text:
Where the fire and the rose are one
Tag Archives: Catonsville Nine
Daniel Berrigan: Sword of Wisdom, Maker of Peace
Posted on May 4, 2016 by jimfriedrich
There is no peace because there are no peacemakers. There are no makers of peace because the making of peace is at least as costly as the making of war— at least as exigent, at least as disruptive, at least as liable to bring disgrace and prison and death in its wake. — Daniel Berrigan[i]
On May 17, 1968, nine Roman Catholic activists broke into a draft board office in Catonsville, Maryland, transferring 378 files to the parking lot to be incinerated with home-made napalm. As the fire burned, the "Catonsville Nine" prayed for peace. They were arrested, tried and sentenced to prison, but four of them, including two priests— Daniel and Philip Berrigan— went underground, eluding capture for a number of months, occasionally surfacing to speak at antiwar rallies.
At one of these public appearances, following a dramatic tableau of the Last Supper with giant puppets, Dan Berrigan made his escape inside one of the Apostles. "I was hoping it wasn't the puppet of Judas," he said later. His comical getaway affirmed irrepressible life even as it mocked the powers of death. Berrigan, a puckish and playful spirit, knew that laughter could be a serious form of subversion.
After being sheltered by 37 different families, Dan Berrigan, S.J., was finally captured August 11, 1970, in the house of Episcopal lawyer and theologian William Stringfellow. He was reading Plato's The Trial and Death of Socrates when F.B.I. agents showed up at the door.
On Palm Sunday of the following year, I designed a liturgy where two carpenters constructed a large cross near the altar during the course of the ritual. At various points, dialogue between the carpenters would interrupt the liturgical texts. The two workers expressed curiosity about the intended victim and the nature of his crime. They wondered about the morality of their own complicity in the official machinery of death. What if they just stopped making crosses? Would it make any difference? Or would they just find themselves without a job? In the end, they suppressed their doubts and finished the cross, hammering it together loudly during the eucharistic prayer: This is my body, given for you … This is my blood, shed for you …
It was no coincidence that I had just been reading No Bars to Manhood, Dan Berrigan's compelling account of the influences and experiences underlying his Christian activism. Its conclusions were clear: as witnesses to the Resurrection, the friends of God must say no to death. No more cross-building. No more remaining passive spectators at the world's crucifixions. "There are times so evil," he wrote, "that the first and indeed the only genuinely prophetic function is to cast down the images of injustice and death that claim [the human being] as victim."[ii]
A Newsweek blurb on my well-worn 95-cent paperback from 1971 reads, "Daniel Berrigan is the sort of priest who causes the lights of the Vatican to burn through the night." The actions he took and the company he kept often strained the patience and understanding of his clerical superiors. One of his friends in the Society of Jesus told him, "Do you want to know why you're in trouble so frequently? It's because you and some others show us what Jesuits can be. And that's why we can't stand you."[iii]
Today, when so many horrors are cloaked in euphemisms like "collateral damage," Dan Berrigan's truthful language still delivers a shock. His response to the charge of incinerating draft board records is justly famous:
Our apologies, good friends, for the fracture of good order, the burning of paper instead of children, the angering of the orderlies in the front parlor of the charnel house. We could not, so help us God, do otherwise. For we are sick at heart, our hearts give us no rest from thinking of the Land of Burning Children … We have chosen to say with the gift of our liberty, if necessary our lives: the violence stops here. The death stops here. The suppression of the truth stops here. This war stops here.[iv]
Even in his contentious moments with the Church, Berrigan understood his priesthood to be deeply rooted in the ethos of his religious community, where, he wrote, one's life might "be purified of the inhuman drives of egoism, acculturation, professional pride and dread of life."[v] In the trial of the Catonsville Nine, when asked whether such radical protest was in harmony with Catholic teaching, he replied, "May I say that if that is not accepted as a substantial part of my action, then the action is eviscerated of all meaning and I should be committed for insanity."[vi]
For those of us who tend to play it safe in conforming our own choices to the gospel, Berrigan's life of witness poses hard questions about discipleship and the imperatives of conscience. "He was dangerous, as holiness should be; he was a sword of wisdom."[vii] A college student, after hearing Berrigan speak at Stanford in the late Sixties, put it this way: "Father Berrigan has raised the ante for all of us."[viii]
That student's religion professor, Robert McAfee Brown (one of my own most admired teachers), considered the question of whether the Berrigan brothers were signs or models. Their words and actions clearly signified the world's sin and brokenness in parabolic gestures difficult to ignore. But were we obligated to model our lives after theirs, or might we find other ways to be faithful, according to our own distinctive calling? This question has troubled the conscience of many, including my own.
"We must continually ask ourselves why we are so attracted to them." Brown wrote, "when we hear what they say and yet do not do the things they do … [T]heir actions provide a disturbing sign that we must take seriously, particularly if those actions are not yet the model most of us are prepared to imitate."[ix] Brown himself had the courage to live into those questions for the rest of his life, becoming one of the most eloquent theological voices for justice and peace.
As "the man who hears handcuffs close upon him,"[x] Berrigan felt a deep kinship with biblical prisoners for God like the prophet Jeremiah. "There is a meaning to things, however dark and damaging … Jeremiah wrestles with the meaning; his wrestling is the meaning; it defines the moral substance and limits of his activity in the world. At the same time, his struggle with the unknown One interiorizes, draws to a fine point and gravity his moral life."[xi]
Like Jeremiah, Berrigan knew a God who contends with human injustice, who plucks up and breaks down our tainted and presumptuous projects.
We are so used to an acculturated and childish religion, whose ethos has joined forces with the society— with its militarism and racism and fear of life, that we are almost illiterate before a document such as Jeremiah's. Can it be true that God is not a Niagara of pablum, spilling His childish comfort upon the morally and humanly neutral, whose faces are raised blankly to partake of that infantile nourishment?[xii]
Not every Christian received his rhetoric gladly. And the radical priest's liturgical fusion of sacrament and protest also drew fire. After baptizing a baby in the chapel at Cornell, he kissed the new Christian's forehead and invited him "out of the world of war and destruction." While presiding at an "Electric Mass for Peace" on the same campus, he made explicit connections in the eucharistic prayer between Christ's blood and the blood shed on both sides in Vietnam. Some saw these things as careless, even blasphemous. Others found them prophetic and profoundly faithful.
Berrigan's words and actions had a deep and lasting influence on many in the antiwar and anti-nuclear movements, as well as progressive Christians. His dramatic forms of witness also drew immense media attention, for which he took some criticism as a "media freak." But his vocation was stronger than the temptations of celebrity. As Paul Elie, chronicler of the great twentieth century Catholic writers, noted in a New Yorker blog:
He created no foundation, nonprofit, or N.G.O.; headed no pacifist think tank or Jesuit school of advanced study; gave no TED talk; engaged in no stagey dialogues offering equal time to the military point of view; and never reframed the ideals of nonviolence in any pocket-size manual for personal growth.[xiii]
Berrigan had no neutral gear. Even when the public spotlight moved on to other subjects, his writing lost nothing of its urgency and fire. In The Discipline of the Mountain, his poetic reflection on "Dante's Purgatorio in a Nuclear World," he wrote, "There is a hell for those who go too far, and there is a hell, or at least an anteroom of hell, for those who refuse to go far enough."[xiv] Going far enough for the sake of the gospel was the driving force of his life. But as he once confessed to Robert Coles, "We are groping. We shouldn't be sure of ourselves, because we can't be, not now— not ever."[xv]
Only death is sure, and that finally came last week, on Orthodox Holy Saturday, to Daniel Berrigan, S.J., in his 95th year. I barely knew him, hearing him preach twice and breaking bread with him once in a Los Angeles rectory. But this loss feels personal. He was both sign and model for many priests of my generation, and there are things he said which haunt me still.
In 1964, midway in his life's journey, Berrigan imagined the moment of his own death:
As I walk patiently through life
poems follow close …
The poem called death
is unwritten yet. Some day will show
the violent last line,
the shadow rise,
a bird of omen
snatch me for its ghost.
And a hand somewhere, purposeful as God's
close like two eyes, this book.[xvi]
And then what? Only faith can say, that Easter faith which alone can contain and complete the fullness of human life. At the end of his meditation on Dante's Purgatorio, the poet/priest peers beyond death's horizon to see a resurrected humanity being gathered into God.
Leading the way are "the intractable ones" who have suffered prison, torture and martyrdom for their faithful witness. In them we see at last "the human venture vindicated." Their faces and Christ's face become as one, in an upward gaze that "breaks the glacial will of God."[xvii]
They embrace one after another
Tears laughter two weathers
contending in one sky
[i] Daniel Berrigan. S.J., No Bars to Manhood (New York: Bantam Books, 1971), 49
[ii] ibid., 97
[iii] ibid., 19
[iv] q. in Robert McAfee Brown, "The Berrigans: Signs or Models?", in The Berrigans, ed. William Van Etten Casey, S.J. & Philip Nobile (New York: Praeger Publisher, 1971), 62
[v] q. in Edward Duff, S.J., "The Burden of the Berrigans," in The Berrigans, 19
[vi] ibid., 15
[vii] Daniel Berrigan, The Discipline of the Mountain: Dante's Purgatorio in a Nuclear World (New York: The Seabury Press, 1979), 99. The quote is by Berrigan, describing "an Indian holy man" with whom he once led a retreat. But it also seems aptly applied to Berrigan himself.
[viii] R.M. Brown, 61
[ix] ibid., 66, 69
[x] No Bars, 99
[xi] ibid., 96
[xii] ibid., 97
[xiii] Paul Elie, "Postscript: Daniel Berrigan, 1921-2016" (New Yorker online, May 2, 2016)
[xiv] Discipline, 39
[xv] Robert Coles, "Thinking About Those Priests," in The Berrigans, 219
[xvi] Daniel Berrigan, "A Dark Word," Poetry Magazine, April 1964, online at http://www.poetryfoundation.org/poetrymagazine/browse?contentId=29700
[xvii] Discipline, 119-120
Posted in American culture, Christian ethics, Christianity, Jesuits, Nonviolence, Political protest, Politics and religion, Vietnam War	| Tagged "No Bars to Manhood", Catonsville Nine, Christian activism, Christian peacemaking, Daniel Berrigan, Daniel Berrigan "A Dark Word", Daniel Berrigan "The Discipline of the Mountain", Philip Berrigan, Poetry of Daniel Berrigan, Robert McAfee Brown and Daniel Berrigan, Vietnam antiwar protests	| Leave a reply
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Naseej Academy and the International Federation of Library Associations Center for Arabic Speaking Libraries (IFLA–CASL) announce the Naseej Academy Grant to Attend the IFLA Annual Conference. Applications are invited from librarians and information specialists from the Arab world who wish to attend the World Library and Information Congress (WLIC) organized by IFLA. This year's conference will be held in Athens, Greece, on August 24–30, 2019.
The grant is awarded to a library and information specialist from the Arab world.
Priority is given to applicants presenting paper(s) during the conference, or who have an active role in the conference.
A joint committee from IFLA-CASL and Naseej Academy will select the winner of the grant.
The grant covers travel, accommodation and registration expenses for one person, up to a value of USD 2,000.
The winner is to make their own arrangements related to participation procedures, online registration, accommodation (at a hotel chosen by Naseej Academy), flights and visas. Expenses up to the grant amount will be repaid within one month after the conference, to ensure the recipient's commitment to the grant. In the case of failure –for any reason– to attend the conference, the winner will bear all expenses without any liability on the part of Naseej Academy.
The winner will prepare a professional report documenting their participation in various activities at the conference, and describing how that participation will benefit their institution.


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Photo: Zack Conkle
Kristina Arnold is an artist and educator living and working in Bowling Green, Kentucky in the USA. Her practice combines an undergraduate degree and work in community health with a graduate degree in painting, professional museum / gallery experience, and a life-long dedication to activism. Materializing in two, three and four dimensions, Arnold's work ranges from making pieces that question current societal understandings about health and wellness and suggest alternative paradigms, to producing projects that more specifically direct desired outcomes.
Born and raised in Arlington, Virginia, Kristina Arnold received a degree in community health from Brown University. Upon graduation she moved to Nashville to pursue a career in public health, working in the Department of Preventive Medicine, Division of Pharmacoepidemiology at the Vanderbilt University Medical Center. After five years she returned to her first love, attending art school and earning her MFA in painting from the University of Tennessee. She has worked in collections management for the Frank H. McClung Museum in Knoxville, TN and the Parthenon Museum in Nashville. In 2005 she joined the Art Department at Western Kentucky University (WKU) where she teaches and serves as the Gallery Director.
Arnold has been an Emerging Artist in Residence at Pilchuck Glass School, and an artist in residence at the Jentel Artist Residency Program in Banner, Wyoming and the Municipal Gallery in Bratislava, Slovakia.

redpajama_set_name: RedPajamaCommonCrawl


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Browse other questions tagged linux tty su or ask your own question.
How to enable auto login in TTY while getting softwares like tmux work?
What is tty within Linux?


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I have lived in Florida for over 20 years, and I have been through my fair share of hurricanes. In 2004, we had to evacuate with two young children twice within a few weeks for Hurricanes Frances and Jeanne.
At the time, I was pretty freaked out. There's something different about being a parent and going through a big storm like that. And my kids, while not actively freaking out, were definitely impacted by the whole experience. The not knowing where it was going and what was going to happen was really hard for everyone, even if they didn't understand it intellectually.
As I watched the recent images and video of Hurricane Irma and listened to the advice from the professionals about how to help the children, I realized that there were some big missing pieces in how to prepare our children and how to help them after the storm is over.
In one of the reports I watched, a list from a psychologist was read by a school superintendent. He talked about explaining the science of hurricanes to our older kids, and to focus on what our younger kids can expect during the storm.
Then they jumped ahead to this: after the storm, watch your kids for signs of distress.
There wasn't a single mention of how it might FEEL to go through a storm or how it might FEEL to not know what to expect.
What about the emotional well-being of our families?
How can we prepare them and create space for their emotional experience in anticipation of the storm, and as it's happening, so that we aren't waiting to try to put them back together after the fact?
Granted, sometimes things will happen that are unexpected and will need some extra support after the storm has passed. And we all need the opportunity to process afterwards and I'll talk about how to do that. But there's so much that can be done to support ourselves and our kids before something happens. Let's talk about what we can do right now, before the next hurricane, earthquake, flood, fire or other disaster happens so you can help your kids as much as possible.
1. Take the time to deal with your own feelings of fear, uncertainty, and figure out what you need to do to keep everyone as safe as possible.
Even if you can't evacuate, what can you do? Finding what you CAN do is empowering and helps kids to feel more secure.
As a mama away from her kids with a huge storm approaching, I found ways to stay connected to the forecast and help them figure out where they needed to go or if it was safe to stay. I also ate a lot of chocolate. I don't know if that was actually helpful or not, but I don't think it hurt anything.
2. What brain state are you in?
If you're running around throwing things into your car or into the air, you're not ready to talk to your kids yet and connect with them and how they feel. Do what you need to do, and then ask what you need to do to regulate yourself. Moving might be what is needed. Moving helps us to regulate and move through the survival energy that becomes mobilized in our arms and legs.
I was on yellow, teetering on red. I had just been through an 8.1 magnitude earthquake here in Southern Mexico, so I was already on edge (posiblemente). First, I needed to regulate myself so that I could help them. I went for a long walk, took naps because I was super tired, and ate some more chocolate. Then I was regulated enough for the next step.
Want to know more about the brain stoplight and the green, yellow, and red I'm talking about here? Watch this video of me explaining it.
You can read more about my work and the foundation of relationships in my first book. You can find more information here.
3. Check in with your kids.
What brain state are they in? Are they on yellow? Red? Connect with their feelings and their fears, first. Give them space to express how they're feeling. They may cry. They may be stoic. But give them space to be with their feelings and join them. Validate their feelings. Cry with them if you're all feeling scared. Let them know they're not the only one who is feeling something about this experience.
My kids were on green/yellow. They're older and this isn't the first time mom has checked in with them like this. In our situation, no one was crying or overly upset, but my youngest was distressed about our cat and the plan for his safety. I listened, validated, and then asked what he needed to make this better for him. My oldest was actually pretty excited as he made his own plans for an evacu-cation to visit his grandparents in Indiana with a friend. Road trip! He didn't need any extra help here.
4. Once they've expressed their feelings and you're feeling a bit more connected and regulated, this is the time to share information with them.
"This is what we're going to do. We live in an evacuation zone where it isn't safe for us to stay. We're going to be packing up the things that we can't replace and we're going to a shelter (or grandma's house or a friend's or a hotel…). I want you to go get the things that are most important for you and put them in this bag. I'll be packing up other things we'll need to stay safe and we're going to leave in about an hour. I'll let you know when we're ready." Obviously, the words you say will depend on your actual circumstances and plan, but I wanted to give you an idea of what to say that you can modify for your own experiences.
My kids are older. With my oldest, who is 18, I helped him come up with a plan. I presented the facts of what was happening with the forecast and his safety. He ultimately decided where he was going to go. For my youngest, who is 13, I let him know what was going to happen and made sure he understood the plan and what HE needed to do to prepare. If they were younger, there would have been fewer BIG decisions for them to make here and more smaller decisions like what they wanted to take with them.
5. Pay attention to what your child can do to make a decision and be empowered in this process.
For a young child, it might be choosing something that's important to the child to take along. For older kids, helping to set up the space where they'll spend the storm or what they'd like to do during the storm that doesn't need electricity.
My friend, Lianne, was preparing her children for Hurricane Irma in Melbourne, FL. They decided to set up a safe space on the lower level of their house and she let the kids decide how to set up the space so they would be comfortable. I think it worked!
Lianne's daughter sleeping near the basket of things she brought down for her safe space.
I told my 13-year-old to go into his room and pack up the things that were the most important to him. I told him that we weren't sure what was going to happen with the hurricane or the house, so this was something that he could do. He's older. If he were younger, I probably wouldn't bring this up, but rather would say that we were doing everything we could to prepare ourselves and our house and leave it at that. If he would ask more, I would tell him more about hurricanes and the kinds of things that can happen depending on how strong a storm is. But I know my kid and you know yours, so use your best intuition when deciding what to tell yours, just like I did with mine.
6. Make plans for your pets and talk about it with your kids.
Jazzman, The cat in question. Quite possibly the world's most tolerant cat, though I may be partial.
Kids love their pets and need to be part of the conversation about keeping them safe. Whether it means they're helping to clean the cage and getting ready to go into the car, or moving a cage into the bathroom where they'll be safer, they need to have a part in this process. It may even be helpful, especially with younger kids, to talk to the pets about what they can expect with the storm, with your kids. It's another way for children to hear what's going to happen that may be easier for younger kids to digest.
The cat was actually a point of contention. Eventually it was decided that the cat would be happier not evacuating and having the neighbor who usually watches him during travel times check in on him. My son made sure there was food and water for him and gave him lots of love before he left. When he was worried about the cat while away, he decided that he could ask to contact the neighbor to make sure everything was ok. He settled when that was decided. It also empowered him with something he could do.
7. Use puppets or stuffed animals to show what's going to happen with the storm and your family.
Some kids will process better and show you how they're feeling if they have stuffed animals or puppets. Let them play. Tell the story with them and leave space for them to show you how they're feeling.
My kids are older, so we won't use puppets (although they would probably enjoy it if I brought them out!). But we will talk about their experiences once they've both returned home. They're both still on their evacu-cations, so I'll wait a little longer here since they aren't in distress because of the hurricane. My oldest is happily enjoying time with his grandparents and my youngest is enjoying a Disney hotel with an arcade. It can wait.
8. Find the humor in things when you can.
My Facebook feed is filled with funny memes about the storm and stories about families who created silly videos as they were waiting for the storm. Find humor. It connects the two hemispheres of your brain and helps you to regulate. Granted, sometimes things aren't funny. It's ok to feel those feelings, too. But sometimes, you've just got to laugh!
9. A word on babies.
Babies are there with you the whole time, and they're experiencing everything right along with you, even a hurricane. Except they don't know what's happening. Talk to your baby every time there's a change or you're feeling something big. Let them know that it isn't about them and that you're doing your best to make this ok for them and everyone. Create space for their feelings, too. It helps. This goes for babies in the womb, too.
On Thursday, I'll be sharing what you can do after the storm to help your family and your kids to integrate the experience, whether anything really difficult happened (like a tree falling on your house) or not. Come back to read the rest of our series on Helping Your Kids Through a Hurricane.


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text:
The Swords of Ditto Review
There's so much to look at and take in with this title. It's refreshing in a way that I don't think cartoon releases have been in quite some time.
By ChickenSupreme on 2018-04-25 | Version reviewed: PC
Coming straight from Onebitbeyond and Devolver Digital, we take a look at a title that seemingly came out of nowhere and steals the show without a second thought.
The Swords of Ditto is the story of a quest to save the land from the evil Mormo through a series of reincarnations bringing you to the present. Your task is to rid of the threat and keep your wonderful village with its amazing inhabitants safe from harm.
Beautifully put together, Ditto is crafted down to the tiniest of detail, creating an utter feast for the eyes. The animations are so lovely and fit the mechanics perfectly; giving a little chill up the spine every time I swing my sword in reminiscence of Link from Zelda. There's no mistaking that the art is something to truly behold in this title, and I wouldn't put it past being a big reason this game is going to sell many copies. The good-guy NPCs are adorable, the monsters are adorable and everything in between, such as the town, surroundings, landscape--it's all ridiculously adorable.
Despite the light cartoony style, The Swords of Ditto is a lot harder than it looks. By all means, it looks like a simple game made for children, but the perma-death and challenging difficulty make this a game a heck of a lot harder than it seems. Each monster needs to be approached in a different manner: they have weaknesses, strengths and plenty of gimmicks. It's a nice way to keep the player on their toes, and provide plenty of diversity in combat.
The best part about The Swords of Ditto in my opinion, is the Co-op. Built in a drop-in fashion, you and your mates can trudge along to keep the evil at bay. Have you died? No worries! One of your mates can opt to bring you back to life, but with penalty of it stealing their own. A pleasant mechanic to have, but an ever-mindful reminder of the game's no-nonsense approach to dungeon crawling. Undoubtedly a blast to play on your own, with that much more added with a friend.
There's so much to look at and take in with this title. It's refreshing in a way that I don't think cartoon releases have been in quite some time. The atmosphere, boards and characters are so lovely and unique that you never really feel like you're being constantly shuffled through recycled tiles. As a gamer, I can think of a few ways to pleasantly save the world from evil, and The Swords of Ditto would be in the top five without question. It poses a tough difficulty (adjustable) for the more seasoned players, so buyer beware if you think you'll be getting a cakewalk of an action RPG.
For PC, PS4
The Swords of Ditto: Mormo's Curse - Launch Trailer
Behind the Schemes: The Swords of Ditto (One Bit Beyond)
The Swords of Ditto - Launch Trailer
Devolver Public Access: The Swords of Ditto
The Swords of Ditto - LocoRoco Quest
The Swords of Ditto - Gameplay Trailer
Devolver Public Access: The Swords of Ditto-Sneak Peek
The Swords of Ditto - E3 2017 Extended Gameplay


text:
This repository contains the processing and plotting code, as well as the
derived dataset from the UNH-RVAT Reynolds number dependence experiment
performed in Spring 2014.

Getting started
---------------

Clone this repository with

    git clone https://github.com/UNH-CORE/RVAT-Re-dep.git

To run the processing/plotting code we recommend the
[Anaconda Python distribution](https://store.continuum.io/cshop/anaconda/)
(Python 3.5) since it includes most dependencies. The remaining
can be installed by executing

    pip install progressbar33 pxl>=0.0.8

After installing all dependencies, execute `python plot.py` to generate
figures from the experiment.

Contributing
------------

To contribute to this repository, please create a fork, add changes on a
descriptively-named branch, and submit a pull request.

Documents and other resources
-----------------------------

  * [Uncertainty calculations](http://nbviewer.ipython.org/github/UNH-CORE/RVAT-Re-dep/blob/master/Documents/IPython%20notebooks/uncertainty.ipynb)
  * [UNH-RVAT CAD models](http://figshare.com/articles/UNH_RVAT_CAD_models/1062009)

How to cite
-----------

Please cite

Bachant, P. and Wosnik, M. (2016) UNH-RVAT Reynolds number dependence experiment: Reduced dataset and processing code. figshare.
DOI: [10.6084/m9.figshare.1286960.v5](https://dx.doi.org/10.6084/m9.figshare.1286960.v5)

Publications
------------
These data were used in the following publications:

Bachant, P. and Wosnik, M. (2016) [Effects of Reynolds Number on the Energy Conversion and Near-Wake Dynamics of a High Solidity
Vertical-Axis Cross-Flow Turbine](http://doi.org/10.3390/en9020073). _Energies_, 9

Bachant, P. and Wosnik, M. (2014) [Reynolds Number Dependence of Cross-Flow Turbine Performance and Near-Wake
Characteristics](http://hdl.handle.net/10919/49210). _In Proceedings of the 2nd Marine Energy Technology Symposium METS2014_, April
15--18, Seattle, WA

License
-------

Code licensed under the MIT license. See `LICENSE` for details.
All other materials licensed under a
Creative Commons Attribution 4.0 International License.

redpajama_set_name: RedPajamaGithub


Postpartum Support International is a nonprofit organization offering information and support to women experiencing mood disorders after pregnancy, including postpartum depression. They also offer education and support to family members. There are weekly "chat with an expert" phone sessions, as well as a warmline (not for emergencies): 1-800-944-4773. Much of their work is done by volunteers who have themselves experienced postpartum depression.


I like Pro wrestling the most. I enjoy being the jobber but can be the heel alsoI have mats and can host, Lets wrestle!! If you are muscular and like dominating me in wrestling I like worshipping muscles, feet, arm pits. I enjoy being dominated by a stronger wrestler.
Had a great match with wrestlenut. He was fun to dominate, but beware getting trapped in his strong legs. I tapped to his scissors a couple times. Great guy to chat with before and after the match too.
Just wrestled with this guy. He is very strong was able to make me submit several times. A great guy a lot of fun hope we wrestle again! He can take punishment and dish it out. Just a real nice guy.
Wrestlenut is a friendly guy who likes to let out his inner jobber. His favorite parts of the match were when he was squeezed, choked or put in submission holds. He likes to fight back too so don't think he's a pushover. If you want a fun, safe match with good conversation, this guy is for you.
I had a great match with this guy! I was so surprised by how strong he is! He was able to make me submit in some great holds. I would recement him if you want a good wrestling match. I know I want to wrestle him again as soon as I can !
Really nice guy, Veteran wrestler who is big and strong. Had a great time wrestling. Hope we meet again.
A great guy to wrestle ! He was fun but a strong wrestler, Liked being in holds as well as butting you in holds. A regular guy that likes to wrestle !


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Believe it or not: crises of credibility
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Fake news, populism, the bubble: these expressions have become intrinsically associated with the current political era and frame our thinking in an era of uncertainty. Yet, what lies behind the rise in disingenuity and the collapse of universal public spheres and what can be done about it?
Watch the videos!
Europe: from hope to disaffection. A Mediterranean view
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In a day of seminars, the CCCB & the British Academy look at the shift in perceptions of the EU from the perspective of Southern Europe, tracing how the European project has gone from being greeted as a positive development to having increasingly negative associations.
Watch the recordings!
The end of a post-revolutionary utopia. A Central European view
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Pavel Barša speaks at The Red House on the post-communist transition in Central Europe and why the end of totalitarian regimes in the region has coincided with a rise in support for illiberal and populist politics on both sides of the former Iron Curtain.
Watch the video highlights!
The crisis of the European Union – limits, values & alternatives
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Are European values experiencing a crisis? Depo take a look at the EU crisis from a Turkish perspective, relating it to a global transition and investigating what sort of forms this takes in Europe and how it affects relationships between states, regions and social classes.
The next reset? The West and Russia between the Crimea and ISIS
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As geopolitical interests converge, Russia has been begrudgingly accepted back into the international fold. But what of the forgotten shadow war in Eastern Europe? Could conflict in the Middle East and its knock on effect in terms of immigration to Europe lead to a favourable compromise for Russia in the Donbass region and the Crimea?
The CEF 2015 – Everyone is lying
The seventh installment of the Central European Forum looked at disinformation and the way that its seeming infiltration of reporting is affecting the way we perceive the world around us. A weekend looking at propaganda, memory, media manipulation, Russia and the West.
Futures: poetry of the Greek crisis
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Free Word and Penned in the Margins show us the Greek crisis from another perspective, introducing us to the voices of a new generation of Greek poets, whose talents have developed and been inspired by the turbulent events around them.
Listen to the recording!
Europe and the crisis in the Ukrainian Republic
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The recent crisis has highlighted the conflict of interests caused by Russian resurgence and the EU's expansion in the East. In the run-up to the Ukrainian parliamentary elections, deBuren asked if the EU can guarentee stability and what, if any, meaning international treaties retain in lieu of the means and will to reinforce them.
People of Europe rise up (1)!
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Southern Europe is feeling the pinch of austerity measures enforced from above and society appears to be becoming dominated by increasingly well connected financial elites. There are, however, new organisations emerging which show potential solutions to our developing socio-economic concerns.
[video highlights]
Truth and Love
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In a time of European crisis the Central European Forum looks at the work of Václav Havel and aks where the rising tide of hatred in our societies is coming from, what role aggressive modern variants of populism are playing in this process and how we can stay true to the core values of love and truth.
(at) Home in Europe
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What is European identity, where is it located and for what reasons do we as Europeans feel at home? We often consider ourselves to be of specific regional and national backgrounds, but, upon analysis, how realistic exactly are these identities in the modern pluralistic world we live in?
Whose solidarity, whose egoism?
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How exactly did the Southern European states acquire such massive debts and what is the best way of resurrecting their economies? Should we opt for European solidarity and move closer together to protect our combined assets or is it time that a lesson was learnt about the consequences of overspending?


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Plastic Make & Fill net bags. Suitable for food use.
Size: 600mm = length of bag. Bag width expands to fit filled products.
If you wish this item to be delivered please contact us as there may be a delivery charge depending on area of delivery. If you wish to collect from us,please contact us to ensure we have item in stock.


TOP CHOICE for residential houses and high multi-storey residential buildings with insulation made of mineral boards/ lamellas, EPS or XPS. Ideal solution for façades with combined insulation made of EPS and MW. It off ers stronger - intense shades also on a MW façade system.
Long-term resistance to infection with algae and mould.


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How do I find an album name?
Where can I find obscure albums?
How do you find the artist of an album cover?
How do I find old cds?
Where can I find unknown music?
How do I find album art?
Where can I find the track listing of an album?
How to make a name for an album?
What's the best name for a music album?
How can I search for music by genre?
The most common way to name an album is to name it after one of the songs on the album. This is called a "Title Track". Pick a song on the album that seems to represent the entire theme the best, or just use the first or last track.
To find obscure music, browse through an online service like SoundCloud that allows artists to upload their own tracks. Also, check your local music shop, art fairs, and festivals that showcase local musicians. Finally, check the walls of bars and coffee shops for upcoming local performances.
Craigslist. Surprisingly, if you hit up the "community > artists" section of Craigslist, you can find some artists in your area who have a fair amount of talent. You can usually preview their work as well, and you might even find someone who is just starting out in the professional world, but still has a lot of talent.
What to Do If You Forgot About an Old CD?
Call the bank. If you know the bank that held the CD, but don't have any of the account information, just give the bank a call.
Use the FDIC database.
Check unclaimed property databases.
What Song Is This? 15 Best Music Identifier Apps To Find Unknown Track
Virtual Assistant. Platform: Android, Mac, iOS, and Windows.
Shazam. Platform: Android, Mac, iOS, Apple Watch, and Android Wear.
TrackID. Platform: Android.
SoundHound.
WatZatSong.
Musixmatch.
TrackCheck for SoundCloud.
Musipedia.
Point the File Browser at your music library (C:\Users\ezuk\Music above) and click the large Search button. Album Art Downloader will go through your entire music library quite rapidly, looking for the artist name, album name, and whether or not the album already has artwork.
VinylStudio can look up track listings for many LPs over the Internet. To do this, click on the Split Trackstab, select the album from the dropdown list if necessary and then click Lookup Track Listing. This will popup the following window:
In this generator you'll find all sorts, from poetic word plays to joking word plays, and from thought provoking titles to titles laden with emotional baggage. The context usually alters the meaning of the album titles though, which includes the type of music on said album. To start, simply click on the button to generate 10 random names.
Music albums can be named anything, but they're usually provocative in some way, whether it's emotionally, thought provoking, poetic, or something else entirely. In this generator you'll find all sorts, from poetic word plays to joking word plays, and from thought provoking titles to titles laden with emotional baggage.
Search boxes within categories help narrow down the characteristic you are looking for. For example, typing "punk" into the Genres & Styles will bring up Hardcore Punk, Garage Punk, New York Punk, etc. It looks like you're using an ad blocker.
How do I find an album name? The most common way to name an album is to name it after one of the songs on the album. This is called a "Title Track". Pick a song on the album that seems to represent the entire theme the best, or just use the first or last…
How do you cite Internet sources in APA format?
Quanto tempo prescreve um crime virtual?


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The Upshot|Why the Democrats' Turnout Problem Is Worst in North Carolina
Upshot
Midterm Calculus
Why the Democrats' Turnout Problem Is Worst in North Carolina
By Nate Cohn
Senator Kay Hagan of North Carolina seems as if she should be part of the firewall in the Democrats' bid to retain the Senate, considering that incumbents tend to win re-election in states that are competitive in presidential elections.
But Ms. Hagan is far more vulnerable than she appears at first glance. North Carolina might be the state where Democrats suffer the most from low midterm turnout. The state is divided between older, culturally Southern and conservative voters, and younger, more diverse and more liberal voters, especially around the Research Triangle and Charlotte.
In presidential elections, those two groups fight nearly to a draw. In midterm elections, when older voters turn out at much higher rates than younger ones, the Republicans have a big advantage.
If Ms. Hagan cannot broaden her political appeal, it is not clear she can win a midterm election in North Carolina.
CreditErik Carter
The gap between North Carolina's younger (under 30) and older voters (over 65) is among the most pronounced in the country. In 2012, North Carolina's seniors voted for Mitt Romney by 29 points, more than twice his 12-point advantage nationally among older voters, according to exit polls. By contrast, President Obama won North Carolina's young voters by a 35-point margin, better than the 24-point margin he won nationally. This 64-point gap between young and old North Carolinians was nearly twice as large as it was nationally. Lower youth turnout, then, is twice as damaging to Democrats in North Carolina than it is nationally.
North Carolina's generation gap is a reflection of the profound demographic changes that have transformed the state. Many of the state's young voters are the children of Northern-born professionals who flocked to jobs in technology, higher education, banking and health care over the last two decades. Others, including students and graduates of the state's prestigious research universities, are Northern expats themselves.
When young voters stay home, the state reverts to its Republican past and the more conservative bent of the South. And judging from the last midterm election, the plunge in youth turnout could be huge. Eighteen- to 25-year-olds accounted for a mere 3.9 percent of voters in 2010, down from 10.4 percent of voters in 2008, according to the secretary of state's office. Older voters jumped from 17.5 to 26.1 percent of those turning out.
Granted, 2010 was probably a worst-case picture for youth turnout; there wasn't a competitive statewide contest and it was a bad year for Democrats. But nonwhite turnout also dropped, even beyond that caused by lower youth turnout. Combined, the consequences are potentially devastating for Democrats. Mitt Romney's modest victory margin of 2 percentage points would have turned into a 10-point rout if the 2012 electorate had been as old and white as it was in 2010.
That's a big problem for Ms. Hagan. She originally won her seat in 2008, when she won by a decisive 8 points. But her entire margin of victory came from voters under 30, who gave her a staggering 71 percent of their votes and represented about 17 percent of the electorate. If the voting public had been as old and white as it was in the 2010 midterms, Ms. Hagan's share of the vote would have fallen beneath 50 percent; she still would have won, helped by a libertarian candidate, Chris Cole, who appeared to erode the vote for her Republican opponent.
To win such an old electorate in 2014, Ms. Hagan would need to retain nearly all of her support from six years ago. There are plenty of reasons to doubt her ability to do so. The 2008 election was extraordinary for Democrats, particularly among young voters. Between 2008 and 2012, President Obama lost more ground among younger voters than any other age group. Likewise, it seems hard to imagine that Ms. Hagan could hold 71 percent of young voters in 2014.
Ms. Hagan also outperformed President Obama among older, conservative white voters, many of whom are registered Democrats. She will certainly outperform Mr. Obama among older white voters once again. But they might be less likely to vote for federal Democrats with Mr. Obama in the White House. And Ms. Hagan might not benefit from a strong libertarian candidate this time.
Just one factor has turned in Ms. Hagan's favor since 2008: She is now the incumbent. But there isn't much evidence that Ms. Hagan is benefiting from incumbency. Her name recognition is low, and her job approval ratings are abysmal. Last week's Upshot NYT/Kaiser Family Foundation polls showed Ms. Hagan with a 44 percent approval rating and just 42 percent of the vote in a head-to-head matchup with her likely Republican challenger, Thom Tillis. But these polls are of registered voters and assume a younger and more diverse electorate than the one Ms. Hagan will face in November. Ms. Hagan's 2-point lead turned into a 3-point deficit among voters who said they would definitely vote.
Mr. Tillis might bail out Ms. Hagan by running a weak campaign. It wouldn't be the first time that Republicans squandered an excellent opportunity against a vulnerable Democratic senator. But so far this cycle, off-year turnout and the president's sagging ratings have prevented Democrats from matching Mr. Obama's performance in 2012, even when Democrats have strong candidates, like Alex Sink (who lost a bid for a House seat in Florida), or weak opponents, like Ken Cuccinelli (who narrowly lost the governor's race in Virginia).
Ms. Hagan's road to victory is even more challenging. She's far more dependent on young voters, and, unlike Florida's 13th Congressional District or Virginia, North Carolina voted for Romney.


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The Virgin partnership also carries financial benefits, and could bring a needed infusion of cash to the $4 billion railroad, which began service among Fort Lauderdale, Miami and West Palm Beach earlier this year and plans to begin full Miami-to-Orlando service by 2021.
Brightline currently is trying to finance construction between West Palm Beach and Orlando International Airport, the second phase of the project.
The company has pursued a variety of financing options for the second phase, and now is facing a Dec. 31 deadline to sell $1.15 billion of tax-exempt bonds.
Unaudited financial statements reveal Brightline struggled in the first half of the year, losing $28.2 million in the first quarter of this year and $28.3 million in the second quarter. The railroad began West Palm-to-Fort Lauderdale service in January and expanded to Miami in May.
Virgin Group's existing high-speed railroad in the United Kingdom, also called Virgin Trains, has had its own financial struggles and faced criticism earlier this year for accepting a government bailout.
More:Brightline clears first hurdle in Orlando-to-Tampa expansion: No competition
Virgin and Brightline officials on Friday expressed enthusiasm about the new partnership.
"Brightline is at the forefront of innovation in this market, and the ideal partner for Virgin to work with to alter perceptions and traveling habits across the United States," Branson wrote in a blog post on Virgin's website.
Edens on Friday said working with Virgin is "another leap forward" for Brightline.
"Virgin has built a respected and trusted brand in travel and hospitality," Edens said in a news release. "With our shared focus on customer experience, powered by a culture of innovation and disruption, we are well positioned to build on our success."
The new partnership is the latest in series of major developments the company has announced this year.
In June, Brightline revealed it would pursue an expansion from Tampa to Orlando along state-owned right of way.
Then, in September, Brightline announced plans to buy the rights to build a high-speed railroad between Southern California and Las Vegas. Service there is to launch in 2022, and eventually could expand into the Los Angeles area, according to Brightline.
Brightline's current management team will continue to oversee daily operations, engineering, business development and strategy, the company said Friday.
More:Treasure Coast deserves a Brightline train stop (or two) | Our view
More:Counties spent $7.2 million fighting Brightline; what a waste | Thumb down


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backstories Nov. 1, 2018
Bohemian Rhapsody's Chaotic, Eight-Year Odyssey to the Screen
By Chris Lee
Rami Malek as Freddie Mercury in Bohemian Rhapsody. Photo: 20th Century Fox
Over the course of its two-hour and 15-minute run time, the sprawling rock-and-roll bio-drama Bohemian Rhapsody does a thorough job of sanitizing the life of one of rock's most debauched superstars: Queen's virtuosic, libidinous, coke-snorting, champagne-guzzling frontman Freddie Mercury. The PG-13–rated film — which arrives in theaters Friday, featuring Mr. Robot star Rami Malek in the lead role — charts Mercury's ascent from lowly baggage handler at London's Heathrow airport to the pinnacle of pop stardom, performing before a televised audience of some two billion people during 1985's Live Aid charity concert.
En route to that crowning achievement, viewers are introduced to the bucktoothed, Zanzibar-born Farrokh Bulsara and his sometimes-contentious relationship with his conservative Indian Parsi family. We see Freddie's marriage to his college-age sweetheart (played by Lucy Boynton) — despite his obvious attraction to men — and more than a few Behind the Music–esque recreations of recording sessions for the band's most famous songs. It's an ensemble effort, with Gwilym Lee, Ben Hardy, and Joseph Mazzello portraying Queen bandmates Brian May, Roger Taylor, and John Deacon, respectively. But critical consensus has so far slagged Rhapsody as a by-the-numbers biopic short on artistic risks — a relatively chaste showcase when it comes to depictions of gay love, watered-down recreations of Mercury's riotously orgiastic parties; scant exploration of the loneliness and existential despair that compelled the singer's more extreme behavior; and only a brief montage centered around Freddie's attendance of Rough Trade nightclubs.
Stephen Frears was just one of several directors hired to direct an earlier iteration of the Queen biopic — his version was simply titled Freddie Mercury, and set to star controversial comedy provocateur Sacha Baron Cohen — that would have been a far cry from this sugarcoated, mainstream-friendly version of Mercury's legacy. "Sacha wanted to make a very outrageous film, which I would imagine Freddie Mercury would have approved of," Frears tells Vulture. "Outrageous in terms of his homosexuality and outrageous in terms of endless naked scenes. Sacha loved all of that."
Now, Bohemian Rhapsody arrives amid a crowded awards season, with no small amount of Oscar buzz for Malek's uncanny impersonation of Mercury. However, having taken nearly a decade to reach the screen, the movie must overcome the meta-narrative around it, including numerous false starts, production shifts, and mudslinging dust-ups over the film's casting, tone, and plot. A roundelay of prestigious directors came and went over the years, and the project hopped from studio to studio before things almost completely fell apart toward the end of principal photography last winter, thanks to the unexplained absenteeism of Rhapsody's credited director Bryan Singer.
As producer Graham King tells it, "The reason this took so long to get made is, [Mercury] had a very complicated life," he said at a post-screening Q&A session, on the lot of Bohemian Rhapsody's distributor Fox Films, earlier this month. "And it's just getting the balance of someone's life story and the band's life story into a two hour and 15-minute film. We just felt like, if we can get a theatrical film and cover most of the story and give the audience an entertaining way to look at his life, and how uplifting the end of his life was, and the balance of his sexuality, then I think we could have a hit movie."
The needle first dropped on the Bohemian Rhapsody saga in 2010, when screenwriter Peter Morgan (Frost/Nixon, Tinker Tailor Soldier Spy, Netflix's The Crown) called King to inform him he had begun work on a biographical drama about Queen, chronicling the lead-up to the group's Live Aid performance before 72,000 people at London's Wembley Arena. In turn, King — a prolific, Academy Award–winning producer behind such films as World War Z and The Departed — met with band members May and Taylor and convinced them to sell him their life rights.
What happened next is a matter of some internal dispute. That year, Cohen — a comedy superstar, but one with zero dramatic-acting experience at the time — was "announced" as having accepted the role of Mercury. But in a recent interview, King said the comedian was never technically cast beyond publicly announcing his interest in the role.
The film was set up at Sony the following year. A former studio executive there says that the project gained traction thanks to Cohen's commitment. "I'm not sure whether Sacha was attached from the very beginning of Sony's involvement, but there was definitely a period where [he] was meant to star and he and the studio met with directors," the executive says. "It was a biopic of Freddie more than the story of the band, although a portion of the structure dealt with the ups and downs of the band, but always from Freddie's POV."
With the backing of Sony co-chairman Amy Pascal, Cohen courted respected directors, including The King's Speech filmmaker Tom Hooper and David Fincher, before Frears was announced in the industry trades as the "frontrunner" to direct the biopic in 2012. But Frears quickly realized his star and the members of Queen were on a collision course due to their fundamental disagreement over the film's plotting. May and Taylor approached the movie with a "certain amount of caution" in an effort to preserve Mercury's legacy, while Cohen reportedly remained interested in a "gritty R-rated tell-all" about the singer (Mercury died from complications due to AIDS-related illness at age 45). "You could always tell there would be trouble with the rest of the band," says Frears. "Because [Sacha] was so outrageous and they weren't. They were much more conventional."
But in 2013, the comedian unexpectedly departed the project, later confirming he had been interested in portraying Mercury's "extreme lifestyle [of] debauchery." (Frears says he "sort of drifted away" after Cohen left.) In 2016, on Howard Stern's Sirius XM radio show, Cohen said it was a conversation with a member of Queen that sent him packing. "[After] my first meeting, I should never have carried on because a member of the band — I won't say who — said, 'This is such a great movie, because such an amazing thing happens in the middle of the movie.' I go, 'What happens in the middle of the movie?'" Cohen said. "He goes, 'Freddie dies.' I go, 'So wait a minute. What happens in the second half of the movie?' And he said, 'Well, we see how the band carries on from strength to strength.' And I said, 'Listen, not one person is going to see a movie where the lead character dies from AIDS and then you carry on to see the band.'" (Cohen declined requests from Vulture to be interviewed for this story.)
In response to that interview, Queen guitarist May called Cohen "an arse" and said the band members had "decided he wasn't right for the role." (Taylor and May are credited as executive music producers on the movie and, crucially, control the licensing rights to Queen's music.) According to the former Sony executive, however, during the time the project was at the Culver City studio, no draft of the screenplay was ever plotted with Mercury's death occurring in the middle of the picture. "I suppose that may have come up among the creative team and the surviving members of the band," the executive says, "but I never read a script structured that way."
Dexter Fletcher (Eddie the Eagle) was brought in to replace Frears, casting British actor Ben Whishaw (Paddington, Spectre) in the lead role. But after clashing with King over his intention to film an R-rated drama, Fletcher abandoned ship, too. In 2015, around the time Sony's Pascal stepped down from her position amid fallout from the studio's North Korean hacking crisis, the project lost support at Sony and found itself suddenly orphaned.
Undaunted, King moved forward with casting: He met with Malek for five hours in L.A. before the film had secured any kind of distribution agreement, and was ultimately persuaded he'd found his Freddie after the actor sent him a video clip of himself performing in character. From there, Malek convinced the producer to spring for a dialect tutor and movement coach as well as a set of false teeth that proved key to his concocting of the character. (Fox declined to make Malek or King available to speak with Vulture.)
A year later, King brought the project to Fox, which at the time was making a push into "event" movie musicals with such projects as the Hugh Jackman song-and-dance vehicle The Greatest Showman. According to an industry source with a years-long overview of Bohemian Rhapsody's development process, Fox maintains first-look deals with a number of director-producers who have delivered big hits for the studio. And given the complexity of adapting the material as well as the steep cost of acquiring the musical rights to Queen's music (which had never been secured at Sony), King and Fox executives felt confident about handing the reins to Bryan Singer, whose X-Men movies have combined to gross over $2.7 billion worldwide.
Principal photography began in London in 2017, with the film's shooting script credited to Anthony McCarten, the Academy Award–nominated screenwriter behind The Theory of Everything and Darkest Hour. (Morgan, the screenwriter when it was still at Sony, retains a "story by" credit.) The first sequence the production filmed was the movie's climactic final scene: Queen's Live Aid set, which is widely considered one of the greatest rock-and-roll performances in history. "It was a terrifying prospect to try to take on the most iconic concert of all time. But in that situation, you sink or swim," Ben Hardy said during the Fox Q&A. "It forged us together as a band. It was such an important thing in this film to capture this rapport, the amazing rapport that the band had, this family feel. And I think taking on that challenge so early on really did force us together in that sense."
But in December, Singer — whose career has been dogged by long-standing allegations of unprofessional behavior on-set, partying with underage boys, and sexual assault — was fired from Bohemian Rhapsody after repeatedly clashing with Malek during production (reportedly throwing electrical equipment during one fit of pique) and then failing to show up for work for long, unexplained stretches. Things got so bad that cinematographer Newton Thomas Sigel was reportedly required to step in to fulfill some of Singer's duties. Fox justified the director's dismissal with a piquantly worded statement about his "unexpected unavailability."
For his part, Singer blamed his absenteeism on unspecified health care issues and the need to care for a "gravely ill parent." "I wanted nothing more than to be able to finish this project and help honor the legacy of Freddie Mercury and Queen," Singer said in a statement, "but Fox would not permit me to do so because I needed to temporarily put my health, and the health of my loved ones, first."
That talking point was backed up by King. "Brian had a lot going on in his life," the producer said at Fox. "He had a lot of family issues. His mother was very sick and he wanted to hiatus the film. And the studio didn't see it that way, didn't want a hiatus so close to the finish. He needed to leave the film."
Closing the loop on so many years of production and development dysfunction, Fletcher — who recently wrapped production on Rocketman, a musical biopic about Elton John, set for release next year — was brought back in to complete Rhapsody later that month. "I came into the last few weeks of principal photography and editing and the bits and pieces like that," the director told Indiewire in May. "So I was lucky to have a really good input to something, but it's really about watching what had already been created and being a part of that. It wasn't like changing and reinventing the wheel."
So was it worth all that development hell and studio head-banging to bring Bohemian Rhapsody Galileo-ing to the screen? King has publicly admitted he can't believe the film finally managed to come to fruition. And even though Rhapsody's general excellence may be in question, Malek could have a strong shot at nabbing a Best Actor Oscar nomination. "Put Rami Malek high on the list for best film performances of 2018," wrote Rolling Stone's Peter Travers. "Watching Bohemian Rhapsody, we always feel like we're seeing Freddie Mercury standing right in front of us," Owen Gleiberman said in Variety.
Malek says his biggest challenge was finding the humanity in someone he considers a "deity" while doing right by the surviving members of Queen. "When I got this role, I thought, 'Oh my God, this could be a career-defining performance.' About two minutes later, I thought, 'This could be a career killer!'" the actor said at Las Vegas' CinemaCon where the first footage from Bohemian Rhapsody was publicly unveiled in April. "I'd like to think I gave a good performance. I leave it up to you to decide. But Brian May emailed me after seeing the movie and said how moved to tears he was. 'If Freddie were here today, he could not be more proud of what you were able to achieve.' That, I will take to my grave."
Oscar Futures: Mama, Rami Malek's Campaign Has Just Begun
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Bohemian Rhapsody's Chaotic Eight-Year Odyssey to the Screen


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Home > EN > Organization > The Chief of Staff of the Italian Army > Southern Operational Forces Command > "Grenadiers of Sardinia" Mechanized Brigade > 8th "Lancieri di Montebello" Regiment > The history
Equestrian Military Centre
"Impetu hostem perterreo"
The "Cavalleggeri di Montebello" Regiment was constituted on 16th September 1859 in Voghera, with three squadrons provided by the "Novara", "Aosta" and "Monferrato" Regiments. Moved to the "Lancieri" specialty in 1860, the Regiment was employed for the repression of the brigandage and in 1866 in the Third War of Independence. It also participated in the campaigns of Eritrea (1887 and 1895) and Libya (1911). During the Great War it fought in Peteano in 1916, in Visnadello in 1917, in Vittorio Veneto in 1918 and in the freed Udine where it was one of the first to enter.
After having absorbed the "Cavalleggeri di Catania" Regiment in 1919, it was dissolved on 20th May 1920, ceding some squadrons to the "Nizza" and "Vittorio Emanuele II" Regiments.
It was reconstituted on 15th July 1942 as 8th "Lancieri di Montebello" Armoured Explorer Group and since 1st April it was included in the "Ariete" Armoured Cavalry Division. Protagonist in the struggles to defend Rome from 8th to 15th September 1943, it was dissolved on 16th September.
Reconstituted on 1st January 1950 in Rome as "Lancieri di Montebello" Squadrons Group, it became 8th "Lancieri di Montebello" Armoured Cavalry Regiment on 1st May 1951; since 4th November 1958 it was renamed as 8th "Lancieri di Montebello" Regiment.
With the reorganization of the Army in 1975, on 30th September it was reorganized as 8th "Lancieri di Montebello" Armoured Squadrons Group and since 1st July 1979 in became a mechanized squadrons group.
On the framework of the reorganization of the Army, on 23rd September 1992 the Regiment was reconstituted to be employed with its new "Centauro" armoured vehicles for the "Ibis" mission in Somalia where, during the battles on 2nd July 1993, the Regiment lost its Second Lieutenant Andrea Millevoi awarded with the Golden Medal to the Military Valour. Later the Regiment participated in the operations of public order in Homeland.
Since March 2004 it constitutes the horseback squadrons group that flanks the armoured squadrons group in situations of representation.


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Home Happening Now WATCH: Juan says if he was the officer handling Ma'Khia Bryant he'd...
WATCH: Juan says if he was the officer handling Ma'Khia Bryant he'd fire a warning shot then try to "get the knife away"
Discussing the shooting of Ma'Khia Bryant, Jesse Watters asked Juan Williams "What does Juan Williams, Officer Juan Williams do to save the lady's life in pink?"
Juan replied "I guess I would shoot the gun, not necessarily at somebody, but maybe shoot the gun and maybe run at the person and try to disarm them, like I don't know."
Watters asked "So wait, wait, wait. You would shoot the gun in the air like a warning shot?"
"Ah, well, hopefully to distract her and tried to stall or something so I could get… or my partner could get the knife away," Williams said. "Policing is tough work. But all I'm saying is, you know, I think that that woman with a knife is a danger to society and certainly a danger to the other person and we want her to stop and be disarmed. I just also think killing a human is pretty radical. I don't think that's a good thing."


Tide started it's Loads of Hope program after Hurricane Katrina, and has been laundering clothes for disaster victims since. Joplin's EF-5 tornado has broken several historic records already … now laundry is among them.
John Russell says as of day three on the scene, they'd taken in more loads of laundry from the victims of the Joplin tornado than at any other disaster — about 1,400 loads. Tide is parked at the Wal-Mart that's still standing, bagging and tagging dirty laundry for those affected by the storm. The mobile laundro-mat is equipped with more than 20 washers and dryers.
And though the Tide truck as been all over the country, Russell says he can understand why the needs in Joplin exceed those of most natural disasters he's worked through… he says it's the worst devastation he's ever seen. And coming from someone in his line of work, that's saying something.
But he says Joplin's spirit and character matches the scope of the disaster, and he's been impressed by the kindness, helpfulness, work ethic and determination of its people. Some of which he's been working alongside …. washing and folding laundry to ease the strain of its victims.
Russell says they're not just giving victims clean clothes, they're giving them time, and one less thing to worry about. He says he sees their faces, hears their stories and can tell that he and the Tide crew eases the strain, makes a difference.


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Congresswomen arrested for blocking street in front of the Supreme Court
Posted byatomtabloid July 20, 2022 Posted inNews you should know
Seventeen members of Congress were among 35 people arrested by U.S. Capitol Police at an abortion rights rally near the front of the Supreme Court building, where less than one month the conservative Republican majority issued a ruling that reversed Roe v. Wade.
Among the 17 representatives arrested were Andy Levin and Rashida Tlaib of Michigan; Jan Schakowsky of Illinois; Madeleine Dean of Pennsylvania; Cori Bush of Missouri; Carolyn Maloney, Nydia Velazquez and Alexandria Ocasio-Cortez of New York; Alma Adams of North Carolina; Katherine Clark and Ayanna Pressley of Massachusetts; Barbara Lee, Jackie Speier and Sara Jacobs of California; Ilhan Omar of Minnesota; and Bonnie Watson Coleman of New Jersey.
Wearing specially-made green bandanas with "Won't Back Down," the congresswomen marched from the Capitol to the Supreme Court, which has been fenced off since shortly after the leak of the draft decision overturning Roe v. Wade.
The United States Capitol Police (USCP) issued a released saying officers arrested 35 people for blocking First Street, NE, near the U.S. Supreme Court.
"The group of demonstrators went into the street around 1:15 p.m.," said the USCP statement. "It is against the law to block traffic, so officers gave the demonstrators three standard warnings to get out of the street. When the demonstrators refused to get out of the street, the officers arrested them for Crowding, Obstructing or Incommoding (DC Code § 22–1307)."
Rather than engage in publicity stunts, New Jersey women's rights activist Lisa McCormick called on President Joe Biden to create abortion clinics on federal land, after the Supreme Court removed federal abortion protections that had been in place since 1973.
McCormick also said the Food and Drug Administration should permit the over-the-counter sale of mifepristone and misoprostol, widely known as abortion pills.
"The Supreme Court's decision to overturn Roe v. Wade is a devastating blow for women that is about more than abortion – it's about personal choice, freedom, and access to health care," said McCormick. "It's about our right to choose if or when we're ready to take on the responsibility of parenthood."
McCormick has been critical of Democrats in Congress, who failed to make the federal protection of privacy rights guaranteed by law despite having opportunities over the past 50 years.
A woman's right to choose what is best for her body, her family, and her health is a right guaranteed under the U.S. Constitution, according to the Supreme Court in Roe v. Wade
Congress must codify that decision to protect women's freedom. pic.twitter.com/5tjnJy5cMN
— Lisa McCormick (She's one of Us!) (@LisaMcCormickNJ) April 4, 2021
"Right now, the United States of America is a country where men in power have decided that a 10-year-old rape victim can't get an abortion," said McCormick. "It's the same Taliban-style tyranny they have in Afghanistan — where women have no rights and religious zealots make the rules for everyone else."
"Republican Senators Susan Collins and Lisa Murkowski introduced legislation in February that would enshrine the important Roe and Casey protections into law, and Congress should have approved it," said McCormick, acknowledging that the GOP bill lacks a number of provisions with which she concurs. "The perfect is the enemy of the good, and this terrible tragedy is a great fundraising gimmick for Nancy Pelosi but I don't want girls to die so politicians can raise more money."
Democrats on Capitol Hill have pledged to try to advance bills that would codify Roe but they refused to give a bill which would do that proposed by Senator Susan Collins a vote.
— Lisa McCormick (She's one of Us!) (@LisaMcCormickNJ) May 24, 2022
Meanwhile, on Capitol Hill for the first time ever before Congress, an abortion rights advocate described how to self-manage the procedure using abortion pills, giving a highly public platform to the safe, effective method of ending a pregnancy.
Renee Bracey Sherman, the founder of abortion storytelling group We Testify, explained in plain terms how to take the medication and told committee members that when she found herself unexpectedly pregnant, she became desperate.
"It is one mifepristone pill followed by four misoprostol pills dissolved under the tongue 24 to 48 hours later, or a series of 12 misoprostol pills, four at a time, dissolved under the tongue every three hours," Bracey Sherman said. "There's no way to test it in the blood stream and a person doesn't need to tell police what they took."
In the days leading up to her appointment to get an abortion, Bracey Sherman said she considered trying to induce a miscarriage by throwing herself down a flight of stairs, "as I had seen in the movies or in history books."
Now that Roe has been overturned, Bracey Sherman says she fears that pregnant women may resort to dangerous ways that people used to end their pregnancies before abortion became legal.
"It is one mifepristone pill, followed by four misoprostol pills, dissolved under the tongue, 24 to 48 hours later," said Bracey Sherman in testimony before the House Committee on Energy and Commerce. "Or, a series of 12 misoprostol pills, four at a time, dissolved under the tongue, every three hours. There's no way to test it in the bloodstream, and a person doesn't need to tell the police what they took."
Congressman Frank Pallone, Jr. (NJ-06), chairman of the committee, recently helped secure passage of two bills that would protect the federal right to an abortion.
"The court's ideological decision ignored nearly 50 years of precedent and is the culmination of decades of unrelenting efforts by Republican politicians to deny women's right to choose an abortion," said Pallone, who insisted that all Americans – regardless of where they live – should have the right to an abortion.
Corporate Democrats spend millions to influence Republican primaries
COVID con artist sentenced to 46 months in federal prison


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Life After Sublime
The Long Beach Dub Allstars try to bounce back without the late Brad Nowell.
By Rob Harvilla
The Long Beach Dub Allstars: Playing Sublime songs is therapy.
Just as Lou Dog, the faithful Dalmatian of late Sublime frontman Brad Nowell, traipsed through the band's high-profile MTV videos, the specter of Sublime's rise to fame and subsequent untimely demise follows the members of the Long Beach Dub Allstars.
For a brief time, Sublime artfully juggled ska, punk, and reggae, generating a monumental self-titled album that Nowell, as the band's singer, guitarist, and primary songwriter, never lived to see released. He died of a heroin overdose on May 25, 1996, two months before his record bombarded MTV and mainstream radio with four hit singles: "What I Got," "Santeria," "Wrong Way," and "Doin' Time." Nowell's death instantly cemented Sublime's legacy while leaving the band's surviving members -- drummer Bud Gaugh and bassist Eric Wilson -- in a terribly awkward position. A seemingly never-ending string of Sublime product (live albums, collections of B-sides and outtakes) ensued, until Gaugh and Wilson had to make a choice -- generate new material or throw in the towel.
Hence, the Long Beach Dub Allstars, an unarguably Sublime-esque seven-man outfit with a catchy, eclectic debut album (Right Back), a slowly expanding fan base, and one hell of a legacy to live up to. Of course, Sublime comparisons don't do the band justice, though LBDA members are usually the first to make them. Phoning from a tour stop in Vail, Colorado, singer Opie Ortiz addresses Nowell's impact -- and tries to suggest ways in which the Long Beach Dub Allstars have their own identity.
"Brad could write incredible songs, telling stories and stuff," Ortiz explains. "Our style is a lot more laid back. We tell stories, but we're not as articulate as Brad was. We're just starting as songwriters. If you listen to Brad's early stuff, even in the beginning, he could write. It takes us a little longer, but the end product -- we're always happy with it. People compare us, saying that we're trying to be like Brad, but that's not what we're doing. We're just trying to play music and have fun. We're not trying to perfect it, we're not trying to make it sound better. You can't do that."
Right Back admittedly kicks up plenty of dust, complementing the now-familiar mixture of ska and punk with an authentic, swingin' reggae backbone and a revolving cast of singers and collaborators. Gaugh, Wilson, Ortiz, drummer "Field" Marshall Goodman, keyboardist Jack Maness, singer-guitarist RAS-1, and saxophonist Tim Wu compose the core of the LBDA, but guest appearances abound. Reggae luminaries Tippa Irie and Half Pint show up on "Sensi" and "Pass It On," while volatile Bad Brains frontman HR takes charge of "New Sun." More of a party record than a tortured studio creation, Right Back reveals a band born of tragedy, but now united by a love for music and a fierce desire to deliver to the fan base Sublime created.
"[Our fans] thought it was over. They thought Sublime and that whole family was over," Ortiz admits, recalling the reaction the LBDA received on their first nationwide tour. "The fans were amazed, just tripped out. We were in Montana, and kids were telling me, "We never thought you'd get out here.' It just blew the kids' minds."
These days, the kids mean everything -- much of Right Back aspires to frame the LBDA as a fan-friendly, grassroots outfit. "Fugazi" extols the virtues of that particular band while coyly noting that "you should never get your style by watching MTV." Ortiz will gladly back up the song's sentiment.
"We did a video, and we weren't too happy with it, and it didn't get played," he says. "I'm not really down with videos. I think they're just media hype."
At the same time, he freely acknowledges the ways media hype has helped his band -- after all, Right Back features a sample of MTV newscaster Kurt Loder promoting the band. In the end, the Sublime legacy and the thorny mainstream/independent issues might always plague the Long Beach Dub Allstars, but Ortiz and his bandmates find solace and peace on the road. A nationwide tour is currently in full swing, and onstage, the band complements the prime cuts from Right Back with random, bizarre covers (the Grateful Dead's "Scarlet Begonia," if you're lucky) and yes, a healthy portion of the Sublime catalog. To its credit, the original material holds up just fine.
"There's always the kids who wanna hear "Date Rape' or whatever," Ortiz admits. "We don't play that. We don't play the hit songs. We play the more eclectic songs, like "Work That We Do' or "40 Oz. to Freedom.' They love it when we play Sublime songs, but they're getting into our songs a lot more, singing lyrics and stuff like that."
Right Back's brightest moments hit hard onstage, from the slick tempo changes of "Rosarito" to the smoothed-out rap that runs through "Kick Down." Even "Fugazi" gets the head noddin', once you get past its ideology. Ortiz suggests several new songs have already made it into the set list and says the band's next album might cut down on the guest appearances -- another big step toward complete musical independence.
In the meantime, the Long Beach Dub Allstars vie for their own identity while still acknowledging how they got here in the first place. Prying journalists and relieved fans aside, the band will forever mourn the loss of Nowell, an intrepid musician who unified an entire community with coy, wickedly funny songwriting. The Long Beach Dub Allstars -- Gaugh and Wilson especially -- still struggle to absorb the impact of his untimely death. But nowadays, a Sublime cover feels more like an homage and less like a requiem.
"In the beginning, it was hard," Ortiz admits. "Thinking a lot and looking at Eric and Bud, goin' through those feelings. We all felt that way in the beginning. Eventually, playing became a way of relieving us, like therapy. Gettin' 'em out, beltin' those songs out. Last night, we jammed to [Sublime's] "Same in the End.' The kids were just going crazy."


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County awaits word from contractor about readiness of fields at long-delayed Kuawa Street park
By The Citizen on April 1, 2019
The yet-to-open Kuawa Street park is anything but a field of dreams for Hawaii County.
The new baseball and multipurpose ball fields in Hilo were first estimated to be open in 2016, but the discovery of contaminated soil pushed the timeline back a year.
Then poor drainage kept the grass from growing properly, causing the contractor to change the grade of the multipurpose field and add proper drainage at their expense after completing the facility.
Roxcie Waltjen, county Parks and Recreation director, said parts of the fields continue to have bare spots where grass isn't properly taking root, and she still is waiting for confirmation that they are ready for games.
But, in case that doesn't happen, she said the county might have to consider alternatives for the $3.5 million park, which could involve changing its use.
"At this point, we're not there yet," she said.
An alternative could be turning the ball fields into a more passive use park.
Mayor Harry Kim, who inherited the park project when he took office in 2016, said he doesn't expect that scenario to play out. He said the contractor is confident the grass will eventually hold.
The park was built by Isemoto Contracting and designed by SSFM International.
Kim said he told the contractor during the first year of his term that he can't accept the park until the issues are fixed.
"I was more than elated of their willingness to address the shortcomings," he said.
As for alternative uses, Kim said that was something he brought up early on if the issues can't be addressed.
At this point, he said the county is waiting for word from the contractor that the fields are ready for use.
"They wanted this grass to really take," Kim said. "They had to shave the whole top because there was no crown."
Troy Keolanui, regional commissioner for the American Youth Soccer Organization, said he looks forward to being able to use the multipurpose field, which could host football, soccer and rugby.
AYSO currently uses the bayfront ball fields for practices and games, but he noted it would be nice to have a field set aside for matches.
"Practicing wears them out," Keolanui said.
The organization also is hosting a tournament this summer. He hopes to see the Kuawa Street park ready in time.
"They had their problems with the grading," Keolanui said.
"It looks to me like they got it figured out and dialed in, and I hope that they do."
Funding for the ball fields was approved during a flurry of parks and public works projects at the end of former Mayor Billy Kenoi's second term.
In 2015, the county council passed a $99.75 million bond, of which $50 million went for 18 parks projects.
Waltjen said she walks the ball fields at least once every three days to check on the conditions. The county also got some help from the Boy Scouts, who added more sod and seed to bare spots two weeks ago.
She estimated last fall that the park would be ready for use in early 2019.
"I would really like it to be open this summer," Waltjen said Tuesday.
"All professionals involved, including the contractor, says yes, it's taken a little longer."
Waltjen said the department gets 15-20 calls a week from people inquiring about the ball fields.
Hilo Councilwoman Sue Lee Loy, whose district includes the park, said she is frustrated with the delays, and she is requesting park officials to address the council April 23.
"There are far too many people who drive past that park and constantly see it closed," Lee Loy said.
She said constituents used to her ask her about when it will open, but they mostly now comment about it being seen as a waste.
"There's a very low expectation there," Lee Loy said.
According to the project's environmental assessment, the park is partially located in a flood zone and is 9-10 feet above sea level.
Email Tom Callis at tcallis@hawaiitribune-herald.com.
Source: Hawaii Tribune Herald
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