text:
package md55e32732a2322f7fe9c605582361ed3ff;

public class ViewGroupSub
	extends android.view.ViewGroup
	implements
		mono.android.IGCUserPeer
{
/** @hide */
	public static final String __md_methods;
	static {
		__md_methods =
			"n_onLayout:(ZIIII)V:GetOnLayout_ZIIIIHandler\n" +
			"";
		mono.android.Runtime.register ("_7segmentTimer.ViewGroupSub, 7segmentTimer, Version=1.0.0.0, Culture=neutral, PublicKeyToken=null", ViewGroupSub.class, __md_methods);
	}

	public ViewGroupSub (android.content.Context p0) throws java.lang.Throwable
	{
		super (p0);
		if (getClass () == ViewGroupSub.class)
			mono.android.TypeManager.Activate ("_7segmentTimer.ViewGroupSub, 7segmentTimer, Version=1.0.0.0, Culture=neutral, PublicKeyToken=null", "Android.Content.Context, Mono.Android, Version=0.0.0.0, Culture=neutral, PublicKeyToken=84e04ff9cfb79065", this, new java.lang.Object[] { p0 });
	}

	public ViewGroupSub (android.content.Context p0, android.util.AttributeSet p1) throws java.lang.Throwable
	{
		super (p0, p1);
		if (getClass () == ViewGroupSub.class)
			mono.android.TypeManager.Activate ("_7segmentTimer.ViewGroupSub, 7segmentTimer, Version=1.0.0.0, Culture=neutral, PublicKeyToken=null", "Android.Content.Context, Mono.Android, Version=0.0.0.0, Culture=neutral, PublicKeyToken=84e04ff9cfb79065:Android.Util.IAttributeSet, Mono.Android, Version=0.0.0.0, Culture=neutral, PublicKeyToken=84e04ff9cfb79065", this, new java.lang.Object[] { p0, p1 });
	}

	public ViewGroupSub (android.content.Context p0, android.util.AttributeSet p1, int p2) throws java.lang.Throwable
	{
		super (p0, p1, p2);
		if (getClass () == ViewGroupSub.class)
			mono.android.TypeManager.Activate ("_7segmentTimer.ViewGroupSub, 7segmentTimer, Version=1.0.0.0, Culture=neutral, PublicKeyToken=null", "Android.Content.Context, Mono.Android, Version=0.0.0.0, Culture=neutral, PublicKeyToken=84e04ff9cfb79065:Android.Util.IAttributeSet, Mono.Android, Version=0.0.0.0, Culture=neutral, PublicKeyToken=84e04ff9cfb79065:System.Int32, mscorlib, Version=2.0.5.0, Culture=neutral, PublicKeyToken=7cec85d7bea7798e", this, new java.lang.Object[] { p0, p1, p2 });
	}

	public ViewGroupSub (android.content.Context p0, android.util.AttributeSet p1, int p2, int p3) throws java.lang.Throwable
	{
		super (p0, p1, p2, p3);
		if (getClass () == ViewGroupSub.class)
			mono.android.TypeManager.Activate ("_7segmentTimer.ViewGroupSub, 7segmentTimer, Version=1.0.0.0, Culture=neutral, PublicKeyToken=null", "Android.Content.Context, Mono.Android, Version=0.0.0.0, Culture=neutral, PublicKeyToken=84e04ff9cfb79065:Android.Util.IAttributeSet, Mono.Android, Version=0.0.0.0, Culture=neutral, PublicKeyToken=84e04ff9cfb79065:System.Int32, mscorlib, Version=2.0.5.0, Culture=neutral, PublicKeyToken=7cec85d7bea7798e:System.Int32, mscorlib, Version=2.0.5.0, Culture=neutral, PublicKeyToken=7cec85d7bea7798e", this, new java.lang.Object[] { p0, p1, p2, p3 });
	}

	public void onLayout (boolean p0, int p1, int p2, int p3, int p4)
	{
		n_onLayout (p0, p1, p2, p3, p4);
	}

	private native void n_onLayout (boolean p0, int p1, int p2, int p3, int p4);

	private java.util.ArrayList refList;
	public void monodroidAddReference (java.lang.Object obj)
	{
		if (refList == null)
			refList = new java.util.ArrayList ();
		refList.add (obj);
	}

	public void monodroidClearReferences ()
	{
		if (refList != null)
			refList.clear ();
	}
}

redpajama_set_name: RedPajamaGithub


text:
Google intends to purchase Epic Games during the Fortnite fight: report
PSL is said to be postponed again. Read to know everything!
The reason behind the death of Juice Wrlds, a famous rapper
BOB IGER RETIRES AS CEO OF DISNEY
Android 12 may need spoiled a major Pixel 6 upgrade.
Google Doodle celebrates: Nkosi Johnson
Jason Derulo: I am going to be a dad!
Amy Coney Barrett initially failed to disclose the anti-abortion organization's negotiations
Fawad Alam delighted over his fan's love
Fleetwood Mac founder and guitarist Peter Peter Green has passed away at the age of 73
Bangladesh to be having strict restrictions after a trafficking gang lured girls into prostitution using TikTok App!
An anonymous man slapped President of France Emmanuel Macron in front of the whole crowd!
"Star Trek" virtual celebration will be held soon
Join CBS All Access and fans from all over the world to participate in the "Star Trek Day" virtual celebration on Tuesday, September 8.
The virtual event will bring the Star Trek community together and provide fans with exclusive shows and initiatives. Including a cast and creative works from nine "Star Trek" TV series, "Star Trek World" from CBS All Access Exclusive news. Planned "Star Trek" series of marathons, and more.
Additional information about free "Star Trek Day" shows and initiatives can be accessed at StarTrek.com/Day.
On September 8, 1966, "Star Trek" played the pilot episode "Man Trap" of "Star Trek". The Original Series" on the TV screen for the first time. On that day, Gene Roddenberry, the creator of "Star Trek". Introduced to the audience a world that advocates diversity, inclusiveness, acceptance, and hope.
Fifty-four years later, CBS All Access will use this virtual "Star Trek Day" event to commemorate this important day. And the long history of the brand, allowing fans to enjoy and celebrate "Star Trek" at home.
Read Also; Tom Bergeron covered up "Dancing with the Stars" in the Twitter bio, making fans laugh
Virtual programming and planning for Star Trek Day include:
Star Trek Day Global Expert Group (12:00-3:30 PM Eastern Time, 3:00/6:30 PM Eastern Time)
Join the hosts Wil Wheaton and Mica Burton and enjoy three and a half hours of free virtual group discussion and programming. Which will re-integrate the iconic actors and innovative thinking in the nine "Star Trek" TV series… These groups will delve into the "Star Trek" story from the past few years to the present. And will exclusively introduce the next content in the "Star Trek Universe" of CBS All Access.
These panels will serve as the global focus of "Star Trek Day". In addition, "Star Trek" updates, announcements, and videos will be displayed throughout the exhibition.
The panel will include the actors and creatives of the following "Star Trek" TV series: "Star Trek: Discovery". With series stars Sonequa Martin-Green and David Ajala, and co-actors and executive producers Alex Kurtzman and Michelle Paradise.
"Star Trek: New World"
"Star Trek: New World", composed of stars such as Anson Mount, Rebecca Romijn, and Ethan Peck; executive producer Akiva Goldsman and Henry Alonso Myers; and co-executive producers Akela Cooper and Davy Perez.
White professor GWU, Jessica Krug admitted that she falsely claimed black status
Fri Sep 4 , 2020
A history professor at George Washington University admitted in a blog that he claimed to be black despite being white. Jessica A. Krug said that she deceived friends and colleagues by falsely claiming several identities, including "North African blacks, black roots in the United States, and blacks in the Bronx […]
Fortnite Event Time: How to Watch Travis Scott Concert in Fortnite? Date, Time and Way
Helen Dunmore 2 years ago 2
AnnaLynne McCord Shares her experience of Dissociative Identity Disorder Diagnosis!
Usman Ashraf 9 months ago
The romance of Brad Pitt, dated, married, and divorced
What Happened On The Price Is Right- Behind The Scene
Jonathan Trott 2 years ago 2
Some of celebrities who are going to embrace parenthood this year 2021!
Ho'redmaps' skipping around is the fourth era in the west

redpajama_set_name: RedPajamaCommonCrawl


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Afridi ... balance is key.
The Safety Design in Buildings Conference held in Bahrain has underlined the importance of fire control regulations and safe design in buildings in reducing damage to property and loss of lives.
Construction industry experts came together at the conference held at the Intercontinental Bahrain Hotel on June 8 to debate fire safety standards and practices in the built environment. The event brought architects, fire consultants, testing experts and the general directorate of Bahrain Civil Defence together to provide a platform for trends and development in the battle against fire.
Organised by Sesam Business Consultants and sponsored by Intersec, the world's largest trade show for the security, safety, and fire protection industries, the conference series forms a GCC-wide initiative to debate and highlight the current standards of safety and security in buildings in the region as well as to promote a dialogue between regional industry professionals and international experts.
While taking into account these factors, these doors also need to be aesthetic, given their prominence in projects and hence need to strike the right balance, he added.
The conferences feature a high-powered panel of international safety and design experts investigating fire safety considerations for malls and other high occupancy buildings in the region with a view to strategy planning, material and safety system requirements. It featured presentations and panel discussions on key topics such as: fire safety design for malls; fire engineering design approaches; fire and life safety aspects emergency planning; aligning safety, security and aesthetics in architectural openings; and façade safety – glass selection.
Supported by the Chartered Institute of Buildings (CIOB), the Society of Facade Engineering (CIBSE) and the American Society for Testing and Materials (ASTM International), the conferences target architects, engineers, regulators and related professionals of the construction and contracting industry.
After Bahrain, the conference series moves to Jeddah (Saudi Arabia) in October, Cairo (Egypt) in November, and Muscat (Oman) in December.
Meanwhile, Intersec is now planning to introduce a pavilion on Safety Design in Buildings when it opens next year in Dubai, UAE.
The 18th edition of Intersec will take place from January 17 to 19, 2016 at the Dubai International Convention and Exhibition Centre. In 2015, the dedicated three-day event featured 1,235 exhibitors from 52 countries, and attracted 27,303 trade visitors from 118 countries.
With 220 residential building fires reported across the UAE in 2014, raising awareness about fire safety measures and safety design in buildings in compliance with existing safety codes takes high priority among both local authorities and developers across the region, he added.


Our dental team at Fallon Family Dental Care is friendly, experienced, and knowledgeable. Dr. Jaques speaks Spanish, allowing us to accommodate your family's unique needs. We are committed to providing convenient financial options to make high-quality dental care available to your family.
Welcome to Fallon Family Dental Care, located in Fallon, Nevada! Our skilled dentists, Dr. Cary Jaques and Dr. Chad Shepphird, are pleased to provide comprehensive, gentle dental care to patients of all ages, including both children and adults. We are dedicated to providing general, cosmetic, and restorative dentistry that meets the individual dental needs and goals of each patient. Whether you are in need of dental implants, root canal therapy, pediatric dentistry, or emergency dental care, we are here to care for your smile. Your health and comfort are our top priorities!
Our dental team at Fallon Family Dental Care is friendly, experienced, and knowledgeable. Dr. Jaques speaks Spanish, allowing us to accommodate your family's unique needs. We are committed to providing convenient financial options to make high-quality dental care available to your family. Dr. Jaques and Dr. Shepphird are proud to provide compassionate dental care to Fallon and the surrounding communities, including Fernley, Hawthorne, Lovelock, Round Mountain, and Austin, Nevada. We welcome you to contact our dental office today to learn more about us and to schedule your individual consultation. We are eager to care for your family!
© Copyright 2019 Fallon Family Dental Care. All Rights Reserved.


When you purchase an aesthetic laser, you're making a wise investment in your practice's growth potential. Cynosure is committed to helping you make the most of that investment.
That's why we offer AMPS, our exclusive Amplified Marketing Practice Support program. Through AMPS you'll receive increased patient visibility, enhanced office marketing materials, and a dedicated support channel.
AMPS Representatives are available to provide you with marketing guidance and support—when and how you need it.


text:
Cangjie (, cantonese Jyutping : Cong¹ Kit³) è una figura leggendaria della tradizione cinese, ministro del leggendario Imperatore giallo e mitico inventore dei caratteri cinesi.

Cangjie sarebbe vissuto all'epoca del leggendario Imperatore Giallo ( Huangdi).

Molti testi del periodo dei regni combattenti, lo menzionano attribuendogli l'invenzione dei caratteri cinesi. Tra questi testi figurano gli Annali di Lü, lo Han Feizi, e lo Huainanzi. Un passo di quest'ultimo recita: "Quando Cangjie inventò i caratteri, il cielo fece piovere miglio e gli spiriti maligni piansero tutta la notte". Secondo Xunzi, "Molti erano, un tempo, coloro che conoscevano la scrittura, ma Cangjie è colui che ce l'ha trasmessa dopo averla sistematizzata".
Il 20 aprile di ogni anno, l'Organizzazione delle Nazioni Unite ha istituito la Giornata della lingua cinese.

Leggende

Una versione della leggenda di Cangjie racconta che l'Imperatore Giallo gli ordinò di inventare un sistema di scrittura, dopo che aveva unificato il suo regno, per sostituire il sistema di notazione delle corde annodate. Egli si stabilì vicino ad un fiume e rimase a lungo senza ottenere risultati. Un giorno, una fenice cinese fece cadere davanti a lui un pezzo di terra indurita che recava impressa un'impronta. In quel momento un cacciatore giungeva sulla strada, e Cangjie gli chiese se riconoscesse o meno l'animale che aveva lasciato quell'impronta. «È un pixiu»    rispose senza esitare il cacciatore. Questa fu una rivelazione per Cangjie. Da quel momento, egli osservò qualsiasi cosa cercandovi un segno che la rendesse immediatamente riconoscibile.

L'Imperatore Giallo, soddisfatto, fece diffondere l'uso della sua scrittura in tutto il paese e fece costruire un tempio in riva al fiume in corrispondenza del luogo dove Cangjie lavorava.

Wang Chong lo descrisse come avente quattro occhi che gli permettevano di vedere i segreti del cielo e della terra. Un'altra leggenda lo descrive dotato di pupille doppie, tratto attribuito anche ad altre figure mitiche come i sovrani Yu, l'Imperatore Shun e il duca Jin Wen Gong.

Siti consacrati a Cangjie
Diversi luoghi in Cina rivendicano di aver ospitato l'inventore della scrittura e hanno una tomba od un tempio dedicato a Cangjie, o un sito descritto come il personaggio mitico avrebbe per la prima volta creato i nuovi caratteri: Shouguang nello Shandong, Kaifeng e Nanle nello Henan, Baishui e Xi'an nello Shaanxi.

Altri usi del suo nome
Il nome di Cangjie è stato usato anche per altri oggetti:
 Il Libro di Cangjie (仓颉篇) è una raccolta di caratteri, in stile piccolo secchio, destinati all'unificazione della scrittura all'inizio della Dinastia Qin. Composto, secondo la tradizione, da Li Si su ordine di Qin Shi Huang, il testo scomparve sotto la Dinastia Tang, ma dei frammenti contenuti in altri testi hanno permesso di ricostruirlo approssimativamente.
 Un metodo di input in informatica, dei caratteri cinesi basato sull'analisi delle loro differenti parti grafiche porta il suo nome.
 Una roccia di Marte osservata dalla veicolo di esplorazione Spirit ha ricevuto il suo nome.

Note

Altri progetti

Scrittura cinese
Personaggi leggendari della tradizione cinese

redpajama_set_name: RedPajamaWikipedia


text:
Q: Paperclip ruby gem do not allow m3u8 or m3u extension (HTTP Live Streaming playlist (application/vnd.apple.mpegurl)) I am trying to upload file with extension m3u8 through paperclip and have content type application/vnd.apple.mpegurl. Paperclip save content type as a text/plain in database.
I have validate as below.
 validates_attachment_content_type :media,
                                    :content_type => ['application/vnd.apple.mpegurl', 'text/plain']

But it gives validation error like "file has an extension that does not match its contents"
Could you please help to fix how I can allow m3u8 extension to upload ?
Thanks in advance, Nitin

redpajama_set_name: RedPajamaStackExchange


A great vehicle and a great value! This 8 passenger van still has less than 90,000 miles! All of the premium features expected of a Honda are offered, including: leather upholstery, a power seat, and power windows. Under the hood you'll find a 6 cylinder engine with more than 230 horsepower, and for added security, dynamic Stability Control supplements the drivetrain.


Hyderabad: The Krishna Institute of Medical Sciences (KIMS Hospitals) announced the installation of next generation upgraded surgical robotic system da Vinci Si Model in its facility at Secunderabad. With its first Da Vinci robot setup in 2011, KIMS Hospitals has completed 700 surgeries. Now, the hospital has installed the next generation Da Vinci Si Model at a cost of two million USD. Currently, eight trained doctors in six medical specializations including Oncology, Gynecology, Urology, ENT, Gastroenterology and General Surgery at KIMS are performing robotics surgeries.
Dual-console capability to support training and collaboration during minimally invasive surgery.
According to available statistics, the number of robotic surgeries being performed in India has increased to 3000 to 4000 per year, which is still very less considering eclectic spectrum of our country. And KIMS Hospitals is at the fore-front to concoct its doctors and patronage this program to augment for the betterment of their patients. KIMS is also amongst the first hospitals to capitalize and gain expertise on robot-assisted surgeries.
Some of the doctors who are in charge of robotic programme include Dr. Gopichand, Urologist, Dr Neena Desai, Gynecologist, Dr Lakshmikanth, Bariatric and Gastrointestinal Surgery, Dr D Madhu, Surgical Oncologist, Dr Kalyan Chakravarthy, ENT, Dr Suresh Kumar G, General Surgery, Dr MBV Prasad, General Surgery, Dr Vijay Kumar Bada, Surgical Gastroenterology.


text:
Hungry Tiger Press
Age of Bronze
Eric Shanower
Oz Con International
Giant Garden and the Grand Tour!
A brand new edition of Eric Shanower's first Oz novel, The Giant Garden of Oz, has just been published by Dover Books! This story has always been rather special to me, and, in fact the book is dedicated to me. The story of the writing of this book and why I got the dedication has never been told - until now!
So get out your passports and be prepared for a Grand Tour of Europe and we'll tell the tale of the creation of The Giant Garden of Oz!
In the Summer of 1989 Eric Shanower and I decided to make our first trip to Europe. We had been a couple for about a year and a half, though we were still living on opposite coasts at that point - Eric in San Diego, me in college at NYU in Manhattan.
We planned a Grand Tour, cramming in everything we possibly could. This over-stuffed trip played an important part in the creation of The Giant Garden of Oz. Here is the story:
Eric flew to New York a few days before my junior year of college let out. At which point we both flew to London where we spent several museum and theatre-packed days. We took side trips to Stonehenge and the Salisbury plain, hit up Oxford, York, went on up into Scotland where we visited Edinburgh and Sterling.
Me in front of Edinburgh Castle in Scotland.
Then it was back to London and off to Dover to make the crossing to France. We arrived in Calais, visited the cathedral in Amiens, and journeyed on to Paris where we spent several days.
Me and a friend at the top of Notre Dame cathedral.
We also spent an afternoon with French cartoonist Jean "Moebius" Giraud at his apartment in Paris. Eric was working with Moebius at the time on The Elsewhere Prince.
Eric Shanower and Jean "Moebius" Giraud in Paris, 1989.
We took a day to go to Chartres, and then a very fun side trip up to Mont Saint Michel where we followed my Art History teacher's advice and spent the night on the island (an even more magical place once most of the tourists have fled as the tide came in). We went to Versailles for a day and then journeyed south to Marseille, traveled to Nice, made a lovely afternoon side trip to Èze (at the suggestion of Oz friend Peter Hanff).
The beautiful town of Èze
Me in Èze, France. I bought those shorts in Salisbury, England.
Then after a short visit to Monaco we hopped back on the train for Italy. As I recall we stopped in San Remo and had pizza at the quaintly named "Snow White" pizzeria. This was not "white" pizza but "Snow White" as in seven dwarfs! Then on to Milan, followed by a wonderful day or so in Brescia where my college roommate's family lived. They entertained us wonderfully! Then back on the train to go to Venice (which I loved!).
Me in Saint Mark's square in Venice.
From Venice we went to Ravenna and then Florence (which was very disappointing). I had hoped for a life enriching experience a la Room with a View, but found it instead came across as the worst tourist trap on earth - harassed by peddlers selling "Statue of David" key chains and charging astronomical fees for the crappiest food ever. But on to Rome to do as the Romans do.
Eric Shanower at the Colosseum in Rome, 1989
We had to cancel our planned trip to Naples and Pompeii due to a train strike - so headed for the heel of the Italian boot where we boarded a large boat for an overnight cruise to Patras, Greece, which seemed a boring modern city. Luckily we proceeded directly on to Athens where we spent several days. The Parthenon and some of the museums were great, but on the whole I rather hated Athens. (I went back to Greece a couple years ago for a several week visit and found it wonderful!)
Are you getting tired yet? Well, we've still got more trip to go! We hopped on the train from Athens to Vienna. It sounds romantic, visions of the Orient Express come to mind, but it was a hot, noisy and unpleasant journey. The most interesting aspect (in hindsight) was that the train took us thru Yugoslavia - we stopped very briefly in both Belgrade and Zagreb. I remember thinking the country looked so incredibly pastoral, near idyllic with jolly peasant women herding sheep, artsy young students driving their Yugos, etc. . . well, the next year the country shattered into a multi-participant civil war. We truly are getting to the Giant Garden of Oz part of this story, I promise!
We arrived in Vienna. It was lovely! We took lodging in a Viennese woman's home - a sort of bed-and-breakfast, though I'd not heard that term yet. We went out walking and ate sausages and drank beer. We tried to get tickets to the Vienna Opera to see Tristan und Isolde, but neither of us felt up to it and I wasn't a Wagnerian yet! So we ate another sausage and I had a beer. At some point we bought (and ate!) a Sacher Torte. We were about ready to leave Vienna and, feeling a bit tired of sausages and beer, we decided to have dinner at some nice Viennese restaurant. I ordered this thing which turned out to be a very large dumpling about the size of a soft ball. It was OK and kind of "interesting," but I couldn't finish it and felt very tired. We took the tram car back to our lodgings and went to bed. In the middle of the night I had the worst nightmare of my life. I won't share the specifics, but it was literally a nightmare in a nightmare in a nightmare. In the dream I jolted awake from a bad nightmare only to find a few minutes later that I was still in the bad dream. I kept trying to wake up and when I finally did actually awaken I was very scared and had trouble accepting that I was really, finally awake - fearful that the dream was still continuing. All I can say is that I was sorry I'd ever seen Rosemary's Baby or eaten that cursed Viennese dumpling.
Eric comforted me; and I eventually got back to sleep. The next morning I awoke with a very bad case of the flu (or possibly severe exhaustion). We were supposed to check out that AM, but I was in no condition to stand up, much less travel on to Salzburg. Our B&B hostess had already rented our room to another traveler, but she took pity on my sad physical state and she and Eric made a sort of bed for us on the floor of her husband's home-office.
I was very sick. Eric brought me juice and fluids to drink, and to entertain me Eric told me a story that he made up on the spot. It was what became The Giant Garden of Oz. I don't recall how far he got in the story before I got better after a couple days rest.
I felt a good deal better by this point and we took the easy train trip from Vienna to Salzburg.
Me having a Julie Andrews moment in Salzburg.
I loved Salzburg! It was lovely and magical! Eric and I took a long toboggan ride down what looked like a small Alp. We went to see the Marionette Theatre of Salzburg (they did a puppet version of Marriage of Figaro which was slow and dreary). We went to the deep and cavernous salt mines outside the city (I'd never realized that "Salzburg" means "Salt Town"). And . . . we took the Sound of Music tour! And Eric told me more about Dorothy, and the giant vegetables, and Imogene the cow . . .
It was again time to move on and we were both getting very tired. We decided to forego a visit to Berlin and simply return to England for an extra few days in London. I regret this now, as I would have liked to have paid a visit to Berlin before the wall came down. We boarded the train from Salzburg to Oostend, Belgium, so we could take the hovercraft back to England. We went to another few museums, we saw the then-newly restored Lawrence of Arabia, and Eric told me more about Dorothy and Imogene, and the giant vegetables.
Our first Grand Tour of Europe was over! We did all of the above in forty days! We flew back to the United States and a few days later went to the 1989 Winkie Convention. Eric did not finish telling me the story that summer. It kind of came to a halt after the balloon basket slid down the rainbow.
But in 1993 Eric finally finished "my" story. And right there on the dedication page it told me that story was mine! Go buy a copy!
Posted by Hungry Tiger Talk at 11:15 AM 2 comments:
Labels: Eric Shanower
Map of Oz Monday - Merry Go Round in Oz
Today we explore the mapping of Merry Go Round in Oz (1963). Chronologically this post should come in the midst of our discussions on the Oz Club's maps, which were first published in 1962. But structurally, it seems best to finish our discussion of all the maps in the main forty Oz titles before we delve into the Oz Club's maps.
Merry Go Round in Oz was written in 1963 by Newbery Honor author Eloise Jarvis McGraw and her daughter Lauren McGraw Wagner. Many Oz fans consider it one of the very best post-Baum titles.
While we will certainly talk about the map included in the forematter of that book, the bulk of this post will be about the map that wasn't included in the book.
So let's look at the included map. This map was drawn by the book's illustrator, Dick Martin; but it was very much influenced by a map or maps drawn by the McGraws. We'll discuss that further below. My first observation is that Dick Martin did not pay any careful attention to the delineation of the Quadling/Munchkin border. He has simply drawn a curvy line.
Dick Martin's illustrated map from Merry Go Round in Oz (1963).
As you can see, the map splits the difference between a traditional "flat" map and an "illustrated" pictorial map, i.e. the Easter Bunny's Cave is indicated by a basket and eggs. Below you can see how Martin rendered the same locations in the later printings of the Oz Club maps, in the "flat" style.
Locations from Merry Go Round in later printings of the Oz Club maps.
On March 27, 1963, Reilly & Lee wrote to McGraw and told her that they were accepting the manuscript of Merry Go Round in Oz; and on April 1st, McGraw wrote a lengthy letter back to the publisher. Halfway through the letter McGraw wrote:
Speaking of illustrations, a couple of years ago my daughter, Laurie [co-author Lauren Lynn McGraw], drew a map of Oz for her own amusement, placing on it all the little countries and castles and so on that she could find by looking through old Oz books. It is an "illustrated" map; that is, the little country of Ragbad is indicated by a patchwork quilt, Pumperdink by a portrait of Kabumpo, Monday Mountain by blue hills and a washtub, etc. It's charming and gave me the notion that just such a thing would be fun for endpapers in the book. The territory covered by the travelers in this book could of course be drawn in, with their routes traced in dotted lines. Laurie's map reverses the positions of the Munchkin Country and the Winkie Country and contains a few other errors, but if you want a corrected version as a suggestion and source material for the artist, let me know. She or I one can easily draw an accurate one. In any case, using a map as endpapers may not appeal to you or the artist; please don't think I'm trying to urge it on - merely an idea.
It will turn out that Lauren McGraw's directions were correct, or at least, that she was using the Baum "Munchkins in the East" directions. Eloise was more deeply rooted in Thompson's Oz and was more familiar with Thompson's predominant "Munchkins in the West" viewpoint. But back to our discussion: Merry Go Round editor Maxine Rieckoff didn't address the map idea until her reply of April 24, 1963:
When I wrote you before, I realized after the letter had gone that I had not mentioned Laurie's maps. I think they would make charming end papers and would like to have you send them on. Incidentally Laurie may not have made a mistake in the positions of the Munchkin Country and the Winkie Country. Dick Martin told me a mistake had been made in the printing of certain maps which was later corrected. He gave me a couple corrected maps to send Laurie.
These are no doubt the then-very-new Oz Club maps that Dick Martin had just finished drawing only a few months earlier. Below are Dick Martin's typed notes on Oz Geography which he stresses are "small technicalities, but important."
Dick Martin's notes to McGraw on "Oz geography" - Click to enlarge
Clearly Martin is trying hard to prevent conflicts with the new Oz Club maps he and Jim Haff worked so hard on. He mainly points out places where McGraw needs to simply reverse east and west. But he also explains that one can't pass the Scarecrow's Tower and Tin Woodman's castle on one's way in the Munchkin Country as both structures are in the Winkie Country. Lastly he tells McGraw that there is no Yellow Brick Road where she placed one as a border dividing the Munchkin and Quadling countries.
Note that McGraw dutifully check-marked each of Martin's suggestions as she implemented them. McGraw wrote Rieckoff back on May 12, 1963: "All [Mr. Martin's] geography suggestions are taken care of now. . . . I am very eager to see how Dick Martin will interpret my characters. I'm sure, fundamentalist that he is, he will see them much as I do."
On May 18, 1963, McGraw wrote:
The map will go off to you today. As it turned out, I drew it myself; Laurie lives twenty miles or so from here, doesn't drive, and has an extremely active 7-month-old son to take care of. I could see the new version of the map wasn't going to get done in time for publication if she had to do it. Anyway, it was my idea to revamp it and submit it for possible use as endpapers, so it was really my responsibility anyhow.
I had a wonderful time for a couple of days and evenings, doing it - nearly blinding myself but enjoying every minute of it. I've corrected the location of various places, in line with the "official" Oz map you sent, and of course added all the places mentioned in Merry Go Round in Oz; otherwise it's merely a recopying of Laurie's old map. Therefore it's still a collaboration, and I've signed both our names to it.
I've no idea whether it will be usable or not, but if possible, I'd like to have the original back when everybody's finished with it there. I got rather fond of it while I was working on it, and think it would be fun to have on my study wall. By the way, see what you think of the Halidom coat-of-arms I invented. Upper left hand corner of the map. Those things in the left half are a trefoil (fleur de lys), a quatrefoil, and a cinqefoil.
Sadly there is a break in the editorial correspondence until July 12, 1963. Rieckoff explains that she is freshly out of the hospital, but there is no indication from her on what happened to McGraw's map drawing. But the answer can be found in Dick Martin's correspondence with McGraw. On June 12, 1963, Martin wrote:
Lauren's map is a great addition - the Oz fans will be especially pleased with it. I copied the section covered in the story, and the travelers' routes, labeling it "Diagram of a Journey - drawn by Robin Brown & helped by Dorothy and Fess." It will be in the front of the book. By the way, I'd like to include Lauren's drawing in the "Oziana Exhibit" at the Oz convention next week, as it will be of great interest. I'll return it promptly afterwards.
McGraw wrote Martin back on June 30, 1963:
The map is actually my drawing - based on an old one Laurie did once for her own entertainment. Both of us love to draw - in fact, I spent ten years, in my younger days, learning to be a muralist and portrait-painter. . . . Anyway both Laurie and I are flattered that it will be (or has been, I guess, by now) exhibited at an Oz convention.
One must assume Martin dutifully sent the map back to McGraw after the Oz convention. But Eloise never mentioned the map in her various Oz-related interviews later, it was not hanging in her study when I visited, and Lynn McGraw no longer knows where either her mother's or her own Oz map ended up.
I am glad that a portion of the McGraw map got used in Merry Go Round in Oz, but I really wish that the McGraw map had been used as the endpapers to the book as was originally planned!
Click here to go to our next installment of Map of Oz Monday!
Labels: Dick Martin, Eloise Jarvis McGraw, Lauren Lynn McGraw, Lauren McGraw Wagner, Map of Oz, Maps
White Edition Wednesday - Weekly Reader Goes to Oz
My loyalest readers may recall one of our most popular blog series, "White Edition Wednesday." I am quite pleased to offer an additional installment! If you prefer, you can re-read the entire "White Edition Wednesday" series from the beginning by clicking here:
In our WEW post called "Offspring," I mentioned the Weekly Reader boxed sets as seen above. These boxes survive in a number of Oz collections, though they do not always have the same books in them. One box claiming to be "as issued" contains the seven titles shown at right. The first seven Baum books (Wizard through Patchwork) do not seem to fit.
In the "comments" on the "Offspring" blog a reader named Len mentions having received his set in 1965 or 1966.
I had never seen any publicity suggesting how these sets were sold. Was there a mail-in campaign? I mainly remember the Weekly Reader as a small newsletter given out to kids when I was in First Grade. But, no matter, a few days ago I acquired a lovely piece of vintage "white edition" publicity created by Weekly Reader!
It is a large 2-sided poster, or rather, brochure, measuring 22" x 17." It is printed in full color. I've shared fairly large images so that when you click on an image you can probably read almost all of the type. Here's the front side.
Weekly Reader Oz book poster - Click to enlarge.
The promotion is offering a free copy of The Wizard of Oz if one agrees to "examine" the later volumes. Obviously Weekly Reader is hoping the parents will buy the lucky child the full set. The text on the brochure is quite well-written. I was especially pleased to see they used male pronouns, as in:
When you give your child this wonderful Oz book, exciting things happen. Almost like magic, he is whisked to the fascinating, enchanting world of Oz. Here he meets little Dorothy Gale . . .
The early 1960s family is rather engaging in a retro sort of way.
The text on this side goes on to mention the 1939 Judy Garland film, "Millions thrilled to the antics of Judy Garland and Ray Bolger," and the book has a lengthy quote from Baum discussing what age his Oz stories are written for.
The other side of the brochure is equally attractive as the first.
We get a spread from Wizard, showing the book at actual size, the covers of eight of the later Oz titles, and a long excerpt of Edward Wagenknecht's afterword.
In the lower left corner, in the box with the ordering information, there is am item entitled: "Calling all children: an Interview with the Wizard himself." This is pulled from the 1965 issue of The Ozmapolitan. You can read that issue by clicking here. The article is the one on the first page with the Japanese characters.
This brochure may well have been part of a more elaborate mailing. The instructions for ordering say to: "Just slip your FREE BOOK TOKEN into the 'Yes' slot in your Free Gift Certificate and this book is yours." Anyone out there want to send me a book token and certificate so I can complete my set?
The ordering info explains that you will receive Wizard for free, to be followed by volumes 2 and 3 at approximately four week intervals, sent on approval. Once you've accepted those two volumes along with your free copy of Wizard, Weekly Reader mails you the remaining eleven titles all at once but with the option of paying for them monthly, one at a time. The Weekly Reader price for the Oz books is $3.29 per title. Reilly & Lee was charging $3.95 each when the books were first released.
There is no date on this elaborate bit of publicity. There is also no mention of the fine boxed set I showed at the top of this post. Perhaps the box was offered at a later point in time, but the "comment" from Len that I referenced above suggests that he got his boxed set in 1965-'66. Does this imply that the boxed set came first and this "book club" deal was offered later? There are still some mysteries to solve in "White Edition Wednesday!"
Well, now that this blog series is complete, there is only one thing for you to do - go back to the very first post and reread all eighteen "white edition" blogs from the beginning! Have fun!
Click here to return to the beginning of our "White edition Wednesday" series!
Labels: Bibliography, Publicity, White Editions
Map of Oz Monday - Minor Map Mop-Up
We are quickly running out of maps in the main series of forty Oz books. Today we'll look at a couple of the remaining few. First we come to the "Diagram of a Journey" in Neill's Lucky Bucky in Oz (1942). As described in the illustration it is clearly "not a true map," yet it does have a couple interesting features, besides being a handsome image.
LUCKY BUCKY Map - Click to enlarge.
The geographic detail in this image, such as the Zeron's Mountain, Dollfins, etc., could easily be incorporated into a "true" map. There is a lot of detail in the mountain range as depicted. But one thing I found especially interesting is that Neill gives us a view of Ozma's palace from the south. You might remember we discussed the northerly view in a previous blog post. Here Neill has definitely drawn a different view of the palace without the grand entrance or the pair of high towers in the wall. Is Neill consciously drawing it differently, as he has clearly shown he beleives the main entrance to the palace is on the north side?
Note that we see Ozma's Palace, surrounded by its high wall, but surrounding it are many small Oz-style cottages with their domed roofs and "stick 'em up!" chimneys, shown both to the north and south of the palace. Neill does not show any outer city wall. Does this suggest that Neill may have considered the entire green area on most traditional Oz maps to be "the city" and that only the palace is behind the wall? This might explain why he seems to never show the outer wall in his later Oz book illustrations. Essentially he is giving us the walled Palace and grounds surrounded by Emerald City suburbs of traditional Oz-style homes. Then again, this isn't a "true map."
The next map in the Reilly & Lee Oz series comes to us as the endpapers of Jack Snow's Who's Who in Oz (1954).
1954 Map of Oz - Click to enlarge.
Since it is hard to see the complete image when it is used as endpapers I have reproduced the above from a postcard-size version of the same map that was probably prepared by the publisher for Snow to send to his various Oz fan correspondents.
There is not much new to say about this map. The most interesting thing is that it combines the two 1914 maps into one. Thus we have the detailed "Map of the Land of Oz" embedded within the "Map of the Countries Surrounding the Land of Oz."
One correction that I suspect Snow might have personally asked for is that the "corn ear" that was used to represent Jack Pumpkinhead on earlier Reilly & Lee maps has been replaced with a drawing of Jack's head. The map also has the mountains drawn in the representational style I associate with Tolkien maps, where you see the profiles of the mountains instead of the more topographical view used in the earlier maps.
The last odd design choice was that the Deadly Desert is populated with assorted cactus, cattle skulls, broken wagon wheels, and the like. Ride 'em cowboy!
The map was reused two years later in the first Reilly & Lee edition of The Wizard of Oz, which was otherwise illustrated by Dale Ulrey. But in this 1956 edition of Wizard the map is reproduced in color!
1956 Map of the Land of Oz - Click to enlarge.
As you can see, the staff artist that colored the map also eliminated the countries surrounding Oz. And then, coloring the area beyond the desert a couple shades of blue, they have given the impression that Oz and its Deadly Desert is surrounded by an ocean rather than the usual adjacent countries.
Next week we'll look at the last map printed in any of the main forty Oz titles. See you then!
Click here to go to our next Map of Oz Monday post!
Labels: Dale Ulrey, Jack Snow, Map of Oz, Maps
Earlier this year I got a set of little plastic Russian Oz figures. At first I wasn't quite sure what they were, but after a little poking around I was able to identify them with the help of a few Ozzy friends on Facebook. You probably recognize the middle four and Toto, but the woman with the magic wand at far left is the Good Witch of the North (Volkov's Villina) and the figure at far right seems to be the Wicked Witch of the East (Volkov's Gingemma).
They are based on the characters in the 1999-2000 animated series Adventures in the Emerald City (Приключения в Изумрудном городе). This animated series combined aspects of Baum's Oz with aspects of Volkov's Magic Land. The series included what we think of as The Wizard of Oz and The Land of Oz.
As you can see from the Tin Woodman in my hand at right, the figurines are a nice size. They are very similar to the 1967 "Ozkins" figurines produced by Aurora in the United States.
The card below is said to be part of the packaging for the little figurines. But my set was just the seven loose figures. The card says: Heroes of the Emerald City. Factory of Children's Playthings Made 11/2002.
You can watch the animated film via the link below. While it is in Russian, if you know the two stories, that should prove little problem.
Posted by Hungry Tiger Talk at 11:03 PM No comments:
Labels: Alexander Volkov, Animation, Magic Land, Movies, Oz in Russia, Toys, Volkov
Biblical Beefcake by Dirk!
Adam in the Garden of Eden, or: Mowgli grows up!
I thought that title might get your attention! And no, this isn't the scene at the offices of Hungry Tiger Press, but an illustration of Adam in the Garden of Eden from a book of Bible stories illustrated by Oz book illustrator Dirk Gringhuis a few years before he illustrated Hidden Valley of Oz (1951).
Marian's Favorite Bible Stories was first published in July 1948 by Erdmans Publishing company of Grand Rapids, Michigan. The stories are adapted by the titular Marian M. Schoolland. Dirk supplied a dozen full page color plates like the one above. The book stayed in print for decades and eventually got a new pictorial cover design which certainly looks like more of Dirk's work to me. The back cover of this latter edition says: "The pictures are new and exciting, with all the appeal of full-color paintings, and are done by a nationally-known illustrator of children's books." The adaptation contains sixty-three stories. Surprisingly it jumps from Daniel in the Lion's Den straight into the New Testament.
I wonder if Dirk enjoyed painting Bald Eagles? He has placed one in the Garden of Eden, and you'll see a few more flying in to watch Sampson wrestle a lion down below.
Cover used on some later printings of the book.
I have seen this book on eBay many times but only recently broke down and purchased one. Copies are usually on sale for less than ten dollars. The book also has illustrated endpapers that are very reminiscent of Dirk's Hidden Valley illustrations.
I had initially hoped there might be a picture of David slaying Goliath and I thought I might make a cute blog post referencing Jam doing battle with Terp the Terrible. But Dirk didn't choose to illustrate that scene, which seems a bit odd, but so be it. We'll have to settle for some Biblical beefcake!
Sampson wrestles the Cowardly Lion.
Posted by Hungry Tiger Talk at 2:42 PM 2 comments:
Labels: Dirk Gringhuis, illustration
Map of Oz Monday - The Emerald City Part III
Now, mapping the Emerald City raises multiple questions. What era Emerald City are we actually mapping? There seem to be four stages of EC urban design:
1) The Wizard's Emerald City: this is the "gray" version of the city that is only "emerald" because of the green spectacles locked onto people's heads to make everything appear green.
2) The Scarecrow's Emerald City: his hay-stuffed majesty seems to have begun a major renovation, making things truly green and installing many actual emeralds and precious metals, as evidenced by the fact that Jinjur and the Army of Revolt steal said emeralds.
3) Princess Ozma's Emerald City: This is the lovely, palatial version first seen in John R. Neill's illustrations for Dorothy and the Wizard in Oz and much expanded upon in The Road to Oz, where it seems kind of like a green version of San Simeon/Hearst Castle.
4) The Neill books' Emerald City: this version seems to preserve Ozma's palace design, but the houses have literally come to life and there is a distinct new wacky/cute aesthetic.
This fourth version of the city is by far the richest in known detail. But can anyone really imagine the Neill Emerald City when reading a Baum Oz book? I certainly can't, but I do admit having a great fondness for the Neill-era Emerald City design as depicted in his three Oz titles. Perhaps, as I alluded to in a previous post, this comes from having a deep fondness for Sid and Marty Krofft's Pufnstuf and Living Island where everything is alive.
So when I was writing Part One and Part Two of this Emerald City Map series I had been thinking that Neill's Emerald City urban design and aesthetic were limited to his three books. I began thinking how bizarre it would be to imagine Dorothy and her three friends first encountering the Emerald City in Baum's Wonderful Wizard of Oz if they had arrived at Neill's Emerald City. And then it hit me, Dick Martin had done just that in his 1961 picture book abridgement!
Dorothy and friends' arrival in the EC from Dick Martin's 1961 abridgement.
Martin's EC has the same zany, cartoonish aesthetic that Neill's does. I had always just imagined this was Dick Martin's version of the Emerald City, but, in fact, I believe it is explicitly Neill's vision that Martin is emulating.
Below, note the cover of Martin's picture book showing the main entrance to the Royal Palace and how closely it matches Neill's double staircase design, massive towers on either side of the entrance, and layered turrets reaching higher and higher.
Martin's EC palace entrance compared to Neill's EC palace entrance.
Well, that's sort of neat, I thought. I wonder if Dick Martin explicitly utilized Neill's architectural and urban design in his other books. And then, duh! I immediately realized that Martin had used Neill's EC design in his Cut and Assemble the Emerald City of Oz (1980) from Dover.
I pulled my copy off the shelf and there is Neill's Emerald City!
It's simplified, of course, but the above view is virtually the same view we get in the wonderful cityscape Neill drew for The Wonder City of Oz below. The palace stands towering over the city in the middle, the shorter anthropomorphic houses surround the palace on all sides, and the city's circular main street rings itself around the city, broken up by spokes of road to create the city blocks.
Some of Dick Martin's buildings are very similar in design to Neill's, such as the Ozmapolitan Building below:
Even more interesting is that Martin provides an additional map of the Emerald City that I had never even considered, though it is, in fact, just his layout suggestion printed in the book.
Dick Martin's "map" layout of the Emerald City.
This truly is Neill's Wonder City of Oz design, Strawberry Street and all! Indeed, Martin pays some homage to Neill in the final paragraph of his instructions:
Many Ozian authorities state that the Emerald City is circular in layout (see the diagram). If you agree, you might make a Yellow Brick Road of yellow construction paper, "paved" to match the sections under the Emerald City Gates. The Road should be about 2" in width, the outer diameter of the circular part being about 18". This may be mounted on the center of a sheet of green poster board, about 24" square in size. A short length of road, extending from the front edge of poster board, should lead directly to the city gates. Side roads might lead, like the spokes of a wheel, from the palace entrances, as shown in the diagram; as a finishing touch, trees or flower beds could be made to ornament the palace grounds.
Now for a bit of behind-the-scenes info and bibliographical detail. The original printing of Martin's Cut and Assemble the Emerald City of Oz did not contain an actual Yellow Brick Road, but only Martin's instructions above, on how you might make one. But in Spring of 1983 I was in a bookstore, flipping through a copy, and noticed the addition of a new centerfold containing all the pieces needed to make a Yellow Brick Road as described in the instructions above.
Yellow Brick Road added to later printings of the EMERALD CITY book.
I was corresponding with Martin quite a bit in the early 1980s and asked him about the addition. On April 8, 1983, he replied:
Yes, the new printing of the Emerald City cut-out book has an added doublepage spread of Yellow Brick Road. It was quite a surprise to me, as I knew nothing about it until someone pointed it out to me. (Now, there's an example of an editor making changes without informing the illustrator!)
I may have one more part in this discussion of mapping the Emerald City. But it is a bit tangential and I may just plow on to our next more general map of Oz. You'll find out next Monday!
Click here for the next installment of Map of Oz Monday!
Dick Martin's Neill-styled anthropomorphic Emerald City buildings.
Posted by Hungry Tiger Talk at 12:16 AM 1 comment:
Labels: Dick Martin, Emerald City, John R. Neill, Map of Oz, Maps
The Mystery of Dirk's Castle
I just finished reading Mystery at Skull Castle by Dirk Gringhuis. I suspect a few of my loyal readers may be rolling their eyes and mumbling to themselves, "Boy, that David sure has eclectic taste in choosing his Ozzy reading matter."
Perhaps I do, but this book, written and illustrated by the illustrator of Hidden Valley of Oz (1951), has more than a few bits that I think you'll find interesting.
To begin with, the book was published by Oz publisher Reilly & Lee in 1964. I had not realized that Dirk had done more work for Reilly & Lee after illustrating Hidden Valley. But what makes the book even more interesting is that the "castle" in the story is based on the castle at Castle Park in Holland, Michigan, where the Oz Club held its Ozmopolitan Convention each year from 1967 to 1984. I attended the Castle Park Oz conventions from 1980 through 1983.
Photo of Castle Park in 1984 by Eric Shanower.
To be honest, I am surprised that so few Oz fans seem to know about Dirk's Mystery at Skull Castle. He himself seems to have told Fred Meyer about it and it is mentioned in the Dirk interview in the Autumn 1971 Baum Bugle. A year or two ago I was reading that issue of the Bugle, saw the reference, and immediately went online and bought a copy.
The book is not actually set in Holland, Michigan, but in a fictional Michigan town called New Vollendam which is just a stand-in for the town of Holland. The castle of the book's title was built in 1870 by "non-Dutch outsiders or 'Yankees,' a suspicious lot not to be trusted and given to dancing, fiddling and putting on airs. No honest Dutchman would have thought of building such a place. Designed to be used only in summer, it was a shameful waste of money."
The real castle at Castle Park was built as a residence for Michael Schwartz and his family. It was completed in 1894. But the Schwartz family moved away within a year and the real castle lay abandoned for a year or so before being purchased in 1896 as a summer camp for kids. You can read a much more detailed history of the real Castle Park here.
In the story the castle was a social hot-spot for one glorious summer, until one evening in September it was struck by lightning and burnt to the ground, only the ominous tower remaining. The action of the book supposedly takes place in 1880, ten years after the fire. I'll come back to that in a bit.
A fine photo of Dirk Gringhuis from the jacket of the book.
The book is set up as a late-nineteenth century, Hardy Boys-style mystery with lots of Dutch immigrant detail: Dutch slang, Dutch foods, etc. The story begins rather well, but soon the story of Dutch Hardy Boys devolves into a sort of Dutch Scooby Doo. The two teenage protagonists, Bram and Piet, are characterized by totally ineffectual and nonsensical behavior.
I don't really feel like going into the plot, but I guess I must. If you find it as tedious to read as I find it to write, skip ahead a paragraph: The boys are secretly saving money to purchase a new buggy for Piet's uncle. They move their savings to the old burnt-out castle for safekeeping. While at the castle they find a stash of jewels and seconds later meet Major Willoughby, supposedly the long lost heir to the man who built the castle, and his East Indian servant, Singh. The Major cons the boys into leaving their money in the same niche that the jewels were in and tells them to keep quiet about the discovery. In the end Major Willoughy is a phony and the jewels in the castle are fakes that the major leaves as substitutes when he steals the real Dutch Crown Jewels that just happen to be on display in New Vollendam, Michigan! Bram's ten-year-old cousin Bertram witnesses the theft and yells the news to anyone within ear-shot. But Bram and Piet vouch for the Major, so no one listens to Bertram. Since Bram and Piet can identify the fake jewels, the Major and Singh take the boys prisoner, tie them up in the old Castle, and plan to kill them.
Piet and Bram
This is problem number one: Bram and Piet are stupid and oblivious. They are gullible to every idiotic suggestion and notion the Major tells them. They ignore the truth even when little Bertram is telling them flat out he just watched the Major steal the jewels. Even after they manage to escape their bonds in the castle they don't run for help in town but allow themselves to be cornered on the shore of Lake Michigan where they cower until Piet's uncle solves the mystery (he recognized the red mud of the castle grounds on the major's wagon wheels) and comes down to the shore where he hears the commotion and shoots the Major. In a children's mystery, shouldn't the main characters be the ones to find the solution? Not only do Bram and Piet not solve the mystery, their primary goal at the beginning comes to nothing, since the uncle has no interest in a new buggy.
Now if the plot is a problem, it is nothing when compared to the novel's horrendous editing issues. In the book's first eighteen pages it is explicitly stated that the time period of the story is 1880.
Now in 1880 it still stood. A blind tower staring sightlessly across the timeless water of Lake Michigan. A mute monument to folly, the villagers said. . . . This suited young Abram Van Dam perfectly.
But on page 18 the book is suddenly set in 1897. Bram has been defending Piet's uncle but Bram's mother won't hear of it:
"Well, it's time he realized it's 1897 not 1847 when he came over on the boat." Mrs. Van Dam turned her back and headed for the kitchen.
The action of the novel lasts only two or three days, not seventeen years! I suspect Dirk means for the action to take place in 1897. In addition to the quote above, he explains the New Vollendam town fair is celebrating fifty years since its founding in 1847.
Also, a number of elements in the story demand the 1897 date: the boys listen to a cylinder-playing juke box via listening tubes. The New Vollendam marching Band plays "Stars and Stripes Forever," which premiered May 14, 1897. Apparently, New Vollendam was on the cutting edge of 1890s pop-culture! None of these date specific inventions or compositions is integral to the plot. Did Dirk add them and decide to change the date of the book from 1880 to 1897 to make historical sense? Possibly. But Dirk had a solid knowledge of the Dutch immigrants in Michigan. Indeed, it is the focus of several of his other books. It's a mystery to me why he ever introduced the date of 1880 into this story.
And this brings us to another Dirk Gringhuis/Castle Park connection. Many Oz fans that attended the conventions at Castle Park will recall that there was a bar in the basement. The walls were adorned with drawings by Dirk Gringhuis showing the history of Holland, Michigan. In 2012 the Oz Club held a convention in Macatawa, just down the road from Holland. A few of us spent an afternoon over at the old Castle and I took some mediocre cell-phone photos of Dirk's drawings in the bar.
Dirk Gringhuis artwork from the bar at Castle Park, Michigan.
In the one above, "Building Holland's First Home - 1847," we can see further evidence that the book's New Vollendam closely mirrored the real Holland's history. Both were founded in 1847. The half-century celebration in the story almost certainly indicates that Dirk meant it to take place in 1897.
Below is another of Dirk's Castle Park drawings, "Welcoming New Settlers - 1847."
But this still leaves the question as to how the book can be so explicitly set in 1880 for the first eighteen pages. The date references are not typos as they're all story specific details that establish two contradictory dates. Frankly, it seems like Reilly & Lee may have typeset an early draft or a combination of two different drafts of the manuscript. This is further evidenced by a few other glitches that made it into the published book. On page 179 Bertram has the line:
"Never mind about that," shrilled Bertram. "How about the buggy?"
Which is immediately followed by the line:
"What about the buggy?" shrilled Bertram.
Clearly one of the lines of text shouldn't be there. Someone on the Reilly & Lee editorial staff was slacking off. At the end of the book the two boys are still rather fond of the fraudulent Major. Bram says: "I sort of hope he gets off. He did save our lives when Singh wanted to use his knife. Even though he isn't a major, maybe not even English."
Huh? I totally missed this "saving of lives" part and can't find it in the book still. So who can say what happened? My guess is that Reilly & Lee used some wonky draft of Dirk's manuscript.
However, I can pin one odd bit directly on Dirk. At the festival parade Bertram decides to play a little joke and sucks on a lemon, which causes chaos in the marching band when the members' mouths begin to pucker up, thus ruining the music. I found this event preposterous. Aren't the musicians looking at their charts? Aren't they looking at who is marching up ahead? At the band leader? At anything other than a ten-year-old boy sucking a lemon? And the entire brass band sees Bertram and becomes incapacitated?
I stopped reading the book and told Eric about it. Surprisingly, Eric said, "I think Dirk stole that from a Robert McCloskey book called Lentil." When I looked at a copy of Lentil (1940) a few days later, there was the scene much as Dirk had written it. Coincidence? If only poor Dirk had been able to write and draw as well as Robert McCloskey.
I wish the book had been better. There was such an interesting series of connections between this Oz book illustrator and "the Castle" where we used to hold Oz conventions. And it's sort of sad that no one tried to get Dirk to attend the Ozmopolitan Convention. He lived all his later years in East Lansing, Michigan, where he died in March 1974. He could have attended any of the Castle Park cons from 1967 to 1973. But the Oz Club has a long history of missed opportunities. But that is another blog for another time.
Labels: Dirk Gringhuis, illustration, Oz Connection
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NETSCOUT SYSTEMS, INC., (NASDAQ: NTCT), a leading provider of service assurance, security, and business analytics, announced today that ENGAGE 19, the Companys annual user conference, is taking place at the Gaylord Opryland Resort and Convention Center in Nashville, Tennessee, April 14 – 18, 2019.
NETSCOUT customers run some of the most complex and challenging service provider, government and enterprise IT organizations in the world, said Anil Singhal, NETSCOUTs president and CEO. In this increasingly connected world, our customers are trailblazers when it comes to building a borderless, integrated digital environment. ENGAGE brings together the experts in the field, in a one-of-a-kind forum that is dedicated to education, advancement and collaboration. This is a unique opportunity to learn from peers, share technical and operational challenges, and gain critical insights into solving the most vexing problems facing our industry.
Boot Camps and Certifications: One of the most popular offerings at ENGAGE – free contextual training with NETSCOUT University Solution Lab experts. Geared for all levels of expertise. Delivered via deep-dive, real-world network incident resolution.
Cyber War Games: Join us in the ultimate gaming experience, where attendees learn not only critical DDoS defense skills and countermeasures, but also put them to work in a war game. In this real-time simulation of a DDoS attack, youll run both attack and defense positions for several rounds and earn the ultimate reward: knowledge. Walk away with critical insights on how attackers make their moves and how you can leverage current DDoS defense tactics in response.
With virtualization and the evolution to 5G, carrier networks are going through unprecedented change. Add increased competition from OTT and digital players to this, and CSPs are facing unique challenges, said Bruce Kelley, Jr., NETSCOUTs senior vice president, chief technology officer. In my session, I will lay out the strategic vision for NETSCOUT solutions and how we are providing unparalleled visibility to devices, subscribers, network infrastructure services and experiences that also extends to business analytics and security. This smart visibility has never been more needed than now.
As we grow more reliant on our interconnected world, the threat from bad actors bent on compromising critical networks grows more perilous every day. IT and security professionals are under pressure to stay on top of the latest trends, said Hardik Modi, NETSCOUTs senior director, Threat Intelligence. At ENGAGE 19, I will be discussing NETSCOUTs latest Threat Intelligence Report and sharing the latest trends we are seeing across the security threat landscape. Attendees will learn what our ASERT and threat intelligence teams are seeing, testing, and acting on to drive awareness in the marketplace.
NETSCOUT SYSTEMS, INC. (NASDAQ: NTCT) assures digital business services against disruptions in availability, performance, and security. Our market and technology leadership stems from combining our patented smart data technology with smart analytics. We provide real-time, pervasive visibility, and insights customers need to accelerate and secure their digital transformation. Our approach transforms the way organizations plan, deliver, integrate, test, and deploy services and applications. Our nGenius service assurance solutions provide real-time, contextual analysis of service, network, and application performance. Arbor security solutions help protect against DDoS attacks that threaten availability and advanced threats that infiltrate networks to steal critical business assets. To learn more about improving service, network, and application performance in physical or virtual data centers, or in the cloud, and how NETSCOUTs performance and security solutions, powered by service intelligence can help you move forward with confidence, visit www.netscout.com or follow @NETSCOUT and @ArborNetworks on Twitter, Facebook, or LinkedIn.


text:
Home Sponsorship Partners Tribus calls time on Liverpool sponsorship amid ESL backlash
Tribus calls time on Liverpool sponsorship amid ESL backlash
Liverpool sponsor and luxury watchmaker Tribus Watches has ended its agreement with the Premier League club, amid the fallout from the collapse of the European Super League (ESL).
The brand penned a deal with the top-tier team in 2020 and designed a commemorative watch to mark Liverpool's 2019/20 Premier League title win. The agreement was due to run until the end of the 2022/23 campaign but has now been cut short by the company, despite the club's decision to pull out of proposals for the breakaway league.
Tribus' Co-Founder, James Ward, explained: "Tribus decided to withdraw from the partnership as the severe disruption and negativity that ensued around the club and, by association our brand, left us with no alternative.
"We operate with very high moral values and respect for others. These principles were being severely challenged by the stance taken by the club owners.
"Tribus sincerely hope that the owners of Liverpool Football Club can repair this situation for the greater good of football, the club, the fans and our city."
Just three of the 12 founding members of the ESL remain, after the Premier League 'big six' withdrew from the controversial competition on Tuesday evening. Serie A club's AC Milan and Inter Milan and La Liga outfit Atletico Madrid soon followed suit, as proposals began to crumble.
Owners of several of the clubs which signed up to join the league have now issued apologies. Most notably, Manchester United Co-Chairman, Joel Glazer, who was heavily involved in the ESL, penned an open letter to supporters of the club, following the announcement that Ed Woodward would step away from the club.
"This is the world's greatest football club and we apologise unreservedly for the unrest caused during these past few days," Glazer wrote.
"In seeking to create a more stable foundation for the game, we failed to show enough respect for its deep-rooted traditions – promotion, relegation, the pyramid – and for that we are sorry."
Nonetheless, Real Madrid President, Florentino Perez, insisted that the plans are not 'dead' but simply on 'standby' for the time being, despite Juventus Chairman, Andrea Agnelli, declaring that the ESL was no longer happening.
Andrea Agnelli
Ed Woodward
Joel Glazer
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Cauliflower (English), gobi (Hindi), blomkål (Swedish), whatever you like to call it, it's delicious and seriously versatile. You can eat it raw, grate into a flatbread, puree into a soup, stir-fry, braise, roast, make rice, put in a mash, or what I do often: bake the florets coated in a batter which becomes crispy and chewy, topped with a sticky sauce. It makes my husband and I feel like we're eating something bad for us because it's so addictive. But in all honesty, it's a pretty darn healthy way to enjoy cauliflower.
You may think it strange, but when the weekend comes around, we like to enjoy a big salad with this type of cauliflower preparation instead of a guilty pleasure. It actually makes us feel good eating it; we actually enjoy eating it, and we don't regret it later on. Besides, it allows for a naughty dessert afterwords!
Now that I've hopefully persuaded you to eat more cauliflower, let's talk about my recipe: The basis of this cauliflower-batter-method is getting that distinctive chewy, slightly crispy, meaty cauliflower bite. It is similar to gobi manchurian, if you've ever eaten the popular Indian-Chinese dish that is deep-fried and coated in soy sauce, tomato paste, lots of garlic and spring onions? You could easily manchurianize this recipe and thankfully without resorting to deep-frying. I generally alternate between two types of sauces: one reminiscent of hot wings, which uses Louisiana hot sauce and is spicy, slightly sweet and sour, and the other -- a deep, umami-rich barbeque sauce. It's up to you which finger-licking sauce you prefer, whatever your mood demands! It's perfect for game night, or for us, Eurovision -- can't wait -- America, you're missing out!!!
Just a warning, this could get you cauliflower-addicted like my mom already is! What's your favorite cauliflower dish is?
1. Make one of these sauces: BBQ sauce: Heat a saucepan and add oil, onion and garlic. Once the onion is softened, add the paprika powder, tomato paste, chipotle paste, molasses, salt and pepper along with 1 cup of water. Allow to simmer and reduce until very thick, about 10 minutes.
To make the Hot Louisiana sauce: heat the Louisiana hot sauce, tomato paste and sugar in a saucepan. Mix the potato starch with the water and add to the saucepan, stirring constantly so that it doesn't get lumpy. Cook on low heat until cooked and thickened considerably, about 5 minutes. Salt to taste.
2. Preheat the oven to 425F or 220C. In a large bowl, add the rye flour, potato starch, corn meal, baking powder, salt, pepper and chili powder. After a quick mix, add oil and gradually the water to make a very thick cake batter. Add the cauliflower florets and mix thoroughly to make sure all the florets are coated well. Grease a baking sheet lined with parchment paper with 1 1/2 tbs canola oil and add the florets, placing them at least 1 inch apart. Scrape the leftover batter from the bowl onto the florets to ensure a thick coating. Bake for 8-10 minutes or until slightly golden and crisp.
3. Once the cauliflower is baked, coat in sauce and eat immediately! Enjoy!
I relished your cauliflower dish. It was a sensation . pl. go on posting more such yummy recipes.
These are incredible! I will be making them for dinner tonight!


We have been working away on the workshop schedule, and are pleased to present these listings for you now, so you can start thinking about your choices. Very soon we will have an on-line form so you can book your workshops before you come to camp. Please stand by. Registered campers will receive an email when the form is on line.
Below, workshops are listed by 'Period', you will be able to sign up for any one workshop in each of the 5 periods. In a couple of cases (all Band Labs and Scott MacMillan's Composition workshop) the workshops occupy both periods 4 & 5).
This is a 2-part class occupying periods 4 & 5.
This is a 2 part class occupying periods 4 & . Band Labbers will be provided with a special sign up form for this.
This is a 2-part class occupying periods 4 & . Band Labbers will be provided with a special sign up form for this.


"Jorge did a great Job. He asked questions and was open to changes. He communicated via email. We are very glad to have found him. Thank you for your help."
"Great Job, took my vision and did exactly what I wanted. "
"Jorge was very friendly and communicative throughout the process, he accomodated all requests for changes. Good to work with him, we will recommend him for future work!"
"He was great to work with - his response times were fast. When it came to the design, he offered several choices and made adjustments without issue. "
"Jorge is very talented and captured the essence of what I wanted on this, my first t-shirt design project. He has great style and color sense, and responded quickly and professionally to all my questions and requests. He has a great future in design a..."
"Really good guy to work with, gave me exactly what I was looking for, quick responses, and gave multiple variations in his design. "
"Was very professional and responded quickly whenever changes needed to be made. Much thanks!!!"
"Very professional and quick to respond. Did a great job capturing my vision of the designs I had in mind. Thanks you!!!!!! "
"Jorge was a pleasure to work with. He was very responsive and provided multiple ideas and variations for me when I was trying to find the perfect design for my T-shirt and the final design came out great."
"I'm happy with the result! We finally got there in the end! "
"thanks for the help! Great communication."
"Jorge developed some solid, creative designs for us, and we look forward to working with him in the future."
"Jorge Torres was a great pleasure to work with. Very eager to please, really good communication skills. Amazing Artist....an overall great experience !!!! A+"


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Q: DOCTRINE - php symfony ORO - Property "AAA" in "entity" was already declared, but it must be declared only once I have this code:
    $this->extendExtension->addManyToManyRelation(
        $schema,
        'oro_course',
        'teachers',
        'oro_user',
        ['email'],
        ['first_name', 'last_name'],
        ['first_name', 'last_name', 'email'],
        [
            'entity' => [
                'label' => 'oro.teacher.entity_plural_label',
            ],
            'extend' => [
                'is_extend' => true,
                'without_default' => true,
                'owner' => ExtendScope::OWNER_CUSTOM,
                'cascade' => ['persist', 'remove'],
            ],
            'form' => [
                'is_enabled' => false,
            ],
        ]
    );
    $this->extendExtension->addManyToManyInverseRelation(
        $schema,
        'oro_course',
        'teachers',
        'oro_user',
        'learnSubjects',
        ['title'],
        ['description'],
        ['title', 'description'],
        [
            'entity' => [
                'label' => 'oro.learnSubject.entity_plural_label',
            ],
            'extend' => [
                'is_extend' => true,
                'without_default' => true,
                'owner' => ExtendScope::OWNER_CUSTOM,
                'cascade' => ['persist', 'remove'],
            ],
        ],
    );

when i try to execute this command:
 oro:migration:load --force

it fails with this

Oro\Bundle\EntityExtendBundle\Migration\RefreshExtendCacheMigration

In MappingException.php line 383:

  Property "learnSubjects" in "Oro\Bundle\UserBundle\Entity\User" was already

   declared, but it must be declared only once

any ideas on how to revert this?
......................................................


text:
Humphrey on the Hill
Knoxblogs
Knoxblogs List
Knoxnews
Direct Corporate Political Contributions, Higher Contribution Limits Approved on Party-Line Votes
(Note: This updates and replaces earlier post)
Direct corporate contributions to political candidates will be legalized in Tennessee and the amount that can be given by all contributors will be be raised by about 40 percent under legislation approved by House and Senate committees Tuesday.
For political action committees, for example, the maximum donation will increase from $7,500 to $10,700 and adjusted upward for inflation in future years. Corporations will be treated as if they were PACs under the bill, SB1915.
Under sponsorship of Senate Speaker Pro Tempore Jamie Woodson, R-Knoxville, the bill was approved on a party-line vote by the Senate State and Local Government Committee Tuesday morning.
The House State and Local Government Committee approved it about three hours later on voice vote in the Republican majority committee. Chairman Curry Todd, R-Collierville, dismissed House Democratic Caucus Chairman Mike Turner's request for a recorded, roll-call vote.
There was relatively little discussion in the Senate committee. Turner led Democrats in voicing dissent in the House panel.
Turner noted that foreign-based corporations would also be allowed to contribute under the bill, though House sponsor Rep. Glen Casada, R-College Grove, said they will have to have a Tennessee presence to do so.
"It's going to be like an arms race with Democrats and Republicans trying to compete for this corporate cash," said Turner. "Pumping this money into the campaigns is going to make it more expensive to run… A House race now costs $50,000. They're going to be $150,000 now."
But Casada said the move will lessen candidate dependence on PACs and provide more money to "educate voters."
"More money is more free speech," Casada said.
Woodson said the move is a logical response to a U.S. Supreme Court decision last year that struck down a federal law barring corporations from making independent expenditures in political campaigns. The Tennessee Legislature last year approved a law allowing independent expenditures in state campaigns.
The new bill goes beyond that to authorize corporations to directly give money to candidates and political parties for the first time in Tennessee, which has had a longstanding ban on direct corporate contributions.
The bill (SB1915) would also raise the current maximum contribution that can be given to a candidate, which has remained unchanged since 1995, according to Woodson. The limits would be raised annually based on inflation in future years.
Currently, the limit for a donation by an individual in a statewide races is $2,500 and $7,500 for a political action committee per election, or $5,000 and $15,000 in both the primary and general elections. The bill makes the inflation adjustment retroactive to 1995.
According to Drew Rawlins, executive director of the Bureau of Ethics and Campaign Finance, the new PAC limit will fump from $5,000 in a state House race would increase to $7,100 per election; for state Senate and the governor's race, the limit would increase from $7,500 to $10,700.
For individuals, the maximum would increase from $1,000 per campaign in a state legislative race to $1,400; in the governor's race, from $2,500 to $3,600.
The aggregate PAC limit for legislative candidates, or the maximum total dollars a candidate can accept from PACs in a single campaign, would increase from the present $75,000 to $107,200.
Current law also contains a limit on the total amount an individual can donate to all candidates and PACs overall — $40,000 to candidates, $61,400 to PACs. That is repealed by the new bill.
Dick Williams, who heads Common Cause in Tennessee, said he understands the Supreme Court ruling – which says corporations should be treated as if they were individuals – but regrets that the Legislature has moved ahead on corporation contributions.
"We think corporations already have too much influence in politics. This just adds to it," he said.
This entry was posted in campaign finance, Legislature and tagged contributions, corporate, donations, limits on April 26, 2011 by Tom Humphrey.
About Tom Humphrey
Former News Sentinel Nashville bureau chief Tom Humphrey writes about Tennessee politics, state government and Legislature news.
View all posts by Tom Humphrey →
← Amazon, Electrolux Deals to Get Another Look? House Panel OKs 'Shariah Bill' →
One thought on "Direct Corporate Political Contributions, Higher Contribution Limits Approved on Party-Line Votes"
Eric Holcombe April 26, 2011 at 1:55 pm
"Woodson said the move is a logical response to a U.S. Supreme Court decision last year that struck down a federal law barring corporations from making independent expenditures in political campaigns"
However, it is completely illogical for Republicans (especially those really smart "legislative authority" lawyer ones) who argued against citizens electing their judges according to the state constitution – because campaign donations would corrupt them so therefore they should be selected by corrupted, elected representatives, to now increase their own corruption.
Unless you happen to be leaving for a job in the Frist/Pinkston/Arne Duncan Common Core Race To The Trough Machine and could use some more influence. Then it makes perfect sense.
It's also pretty humorous that Ketron's alternative currency bill is lambasted, yet here we are, admitting the fiat, federal reserve notes which are worth less (still two separate words for the time being) every day.
Gorilla mask regrets
Conservative group rates TN legislators
Spivey criticizes Harwell; Butt defends Spivey
Lobbyist trio set up new firm
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text:
Q: Windows javac path env issues I have my javac under my project directory. Lets say at C:\workspace\myworkspace\java\bin\javac
what i want to do is, in ant, use that particular javac for building. so i do
<exec executable="java\bin\javac">
<exec>

but my eclipse keep complaining
BUILD FAILED
C:\workspace\myworkspace\build.xml:7: Execute failed: java.io.IOException: Cannot run program "java\bin\javac" (in directory "C:\workspace\myworkspace"): CreateProcess error=2, The system cannot find the file specified

what is wrong? I went to directory C:\workspace\myworkspace\java\bin\ and do javac and it works,
but i cant do
    C:\workspace\myworkspace\java\bin\java  from command line.
What is different on Windows? I normally work on linux so I don't know how to make it right on windows.
To add a bit more, I don't want add this java to my $PATH, because it's particular for this project only, and i dont want to mess up with my other java executables.

A: Two potential problems...
Firstly, it's possible that this:
<exec executable="java\bin\javac">

... is making Ant look for a file called java\bin\javac within the directory c:\workspace\myworkspace, where it doesn't exist. It's javac within c:\workspace\myworkspace\java\bin, which isn't quite the same thing.
As per the exec documentation you might want to use a <property> with a location attribute to resolve the file.
Secondly, it's possible that it's being confused by looking for javac when the executable is actually called javac.exe. The .exe extension is checked for by the command shell, but I don't think Runtime.exec will do the same thing.
Also, as Braj mentioned in comments, you'd be better off using Ant's built-in support for javac...


text:
Interview with Lukas Rossi live in Cornwall on April 28th
by Jason Setnyk
Cornwall Ontario – Lukas Rossi, the former front man of Rock Star Supernova, is playing live at La Maison Tavern in Cornwall on Friday, April 28th.
In 2006 Lukas Rossi took the music world by storm winning the CBS reality television show Rock Star: Supernova. He learned a lot about himself and about the music industry during this grueling competition and experience.
"I learned a lot actually. It was a great opportunity to hone in on my craft, and to explore new things vocally and musically with some of the greatest musicians of our time. The amount of talent from the contestants and the expertise of the judges was unprecedented. The competition drove me to work hard and gave me a great deal of respect for the business," said Lukas Rossi.
What went through Lukas Rossi's mind after being declared the winner of the Rock Star: Supernova reality show?
"When I won, the first thing that went through my mind was "Thank you, God". That was the moment I realized that with hard work and perseverance, you can do anything you dream of," Lukas Rossi reminisced.
After winning Lukas Rossi became the front man of the super group Rock Star Supernova singing lead vocals and playing rhythm guitar. He toured the world and recorded a platinum best selling album with Mötley Crüe drummer Tommy Lee, former Metallica bassist Jason Newsted, and former Guns N' Roses guitarist Gilby Clarke.
What did each member bring to the band?
"Tommy brought the girls, and the second biggest "instrument", haha, I'm just kidding. I think each member brought their own particular unique flavour to the band. The record was produced by Butch Walker and he helped to really bring everything and everyone's ideas together sonically so that everyone really was showcased on the songs. Jason (Newsted) left pretty early on due to an injury, and was replaced by Johnny Colt (The Black Crowes, Train, Lynryd Skynryd). Touring with those guys was a lot of fun. We all really had a great time on the road," Lukas Rossi stated.
Lukas Rossi's song "Headspin" appeared on the platinum selling album by Rock Star Supernova, an album that ranked #101 on the Billboard charts, and ranked #4 in Canada selling over 100,000 copies.
What did it mean to have your song included on the album and for the album to have gone platinum in your home country of Canada?
"It was a really personal song for me, so to see so many others really relate to it meant a lot to me. And for the song I wrote to be the first and most successful single off the record really meant so much to me as well. I'm very grateful for that," Lukas Rossi reflected.
After Rock Star Supernova disbanded, Lukas Rossi recorded an acoustic album, and he toured across the US and Canada playing more intimate shows, accompanied by Lou Dawson (Men Without Hats).
Do you prefer more intimate acoustic type of shows or playing with a full rock band at a stadium?
"Both are a lot of fun for different reasons. I love seeing a stadium full of people rocking out, and that's a great time but acoustic shows really give me the opportunity to connect with the audience on a deeper and more personal level. You can't hide behind anything when it's just you and a guitar, and people can really feel that. I love smaller shows because I feel like I'm on a journey with every person there. I can feel the energy. And I can get lost in it. Both are really rewarding," Lukas Rossi disclosed.
Lukas Rossi has been involved with several music project since Rock Star Supernova including Stars Down, Switchblade Glory, The Halo Method, and King City.
In 2011 Lukas Rossi was the lead vocalist of Switchblade Glory, and they recorded with legendary British sound engineer Andy Johns, who engineered and co-produced the album. Andy Johns resume includes working on albums by Led Zeppelin, The Rolling Stones, Van Halen, Rod Stewart, Bon Jovi, Joni Mitchell, and Eric Clapton.
"Andy Johns was amazing. He actually called me one day and asked for the details of how I recorded my own vocals because he liked them so much. Which, as a producer, was such a huge compliment. I have a great deal of respect for his work," Lukas Rossi explained.
Earlier in his career Lukas Rossi worked with another legendary producer. In 2004, after signing a publishing deal with EMI, Lukas Rossi worked with producer Gain Brown. Gavin Brown's resume includes Tragically Hip, the Barenaked Ladies, Three Days Grace, Skillet, and Billy Talent.
"Gavin Brown was one of the first producers I worked with and I learned a lot from that experience as well. He really taught me how to approach music from my heart instead of writing what's popular and he's obviously got a history of bringing out the best in the artists he's worked with," Lukas Rossi added.
Another project Lukas Rossi worked on was the Halo Method which featured musicians like Ben Moody (ex-Evanescence) and Dave Buckner (ex-Papa Roach). The band has been on hiatus since early 2016.
Are there any talks about reviving The Halo Method and releasing a record?
"The Halo Method record is still in its final stages. We knew we didn't want to just put out anything. So we came from the standpoint that it could take 2 months or 2 years, we just want an epic record. And we're really taking the time to nurture those songs and put out something we all believe in," said Lukas Rossi.
Lukas Rossi also worked with Dave Buckner (ex-Papa Roach) before in Daylight Division.
Can we expect you two to be working together again in the future?
"Dave Buckner is one of my best friends in the world. We really have immense love and respect for each other professionally and personally and I will always work with him. In fact, we just wrote a song together that will be on my next record which Marcos Curiel (P.O.D) also played on. We write as often as we can! He's a phenomenal drummer, and a really great songwriter too. I love him," Lukas Rossi replied.
Lukas Rossi is also working on a new solo album, that will include some of his older material.
"My solo album is also in its final stages. It's very current but also stays true to who I am. I think as an artist, you need to always keep growing, exploring and trying new things. So this record is more fun than some of my older stuff. It's got some songs I did with Tommy Lee, Dave Buckner and others so I think it'll be one to remember," Lukas Rossi stated.
In addition to the solo album, Lukas Rossi also released a video for the song "Neurotic", a song that he did with Neil Sanderson of Three Days Grace.
"Also, I just released a song and video for "Neurotic", a song I did with Neil Sanderson (Three Days Grace). So it's been cool getting to do a lot of different genres and styles with some of the best. I also produce a lot of artists and bands – everything from pop to rock, country, Christian, and urban so I really love bringing all that stuff to the table in my own writing and records," Lukas Rossi remarked.
What would you like to say to your fans in Cornwall Ontario before your upcoming show?
"I can't wait to see you all and thanks for spending your time with me! I love my Canadian fans, you always make me feel at home! Thanks for being with me all these years, love you all," Lukas Rossi concluded.
Black Moon Entertainment presents Lukas Rossi on Friday, April 28th at 7pm at La Maison Tavern located at 900 Montreal Road in Cornwall. The concert is 19+. Advance tickets are $20 and available at the venue and at ticketweb.ca.
Jason Setnyk
Jason Setnyk is a high school teacher, journalist, published and award winning author and photographer. He writes 5 Questions With and interviews.
Tags: MusicLukas RossiRock Star Supernova
CAPE: Episode III - Return of the Walking Dead - April 22nd and 23rd 2017


Remnants of the old British Fort Clinton in Lower Manhattan New York City.
The fort was named for British general John Stanwix (1690-1765), who ordered and oversaw its construction.
V.24.1.7 Page loaded in 0.08582 seconds.


Maybe you can use Ctrl+scroll to zoom the game in?
Do you use a PrtScr button?
i tried using it now but it didn't work, show me another trick please.
Shouldn't the game genre be Platform?
17m.al-tamimi wrote i tried using it now but it didn't work, show me another trick please.
I use a Lightshot software.


text:
Alexander Ankvab receives head of Abkhazian trade mission in Russia
The President received the head of the Abkhazian trade mission in the Russian Federation Oleg Bartsits, the executive director of the International cultural and business center of Abkhazia Oleg Lakoba and the director of development of the center Petr Bereza.
Oleg Bartsits told about the specific projects which could be implemented following the results of the Business forum. It applies to cooperation with the Siberian Federal District in the field of processing Abkhazian agricultural products followed by its distribution in the district. 'In particular, they are interested in the possibility of processing our culture, such as feijoa and kiwi. There is an idea to process here, and, taking into account the potential of the Siberian market, to sell there', Bartsits said.
He added that representatives of the Siberian business community had met with the director of the Research Institute of Agriculture Lesik Aiba and already knew the Abkhazian side's capabilities.
Alexander Ankvab said that it was necessary to advance such projects.
'We have few results. These results should be secured. Let it be one small project, but it will be already a success. Processing agricultural products is of current importance for us, and it has some development potential', the President said.
The President commissioned Oleg Bartsits to start preparing for the next year's agricultural exhibition in the All-Russia Exhibition Centre today. 'Time flies by quickly. You need to take the experience both positive and negative into consideration and prepare seriously. To keep in touch with the producers and to keep in mind what kind of products we can offer ', Ankvab said.
Vladislav Surkov arrived in Abkhazia on working visit
Alexander Ankvab, Rosneft Execs discussed state-owned company's promising projects in Abkhazia
Ministry of Foreign Affairs of the Republic of Abkhazia
The State Customs Committee of the Republic of Abkhazia
Chamber of Commerce and Industry of the Republic of Abkhazia
The National Bank of Abkhazia
Savings Bank of Abkhazia
The official tourism website of the Republic of Abkhazia
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