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Newly Discovered Fossils Reveal Man's Earliest Ancestors
TOPICS:ArchaeologyDinosaursFossilsPalaeobiologyPopularUniversity Of Portsmouth
By University of Portsmouth November 10, 2017
This is a reconstruction of the small, rat-like creatures that lived 145 million years ago in the shadow of the dinosaurs. Credit: Dr Mark Witton, palaeo-artist, University of Portsmouth
Researchers at the University of Portsmouth have discovered fossils of the oldest mammals related to mankind on the Jurassic Coast of Dorset.
The two teeth are from small, rat-like creatures that lived 145 million years ago in the shadow of the dinosaurs. They are the earliest undisputed fossils of mammals belonging to the line that led to human beings.
They are also the ancestors to most mammals alive today, including creatures as diverse as the Blue Whale and the Pigmy Shrew. The findings are published today in the Journal, Acta Palaeontologica Polonica, in a paper by Dr Steve Sweetman, Research Fellow at the University of Portsmouth, and co-authors from the same university. Dr Sweetman, whose primary research interest concerns all the small vertebrates that lived with the dinosaurs, identified the teeth but it was University of Portsmouth undergraduate student, Grant Smith who made the discovery.
Dr Sweetman said: "Grant was sifting through small samples of earliest Cretaceous rocks collected on the coast of Dorset as part of his undergraduate dissertation project in the hope of finding some interesting remains. Quite unexpectedly he found not one but two quite remarkable teeth of a type never before seen from rocks of this age. I was asked to look at them and give an opinion and even at first glance my jaw dropped!"
"The teeth are of a type so highly evolved that I realised straight away I was looking at remains of Early Cretaceous mammals that more closely resembled those that lived during the latest Cretaceous – some 60 million years later in geological history. In the world of palaeontology there has been a lot of debate around a specimen found in China, which is approximately 160 million years old. This was originally said to be of the same type as ours but recent studies have ruled this out. That being the case, our 145 million year old teeth are undoubtedly the earliest yet known from the line of mammals that lead to our own species."
Dr Sweetman believes the mammals were small, furry creatures and most likely nocturnal. One, a possible burrower, probably ate insects and the larger may have eaten plants as well.
He said: "The teeth are of a highly advanced type that can pierce, cut and crush food. They are also very worn which suggests the animals to which they belonged lived to a good age for their species. No mean feat when you're sharing your habitat with predatory dinosaurs!"
The teeth were recovered from rocks exposed in cliffs near Swanage which has given up thousands of iconic fossils. Grant, now reading for his Master's degree at The University of Portsmouth, said that he knew he was looking at something mammalian but didn't realise he had discovered something quite so special. His supervisor, Dave Martill, Professor of Palaeobiology, confirmed that they were mammalian, but suggested Dr Sweetman, a mammal expert should see them.
Professor Martill said: "We looked at them with a microscope but despite over 30 years' experience these teeth looked very different and we decided we needed to bring in a third pair of eyes and more expertise in the field in the form of our colleague, Dr Sweetman.
"Steve made the connection immediately, but what I'm most pleased about is that a student who is a complete beginner was able to make a remarkable scientific discovery in palaeontology and see his discovery and his name published in a scientific paper. The Jurassic Coast is always unveiling fresh secrets and I'd like to think that similar discoveries will continue to be made right on our doorstep."
One of the new species has been named Durlstotherium newmani, christened after Charlie Newman, the landlord of the Square and Compass pub in Worth Matravers, close to where the fossils were discovered.
Publication: Steven C. Sweetman, et al., "Highly derived eutherian mammals from the earliest Cretaceous of southern Britain," Acta Palaeontologica Polonica, 2017; doi:10.4202/app.00408.2017
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3 Comments on "Newly Discovered Fossils Reveal Man's Earliest Ancestors"
Pyra | November 11, 2017 at 6:39 am | Reply
NOT SCIENCE. This article is just MOAR Darwinian evolutionist stupidity. I'm sick of this dumb crap constantly being jammed down my eye stalks. 160 million yrs….GFYS. You don't know that. All you know is that those fossils were once alive and now they are dead and they are older than YOU.
That's it, past that it is just faith and belief in the constantly lying– always B.S.'ing white lab coat "priests of science" mantras and unquestioned assumptions.
So here's the real truth: GOD MADE MAN, the WORLD, and all that is in IT. Dinosaurs are MONSTERS, not created by GOD, but by evil things. They were created to eat the children of men. One of the purposes of the Deluge was to wipe out all these monsters. The evidence of this is the huge graveyards of bones that "scientists" are finding. These things are not MILLIONS OF YEARS old, they lived up to the time the floodwaters came and swept all life not in the ark away.
Now if fossils of dinosaurs are near-infinitely old, then how is it that they gooey middles where soft tissue and viable DNA are found? Oops, these lying "social narrative building" scientists don't tell you about THAT.
Stop believing in idiotic lies. Evolution is pure stupidity, it cannot hold up to any critical thinking.
Ryan Parkinson | November 17, 2017 at 2:57 pm | Reply
ignorant dumbass bible thumping moron
Chris | November 17, 2017 at 4:59 pm | Reply
Pyra is not a moron, he is just time blind. Most of us struggle to visualize infinity in our minds, most people until the recent thousand or so years struggled to visualize big numbers which is why most ancient texts talk about 'many' as ten thousand, or twenty thousand in China. Pyra and other flat earthers cannot visualize, make real in their minds, time beyond a few thousand years, maybe seven thousand; to support this to them, obvious fact, the have to deny all evidence to the contrary. It is not an accident that most of these time blind people are also semi-literate.


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I am using NI PCI 7833R FPGA card but it is not detect in NI MAY under Device. Anyone have idea about that?
I had installed LabvVIEW 10 Service pack 1,LabVIEW 11 Service pack 1; DAQmx 9.9 and NI RIO 13.1.1?
Additional PCI device are listed into Device Manager but it will show error message like Device driver not found(Code 28).
Re: FPGA card not detect..
Did NI RIO install NI FPGA? Also, this product seems to be obsolete. Ensure that you get the correct drivers.
no NI RIO didn't install NI FPGA.
You should then install it. Did this card come with a Device Driver CD? That will surely help you.


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Obituary of Raymond L. Vaccaro
Raymond L. Vaccaro Raymond L. Vaccaro, 81, of Rome, passed away Wednesday, December 1, 2010 at home. He was born in Rome, N.Y. on November 24, 1929, son of the late Paul and Elizabeth Lagatta Vaccaro. Ray graduated from Rome Free Academy Class of 1949. He served with the U.S. Army in Korea. On May 9, 1953, he married Hilda Tamburino in St. John the Baptist Church. Mr. Vaccaro retired from Griffiss Air Force Base. He was a member of St. John the Baptist Church. Ray "Coach" Vaccaro was active in sports and recreation his entire life, starting in high school where he was captain of the 1949 RFA football team. After time spent in the Army, he became active in Little League Baseball during the early years of the American Little League. He coached the 1956 American Little League All-Star Team, just one game short of the Williamsport Championship Little League World Series. He was also very active in the development of Pop Warner Football, coaching St. John the Baptist Church teams in the early days of the Dominick Savio League, and later the Rome Colts Pop Warner football teams. Ray led the Rome Colts to Bowl Games as far away as Georgia and South Carolina He was on the first coaching staff in 1965 at Rome Catholic High School and spent many years there as a varsity and later as a modified football coach. He also coached modified football in the Rome Free Academy football program at Strough and Staley Junior High Schools. After retiring from GAFB, Ray spent his summers working for the Rome Recreation Department directing the track program and supervising football clinics. Ray took great pride in being able to coach many of Rome's finest athletes, and was always willing to share a story about all the wonderful people he met throughout his coaching career. Throughout his career, Ray received many awards and accolades for his dedicated work and effort, but one of his personal favorites was his 1998 induction into the Rome Sports Hall of Fame. Surviving besides his wife, Hilda, are a son and daughter-in-law, Gabe and Nancy Vaccaro, a daughter, Karen Seymour, all of Rome; a special niece, Debbie and her husband Earl Harris, and their children, Christopher and Natalie, Camden; two grandchildren, Zachary Vaccaro and Raymond Seymour. Also surviving are two sisters and a brother-in-law, Catherine Pugliese, Florence and Paul Leonbruno, all of Rome; brothers-in-law and sisters-in-law, Gene Tamburino, Joseph Tamburino, Lena and Francis Colangelo, Florence DeBonzo and Carmella and Dominick Tagliaferri, all of Rome; and several nieces and nephews. He was predeceased by two brothers, John Vaccaro and Paul Vaccaro. The family would like to express a special thank you to Hospice Care. Funeral services will be held on Saturday at 10:15 a.m. from the Nicholas J. Bush Funeral Home, Inc., 218 W. Court St., and at St. John the Baptist Church at 11:00 a.m. Burial will be in St. John's Cemetery. Friends may call at the funeral home on Friday from 3-7 p.m. Memorial contributions may be made to the Rome Sports Hall of Fame, 5790 Rome-New London Road, Rome, N.Y. 13440-8337 or Hospice and Palliative Care, 4277 Middle Settlement Road, New Hartford, N.Y. 13413.
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Nick Newcomen did a road trip over 30 days to create the world's biggest writing by using his car GPS tracking device (GPS) as a "pen." The writing "Read Ayn Rand" consists of 12,328 miles traveled and stretches from the Pacific to the Atlantic Ocean and covers 30 American states.
The first step involved identifying on a map the route he would need to drive in order to spell out "Read Ayn Rand." Then he drove the route. He used a GPS logger (Qstarz BT-Q1000X) to record his "writing." He turned on the device when he wanted to write and turned off the device between letters. He then input the recorded GPS data into Google Earth resulting in the image you see above.
Any Rand was a famous novelist who wrote books like novels Atlas Shrugged and The Fountainhead. You can track the journey on Google Earth, or click any part of the map on their site and get short videos about the places.


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Kingdom Heirs – "A New Look"
From the Mountains of East Tennessee, Southern Gospel Music fills the air and is the home of The Kingdom Heirs, one of Southern Gospel Music's top Male Quartets. The group sang in local churches and concert halls in 1981, and as their music and message spread to a wider audience, so did their popularity and demand. Later in 1981 they began singing at the Silver Dollar City theme park, which is now Dollywood. In 1986 when the theme park took on their new name, The Kingdom Heirs were asked to become the resident gospel group and now this year, both The Kingdom Heirs and Dollywood will be celebrating 28 years. Not only are they one of Dollywood's favorites, but a favorite to millions everywhere.
The Kingdom Heirs have been nominated many times for industry awards such as The SGMA Awards, Dove Awards and The Singing News Fan Awards. Winning Newcomer Group of the Year in 1989, the group has been a constant favorite. The latest award is 2014 Band of the Year, which the band also won in 2002, 2004, 2005, 2006 and 2013. They have also had many top ten songs, and currently have had 38 top 5 songs in a row and 11 number 1 songs including their latest number #1 song,"I'll Know I'm Home", "The Borrowed Tomb", "Just Beyond The Sunset" (Nominated for Song of the Year), "Just Preach Jesus" (Nominated for Song of the Year), "Tell Me Why" and "He Locked The Gates". Over the past years they have had 28 songs nominated for Song of the Year. With a nine-month schedule performing to thousands of people a year at Dollywood, the group also tours for eight weeks, January through March. All of their tour scheduling is done in house.
A New Look (3:22)
Power in Those Bones (3:49)
More Like Jesus (2:55)
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As Many Times (3:32)
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Never Made a Promise (4:07)
God's Gonna Do More (2:44)
Pass the Torch (3:06)
The Church Will Overcome (3:21)
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Kingdom Heirs
URB Magazine Charlie Waller Phanatik Ray Wylie Hubbard The Civil Wars


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Lionel Bertrand (March 10, 1906 – March 26, 1979) was a Canadian politician, journalist and newspaper editor. Born in St. Jovite, Quebec, Bertrand was elected to the House of Commons of Canada in the 1940 election as an Independent Liberal to represent the riding of Terrebonne. He joined the Liberal Party for the 1945 election and was re-elected that year then re-elected in 1949 and in 1953. He was also a Member of the Legislative Assembly of Quebec elected in 1960 to represent the electoral district of Terrebonne. He was appointed as Provincial Secretary, followed by Minister of Tourism, Fish and Game then followed by Member of the Legislative Council of Quebec. Bertrand also authored a number of books.

Electoral record

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1906 births
1979 deaths
Independent Liberal MPs in Canada
Liberal Party of Canada MPs
People from Laurentides
Quebec Liberal Party MLCs
Quebec Liberal Party MNAs

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Aaron Chafin Inks Co-Pub Deal With Concord Music Publishing & Chromatic
December 1, 2022 /in Uncategorized /by Lorie Hollabaugh
Pictured (L-R): Melissa Spillman (Concord), Garrett Stephenson (Concord), Courtney Allen (Concord), Tofer Brown (Chromatic), Aaron Chafin, Brad Kennard (Concord), Kourtney Kirkpatrick (Concord), Ashley Nite (Concord), Jaclyn McDonald (Concord)
Multi-genre songwriter and producer Aaron Chafin has signed a new co-publishing agreement with Concord Music Publishing and Chromatic Music. The deal includes Chafin's full catalog and future works.
Chafin's recent songwriting credits include Rozes' "Halfway There," Kyd the Band's "Easy (feat. Elley Duhe)," Cassadee Pope's "Tomorrow Night" and Sam Tinnesz's "Loser (feat. Bryce Fox)," among others. He also co-wrote Drake White's single "Hurts The Healing" and produced Micah Tyler's "Amen," which reached the No. 2 spot on Christian radio.
Other Chafin cuts include singles with Kshmr, Sarah Reeves, Jared James Nichols, Leah Nobel, Trella, Kierra Luv, and Svrcina. He has recently collaborated with the X Ambassadors, The Score, Shawn Hook, gnash, Willie Jones, Tofer Brown, The Brummies, Sarah Buxton, Trent Dabbs, Bear Rinehart, Anderson East, Amy Stroup and more.
On the sync side, Chafin's work can be heard in ads for Dell, Intel, Amazon and Samsung, as well as in TV series such as American Kingdom, Almost Family, The Bold Type, and Selling Sunset. He's had placements across MTV, FOX, ABC, CBS, NBC, Fox Sports, and promos/trailers for films, including Upload, Last Christmas, After, Countdown and more.
"We, alongside Tofer Brown and Chromatic Music, are incredibly excited to work with Aaron Chafin!" says Brad Kennard, SVP A&R at Concord Music Publishing Nashville. "Aaron is a uniquely gifted songwriter and producer, who's already having success across country, pop, alternative, and in the film & television world. He's a perfect match for Concord's desire to win in every musical arena."
"After our first time working together a couple of years ago, I knew I had to be a part of Aaron's musical journey," Brown adds. "He is one of the most talented producer/writers that I've worked with. I am so impressed by his diversity in production and his ability to jump from genre to genre–and to do it all so well is so inspiring. There is no limit to his talent and professionalism, and I am excited to work with him, alongside my Concord family."
"Super excited to be joining Chromatic Music and Concord for my publishing," shares Chafin. "The opportunities presented from the team were undeniable from the beginning, and I feel more than confident within their worldwide network of collaborations!"
This marks the second signing under the new joint venture with Chromatic Music, founded by songwriter Tofer Brown. The new creative endeavor was founded to develop, mentor and partner with artists, producers, and songwriters of all genres. Chromatic's first signing earlier this year was songwriter Lauren Hungate.
Lorie Hollabaugh
Hollabaugh, a staff writer at MusicRow magazine, has over 20 years of music business experience and has written for publications including American Profile, CMA Close Up, Nashville Arts And Entertainment, The Boot and Country Weekly. She has a Broadcast Journalism and Speech Communication degree from Texas Christian University, (go Horned Frogs), and welcomes your feedback or story ideas at [email protected]
Latest posts by Lorie Hollabaugh (see all)
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https://musicrow.com/wp-content/uploads/2022/12/image002-1.jpg 656 874 Lorie Hollabaugh https://musicrow.com/wp-content/uploads/2019/03/MusicRow-header-logo-Mar19B.png Lorie Hollabaugh2022-12-01 10:13:302022-12-01 10:13:30Aaron Chafin Inks Co-Pub Deal With Concord Music Publishing & Chromatic
Aaron Chafin Inks Co-Pub Deal With Concord Music Publishing & Chromatic December 1, 2022
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Well it has been an interesting year. Some good, some not. As always it has been good hanging with you people. I hope your holidays are full of joy.
*or holiday of your choice.
2017 can die in a fire for me personally. 2018 has got to be better!
I've seen a few people talk about having a rotten 2017, lets hope this is better!


The French call it maladie du pays (pain for the countryside). The Germans call it Heimweh (home-pain). We in America call it "nostalgia". We at Rebecca Ruth Candy are excited to offer you a taste of nostalgia, a balm of home comforts, and a dash of Southern hospitality.


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Crispin Glover (2014)
Crispin Glover has been an actor for over 30 years, most famously appearing in films like Back to the Future, Charlie's Angels, Friday the 13: The Final Chapter, Tim Burton's Alice in Wonderland, The River's Edge, Bartleby, and Willard. He's also currently working on directing his third film, preceded by his unique and beautiful first two features What Is It? and It is Fine! EVERYTHING IS FINE. I recently had a chance to chat with Crispin about his role in new film The Bag Man, the touring of his directorial efforts, and many other aspects of his career.
Jason Howard: What initially drew you to your role in The Bag Man?
Crispin Glover: The dialogue, specifically, was well written. I immediately liked it. I saw how to play the character and what the character should be like. It was very clear from the initial reading, so it was relatively simple. It was an offer and the negotiation happened pretty quickly.
JH: Because you've been in the industry as long as you have and you are able to add your own unique spin to the roles that you take, do you find that you are often approached by screenwriters or directors who write with you in mind, based on what they've seen you do in the past, but get it completely wrong? Are they looking for more of a "Crispin Glover-type," rather than Crispin Glover himself? Is Crispin Glover unwriteable?
CG: You know, I don't normally think the characters I play are written specifically for me. I think I've had that happen maybe once in my career. It was a film called Rubin and Ed. And, for my own film, What is It?, I wrote a character for myself when expanding it from a short film to a feature. The third time will be my next personal film production that I'm shooting right now and developing for myself and my father (actor Bruce Glover) to act in together. It's the first time that he and I have ever acted together.
On this film, The Bag Man, I was offered the part and then David Grovic, the writer/director wrote some stuff to expand the character in a way that felt like he had an idea of me playing that character, but I liked the way the character was initially written, as well. There were certain things that one could say were similar to characters I've played, but there were also things that were different that I quite liked. I wanted to keep them pristine, the way they were.
JH: You've also directed your own films.
CG: I self-distribute my films and am currently touring them. I'm on year nine of touring What is It?, and year seven of It Is Fine! EVERYTHING IS FINE. I have a show this weekend in Ottawa and then the weekend after that, I'll be at the La Paloma Theatre, just outside of San Diego. For dates, you can go to crispinglover.com and sign up for my newsletter.
JH: Speaking of the tour, what is it about your directorial films that made you decide that a live, tour setting was the right context for them to be seen?
CG: Particularly with the first film I made, What Is It?, it's a reaction to the constraints that have happened in the corporately funded and distributed film industry in the last 30 years. If there's anything that could possibly make an audience member uncomfortable, it's necessarily excised or that film will not be corporately funded or distributed. That's a very damaging thing because that moment when an audience member looks up from their chair at the screen and thinks to themselves, "is this right what I'm watching? Is this wrong what I'm watching? Should I be here? Should the filmmaker have done this? What is it?" And, that's the title of the first film. What is it that's taboo in the culture? What does it mean when the taboo has been ubiquitously excised? When people are having genuine questions or having the etymological meaning of the word education, meaning to learn from within, removed like that, it's damaging because it means the audience is essentially having the opposite of education. What is that? It's propaganda. I do think that's what's happening in the corporately funded and distributed media.
I was just at an Alamo Drafthouse this past weekend in Yonkers and Tim League (founder) is doing a great thing. He started the Alamo in Austin and he's a genuine cinephile and a filmmaker. He understands and wants to bring thoughtful and interesting things to people. He just happens to have been a good businessman, making money with food and beer. He doesn't have to worry about the programming, which ultimately means he DOES worry about the programming. He programs things that he likes and that he's interested in. Of course, he's gone beyond just being a programmer. He was the first person to contact me about What Is It?. I realized I could tour with the films when I started doing the slideshow back in '93. I was getting healthy interest in attendance and I could self-promote my own shows and features. I'm not against having my films, at some time, bought up by a corporation, but there would have to be a proper monetary element. Being that these films are very much reactions to the constraints that these types of corporations are involved with, it's much better for me to self-distribute in this way. Plus, the audience gets a lot more out of it when that happens. It's a very different experience than solely seeing the film on its own. The live aspect is an extremely important part of the show.
JH: With that live audience element, do you find that you lose any of your personal attachment to your films due to the instant and repeated analysis that you go through with the audience each night through the Q & A sessions?
CG: Well, something that I'm very careful not to do is to analyze the film. That isn't what I'm doing when I do the Q & A. What I do is to put the film into context with what it is reacting to. It's different than, for example, analyzing the symbolism might be. I'll get asked, maybe, what something means and I'll be careful not to do that kind of specificity. But, particularly with What Is It?, it's not entirely clear, within the framework of the film, what the film is reacting to. That's something that I've always wanted to let be known. There's a part of me that says, "it's okay to have a film be totally on its own and let people react to it however they will." But, What Is It? deals in taboo. The title itself is a question and there are things that people can highly question within the film. I kind of feel like it would be cowardly if I didn't go and address some of those questions.
JH: Your second film as director (It is Fine! EVERYTHING IS FINE) is a very beautiful film.
CG: Thank you. I'm very proud of that film.
JH: Because your lead character in that film is mentally disabled and yet there was no clear line drawn as to whether he is good or evil, do you find that audiences have a hard time accepting it? It seems that most Hollywood films portray the disabled as either victims or even "magical" in some way. Was that dichotomy perhaps what drew you to the script?
CG: I read Steve's (Steven C. Stewart – writer/star) script way back in 1986. It was a very old screenplay and a project that I've been fascinated by for a long time. As soon as I read it, I knew that it was something that I would have to fund it myself to get it made because it is so evidently outside any kind of realm that corporate interests would work in. There's no question that part of what was compelling about it was his kind of outrage and reaction. Steve had been locked into a nursing home when he was in his early twenties, when his mother died. It was difficult to necessarily understand Steve's speaking. You could, ultimately, understand it if you sat and listened and talked to him, but for many people, it was very difficult. The people who were taking care of him at this nursing home would derisively call him an "M.R." or "Mental Retard." That's not a nice thing to say to anybody, but Steve was of normal intelligence and the emotional turmoil that he must have gone through for that decade, I can't even begin to imagine. He did get out, and he wrote this screenplay in the style of a 1970s TV murder/mystery movie-of-the-week, and he's the bad guy.
Something that was very important to Steve, and he didn't say this exactly, but if you think about it, and you mentioned this a moment ago, if you see a corporately funded or distributed film and there's a character that has a disability, basically, that character will be a benefactor to society. There's nothing wrong with that. There are plenty of people with disabilities that are benefactors to society. But, Steve's point was that he was a person with a disability, but with an emphasis on 'person.' People can have dark thoughts. He wanted to play a character with dark thoughts. He does dark things and it's really compelling. It gets into a certain element of psychology and that's quite fascinating. Like you said, I agree that it's a beautiful film. When the whole trilogy is done, I feel like it'll be the best film of the trilogy. Not only that, I feel like it'll be the best film I'll ever have anything to do with in my entire career. I feel very passionately about it. It's also why I feel very comfortable continuing to tour with What Is It? and Everything Is Fine – they are very different kinds of films from one another. I don't mean to be dismissing What Is It? when I talk so glowingly about Everything Is Fine. What Is It? has some things that the other doesn't have. But, there's an emotional catharsis in Steve's film that I put on a very high realm. I'm proud of these movies.
I'm also touring with ten minutes of the next feature that I'm currently in the middle of shooting. This is the film I've been developing for many years for my father and me to act in together. It's not part of the trilogy. I need to step away from the trilogy because I've been working on it since 1996. That's a long time. There are thematic elements that will continue in the third part, but I need to step away from it and work on other themes and films.
JH: You've also written quite a few books that play a large part in your tour. Have you always written them, or have you ever written them, with the mindset that they will eventually be a part of a performance piece? Or, does that aspect come in later?
CG: Well, I have two different shows now. The original show, which I call Crispin Hellion Glover's Big Slide Show, Part 1, consists of eight different books, which were made in the 80s and very early 90s. All of these books were made by taking old bindings from the 1800s and re-working them into different books than what they originally were and are heavily illustrated. The images of the pages, because they are so heavily illustrated, are projected behind me as I dramatically narrate the books. I have a book signing at the end of the show, as well with the books I've published.
The second slide show, which I play before It Is Fine! EVERYTHING IS FINE does have one book in it which was actually not ever made as a book. I had collected many of the images and done many of the images in probably the late 80s/early 90s, but I never ended up making that into a book because I knew that it would serve as a good performance. There are some books that I made in that period that aren't in the shows because they were more like art objects. They were not really narrative stories. This book, however, I just knew that it would work to perform in the show. It took me awhile with the second slide show because I had chosen, in a certain way, the best books to perform in the first slide show. I needed to make things different for the second one. It took me awhile before I put things together and made it work as a big part of Crispin Hellion Glover's Big Slide Show, Part 2. That one was not made as a binding, but it works as a performance.
JH: It seems from an outside perspective that you might have the ideal career. Not necessarily on the financial side, but along the lines of artistic fulfillment – you appear in mainstream movies, adding your own unique flair, but still are able to work on your more personal pieces as well. I would think that anyone getting into the business would strive for something along those lines. Is that your perspective on your career as well?
CG: (laughs) The way you describe it certainly sounds good!
JH: That was my concern with the question – whether the way I'm describing it falls in line with the reality.
CG: I don't mind – I like it for a press release kind of thing. The actuality of doing it, though, is that there are struggles with that. It's not like you wake up and everybody says, "hey, you can be influential in making movies." You have to try to do it. Sometimes you are met with conflict. Sometimes you don't work as much as you'd like to work or bring in the money that you need to fund your own films. It's a continuing process. But, in the long run, like being able to tour with my shows and films is really important to me. I feel much better about my life and career since I've been able to tour.
Somebody asked Stanley Kubrick how you become a director and he said, "by directing films." I don't think he was being facetious. It's actual. You have to do it. Nobody else will make it happen. You've got to make it happen yourself. Werner Herzog said something that was essentially the same answer, but in a different way. He said, "if you want to direct films, steal a camera." I think he didn't have enough funds to make his initial film, so he stole a 35mm camera from somewhere and made a film. It's essentially the same answer. How do you become a director? You do what you need to do to make it happen. I certainly found that's the case with my own filmmaking. Making my third feature is not too different from making the first two. I'm financing these movies. On a positive point, I do have people who volunteer and that's an extremely important part of it. Even with having volunteers, with every single film, you go broke. That's just the nature of it. Then, you make more money and continue. But, it's worth it.
In terms of what you're saying, I'm glad if it comes off like that. It doesn't necessarily feel like that. But, it sounds good to my ear!
JH: Lastly, can you give us a little insight as to how your lawsuit against the creators of Back to the Future has impacted your career or the field of acting, in general?
CG: Well, just to be clear, the producers took the mold of my face that was used to make the old-aged makeup for the first film and put those prosthetics on another actor with false nose, chin, and cheekbones, in order to fool the audience into believing that I was in the second film by splicing a very small amount of footage, and I mean a VERY small amount – just some close-ups. People think that it's me dancing and stuff, but it's a different actor. Of course, that's not a comfortable thing to have happen. To have people believe that you are doing something that you are not doing and attribute that to you is stealing. That's what the lawsuit is about. I'm proud of the lawsuit and standing up for that. The reason that I had the lawsuit wasn't initially for that. It was just to let people know that it was not me in that movie. It was a gross misuse of something. I do not like the idea of being involved in a lawsuit, but the only thing I could do at the time was do nothing and let everyone believe I was in the movie.
If I had never had the lawsuit and never said anything, I'll bet you most people would believe that was me in that movie. I still have people come up to me and say that. What's unfortunate is that, of course, anytime you have a lawsuit in the industry, it's going to have negative effects. I knew that going into it. But, it was such an extreme case of producers stealing something, that it had to be addressed, and I had to do it. I would much prefer that the producers had not done that and just hired a different actor. That would have been fine. Just get a different person, use their face, and there would have been no problem. I would have been very happy today and still have very good feelings about the first film. But, by fooling people into believing that I was in that second film with my facial features in it, and even portions of me, it's still disturbing. It's unfortunate that it happened, but what can you do? You've got to do something about it. I would much prefer that it never happened.
The Bag Man is opening in theaters on February 28, 2014. Also, you should definitely check out Crispin Hellion Glover's Big Slide Show when it comes into your town. I've attended myself and can assure you that you are in for an entertaining, original, challenging, fascinating, moving, one-of-a-kind show. We definitely need to support more unique films along these lines, especially when presented in the context of a live, touring show. Be sure to visit crispinglover.com where you can find tour dates, purchase his books, and sign up for his newsletter.
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As I was rummaging through some papers and I found a great article I wrote my Junior year of high school. It was covering how gravity affects different sized masses. I didn't realize it at the time, but I set up your basic run of the mill implicit function with three unknown variables. The equations I formulated were very, primitive. Looking back on the paper, There are so many places I can simplify the equations with simple integrals and derivatives. I titled this paper, "Gravitational Forces." This was my first piece of work I've really been proud of. I took a concept of gravitational forces of planet sized bodies and derived an equation that would solve for acceleration's "constant" for three or more objects moving together. I use constant in parenthesis because acceleration due to gravity is not constant, but i doesn't change at a very fast rate, so we call it constant. Looking at this paper, I can see how people from the past can come up with crazy ideas like calculus. It just takes the imagination to think about something in a different way.
It's funny to look back on grade school. I was never really challenged in grade school, so I never really applied myself. Heck, I enjoyed Band class, but I never really took it serious. This is a problem I still face today. Physics now is very easy, and I don't really take it that seriously. The labs are trivial and the basic. In college, I've been challenged in some of my classes, but not others. For starters, I'm really digging the neurophysiology course I'm taking this quarter. I'm glad I decided to take it. I've always been fascinated with the brain, and this is a two part course on the CNS. Next quarter, I'm looking at taking another group of boring classes. I'm either going to be taking Calc IV or Differential Equations, Circuits I, Physics II, and neurophysiology II (the only one I'm excited about). I need to bear with a few more boring classes until I can get to the really fun classes.
For the last two or so months, I've been working the day shift at my place of employment. This is something that's helped me a great deal with my school work. When I was working third shift, I would have such an irregular sleep schedule that I would not be able to sleep for days at a time, and I would then beige sleep for days at a time. This caused me to miss work on a few occasions and caused my school work to suffer. The hour a day commute to work and school was killing me. Switching to days gave me the time I needed to be able to enjoy life and still have time for work and school, even though I'm working more hours than before. I don't really need to work, but I enjoy the extra money.
I've been playing a few games lately to ease the "stress" levels of life. I was never one to really stress over anything, as I've always been pretty laid back. What's the point about getting upset about something? When you're mad, you can't think straight. When you can't think straight, how can you make intelligent, logical decisions? I say this, and I know for a fact that I've been angry about things in the past. Things that people have done to me, or things that have been said to me. I get over it, but for that time, I don't think as logically as I should.
It's getting to be pretty late. I need to get some sleep. I have an 8:30 class tomorrow.


These gorgeous cupcakes are very easy to make and decorate in a Christmas style. A light and fluffy vanilla cupcake, frosted with a choc-mint buttercream frosting and then simply topped off with a Christmas themed chocolate. So simple to do and they look fabulous.
I use the Sweet William brand of milk chocolate. This product is free from gluten, dairy, nuts, GMO and it is also suitable for Vegans. However, it does contain soy. Depending on the size of your chocolate molds, will depend on how much chocolate you will need.
For accurate cup measurements, I sift the potato starch and icing sugar before measuring, so that there are no lumps/clumps, and all cup measurements are firmly packed.
Recipe Update: I have changed the icing sugar in the buttercream frosting from pure icing sugar to soft icing sugar. The buttercream now has a thicker and softer consistency.
Preheat the oven to 160C and line a 12-hole muffin tin with liners.
To make the butter cake, sift together all the dry ingredients before adding to a stand mixer, or tip the flours into a large bowl and use a handheld mixer. Next, add the butter, milk, vanilla and eggs, then beat on a low speed until combined. There will be small flecks of butter, but that's ok.
Once combined, turn the speed up to medium and beat for 3 minutes, so the mixture is smooth in texture. It's important here not to over beat the batter, as you will incorporate too much air. This will result in slightly sunken cupcakes with wrinkled tops as they cool.
Using a spoon, approximately ½ fill the cupcake liners and bake for 20 minutes, or until a toothpick comes out clean when inserted in the middle.
While the cupcakes are baking I make a start on melting the chocolate for the topper. You can microwave the chocolate until melted or you can melt the chocolate the old fashioned way. Heat some water in a small saucepan and place glass bowl over the top (make sure the base of the bowl doesn't touch the water). Once the water has boiled, turn it off. Add the chocolate to the bowl and stir frequently until melted. Using a teaspoon, carefully fill the molds with chocolate and then tap on the workbench to eliminate any air bubbles. Then refrigerate until needed, as this will give the chocolate plenty of time to set.
Once cooked, allow the cupcakes to cool in the tin for a couple of minutes before transferring them to a wire rack to cool completely.
Once the cupcakes have completely cooled, use a serrated knife to level off any peaks. The top of the cupcake needs to have a level surface when piping the frosting.
To make the frosting, add the sifted icing sugar, raw cacao powder, butter, and vanilla extract to a bowl. Using a handheld mixer, start mixing on a low speed until combined and then turn up the speed and continue to beat until light and fluffy. Add a few drops of mint extract and thoroughly mix it through the frosting, before tasting and adding more if necessary. Then transfer the frosting to a piping bag. I used a Wilton 1M piping tip.
To start piping, first hold the bag in a vertical position over your cupcake. Then, applying a constant and even pressure, start piping from the outside edge and move in one fluid motion as you pipe a circle around the border of the cupcake. As you near the point where you started, continue in an ever-decreasing circle as you move inside, making sure that you overlap your first circle to create an upward spiral. When you reach the top of your spiral, in the centre the cupcake, it's very important that you stop and release the pressure on the bag, before you lift up.
All there is left to do is to gently pop the chocolates out from the mold and place one in the centre of each frosted cupcake. And you're done!


An air pump is a device for pushing air. Examples include a bicycle pump, pumps that are used to aerate an aquarium or a pond via an airstone; a gas compressor used to power a pneumatic tool, air horn or pipe organ; a bellows used to encourage a fire; a vacuum cleaner and a vacuum pump.
The first effective air pump constructed in England for scientific purposes was made in 1658 by Robert Hooke for Robert Boyle.


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All the Arguments You Need: To Convince Doubters of #MeToo
In our All The Arguments You Need series, we take on mindsets standing in the way of progress and rebut them with facts and logic.
Ever since the #MeToo and #TimesUp movements erupted last week, it seems everyone is having debates — on social media, in offices, with friends, on chat groups — and a lot of the same, tired critiques of the movement come up at every turn.
If you're certain you #BelieveWomen, but you're getting tripped up when some of these criticisms of the movement come up socially, here's your handy guide to rebutting the most common #MeToo critiques:
"So, now men have to be the ones who are scared all the time? They need to watch every little thing they say to every woman?"
In a word: yes. Women are saying: We are constantly living in fear of being harassed, groped, threatened, or made to feel uncomfortable in spaces that are supposed to be safe. Hopefully, any man who hears that collective message from thousands of women should be happy to stop and consider what is making them feel that way. If it makes men pause and reflect before doing anything that could be deemed borderline harassment, that's a good thing.
Furthermore, women watch what they say all the time and are constantly wary of saying or doing something that might invite unwelcome advances from men. So, maybe it's time to reverse this, and encourage men to be conscious about the consequences of their words as well?
Finally, most of the men we have spoken to, who have always treated us well, have no problem with their behavior towards women being scrutinized. If someone panics about this, you have to wonder — what are they so worried about?
Got feelings about #MeTooIndia? Let them out by taking our survey.
"Come on now, these accusations have gone too far! These are not harassment."
In many instances that have been reported, the behavior of the accused violates laws and is actually criminal. In many others, it is also behavior that would likely run afoul of an employer's sexual harassment policy.
But many more instances don't squarely fit into either of those categories. The important thing to remember about this movement is that it demands a redefinition of what constitutes acceptable behavior, and what constitutes harassment. Men in power originally defined what is acceptable in the home, at work and in society, and so that definition has historically favored men to the exclusion of women's perspectives.
Also, an essential part of determining harassment depends on the impact of the behavior, that is, how it is experienced by the recipient, not on the intentions of the perpetrator. So, whether a man "meant it" is besides the point; how it made the person on the receiving end feel is what's relevant.
Finally, given the sheer volume of women coming out and describing similar behavior they all feel is predatory, it's important to listen to those voices and perhaps reassess our definitions.
"None of this can be proven. It will always be he-said, she-said."
Well, some of it can be proven; so let's start by not minimizing the stories of women who come forward with proof or documentation or witnesses.
But for those instances that happened a long time ago, and/or where there is no visible physical evidence, we have to switch the default from automatically believing men to automatically believing women. There are a few reasons for this: First, we have historically always prioritized the experiences and voices of men; the laws, reporting structures, and definitions were created by them, and favor them. Women's experiences have never been included in our societal interpretations of what constitutes inappropriate behavior. This movement is a call to include women's experiences in our social frameworks. This requires that we listen to and believe women when they tell us what has happened to them.
"These are leaders in their field and don't deserve to lose their careers over this. They have families to provide for."
Why are we only thinking of men's careers being ruined, when the outcome of this kind of behavior has historically stunted women's careers, through no fault of their own?
"#MeToo is going too far; it's not doing women any favors now!"
What does it mean for women's experiences to "go too far"? How does any part of the movement undercut the argument that we need to reckon with the fact that, for centuries, women's voices and experiences have been left out of our conversations around what are appropriate boundaries and behavior? If the movement brings about change in those structures, or encourages people to treat more equally others who have less power, that is a desirable outcome.
Furthermore, saying "this has gone too far" implies that you don't believe some of the women speaking up. You can only think the movement is compromised if you feel a significant proportion of complaints is illegitimate.
"But none of these women said no, or asked the men to stop messaging. This is just making victims out of women."
No, #MeToo and #TimesUp are not about painting women as helpless victims. They are about exposing the power hierarchies that exist in our societies, which frequently make it very difficult for women to speak up. People who sit in positions of extreme privilege are frequently unable to understand how someone without it might not have as strong a voice. But a young woman, at the early stages of her career, for example, may not feel that she can react strongly if an older, more powerful man comes on to her, particularly if she feels that he can impact her career and livelihood. These power imbalances make speaking up, or saying a definitive no, almost impossible for many women.
Inherent in this argument is also the presumption that just because a woman speaks up, she must automatically view herself as a victim. Perhaps they are simply tired of putting up with inappropriate behavior, and speaking up is a form of taking back some power.
"These men are just flirting. This is harmless. These young women are overreacting. Is romance just dead now?"
It's time for the 'boys will be boys' trope to be deleted from debate entirely. If thousands of woman are saying that behavior harmed them, it's not harmless behavior. Perhaps it's time to rethink how we define romance. Maybe women do not enjoy being pursued in the way that our societies have generally framed romance in literature and film. If it's making this many women this uncomfortable, it's safe to say this outdated version of romance is indeed dead.
"People should be innocent until proven guilty. These Twitter outings are smear campaigns without due process."
No one is sending these men to jail! (In fact, that's part of the problem.) Society has historically failed victims of assault and harassment, by creating reporting structures that frequently shame the victim, and ultimately are ineffective. Where our legal or professional structures have failed, now women are speaking publicly. Given that social media does not threaten anyone with jail time, or financial penalties, the burden of proof is not the same as it would be a in a court of law. The point of these outings is to put social pressure on people to examine and react to predatory behavior, not to incarcerate people without due process.
"She's just being opportunistic. Why didn't she mention this before? She's just doing it for attention."
Sexual assault survivors have nothing to gain by coming forward — and much more to lose. Whether it's Tanushree Dutta, who had her property defaced, and her reputation and motives questioned publicly, or Christine Blasey Ford, who has been living in hiding because of death threats, victims who come forward are usually dropping a horrific bomb on their entire lives. Society has treated them horribly by questioning their motives, picking apart their appearance and behavior, defaming their character. It's very difficult to imagine anyone would go through that for any reason other than wanting justice.
"These women are just making it up."
See above. Given the horrific abuses that have frequently been heaped upon survivors who speak up, it's hard to imagine anyone wanting to do that without real trauma or discomfort driving them to seek justice or resolution. In fact, in India and around the world, the opposite problem is far more common; all data points to the fact that sexual assault is one of the most heavily underreported crimes, specifically because of the stigma, poor treatment, and shame that going public brings. It's very hard to get accurate statistics around sexual assaults precisely because so few victims come forward, but experts estimate that approximately 2 to 5% of all sexual assault accusations are false. Put another way, most likely 98% of these women are telling the truth. That's pretty compelling data to make #BelieveWomen the default position.
"We're not listening to the men who have been accused. Their lives are ruined now. They are suffering."
Are they suffering? Well, if the Salman Khan example is anything to go by, even serious accusations of assault by a celebrity victim aren't enough to tank a career. In the US, a man who admitted on camera to sexually harassing a woman is now president, and a man who was accused by three women of sexual assault or harassment is now serving a lifetime appointment on the Supreme Court. Many powerful men who have been accused of sexual assault or harassment are now resurrecting their careers after a brief hiatus (e.g., comedian Louis CK or television journalist Matt Lauer). It remains to be seen what will happen to those implicated in #MeToo outings in India, but if history is anything to go by, these men won't suffer much. See also: Why do we care more for these men's suffering than we do for the suffering of the women who are speaking out?
"What if the men were suffering mental health issues at the time?"
Not relevant. First, sexual assault and harassment is not a symptom of any mental health issue. Also, women do not use their mental health issues as an excuse to run around committing crimes.
And finally, see also, the immense toll that sexual assault has on survivors' mental health after the fact — why don't we care about that?
"This is not what #MeToo is about."
If a man makes this statement, please tell him politely to be quiet. This is not about them; it doesn't represent their frustration with the systemic imbalance that has always prioritized their needs and agency above women's. They don't get to define what the movement is and is not about.
If a woman makes this statement… same answer, actually, but with the addition that she doesn't get to speak for the people who feel underrepresented and just want to be heard. Just because she may not relate to others' experiences doesn't mean she can invalidate them.
"How can you put someone's career at risk over an unproven allegation?"
See above. Let's not ignore someone who is telling you she was traumatized by someone's behavior towards her. Or the many thousands of women whose experiences are echoing each other's.
"She's not trustworthy, she isn't believable."
Questioning the credibility of the victim is one of the oldest, most sexist justifications for ignoring women's stories of assault and abuse. What makes a woman believable when she is reporting sexual assault? Must she be well-dressed, articulate, educated, accompanied by a lawyer? Even then, that frequently doesn't work. Many survivors who have come forward have had their integrity questioned because they didn't seem upset enough, or reported after many years. There is no good way to report sexual assault or harassment; women are seemingly disbelieved no matter what.
But what if she is none of those things? Part of the process of recreating an equilibrium between the genders is recognizing that most of the women who are harmed or abused in some way by more powerful men are not the most privileged ones, and they are not the ones who may come across as "pleasant," "respectable," or "believable" to men. Assault is assault, and harassment is harassment, whether the woman who reports it is a CEO or a prostitute, whether she is upper class or poor and illiterate, and whether she is able to report her abuse in the same language, or through the same channels, as her abuser.
"#MeToo is creating more discord between the genders, rather than making them more equal."
#MeToo and #TimesUp are about recognizing power imbalances that have allowed abuses to occur unchecked. Sexual assault and harassment are just one symptom of that power imbalance. If we call out the most flagrant abuses of power, and are able to force people to confront how a systemic imbalance benefits one gender at the deep cost of another, we will slowly be able to dismantle the structures that keep those patriarchal imbalances in place.
If MeToo and TimesUp are successful, it will lead to a reevaluation of gender dynamics everywhere; the home, the office, will all become more equal places. But in order to get there, it will require rejigging the way things have always been, and that will temporarily feel unpleasant to the party that's always had more control over the way things are (in this case, men).
"The #MeToo movement is harmed by the conflation of rape with harmless flirting."
First, the movement doesn't conflate rape and harmless flirting; it's pretty clear on the difference. But it is asking us to reconsider 'harmless flirting' gray areas where men and women differ most in their interpretation of the same event.
Not to do so, or to belittle the attempt by making this argument, only serves to further the traditional reaction to a woman's interpretation of these scenarios: that she is wrong — too uptight, can't take a joke — and that the man is right, chill, and just joking. If women are repeatedly saying they feel harassed, pursued and uncomfortable, we all have a responsibility to take it seriously and examine why.
#MeToo | All The Arguments You Need | feminism | Mic Drop
It's nice to see this website talking positively about the MeToo Movement, but I'd also like to read about other, more informative topics. There can be lesser updates about the MeToo movement as most of us are already being continuously updated via news apps, etc.
Sunila Bholabe
Unfolding every aspect and dimension of the much spoken #metoo movement is the wisest thing I've read in the recent times. As most of the sincerity of this cause is lost in exaggeration, memes and criticism and elitist approach to it. Liked reading other articles too.


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Artificial Intelligence and Machine Learning in Ophthalmology
Mon • Jan
Reception: 6:00pm - 6:45pm
Presentations: 6:45pm - 7:45pm
Panel Discussion: 7:45pm - 8:00pm
The New York Academy of Medicine, 1216 Fifth Avenue at 103rd Street, New York, NY 10029
Free, but advance registration is required
The New York Academy of Medicine Section on Ophthalmology
This symposium highlights advances in the fields of artificial intelligence and machine learning in ophthalmology. Leading experts will provide an update on the progress of these new technologies in supporting high quality eye and vision care.
6:00pm – 6:45pm:
Presentations and Discussion
James C. Tsai, MD, MBA
New York Eye and Ear Infirmary at Mount Sinai
System Chair of Ophthalmology
"Artificial Intelligence and its use in improving outcomes for cataract and refractive surgery"
Sumayya Ahmad, MD
Assistant Professor of Ophthalmology
"Artificial Intelligence, Definitions, and Applications in Ophthalmology"
Lama Al-Aswad, MD, MPH
Professor of Ophthalmology
Vice Chair of Innovations
Director, Teleophthalmology, Artificial Intelligence and Innovations
Associate Director, Glaucoma Fellowship
NYU Langone Health
"Searching for the unseen: Artificial Intelligence and the marketplace for philanthropy in global ophthalmology"
Ebby Elahi, MD, FACS
Clinical Professor of Ophthalmology, Otolaryngology, and Public Health
"The Brave New World of Machine Learning and Artificial Intelligence in Retina: 2019 and Beyond"
Szilárd Kiss, MD
Chief of the Retina Service
Director of Clinical Research
Chair of the Graduate Faculty Council
Director of Tele-Ophthalmology
Associate Professor of Ophthalmology
Weill Cornell Medical College in New York City
"The Artificial Intelligence Glaucoma Wishlist: Can it be realized?"
Louis R. Pasquale, MD, FARVO
Site Chair, Department of Ophthalmology
Mt. Sinai Hospital
Deputy Chair, Ophthalmology Research
Icahn School of Medicine at Mt. Sinai
Mt. Sinai / NYEE Eye and Vision Research Institute
7:45pm – 8:00pm Panel Discussion
Sumayya Ahmad, MD is Assistant Professor of Ophthalmology at the Icahn School of Medicine at Mount Sinai, where her clinical focus includes cataract surgery, full thickness and partial thickness corneal transplantation, laser vision correction, dry eye, corneal ulcers, and ocular surface disease. Her research interests include evaluating outcomes in ocular surface disease and the impact of diabetes on the cornea. Dr. Ahmad has authored several peer-reviewed scientific articles and has given a number of presentations on keratitis, dry eye, and the outcomes of the Boston Type 1 Keratoprosthesis.
Lama A. Al-Aswad, MD, MPH is the Director of Tele-Ophalmology, AI and Innovations at NYU Langone Health. She also serves as the Vice Chair of Innovations and a Professor Ophthalmology. Previously, she was an Associate Professor of Ophthalmology at Columbia University Medical Center and was the director of the glaucoma screening program at Columbia University and served on the Columbia BSCS committee since 2006. She has served on a multitude of other committees as well, including the Columbia University Implementation of the Academic Tracks committee, Woman in Ophthalmology committee and Glaucoma 360 Program committee. Dr. Al-Aswad is the founder and President of the Save Vision Foundation, based in New York, and initiated the mobile Free Eye exam program in 2017. Dr. Al-Aswad has received multiple awards, the most recent of which is Achievement Award from the American Academy of Ophthalmology in 2012 and the Visionary Award for Hospital Based Screening Programs from the Friends of the Congressional Caucus Foundation in 2011.
Ebby Elahi, MD, FACS is a Clinical Professor of Ophthalmology, Otolaryngology, and Public Health at the Icahn School of Medicine at Mount Sinai. He also serves as Director of Fifth Avenue Eye Associates and FACES Fifth Avenue. Dr. Elahi has also served as co-director of Mount Sinai's Ophthalmic, Plastic, and Reconstructive Surgery Fellowship program. Dr. Elahi is a fellow of the American Academy of Ophthalmology, the American Society of Ophthalmic Plastic and Reconstructive Surgery, and the American College of Surgeons. He is the current president of the Mount Sinai Eye Alumni Association and the immediate past president of the New York Facial Plastic Surgery Society. Dr. Elahi's extensive clinical experience ranges from surgical and non-surgical aesthetic procedures to complex conditions involving eyelids, the orbit, and the lacrimal system. His special interests lie in the correction of age-related facial, orbital, and eyelid changes, advanced surgical management of eyelid and orbital malignancies, and treatment of thyroid-related eye disease. For the past twenty years, Dr. Elahi has been an advocate for issues surrounding global health. Currently, he serves as Director of International Affairs at the Virtue Foundation, an NGO in special consultative status to the Economic and Social Council at the United Nations.
Szilárd Kiss, MD is the Chief of the Retina Service, Director of Clinical Research, Chair of the Graduate Faculty Council, and Associate Professor of Ophthalmology at Weill Cornell Medical College in New York City. Dr. Kiss's research career started as an undergraduate where, in conjunction with the National Aeronautics and Space Administration and the Department of Defense, he evaluated the implications of microgravity on early developmental patterning with scientific experiments launched on the space shuttle Discovery and the space shuttle Columbia. Currently, Dr. Kiss's clinical and translational research efforts focus on four broad areas: ocular gene and cellular therapy, novel therapeutic targets for ocular neovascularization, complex vitreoretinal surgical techniques, and retinal imaging. Dr. Kiss has participated as a principal investigator in over three-dozen prospective clinical trials and laboratory investigations. Dr. Kiss was among a select group of retina specialists world-wide to be elected by his peers as a Charter Member of the Retina Hall of Fame.
Louis R. Pasquale, MD is Site Chair for the Departments of Ophthalmology at Mount Sinai Hospital and Mount Sinai Queens. He is also Deputy Chair for Ophthalmology Research for the Mount Sinai Healthcare System and Director of the Joint New York Eye and Eye /Mt. Sinai Eye and Vision Research Institute. Previously, he was Professor of Ophthalmology and Distinguished Scholar in Ophthalmology at Harvard Medical School. In addition to co-directing Harvard's Glaucoma Center of Excellence, he directed the Glaucoma Service, Glaucoma Fellowship Program and the Teleretinal Program at Massachusetts Eye and Ear Infirmary. Dr. Pasquale is an editorial board member of PLOS One, Journal of Glaucoma, Ophthalmology Glaucoma, International Glaucoma Review, Asia Pacific Journal of Ophthalmology and American Journal of Ophthalmology editorial boards. He is a member of the National Institute of Health's National Advisory Eye Council and the ARVO Glaucoma Section Trustee. Furthermore, he is a member of the American Ophthalmological Society and the Glaucoma Research Society. He is an NIH Principal Investigator with continuous support since 2006. His research, which leverages the rich resources available in the Nurses Health Study, Health Professional Follow-up Study and the Women's Genome Health Study, focuses on the discovery of primary prevention strategies in the open-angle glaucomas. His work has highlighted environmental risk factors for exfoliation syndrome and the role nitric oxide signaling plays in the pathogenesis of primary open angle glaucoma.
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RUTH HOMMELSHEIM | Bewahrungen (Perpetuations)
Opening: Friday, 13 April 2007, 7 p.m.
Exhibition: 14 April - 16 May 2007
Ruth Hommelsheim, a Berlin-based artist, has been working on the theme of Bewahrungen (Perpetuations), since 2006. With six large photo pieces and three four-part photography tableaux she examines the idealized values of inherited family collections and the strange organizational systems they represent.
After being presented with an inheritance from a family member who was an obsessive collector of things, the artist launched into a project to examine the complexes that drive collecting through her photography. She engaged the objects—which because they had been collected already contained a personal value—with the further notion of "safe keeping" or "preserving" that she created through her own personal use of photography. Hommelsheim measures time and so documents the particular densities of the collection's ordering. Through the distance preserved by the camera, she illuminates—one wishes to say, exposes-- an actual slice of life of the collector's existence.
These analog photographs seduce the viewer through the power of the artist's selection of images from the collections. Her focus is consistently direct and concentrated frontally on the meticulously arranged objects. Her photographs are reduced to the sparest possible level of description. She reveals the materials and the collected objects, and she investigates time felt through the focusing and concentrating of the act of seeing. One recognizes by precise examination the labeling, for example, of cardboard folders preserving written papers, or of videocassettes, exactly as one might partially be able to decipher the texts on the spines of record jackets. What is essential is that Hommelsheim shows very subtly in each photograph that this work is about a private, personal collection. We recognize the bookcase as exactly as the basement shelves that served the collector to indulge his passion for serial things. One can read the installations as a means of securing evidence and as memory aids of the psychic processes of different levels of consciousness and different frames of reference.
The photography tableaux are another focal point of the exhibition. While inspecting her inheritance, Ruth Hommelsheim came across hundreds of slides taken during the 1970s and 1980s in the Stuttgart Zoo. At the beginning of her work this private treasure trove stood out because of its totally subjective placement that then led to extensive philosophizing by other means: the results are two complex tableaux created from photographic prints of fish and orchids. These serialized ensembles can further develop from presentation to presentation or they can simply change. The artist uses them to comment on the simultaneous nature of that which is hidden and that which is seen.
Choosing, collecting, and archiving is man's attempt to make the world understandable. The wall installation of music cassettes, accompanied by samples of radio broadcasts of classical music, documents this and lets itself be read as a metaphor. The independent life of these objects belongs as very much to Ruth Hommelsheim's art as her art is its own contribution to the next stage of her existence.
With this installation"Bewahrungen" Hommelsheim measures space in two ways: she describes time and creates a system of ordering that allows different ways of interpretation. The magic of images is connotatively ambiguous, and the game with reality and actuality is played out not without a subtle sense of humor.
from: Bewährungen #1 und #2 | 2006 | Digital C-Prints, framed | 120x85 cm
from: Bewährungen #3 and #4 | 2006 | Digital C-Prints, framed | 120x85 cm
from: Bewährungen (Fische) | 2006 | Tableau of Digital C-Prints | size variable
from: Bewährungen (Musikkassetten) | 2006 | Installation | size variable
from: Bewährungen (Orchideen) | 2006 | Tableau of Digital C-Prints | size variable


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Dan Stamm
Philly Police Capture Escaped Handcuffed Man After Robbery, Stabbing
A handcuffed man escaped police custody before being recaptured
By Miguel Martinez-Valle and Dan Stamm	• Published July 24, 2019 • Updated on July 24, 2019 at 9:37 am
Cameras rolled early Wednesday as Philadelphia police officers recaptured an escaped handcuffed man suspected in a robbery and stabbing.
The robbery and subsequent arrests played out in the city's Lawncrest neighborhood.
It all started around 3:15 a.m. along Colgate Street, police said. A 46-year-old manager of a chicken restaurant was entering his home when a man armed with a knife and a gun tried to rob him.
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The armed man then stabbed the other man in the left arm, leaving him with superficial wounds, then took off, police said.
A short time later, officers found the suspect nearby and put him in handcuffs. But, while handcuffed, he managed to escape the officers and run off inside the Lawndale Apartments complex.
Officers and a K-9 then spent parts of the morning hours looking for him. Police said they did find a bloody knife around the Tabor and Comly area, but, they didn't recover the gun.
More than 90 minutes would then pass before officers were seen leading the handcuffed man, who has yet to formally charged of named, into a police car. He seemed to be yelling something as he was put in the police car.
Dan StammPhiladelphia policeMiguel Martinez-Vallepolice car


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A new song – The Right Thing
April 24, 2019 April 24, 2019 by Norman Lamont
It's been a while since I put out anything new, but the Heaven Sent have been playing new songs over the last six months. There's Turn, She Wants Out and this one, The Right Thing.
Musically this goes back a fair way. The arrangement idea – one repeated note on the guitar plus a bassline – goes back to the final days of Hungry Ghosts in the 1990s when we used it for a cover version. I held on to the idea but didn't have the song to apply it to until I wrote this last year. Although I'm never the best judge of what people will like I do think this is one of my better ones. If you want the lyrics, turn on captions on the video (the CC icon).
Mind you the one note start sometimes has audiences thinking we're tuning up rather than starting a new song!
This song is on the shortlist for the next Heaven Sent album, alongside the ones I mention above and a remodelled version of a song from the Wolf album.
This was recorded by John Farrell at his first-Thursday-in-the-month night at the Village in Leith. It's not the most polished performance but we're just getting used to the song and developing it. Thanks to John for having us and for the footage.
We're playing there again next Thursday, 2nd May. It's a great night with some really classy performers, friendly and free! The Village, South Fort Street, Leith. If you're in Edinburgh you're very welcome!
Categories About individual songs, About my music, Videos	Post navigation
Kevin Ayers - champagne and valium
Painted Chariot - an Incredible String Band cover by Hungry Ghosts


We offer you a Specification Sheet of Behringer Europack UB502: PDF file 366 Kb, 3 pages.
On this page you can download this Specification Sheet and read it online. Also, you will be able to ask a question about Behringer Europack UB502.


You are probably thinking about playing online slots if you have not already. If you are playing or considering playing slots, what exactly are my odds? It is as comfortable as pressing the spin button, keeping your fingers crossed, and praying for a huge hit. Right? WRONG. Before playing any slots, you need an understanding of how the odds are set up. Choosing the best game is essential to profitable wins.
Not too long ago, slot machines were enormous machines powered by mechanical innards. These mechanical mechanisms set up the numerous combinations available for a player to possibly win.
Machines no longer power today's slot or สล็อต games. Microprocessors power these slot games. These microprocessors commonly referred to as random number generators, generate random numbers, setting up where the reels fall.
An online casino should have their random number generators audited by an independent agency at regular intervals for fair playing practices. Besides, software manufacturers should have all gaming software programs audited and verified before gaming licenses are granted.
Every new online slot game has a blueprint for payouts and guidelines that accompany the game. These par sheets( blueprints) feature a list of symbols that on each reel and the quantity.
Some slot games may only have 30 symbols on a reel, and some have over 200 symbols on a reel. The more symbols on a reel, the more chances of winning and losing combinations.
Par sheets will specify jackpot totals and how many spins needed to hit the jackpot. Does this mean the odds are set up and fixed? No, the reels still run at random and in the independence of each reel.
What are your chances of hitting a winner? Know how often three-symbol-combination works. Your odds of hitting a win determined by the amount of the slots and number of icons on each of the reels. We will use a classic three-wheel slot as an example. On three wheels, and 20 symbols on each reel, odds of hitting one exact symbol is 20 to 1 to catch one symbol. These odds are what is referred to as three-symbol-combination. Most online slot games have five reels, which puts the probable combinations in the millions.
Their volatility determines slot games wins. Slot games with higher volatility carry a higher risk to your bankroll, meaning you could go a long time and not gain anything and then land a huge jackpot. On the opposite side, a lower volatility slot game offers more many wins. However, these wins will be smaller wins.
There is no right and tried secret to winning at online slot games. Learning the ins and outs of slot games can prepare you for a possible win. Anyone safest bet is to play responsibility and not play above your means. Play with those considerations in mind, and enjoy your online games.


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01 Sep 19 | New Delhi
MG Motor India retails 2,018 units of HECTOR in August 2019
New Delhi, 1 Sept 2019:MG Motor India today announced that it has recorded retail sales of 2,018 units of the MG HECTOR, the country's first internet car, in August 2019.
Commenting on the sales performance, Gaurav Gupta, Chief Commercial Officer, MG Motor India, said, "We are extremely overwhelmed with the response that the MG HECTOR has received. We remain strongly focused on fulfilling the 28,000 bookings, as part of our commitment to ensure customer satisfaction. The strong momentum for the HECTOR has continued with over 11,000 additional customers registered on our priority waitlist, after bookings were temporarily halted in July this year because of the huge response. We are working closely with our global and local suppliers to increase the HECTOR's production in a progressive manner."
MG Motor India plans to increase the production of the HECTOR SUV to 3,000 units this month at its Halol manufacturing facility. With plans to increase its production at a faster pace going forward, the company will take a decision on re-opening bookings of the HECTOR later this year. The carmaker had reported retail sales of 1,508 units in July 2019.
Founded in the UK in 1924, Morris Garages vehicles were world famous for their sports cars, roadsters, and cabriolet series. MG vehicles were much sought after by many celebrities, including the British Prime Ministers and even the British Royal Family, for their styling, elegance, and spirited performance. The MG Car Club, set up in 1930 at Abingdon in the UK, has more than a million loyal fans, making it by far one of the world's largest clubs for a car brand. MG has evolved into a modern, futuristic and innovative brand over the last 95 years. MG Motor India has commenced its manufacturing operations at its car manufacturing plant at Halol in Gujarat.