged Rhys St. Maur - she trusts everything on the outcome of the wager her heart placed long ago.
What's your story type? What in it will fans of this story type hate? Say that louder. Make it impossible to miss.
There was no way in Creation that he meant to propose marriage to her after a single night at the Three Hounds. Her accommodations were nice, but not that nice.
I am not a regular reader of historical romance – I particularly avoid Regency titles – so this seemed like a great book choice to read and think about a story tropes, or types, and find a book that says it loudly. But does it well.
Tessa Dare has written the essence of the Regency Romance. She made the hero able and the heroine more than willing. I shivered at the burned-out shell of the old Hall and picked my way through the mists avoiding smugglers. I also came to love Rhys, he is a great character, in serious need of being made to feel he is loved and valued. And, Meredith is a strong and determined woman. Together – that is my favourite combination.
WHAT BOOK THAT YOU READ SURPRISED YOU?
DONALD MASS WRITE TIP # 70 (i) GREAT CHARACTERS HAVE GREAT PASSIONS - WHAT IS YOUR BEDROCK BELIEF?
I'll offer BANSHEE episode 4 HALF DEAD IS BETTER THAN ALL DEAD as the bedrock belief we share.
This is the beautiful track, Walk Through The Fire, by Mary Gauthier that played over the credits at the end.
I love Banshee which is funny because - mostly - I find the damage served up in You've been Framed hard to stomach.
Great characters have great passions: Ana and "Lucas Hood"'s is epic.
WHAT IS YOUR BEDROCK BELIEF?
Do you have a track to share for my MONDAY MUSIC?
Elaine writes for children and teens, she is a primary school teacher who spends her time imagining "What would happen if…". She, and her family, live in Hertfordshire. An expert multi-tasker she finds you can do anything – walking, yoga – and combine it with reading – or writing – a book.
Does YOUR MC show counter-emotional reactions?
How does the Big Problem affect YOUR MC?
Does YOUR MC hold a principle as part of who they are?
Emma Chapman's return to Edgware, and the school that pretty-much expelled her years before should have been studiously uneventful but her fascination with enigmatic, self-isolating, Conall Ridgeway–whose genetics put him at the eco-warrior end of the werewolf spectrum–spins her life from frightening to romantic by turn.
I was running late. But, it was nothing I couldn't make up with a bit of effort. I shook my head. Confident and happy? I smiled. Increasing my stride, I pushed until the muscles in my legs burned. I kept up the pace even when the hill grew steeper.
Magpie Lane was hardly wider than a ribbon that edged the woods but that didn't stop traffic using it to get to the motorway quicker. Large trucks and fast cars loved Magpie Lane. They sent vibrations running through me rising from the soles of my trainers. I felt the disturbance in the ground, even before the air pressure tried to knock me off balance. I hunched my shoulders as the cab hauling a container spat stones up at me.
Jogging on the spot, at the entrance to woodland, I ached to leave the road and go inside. My Mum was probably still asleep but I could hear her you-never-know-what might-be-in-there lecture buzzing on repeat inside my head. I should run safe. Not even I would argue that running through the woods on my own was the best definition of safe but I wanted to run-wild and the woodland offered me that. This early, I should be safe from axe murderers or perverts in the trees and besides, I was fast.
I jogged down the slope into the trees. From two paces in, I felt different. Freer. It felt so right. Running in the woods did great things for my style. Avoiding the roots and dodging branches forced my stride longer, I had to step higher. The woodland, The Weald, was only a sliver of ancient woodland that the developers forgot to build on but it felt like it could have been anywhere. Everywhere. At any time. The oaks and beech trees dominated the space and the skinny, silver-birches squeezed up beside them. I laughed. For a second, the woods reminded me of school and I needed to run a lot faster.
STAYING LOST is found - if not properly finished.


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Q: How to zoom in using Mouse Position on that image I have a userControl library, which consists of the main Panel and a PictureBox, I want to make a zoomable PictureBox tool, I zoom in and out using mouseWheel event of the main Panel, the problem that I can't figure out how do I zoom in by the mouse position on the image, so whenever I zoom in, the zoom goes the Top-Left corner of the panel, so how do I fix that?
private double ZOOMFACTOR = 1.15;   // = 15% smaller or larger
private int MINMAX = 5;
void picPanel_MouseWheel(object sender, MouseEventArgs e)
    {
        if (e.Delta > 0)
        {
            ZoomIn();
        }
        else
        {
            ZoomOut();
        }
    }

    private void ZoomIn()
    {
        if ((picBox.Width < (MINMAX * this.Width)) &&
            (picBox.Height < (MINMAX * this.Height)))
        {
            picBox.Width = Convert.ToInt32(picBox.Width * ZOOMFACTOR);
            picBox.Height = Convert.ToInt32(picBox.Height * ZOOMFACTOR);
        }
    }
    private void picBox_MouseEnter(object sender, EventArgs e)
    {
        if (picBox.Focused) return;
        picBox.Focus();
    }

Update :
I have tried this, it looks like working, but not exactly as it should be!! Any ideas?
    private void ZoomIn()
    {
        if ((picBox.Width < (MINMAX * this.Width)) &&
            (picBox.Height < (MINMAX * this.Height)))
        {
            picBox.Width = Convert.ToInt32(picBox.Width * ZOOMFACTOR);
            picBox.Height = Convert.ToInt32(picBox.Height * ZOOMFACTOR);

            Point p = this.AutoScrollPosition;
            int deltaX = e.X - p.X;
            int deltaY = e.Y - p.Y;
            this.AutoScrollPosition = new Point(deltaX, deltaY);
        }
    }

A: The problem is that your control is acting like a viewport - the origin is top left, so every time you stretch the image you're doing it from that corner - the upshot is you wind up zooming into the top left corner, you need to offset the stretched image and centre the point the user zoomed in on.

*

*image size: 200,200

*user clicks 100,50 and zooms in x2

*stretch the image

*image size 400,400, and the place the user clicked is now effectively at 200,100

*you need to slide the image 100 px left and 50 px up to correct for re-sizing the image

You'll need to override the paint event handler to draw the image offset:
 RectangleF BmpRect = new RectangleF((float)(Offset.X), (float)(Offset.Y), (float)(ZoomedWidth), (float)(ZoomedHeight));
  e.Graphics.DrawImage(Bmp, ViewPort , BmpRect, GraphicsUnit.Pixel);

Bmp is your image; ViewPort is a Rectangle defined by your pictureBox control
Here is a thread that might help.

A: This is the example of Zoom image on mouse position....
tested verified.
protected override void OnMouseWheel(MouseEventArgs ea)
{
    //  flag = 1;
    // Override OnMouseWheel event, for zooming in/out with the scroll wheel
    if (picmap1.Image != null)
    {
        // If the mouse wheel is moved forward (Zoom in)
        if (ea.Delta > 0)
        {
            // Check if the pictureBox dimensions are in range (15 is the minimum and maximum zoom level)
            if ((picmap1.Width < (15 * this.Width)) && (picmap1.Height < (15 * this.Height)))
            {
                // Change the size of the picturebox, multiply it by the ZOOMFACTOR
                picmap1.Width = (int)(picmap1.Width * 1.25);
                picmap1.Height = (int)(picmap1.Height * 1.25);

                // Formula to move the picturebox, to zoom in the point selected by the mouse cursor
                picmap1.Top = (int)(ea.Y - 1.25 * (ea.Y - picmap1.Top));
                picmap1.Left = (int)(ea.X - 1.25 * (ea.X - picmap1.Left));
            }
        }
        else
        {
            // Check if the pictureBox dimensions are in range (15 is the minimum and maximum zoom level)
            if ((picmap1.Width > (imagemappan.Width)) && (picmap1.Height > (imagemappan.Height)))
            {
                // Change the size of the picturebox, divide it by the ZOOMFACTOR
                picmap1.Width = (int)(picmap1.Width / 1.25);
                picmap1.Height = (int)(picmap1.Height / 1.25);

                // Formula to move the picturebox, to zoom in the point selected by the mouse cursor
                picmap1.Top = (int)(ea.Y - 0.80 * (ea.Y - picmap1.Top));
                picmap1.Left = (int)(ea.X - 0.80 * (ea.X - picmap1.Left));
            }
        }
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
# willie kennedy
'Willie was a true gentleman' - Tipperary councillor dies after being hit by car in Laois
The popular local politician died from his injuries last night.
Mar 8th 2016, 1:11 PM
Updated at 1.11pm
Tributes to Tipperary County Councillor Willie Kennedy on @TippFmNews at 1 o'clock pic.twitter.com/6dyeeOdutG
— Fiona Donnellan (@fionadonnellan) March 8, 2016
Fiona Donnellan / Twitter
A TIPPERARY COUNTY COUNCILLOR has died after being struck by a car last night
Willie Kennedy was attending a funeral in Portlaoise last night when he was struck by a car at around 8.30pm on the N80 at Dysart in Portlaoise.
The 64-year-old Independent county councillor was seriously injured in the incident.
He was treated at the scene and removed to Portlaoise General Hospital where he was pronounced dead. The driver of the car, a man in his 50s, was uninjured in the incident.
Confirming the death this afternoon, fellow councillor Micheál Lowry Jr said that he was devastated by the news.
"I don't even know what to think," he said.
"We found out last night… We're trying to get our head around it."
First and foremost my sympathies go out to his wife Betty, his son Ger and his two daughters Máiréad and Elizabeth.
We're all devastated by the news.
"A true gentleman"
Kennedy was first elected to Tipperary North County Council in 1999. He was last elected in 2014.
Having lived in Glastrigan in Thurles, the popular councty councillor was much loved by the Thurles rural community.
He was part of the Lowry group of Independents on the council, including Lowry Jr and Michael O'Meara.
Speaking the TheJournal.ie this afternoon, O'Meara said that Kennedy was a "true gentleman".
"Willie was a true gentleman and a consummate politician – he was a very wise man," said O'Meara.
He was the go-to man to sort out problems for you. He had a great common sense way about him.
O'Meara said that Kennedy had been Independent TD Michael Lowry's right-hand man, and that the Tipperary politician would be particularly devastated with the loss.
"When an awful lot of people deserted Lowry, Willie stood by him," said O'Meara.
Lowry confided in him and for a long time Willie was the only councillor that he had before Micheál and others came on the scene.
A stretch of the N80 between Stradbally and Bloomfield is currently closed to traffic and local diversions are in place. Garda forensic collision investigators are due to examine the scene this morning.
Anyone with information is asked to contact Portlaoise garda station on 057 8674100 or the Garda Confidential Line 1800 666 111.
With reporting from Cormac Fitzgerald
Read: Woman killed, four others injured in crash involving off duty garda>
Read: 'My Brendan was killed by a drunk driver – it left a desperate void in our lives'>
Michelle Hennessy
michelle@thejournal.ie
@michellehtweet
CRASH DYSART GARDA PEDESTRIAN PORTLAOISE PORTLAOISE GENERAL HOSPITAL ROAD DEATH STRADBALLY WILLIE KENNEDY
<iframe width="600" height="460" frameborder="0" style="border:0px;" src="https://www.thejournal.ie/https://www.thejournal.ie/laois-pedestrian-killed-2647823-Mar2016/?embedpost=2647823&width=600&height=460" ></iframe>
Email "'Willie was a true gentleman' - Tipperary councillor dies after being hit by car in Laois".
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Where To Watch Saving Banksy
Out now in theaters nationwide, Saving Banksy has stirred a lot of questions about the use of graffiti and public art. Who does the art belong to once it's done? Is it art or is it vandalism? After 2 years of hard work, the 80-minute documentary put together by none other than 1xRUN Contributing Photographer Colin Day aims to answer these questions is being released. Directed by Day, the film covers the fate of Banksy's Haight Street Rat, painted in 2010 on a building in San Francisco's Haight-Ashbury. The documentary features interviews with 1xRUN alum Doze Green, Risk, Revok, and Anthony Lister, as well as legendary names like Ben Eine, Glenn Friedman and Blek Le Rat. Check out the reviews from The Hollywood Reporter, CBS and revisit the trailer below while you find a theater near you with the interactive map.
Find a Theater:
This map will continue to update as new theaters become available.
No showing in your area? No worries, you can also pre-order the DVD packages here.
-1xRUN
BY: Daniel Isley
1xnews, Banksy, Colin Day, features, saving banksy