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Girardi not expecting LF to return before the Star break
George A. King III
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At this rate it would be viewed as a positive if the Yankees got Brett Gardner back immediately after the All-Star break.
For the second time in a month, Gardner experienced a problem following a minor league rehab game and nobody knows when the left fielder will be healthy enough to return to the big leagues this year.
Gardner last played for the Yankees on April 17 when he suffered a strained right (non-throwing) elbow.
"He woke up and had pain [Saturday],'' manager Joe Girardi said of Gardner, who went 1-for-3 Friday night for Single-A Charleston. "He will see the doctor and that's all I got for you until we find out what is going on. Obviously it's a setback.''
Gardner will be examined by Dr. James Andrews tomorrow or Tuesday and see Dr. Timothy Kremchek on Thursday.
Gardner felt something on May 10 playing for Triple-A Scranton/Wilkes-Barre and Friday was his first rehab game since then.
SUBWAY SERIES MOMENTS
When Gardner had the first setback, Girardi had an idea what would happen if a second one surfaced.
"I said if he had another one I thought it would be after the All-Star break [July 9-12],'' Girardi said. "So there are concerns.''
A worry is the problem doesn't surface until Gardner gets into a game when the intensity increases.
"He seems to get to a point where he can do everything he needs to do and then he gets into the game where the intensity turns up it seems to bother him,'' Girardi said.
General manager Brian Cashman is anxious to get answers.
"Obviously, something's not right," Cashman said. "He still feels stiffness. He doesn't feel right. Try to figure this thing out because we don't have an answer to it.''
"He's had [MRIs]. He had a muscle pull. Bruise is healed and then he re-pulled the muscle on his last rehab assignment.''
Even though Girardi has started the left-handed hitting Raul Ibanez 26 times including last night's 4-2 win over the Mets (he went 1-for-3), which is much more than the Yankees envisioned in spring training, the manager isn't worried the increased workload will wear the 40-year-old out. Ibanez has started nine games as the designated hitter and six in right field.
"I don't think so because he gets some built in days off against left-handers,'' Girardi said. "It would have to be a very unusual circumstance where he would have to [play] a long, long time.''
Still, Cashman is concerned that too much work for Andruw Jones (nine starts in left; five in right; seven as DH) and Ibanez isn't good.
"We're running Jones and Raul out there a lot more than we wanted to. Joe's doing his best to protect them, but we've expected [Gardner] back twice already and it's not working out for us,'' Cashman said.
As for finding another outfielder, Chris Dickerson has recently returned from a neck injury for Scranton/Wilkes-Barre and is knocking the rust off, having played in just eight games all year. Eduardo Nunez, who has limited left field experience, was optioned to Scranton/Wilkes-Barre to play shortstop but he suffered a bruised thumb and is out indefinitely. Cashman said he isn't a left field candidate in the majors.
"We'll see how it all plays out. There's nothing to fix other than rest it and it'll heal,'' Cashman said. "But he's had more than enough rest, he should be fine by now. So we'll see what someone else can find.''
Asked what he misses from Gardner, Cashman said, "All parts. His defense and his legs. He's an offensive force with what he can do on the basepaths. There is nobody better than he is defensively. I don't want to overexpose the old guys.''
How about outside the organization?
"I haven't been looking around. Obviously, we've got [Dewayne] Wise up here. Dickerson's off the DL. I haven't been looking but that doesn't mean… Now you pass the draft and people are a bit more interested in having conversations. I have not had any conversations with anybody about anything.''
Andres Torres could easily become the forgotten man in the Mets outfield with Jason Bay's return, but manager Terry Collins doesn't want that to become the case.
In search of a jolt near the top of the order, Collins put Torres in center field for last night's game and batted him second, but he went 0-for-4 with three strikeouts. His average is now .209.
"We've got to get him to start using the field a little bit more," Collins said. "Let his feet come into play. Let his legs work for him.He's one of those guys who has just enough power to be dangerous at times."When he slaps the ball around and gets on base, he scores.I've got to get him in there, because when he gets on, we win baseball games."
According to an industry source, free agent outfielder Jorge Soler is expected to agree on a four-year deal before tomorrow.
The Yankees and Cubs have expressed strong interest in the 20-year-old, who some scouts believe is a better player than fellow Cuban defector Yoenis Cespedes, 26, who signed with the Athletics.
The Yankees don't have Nick Swisher's replacement in the system if he leaves via free agency and Soler would represent a smaller investment than chasing free agent Josh Hamilton.
Derek Jeter stopped an 0-for-17 slide when he led off the bottom of the first with a single. He later scored on Alex Rodriguez's single to center. … Omar Quintanilla homered in the third inning to tie the game, 1-1. It was his first home run since Aug. 24, 2008, when he was with the Rockies and facing the Reds.
Hiroki Kuroda is confident he will be able to start for the Yankees Wednesday against the Braves in Atlanta but that is not a lock.
"I don't know if we will know for a couple of days,'' Girardi said of the right-hander, who took a liner off his left foot during Friday night's 9-1 win over the Mets and was on crutches following the game. "There is some bruising there on the heel. We will have to see how he feels in the next couple of days, see if he can do his work and able to make his start.''
Girardi said he hasn't developed an alternate plan if Kuroda can't go, but it's likely right-handed rookie David Phelps would get the call.
"Feel better today than [Friday night],'' said Kuroda, who fired seven shutout innings vs. the Mets.
As for Wednesday, Kuroda is encouraged.
"That's what I am planning on right now. We'll see how I feel [today] and if I can throw bullpen [today] then I'll do it. If I feel something still, I'll throw it the day after,'' Kuroda said.
Cashman's feelings improved from Friday night.
"I was concerned going to bed [Friday night]. Less concerned now that I'm seeing him in the trainer's room. He feels good,'' Cashman said.
Jon Niese, who will start Sunday's series finale for the Mets, was asked if he learned anything about the Yankees lineup by watching Johan Santana's performance Friday night.
"Yeah, don't leave the ball up," Niese said, referring to the four home runs Santana allowed. "Make my pitches and I'll be good."
Elvin Ramirez has struggled in two appearances since being called up from Triple-A Buffalo. The righty pitched 1 ²/₃ innings on Friday and allowed three earned runs on three hits and four walks. He has walked seven batters in his first 3 ¹/₃ innings.
"We've got to continue to work with [Ramirez] on basically when he gets in the game be aggressive, throw strikes — he's got good enough stuff," Collins said. "I'm sure the nervousness is going to quiet down the more he gets out there. He's pitched twice, once in an extra inning game, where he was on the line, he had to hit for his first time ever and then he had to walk out here in Yankee Stadium. That's a lot to ask for a kid, his first time in the big leagues."
Collins said pitching coach Dan Warthen, Miguel Batista and Frank Francisco are all working with Ramirez to slow down on the mound.
David Robertson will start a rehab assignment today for Scranton/Wilkes-Barre. Robertson hasn't pitched since May 11 due a left rib cage problem.
Collins said he likely will employ a right-handed lineup for Sunday's game against Andy Pettitte. Vinny Rottino is a candidate to start at first base, but the manager wanted to see what kind of swings Ike Davis took last night. Scott Hairston and Mike Nickeas could also see action.
Reliever David Aardsma is throwing batting practice in Tampa, but Cashman isn't putting a date on when the Yankees might have the right-hander who is coming back from Tommy John surgery.
"I don't want to set a timetable on it. But he's in batting practice, which is the last thing you do before we put him in rehab games,'' Cashman said.
As for Joba Chamberlain, who threw a bullpen session Thursday and is running sprints, Cashman said, "It's a good sign. He's got some hurdles to clear. If he can get through stuff like that on a consistent basis, it's a good sign.''
Will Chamberlain (Tommy John surgery/dislocated ankle) pitch this year?
"He's always superman. He gets hurt, but he heals a lot quicker than the time frame,'' Cashman said.
The Giants promoted right-hander George Kontos to the big leagues yesterday. He is the pitcher they received from the Yankees late in spring training for catcher Chris Stewart.
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EBCI artists/craftspeople
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One Feathers (2009-21)
2009 One Feathers
Interactive Cherokee Exhibit opens at school
by Anthony BrownNov 18, 2013Front Page, NEWS ka-no-he-da0 comments
By SCOTT MCKIE B.P.
ONE FEATHER STAFF
An exhibit on the history of the Eastern Band of Cherokee Indians and their language and culture opened last week at the Cherokee Central Schools. "Understanding our Past, Shaping our Future" opened with a reception at the Chief Joyce Dugan Cultural Arts Center on Thursday, Nov. 14.
With the exhibit behind them, some of the people who worked on the "Understanding our Past, Shaping our Future" project pose with the exhibit at an opening reception at the Chief Joyce Dugan Cultural Arts Center on Thursday, Nov. 14. Shown (left-right) are Jeff Marley, SCC Heritage Arts Department chair and project evaluator; Anna Fariello, exhibit curator; Corrine Glesne, exhibit evaluator; Tom Belt, WCU Cherokee Language program and exhibit contributor; Evelyn Conway, Indigenous Education Institute and project evaluator; Yona Wade, Chief Joyce Dugan Cultural Arts Center director; Roseanna Belt; WCU Cherokee Center director; and Dr. Hartwell Francis, WCU Cherokee Language program director. (SCOTT MCKIE B.P./One Feather)
"There's such an emphasis on Cherokee culture and life and language within the community, but sometimes it wasn't accurately conveyed so this idea came together of having an exhibit that brought a lot of ideas together and could be placed outside of the key cultural centers," said Anna Fariello, exhibit curator. "This will be placed at schools, at the Blue Ridge Parkway Visitor Center and other places where outsiders don't have to make a commitment to come and learn about the community. It is a museum-without-wall concept."
The project, funded by the Institute of Museum and Library Services, is a partnership between the Eastern Band of Cherokee Indians, Southwestern Community College, Cherokee Central Schools and Western Carolina University.
"When we started out, we just had an idea of an historical timeline type exhibit, and the team just got very involved in wanting to convey something that is stronger than that not just do a simple history," said Fariello who said the project has taken three years. "So, instead, we spent a lot of time talking about how to bring about a true Cherokee voice."
Fariello said that, at that point, they brought in fluent Cherokee speakers and recorded them and asked them their ideas and thoughts on various historical photos and items. "We wanted to not only get the ideas from the native speakers, but in the language."
Some of the speakers included: Beloved Woman Myrtle Driver, Edwin George, Eli George, Marie Junaluska, Sallie Smoker, Nannie Taylor and J.C. Wachacha.
Roseanna Belt, an EBCI tribal member and director of the WCU Cherokee Center, helped Fariello find resources and people to speak with for the project. "I find that she (Fariello) is very concerned that she not just barge in and make assumptions but that she talk to the right people."
"In addition to the books she's written about Cherokee art, this is certainly a comprehensive look at Cherokee history, and I'm happy to have any affiliation with it all. She's worked really hard."
Jeff Marley, SCC Heritage Arts Department chair, served as an evaluator on the project and said that SCC is using the exhibit to bridge gaps through art. "We give the students an assignment to look at the exhibit and then come back and draw or write their interpretation of it so that when it's finished there will be another area to the exhibit."
Marley said that a large drawing, compiling all of the student's work, will be kept with the exhibit.
He also spoke of SCC's involvement in the project, "We serve an area with a large population of Native students so it was just a natural fit there."
Corrine Glesne, of Asheville, also served as an evaluator for the project. "I learned so much…it was fun to see the different angles that people brought in and the different discussions that it took us too. We spent an hour talking about stickball once."
The exhibit is set to stay at the Cultural Arts Center until Dec. 20. From there, it will travel to the Jackson County Public Library in Sylva, the Swain County Center for the Arts in Bryson, back to the Blue Ridge Parkway Visitor Center and then to the Junaluska Memorial & Museum in Robbinvsille. It has also been displayed at SCC and WCU.
Museum of the Cherokee Indian
Cherokee Indian Hospital
Visit Cherokee
Qualla Arts & Crafts Mutual, Inc.
Cherokee Boys Club
Harrah's Cherokee Casino Resort
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Sequoyah Birthplace Museum
Cherokee Central Schools
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Kituwah, LLC
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David Byrne and the Curse of "Lifestyle"
by Alan Jacobs January 1991
Lately I've been noting an interesting linguistic phenomenon: the all-purpose word. You come across it most often in slang, especially the slang of children and adolescents. Take "narly," for instance—a word which, in my limited acquaintance, seems capable of an almost infinite range of meanings, indicating anything from enthusiastic approval to violent hatred. "Narly" seems virtually content-free, its meaning determined entirely by context. But teenagers from Southern California don't have a monopoly on this particular form of linguistic creativity: educated adults can indulge it too. Let's consider an especially noteworthy example: the word "lifestyle."
Allan Bloom says (offhandedly) that the word comes from Nietzsche—who was certainly educated and intermittently adult—but since neither Bloom nor anyone else has come forward with the Original Source, dictionary-writers can find themselves in difficulties. My favorite everyday dictionary, the American Heritage, gives it a go: "A way of life or style of living that reflects the attitudes and values of an individual or group." Even if one disregards the fact that this definition leans pretty heavily on the very words it is attempting to define, it still doesn't say much. The new Oxford English Dictionary neatly avoids the quicksand by attributing the word to the Austrian psychiatrist Alfred Adler, citing as the only definition Adler's technical and specialized usage, and then quoting a whole series of uses of the word that owe nothing whatsoever to Adler.
It is palpably evident that "lifestyle," like its lower-class cousin "narly," possesses very little content. Yet, again like its cousin, within specific contexts, it can communicate a great deal. In fact, it may be capable of containing a whole philosophy in its two syllables—or so I've been thinking recently, as I listen to the rock group Talking Heads.
David Byrne, the leader and chief songwriter of Talking Heads, is an interesting fellow: there's a distinctive, a sharp and sardonic, strain of cultural criticism running through many of his songs that you don't find elsewhere. There are no unrequited loves in Byrne's songs; there are few people consumed by wants, driven by desires. Instead he writes about and for people who typically get exactly what they want, in large part because they have been conditioned by the world around them to desire what that world can provide: the right automobile; ethnic or trend-setting foods; a lucrative but not socially embarrassing job; a residence identifiable, in architecture and interior design, with a style that has a name. (Talking Heads' second album is called More Songs About Buildings and Food.) But the acquisition of such things is not Byrne's chief interest; rather, he wants to know what the acquirers do next, that is, what happens when you get what you want. For Byrne, "successful" people often bear a strong resemblance to the damned in Dante's Inferno, for, as Dante makes abundantly clear, in Hell you simply get for all eternity the life you chose on earth.
Dante and David Byrne are strange bedfellows to be sure, but the comparison can be supported by turning to one of Byrne's tours de force, a song—from the 1988 Talking Heads album, Naked—called "(Nothing but) Flowers." Byrne's "narrator" is a man who, with his Significant Other, has realized one of modernity's most deeply cherished fantasies: suddenly our familiar technological America is transformed into an idyllic, pastoral landscape, its natural beauty unspoiled by civilization. "Here we stand," the song begins (the melody almost comically sentimental, the rhythms straight out of African pop), "another Adam and Eve / waterfalls / the Garden of Eden."
But then comes a sudden and unexpected plaintiveness:
From the age of the dinosaurs
Cars have run on gasoline
Where, where have they gone?
Now it's nothing but flowers
Our protagonist now embarks upon a litany of bitter nostalgia: "This was a Pizza Hut / now it's all covered with daisies"; "We caught a rattlesnake / now we have something for dinner"; "If this is paradise / I wish I had a lawnmower." As he laments his fate, a chorus like that of a Greek tragedy softly but repeatedly calls out, "You got it, you got it"—you got what you asked for. And this new Adam himself ruefully admits, "I thought we'd start over / but I guess I was wrong."
Nature for him (he understands too late) is mere chaos, without form and void, until given meaning by human culture: "This used to be real estate / now it's only fields and trees." Trapped in what has proved to be not a fantasy but a nightmare, he finally cries out (the music stopping dead on the last word): "Don't leave me stranded here / I can't get used to this lifestyle."
It's a funny song, to be sure, and yet there's something chilling about that last line. But to explain why, I need to look away from Byrne for a moment.
Recently I was grading essays some of my students had written on Alan Paton's Cry, the Beloved Country, that famous novel of South Africa. Some of them were explaining how James Jarvis, a wealthy white farmer from Natal, is changed by his son's murder. What happens, through a complex set of events, is that Jarvis comes for the first time in his life actually to see the lives of his black neighbors and, eventually, to give them food and build them a church and (most crucially) forgive one of them, his son's murderer. Of this painful and extraordinary metamorphosis a number of students wrote that Jarvis experienced a "change in his lifestyle."
I mentioned these essays to one of my colleagues, who told me of some students of his who had written about Book IX of Milton's Paradise Lost, in which the Fall is described. He had asked what happens to Milton's Adam and Eve after the Fall, thinking of their sudden lust for each other (when formerly they had experienced only pure sexual love), their mutual recriminations and laying of blame, their alienation from the God who had been their friend, and so on. But some students said that Adam and Eve suffered a serious transformation of their "lifestyle."
"Well," one is tempted to think, "these aren't expert writers, after all; most of them are freshmen and sophomores, with little experience in literary analysis—or in life, for that matter. They will of course use the everyday words they know." True enough; but those words also represent the ideas they know, their intellectual and moral categories—the ones they have inherited from their elders or, more accurately, from whatever cultural institutions they consider authoritative. What are the moral implications of the word "lifestyle" in the context of James Jarvis' life, of Adam and Eve in the Garden?
If "lifestyle," as I said earlier, is a broad notion, it is also mighty thin, for it flattens all human activity to a single plane: the only dimension it recognizes is the dimension of choice. If all actions and attitudes are functions or components of one's style of living, then it would appear that one is free to choose whatever style one finds appropriate. This Lifestyle Supermarket is the fulfillment of one of our great cultural dreams: the Self, unencumbered by habit or tradition, exercising the right of pure freedom ordained for it before the foundation of the world, selecting those objects and features, those accoutrements and tendencies, those passions and trinkets which, gathered into its encompassing bosom, constitute its Lifestyle. But if even Adam and Eve, driven in rage and guilt from the Earthly Paradise to which they may never return, may be said to be forced into a new "lifestyle"—if, that is to say, some especially desirable items are permanently out of stock, but there are still others, only relatively less appealing, beckoning from the shelves—if this is what the Fall amounts to, then how is it possible to comprehend the full implications of suffering or loss of any kind, whether in Mozambique or in Romania or in the luxurious American suburb?
To pursue the consequences further, let us think back to David Byrne's new Adam. He has exercised his sovereign right of choice, and, against all expectation, he hates the world he has chosen. Perhaps he has chosen badly. But what if he had it to do all over again, but would do exactly the same thing? Or what if he chooses to return to the modern technological Paradise, only to (re-)discover that it too—of course, that's why he wished it away in the first place—is just another Hell? This dilemma, it seems to me, calls for reflection upon all those old fairy tales in which the bolder of three unrestricted wishes manages nevertheless to screw things up: reading those stories as children, with considerable incredulity, we thought that in the same situation we would surely do better. But wisdom may consist not in the ability to choose well, but in the understanding that the power of choice itself bas limits—precisely the limits that we, the fallen and partial choosers, have.
The real tragedy for Byrne's new Adam is not that he hates the world he has to live in; most of us feel a similar hate at least sometimes, without believing that such frustration makes us King Lear. The real tragedy is that, confronted by such a situation, the only words he has to describe and thus to deal with his pain derive from the worldview I have described: "I can't get used to this lifestyle." For if it is true that our young people, by using a certain vocabulary, also use a certain philosophy, then it is also true that when we embrace the philosophy of pure choice, we also embrace its vocabulary; and thus, when our choices do not satisfy us in the way that we believed so fervently they would, we are left not only with empty hands, but with no words capable of describing our emptiness.
It is commonly said that when apparently successful young people—honor students, athletes, class leaders—take their own lives, they do so because they feel enormous pressure to live up to the expectations of those around them. No doubt this is true. But I feel sure that many of them also experience the terrible blankness I have just described. Surely few genuinely wish that they had made other choices: they do not long to be drug addicts or dropouts; they see no "lifestyle" that seems superior to their own. But they feel no satisfaction from having made the "right" choices, and this feeling they cannot understand; nor, in many cases, can they get a convincing explanation from the people who originally told them what the right choices were. Perhaps they kill themselves, then, not because they suffer, but because they have no moral vocabulary with which to describe and hence to grasp their suffering.
When crotchety old grammarians complain about the debasement of language, often they are merely deploring change per se; other times they wax wroth over what seem to most of us relatively insignificant losses in precision, clarity, or beauty. But our language is being debased in the most profound sense when it loses the ability to discern and describe the lineaments of our moral lives. Christians who wish to speak "the language of the people"—and thus talk a lot about what makes up "the Christian lifestyle"—often assume that they can return to their own familiar "religious" language of grace and faith, sin and redemption, justice and mercy, even act and consequence, whenever they want. But the words, and the moral categories they represent, bequeathed to us by our ancestors through Bible, prayer book, and hymn are like most earthly things: they won't last long without attentive care. And neither will moral understanding itself. There is a kind of packrat principle useful to anyone contemplating cultural or linguistic change: don't be afraid of moving, but don't throw anything away unless you're sure you won't need it in the future.
Whether David Byrne would agree with any of my conclusions here, I can't say. He is probably not what I have half-suggested he is, a secular Kierkegaard with a postmodern method of indirect communication. He may be, in fact, merely an intelligent and resourceful cynic, preying (at least financially) on those he despises. If so, then one thing is pretty certain: we have the Dante we deserve.
Alan Jacobs teaches in the Department of English at Wheaton College.
Articles by Alan Jacobs


I am getting an error titled number of Macrocells exceeding (max=32, need=36)... How do i address this?
I am a rookie at best with PSoC ... can some one give me some direction of how I address the Macocells exceeded. I have attached my project for review.
1. Re: I am getting an error titled number of Macrocells exceeding (max=32, need=36)... How do i address this?
Macro cell is one of the building blocks of the digital components in PSoC. In your project the debouncer is causing the resource limitation. You can check your resource usage in resource meter.
you can check the de-bouncer datasheet to see how the resources are used.
You may have to reduce the number of debouncer inputs to resolve the issue.
2. Re: I am getting an error titled number of Macrocells exceeding (max=32, need=36)... How do i address this?
There are two solutions: (1) hardware debouncing, (2) software debouncing.
1. Remove Debouncing component and attach small (0.1u) capacitors to each input pin. This should be enough. You can further reduce a number of ISRs used to one single interrupt, attached to a port.
3. Re: I am getting an error titled number of Macrocells exceeding (max=32, need=36)... How do i address this?
Attached is a demo project showing operation of the custom component (Button_SW) for debouncing switch buttons. The component is written entirely in code and does not consume PLD/UDB resources, and can handle up to 8 buttons on a single port. This is a draft version of the component meaning it may need more testing and is subject to changes in the future, and no datasheet is available yet. Component was tested using PSoC5LP and PSoC4200.
4. Re: I am getting an error titled number of Macrocells exceeding (max=32, need=36)... How do i address this?
Thank you for the explanations and suggestions!
5. Re: I am getting an error titled number of Macrocells exceeding (max=32, need=36)... How do i address this?
You are welcome. But did it work for your project? Since it is early beta component, I am interested in feedback.
6. Re: I am getting an error titled number of Macrocells exceeding (max=32, need=36)... How do i address this?
I was able to resolve my issue by removing a timer and a PWM I was not using in this solution. I will load up your component and give it a test in my application. At moment laying out the board. I just have to add a couple of smart high side load switch's and i am ready to go.


I came across this website from a Google search as part of a task I was assigned a while ago, trying to find ways for us to collaborate with fitness communities within Japan. Without even imagining this website will basically build my running career at that time, I contacted Mr. Eiichiro Omori, founder of Runtrip. He himself is not only just a runner, but he has run the Hakone Ekiden (Tokyo-Hakone Round-Trip College Ekiden Race) in his college years which is one of the most prominent university ekiden (relay marathon) races of the year held between Tokyo – Hakone on 2nd and 3rd of January, every year.
With Omori-san as CEO, Runtrip is a company running an SNS for runners where registered users (free of charge) can post and search for running courses all over Japan and even overseas. The posts include a brief explanation of the course, map, road type, elevation, amount of traffic lights, recommended time of day, street lights and running station information.
Instead of the conventional "Like" button in most SNS, they have unique "Ran" and "Want to run" buttons for the courses that are posted. Running events from casual group runs (some followed by drinks afterward) to serious time trials and races can also be found on the website as well.
Even with my short and not-so-experienced running career, the distance and level indication of the events and group runs make it easier for runners like myself to participate without hesitation and worrying if I can keep up or not. With this experience, I have learned not only to enjoy the run itself but also to make new friends and connections with people who share the same interest, which is another reason I look forward to when joining an event.
Runtrip often holds campaigns collaborating with companies like Fitbit, giving out Fitbit watches to winners to encourage runners to challenge more, and win mileage from ANA (All Nippon Airways) to "go on a Runtrip" to places away from home. My personal favorite is the "Run for Yu" campaign. "Yu (湯)" means hot water in Japanese, in other words, onsen (hot springs) and baths. Tying up with KNT travel agency, the campaign offers users to use onsen facilities as running stations with special offers at a discount price.
Unfortunately, the English version website is yet to be launched. But it is currently under process translating the contents and will be available in the near future. "Very soon" emphasizes Omori-san everytime we discuss the subject. Fit Japan will announce the news when the English version is live, in the meanwhile you Google Translation service does a reasonable job of translating the site.
Of course, if you have plans for traveling to Japan or an expat living here and looking for a group run to join, we would be happy to help you join a running event with the Runtrip team during your stay. Usually, at least one or two people are English speakers. Or, if you yourself would like to hold an event and get to know runners in Japan, feel free to let us know. Message us via the contact page, we'd love to help you organize it and enjoy the many wonderful running options available in Japan.


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William Sturrock Maxwell (* 21. September 1876 in Arbroath; † 14. Juli 1940 in Bristol; auch William J. Maxwell) war ein schottischer Fußballspieler und -trainer.

Laufbahn

Spieler
Der 1876 geborene William Maxwell schloss sich zu Beginn der 1890er Jahre, zu dieser Zeit noch als Amateur, dem FC Arbroath sowie danach Heart of Midlothian und dem FC Dundee n. 1895 wurde er mit seinem Wechsel zum englischen Klub Stoke City zum Profi. In Stoke erreichte er den Höhepunkt seiner Laufbahn, als er in 153 Spielen 74 Tore erzielte.

Im April 1898 wurde Maxwell in die schottische Nationalmannschaft berufen. Der Einsatz beim 1:3 gegen England im Glasgower Celtic Park blieb sein einziger Länderspiel-Einsatz blieb.

1901 verließ Maxwell Stoke, um sich Third Lanark anzuschließen. Bis zu seinem Karriereende 1909 folgten zudem noch die Stationen Sunderland, Millwall und Bristol City, bei denen er seine hohe Trefferquote beibehalten konnte. In der Saison 1901/02 wurde er Torschützenkönig der Scottish Football League.

Trainer
Nachdem er 1909 seine Spielerlaufbahn beendet hatte, wandte Maxwell sich noch im selben Jahr dem Trainerberuf zu und ging nach Belgien, um den Leopold FC zu übernehmen. Ab 1910 trainierte er die belgische Nationalauswahl, die er erst 18 Jahre später an den Österreicher Viktor Löwenfeld übergab.

Später trainierte er eine Saison lang Cercle Brügge, mit denen er 1937/38 die Meisterschaft der Division I gewann. Er starb 1940.

Erfolge
Als Spieler
 Meister der Football League Second Division (1): 1905/06
 Torschützenkönig der Scottish Division One (1): 1901/02

 Als Trainer
 Meister der Division I (1): 1937/38

Literatur
 Matthews, Tony: "The Encyclopaedia of Stoke City" (Lion Press, 1994, ISBN 1859831001)

Weblinks

Einzelnachweise

Fußballnationalspieler (Schottland)
Fußballspieler (FC Arbroath)
Fußballspieler (FC Dundee)
Fußballspieler (Heart of Midlothian)
Fußballspieler (Stoke City)
Fußballspieler (Third Lanark)
Fußballspieler (AFC Sunderland)
Fußballspieler (FC Millwall)
Fußballspieler (Bristol City)
Fußballnationaltrainer (Belgien)
Fußballtrainer (Cercle Brügge)
Schotte
Brite
Fußballtrainer (Schottland)
Person (Arbroath)
Geboren 1876
Gestorben 1940
Mann

redpajama_set_name: RedPajamaWikipedia


text:
Home Virtual Reality
The Mandalorian season 2 episode 6 gave us what we've all been waiting for – Bioreports
in Virtual Reality
The Fett's out of the bag…
This isn't a spice dream: The Mandalorian just served up the moment fans have been talking about since the Disney Plus show was first announced.
Streaming now, season 2 episode 6 is officially titled Chapter 14: The Tragedy. That ominous title sets up a foreboding mood as the Mandalorian and Baby Yoda make a major breakthrough — only for things to take a cruel twist. (Spoilers incoming…) And we finally meet the man who inspired the whole show, as legendary Star Wars character Boba Fett blasts into action.
The episode opens with the Mandalorian and his Force-powered foster-child Baby Yoda sharing a small but emotional moment. After last week's encounter with Jedi Ahsoka Tano, Mando's satisfaction at nearing the completion of his quest is tempered with sadness at having to give up Baby Yoda. One minute the little green guy is squealing with delight at a jet pack ride, the next he's communing with a Jedi temple. That's super-powered, galaxy-changing, Force-sensitive kids for ya — they grow up so fast!
Arriving at Ahsoka Tano's "magic rock," Baby Yoda begins meditating, surrounded by a force field (or should that be Force field?). But things don't stay meditative for long, as a ship that'll be familiar to Star Wars fans comes into view — and the moment we've all been waiting for arrives.
New character Baby Yoda aka the Child aka Grogu has been the breakout star of The Mandalorian. But from the moment the series was announced back in 2018, fans wanted to know if and how the show would tie in with the Mandalorian who started it all, laconic bounty hunter Boba Fett, first seen in The Empire Strikes Back in 1980. Fett spoke four lines and was on screen for less than seven minutes, but the enigmatically masked character launched a thousand toys. His role expanded in Return of the Jedi, and we learned his backstory in the Star Wars prequel trilogy — which now comes full circle in episode 6 of The Mandalorian.
Not only does Fett reclaim his father Jango Fett's armor, he gets to smash up some Imperial Stormtroopers in the process. The white-armored Stormtroopers began as an army of clones, obscene copies of none other than Jango himself — no wonder Boba shows such cold fury as he flamboyantly takes out the Stormtrooper platoon.
Mando, Fennec Shand and Boba Fett team up!
Fett was glimpsed in season 2 episode 1, played by Temuera Morrison. It's full circle for the New Zealand actor too: technically this is the first time Morrison has appeared as Boba Fett — aside from some voiceovers, he played Jango in the prequels — and it's something of an anticlimax that he simply shows up and starts talking. After Ahsoka Tano last week, this isn't the first time a major Star Wars character just walks in with little buildup. But then you realize Fett's arrival is a prelude to the real reveal The Mandalorian has been building toward since its inception. In fact, we get to meet Boba Fett twice: once as badass warrior monk taking out bad guys with a massive hammer, and then again as the armored and iconic Star Wars fan favorite we know and love.
Something tells me Fett's line, "A simple man making his way through the galaxy like my father before me," will go down in the Star Wars saga's history of classic lines.
As enjoyable as all this is, there's a dark twist to come. Writer and producer Jon Favreau gives with one hand and takes away with the other as our deepest fears for Baby Yoda are realized: Grogu is snatched into the arms of the nefarious Moff Gideon.
It's fitting that the episode, essentially a running battle in the desert, is directed by directed by Robert Rodriguez, the man behind Desperado and From Dusk Till Dawn. But it's not perfect: The destruction of the Mandalorian's cool ship the Razor Crest, painful as it is, immediately undoes last week's big cliffhanger. No sooner has Moff Gideon planted a tracker on the ship than he blows it up barely an episode later. Sure, that subplot has served its purpose now he's got his mitts on Grogu, but it denies viewers the suspense of the Mando desperately trying to evade an enemy we know can't be shaken off.
The introduction of the Dark Troopers is also something of an anti-climax. After the Stormtroopers get wasted, Gideon throws these sinister black warriors into the fray to inaugurate their nasty powers. But all they do is fly straight down, pick up Baby Yoda, and book it straight back to their spaceship. Any grunt with a jetpack or speeder bike could have done that. Again, last week's sinister cliffhanger showing rows of Dark Troopers is undone by their underwhelming debut. Still, I suppose the show has to keep something back for its last two episodes as it builds to a finale on Dec. 18.
Episode 6 ends on a dark note — literally — as Moff Gideon strides through corridors, his black cape swirling and his Darksaber menacing Baby Yoda. But it isn't the threat of what Moff Gideon will do that's so unsettling: We also see Grogu using his powers to torture more hapless Stormtroopers. Ahsoka Tano already warned of the dangers of the untrained child losing his way, especially when he's been keeping company with a carer who, let's face it, is a violent and mercenary thug. Nobody wants to see Baby Yoda turn to the Dark Side.
This week we got to see the thing we wanted all along as Boba Fett swooped in. Let's see how season 2's climax shares the limelight between Mandalorian stars old and new.
Check out our recaps for all The Mandalorian's Easter eggs and important Star Wars continuity references:
New movie calendar for 2020 and 2021 following coronavirus delays
The Mandalorian season 2 episode 6 recap: Baby Yoda and Mando meet a Star Wars icon – Bioreports
Dez on facing Cowboys: 'Water under the bridge'
Dez on facing Cowboys: 'Water under the bridge'


text:
D Phippard Interpreting Ltd
David Phippard BA MASLI RSLI
By confirming an assignment booking you agree to the following terms and conditions:
'Interpreter' shall mean the person who performs the act of interpreting spoken or signed communication into another language.
'Speaker' shall mean the person making the original spoken or signed communication.
'Client' shall mean the party or intermediary engaging the services of the Interpreter and having responsibility for his/her remuneration.
'Assignment' shall mean any period or set of consecutive periods of interpreting for one specific purpose or event.
'Circumstances' shall mean any circumstances deriving from any cause, which is beyond the control of the Interpreter or the Client.
2.1 The services provided by the Interpreter shall comprise the interpreting services agreed in writing at the time when an assignment is accepted and/or those specified in these Terms and Conditions.
2.2 They shall not (unless expressly agreed and confirmed in writing at the time) include any additional services.
2.3 In the event that no Deaf sign language users are present for the assignment, the contract will be considered fulfilled and the Interpreter shall not be obligated to continue with the interpretation; unless it has been expressly agreed in writing prior to the event that they will do so.
3.1 All assignments shall be confirmed by a written contract between the Client and the Interpreter, which shall include these Terms and Conditions and any variants explicitly agreed. This should contain: date, time, place, nature of assignment, fee, contact person and telephone number.
3.2 If an interpreter is commissioned for an assignment and there is no time to enter into a written contract, the assignment shall be entered into on the basis of an oral contract only and these Terms and Conditions shall be deemed to apply.
3.3 Where an Interpreter's services have been contracted for in accordance with either of the means specified above, the Client shall be wholly liable for remuneration of the Interpreter's services and reimbursement of any expenses incurred by the Interpreter in connection with the assignment whether the interpreting services are in fact provided or not.
3.4 If an interpreting assignment is not confirmed in writing within three working days, the Interpreter may accept other work for that date.
3.5 If a provisional booking has been made, and another Client makes a request for the same period, the Interpreter will give the initial Client the opportunity to confirm before accepting the latter request.
4.1 Where an assignment requires continuous interpreting for any period of longer than one hour, a team of (minimum two) Interpreters shall be engaged to provide the interpreting service.
4.2 As an exception to the above, one Interpreter alone may be responsible for all the interpreting services in the assignment if this is explicitly accepted by the Interpreter in writing.
4.3 Where three or more Interpreters are engaged for an assignment, one Interpreter shall be designated Team Leader.
4.4 The Team Leader shall be responsible for organising the work of the interpreting Team and liaising with the Client.
4.5 No persons who are not members of the Team may be used as Interpreters to complement the Team.
4.6 For reasons of health and safety, the Interpreter shall be under no obligation to continue with an assignment should their co-interpreter(s) fail to arrive.
4.7 The Interpreter shall only work in teams with other professionals registered with the NRCPD; unless explicitly agreed at the time of booking.
5.1 A standard working day shall comprise no more than seven hours during which interpreting will be required.
5.2 Interpreters shall be given a midday rest period of at least one hour.
5.3 If an Interpreter has agreed to work alone, they shall be given adequate opportunity for breaks, of at least 15 minutes after each 30-minute interpreting session.
5.4 No demands shall be made on the skills of the Interpreter during rest periods or breaks.
5.5 If, in the course of an interpreting assignment, it is found that interpreting services will be required for an additional period beyond the agreed contracted time, the Interpreter may be invited to, but not compelled to continue for a further agreed period on that same day or continue for a further agreed period on subsequent days.
5.6 If the Interpreter consents to the above, additional fees shall be paid in accordance with Clause 7.3.
Quotations for Fees
6.1 Fees quoted by an Interpreter, or on behalf of a team of Interpreters, in full knowledge of the contents and conditions of an assignment, shall be considered contractually binding.
6.2 Quotations shall be confirmed in writing.
6.3 Fees will be agreed in advance of the assignment when the booking is confirmed.
Payment of Fees and Allowances
7.1 All fees and allowances shall be agreed and paid in full no later than 30 days following receipt of the invoice.
7.2 Interest shall automatically be applied to the full fee at 10% per seven days overdue, until the invoice is settled in full.
7.3 Fees shall be charged on the basis of a full-day or half-day. Where the Interpreter has been invited to continue for a further period in extension of the initial contract, (see Clause 5.5), a supplementary fee shall be paid at an agreed hourly rate.
7.4 A supplementary fee for working unsociable hours shall be agreed between the Interpreter and the Client in advance, for assignments between the hours of 1800 and 0900 or at weekends or public holidays.
7.5 Where an Interpreter is required, from the outset, to work longer than the working day a supplementary fee shall be negotiated at an agreed hourly rate.
7.6 In circumstances where the Interpreter's co-interpreter is absent, the Interpreter may withdraw from the assignment and be paid in full or continue working with fees charged at an additional 50% of the original fee.
8.1 If an accepted assignment is curtailed or cancelled either wholly or in part, or performance of the assignment is frustrated for reasons that the Client or the Client's principal are responsible, the Client shall be liable for payment of a cancellation fee according to Clause 8.4.
8.2 Any expenditure incurred as agreed in the contract and any additional expenditure incurred as a result of the cancellation shall also be reimbursed.
8.3 If, however, at the time of cancellation the Client is able to offer an alternative assignment of a similar type under comparable conditions and circumstances for all or part of the period of the original assignment, the Client's liability to the Interpreter in respect of cancellation fees shall be reduced by the amount of the fees payable for the alternative assignment.
8.4 Any cancellation fee shall be determined in relation to the time between notification of cancellation and the start date, as follows:
7 days' or less notice – 100% of agreed fee payable
8 to 14 days' notice – 50% of agreed fee payable
15 or more days' notice – 0% fee payable
8.5 If an accepted assignment is cancelled but the Interpreter is able to secure an alternative assignment for the time in question, the Client's liability to the Interpreter in respect of cancellation fees shall be reduced by the amount of the fees payable for the alternative assignment. However, any agreed preparation work that has been completed will still be charged to the Client.
Substitution of the Interpreter
9.1 Substitution shall only be permitted in agreement with the Client and the Interpreter shall endeavour to find a suitable substitute.
9.2 The Client shall reasonably accept this substitute, who shall be engaged on the same terms as the Interpreter had previously agreed.
9.3 The Client shall notify any other parties as appropriate.
9.4 Acceptance of the substitute by the Client shall discharge the Interpreter from any further liability.
Unavoidable Circumstances
10.1 The Interpreter undertakes to notify the Client at the earliest possible opportunity if he/she is prevented from undertaking an assignment or if performance is frustrated by unavoidable circumstances.
10.2 In giving such notice the Interpreter shall relinquish any right to remuneration for the uncompleted part of the assignment and the reimbursement of any expenses, except those already irrecoverably incurred, or necessarily incurred in returning the Interpreter to his/her normal place of residence by suitable means.
Preparation Materials
11.1 The Client shall provide the Interpreter with relevant information and preparatory materials in the form of background documentation in good time; where possible, one week in advance of an assignment in order to ensure provision of a quality service.
11.2 If it is not possible to provide preparatory materials, and the Interpreter requests such, the Client shall arrange a briefing meeting.
11.3 Attendance by the Interpreter at such a meeting shall be paid as working time.
11.4 Preparatory materials shall include such items as:
programme, agenda, meeting minutes, reports, briefing papers, speaker notes, motions, names of participants, photographs, diagrams and other visual materials;
slides or other materials that will be read out or referred to by participants in the course of an assignment;
lyrics, scripts, copies of any videos or scripts of films to be shown or any other performance materials;
All of which shall be supplied to the Interpreter by the Client not less than 24 hours prior to the assignment.
11.5 The Interpreter, outside the context of the assignment, shall not disclose information contained within preparatory materials. The Interpreter shall be responsible for their safe-keeping and immediate return to the Client at the end of the assignment.
12.1 For BSL to English interpretation, the Client is to ensure that speakers are well lit and in clear sight of the Interpreter or made visible by means of an image providing a clear and detailed view of the speaker's face and body movements sufficient for the Interpreter's requirements. This may require the provision of audio/visual equipment, which shall include a microphone and television monitor, for the sole use of the Interpreter.
12.2 For English to BSL interpretation the Client is to ensure that the Interpreter is positioned so that they are sufficiently near to the speaker to be able to hear and can be clearly seen by consumers of the service. This may require the provision of additional lighting and audio equipment in the form of a 'fold-back' speaker, for the sole use of the Interpreter. If this is not possible, the Client shall ensure that the speaker's voice or film/video sound track is in any case clearly conveyed directly to the Interpreter without interfering noise.
12.3 If it is known for certain that there are no Deaf sign language users present for the assignment, the contract will be considered fulfilled and the Interpreter shall not be obligated to continue with the interpretation; unless it has been expressly agreed in writing prior to the event that they will do so.
12.4 The interpreter will remain at the venue for a negotiated time in the event that a deaf person is a latecomer.
12.5 If a client wishes the Interpreter to interpret into BSL, knowing there are no Deaf sign language users present; this will be result in a higher "performance" fee, as this is beyond the provision of access.
13.1 No recording or live-streaming of an Interpreter's work shall be made without the Interpreter's prior consent, except where such recording is inherent within legal proceedings. Recordings, which are intended for broadcast or publication, may incur an additional fee.
14.1 Any complaint or dispute in connection with interpreting work carried out shall be notified to the Interpreter by the Client (or vice-versa) as soon as possible after an assignment.
14.2 If the parties are unable to agree, the matter may be referred to the NRCPD in accordance with their complaints policy and guidelines.
Responsibility and Liability
15.1 The interpreting task shall be carried out by the Interpreter to the best of their ability and care and in accordance with the provisions and spirit of the National Registers of Communication Professionals working with Deaf and Deafblind People Code of Conduct.
15.2 The Interpreter shall use his or her best endeavours to interpret to the best of his or her ability, knowledge and belief.
15.3 No guarantee can be given as to the absolute accuracy of any interpretation.
15.4 In the event of a dispute or complaint about the work, the liability of the Interpreter shall be limited to the value invoiced by the Interpreter.
16.1 Where the Client acts as an intermediary and introduces the Interpreter to a third-party by way of business, the Interpreter shall not, for a period of six months, approach the said third-party for the purpose of soliciting work, nor work for the third-party in any interpreting capacity, without the Client's written consent.
However, this shall not apply where –
the third party has had previous dealings with the Interpreter;
the Interpreter acts on the basis of information in the public domain;
the Client has failed to pay the Interpreter;
the approach from the third-party is independent of the relationship with the intermediary;
the third-party is seeking interpreters on the open market.
Applicability and Integrity
17.1 No waiver of any breach of these terms and conditions shall be considered as a waiver of any subsequent breach of the same or any other provision.


text:
Injury forces Marin Cilic to withdraw from 2023 Aus Open
BadmintonC.B.I.Mallikarjun Kharge
New Delhi : Marin Cilic of Croatia announced his withdrawal from the year's first Grand Slam on Wednesday, due to his knee injury that ended his run of seven consecutive Australian Open appearances.
Former world no 3 sustained a knee injury last week during a warm-up ahead of his quarterfinal match at the Tata Open Maharashtra, where he was competing as a top-seed player. "Not a great start to 2023 and few tough days in Melbourne.
Devastated I can't play this year at @AustralianOpen but health comes first. See you next year Melbourne!" Cilic tweeted. The 2014 US Open champion, Cilic, is the new name on the list of players, who will miss the first Major of the year.
Earlier, World No. 1 men's singles player Carlos Alcaraz of Spain has opted out of the 2023 season's first major after picking up an injury while training. Hours after Alcaraz announced his withdrawal, seven-time Grand Slam singles champion Venus Williams of the United States, too, pulled out of the Australian Open.
Former two-time champion Naomi Osaka of Japan also withdrew from the mega event, however, the reason for her withdrawal was not mentioned by the tournament organisers. "Naomi Osaka has withdrawn from the Australian Open.
We will miss her at #AO2023. Dayana Yastremska moves into the main draw," tournament organisers tweeted on Sunday.
Australian OpenAustralian Open 2023Marin CilicSports NewsTennisTennis Player
Malaysia Open : PV Sindhu loses to Carolina Marin; HS Prannoy and Satwiksairaj Rankireddy-Chirag Shetty pair advance
Adelaide International 2 : Paula Bados, Daria Kasatkina seal quarterfinal slots


It is no longer news that Nigerian highlife singer, Flavour is a father of two adorable children, born him by two former beauty queens, Sandra Okagbue and Anna Banner.
It's been two years however, since the thriving singer and Sandra welcomed their daughter, Gabrielle Munachim Okoli. She was born on October 20, 2014.


text:
Inter- and intra-observer variability of magnification chromoendoscopy for detecting specialized intestinal metaplasia at the gastroesophageal junction
Endoscopy. 2004 Feb;36(2):160-4. doi: 10.1055/s-2004-814183.
A Meining 1 , T Rösch, R Kiesslich, M Muders, F Sax, W Heldwein
1 Department of Medicine, City Center Hospital/University of Munich, Munich, Germany. ameining@medinn.med.uni-muenchen.de
Background and study aims: Magnification endoscopy after contrast enhancement with acetic acid or staining with methylene blue has been reported to be highly accurate in predicting specialized intestinal metaplasia (SIM) in Barrett's esophagus. So far, however, no data have been published on the interobserver and intra-observer variability of these new methods.
Patients and methods: Fifty-one patients with reflux symptoms were prospectively evaluated. Endoscopy was carried out with a magnification endoscope, and video sequences were recorded in standard and zoom modes (at the 12-o'clock, 3-o'clock, 6-o'clock, and 9-o'clock positions) before and after instillation of 1.5 % acetic acid (n = 26) or staining with 0.5 % methylene blue (n = 25). Biopsies were obtained from the same locations for histopathological examination. The 102 video sequences were shown to four experienced endoscopists in a mixed and blinded fashion. The evaluation criteria used followed the published criteria; classification was carried out according to the pit-pattern structure, methylene blue positivity, and the presence of villous structures. Finally, a general statement on suspected SIM in relation to Barrett's esophagus was requested.
Results: With regard to the criteria selected for evaluation, there was a high level of interobserver variability among the four examiners (all kappa < 0.4). SIM was histologically detectable in 60.8 % of the patients. The accuracy of all of the examiners for predicting SIM by magnification endoscopy was around 50 %, with no differences observed before and after instillation of acetic acid or methylene blue staining.
Conclusions: The suggested criteria for identifying SIM using magnification endoscopy are associated with a high level of interobserver variability. When evaluated in a blinded manner, staining techniques do not significantly improve the yield for detecting SIM at the esophagogastric junction.
Endoscopy, Digestive System / methods*
Esophagogastric Junction / pathology*
Gastroesophageal Reflux / diagnosis*
Gastroesophageal Reflux / pathology
Image Enhancement*
Metaplasia
Methylene Blue
Sensitivity and Specificity


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text:
Copyright and the sale of rights
by Judy G. Russell | Nov 8, 2013 | Copyright | 14 comments
Next in an occasional series on copyright — buying "all rights"
Earlier this week, reader Jes Lindsey asked a great question about a photo of a family member in a comment to an earlier post, and it's such a great question — one others may have as well — that The Legal Genealogist is "promoting" it here to its own blog post.
Here's the question:
I have a picture of my Great-Grandmother taken in 1890 that was given to me as a child by my Great-Grandfather (This is an original and only copy of this picture). The picture has the name of the photo studio that took the picture in 1890, but, I have the original sales receipt for the picture. It states that the picture belongs to my Great-Grandfather with all rights at point of purchase, and is marked paid in full. Therefore, who has a right to said picture, the photographer or the purchaser? The sales receipt makes it clear that when the picture was paid for all rights were given to my Great-Grandfather that is why I am confused. I do photo restorations and would like to use my Great-Grandmother picture on my company's website, but only if I have the rights as the owner.1
Now, as usual, what follows isn't legal advice, I'm not practicing law here, yadda yadda yadda.2 With that caveat…
The first part of this question is: when Great Grandpa bought that photo, did he buy the copyright as well?
Answer: yes, based on the facts given, I sure think so. A copyright is a form of property, and it can be bought and sold just like any other form of property. The U.S. Copyright Office couldn't be clearer about that: "Like any other property, all or part of the rights in a work may be transferred by the owner to another."3
There are some formalities required for the transfer to be effective: "Any or all of the copyright owner's exclusive rights or any subdivision of those rights may be transferred, but the transfer of exclusive rights is not valid unless that transfer is in writing and signed by the owner of the rights conveyed or such owner's duly authorized agent."4
Here, Jes says, the receipt for the photograph — a document in writing — says "all rights" were transferred, and it's a receipt from the studio that created the original. All rights in this very specific context can hardly mean anything other than just what it says — all rights. So it sure looks like Jes' Great Grandpa owned the copyright.
The next question, then, is just what that meant: what exactly did Great Grandpa buy?
And the answer is, only what the photographer and studio had. Under the law as it's changed time and again in the years since 1890, the maximum term of a copyright for an unpublished photograph like this one has come to be the lifetime of the creator plus 70 years.5 No matter what the law was before 1978, as of 1 January 1978, the federal copyright act governs all copyrights and sets one uniform time period for each category.6
Note that it's not Great Grandpa's life plus 70 years — it's the creator's life plus 70 years. The term of copyright isn't extended when you sell or transfer it to the next person down the line. If that happened, copyright would never end, and the whole theory of copyright is "promote the … useful arts, by securing for limited times to authors … the exclusive right to their … writings…"7
So what exactly does Jes have today in terms of those rights? Can Jes safely use that photo to promote the photo restoration business?
You already know what's coming, don't you? The lovely wonderful lawyerly answer of which The Legal Genealogist is so fond?
First and foremost, the question is whether anybody has a copyright interest in that photograph any more. That's answered by finding out — if it's possible to find out — when the photographer died.
If the photographer died more than 70 years ago, the photo isn't copyright protected any more and Jes is perfectly free to use the photo in any way — for personal or commercial purposes.
If the photographer died within the last 70 years, then somebody still has a copyright interest. The question then becomes who. And that's not answered just by the fact that Great Grandpa gave Jes the photo, or even by the fact that Great Grandpa gave Jes the photo and the receipt.
Remember, under the law, a transfer of rights has to be in writing, signed by the owner of the rights. Great Grandpa would have had to sign something giving the copyright to Jes — just giving up the photo or even the photo and the receipt doesn't give up the copyright.
If Great Grandpa did sign the photograph (edited:) and copyright over to Jes in a written document, Jes is home free, because Jes would own everything Great Grandpa owned and nobody else anywhere would have any claim to it.
But if there is still a copyright in effect and Great Grandpa only handed over the photo without signing over the copyright, Jes needs to figure out exactly who owns the copyright today. And that's a matter of the law of the state where Great Grandpa died, and what Great Grandpa did in terms of leaving a will, and maybe even how many other folks descend from Great Grandpa.
See, as the Copyright Office says, "A copyright may also be conveyed by operation of law and may be bequeathed by will or pass as personal property by the applicable laws of intestate succession. Copyright is a personal property right, and it is subject to the various state laws and regulations that govern the ownership, inheritance, or transfer of personal property …"8
A checklist of questions to ask:
• Did Great Grandpa leave a will? And if so, then in this order:
• Did he mention the copyright specifically?
• Did he mention this photograph specifically?
• Did he mention photographs generally?
• Did he mention personal property generally?
• Did the will have a residuary clause ("and all the rest and residue of my estate I leave to…")?
• If Great Grandpa didn't leave a will, then:
• What state's law controls how his personal property would be distributed to his descendants?
• What does that state's law say about who's entitled to inherit personal property?
• Who was alive when Great Grandpa died who would have been included in that group?
• Who is alive today who might have a claim to any part of Great Grandpa's personal property?
And, of course, once those people or descendants who own the rights are identified, getting them all to sign off on the use of the photo is all Jes needs.
Hmmm… chasing down descendants. Sounds like a job for a genealogist to me…
Image: Brady's National Photographic Galleries, Unidentified woman, possibly a nurse, during the Civil War, Library of Congress, Prints & Photographs Division, Washington, D.C.
Jes Lindsey, comment posted 5 Nov 2013 to "Copyright and the old family photo," The Legal Genealogist, posted 6 Mar 2012 (https://www.legalgenealogist.com/blog : accessed 7 Nov 2013). ↩
See Judy G. Russell, "Reprise: Rules of my road," The Legal Genealogist, posted 26 Apr 2013 (https://www.legalgenealogist.com/blog : accessed 5 Nov 2013). ↩
"Assignment/Transfer of Copyright Ownership," Frequently Asked Questions, U.S. Copyright Office (http://www.copyright.gov : accessed 7 Nov 2013). ↩
U.S. Copyright Office, Circular 1: Copyright Basics, PDF version at p. 6 (http://www.copyright.gov : accessed 7 Nov 2013). ↩
For a great chart showing the time periods of copyrights covering items created over time, see Peter B. Hirtle, "Copyright Term and the Public Domain in the United States," Cornell Copyright Information Center (http://www.copyright.cornell.edu/ : accessed 7 Nov 2013). ↩
See 17 U.S.C. §301(a) ("On and after January 1, 1978, all … rights within the general scope of copyright … are governed exclusively by this title. Thereafter, no person is entitled to any such right or equivalent right in any such work under the common law or statutes of any State"). ↩
U.S. Constitution, Article I, section 8, clause 8 (emphasis added). ↩
Kathleen on November 8, 2013 at 11:52 am
"If Great Grandpa did sign the photograph over to Jes in a written document, Jes is home free, because Jes would own everything Great Grandpa owned and nobody else anywhere would have any claim to it."
Is this necessarily the case? Couldn't Great-Grandpa have signed the ownership OF THE PHOTO over to Jes in a written document, without necessarily transferring copyright as well? Wouldn't it depend on what the written document said about the copyright itself, and if it only mentioned the photo and not the rights, wouldn't those still reside with his heirs as described in in the second half of the post? I thought that Jes wouldn't own everything Great-Grandpa owned unless he specifically gave her (in writing) everything he owned – transferring the photo itself in writing wouldn't be enough, and he could transfer some but not all rights in writing, if he so chose. Am I mistaken?
I thought that was clear from the prior paragraphs, Kathleen, but so it can't be misunderstood, I've edited the post to include signing the copyright over. Transferring the photo alone means nothing in terms of copyright. The signing-it-over would only transfer the copyright if it said so.
Hilltownroots on November 8, 2013 at 1:05 pm
Isn't there the practical side of this issue that Jes should consider? If she goes through your questions and determines that it is likely that the photographer or his estate owns the copyright, should she not use the picture? I would think that the risk is so small that she should not worry about it. The copyright holder would have to visit the web site, identify the picture to be one for which (s)he holds a copyright, have sufficient damages to file a claim, and be able to prove their case. And, of course, Jes could communicate with the copyright holder to transfer the copyright or get sufficient permissions. If this were my web site, I would not lose sleep over using my ancestor's picture. I am not suggesting that we should disregard copyright laws, but in this case (until I read your post) it would have never occurred to me to even think about it.
In my book, it's unethical to simply assume the copyright owner won't catch you and foolish to assume the copyright owner won't sue you if he/she does catch you. Here, there's very little chance that the copyright is owned by the photographer or photographer's estate, so on that count I wouldn't lose any sleep. But if this is still under copyright protection, I wouldn't risk my business by using the image without getting other family members to sign off if they do have an interest in the copyright.
Skip Duett on November 8, 2013 at 2:19 pm
Great article, Judy. One of the (many) things I struggle with on copyright is the concept of "published" with respect to studio photography. A book published in 1890 in the US is no longer under copyright protection. It has passed to the public domain. The same can be said of the photographs in that book. What constitutes being "published" when it comes to photographs, particularly old (pre 1923) professional studio photographs such as Jes is in possession of? Does the sale of photograph to a customer constitute publication?
As a related question: I have some old photographs that were printed as postcards (some actually used and some not). Are these photographs "published?"
As always, your insights would be very much appreciated!
Rondina on November 9, 2013 at 10:58 pm
So, if I understand you correctly … if I want my children and their descendants to be able to use any photographs, paintings, or drawings I created, I need to add that clause to my will and in the mean time add an addendum. I also should do this for any written work.
I learned the hard way that the photographer owns the photo copyrights of all the pictures he took of my children—now stored in a warehouse where he refuses to retrieve them. When my middle child was married, I knew better and made sure she had the copyright to her wedding photos included in the contract. I also have the copyright to photos taken of myself and my third child. However, I should take further steps and sign additional letters transferring copyright to my children and their descendants with full permission to use the photos as they wish, if I want them to be able to use them without restriction.
I also think that the photographer taking my newborn grandchild's portrait (a family friend) will need to sign a letter transferring copyright of the photos to my children. Her "gift" of these photographs is not going to fly in the eyes of the law.
As sole heir of my mother's estate, I'm not sure I have the legal right to use pictures that she took. It does seem that I do not have the right to use pictures taken of my family by others unless I can track down all living heirs and get their signed permission or wait until the photographer has been dead 70 years.
Do I have this straight?
Making sure you clarify all of the uses you want to allow of photos you've taken is a very good idea. A letter allowing your descendants to use the photos as you wish would certainly do that; saying the same thing in your will would make it clear as well. As for images your mother took, if you are the sole heir to her estate, then you own the copyright.
As for using photos taken by others, getting permission is always the safest route to take, but there's still the doctrine of fair use. Making a print for your own child is, I suspect, going to be treated by the courts much differently from publishing a copy on the cover of a best-selling book.
Peter Hirtle on November 30, 2013 at 12:09 pm
I am belatedly catching up with my blog reading, and I hope that I am not too late to offer a different approach to answering this question then you have done. Prior to 1978, the default position for a studio photograph was that it was a work made for hire, with copyright belonging to the subject of the photograph. The fact that the receipt did not transfer copyright but rather stated that the copyright belongs to the purchaser seems to me to be confirmation of the work made for hire status of the photograph. And copyright duration for an unpublished work made for hire is 120 years, so an 1890 photograph would be in the public domain.
It is easy to forget that the 1976 Copyright Act represents a huge reversal of traditional work made for hire doctrine, and that current rules regarding ownership, transfer, and duration would not apply.
As always thanks so much for contributing your knowledge, Peter!
Sharon on April 1, 2014 at 1:21 am
Do I understand this right. If I get written permission from the author, photographer, creator I can use copyright materials in a new publication?
Judy G. Russell on April 1, 2014 at 1:44 am
Exactly right: you can do whatever the permission allows you to do including re-use, republish, etc.
Elizabeth Ballard on July 20, 2016 at 3:37 pm
Judy, I thought this was a good article then, and it still is one, but it leaves me with unanswered questions about inheritance. There might be too much here.
Scenario 1: Third cousin gives me digital copies of original studio photos that she scanned of my great-grandmother, her sisters, and their mother (our 2nd great grandmother). She inherited them from her grandmother. She gave me permission to put the scanned copies in my genealogical database attached to each person. She owns the copyright of these photos, correct? I would also assume that I can do nothing else with these photos without her permission, including printing them out and framing them to put up in my house.
Scenario 2: My uncle died and his son, my cousin, was left with many photos that were either obtained by my uncle, copied by my uncle, or photographed by my uncle. My cousin gave those photos to another cousin, son of a different uncle. If my other cousin gives them to me, who on earth owns the copyright?
Scenario 3: My uncle took photos and gave me copies. What are my rights with respect to these copies? He gave them to me not long after he took them years ago and now he is deceased.
Judy G. Russell on July 20, 2016 at 3:59 pm
In each scenario, you would have to track the property right involved just as you would in a probate. You say in scenario 1 the cousin inherited the photos, but that doesn't necessarily mean she inherited the copyright. The ownership of the thing (the photos) is separate from the ownership of the photos. IF she did inherit the copyright then what she gave you was permission, that is, a license. In scenario 2, the uncle's copyright went to his heirs. If your uncle left a will, it would have been controlled by the will. If he didn't, then it would have gone to whoever the intestate laws of his state dictated. If he had just one single son, then that one son (your cousin) owns the copyright. In the third scenario, you have only whatever permission your uncle gave you and nothing more. The copyright would have gone to his heirs.


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Loose Ends Featuring Jane Eugene 11/7/2019
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When Loose Ends emerged out of the London soul underground in 1980 with the single "In the Sky," the group was so far ahead of its time that today, in 2017,its sound is as refreshing and vibrant as ever. Their vibe signaled the dawning of a new age of synthesizer and rhythm machine-driven grooves, channeling the Islands and the lushest, jazziest of soul – as much of a splash down into Caribbean Sea as the Milky Way. With international career defining hits such as "Hanging On A String (Contemplating)," "Choose Me (Rescue Me)," "You Can't Stop The Rain," "A Little Spice," "Slow Down," "Stay a Little While Child," "Watching You" and a delicious cover of Philly Soul maestro Dexter Wansel's "The Sweetest Pain," Loose Ends defined a refined approach to sexy soulful sounds – from the club floor to the Quiet Storm.
Today, original lead vocalist/songwriter Jane Eugene leads a United States-based edition of Loose Ends that is carrying the blue-flame torch with pride and muchsuccess. Under Jane's leadership, Loose Ends is wowing audiences in several capacities. So relevant yet nostalgic, fluid yet flexible is their sound that Loose Ends is compatible enough to share sold out bills with classic soul legends such as Isley Brothers, Charlie Wilson, Maze featuring Frankie Beverly, the Whispers and Parliament-Funkadelic, current hit-makers JOE,Faith Evans and Leela James, Smooth Jazz wind downs with Roy Ayers, Brian Culbertson and Will Downing, and, of course, their `80s techno-soul peers such as the S.O.S. Band, Midnight Star and Evelyn "Champagne" King. Loose Ends and its infectious international sound sit comfortably in the middle of all these styles and generations. This now classic band in its own right connects the dots to all top-shelf Soul music, creating a vibration that reverberates within a listener with 360 degree intensity..
"Even though we recorded our biggest hits in Phillywith producer Nick Martinelli who I adore, America never got to see much of us in our `80s heyday because we worked so steadily in our home base overseas," Jane shares. "Today, there is always a great deal of interest and curiosity when fans see our name on a concert bill. 35 years in and counting, Loose Ends is still in the game and steady gaining ground!" The proof is in Loose Ends performing to knocked-out audiences at B.B. King's in New York, the Capitol Jazz Festival in Washington, D.C., Pat Williams' "Soul Food Festival" down south, the "L.A. Soul Fest," Chene Park in Detroit, Chicago Winery and Yoshi's in San Francisco. Wherever party people are ready for the sophisticated get down, Loose Ends is ready to rock their world.
Much more than just three principle front members singin' and rockin' center stage, Loose Ends is a full-service band with three powerhouse background singers. Loose Ends is lead singers Jane Eugene and Jeff Robinson, emcee Palo Santo, guitarist/musical director Craig T. Cooper, keyboardist Aya Iwata, bassist Keith Eaddy, drummer Ryan Adams, percussionist Leroy "Boogie" Grier, support singers Dominique Karan, Waylynn Pitts and Robert Gee, and sound engineer Derrick Rodgers. This edition of Loose Ends has been performing together with little switch-up for the last 15 years so their show is tight, punchy and fully satisfying – capturing the techno essence of the band's signature sound with the fluidity and excitement of live instrumentation.
Jane Eugene occasionally takes part in reunion activities with original Loose Ends trio member Steve Nichol. However, with Loose Ends featuring Jane Eugene (managed by David Lombard of En Vogue and Johnny Gill renowned), she is ready to take on the world…and offers are pouring in from around the globe!
"Being out there on all those stages watchin'-watchin' audiences react when we drop down into one of our hits has given me and the band new life," Jane exclaims.
"When fans come to my show, they will hear the songs the way they remember them, sing along, reminisce and leave excited with happiness in their heart."


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Welcome Baby Thorin Creed!
The Farmhouse Studios is excited to announce Baby Thorin has arrived. Our crew has/had 2 mamas expecting this winter. Jenni & her husband welcomed Thorin on Sunday evening. Merry Christmas from your Farmhouse Photo Crew & their growing families!
Photos: Steven with The Farmhouse (Jenni's Husband)
Ring in the New Year Til Death do Us Part My Soul is Yours Dancing the Night away Here & Now, and Forever Hoshaw Muamua Le Atua Meet the Robinsons Love among the lilacs Calling Mr. & Mrs. Collins Love among the Clovers
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text:
package com.andrey7mel.stepbystep.model.dto;

import com.google.gson.annotations.Expose;
import com.google.gson.annotations.SerializedName;

public class ProtectionDTO {

    @SerializedName("enabled")
    @Expose
    private Boolean enabled;
    @SerializedName("required_status_checks")
    @Expose
    private RequiredStatusChecksDTO requiredStatusChecks;

    /**
     * @return The enabled
     */
    public Boolean getEnabled() {
        return enabled;
    }

    /**
     * @param enabled The enabled
     */
    public void setEnabled(Boolean enabled) {
        this.enabled = enabled;
    }

    /**
     * @return The requiredStatusChecks
     */
    public RequiredStatusChecksDTO getRequiredStatusChecks() {
        return requiredStatusChecks;
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    /**
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     */
    public void setRequiredStatusChecks(RequiredStatusChecksDTO requiredStatusChecks) {
        this.requiredStatusChecks = requiredStatusChecks;
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}

redpajama_set_name: RedPajamaGithub


The people who brought you such fantastic headlines as "Burrito Eaten As If Someone In The Room Wasn't Crying" and "Brief Reprieve From Mariah Carey's Christmas Song Comes To Resounding End" have selected their Game of The Year, and it's not ironic at all: Bethesda's Skyrim has edged out the competition to take top honours.
More specifically, the list belongs to The Onion A.V. Club, and it is a cool list with a lot of uncommon (yet deserving) choices like Ghost Trick: Phantom Detective and Shadows of the Damned.
A.V. Club coordinator John Teti's game of the year? You Don't Know Jack. An inspired choice, if you ask me.
come on guys. The avclub arent part of the onion. Different website, completely different approach - one is a joke newspaper, the other is a completely straight up pop culture review site. The avclub has covered this issue heaps of times.
The peeple who wrote "Burrito Eaten As If Someone In The Room Wasn't Crying" are not the same people who write the film and game reviews.
I don't even think that they're based in the same city any more.


A two-week bounce in U.S. stocks failed a key technical level, a sign that the S&P 500 may test its October lows, according to Bank of America Corp.
While the benchmark index ended last week with another rally of more than 2 percent, the ascent faltered around 2,815, a level that halted a similar recovery attempt in mid October and represented a 61.8 percent retracement of the entire decline from the September peak. A daily sell signal on Friday based on Tom Demark's market-timing indicators suggested that resistance is likely to hold, said Stephen Suttmeier, BofA's technical analyst.
The repeated failure at resistance added to a list of other warning signs that the market has flagged over the past month. Among them, the S&P 500 broke its 40-week average for the first time in two years during the October rout, an indication that the rally that took the index up as much as 60 percent from its 2016 trough is running out of steam. Meanwhile, market breadth and sentiment suggest bulls have yet to give up, and that a bottom has been set.
"Late stage bull market behavior and a failure at resistance, along with the lack of full capitulation … on the October decline increase the risk of a retest or undercut of the lows near 2,600," Suttmeier wrote in a note to clients. The market "remains within challenging pattern," he added.
Suttmeier is the latest among Wall Street technical analysts who warn that stocks aren't out of the woods yet. Last week, Jeff deGraaf of Renaissance Macro Research urged investors not to chase the rally as the rebound from the October sell-off showed signs of fatigue.
U.S. stocks suffered the worst month in seven years in October, with the S&P 500 dipping as low as 2,603.54 on Oct. 29, before staging a rally that erased more than half of the decline and reclaimed its 40-week moving average. Since then, the index has fallen three straight days. At 2,750 as of 10:50 a.m. in New York, it's again below that long-term trend.
First the stock, then the preferred, now junior debt: GE capital structure crumbling before our eyes.


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Amber alert: Dad in Ga. crisis has violent past, records show
An Amber Alert has been issued for six-year-old Rachel Zecena and her mother, 45-year-old Balvanera Esperanz Parada-Olivas, who authorities say may have been taken against their will by 55-year-old Alexis R. Zecena-Lopez.(WRDW)
By Mariyah Murow
Published: Dec. 28, 2021 at 1:40 PM EST
CUMMING, Ga. (WGLC/CBS46) - After an Amber alert was issued for a 6-year-old and her mom, we're starting to learn more about the man accused of being behind the crisis.
Authorities say 6-year-old Rachel Zecena and her mother, 45-year-old Balvanera Esperanz Parada-Olivas, may have been taken against their will by 55-year-old Alexis R. Zecena-Lopez.
Rachel, who was last seen Sunday evening, is described as having black hair and brown eyes. Her mother, Balvanera, is 5-foot-2-inches tall and weighs approximately 150 pounds. She also has black hair and brown eyes.
The alleged kidnapper, Zecena-Lopez, has been identified as the father of the abducted child. He is described as being 5-foot-8 and weighs approximately 175 pounds with black hair and brown eyes.
Cumming police told CBS46 they believe Alexis and Balvanera were involved in a domestic dispute shortly before the three disappeared.
Neighbors say the pair were previously married until a domestic dispute led to divorce and jail time for Zacena-Lopez.
"I know he loves his daughter so much and the break up hit him hard. The divorce," said neighbor Brenda Gossett.
"Balvanera left and that was probably a year ago. But then a couple months ago, there was another little altercation. He was arrested." said neighbor Scott Walters.
Cumming police told CBS46 Zecena-Lopez was involved in a violent domestic dispute case in August with his ex-wife and a protective order was put in place.
"The real concern, of course, because of his history in August, he was arrested for the kidnap and rape of his ex-wife and that was a very violent encounter," Cumming Police Chief David Marsh shared. "In fact he actually stabbed himself to make it look like she was the aggressor in that particular case."
Cumming police say they believe this time Zecena-Lopez, who does not have lawful custody of the child, actually took the mother and daughter, after removing his ankle monitor.
Law enforcement officials believe the three may be traveling in a 2016 Black Ford Focus with Georgia license plate RVX9470.
Zecena-Lopez may be armed and should be considered dangerous. If you have any information on their whereabouts, immediately dial 911 or call the Cumming Police Department at 770-781-3087.
Copyright 2021 WRDW/WAGT. All rights reserved.
Cleanup service held in Columbus to honor Dr. Martin Luther King, Jr.
SafeHouse Ministries opens doors to public in cold temperatures
Local foundation hosts 36th annual Martin Luther King Jr. Unity Award Breakfast


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The latest version of Yahoo Mail helps users find attachments and deals
Anthony Ha	@anthonyha / 1 year
Yahoo Mail is getting a mobile update, with new versions of the iOS and Android app launching today.
Many of you probably haven't tried out Yahoo Mail in years, but Senior Director of Product Management Josh Jacobson noted that it's one of the top productivity apps in the Apple App Store, where it has been rated 2.1 million times, with an average rating of 4.6 stars.
Jacobson also said that Yahoo Mail is trying to do something very different from the Superhumans of the world, because it's not one of the many apps that "solve for essentially corporate use cases." Instead, it's "completely focused on the consumer email use case, solving the business of your life."
For example, Jacobson said he joined Yahoo after the company acquired his previous employer, the smart inbox service Xobni. (Yahoo, like TechCrunch, is owned by Verizon Media.) At the time, everyone assumed that when it came to helping users find things in email, "search is the way to go."
Instead, he said it turns out "people just don't know or want to have to figure out what to type into that imposing white box to find the thing that they're looking for."
So Yahoo Mail now offers a number of different views that should help you find stuff without searching, by focusing on specific types of content from your inbox.
If you're looking for a photo or a file that someone sent you, there's a view that just brings up all your attachments. Or if you're looking for deals, there are three different views that you use — the overall Deals View, the currently iOS-only Location View (which shows you nearby deals on a map) and Grocery View (which shows you grocery discounts based on your loyalty cards).
Director of Product Management Shiv Shankar noted that while the app is sorting and prioritizing these offers, the deals themselves come from your inbox, not from Yahoo.
The new Yahoo Mail also includes a view for checking all your email subscriptions, and a button that allows you to unsubscribe from any of them with a single tap. And there's an additional view (also iOS-only for now) focusing on "active updates," namely pressing and time-sensitive emails, such as package tracking and travel updates.
The Yahoo Mail team has also refreshed the app's overall look. That includes adding a navigation bar at the bottom of the screen, which Shankar said will make "single-hand usage" possible again, despite the fact that phone screens are getting bigger. The navigation bar is customizable — each user can decide which views to include.
And by the way, if you're a little leery of sending email from a Yahoo address, Jacobson pointed out that you can use the Yahoo Mail app to access non-Yahoo email accounts, including Gmail and Outlook.
Yahoo Mail aims at emerging markets and casual users, launches versions for mobile web and Android Go


Portland, Oregon, is known for its love of motorcycles, and as the birthplace of See See Motorcycles, it's where you'll find one of the coolest coffee shops this side of the Mississippi. See See Motor Coffee Co has some of the best coffee, tastiest food, and coldest drinks in town, and there's also a ton of motorcycle memorabilia.
While we were in town for The 1 Motorcycle Show a few weeks ago, we stopped by to cure our hangover with a breakfast sandwich and a warm cup of coffee. There's plenty to stare at while you eat, as the entire shop is littered with rad motorcycle parts, helmets, bikes, and gear. On the main wall, numerous helmets are displayed from the 21 Helmets show along with old burnt pistons and random art. Behind the café is where you could say the magic happens, though, as that's where the motorcycle shop is located. Thor Drake, one of the founders of See See, works on his many bikes back there, most of which he then rides at local races. If you're ever in Portland, you need to add this place to the long list of eateries and hot spots. At the very least, there won't be a line around the block like there is every day at Voodoo Donuts.


The European Union has condemned the bombardment on IDP Kammouna camp in northern Syria on Thursday and described the attack as unacceptable and a grave violation of international humanitarian law.
"The reports of many casualties following an attack on a refugee camp in northern Syria today shows that the most vulnerable people continue to be the first victims of the conflict," said EU High Representative Federica Mogherini and EU Commissioner for humanitarian aid and crisis management Christos Stylianides in a joint statement on Thursday.
"Refugee camps should be a place where those most in need can find sanctuary from conflict, not targets of violence," the statement said. "Attacks of this kind highlight the urgent need for a negotiated end to the civil war. It is time for the international community to act collectively and forcefully to put the process back on track," the statement added.
"Those responsible for yesterday's seemingly calculated attack against civilians in the camp in Idlib, which could constitute a war crime, must be held accountable," Ki-moon said. He once again urged the Security Council to refer the situation in Syria to the International Criminal Court.
Member of the Syrian Coalition Ahmed Ramadan said that the massacre perpetrated by the Assad regime against civilians in the Kammouna IDP camp in rural Idlib could have been prevented had US President Barack Obama approved the establishment of a safe zone in northern Syria.
The airstrikes on the camp killed at least 30 people and wounded dozens. Activists published images showing the aftermath of the airstrikes with tents smouldering, fires spreading in the camp, and charred body parts strewn all around the area.


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Jury will hear Nachtman ask police for lawyer, talk about 'Frozen'
TAMPA, Fla. (FOX 13) - As jury selection continued in the double-murder trial of Nicole Nachtman, attorneys argued about how much of the former Florida State University student's interview with police the jury will see.
Within one minute of sitting with detectives, Nicole Nachtman wanted to talk about her favorite topic: fantasy characters.
"Ever heard of the snow queen?" Nachtman asked the officers.
She spent the next several minutes telling them all about Elsa from her favorite Disney movie, "Frozen," but detectives said when it came to the murders of her mom and stepdad, she did not have much to say.
Tuesday, the defense explained it wants to show the jury portions of Nachtman's interview, but wants to omit a portion of the tape where their client asks for an attorney just minutes in.
That did not sit well with lead prosecutor John Terry who, in the middle of picking a jury, said showing the jury selected clips of the interview will be confusing and misleading.
"The jury is going to look at that and say, 'That's pretty crazy. She killed her mom and dad and here she is talking about the ice princess,' but they don't know, just a few minutes before that, she invoked her right to remain silent so she certainly is not going to talk about the murders," argued Terry.
But Nachtman's lawyer, Dana Herce said the interview clips will help them prove Nachtman was not in the right state of mind when she committed the murders.
"She is at the police station being questioned for two counts of first-degree murder. She is talking about Elsa, "Frozen" and the snow queen," said Herce.
The judge sided with prosecutors and will include Nachtman shutting down the interview the moment detectives bring up the murders of her parents.
A jury is expected to be seated Wednesday morning. Opening statements will follow.
Tom Brady announces he is retiring 'for good' after 23 seasons in NFL
DeSantis proposes permanent tax breaks on diapers, pet medications, gas stoves in new Florida budget


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