Joseph Papp was the most powerful and infuential man in the American theatre, dominating his world through the force of his own dazzling paradoxical personality. For him, there was no contradiction in the diverse roles he chose to play. An idealist had to be a pragmatist, for how else would he able to bring his ideals into practice? It was natural that Papp, the preeminent figure in the nonprofit theatre, should become the producer of the longest running Broadway musical of all time. More than anyone, he was the bridge between those two traditionally anthithetical camps, the institutional and the commercial theatre — and proved that for continuing coexistence one had to nature the other.
Appropriately, Papp's funeral was held in one of his theatres. Mournes spoke of him as a friend, father figure, mentor and boss, as a man of principle who never shied from confrontation. After his death, some of the artists who owed their entire careers (or at least the advent of their careers) to him lined up to carp at the fact that he had not given them the theatrical equivalent of academic tenure. Amid all the tributes, there were pockets of criticism, including what may have been the first instance of a paid obituary notice that was less than fully celebratory of the deceased. The Dramatists Guild said that with the death of Papp, its playwright members had "sustained a grave loss," then added, in equivocation, "He was impulsive, mercurial and grandiose, but he was a generous and loving promoter of our plays wherever he found them." I think Papp would have smiled at that notice, at the critical "but" an especially at that misspelling.
Papp was "mercurial" in the extreme. In what may have been an attemppt to articulate his philosophy of theatre, he once said, "I can bend, backtrack, switch directions, do this or that, whatever is necessary — in order to survive. My tactics, out of necessity, keep changing, but my direction has never changed: new plays, new audiences." His legacy endures in the plays and playwrights he introduced, in the actors whose careers he encouraged and in the commitment to theatre that was his hallmark.
Fiercely partisan, he stood up for the principles he believed in and for the plays he produced. In his extraordinary career, he found himself on both sides of the firing line — as sharpshooter and as target. A favorite role was as critic of the critics and as self-appointed ombudsman, badgering and even banning reviewers when he felt they had been negligent in their responsibility. He could be self-defensive and self-destructive. In pursuit of a populist theatre, he acted as a radical in art and in politics. For him, theatre was a necessity, an instrument of social as well as cultural enhancement.
He invented free Shakespeare in the park, a concept that was imitated in cities around the country and he drew many of our finest actors to challenge themselves in classics. In so doing, he brought Shakespeare to generations of theatregoers, although he never did fulfill his goal of creating an American approach to Shakespeare. His career was filled with grand schemes: a black and Hispanic classical company, the Festival Latino, a repertory ensemble that would allow for name actors to perform plays for short seasons (one of several dreams that never reached fruition). In his last years, he began a cycle of the complete Shakespearean canon.
In its first life, his company was an actors' theatre devoted to the works of that one playwright. But at the Public Theater, the company became a playwrights' theatre, as Papp discovered writers like David Rabe and Wallace Shawn, and adopted others like John Guare, David Henry Hwang and David Hare and gave them a continuing platform for their work. After a play failed, he would ask the playwright what play he wanted to do next — and then he woudl produce it, sometimes without ample regard for the work's artistic merit. Similarly, a director's failure would be followed by an opportunity for redemption with another production. Papp banked on the development of careers, and with encouragement often came artistic accomplishment.
He was surrounded by controversy and criticism, for what he did and for what he chose not to do. Though the New York Shakespeare Festival was the major American theatre of its time, it never produced a play by Tennesse Williams or Arthur Miller. Other significant younger writers appeared irregularly; Papp's encounter with Sam Shepard, for one, was disastrous. Many of our best women writers have never had a play produced at the Public. But the theatre did present controversial works by Caryl Churchill, Ntozake Shange and Elizabeth Swados, and the Public was Vaclav Havel's home in exile. Papp's critical blind spots could change with the seasons, and his choice of plays was not as exclusionary as it might have seemed. His eclcticism ran from Arthur Wing Pinero to Miguel Pinero.
In his theatre as in his life, he was an ardent advocate for civil and human rights, and he supported his positions through the plays he produced. He championed theh role of minorities in the theatre, crosscasting plays before that policy was generally accepted. Even when there was an urgent need for money, he rejected grants on moral grounds, and he was the first to demonstrate for free speech and against eradicating theatrical landmarks.
With his natural flamboyance, he became a highly visible — and therefore vulnerable — figure on the theatrical landscape. The actor side of Papp could play to the grandstands, media-dramatizing his case. In the most literal sense, he was an opportunist. When he was attacked, he attached back. When he was struck by a financial crisis, he would announce an expansion. Defeat was not a word in his vocabulary. He was never at loss for ammunition; his mouth was his most effective weapon, turning failure into a psychological victory. Despite his eminence, he regarded himself as an underdog, and during his brief foray onto Broadway with a season of new plays, he boasted of his playwrights as renegades. Ironically, he became an insider, a producer who could have transformed Broadway, had he chosen to do so.
He learned to use himself as a selling point, and became his own best spokesman and fund-raiser. Papp's portrait, looking like a Tammany politician, would appear in advertisements for his theatre. In one daring performance venture, he did a one-man cabaret show, singing Depression songs like "Brother, Can You Spare a Dime?" and directly confronting his disarmed critics. As always, Papp sang and danced to his own tune.
Informally and never for attribution, his people referred to him as the Godfather, a title that was not necessarily intended to be pejorative. Rewarding the faithful, punishing the faithless and the cowardly, shunning — at least for a time — dissidents, he was responsible for everything, including art, that emerged on stage at the Shakespeare Festival.
In terms of his personal decision-making, he was not so far removed from the old Hollywood studio chiefs. Just as a self-perpetuating tycoon selected and cast movies according to his wishes, Papp decided what he wanted to do and when he wanted to do it — and when he had to cut his losses. As a working director and playwright manque he could step in and assume control of an individual project. He would have preferred to write his own reviews. Where the Hollywood moguls were entrerpeneurs and, for the most part, not distinguished in matters of taste, Papp was a man of artistic sensibility and social conscience. He was shrewd, strong-willed and singleminded. He could also be sentimental.
One never knew what he might do next: a cutting-edge experiment by Mabou Mines or a revival of a nostalgic Broadway comedy (Cafe Crown). He might close a show before it opened, fire a director and take over the staging, or extend the run of a play in the face of negative notices. Once had suddenly, closed a play on opening night, before my favorable review was printed in the next day's newspaper. He agonized before taking over the theatre at Lincoln Center, and then when his work was on an upswing (matching innovative directors with classics), he surrendered his position and, in typical fashion, made it sound like a positive step. Papp's mood was a variable as the weather in Central Park. A clear sky could rumble into a storm, but, as in the park, the performance continued.
To him, theatre was not a business. He was a patron of the arts. There was always a double meaning in his concept of free Shakespeare. It was his conviction that theatre should be as public as libraries. One should be able to check out a production, as, in his youth, he could check out a book from the library in Williamsburg, Brooklyn. At the same time, he wanted to liberate Shakespeare from textbook traditionalists and elocutionary Englishmen.
Papp was not a theatrical visionary like Stanislavsky or Grotowski. His theatre was not influential in the sense of the Comedie Francaise, the Moscow Art of the Berliner Ensemble. He created no new acting style, and, in the long run, the plays he produced could not be considered a body of work. However, as an institution, the Shakespeare Festival was our most important theatre. It preceded the burgeoning of the regional theatre movement, which brought about the decentralization, fragmentation and enrichment of the American theatre. As the New York equivalent of a regional company, the Shakespeare festival presaged the rise in New York of other, similarly intentioned organizations, inlcuding the Manhattan Theatre Club, Circle Repertory Company and Playwrights Horizons.
When Papp was on top of several spheres, having spread his producing wings to encompass Broadway and Lincoln Center as well as Off Broadway and Central Park, I wrote, "Without him, there would be a vast emptiness in the American theatre," and posed the question, "Who would do all those plays, fill all those stages, employ all those actors?" With Papp's death, one suddenly realized how many evenings, how many hours had been spent in his theatres — how much, in fact, he had determined the very course of theatre in his lifetime.
Mel Gussow is a theatre critic for the New York Times. This article is based on material from a forthcoming book on Joseph Papp and the New York Shakespeare Festival.
The histories of england's national theatre and royal shakespeare Company began with foundation stones, laid to commemorate the "living memory" of William Shakespeare. Were there to be a symbolic representation of the founding of the New York Shakespeare Festival, it would probably be a flatbed truck with a broken axle. Such, in fact, was the absurd beginning of Shakespeare in Central Park.
In the summer of 1957, after several seasons with his nascent Shakespeare Workshop, Joseph Papp created his first Mobile Theater and took his troupe on the road. It was not enough that people came, free, to his theatre; he wanted to bring theatre to the people. Extending his new populist tradition, he been touring the boroughs of New York. Romeo and Juliet went to Queens, the Bronx, and Brooklyn. One night, returning from an engagement, the truck broke down while going through Central Park, conveniently suffering its collapse near the bank of the Belvedere Lake. The truck stayed, the show reopened in Central Park and the theatre — after protests by Robert Moses — grew up around it. The site had been claimed by Papp as squatter's right.
As it turned out, the Belvedere Lake location had previously been scouted as a preferred place fo Shakespeare in the park. Was the truck breakdwon an act of premeditation? If the collapse had been suffered on Staten Island, the caravan would no doubt have been magically resuscitated and found its way back into Manhattan. In other words, an event had been artfully improvised; Shakespeare in the park had been stage-managed into existence.
In Caesar, Browne played both Pindarus and the Soothsayer, beginning a career that later took him to Broadway and Hollywood. About that first Shakespeare production, he recalled, "On the Lower East Side, there were roaming gangs of boys. They were tough and they shouted and hurled stones at us. I don't know how it occurred to Joseph but he walked over to them and asked them if they wanted to be in the play. They bore torches and spears and were in the battle scenes." It was a clear case of Papp's power of disarmament.
He was always on the lookout for new faces. In 1956, Harold Clurman was teaching a late-night class in acting. Two of the hopeful students were Peggy Bennion, then married to Papp, and Colleen Dewhurst. Bennion recommended her classmate to he husband and he telephoned, introducing himself as the founder of a new classical company. He said that he was casting Romeo and Juliet and wondered if Dewhurst would be interested in playing a role. "What role did you have in mind?" she asked. "Juliet, he said. She laughed loudly. Even at a young age, Dewhurst was a majestic, womanly presence, no one's idea of a dewy Juliet. "Have you ever seen me?" she asked. Of course he hadn't. They met, she joined the company, and Sylvia Gassel played Juliet.
A year later it was George C. Scott's turn to be discovered. As Scott recalled, "I first came to New York in 1951. I failed over and over. I was 30 and I had been failing that whole year. I was about to give up acting for the 15th time. My second wife Pat and I were living in a one-room fourth-floor walkup on Central Park West. I was working nights for the Hanover bank as a check sorter." During the day, despite discouragement, he continued to audition for roles. One day he leanred that the Shakespeare Festival was casting a production of Richard III. Though he had not done much Shakespeare, he went to the open audition and read for the title role. He did well enough to be called back. "I guess the possibility that I might be considered made me so nervous that I could hardly play the role. I was just terrible. I started to drink and I got very depressed. Then I said to myself, I can't let his job go. I literally begged for another chance. They scheduled a third reading the following day. I did two soliloquies. After two or three days of agony, Joe Papp called and said, |You've got the job.' I damned near died." That was beginning of Scott's career. When Richard III opened, he became the most talked-about actor in New York.
He followed Richard III with Jaques in As You Like It and then did Antony and Cleopatra with Dewhurst. It was, she remembered, "a simple, stripped-down production," but it was passionate. "We were like two drunk lovers." Individually and together, Scott and Dewhurst came to represent the essence of the early days of the Shakespeare Festival, powerful actors with the presence to command a large stage; they were naturals to play kings and queens.
That exclamation might come as a surprise to those who know Papp and his causes — how he has fought tirelessly for the inclusion of minorities in theatre, battled Jesse Helms in the National Endowment for the Arts controversy, and would have actively protested the Persian Gulf War had his health been better. But Papp had been going through a period of intense self-examination: He was trying to pass on his knowledge of the theatre to Akalaitis, and thus was having to think about things he had previously done on instinct. What seemed to emerge were a number of precepts that suggested Papp the Producer had quite a different set of ideals from Papp the Liberal.
Q: This season you gave each of your associate directors — including Greenspan — a theatre with the understanding that they'd have artistic freedom in using it. Are you reneging on that?
A: If I see us headed for disaster, I'm going to stop it. I have a responsibility. I am an anti-censorship person, but I'm also in the position in which I'm saying, "No, you can't do this." The New York Shakespeare Festival is an institution, not just a couple of guys and girls Off Broadway doing a show. . . .You have to be conscious of the fact that you have a $14-million-a-year operation that we've cut down to $12 million. Once I say to somebody, "This is your theatre," it's a relative statement. We finance it, but I'm not a corporation or a foundation. I'm an artistic person, so there are aesthetics in this institution. It's a delicate balance. Only someone of my experience can possibly walk that kind of tightrope. You don't practive democracy in the theatre.
In arranging the New York Shakespeare Festival so it can eventually go on without you, why did you choose JoAnne Akalaitis?
We have different aesthetics in a certain sense, but in terms of the way we look at life, we're pretty close. I didn't want to get a duplicate of me. But I wanted somebody interesting, provocative and somebody who loves theatre. She has a single agenda: the theatre.
You referred to your painful cutbacks. How worried are you about the future of the festival?
I'm worried, but I feel strong because of the artistic changes that are taking place. I'll lose some and gain some, but my gains will be better because they have a cutting edge on them. The directors are anything but conventional. There are at least 10 others I could've chosen. I didn't make a mistake with any of them. I'm extremely happy.
You once said that if the New York Shakespeare Festival ever went down, you'd rather have it die with a bang than a whimper.
Now I'm in a totally different frame of mind. I don't want to see this place to go down on any kind of scale. There would be a huge gap withou this institution.
Have you always been a fighter?
I've been this way all of my life. I don't know if you'd call that a fighter. I just hold onto things. I don't like to be pushed around, particularly on fundamental issues that affect our democratic system.
Sometimes over the past few years, your role as a spokesman for various causes seemed to eclipse your life as a theatre producer.
I was finding it more interesting to fight for freedom of expression than to put on plays. It was a more direct way of dealing with things. I spent months on the NEA situation because I was getting bored with the theatre. But I don't say that now.
There have been many rumors about your health. Are they true?
I don't know why people are so interested in somebody's health. I could say my health is nobody's business. But if I'm dying, you'll know it. It's not like I'm some old king that's dying and making bum decisions.
Nonetheless, do you ever feel any parallels with King Lear these days?
No. He was crazy. Mymind has never been clearer.


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Columbus council settles Stormy Daniels, 2 other police lawsuits for nearly $800,000
Bill Bush The Columbus Dispatch
Nov 18, 2019 at 9:07 PM Nov 19, 2019 at 8:15 AM
Columbus City Council approves settlements totaling nearly $800,000 in three lawsuits, including $450,000 to porn star Stormy Daniels, whose real name is Stephanie Clifford.
The Columbus City Council doled out almost $800,000 Monday to settle three lawsuits against the Police Division that the city attorney's office said had the possibility of costing hundreds of thousands of dollars more if they went to trial.
The approved funds are the equivalent of every man, woman and child in Ohio's largest city paying about 89 cents to settle lawsuits against the division.
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The bulk of the money, $450,000, went to settle the case brought by adult-film star Stormy Daniels, legally known as Stephanie Clifford, alleging wrongful arrest by the now-disbanded vice unit at Sirens Gentlemen's Club on the Northeast Side in July 2018.
The charges were dropped by Columbus City Attorney Zach Klein the same day of Daniels' early-morning arrest because the law required that she be a regular performer at the strip club and have touched patrons rather than undercover officers, Lara Baker-Morrish, the city's solicitor general, told the council. Daniels had originally demanded $2 million.
Daniels had become the focus of national media attention three months before her Columbus arrest when she said on a national television show that she had a sexual affair with Donald Trump before he became president. A month after the Daniels arrest, Trump's then-personal attorney, Michael Cohen, reached a plea deal admitting he had paid Daniels $130,000 in hush money at Trump's direction to deny an affair had happened.
Daniels' lawsuit named as defendants the city of Columbus, police Cmdr. Terry Moore, and Officers Shana Keckley, Whitney Lancaster, Mary Praither and Steven Rosser.
In a second case, the city paid $300,000 to Sarah A. Wheeler, who had been a police officer in training starting in 2013 but was cut from the force for poor performance. Wheeler's suit said she was asked in front of an all-male precinct to mount a table and dance, when the male probationary officer standing beside her was not asked to do so. She also alleged that a male sergeant believed that women shouldn't be police officers.
Baker-Morrish told the council that the cost to the city was potentially very high if it lost the Wheeler case at trial, including hundreds of thousands of dollars more in lost wages, compensatory damages and attorney fees.
Deputy Public Safety Director Kate Pishotti told the council members she would have to get back to them about whether any new training or policies resulted from the Wheeler lawsuit.
"It's time that we improve some practices," council President Pro Tempore Elizabeth Brown said.
The third settlement involved a car accident where a police car slammed into the rear of the car in front of it after the lead car had stopped suddenly. Ramon Clifford, who was a passenger in the car that was hit, sued over his injuries. The case was settled for $32,500.
bbush@dispatch.com
@ReporterBush

redpajama_set_name: RedPajamaCommonCrawl


text:
Topic: More Closures To Roads In Westbury Throughout September and October
Author Topic: More Closures To Roads In Westbury Throughout September and October (Read 4939 times)
More Closures To Roads In Westbury Throughout September and October
PLANS to close the A350 through Westbury for up to a month for resurfacing of the key trunk route are likely to cause major disruption to local residents and through traffic, it was disclosed.
The temporary closure is scheduled to begin on Friday, September 13 and will last almost a month up to Friday, October 11.
Westbury Town Council is so concerned about the plans it has called two public meetings at The Laverton town council offices on Monday, August 19.
Wiltshire Council's highways officials, consultants Atkins and Tarmac, the contractor for the works, have been asked to attend the first event, which is timed to start at 2pm.
The second at 7pm during the Highways, Planning and Development Committee meeting will have only representatives from Wiltshire Council present.
A Wiltshire Council spokesman said: "The closures will be phased, we are currently making the final preparations to the phasing order and working windows.
"There will be local diversions around the town for light vehicles, however due to the weight restrictions HGV vehicles will have to travel via the A36.
"Access will be maintained as far as possible for businesses and residents but there may be times when access is not possible due to the depth of excavations and the ongoing working operations.
"The high street will have access for as long as we can maintain it as it is a one-way system with residents and businesses having no alternative access to their properties.
"There may be a few hours where access is not possible and we are looking at the hours to do this phase."
The temporary closure will affect the A350 from part of the Trowbridge Road to the West End, Haynes Road and Warminster Road.
Phase 1 will affect part of the Trowbridge Road from its junction with Bitham Park to its junction with West End, and West End from its junction with Trowbridge Road to its junction with Haynes Road.
Phase 2 will affect Haynes Road from its junction with West End to its junction with the Warminster Road.
Phase 3 will affect the Warminster Road from its junction with Haynes Road to its junction with Laverton Road.
While the A350 is closed, Tarmac will carry out carriageway resurfacing, patching works, road marking and adjustment of iron works.
The alternative route is via A350 (unaffected length) – A36 - A361 – Wynsome Street – Goose Street – Bradley Road –Southwick Road – Westbury Road – A363 and vice versa.
The closure and diversion route will be clearly indicated by traffic signs.
It is anticipated that the works will take the stated duration to complete depending upon weather conditions.
Access will be maintained for residents and businesses where possible, although delays are likely due to the nature of the works.
https://www.wiltshiretimes.co.uk/news/17831898.a350-closure-westbury-likely-cause-major-disruption/
Road Closesure
Please note a meetings being held by Westbury TC. Monday 19 August at the Laverton 14.00. and 19.00.
« Last Edit: August 16, 2019, 15:42:27 PM by Michael »


Chicago's Chinese New Year Parade occurs in the old part of Chinatown and happens every year after Chinese New Year. It starts by setting off some fire crackers and then the veterans start the parade after a fire truck goes past. Then comes that years zodiac. This year is the water snake.
The parade includes marching bands, companies (such as McDonalds) and other group floats, a ton of groups from the community such as the schools and associations, there is even usually a bagpipe group that marches through.
It can be pretty cold because it's usually in the middle of February, some years it's even snowing.
The parade usually lasts around an hour or a little longer and I highly suggest getting there a little early, maybe grabbing lunch, but if you get lunch get it early because this is probably one of Chinatowns busiest times of year. The lines and wait for some of the restaurants can be long. Wear warm clothing, especially if you stand on the right side of the street because that side is usually in shade during the parade which makes it colder. But that also depends on the weather. I always try and remember to wear warm boots so my toes don't freeze while watching the parade. There are usually also a lot of officers who try to keep the crowd back and away from the parade floats and people, however the people around usually move forward a lot and the crowd shifts because there are usually things passed out during the parade and lots of freebies.
After the parade expect a bit of time in order to get out, they set up a stage in one of the streets where usually the mayor and councils thank everyone for coming and thank the performers who come in for the celebration. A lot of the shops and restaurants also get pretty packed after the parade. Sometimes the shops will let one of the Lion's from the parades into the shop and it will dance and leave some lettuce.


Pronunciation is probably the most difficult part of your English to improve outside class. After all, how can you know if you are pronouncing something wrong? Well, actually you often can, and the first few ideas below will show you how. The ideas nearer the bottom will show you other useful ways to work on pronunciation, all without the need for a teacher.
Just as people are often shocked when they hear a recording of their voice for the first time ("Oh my goodness! Do I really sound like that??"), you will be surprised by how many of your own pronunciation mistakes you can pick up just by recording your voice and playing it back. You can make that even more effective by playing back the model recording and your own recording at the same time or one just after the other. This is most easily done on a computer, or in an old fashioned language lab with the two parts recorded on opposite sides of a cassette. There will still be plenty of pronunciation points you miss, for example vowel sounds that you can't even hear the difference between, but you should be able to get your rhythm and pausing almost perfect just by doing this.
You could also listen to a recording of yourself while just listening for one sound that you want to work on, e.g. making sure that your th sounds don't sound like s, or that you don't miss out h sounds.
Nowadays there are also computer programs and one or two sites that show you a wave form analysis of your voice and compare it to the wave form of the voice that you are copying. Most of the programs then give you a score, e.g. 76 points for being 76% similar to the model recording. It is as amazing as that sounds to see that up on the computer screen, but there are still all kinds of technical and practical problems with this system. One issue is that equal weighting is given to unimportant things like exactly matching the tone of the speaker and important things like stressing the right words. The other thing is that there are actually many other perfectly correct ways of saying the word or phrase, but you have to copy the (perhaps idiosyncratic) version that the computer is producing. If you are copying someone with a different age or gender, you might not want to copy them 100%! Nevertheless, getting visual clues or a score is very motivating, and I spent longer on a Japanese CD ROM that did this than any of the other language learning games and other materials that I was using at the time. It also made me listen to my own production very closely.
You could also try videoing yourself and checking your mouth shape against the original speaker or a model mouth shape.
Before you listen to the recording, try marking stressed words, weak forms (e.g. a "ter" sound for the word "to"), linked sounds (e.g. "saton" for "sat on"), and/ or one particular sound (e.g. all the examples of schwa) on the transcript, then listen and check. After that read the tapescript out, concentrating on getting the points that you were working on right.
A great activity with a transcript and recording is Shadow Reading. Try to speak over the recording, using the same rhythm as the speaker and so finishing each sentence at exactly the same time. When you seem to have the hang of this try again, but this time turning the volume down in the middle of the recording. When you turn the volume back up again, your speaking should still be exactly in time with the recording.
If you want to be able to use a dictionary properly, you will need to learn the symbols that dictionaries use to show the pronunciation. For example, /j/ in a dictionary means the y from yacht, not the j from jam. Dictionaries will always have a list of these symbols at the front, and you can photocopy this and test yourself on it until you know them all. As in this article, phonemic symbols are usually put between forward slashes, e.g. /a:/ for the vowel in hard.
Although it might seem that English spelling is totally random and that it is impossible to know the pronunciation of a word the first time that you see it, that isn't quite true. In fact, with a few pronunciation rules you can usually make a good guess. For example, there is the Magic E rule that explains the difference between rat and rate, and the different pronunciations of ch in chef, cheese and chorus can be explained by the roots of the words being in different languages.
Most consonant sounds in English (b, k, d etc) can be put in pairs with another sound that has the same mouth shape and tongue position but is a voiced or unvoiced version. In other words, most sounds come in pairs where one uses the vocal cords and the other doesn't. For example, if you say /p/ for pat and then /b/ for bat while holding your fingers on the side of your throat around the Adam's apple, you shouldn't be able feel anything during /p/ but there should a vibration when you say /b/. The same should be true for /k/ for kangaroo and /g/ for goat, and most of the other consonants in English (the exceptions include r, l, m, n. w and /j/). You can do the same thing by holding your hands cupped over your ears and listening for a booming echo sound.
Another thing you can do with unvoiced and voiced sounds like t and d is look in a mirror and make sure that your mouth doesn't change shape. If the two consonant sounds you are practising are not a voiced/ unvoiced pair, however, you should check at least that your mouth changes shape when you pronounce them. For example, the sh from sheep should have a much more rounded mouth than the s from sleep. The same thing is true for vowel sounds, as no two vowel sounds are said with the same mouth positions. This is true even with vowel sounds which are sometimes paired up. For example, the ee from sheep is not just a long version of the i from ship, as the mouth needs to be pulled much wider in the former - that is why we say "cheese" and not "chips" when we take a photo!
With diphthongs like /ai/ and /ei/, you should make sure that your mouth is moving while you are pronouncing the sound. This is because diphthongs are basically a combination of two short vowel sounds. This is also the best way of distinguishing diphthongs from similar long vowel sounds. For example, your mouth should move while you say the O in hope but stay still while you say the long "or" sound in more.
You can practise mouth shape in more detail with a book or website that shows mouth shapes for each sound, or you could watch a video very closely and try to copy the actor.
If you have problems pronouncing h in English (common for French and Spanish speakers, for example), you can practise this with a mirror in another way. Put the mirror very close to your mouth. After a word with h, the mirror should be steamed up as if you were going to polish it - but not covered in spit!
One well-known trick using your hands is to put your right index finger in front of your mouth as if you were going to ask someone to shut up with a "Shhhh!" After you have said a word with a th sound in it, you should be able feel a wet patch on your finger where your tongue has touched it.
The other trick with your hand will look even sillier if you try it in public! If you are having problems putting your tongue in the right position, e.g. when saying l and r, put your hand next to your mouth as if it were your tongue, and move it in time with your tongue as you make the sound. For example, with the r you should keep your hand still and try to get your tongue to copy your hand. With the l sound your hand should bend right back and then flip down, with your tongue doing the same.


Pangu Continent was absorbing chaotic energy from the void and expanding all the time rapidly.
It was said that during the period when the Great Saint Pangu had just turned his body into Pangu Continent, it expanded by a centimeter in a day and a night. But, after countless Aeons, as the continent grew larger, the chaotic energy it absorbed each day and night caused it to expand by a million miles! If the continent were a disk, its radius was increased by a million miles in just a day and a night. This was a very horrible concept; in other words, the area it added every day was equivalent to the land size of dozens of provinces.
Because of this, although Great Yu was the master of Pangu Continent, it did not fully occupy the whole continent.
The Human Emperor had once decreed that all the people of Great Yu had the innate responsibility to reproduce more offspring. That was to say, the Human Emperor encouraged his people to reproduce as many children as possible! In response to the emperor's call, all direct descendants of noble clans in Great Yu had at least thirty to fifty wives and concubines, and at most three hundred to five hundred, or even more than two thousand wives and concubines. Relying on their strong and healthy bodies, they worked very hard every night to plant seeds; therefore, the large clans of Great Yu usually had a large number of members.
Every eighteen years, Great Yu would gather a large number of descendants from large clans and let them take soldiers and people to build new provinces, counties, and cities in all directions. Even so, their efforts could not keep pace with the expansion of the continent. The edge of Pangu Continent was still filled with billions of miles of undeveloped land. In those regions, there were no people, only the newly formed hills and mountains, tenacious plants, and all sorts of natural treasures directly produced in the chaos.
Wu Qi and the others were now near a mountain that was born just three years ago.
The mountain was very far from King Yang Qiu's field headquarter in Mingu Province. Even if Wu Qi flew with all his power or ran without a rest with Kuafu Steps, it would take him at least a thousand years to reach here, a place on the edge of Pangu Continent. Luckily, King Yang Qiu had Yu Gu, a Supreme Oracle, at his service. With the ability of his Supreme Tower to shatter through the void, it took them only three days to get here.
Standing in their current position and looking into the distance, one could see the dark sky and flickering stars, as well as a thick layer of grayish white gas that blanketed the sky. That was the legendary energy of chaos, which Pangu Continent absorbed directly from the void and turned into its own mountains and rivers. Occasionally, when some essence of the chaos energy condensed together, it turned into all sorts of spirit herbs that Immortals cultivators had always dreamed about.
Because it was only about three years old, the weather in the region ten billion miles around the mountains was very unstable. Spring, summer, autumn, and winter were not obvious here. There would be thunderstorms pouring down from the sky at one moment, and the next moment would have it be replaced by a heavy snow. Frequently, in just less than a quarter of an hour after the snow fell, hailstones as big as hills would rain down with deafening roars.
When Wu Qi arrived here in Yu Gu's Supreme Tower, they were struck by a terrible hailstorm.
Although Wu Qi was a man of wide experience, and he had even witnessed countless terrible natural hazards in the high altitude, he was still stunned and rendered speechless by the magnitude of the hailstorm. The smallest hailstones were about a thousand feet in diameter, and although they looked like hailstones, they were actually highly concentrated forms of Acquired Water-elemental energy. Each hailstone was like a meteor, falling from the sky with a long bright tail. As soon as they hit the ground, they erupted into huge mushroom clouds. It was like millions of nuclear warheads were being detonated simultaneously in this area. The terrible force of impact made the land billions of miles across tremble violently.
But, all that they could cause was the trembling of the ground. The rocks and dirt on Pangu Continent were exceptionally strong, especially on fresh land like this which had just been born from the chaos. It was so strong that even ordinary Gold Immortals could not dig a hole on the ground. So, despite the incredible power of the hailstorm, not even a small stone fell from the mountain. Instead, the hailstones burst into thick and cold liquids that poured down from the thousands of miles tall mountaintops and rushed into the plains like waterfalls.
Each drop of the liquid, which was the physical shape of acquired water-elemental energy, weighed ten thousand pounds; and when they came pouring down from the top of the mountain in the form of waterfalls, the strength and momentum they showed made the few military officers, all of whom were in the realm of the Second Pangu Heaven, take a few steps backward in awe.
"No wonder His Majesty imposed a ban on anyone below the realm of Second Pangu Heaven from approaching new lands that have not been solidified for more than ten thousand years!" A general shook his head and said, "Without the overall strength equivalent of ours, the only consequence when someone is caught up in this waterfall is death!"
Wu Qi nodded in agreement. A place like this was indeed dreadful, but it was also a true land of natural treasures. The extremely rare acquired water-elemental energy had almost flooded the whole land! If an immortal were to conjure all kinds of water-elemental Yin thunder here, he did not have to worry about the raw materials running out!
Suddenly, a strong light caught Wu Qi's eyes; it was from a spirit plant on the mountaintop which had only seven leaves, but twenty-one green-and-blue fruits. Like a black hole, the spirit plant absorbed every drop of liquid, that was the acquired water-elemental energy, around the mountain. Wu Qi clearly saw that the blue in the fruits was getting darker now. Then, the plant flickered and sank into the mountain, leaving Wu Qi no time to pick it.
Hiding in his ear, Ao Buzun sighed and said in a low voice, "What a pity, that's an excellent treasure! It's called 'Taixuan Water-elemental Fruit', or 'Water Dragon Ascending Fruit', an innate spirit herb. If an average flood dragon consumes it, he will immediately become a water-elemental white dragon, and have the innate divine abilities to control water. Well, well, it's a priceless treasure to both the dragon clan and flood dragons!"
Wu Qi's eyes lit up. He let out a loud cry as his body began to spin like a top. Shrouded in a dense layer of purple mist, he shot out like a meteor from the entrance of the Supreme Tower, smashing his fist heavily on the surface of the mountain. He wanted to break the mountain and get the Taixuan Water-elemental Fruits.
Sparks darted out between Wu Qi's fist and the surface of the mountain. The mountain was undamaged, but his wrist bone was instantly broken. Fortunately, the cultivation of the True Body of Heaven and Earth Scripture had brought his fleshly body an incredible self-healing ability. He was able to recover his wrist to its original condition by just sucking in a breath.
"Damn it, what a hard rock!" Wu Qi looked at the mountain in astonishment.
The few generals who came with Wu Qi could not resist the desire for the rare treasure. Like him, they jumped into the air and smashed the surface of the mountain with their fists. Soon, the air was ringing with painful shrieks and howls. Wu Qi only had a broken wrist, but the generals, whose cultivation bases were all above the Seven Stars Realm of the Second Pangu Heaven, who were strong enough to fight head-on against fifth-grade or even fourth-grade Gold Immortals, ended up even more miserable. Because they smashed the mountain with all their might, the bones in their arms, from the finger bones all the way up to their shoulder blades, were shattered by the backlash!
If truth be told, the toughness of mountains that had just born in the chaos was almost equivalent to that of an innate spirit artifact. If a Primordial Immortal were here, he might still be able to smash this mountain to pieces and get the treasures inside. But, those who were merely as strong as Gold Immortals...they'd better not provoke it!
Wu Qi stared at them dumbfoundedly while the group of generals, all of whom were so full of muscles that even their brains were almost replaced by muscles, looked at each other and laughed awkwardly. They had hurt themselves even before meeting the enemy. If this were to spread, King Yang Qiu would definitely flay them.
Wearing a long black robe like a ghost, Yu Gu slowly walked out of the Supreme Tower while clearing his throat. When he saw Wu Qi and the others laughing foolishly there, he snorted coldly and said, "A bunch of boys who have exaggerated opinions of their abilities! This is a mountain frame just formed from the chaos which has not contaminated by the acquired aura or the human aura, and we called it an innate mountain frame! Even a Primordial Immortal has to work very hard to break it. As for you boys..."
Shaking his head and heaving a long sigh, he said, "I've never seen anyone as stupid as you!"
After lecturing the group of impulsive guys, Yu Gu pointed at Wu Qi and cried out, "Tan Lang, if you want to lay out a formation, do it now and do it quickly. My strength is not in the field of formations, so I can't help you study the formation maps. But, if you need any help during the process, speak up and I'll naturally do whatever I can!"
Wu Qi cupped his fist and bowed to Yu Gu, then said respectfully, "Of course, I do need Old Mister Yu's help. When the time comes, please show us your mighty divine ability."
King Yang Qiu wanted to kill the Sovereign and take the credit for it, so he could not let the information leak out. Because of this, he could only rely on his own trusted subordinates who were loyal to him on this mission.
The best way to ambush and kill a powerful enemy was to use formations. However, of all the people who served King Yang Qiu, except Yu Qingcheng and his disciples, no one dabbled in the field of formations. And, because King Yang Qiu did not want to use Yu Qingcheng, the job of laying out the formation was assigned to Wu Qi.
Although Yu Gu was a Supreme Oracle of astonishing cultivation base, he only studied various evil poisons and vicious curses in Directorate of Celestials. Because he devoted all his energy to these two fields, it made him completely ignorant of the field of formations. Therefore, he could not be counted on for the job of laying out the formation.
Wu Qi spent some time observing the landscape near the mountain and then looking out into the distance for a while, before finally choosing a good location to lay down the formation.
It was a valley that was about a thousand miles long and less than a mile wide, which looked like a tiny crack on the ground from high up in the sky. It went as deep as a hundred miles, filled with a thick, heavy, and black poisonous gas—Spirit Seizing Black Gas. It was a kind of extremely heavy acquired murderous aura, and if any immortal cultivator were to touch it by accident, there would be a risk of having his Dao foundation collapsed and his immortal soul dissolved and dissipated.
"A good place, a good place indeed!" Wu Qi gave the valley a look, then pointed a finger at it and said with a smile on his face, "Let's lay down a small maze formation and a small killing formation in this valley first. The most suitable ones are those simple formations that can be discovered at a glance!"
Then, he pointed at a cluster of rugged hills near the valley and said, "That area has a very complex terrain, and the hills are riddled with holes and tunnels, which make it the perfect place for us to lay down our real formation! The enemy's strength is too strong, so we do not need to use any fair and above-board means. I think we'll just use the Myriad Poisons Formation! Although it is a rather insidious formation, as long as it can be used to kill the enemy, it is still a good formation!"
While smiling, Wu Qi bowed to Yu Gu and said, "Old Mister Yu, all your evil poisons will come in handy in the formation!"
Yu Gu smiled gladly and gave Wu Qi an approving pat on the shoulder.
'This kid is smart enough to curry my favor with a poisonous formation,' thought Yu Gu contentedly. When Wu Qi chose the Myriad Poisons Formation as their trump card, it meant that the countless evil poisons owned by Yu Gu would certainly play a vital role in it, which was equivalent to giving him more than half of the credit!
'I like this kid!' Now, even Yu Gu thought that King Yang Qiu had really found a very capable and talented man this time!
At Wu Qi's command, everyone quickly moved into action.
NineAnime is the best site to reading Stealing The Heavens Stealing The Heavens Chapter 696: Myriad Poisons Formation free online. You can also go Novels Genres to read other novel or check Latest Releases for new releases.


text:
The Fourth Bottom Line
Are you looking for a more compassionate, caring and loving way to lead?
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Nurtures, supports and cherishes the planet as well as your people.
Releases love, compassion and care throughout your organisation.
Challenges the status quo and is a catalyst for positive change.
Uses empathy, trust and mutual respect to drive success and encourage the best in others.
By becoming a genuinely dynamic and human leader who's driven by principle, purpose and passion, you'll make a more profound impact on your business and the world as you create a legacy to be proud of.
Click here for Kindle edition
Do you want your business to step up and make a meaningful difference? There's a new generation of businesses emerging. They're working together to make a positive impact on the world by redefining what it means to be successful. By changing the way you work and considering the impact of the decisions you make, you can join them in reducing poverty, injustice and environmental damage by balancing purpose with profit. In this ground-breaking book, you will discover how these purpose-driven businesses work and how you can: Increase productivity by fully embracing diversity and developing an inclusive culture. Put respect, courtesy and compassion at the heart of your business. Maximise profits whilst prioritising the needs of people and the planet. Attract an engaged and motivated workforce that's focused on success and sustainability. Join the growing global community of leaders and like-minded businesses that are putting what they do to work as a force for good.
Winner of Bronze Medal in the
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Read introduction here
Introduction - Audible Version
E-book Available
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Forces for Good
© 2019 by Paul Hargreaves
To book Paul please contact him here
or through Twitter or LinkedIn


Simplify your life and protect your phone with Strada Series Via, the contemporary Galaxy S10+ folio case. The slim profile, protective folio cover and interior card slot create a stylish balance of form and function backed by proven drop protection.
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text:
Villemer  puede referirse a:

 Villemer, comuna francesa situada en Sena y Marne; o
 Villemer, comuna francesa situada en Yonne.

redpajama_set_name: RedPajamaWikipedia


text:
package org.kie.pmml.models.drools.scorecard.model;

import java.util.LinkedHashMap;
import java.util.List;

import org.kie.pmml.api.enums.MINING_FUNCTION;
import org.kie.pmml.api.enums.PMML_MODEL;
import org.kie.pmml.commons.model.KiePMMLExtension;
import org.kie.pmml.models.drools.commons.model.KiePMMLDroolsModel;

public class KiePMMLScorecardModel extends KiePMMLDroolsModel {

    public static final PMML_MODEL PMML_MODEL_TYPE = PMML_MODEL.SCORECARD_MODEL;
    private static final long serialVersionUID = 3726828657243287195L;

    protected KiePMMLScorecardModel(String modelName, List<KiePMMLExtension> extensions) {
        super(modelName, extensions);
    }

    public static Builder builder(String name, List<KiePMMLExtension> extensions, MINING_FUNCTION miningFunction) {
        return new Builder(name, extensions, miningFunction);
    }

    public static PMML_MODEL getPmmlModelType() {
        return PMML_MODEL_TYPE;
    }

    @Override
    protected LinkedHashMap<String, Double> getProbabilityResultMap() {
        return new LinkedHashMap<>();
    }

    public static class Builder extends KiePMMLDroolsModel.Builder<KiePMMLScorecardModel> {

        private Builder(String name, List<KiePMMLExtension> extensions, MINING_FUNCTION miningFunction) {
            super("Scorecard-", PMML_MODEL_TYPE, miningFunction, () -> new KiePMMLScorecardModel(name, extensions));
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Q: what is the best way to get post data in nodejs not express? I am using nodejs write a simple http proxy server.when I wanna get the post data,I found out there was no best method unless using express. please tell me the way using the nodejs only, to get the post data the right way.
here is the bad one found:
...
    req.setEncoding('utf-8')
    req.addListener("data", function (postDataChunk) {
        postData += postDataChunk;
    });
    req.addListener("end", function () {

        var objectPostData = querystring.parse(postData);

        console.log(objectPostData)
    });
....

A: You can use a simple bl (BufferList) module to collect all chunks into one buffer:
var bl = require('bl');

...

req.pipe(bl(function (err, data) {
   console.log('POST data: ' +  data.toString());
}));

redpajama_set_name: RedPajamaStackExchange


What an amzing wedding day filled with so much love and happiness. Weather was on our side so the couple could have their photos taken on the roof top at Moot Hall in Maldon, Essex. Onto the Punch Bowl, High Easter for the wedding breakfast and a candlelit church blessing in the evening. Claires sister sang during the service, and gave us Goosebumps!! Truly beautiful voice. Her band is called The Floe and well worth a look at.
Photographer - Harvey Collard - Always amusing and always a pleasure to work alongside him.


Lady Aleena stood on her dias in the main courtyard of her castle late in the night. Behind her stood five people in their formal attire which is much lighter than their normal armor, and in one case, cleaner. The Preceptor of the Order of the Sapphire Cross, the commander of her knights, stood grasping the handle of his ceremonial sword. The Preceptor of the Order of the Golden Shield, the commander of her archers, whispered orders to one of her sub-officers. The Preceptor of the Order of the Moon, the commander of her spies, always kept the hood of his cloak up to cover his face. The Preceptor of the Order of the Sun, the commander of her sentinels, scanned the crowd looking for spies never letting her guard down. The Mistress of Mines stood with her everpresent tallies in hand.
The first group of seventy arrived to serve Aleena at midnight on the first day of every month. These were children of her people who would be staying in Aleenia. They were sworn into service and sent off with her quartermaster. Until placement into whichever service they were needed, they were housed in temporary quarters. The quartermaster usually did the initial assessment of these men and woman. The man was hardly ever satisfied with any of them.
Aleena looked out onto the next group of people who gathered to hear her morning announcments. A little after midnight the announcements were always the placement of the children of her citizens into other armies of the realm. Three hundred and fifty of them, chosen by the lottery, would go out into the night never to return to their childhood homes. She knew that only a small percentage of them would go into the armies of friends. Most would go into the armies of those who may put them on the front lines of their various battles.
The young men and women stood there awaiting their postings. Lady Aleena called out those who would go into the armies of her allies. There was only little relief on the faces of those who were to go and serve their Lady's allies. There was no relief on the faces of those who were being sent into the lands and into the commands of strangers. She knew some of the commanders' names from her previous sendings, but there were those who she had never met before. She even felt the irony that some of those that she sent out were to go into the armies she vanquised or of the victorious against her.
The next group of approximately fifty youths to be sent out were those that would serve her allies only. The youths from the first group that were going to serve her allies were always held back so that the two companions would travel together. These youths were always volunteers.
Lady Aleena stood there listening to the fathers whispering to their children to be careful and to the tears of the mothers who did not want their children to be sent. She called the assembly to order and gave the youths their orders. She wished each youth good luck and sent them onto their new homes.
After the ceremony was over and the crowd dispersed, Lady Aleena gathered her guards to venture into the mercenary camp. It is a rough place, but men and women go there in hopes that she would hire them. Her Master-at-Arms and her Spy Master always go with her to interview the propective candidates. After the candidates are hired, they are sent off with whichever man they will serve under to begin the most intensive training.
Aleena retired to her chambers to a restless sleep. With each dispersal of her citizens, she knew that one day father could fight son or brother against sister. That day she dreaded but knew could come eventually. When she finally fell into a more restful slumber, she still had dreams of the battles yet to come.
This story was inspired by the MMORPG Dark Throne.


text:
The Great Alan Moore Reread
The Great Alan Moore Reread: Marvelman/Miracleman, Part 2
Tim Callahan
Mon Nov 7, 2011 3:00pm 15 comments Favorite This
Tor.com comics blogger Tim Callahan has dedicated the next twelve months to a reread of all of the major Alan Moore comics (and plenty of minor ones as well). Each week he will provide commentary on what he's been reading. Welcome to the second installment.
Last time I pointed out the brilliance of the first few issues of Miracleman, even with all that gaudy color slapped on top of Garry Leach and Alan Davis's awfully nice black-and-white artwork. Also, I'm going to continue to refer to Miracleman as "Marvelman" as I discuss the final few chapters of the Warrior-era reprints and we transition into the original material published by Eclipse.
Seriously, he's Marvelman, contrary to what it says on the cover. Curl up in a fetal position inside your sensory deprivation tank. Everything will be all right.
Miracleman #4 (Eclipse Comics, 1985)
I neglected to mention an important plot point when I was discussing the first three issues of this series. Liz Moran, wife of Mike Moran (aka Marvelman), is now quite pregnant. Not by her husband, but by her husband's superhuman counterpart. And since the series establishes that, while in Marvelman form, Moran's consciousness is actually piloting an alien, god-like superbeing, that means that Liz has been impregnated with some seriously powerful extraterrestrial DNA. Her pregnancy looms over everything that happens in this issue, and the ones that follow.
The first story in this issue, "Catgames," is a bit clumsier than Moore and Davis's previous efforts. The art is a bit stiff, and it sets up a cliché-ridden parallel between Marvelman and a jaguar. The hero is the "big game" for Emil Gargunza, get it? Yeah, it's heavy-handed in a way that Moore had avoided in the previous installments, most of which were non-stop surprises and narrative high-wire acts.
This one does have a little bit of terror inside Johnny Bates's mindscape, but that doesn't redeem the flatness of the rest of this opening chapter. It's a perfunctory installment, setting up the Marvelman/Gargunza confrontation.
The following chapter is even worse, with a plot contrivance – Marvelman takes some time to talk to a kid in the woods, and show off his powers – just convenient enough to get the hero out of the way so his wife can be kidnapped. A more generous reader might reflect on this sequence and see Moore's commenting on the traditional role of the female love interest as eternal victim. But after the impressive feats of the first three issues, this fourth issue of the reprint series is just one misfire after another. I'm always loathe to concern myself with biographical details when I'm reading or rereading a text, but I can't help but think that these Marvelman installments were produced by an Alan Moore who had quickly overextended himself by working on four simultaneous serials (Marvelman, V for Vendetta, Captain Britain, and Skizz) and a bunch of short stories only a few months after kicking off this phase of his career.
This isn't his best Marvelman stuff, though the issue does end with two high points. The first one is the final scene between Gargunza and Liz Moran, in which we see his truly sinister intentions: using the "Marvelbaby" as the vehicle for his own consciousness. Unsettling, indeed. And the second high point is the inclusion of a Marvelman Family interlude, drawn by John Ridgway, where we flash back to the time when Marvelman, Young Marvelman, and Kid Marvelman were still hooked up to machines in Gargunza's bunker, dreaming of themselves as superheroes. Their dreamworld manifestations of their physical imprisonment and victimization leads to some haunting moments.
Moore redeems the issue in the end. Which is good, because when readers go through the trouble of tracking down these long out-of-print issues, they don't want Moore at his worst. They don't want to see that until the mid-1990s at least.
By issue #5 Moore has slipped off the comfortable blanket of superhero narrative, and the true nature of the Marvelman horror story begins to come into focus. And it is a horror story, with its mounting tension, it's inevitable – but delayed – violence, and with a fetus looking up at us through the pages of the comic book.
That's an image you'll not soon forget, and Moore and Davis pace that scene perfectly to conclude the first chapter of this issue.
Throughout issue #5, we basically get the Emil Gargunza story, and while he's no sympathetic character, Moore does humanize his villain by showing what led him to his scientific pursuits, and what made him become the man who could torture a bunch of young men and boys and play around with alien technology for the sake of his own curiosity.
A lot of the particular plot details rehash some of the things we've learned – in abbreviated form – in previous chapters, but we get a new perspective on it here and it helps to crystallize the narrative and make it more satisfyingly comprehensible. Marvelman, at least for the first handful of Eclipse reprint issues, is a dense story, made more visually packed because the magazine-size artwork is rescaled to fit the smaller comic book page. So when information in the series becomes a bit recursive, that's not a problem at all. It helps to keep the reader on track. And it works.
This issue concludes with a follow-up to the previous issue's "Marvelman Family" flashback, again drawn by John Ridgway, whose delicate crosshatching adds a ragged but airy quality to the tale. Thematically, it provides a doubling-down on the Gargunza-as-puppet-master scheme, and we see the subconsciousness of the "dreaming" Marvelman adapt to his real-life situation by folding the scientist Gargunza into his superhero world as his arch-villain. Gargunza, in the bunker with the slumbering superhumans, closes out the issue with a look for panic on his face. He has now become part of the fictional story he has implanted on his human lab rats. And that's a dangerous place to be.
It's a horror story, remember?
When Alan Moore and Alan Davis walked away from Warrior with issue #21, a few months before the magazine folded, they not only left the readers with a cliffhanger, they left the readers with a cliffhanger that was also the climax of the Marvelman/Gargunza confrontation.
Luckily, Moore was able to continue the story in America, at Eclipse Comics, so readers only had to wait a year or so to see its resolution.
The downside is that Alan Davis didn't join him for the concluding chapters, but I'll get to that in a minute.
First: Miracledog!
The final Warrior chapter begins this issue, and Moore doesn't give us a Marvelman vs. Gargunza slugfest. This isn't Superman vs. Luthor or Captain Marvel vs. Sivana, which, in either case, would have led to punches thrown and laser robots and something hovering and probably big machines and science. Instead, in this superhero-comic-that's-really-a-horror-comic, we get a verbal killswitch and a transformation. "Kimota!" was no magic word, just a triggering mechanism for the consciousness shift. Gargunza has his own trigger to undo the transformation. To turn Marvelman into a wrinkled, tank-top-sporting, paunchy Mike Moran.
"Abraxas," he says. And that's the end of Marvelman.
"Steppenwolf," he says. And that's where Gargunza's puppy turns into a gigantic green quadruped.
A quick aside for fans of annotation: the word "Abraxas" alludes to a Gnostic concept of a higher god. "Steppenwolf" is likely a reference to Herman Hesse's novel about identify, metaphysics, and magic, or maybe it's just a shout-out to the "Born to be Wild" guys. That Gargunza would step outside the God/Devil duality (or the superhero/supervillain duality) and provide an anticlimax to the confrontation by summoning Abraxas, even symbolically, is fitting, and shows a playful Moore having some fun with superhero comic book conventions. The Hesse thing is likely just a joke. Though a magic carpet ride is not out of the question.
And that's where the original Marvelman serial leaves us, but within this very issue, the story continues, with new art, new comic-book-sized layouts, and new bubbly word balloons that can't help but make the Eclipse material look more like a parody of Marvelman than an actual Marvelman story.
It doesn't help that Moore's artist for the new material is one Mr. Chuck Beckum, a young artist who lacked the capacity to live up to any subtlety necessary for Moore's script and lacked the drawing chops to compete with the Garry Leaches and the Alan Davises who preceded him. Beckum, later in life, became known as Chuck Asten, and carved himself a brief but memorable career as a comic book writer, on titles like Uncanny X-Men and Action Comics, before being driven out of comics by angry message board fans.
That last sentence might be a bit of an exaggeration, but it's not too far off from the accepted story of his departure from comics. I don't know what really happened, or what caused him to walk away from the industry later in life, but I do know that as a Marvelman artist – and I suppose I really should call the character Miracleman for this new stuff, but I refuse – Chuck Beckum is pretty terrible.
His sins, on the page, enumerated: (1) his characters have dead eyes, a real weakness in a story that's an attempt to add human dimensions to a horrific superhero story; (2) his "Miracledog" is less an imposing alien monstrosity and more a lumpy-carapaced giant grasshopper. It does some bad stuff later in the story, but it looks mostly goofy throughout; (3) Evelyn Cream, as drawn by Alan Davis, had personality and a flabby, fleshy substance to contrast with his indimidating confidence. Beckum draws him with jagged abs and a square jaw, as if he's never even seen Davis's version or is incapable of drawing anyone who isn't a weird, musclebound action figure. Gah, it's atrocious; (4) the tragic death of Cream, who has developed into quite a sympathetic character by this point, is structured by Moore in a too-clever-by-half kind of way involving a close-up fake-out, but Beckum totally botches it anyway, making the decapitated character look even more ridiculous than he should.
John Ridgway draws a nice silent Young Miracleman story as a back-up feature in this issue, but, then, what's this? A pin-up by Chuck Beckum. Well, that doesn't look half bad. I wonder if that's the kind of thing that landed him the job. Maybe his work isn't so abominable after all. Let me flip back a few pages and
Oh, it's really bad.
So much for this Alan Moore masterpiece. So much for the fans who read Warrior through issue #21, found an unfinished story, and then waited in eager anticipation for…this.
The lens of history tells us that Beckum didn't last long on the Miracleman series. Soon we'll get proper artists Rick Veitch and John Totleben and Alan Moore's first major comics work will get a decent ending. We know this to be true.
But issue #6, and Chuck Beckum, they must stand as one of the most crushing disappointments in the history of the universe. Is that too strong? It is Alan Moore. It is Marvelman. They demand hyperbole.
NEXT TIME: Marvelman/Miracleman Part 3 – Veitch, Totleben, and More Moore
Tim Callahan writes about comics for Tor.com, Comic Book Resources, and Back Issue magazine. Follow him on Twitter.
Alan DavisAlan MooreChuck AustenChuck BeckumGreat Alan Moore RereadMarvelmanMiracleman
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Summertime is officially here – and there's just nothing better than a nice, cool, summertime dessert to help with the rising temperatures. We've compiled a list of 10 Summertime Desserts that would be perfect to make for a summer gathering or to just enjoy yourself at home! From Ice Cream, tarts, cakes, and even mousse – all of the options are covered! So sit back, relax, and sift through these nice cool summer desserts! Just click on the link below to be re-directed to the recipe page for more info on each one! And if you try one – please let us know how you liked it!


NOTE: Keep any grease off the brake disc and the brake pads.
2. Remove the rear wheel.
3. Release the parking brake lever fully.
4. Loosen the parking brake cable adjusting nut (see page 19-8).
5. Remove the flange bolt (A) from the arm (B).
6. Disconnect the parking brake cable from the lever (C).
7. Remove the brake hose mounting bolt (A).
8. Remove the brake caliper bracket mounting bolts (B), and remove the caliper assembly (C) from the knuckle. To prevent damage to the caliper assembly or brake hose, use a short piece of wire to hang the caliper assembly from the undercarriage. Do not twist the brake hose and the parking brake cable excessively.
NOTE: Make sure the washers (D) are in position on reassembly, if they are removed (see step 8 on page 18-39).
10. Remove the brake disc (B) from the hub bearing unit.
NOTE: If the brake disc is stuck to the hub bearing unit, thread two 8 x 1.25 mm bolts (C) into the brake disc to push it away from the hub bearing unit. Turn each bolt 90 degrees at a time to prevent the brake disc from binding.
11 . Install the brake disc in the reverse order of removal, and note these items: - Adjust the parking brake (see page 19-8).
- Before installing the brake disc, clean the mating surfaces between the hub bearing unit and the inside of the brake disc.
12. Inspect the brake disc runout (see page 19-33).
13. After install the brake caliper, make sure the clearance between the lower arm B and the parking brake cable is more than 5 mm (0.20 in).
14. Clean the mating surfaces between the brake disc and the inside of the wheel, then install the rear wheel.


text:
The 3 Massive Fires in California
NBC Bay Area Photo
Destruction of the massive Kincade Fire in Sonoma County
Kevin Flores, Staff Writer
There have been many fires this year but right now there are two massive fires that are active and two which have recently been put out. The Vallejo Fire in Carquinez Bridge, Kincade Fire in Sonoma and The Getty Fires in Los Angeles.
The Vallejo Fire broke out on Sunday at 9:30 pm which shut down Interstate 80 and causing evacuation in a University. The fire also caused residents in Crockett to evacuate but then lifted hours later. The fire started across the Carquinez Strait. The fire caused three alarms to happen and by 1:30 pm the firefighters had contained 50%. A few hours later the fire had been put out.
The Kincade fire started burning at 9:24 pm on October 23. The Kincade fire has currently burned 76,825 acres but only 30% of the fire has been contained. The fire has threatened about 90,000 buildings and has caused evacuations in Sonoma County including communities in Geyserville, Healdsburg, and Windsor. The Kincade fire is the largest of 2019 California wildfire season.
The Getty Fire erupted last Monday morning and was caused by a tree branch hitting a power line. The Getty fire has already burned more than 656 acres and has caused evacuations to 7,091 homes. The fire is currently 66% contained as of last Friday. The Getty Fire is the fourth largest fire to hit Los Angeles. The utility crew has clear brushed and trimmed 248 trees so the incident wouldn't happen again.
This year has been one of the biggest fire seasons. This year there have been 6,190 fires, 198,392 acres burned, 730 structures destroyed and there have been 3 fatalities. Let's hope next year there are not as many fires as this year.
Kevin Flores
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Quarantine Interview with Elana Ignacio
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Tick Fire Update
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Lucy Sparrow Is Opening a New York Bodega Where Everything Is Made of Felt
The classic corner store reimagined in plushie form.
Sarah Cascone, May 3, 2017
Lucy Sparrow, 8 Till Late. Courtesy of the Standard.
The corner bodega, an iconic New York institution, is getting an art twist: British artist Lucy Sparrow's next project, a store stocked with convenience store and deli staples crafted from felt, will open next month at a space in the Standard, High Line, in New York's Meatpacking District. It will be on view for four weeks beginning June 5.
Titled 8 Till Late, the installation will transform a 1200-square-foot space adjacent to the hotel's Biergarten on Little West 12th Street. Everything from the freezer to the sandwich fillings will be hand-stitched by the artist, who will have fluffy versions of bodega staples, from band aids to frozen pizzas, available for sale.
At the deli counter, Sparrow will serve up fabric sandwiches with all the fixings—like individually sewn pickles—or customers can head to the self-serve hot dog stand outside the shop, applying glitter glue "ketchup" and "mustard" to his or her liking.
Sparrow is making her US debut with the show—although she did show work at SCOPE Miami Beach and, on a smaller scale, at the Affordable Art Fair New York, both in 2016. In 2014, a similar piece, titled Cornershop, was a hit in London, with crowds lining up around the block to visit her soft and squishy take on the convenience store.
For the upcoming New York iteration, Sparrow has immersed herself in American brands, making sure to keep any stray Britishisms from popping up in her bodega. The piece has been six months in the making, and was funded thanks to a successful Kickstarter campaign that raised just over £40,000 ($53,000).
"It's massively exciting to be able to bring the felt to the US," said Sparrow in a statement. "Creating all of these iconic American brands has been brilliant and I can't wait to see the reaction from local people on seeing a felt world full of their favorite treats and hangover cures!"
Lucy Sparrow, Sparrow's Deli (2016). Courtesy of Alkin Gallery.
But while Sparrow's plushie work evokes a sense of childlike wonder, it also serves as a comment on the endangered nature of the mom and pop neighborhood store, increasingly replaced by chains and franchises, and how once unique, local spaces are becoming homogenized thanks to globalization.
Artist Lucy Sparrow's 'Felt Convenience Store' to Make US Debut
By Carol Civre , Aug 4, 2016
"I want the work to make people think about the loss of community spaces when these small corner shops disappear; to remind them how valuable these corner shops really are and the color they bring to our lives," Sparrow explained.
8 Till Late follows in the Standard's growing tradition of public art exhibitions, which has previously presented work by KAWS, José Parlá, FriendsWithYou, André Saraiva, and Kenny Scharf. Sparrow will hold special programming throughout the exhibition, such as a weekly felt lottery draw and a singles night, called "8 Till Date."
"Lucy Sparrow: 8 Till Late" will be on view at the Standard, High Line, 69 Little West 12th Street, New York, June 5–30, 2017.
Furry Sushi? Artist Lucy Sparrow Creates an Adorable LA Supermarket Spilling Over With 31,000 Felt Groceries
By Sarah Cascone , Aug 1, 2018
After Selling Out of 9,000 Felt Grocery Goods, the Artist Lucy Sparrow Has to Close Her Fake Bodega
By Sarah Cascone , Jun 21, 2017
Pop Culture Packs Powerful Punch at SCOPE Miami Beach
By Sarah Cascone , Nov 30, 2016
10 Tantalizing National Pavilions to Get Excited About at the 2017 Venice Biennale
See the Otherworldly First Images From the Met's Genre-Defying Rei Kawakubo Retrospective


After ranting and whining for 12 chapters about the struggle of life and finality of death, it is easy to miss Solomon's succinct conclusion nestled in the book's concluding verses. At this point in the reading, one is often so overwhelmed with negativity that there's a tendency to skim to the end, or perhaps to even skip to the end.
Nevertheless, his one gem of useful truth is simply this: fear and obey God.
Perhaps Solomon was on to something after all.


text:
Other Archives - Page 2 of 45 - Uncle Walt's Insider
Bob Chapek applies to write for Uncle Walt's Insider
Would you hire this man? UNCLE WALT'S INSIDER H.Q., SVALBARD -- An Uncle Walt's Insider staff member who would like to remain anonymous (Ub Skrewi) has revealed that Bob "Bob" Chapek, CEO of ABC/Disney, recently applied to write for Uncle Walt's Insider! "It was the most bizarre thing," said Skrewi. "I was working in the front office, and Bob 'Bob' Chapek walked in with an application to come to write for us. Which is especially weird, since we don't have any applications." [Ed.: And ...
October 23, 2021 by Ub in Other
Top 12 little-known facts about Disney+!
Our little-known facts series continues! Disney+ has been in operation for 37 years now, ever since Alexander Graham Bell invented the television remote. [Note: do actual research before publication.] It was the world's first entertainment streaming service, no matter what Knott's Berry Farm+ claims. But do you know everything there is to know about the Mouse's streaming service? If not, don't despair! Uncle Walt's Insider is here to provide some incredible, newly-written-discovered trivia about Disney+! It was named for the famous explore, Dr. Albert Plus. He ...
September 26, 2021 by Marty in Other, Spotlight
Disney-branded Covid-19 vaccine approved for children
This isn't just another Disney cash grab, is it? Nah. BURBANK, CA - Disney has won FDA approval for its own branded Covid-19 vaccine, the company announced yesterday. The new vaccine will be marketed toward children under the age of 12, and also to adults who act like children under the age of 12. Initially, the company will target markets in Washington State, Oregon, California, and New York; that is, states where the government is willing to be authoritarian combined with a majority ...
August 27, 2021 by Walt in Other
Snopes co-founder to write for Uncle Walt's Insider? Nah.
Hey, we make stuff up, too, but we still have standards. UNCLE WALT'S INSIDER H.Q., SVALBARD -- David Mikkelson, newly-unemployed co-founder of the "Snopes.com" "fact-checking" "website" may be looking for a new place to write. But it won't be at Uncle Walt's Insider. While some may think it's a great fit -- writing under an assumed name, making stuff up, plagiarism -- we really can't see it working out. For as both of our regular readers know, we strive at all times to ...
August 21, 2021 by Marty in Other
Overcrowding at Epcot's Cuba Pavilion as American Adventure refuses entry
If you're there, you'll have to try to exit through the Mexico Pavilion and then sneak across the border. WALT DISNEY WORLD, FL -- An advisory for anyone heading to EPCOT Center: guests are reporting massive overcrowding in the Cuba Pavilion, as apparently people trying to leave it are being turned back by the American Adventure Pavilion. The U.S. Coast Guard is also in the World Showcase Lagoon, turning back any Friendship Boats trying to dock there. Uncle Walt's Insider will keep ...
July 19, 2021 by Marty in Florida, Other
Disney's Hollywood Studios now sponsored by the Department of Homeland Security


text:
Q: Finding a non-piecewise function that maps all $\mathbb{Z}\setminus \{0\}$ to $0$ and $0$ to $1$ I am trying to devise a function that maps $\mathbb{Z} \setminus \{0\}$ to $0$ and maps $0$ to $1$ that is not a piecewise function.
If $\mathbb{Z} \setminus \{0\}$ to $0$ and maps $0$ to $1$ is not possible then a function $\mathbb{N} \setminus \{0\}$ to $0$ and maps $0$ to $1$ could possibly work too.
Any help is much appreciated (I am really stuck on this one), thanks in advance for the help!
(Context: This is for a program I am trying to write without if statements)

A: You could take $\left\lfloor \frac{1}{n^2+1} \right\rfloor$.
If you want to avoid using floats and the floor function,  but you are willing to use the absolute value, you can consider $\frac{1-\left|n\right|+\left|\left|n\right|-1\right|}{2}$

A: Take $0^{n^2}$, accepting $0^0=1$.  (Strictly speaking, $|n|$ is somewhat piecewise ...)


text:
Q: how to exclude retyping same parameters in extending classes I would like to know if its possible to not retype all parameters to constructor, to make it more automatically. Some example:
abstract Class A {
int int1;
int int2;

A(int i1,int i2)
{
int1=i1;
int2=i2;
}}

Class B extends A{
int int3;
int int4;

B(int i1,int i2, int i3, int i4)
{
super(i1,i2);
int3=i3;
int4=i4;
}}

Class C extends B {
int int5;
int int6;

C(int i1, int i2, int i3, int i4, int i5, int i6)
{
super(i1,i2,i3,i4);
int5=i5;
int6=i6;
}}

so is it possible to make less to type than repeating int1, int2, int3 etc? to make constructor of C class this way (or somehow simmilar):
class C extends B
{
int int5;
int int6;

C(super(),int i5, int i6)  // ??
{
super()  // ??
int5=i5;
int6=i6;
}}

and while creating object C do that this way:
C c = new C(1,2,3,4,5,6);

and i would like to give constructor knowledge that first 4 parameters belongs to that super() class, that referencing to constructor B (super(),i3,i4) and this one super() reference of B constructor referencing to constructor of A (i1,i2)


CAMBRIDGE, Mass. - With a 30-17, 30-15, 30-10 victory over Endicott College, the U.S. Coast Guard Academy advanced to its first NCAA Women's Volleyball Regional Final in four appearances. The top-seeded Bears (25-2) will meet up with either No. 2 MIT or No. 3 Amherst College at 7:00 p.m. on Saturday, Nov. 11. The No. 5 Gulls capped their season with a 26-13 ledger.
A pair of four-point runs by Coast Guard turned a 3-1 deficit into a 9-4 advantage in the opening game. Endicott was able to narrow the margin to three (10-7), but it was as close as it would get as the Bears extended their lead to 13 points (26-13) before sealing the victory.
The early stages of the second stanza were closely played as the Gulls evened the frame at four. However, Coast Guard went on an 11-1 run to take control of the game. Facing game point, Endicott denied the Bears an immediate victory with a three-point spurt. Coast Guard capitalized on the next serve to take a 2-0 lead in the match.
The Bears continued to roll in the final game, eventually building a 23-6 advantage. Following an Endicott timeout, the Gulls captured the next point however Coast Guard outscored them 8-3 to close the contest.
Nicole Gurr posted a match-high 16 kills and four aces to go along with 11 digs for Coast Guard. Kimberly Jung notched a double-double on 15 kills and a team-high 14 digs. Corinne McCormack bolstered the Bears offense with 13 kills as Christine Rostowfske dished out 43 assists.
Sara Moore led Endicott's attack with nine kills as Steph Wiese chipped in six. Meghan Hall finished with 23 assists, 14 digs, and two aces while Brittany Nolan led the back row with 15 digs.


Location of El Salvador on a map.
El Salvador has the 98th largest economy in the world . The gross domestic product (GDP) of El Salvador is $25.85 (USD Billion) and its growth was 2.46% from 2014 to 2015. Its highest GDP was recorded in 2015 and its average GDP in the last 10 years is $22.44 (USD Billion).
El Salvador GDP per capita is $4,219.35 (USD). However, when factoring in purchase power parity (PPP), it becomes $8,602.07 (USD), making it the 105th richest country in the world. The average GDP adjusted to PPP per capita in the last 10 years was $7,610.49 (USD).
Gross Domestic Product (GDP) is a measure of market value of all final goods and service produced in a yearly period. This page provides the GDP of El Salvador – current values and historical information. The information was last updated 2016.
The GDP of El Salvador is tabulated by govermental institutions and was last updated on May 9th, 2017.


text:
Overview and insight relating to Kurt Weill's life and career, through a media-rich timeline, detailed chronology and prose biography.
Kurt Weill Timeline
Through a rich combination of image, sound and text, the Timeline presents in five segments an illustrated sequence of significant moments in Kurt Weill's life and career.
Musical Formation
Born into a religious and musical family, the young Kurt Weill's talent impresses his peers and teachers early on. He takes full advantage of the resources in his home town, Dessau (known as the "Bayreuth of the North"), to gain a thorough grounding in musical theater.
Portrait of the Composer as a Young Man
Weill moves to Berlin, a cauldron of artistic experimentation and one of Europe's leading cultural centers. He throws himself into its musical life as he completes his studies and reaches maturity as a composer.
Rise to Fame
In his collaborations with playwrights Georg Kaiser and Bertolt Brecht, Weill creates a compelling musical style and devotes himself to composing for the theater. He becomes a leading cultural figure in Weimar Germany, and The Threepenny Opera assures him fame and fortune.
Exile and Frustration
Forced out of Germany by the Nazis, Weill is beset by setbacks--contracts canceled, projects falling through, uncomprehending critics and audiences--as he struggles to survive. He journeys to the U.S. in 1935 and soon decides to make it his home. Broadway rewards him several years later when Lady in the Dark becomes a smash hit.
I'm an American!
As the U.S. enters World War II, Weill unreservedly joins the fight against Nazi Germany and continues to compose for Broadway and Hollywood. Between the end of the war and his untimely death, he is the driving force behind a series of innovative Broadway shows that re-envision the social role and artistic standing of the musical, and influence generations to come.
The Kurt Weill Newsletter
Published twice a year, the Kurt Weill Newsletter features articles and reviews (books, performances, recordings) that center on Kurt Weill but take a broader look at issues of twentieth-century music and theater. The Newsletter is distributed worldwide, and subscriptions are free. The editor welcomes the submission of articles, reviews, and news items for consideration. A variety of opinions are expressed in the Newsletter; they do not necessarily represent the publisher's official viewpoint.


text:
The Smithsonian's Museum Conservation Institute (MCI) aims to be the center for specialized conservation and technical collection research for all of the Smithsonian museums and collections. MCI's staff combine state-of-the-art instrumentation and scientific techniques with the knowledge of materials and the history of technology to provide technical research studies and interpretation of art, as well as historical and anthropological objects, to improve the conservation and collections storage capabilities at the Smithsonian. For the majority of the Smithsonian collections, MCI is the only Smithsonian resource for technical studies and analyses.

History

The Smithsonian's Board of Regents established the Conservation Research Laboratory of the United States National Museum in 1963 in response to a growing need to support conservation of the entire Institution's collections.

In 1965 the name of the laboratory was changed to the Conservation Analytical Laboratory (CAL). In 1983, the laboratory moved to the Museum Support Center in Suitland, Maryland. Congress mandated a national conservation training program among other wider responsibilities including an expanded conservation science research program.

The Board of Regents approved a name change to the Smithsonian Center for Materials Research and Education (SCMRE) in 1998. SCMRE's mission was to serve all museum communities - national and international, and provide professional training and education programs.

In 2006 the Board of Regents approved the name change to the Museum Conservation Institute (MCI).

Directors
Robert J. Koestler, 2004-

Lambertus van Zelst, 1984–2003

Robert M. Organ, 1967–1983

Charles H. Olin, 1966–1967

Facilities

MCI's laboratories are equipped with advanced analytical instrumentation, including:

 isotope ratio (or stable isotope) mass spectrometry
 inductively coupled plasma mass spectrometry
 Fourier transform infrared spectrometry
 Raman spectrometry, including Fourier transform Raman and portable Raman spectroscopy
 gas chromatography
 pyrolysis-gas chromatography-mass spectrometry
 optical microscopy
 proteomics
 scanning electron microscopy with X-ray and energy dispersive fluorescence
 X-ray radiography
 ultraviolet-visible light spectrophotometry
 structured 3-D color scanning of objects

The Smithsonian's Museum Conservation Institute and the Institut Photonique d'Analyse Non-destructive Européen des Matériaux Anciens platform at Soleil have formed a partnership to use the power of the third-generation synchrotron to study and preserve the priceless Smithsonian collections.

Further reading
Charola, A. Elena, and Robert J. Koestler, eds. Pesticide Mitigation in Museum Collections: Science in Conservation: Proceedings from the MCI Workshop Series. Smithsonian Contributions to Museum Conservation, no. 1. Washington, D.C.: Smithsonian Institution Scholarly Press, 2010. Copies of this volume are available for free pdf download by clicking on the included link.
Charola, A. Elena, Christopher McNamara, and Robert J. Koestler, eds.  Biocolonization of Stone: Control and Preventive Methods: Proceedings from the MCI Workshop Series. Smithsonian Contributions to Museum Conservation, no. 2. Washington, DC: Smithsonian Institution Scholarly Press, 2011. Copies of this volume are available for free pdf download by clicking on the included link.

References

External links
 Museum Conservation Institute Official Museum Conservation Institute web site.
 Smithsonian Research Online Smithsonian Research Bibliography and Smithsonian Digital Repository.

Museum organizations
Smithsonian Institution research programs
Conservation and restoration organizations
1963 establishments in Maryland
Research institutes in Maryland


text:
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