September low spend month hosted by Carla!
2. For non food, keep it at $100.
3. I'm going to get cash for these,and not use a debit card.
4. B and I are going up to Tahoe in September, but I will budget for that. Gas will be 1 tank,so that's $60, I'll bring most of our food, and then we can eat out once.
5. It's both B and my birthdays, but I think will just say "happy birthday".
6. I want to keep up with the 52 week challenge. This week it'll be, $35, next week $36,$37,$38. I'll take this out of my library check.
7. my very good friend offered us free firewood, so that's going to save us at least $300. We'll just have to plan a day to rent a trailer and go cut and load. But thank you, Sara and Logan!
8. I've already budgeted my sons XL twin bed, but it's still much more than I expected. But I have the money set aside.
9. Household will be tough since we're finishing the house painting project. Not sure where this will come in, but I'm going to say $200.
10. I'll keep adding where we can cut things as the month goes on. I think the biggest cut would be food and non food,which can really creep up.
11. Id like to find something's to sell on Ebay. Maybe my vintage lunch boxes?
I don't have a lot left To sell, but I can look around. In this past year of decluttering,I've opted to give away as opposed to sell. It's just easier.
Sunday night chit chat with Carla .
Reading: I've just finished two great cookbook stories, "The Sharper Your knife,the Less You Cry". This is about the authors enrollment in the Cordon Bleu. It was amazing to read how difficult this course was. The second,by the same author ,"The Kitchen Counter Cooking School". This was my favorite, since it talks about how she took 9 strangers and taught them the basics of cooking. It was so interesting, since you don't realize how many people eat pre packaged foods.
Listening to: just the outdoor sounds as we were sitting outside.
Watching: Started "The great Expectations" on BBC. Quite excellant. We also watched last week "The Beasts of the Southern Wild". This was an amazing story of the 'bathtub' area in Louisiana . It was semi based on hurricane Katrina,although that is not mentioned.
Cooking/Baking: Wow, I did a lot today, 2 loaves of bread, a Julia Child recipe for braised beef. (Pot roast), froze tomatoes.
Happy you accomplished this week: Our house is finally painted except for trim. Walked everyday. Handled my dex pretty well.
Looking forward to next week: Finishing some trim work on house, cooking, walking.
Thankful for today: I am grateful to feel good, my wonderful husband, and 2 wonderful kids.
Bonus question: Are you sad that summer is coming to an end, or looking forward to the fall months?
No, I'm always ready for the next season. I'm a fall baby, so I love the change.
That's good news for me. I'll be seeing him sooner this month to check my blood work, since I'll have been on Rev for one cycle.
This week starts week 13 walking, and I'll be crossing the 90 day mark! Yeah, me!
Well well, for starters, have B finish painting. We're going on day 3 tomorrow. I finished work at 2 and dashed down to the paint store for 2 more gallons before they closed at 3pm. Plus they are closed tomorrow, so I need it to be done! It looks really great. Not sure about trim, but we are thinking about it.
So my L 1 is better, not all the way, but better. It takes a while for the inflammation to go down . Can't really tell what starts it. It hasn't bothered me in 3 months. Go figure.
walked this morning. Still smokey from our California fires. Next week starts week 13. Yeah !
1. Finish painting . Put stuff back.
5. Handle dex ,ha, ha,ha!
8. Do budget for September , including propane and firewood.
Well, even though its been a tough week with dex, lots of weird miscommunications, I was finally able to go buy the house paint. B has been prepping the house all summer. So, were borrowing a sprayer and tomorrow hopefully there will be some progress. We've chosen Strafford sage and Windsor toffee as trim. I think it'll look good a sage green. I'll post pictures when done or some of it.
Im feeling better today, but my L 1 is still inflamed limiting my walking ability and pretty much anything else. But, it feels a tiny bit better this afternoon.
Yikes! What a weird day….
Okay, this was a weird day. We're up an ready to go on our walk at 6:55, I always grab my iiPhone and small wallet that holds my license and and debit card Etc. But, its not in my larger purse. …..hmmmm ,so I think, it's probably still in the car. No, not there. I start to feel a little panicky . Ok, let's walk, and then I'm sure it's somewhere. walk, home….. No wallet. You've got to be kidding me. Then I think back to the library yesterday, there was a weird guy walking back and forth in front of the desk, to the teen area. At least six times, no it couldnt be. So I drive over to the library look everywhere , thinking maybe it fell out of my purse. No, still no where to be found. Finally 2 hours later I concede, either I lost it, or it was taken by said person in library. I just couldnt believe someone I would come behind the counter and dig in my purse for my wallet. So I call and cancel my debit card, credit card, PayPal and health card.. I'm still tearing thru the house, garbage, the car ,for the hundredth time. At 11:30 , the person working calls and says she found my wallet stuffed backed in the teen area. This is where weird guy kept walking to. I am totally stunned, I cannot believe he would come behind the counter and get my wallet out of my purse.
of course, I didn't see him so what can I say or do….but at least everything was there. I didn't have any money in there but….
I still just can't believe it… But from now on not leaving my purse on the back counter, and I'm taking the money box key with me when I shelve.
Why do people have to be such jerks about this. And I'm writing an incident report up. Not accusing, because I didn't see anything but, the incident.
Yikes, my adrenaline has been hyped all day. To weird for me and I guess I feel such a let down that someone in our sweet little library would stoop to this.


text:
Kristen Stewart Slays on Harper's Bazaar UK
-The Sept covers continue to trickle in. The latest is Kristen Stewart on Harper's Bazaar UK, which I love. Chanel did right by her with this one.
-Wait, Jenny Slate is talking about her relationship with ex Chris Evans again? In the middle of a quote about how she's trying not to overshare? I'm confused, guys.
–George and Amal Clooney have partnered with UNICEF to open schools for Syrian refugees because they're good people.
-Will Smith says he adjusted his parenting style after Willow Smith shaved her head in protest because she didn't want to continue her tour.
-Ruh roh. Summer Phoenix has filed for divorce from Casey Affleck.
–Ryan Adams threw shade at The Strokes during a Twitter rant as if that would somehow make them both relevant again.
-Karma strike: R. Kelly has had to cancel his tour dates amidst those sex cult reports.
-TIFF announced a bunch of new films today, including James Franco's The Disaster Artist, Super Size Me 2, and the Grace Jones doc.
-Speaking of James Franco, he opened up about his battles with depression in a new interview in Out.
-Say what you will about Steven Soderbergh, but he never gives a bad soundbite when asked about the state of Hollywood.
–Mel Gibson is suing the producers of his dictionary movie.
-I feel like I'm doing a lot of 'read between the lines' work with Elizabeth Olsen's comments about working with Jeremy Renner. I mean, she's worked on multiple films with him now so she must like him. But there's just something there…
-There doesn't seem to be much positive buzz surrounding Idris Elba and Matthew McConaughey's The Dark Tower, and it's not being helped by a new Variety report that suggests the production was plagued with problems because there were too many cooks the kitchen.
-I feel like Celine Dion is slowly, carefully introducing us to her new boyfriend and I'm here for it.
-I'm surprised that Amazon's alt-history response to HBO's Confederate is being met with such widespread love. Yes, a show about slaves being compensated sounds like a much, much better premise than HBO's slavery fan fiction pitch, but it's something that was conceived by a white guy (in this case, Amazon's Roy Price) and given to two black executive producers. Can't someone just adapt Alyssa Coles' An Extraordinary Union instead?
-This is a great, great feature on Lexi Alexander, director, Twitter crusader and all-around badass.
-I agree with THR's take on how being a network president is now the worst job in TV. Think of the fall season. It's already August and not one upcoming show seems to be creating buzz yet. Not. One.
-Speaking of networks, CBS sources say they offered Daniel Dae Kim a raise that would have put him within 2% of Hawaii Five-O's leads. Shouldn't have been that hard to offer him the final 2% then, no?
-Speaking of CBS, Erinn Hayes' character will be killed off Kevin Can Wait to make room for Leah Remini. I don't watch that show, but that seems extreme for a sitcom.
-Vulture has the trailer for Call Me By Your Name, which everyone fell in love with at Sundance. I'm not sure if this trailer really sold me, but Armie Hammer's voice does things to me…
–Noomi Rapace plays not one, but seven people in the new trailer for Netflix's What Happened to Monday.
-Watch Matt Damon, Julianne Moore, and Oscar Isaac tear up the neighborhood in this new trailer for Suburbicon.
-I didn't really have much interest in David Fincher's Mindhunter, the new Netflix series about getting into the heads of serial killers, but that was before I knew it lured Fringe's Anna Torv back to TV. Dammit.

redpajama_set_name: RedPajamaCommonCrawl


Guitar enthusiasts and musicians alike have long appreciated the superior craftsmanship and sound quality of classic guitars. It was with this in mind, the search for pure tone and the quality that comes from a handcrafted instrument, that HeliArc Guitars was born. Our passion for sound and quality has driven the excellence of our design, our use of high quality materials, our selection of state of the art components and our high standard of craftsmanship that we put into each and every one of our handcrafted guitars.


Shades of green, white and bits of blue with a gorgeous full coat golden purple/pink metallic Picasso finish.
Beautiful I will definitely buy more!
Beads are always as pretty as their picture. Very reliable shop. Will enjoy working with these beads :-).


Row implementation we use to pass to versionable mappings so they can set up the where conditions we need to add to update statements.
Flush the secondary row; after flushing the row is available for reuse.
Return a logical row representing an update that should be made to all rows of the given table.
Return the row for the given table and owner object, or null if create is false and the row has not already been created.
Return a row for the given secondary table.
Return a boolean SQL expression that should be added to the WHERE clause of an UPDATE to test whether the current database record matches our stored version.
Return the row for the given table and owner object, or null if create is false and the row has not already been created. The action must be one of Row.ACTION_INSERT, Row.ACTION_UPDATE, Row.ACTION_DELETE.
Return a row for the given secondary table. The action must be one of Row.ACTION_INSERT, Row.ACTION_UPDATE, Row.ACTION_DELETE. Note that secondary rows are not considered when creating the foreign key dependency graph, with can cause constraint violations when using the UPDATE action. Only use this action if the secondary row does not have restrict-action foreign keys. Otherwise use both a delete and then an insert to perform the update.
Flush the secondary row; after flushing the row is available for reuse. It will retain all previously set values.
Return a logical row representing an update that should be made to all rows of the given table. The action must be one of Row.ACTION_UPDATE, Row.ACTION_DELETE.


text:
Q: Why can't we prove that $X= f^{-1}(f(X))$ in general? Let $f:A \rightarrow B$ be a map. Let $X \subseteq A$, $Y \subseteq B$.
I saw this result that states $X \subseteq f^{-1}(f(X))$.
Well to prove that I said the following:

Let $x \in X$. By definition, $f(x) \in f(X)$. Again, by definition, $x \in f^{-1}(f(X))$. Hence $X \subseteq f^{-1}(f(X))$.

I already try a few examples of the other inclusion, i.e., $f^{-1}(f(X)) \subseteq X$ and indeed is false (we can see for example the quadratic function).
But my doubt is why can't we say the following:

Let $x \in f^{-1}(f(X))$. By definition, $f(x) \in f(X)$. Again by definition, $x \in X$.

It seems that there is something wrong with the definitions that I'm missing. What is my mistake here?
Thank you!

A: If $f(x)\in f(X)$ then you can only conclude that there is some $u\in X$ such that $f(x)=f(u)$. If $f$ is injective (on $X$), that is enough to conclude that $x=u$ and thus $x\in X$. But if $f$ is not injective, you cannot conclude that.
The function $x\mapsto x^2$ is a good example indeed.

A: Essentially, the reasoning that you have employed to prove that $f(x)$ in $f(X)$ implies that $x$ is in $X$ only works when the function $f$ is injective. Observe that $f(x)$ is in $f(X)$ if and only if $f(x) = f(x')$ for some $x'$ in $X.$ Of course, in order to conclude that $x = x'$ (so that $x$ is in $X$), we must have that $x$ is injective.

redpajama_set_name: RedPajamaStackExchange


text:
There is a unique opportunity to challenge the status quo by harvesting analytics and artificial intelligence to reinvent the traditional approach to problem solving.
Beatriz Sanz Sáiz
EY Global Advisory Data and Analytics Leader
Game-changer, thought leader in analytics and customer centricity. Named a Top Talent Executive Under 40 by AMROP, IESE and Royal House. Mom, film lover, champion for women in tech and the workforce.
Areas of focus Digital AI Analytics and big data
Office Madrid, ES
A forward-thinking professional with experience in strategy and deep knowledge in artificial intelligence and analytics, Beatriz has been a partner with us for more than a decade. She served in various roles within EMEIA and Asia-Pacific. She leads more than 9,000 professionals and is driving the strategy to infuse analytics and AI into our work.
During her career, she has also held senior positions with leading companies in financial services, where she was responsible for establishing analytics and innovation as core competencies.
Beatriz holds a master's degree in Mathematics and Statistics from Complutense de Madrid and serves as professor at IE Business School at the International Masters of Big Data & Analytics. She is regular speaker at international industry conferences and has been featured in Forbes and the Financial Times.
How Beatriz is building a better working world
Beatriz works with clients to help them navigate the challenges, opportunities and ethics behind artificial intelligence and other emerging technologies. Additionally, Beatriz is a champion for our commitment to accelerating gender parity through its #WomenFastForward platform. She also runs a nonprofit program that helps Ethiopian women gain valuable work experience and university education.
Beatriz's latest thinking
Contact Beatriz


VAIL, Colorado – Tourism is the underlying economic engine that sustains this valley.
That's what Ralf Garrison, director of the Mountain Research Travel Symposium, said at the recent Vail Valley Business Forum, and he's not the first to bring up the topic in recent months.
While the valley thrived in recent years because of real estate, it's not a sustainable economy over the long-term, Garrison said – and the national recession proves this is true nationwide.
Beth Slifer, chair of the Vail Local Marketing District Advisory Board, has been running with the idea that Vail needs to bring in more destination business throughout the entire year in order to sustain a strong economy. Real estate isn't going to keep things afloat anymore.
"I think everyone in the county is more cognizant than ever, that it's not real estate or construction, it's tourism that supports this county," Slifer said at a small gathering with Gubernatorial candidate John Hickenlooper last week.
Tourism was the primary economic driver in the valley through the 1980s and early 1990s, Garrison said. It was also the very economy in which the valley and Vail Mountain was founded.
"But the effects of baby boomers affording second homes started driving the real estate market," Garrison said.
And it was the appreciation of those homes that kept the market booming, but over the long-term it became very obvious that it wasn't able to be sustained, he said.
"At the end of the day, we need an economic foundation that is more sustainable over the long term," Garrison said.
Tourism is something that connects the entire state of Colorado, said Kelly Jean Brough, president and chief executive office of the Denver Metro Chamber of Commerce. It's going to see the benefits if the state markets and capitalizes on tourism correctly, she said.
In a sluggish economy, however, the state won't necessarily sell itself. Brough believes large-scale events, such as the Democratic National Convention, is one way to showcase Colorado to the world and bring business here.
Once people come for an event or as a tourist, they might be more inclined to relocate businesses here, or start businesses here.
The Vail Valley Partnership's Chris Romer said the immediate future, the next three to seven years, will require a shift to economic development by tourism.
Second homes are seasonal by nature, as the homeowners spend only part of their time in their second homes, meaning they're only pumping money into the local economy part of the time.
The seasonal nature of ski resorts brings some disparity to the notion that the valley needs a sustainable year-round economy, Garrison said.
Excellent service is something both the town of Vail and Vail Resorts have not let go of even as revenues are way down compared to the boom years. Both have slashed everything from jobs to benefits, but neither have cut from guest services, saying the tourists in town receiving those services are too valuable to risk losing.


text:
Public Service Broadcasting sets sail for new historical waters with "White Star Liner"
By Kira Grunenberg, September 21, 2018
Image courtesy of PIAS
Typically, as time moves forward, the easier it becomes for many events that have thus far defined the world, to recede into the past and out of quickly retrieved memory. The reality of this pattern is something that plagues human existence for better or worse; particularly when events of the present inspire thoughts of something with direct parallels. One would assume noticing such a deep degree of similarity would encourage humanity to put forth more effort into retaining cognizance of history rather than only seeking it out as a knee jerk reaction to something happening in a current moment. Then again, it's difficult to recall every minute detail over hundreds of years.
Thankfully, whether initially intentional or not, the scholarly musicians of Public Service Broadcasting have made finding motivation to remember history quite a bit easier over the past several years. After all, what could make complex world events more fascinating than a good electronic hook and some captivatingly danceable drumming? Starting in the far reaches of space in 2014 and moving to the intimate coal mines of Wales in the summer of 2017, this history sampling trio have now set sights on the high seas, one of the most famous vessels to sail them, and one of the most tragic nautical events ever to take place: The rise and fall of the R.M.S. Titanic.
Public Service Broadcasting is:
J. Willgoose Esquire (Vocals, Guitar, Synthesizer)
Wrigglesworth (Percussion)
J. F. Abraham (Bass, Electronics, Trumpet)
Offering a first look into what will be a four track EP due out next month, Public Service Broadcasting have released lead single, and EP namesake, "White Star Liner" this week. Though not the opening track of the extended play, it's fitting that the anticipatory piece chosen for this new work be one steeped in the mentality of optimism and boasting a corresponding energetic musical counterpart. Knowing that the conclusion of the Titanic's history is already a long foregone and somber conclusion, coming into a project that will revive the ship's story feels less futile and despondent if begun at a point of firm, positive reminiscence, as the band has chosen here.
"White Star Liner" is the narrative and emotional high point of the EP and is reflected as such by way of the jaunting, mind-tempo, clean but soft-toned guitar strum established by J. Willgoose Esq. at the forefront. While minimal, this opening only undergoes continuous bolstering as the track goes on. Observing the song as a whole, it ushers in an impression of subtle and very thoughtfully orchestrated mapping from beginning to end; coincidentally an impression that's not unlike the idea of a ship mapping out its journey prior to departure. A decision, for example, as seemingly minor as having Wrigglesworth initiate the punch of his syncopated, see-sawing, kick and snare four-count pattern after the completion of an audio sampling that merely says, "It was time to go," augments the imagery and mental association of a bigger, more powerful sound kicking in to really get momentum going, just like the larger engines on the Titanic.
The fact that the song seems to somewhat tread in place once past the introduction and settling down of the track's core elements and musical patterns might sound like a weakness on paper and even more so when taking note of the more than four-minute run time. However, just a slight shift in perspective can make all the difference. Consider that the focus of this chapter in the EP is the widely famed and highly praised departure of the Titanic. Then remember that the foundations of the voyage were tinted in excitement and thoughts of the ship as symbolizing human ingenuity, pride for the city of Belfast, promise for travelers seeking a new start, and a thing of engineering beauty and genius, the idea that the song's musical supplement would adapt a sort of safely stable rhythmic and chord design makes plenty of sense. The ship, upon departing the dock, was always meant to have a smooth and pleasant journey across the Atlantic Ocean to New York City and a ship undisturbed would seemingly traverse open waters in a very predictable, planned, and well controlled way. Even as distorted but mildly choral style vocals fill pockets of the music between longer, more deliberate down beats about half way through the track, there never comes a point where "White Star Liner" even dares to give the appearance of being out of control or off its well established musical path up to that point. The pace changes from short and quicker to longer and slower but again, once could imagine that being like a parallel to the recurring shift of propeller speeds and the ship glides onward.
The historically sampled dialogue in this first single is sparse; only launching the song forward after the introduction and leaving listeners to bask near the end, albeit however briefly for a decent remainder of the track, in the steady expansion of blended sounds each taking up parts of the dual legato and syncopated rhythmic motifs like many different people circling a neatly revolving door. Sustained synthesizer key tones, warm but gallant trumpet, and brief but snappy hand claps all mingle but manage to keep themselves and the song as a whole, feeling extremely organized, all the way to final 30 seconds of the end, which quiets things down, removes the frenetic syncopation, and almost signals in a way, that the ship has settled into a groove and can now calmly set off for the long journey ahead. By the time "White Star Liner" finally fades out and ends, it becomes a shame to think the dynamically peaceful, almost ambient outtro listeners are left with can't just continue to last.
"White Star Liner" is available now through iTunes, Amazon, and streaming on Spotify.
The forthcoming EP of the same name is due out 26 October for CD and digital, 7 December on vinyl.
Pre-orders are available now: CD / Vinyl.
Stay connected with Public Service Broadcasting through its official website and these social media platforms:
Twitter (@PSB_HQ)
The highs and lows of "Every Valley" with Public Service Broadcasting
"Entropy is Important" to this High Five Spaceship
The go! team cut no corners on "Semicircle"
Categories: Bands / Artists, Features, International, Reviews, Songs
Tagged: electronic music, history, J. Willgoose Esq., PIAS Records, Public Service Broadcasting, synths, UK, White Star Liner
Homework is forever: Reminder that (music) education is priceless
From Paris with Love: Alpaca Sports send mixed signals on new album


Old St. Mary's Church History Book is available. Order your copy now. Send $28 (includes handling) to: Old St. Mary's Church, c/o Historical Book, 123 E. 13th St., Cincinnati, OH 45202-7638. All proceeds go to support the Restoration Fund. Click Here for Mail Order Form.


text:
Сражение за Тель-Заатар () — боевые действия в ливанской столице Бейруте летом 1976 года. 12 июня правохристианские формирования осадили лагерь палестинских беженцев Тель-Заатар, в котором располагалась крупная военная база ООП. 12 августа, после длительных ожесточённых боёв, Тель-Заатар был взят правохристианами. Последовала массовая расправа с палестинцами. Падение Тель-Заатара во многом определило дальнейший ход гражданской войны в Ливане.

Военно-политический контекст

Политическое противостояние
С начала 1975 года в Ливане шла гражданская война между правохристианскими и «левомусульманскими» силами. К первым относились праворадикальная фалангистская партия Катаиб (лидер — Пьер Жмайель), Национал-либеральная партия (НЛП, лидер — Камиль Шамун), финикистское движение Стражи кедров (лидер — Этьен Сакер), организация Танзим (лидер — Жорж Адуан), Ливанское молодёжное движение (ЛМД, лидер — Башир Марун аль-Хури). Ко вторым — Организация освобождения Палестины (ООП, лидер — Ясир Арафат), Прогрессивно-социалистическая партия Ливана (ПСП, лидер — Камаль Джумблат), Ливанская коммунистическая партия (ЛКП, лидер — Никола Шауи).

Правохристиане консолидировались в Ливанский фронт, «левомусульмане» — в Национально-патриотические силы (НПС, также Ливанское национальное движение). Разделение проходило не только по идеологическим и конфессиональным признакам, но и по клановым интересам влиятельных семейств Жмайель, Шамун, Франжье, Джумблат. Президент Ливана Сулейман Франжье причислялся к правохристианскому лагерю. Однако он проводил политику укрепления власти своего клана, которая далеко не всегда совпадала с позициями других правохристианских организаций. Командование ливанской армии также проводило собственную корпоративную линию.

Важную роль играли внешние факторы Сирии и Израиля. Сирийский режим Хафеза Асада начал планомерную оккупацию Ливана, воспользовавшись просьбой президента Франжье о вводе войск. При этом сирийцы часто меняли ливанских союзников. Правительство Израиля и командование ЦАХАЛ поддерживало правохристианские силы.

Военная расстановка
В 1975—1976 годах основным содержанием войны являлось противостояние Ливанского фронта с палестинскими вооружёнными силами и их союзниками из числа ливанских мусульман и левых. Первым боестолкновением 13 апреля 1975 стала Автобусная резня фалангистов с активистами-боевиками ООП и НФОП. Крупные военные базы ООП располагались в лагерях палестинских беженцев. Крупнейшим из них был лагерь Тель-Заатар (допускается также написание Тель-аль-Заатар, «Душицын курган») в Восточном Бейруте. Палестинские лагеря в Восточном Бейруте имели важное стратегическое значение и представляли чрезвычайную опасность для обороны христианских ополченцев.

Тель-Заатар примыкал к христианским кварталам Мкалле и Декване и находился возле одной из важнейших дорог, соединявших Бейрут с Горным Ливаном. Лагерь Джиср-аль-Баша, располагавшийся возле христианского района Хазмие, перекрывал шоссе Бейрут—Дамаск и угрожал христианским защитникам бейрутских районов Фурн аш-Шубак, Шиях, Айн ар-Руммана. Лагеря в районах Син эль-Филь, Набаа и Карантина окружали основные пути между христианским районом Ашрафия и Горным Ливаном, угрожая снабжению христианских милиций как вдоль береговой линии, так и по горным дорогам. Лагерь Дбайя, находившийся неподалеку от города Джуния, военного значения не имел, но являлся важным наблюдательным пунктом палестинских боевиков в самом центре зоны контроля фалангистов. Жители кварталов по соседству с палестинскими лагерями на протяжении долгого времени подвергались насилию, грабежам, рэкету.С началом боевых действий из палестинских лагерей вёлся артиллерийский обстрел христианских кварталов Бейрута.

30 мая 1975 года палестинские боевики убили от 30 до 50 христиан в Западном Бейруте в отместку за гибель одного палестинца в деловом центре города. 6 декабря 1975 в ответ на убийство четырёх христиан-маронитов боевики-фалангисты устроили «Чёрную субботу» — убийство нескольких сотен палестинцев и левых. 18 января штурм правохристианами палестинского лагеря в бейрутском районе Карантина закончился резнёй. В ответ 20 января формирования ООП в союзе с суннитами из насеритской милиции Мурабитун учинили резню христиан в Дамуре.

Правохристианское руководство приняло политическое решение о ликвидации палестинских лагерей в Бейруте. 14 января был захвачен лагерь Дбайя 29 июня 1976 объединённые силы Катаиб, НЛП и «Стражей кедров» с боем захватили лагерь Джиср-аль-Баша. Основные силы стягивались к Тель-Заатару.

Осада и штурм

Стороны
Население Тель-Заатара составляло, по разным оценкам, от 20 до 50 тысяч человек, в большинстве своём палестинских беженцев. Там находились около 1,5 тысячи боевиков, принадлежавших к радикальному крылу ООП. За время боёв их количество увеличилось до 2,5—3 тысяч. Общая численность правохристианских формирований также составляла порядка 3 тысяч. Лагерь был вооружён и укреплён с помощью сирийской армии, так как рассматривался в качестве бастиона против Израиля.

По военному потенциалу противоборствующие силы были примерно равны. Однако на стороне правохристиан выступили правительственные и сирийские войска. Сирийцы не принимали непосредственного участия в осаде и штурме, но блокировали подступы к лагерю, исключив возможность помощи Тель-Заатару извне. Кроме того, по воспоминаниям Фуада Абу Надера, они оказывали консолидирующее влияние на правохристианские силы. Таким образом, войска Хафеза Асада выступали фактическими союзниками правохристиан, находившихся в фактическом союзе с Израилем. Это объяснялось партнёрством Асада с Франжье и стремлением сирийцев устранить конкурента за влияние в лице ООП.

Правохристианские формирования формально не имели общего командования. Однако преобладание Катаиб обеспечило наибольшие полномочия руководителю фалангистской милиции Уильяму Хауи. Войсками Катаиб командовали Уильям Хауи и сын Пьера Жмайеля Башир Жмайель, национал-либеральным ополчением (Милиция Тигров) — сын Камиля Шамуна Дани Шамун, «Стражами кедров» — Этьен Сакер, «Танзимом» — Фуад Шемали и Жорж Адуан, отрядом ЛМД — Башир Марун аль-Хури. Войсками ООП командовали Салах Халаф, Ахмад Джибриль, Наиф Хаватме, Жорж Хабаш. Верховное командование осуществлял Ясир Арафат.

Камиль Шамун характеризовал сражение за Тель-Заатар как столкновение правых антикоммунистических сил с ООП и её левыми союзниками.

Осада

Боестолкновения начались с 4 января 1976 года. Тель-Заатар был окружён бойцами Танзим и Ливанского молодёжного движения, которые тем не менее оставили свободным выход в сторону городка Алей, находившегося под контролем союзной ООП милицией друзов. Однако командование ООП воспрепятствовало попыткам покинуть лагерь. Отряды ООП сумели отбить первые атаки, но попытку палестинского контрнаступления остановили фалангисты 7 января. Полномасштабная осада началась 22 июня.

30 июня наступающие применили четыре танка и сумели закрепиться на окраинах Тель-Заатара. Обе стороны вели интенсивный ракетно-артиллерийский огонь (за 52 дня по Тель-Заатару были выпущено 55 тысяч снарядов). Предложение сдаться Арафат решительно отверг. Боевиков, желавших сдаться или бежать из лагеря, убивали выстрелами в спину.

5 июля отряды ООП в союзе с радикальной мусульманской группой Джундаллах начали наступление на города Шекка и Хамат к северу от Бейрута. Были совершены убийства гражданских лиц, принадлежащих к христианской общине — несмотря на то, что местное православное население было традиционно лояльно к союзной ООП Сирийской социальной националистической партии. Это вынудило командование Ливанского фронта снять часть сил с осады Тель-Заатара и отправить на помощь Шекке. Ожесточённые бои в этом районе завершились лишь 10 июля. Правохристианам удалось отбить палестинское наступление и загнать противника в Триполи, едва не ворвавшись в город. Мусульманская деревня, находившаяся под контролем «Джундаллах» была сожжена наступавшими правохристианами. 8 июля НПС в Бейруте попытались атаковать правохристиан в порту — с той же целью отвлечения от Тель-Заатара. Но эту попытку подавили местные фалангисты. К осаде Тель-Заатара подключились армянские формирования. Общими усилиями правохристиане начали прорываться в некоторые кварталы лагеря.

13 июля выстрелом палестинского снайпера был убит Уильям Хауи. Командование силами Катаиб принял Башир Жмайель.

Положение палестинского гражданского населения ухудшалось по мере разрушения внутренней инфраструктуры лагеря. Возникла острая нехватка питьевой воды и продовольствия, что привело к голоду. По утверждениям палестинского источника, палестинские беженцы даже обратились к мусульманским богословам с призывом издать фетву с позволением употреблять в пищу тела убитых, чтобы избежать голодной смерти. С 20 июля началась эвакуация из Тель-Заатара гражданских лиц при посредничестве Красного Креста и ЛАГ. Появилась информация о гуманитарной катастрофе в Тель-Заатаре. Особое значение имело обрушение перекрытий в многочисленных бункерах и подземных тоннелях. Камаль Джумблат запросил для жителей лагеря срочной международной помощи. Правохристианские командиры приостановили военные действия. Несколько дней велись работы по расчистке завалов и спасению беженцев. В общей сложности эвакуировались более 10 тысяч человек.

В последние дни июля правохристиане вновь вступили в переговоры с ООП о сдаче Тель-Заатара. Однако палестинское командование категорически отказывалось, несмотря на очевидную безнадёжность положения осаждённых.

Штурм и захват
6 августа фалангистами было сломлено сопротивление палестинцев и НПС в бейрутском шиитском квартале Набаа. Эта территория оставалась единственным каналом связи Тель-Заатара с внешним миром. В падении Набаа обвинялись дезертиры из просирийских групп, в частности, шииты, лояльные имаму Мусе ас-Садру. Кольцо вокруг лагеря окончательно замкнулось. Палестинские боевики вылили большое количество горючего и пригрозили «забрать штурмующих с собой в пылающий ад», отвергнув последнее предложение капитуляции.

После этого правохристиане начали последний штурм. Часть горючих материалов была подожжена, но наступление развивалось быстро, и полностью этот план не был приведён в исполнение. 12 августа 1976 правохристианские войска прорвались в Тель-Заатар. Началась жестокая резня, жертвами которой стали от 2200 до 4280 человек — фалангисты мстили палестинцам за убийства христиан в Дамуре, Шекке и других местах. Лагерные постройки правохристиане снесли бульдозерами. Оставшихся жителей переселили под контролем Красного Креста в захваченный палестинцами в начале года Дамур.

Когда Арафат приехал в Дамур, чтобы навестить выживших жителей Тель-Заатара, его забросали камнями и гнилыми фруктами. Весной 1978 года палестинские полевые командиры Абу Ахмад и Абу Имад, непосредственно руководившие обороной Тель-Заатара, были схвачены и казнены по приказу Арафата.

Значение в войне

Сражение за Тель-Заатар стало самым кровопролитным эпизодом ливанской гражданской войны. Существует мнение, согласно которому руководство ООП во главе с Арафатом сознательно, не чураясь даже откровенных провокаций, шло на военное поражение и даже резню в Тель-Заатаре. Расчёт строился на политический выигрыш от сочувствия мировой общественности. В определённой степени это удалось — действия правохристиан при захвате Тель-Заатара поныне расцениваются как военные преступления.

Падение Тель-Заатара серьёзно подорвало военную мощь и политическую инфраструктуру ООП. Это явилось очевидным успехом правохристианской стороны. Однако полностью вооружённые силы ООП в Ливане не были ликвидированы до израильского вторжения в 1982 году.

Лето 1976 года относилось к «идеологизированному» периоду ливанской гражданской войны. Грань между правохристианскими антикоммунистами и «левомусульманским» блоком пролегала тогда достаточно чётко (характерно упомянутое высказывание Камиля Шамуна). За боями в Тель-Заатаре напряжённо следили политические и пропагандистские инстанции СССР, падение лагеря определялось как успех ультраправых антикоммунистов (роль Сирии при этом всячески затушёвывалась). С 1977—1978 ситуация изменилась: кровавая междоусобица между правохристианами, вооружённые столкновения сирийцев с палестинцами и НПС стали неотъемлемыми характеристиками войны.

Примечания

Ссылки
 Video: Tell el Zaatar le 12 août 1976

Гражданская война в Ливане
Сражения в Ливане
Массовые убийства в Ливане
1976 год в Ливане
Конфликты 1976 года
История Бейрута
Июнь 1976 года
Июль 1976 года
Август 1976 года

redpajama_set_name: RedPajamaWikipedia


Slowly but surely, Spook Central is showing its cards. Spook Central is the national security state – from the NSA to the CIA to dozens of intelligence manifestations woven through the federal government.
In 2010, the Washington Post, the former crown jewel of Operation Mockingbird, the CIA takeover of corporate media, reported there were at that time 1,271 government organizations and 1,931 private companies in 10,000 locations in the United States working feverishly on the grand ruse that is counterterrorism, homeland security, and intelligence. According to the Post, the so-called intelligence community, more accurately a monolith rivaling anything created by the former Soviet Union or East Germany's Stasi combined, in toto includes 854,000 people holding top-secret clearances.
Now we learn that the CIA is "secretly" – secret because it is posted on the New York Times website – collecting financial transaction records from the likes of Western Union under the Patriot Act. This is the same law exploited by the NSA. This massive violation of the Fourth Amendment is overseen by the secret FISA court, its very existence a magnificent violation of the Constitution.
There is no shortage of terrorists to go around. In 2007, the Inspector General of the Justice Department reported that the FBI's Terrorist Screening Center database contained over 700,000 names and the list was growing at a whopping 20,000 names per month. In other words, the list now has well over a million names. So there is a lot of financial data for the CIA to sift through and pass on to the rest of the departments at Spook Central, including your local cop shop and the FBI where the CIA has long maintained a presence.
The CIA has thus far "declined to confirm whether such a program exists, but said that the agency conducts lawful intelligence collection aimed at foreign — not domestic — activities and that it is subject to extensive oversight." The intelligence committees in Congress are naturally subject to "give and take," in other words the most secret stuff remains secret and, at best, a few vetted and trusted souls high atop the committee hierarchy are privy to the scratched surface of the national security state. Before Edward Snowden, the NSA also said it only snoops on the communications of terrorists in caves.
Of course, none of this is news. It's just that the CIA wants you to know about it now. It sort of concentrates the fear and paranoia factor on the coattails of all those numbing NSA revelations. Back in 2006, when nobody really gave much of a hoot, it was discovered that the CIA was in bed with Western Union. "Western Union had twelve thousand offices across the globe, thirteen hundred in Pakistan alone. There was no country more important in battling the terrorists," an FBI official said according to that good old thorn in the government's side, Cryptome.
Then there was all that mischievous behavior back in 1945 when military "SIGINT operatives met with representatives of the three main telegraph companies – ITT World Communications, Western Union International and RCA Global (both now part of MCI Worldcom) – starting Operation Shamrock, a 30-year illegal coordinated program to spy on the electronic communications of American citizens," as James Bamford told The Age in 2002.
The telegraph companies each night packaged up the day's transmissions and handed them to operatives who sent them to NSA headquarters in Virginia [actually Fort Meade, Maryland] for analysis. During the Vietnam War the NSA used the information gathered to compile a watch-list (Codeword: MINARET) of more than 600 "dangerous" Americans, including folksinger Joan Baez, pediatrician Benjamin Spock, actress Jane Fonda and civil rights campaigner Dr Martin Luther King. The NSA claims in 1974 it destroyed files on more than 75,000 other Americans it illegally collected during Shamrock.


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Going on an Ayurveda diet can be an effective and healthy way to lose weight fast and boost your body's defenses.
What is an Ayurveda Diet?
An Ayurvedic diet is one based on the ancient traditions, herbs and recommended foods of Ayurvedic medicine, which originated more than 5,000 years ago in India. Ayurvedic healing remains an important part of Indian culture and has also spread to other parts of the world. It is a comprehensive system of healing that is customized for each practitioner based on their dosha, or specific body type. The ultimate goal of an Ayurvedic diet is to avoid foods based on your body type's specific needs and change your food intake based on seasonal changes. This is said to affect a person's energy levels and also encourage self-healing. Working with an Ayurvedic practitioner is highly recommended to design your specific Ayurveda diet plan.
What are Ayurvedic Body Types?
There are three Ayurvedic diet types, vata, kapha, and pitta, which will define the particular approach one takes to this diet.
If you have a vata constitution, you will tend to be on the slender side, but will often suffer from digestive problems. You are often a creative person, but also one that is prone to mental stress and anxiety. Common health problems for vata individuals include neurological disease and heart disease.
A kapha constitution is defined as having a medium-sized body composition, and are often athletic or in good control of their body weight. Typically competitive, athletic, and aggressive, this body type is also susceptible to heart disease and infections.
Pitta, the final body type, is typically a person who struggles to control their weight and body image. While they may be supportive and loving, these individuals often suffer from a lack of motivation and sadness. They are also prone to cancer, obesity, and diabetes.
If you want to follow an Ayurveda diet, you will first need to determine which body type diet you should be following; after that, these simple meal plans can help you align your energy with your dietary intake.
The many benefits of an Ayurvedic diet include its ability to aid in weight loss, improve mood, relieve jaundice and lower your risk of diabetes, among others.
This type of diet also encourages eating more organic food that is free from any chemicals and pesticides.
Although there are clearly many potential benefits, there are also some side effects to using an Ayurveda diet, including gastrointestinal distress, particularly when first changing your diet. Furthermore, Ayurvedic medicine is known as a complementary and alternative medicine and should be used in conjunction with more formal medical advice, particularly if you suffer from a chronic health condition.


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Oh My Kadavule Movie Review: Ashok Selvan And Ritika Singh Star In A Likeable, Yet Messy RomCom About Messy Relationships
What Ashwath Marimuthu does with OMK is define the gap that separates friendship from love.
Vishal Menon
13 Feb, 2020, 12:42 pm
Director: Ashwath Marimuthu
Cast: Ashok Selvan, Ritika Singh, Anu Bhojan
If the 2000s belonged to a set of filmmakers inspired by the likes of Balu Mahendra, Mahendran and Mani Ratnam, it looks like the 2020s will go to a class that has passed out of the Vetri Maaran–Selvaraghavan–Gautham Vasudev Menon School of Cinematic Complexities. Oh My Kadavule (OMK) even begins with a dedication to GVM; but his influence over this year's Valentine's Day release extends mainly to the film's surface-level detailing.
For instance, one of the film's seminal scenes plays out over the theme of Minnale (which is playing on TV/radio). A character is defined by the most Menonesque of vocations…boxing, while another works as one of GVM's assistants (he even gets a cameo). And when the lead gets confused in love, he doesn't kickstart his bullet to ride all the way to Ladakh seeking romantic enlightenment. He chooses to just 'Aaromale' his way through Kerala. This confusion itself fits right in, because he's torn between his feelings for a) a Christian girl and b) a girl's that older than him. Also obviously, the protagonist (Arjun, played by Ashok Selvan) is an engineering graduate who nurses dreams of a career in cinema.
At least that's the first impression you get from OMK when it begins in a bar (not a coffee shop) with a proposal where Anu (Ritika Singh) asks Arjun if he will marry her. But this moment is not the culmination of a timeless love story nor is it a statement on female empowerment, with the woman doing the proposing. 'Why can't two best friends get married?' is the question that's driving this proposal. If 'why not?' is all you've got as the answer, that's what the first half of OMK looks like.
What director Ashwath Marimuthu does with OMK is define the gap that separates friendship from love. In other words, it's not about 'Who you can live with'. It's more about 'Who you can't live without' and he shows you the distinction between the two. For this, Ashwath replants the Hollywood classic It's A Wonderful Life within the mould of a Tamil romcom to show us two outcomes of the same scenario. And if Frank Capra's fantasy begins with a man on the verge of suicide, what we see here is a man on the verge of divorce, after having married the 'wrong' girl. But the question is, would he do it differently if he were given a second chance?
What this narrative structure allows for is a series of great echo scenes. But before that, we get a series of cliches on what comprises a bad marriage, which takes us most of the film's first half. This is where the writing remains the weakest, hardly displaying the level of perceptiveness and the maturity we see later. So we get scenes like the husband making fun of the wife's rock-hard dosa that ends with him telling her that it doesn't come close to his mother's. We then get the other cliche of the man's overall embarrassment at having to work for his wife and his father who runs a business Arjun has no respect for. Matters like the couple's sex life, or the lack of one, too are just tossed in without really meaning anything.
Even the tone here is just as problematic, with the film struggling to make up its mind on whether it wants to a be a serious divorce drama filled with silences like Marriage Story (we even get two super-indulgent single takes) or a silly and loud loveless comedy like the first half of Atlee's Raja Rani.
But as you go along, thanks to the aforementioned echo scenes, you realise at least some of this is by design. So the emotional disconnect you feel with the whiny Arjun and the lifeless Anu is intentional because we're only seeing one half of what's essentially a two-part scene. Little things like how he calls her a 'Noodle Mandai', or what Arjun uses for an audition scene and even the height of Anu's heels come back nicely to reveal expected treasures in a film you had almost given up on. Of course, there are constant missteps like a tasteless scene set in a Kerala lodge and an awkwardly staged scene between another couple, but there's always some clever bit of writing that charms you right back into the film. It's no classic romance, but as far as our Tamil romcoms go, that too for a film designed for the Valentine's Day weekend, OMK is not half bad…the second half I mean.
Ashok Selvan
Vani Bhojan
Ashwath Marimuthu
Ritika Singh


Canon has announced a the EOS C100, a 'budget' addition to its Cinema EOS range of professional video cameras. Designed for independent videographers, the C100 offers the same core technology as the C300, including its 8.3MP Super 35mm image sensor, in a smaller package. Its EF lens mount means it's compatible with all of Canon's SLR lenses, as well as the company's specialist Cinema EOS optics. The C100 records 1920 x 1080 Full HD movies to SD cards at a bitrate of 24Mbps, offers an ISO range of 320-20000, and can output uncompressed video directly to external recorders. It will be available from November 2012 at a price of $7,999.
London, UK, 29 August 2012 – Canon today adds to the Cinema EOS System with the launch of the new EOS C100 – a compact, versatile interchangeable-lens professional video camera designed for independent videographers. Based on the core performance of the acclaimed EOS C300, the new model combines impressive hardware specifications with a range of new automatic features – making it ideal for professionals who shoot without a crew, or EOS videographers entering the Cinema EOS System for the first time.
range and proven low light performance, while extensive NLE support makes it suitable for a wide range of users and production purposes. With Canon's EF mount users have immediate access to over 60 class-leading EF lenses, as well as the freedom to experiment with the company's expanding EF Cinema Lens line-up.
Designed to offer leading quality and portability, the EOS C100 features a specification designed around the needs of single operators. Its advanced imaging system utilises the widely-used AVCHD codec, with the CMOS sensor recording 1920x1080 (Full HD) resolution video to SD cards1 at 24Mbps with 4:2:0 colour sampling – delivering sharp, vivid, professional-quality video. Uncompressed video can also be output directly to external recorders via an integrated HDMI terminal, complete with embedded timecode data.
As well as full manual control, the EOS C100 integrates a range of new automatic features to support independent operators such as documentary makers or news shooters. A new One Shot AF button enables users to instantly check focus, with the central image area automatically checked prior to recording. Push Auto Iris evaluates exposure and makes any required adjustments before shooting, while new Auto White Balance uses the power of Canon's DIGIC DV III image processor to detect and balance colour information – allowing operators to focus on the story in front of them.
or resolution of footage before transferring or web hosting.
users to enjoy both versatility and comfort – even during all-day use.
A large, high quality 8.8cm (3.5") Vari-angle LCD is situated on the rear of the camera body, which can be manoeuvred to offer easy access to a range of function buttons situated behind the display. An adjustable handgrip also offers DSLR-like ergonomics during handheld shooting, and can be removed altogether for shooting in tight spaces or as part of a multi-camera rig. The camera's button layout also has been designed taking user feedback into account, with all recording buttons now featuring red markings for added convenience during shooting. Up to 15 assignable buttons also provide high levels of customisation, allowing each user to optimise camera operation to suit their own requirements.
The EOS C100 also offers professionally-optimised audio and connectivity, supporting the capture of Dolby Digital AC3 or 16-bit Linear PCM audio at 48 kHz – the high quality signal required for professional broadcast content. A stereo microphone is built into the camera's detachable handle, alongside audio control dials and two XLR terminals which enable users to connect to external microphones and other sources. The camera also features a new lockable HDMI terminal that ensures cables remain securely attached to the input during shooting2.
In addition, Canon's hugely-popular EF lens series for DSLRs offers virtually unlimited creative freedom, with options to meet any budgetary requirement. The EF-S range comprises a selection of compact, lightweight zoom lenses that merge high image quality with affordable pricing, while the full-frame EF lens line-up offers outstanding quality and flexibility – utilising luxury, class-leading optics in a range of focal length options ranging from 8mm to 800mm. Since the launch of the EOS System in 1987 over 70 million EF lenses have been manufactured, a measure of the system's unparalleled quality, popularity, and ability to meet the needs of all kinds of photography and video users.
How would this compare to the 5dmk3 for video ?
I'm hoping that the Black Magic camera breaks the hegemony that keeps the prices for these cameras so high. I wonder what the profit multiple is? I would think new R&D costs are fairly low at this point in the digital imaging life cycle.
For my taste Canon is lately focusing too much the video business.
Right, video is a fad and will be gone soon. Who in their right mind would sit and watch videos ?
1. Canon does not manufacture 3-chip camcorders. Not even 3-chip still cameras, as far as I know. Almost nobody else out there do those any more, anyhow.
2. The EOS C100 is not a cinematography camera. Rather, it is a standard video camera that can record standard 1080p video at a maximum frame rate of 30fps, and use the consumer-grade 24Mb/sec AVCHD codec. You can get hundreds of digital cameras that can do all this as well, some priced as low as US$100-200.
3. I would love to see the rate cards of wedding guys buying this camera with the lenses and accessories for around $20,000 and try to have a decent ROI on their purchase.
4. By the time you put on the top handle, something you need to do if you also want to record audio and not just video, you will be at 3 pounds of weight or more w/o the lens. Not exactly "light weight" in most folks' books for a 1080p30 video-corder.
But otherwise -- I'm all with you on this, DonnieG.
And Sony, Panasonic, Ikegami, etc. all make 3 chip cameras..which are still the standard in professional videography.
Regarding the second point, the C100 is for narrative filmmaking, not a "standard video camera." With a "standard video camera" you have zoom and auto-focus lenses.
The target market for a camera like this is schools, independent film, documentary work, B camera, etc.
Thanks Shogi for clearing that up for us. Now, as for my referring to the C100 as a cinematography camera, I chose to use that term based on the size of the camera's super 35 CMOS chip as compared to the tiny chips used in traditional video gear. So now, in additional to having extensive lens choices for professional one person video applications, the camera can offer up cinema quality depth of field control, and comes complete, right out of the box with everything you need to start recording, once you attach your favorite lens to the front and load your SD media. No cages or add on power sources or accessory monitors required. I find that significant for the price, others might not. But then I'm looking for results beyond the typical facebook, etc., post.
Like I said before, Shogi.... Canon does not make/sell any "3-chip" cameras now. Nobody else does, either. It's a single-chip CMOS world out there now, you know.
Nor do the others you had mentioned. Sorry. They WERE making them before, so you are partially right, I suppose.
Best get an ILC or DSLR for under $1,000 -- they all can do 1080p at 30fps to a 24Mb/sec AVCHD codec. No reason to pay a $7,000 surcharge for the Canon name. Just my 2 cents' worth, mind you.
If Francis Carver had bothered to read from the Canon pro camcorder product page he would have discovered that Canon has no less than four 3 chip cameras. They are the XF305, XF300, XHG1S, and XHA1S. All currently in production. Now just maybe Francis lives in a country where Canon doesn't make these products available. If that's the case, then of course he wouldn't be aware of these high end Canon products.
Hi to all. I am sorry if I am wrong but I take it that Donnie G is not a videographer yet. Probably a photographer already. If that is the case, I am afraid that his comments are somehow out of place. Excuse me for being too direct, but I am fed up with slideshows passing as videos. Still photography is an art in itself, but it is definitely NOT video. Video is totally different than photography. Both are equal unique and fantastic though.
With you on that, Amandecido.
It is fantastic that some folks out there would take a single CMOS sensor camera to be a 3-chip camera, like it was a 3-chip CCD sensor with prism something from the glory days. Wow.... But I guess some of us pick our cameras based on the number of chips it has, that must be it, surely. The more, the merrier, as that thinking goes.
Talking about overpriced cameras... Bunch of people here stated the alternatives and stil some people keep talking about 1lbs less, when obviously this kind of camera (and the competition) will be put on rigs and handled by a team. No excuses, Canon is charging premium and sadly, some people will pay just for the brand.
But the only good thing I can see here, is the new lenses. Geez, those are gorgeous lenses.
Blackmagic Cinema Camera. 2.5K RAW. Yes, RAW! 13 stops of DR. Full copy of Davinci Resolve. Canon, Zeiss lenses. Use standard SSDs instead of custom media. $3,000. No brainer.
Seems like Blackmagic Design is once again promising that they will indeed make at least a few dozens of the camera you are talking about, but after setting various delivery dates this year and breaking all of them, I would not hold out much hope for the BCC to actually happen. You know, for real.
Cameras are already going out for reviews. Shipments are to begin Tuesday, September 4.
It should be worth the wait!
my friend at Singapore have already received one unit of Blackmagic, done the unboxing video and now working on reviewing video. I'm sure Blackmagic Cinema Camera is just days away.
Main problem with the Blackmagic camera seems to be, since it has a totally one-off, and rather smallish sensor, there isn't a single lens matching it for coverage. Fisheye and UWA perspective shooting will not be possible with the BCC, unless some optics mfr will come up with something designed specifically for it.
Also, it looks like an oversized P&S, ergonomics on it are totally lacking, and so is the viewfinder, come to think of it. But I guess it is at least cheap -- if you consider US$3,000 cheap.
So, the latest "deadline" for shipping it is September 4th? Wow, back at NAB they told us it's gonna ship in June.
It never ceases to amaze me when people talk about the Quote: "WHOPPING weight of this or that. I have seen guys (wimps) stating Oh this camera is 7 grams lighter than X weighing 234 Grams!
The population is becoming very Fat & very weak indeed!
"I'll just have a small coffee thanks, I can't lift a big cup all by myself!
Price on this latest, boldest Canon attempt at overtaking Hollywood (EOS C100) is exactly the same as what the Sony price is on the NEX-FS700. To the penny. Little bit way too suspicious, I should think.
And whereas the EOS C100 by Canon can only do regular HD at a maximum frame-rate of 30fps, and is handicapped by a consumer-grade 24Mbit codec, the Sony camera can record 4K via a connected 4K recorder, can record perfect quality Full-HD slow-mo at 240fps, and has a 28Mb/sec recording codec. Oh yeah -- the Canon does not even have an HD-SDI jack, it seems, whereas the Sony FS700 does.
Also, since the EOS-C100 seems to do exactly the same thing for $8,000 than what the Canon EOS C300 does for $16,000, who will be a total fool after this time to spend $16,000 for a C300, when they can get this basic C100 for half the price exactly, I wonder?
Where's the proffessional 50Mbps 4:2:2 MXF format?????
All professional external video recorders use the locking HD-SDI interface (via locking BNC jacks), something that this Canon EOS C100 cannot seem to do, since it only has a consumer-style HDMI jack.
Also, it is pretty lame when you need a tethered external recorder in the year 2012 just to record regular HD video.
Probably a dumb question, but how does 1920x1080 relate to 8.3MP? 1920*1080*Bayer filter would be 8.3M sub-pixels, but only 2.1M pixels, yes?
Yes, I understand there are 8.3M sub-pixels, once you add all the R, B, and G.
But for "normal" cameras no-one counts sub-pixels (i.e. R + B+ G + G), they count full pixels, yes?
For a still camera, they don't count "sub pixels" -- a pixel is a pixel, and half of them are G, 1/4 are B, and 1/4 are R. They then apply a demosaicing algorithm to assign RGB values for each pixel by doing the appropriate interpolation to calculate what the "missing" color values should be for a given pixel are given the values of the nearby pixels with those colors.
If all you need is 1080P, though, you can take your 2x2 array and assign that to one final pixel, using the R, (G1+G2)/2, and B values without having to interpolate. It's probably a little more sophisticated than that, but that would be the general idea I think.
OK. Sorry if I'm not getting it, but the article and sdyue are referring to this as an 8.3MP sensor, whereas 192081080 only requires 2.1MP. So presumably, each "pixel" in the 192081080 image is made up of a 2x2 set of pixels from the sensor, i.e. 4 full pixels, which are made up o 16 "sub-pixels" (whatever the correct term is) of 8x G, 4 x R, 4 x B.
Is there a benefit to doing it that way, as opposed to building a bespoke sensor with 1920x1080 relatively huge pixels? I guess doing it this way, a firmware upgrade might give the capability f taking 3840x2160 images or video.
To reduce moire, there is a low pass filter in front of the camera chip, making sure that light that would normally hit 1 pixel alone is spread around- approximately four. By having 4 times the pixel count, you counter the effect of low pass filtering almost completely, giving perfect sharp pixels at 1920x1080.
As to who will buy this? Cinema rentals will buy it. Look, it is totally a budget deal if you think about this, you can have the c100 and tons of lenses. Instead of paying 20k for a lens you can get a great lens for 1k-2k for the canon system.
Fantastic for budget features and advertisement.
Just get an HDSLR or a mirrorless digital camera for $600 to $3,500, and you can use the same $1,000-$2,000 photo lenses on them that you are talking about, LaFonte.
When you have budget constraints, none of these Canon Cinema cameras and lenses and external recorders will be particularly budget-friendly for the non-Hollywood producer, I fear.
Where I come from everybody is renting cameras for any production. Nobody wants to own anything these days because different production has different needs, things go old very quickly, so you simply rent what you momentarily need.
Actually as a rental, this canon would be very much non-Hollywood producer budget-friendly and great and cheaper alternative to Red with far more lenses choices.
You must be coming from Los Angeles, New York, or perhaps Chicago (if you are in the USA). In the rest of the country, it is a good idea to actually own a camera, so when you need to shoot something, you have the means to do so.
Why would anyone buy this when there is FS700 for that price?
"Who wants a WHOPPING 3.7 lbs Sony FS700 [w/o LENS] "
Anyone who wants a better camera than this Canon for the same price? FS700 outspecs in most way. 1080p 240 fps vs 24/25/30p and 50/60i frame rates .
Even Nex-5R has better video specs than this Canon .. and yes that's smaller too.
"Even Nex-5R has better video specs than this Canon .. and yes that's smaller too."
You really have no idea whatsoever what you're talking about do you? You may be getting hung up on frame-rates, but a NEX-5R has nowhere near as good specs as a C100 or C300, nor is it's IQ anywhere near the Canons. Shooting documentary with no crew, a C300 or the new C100 would be a superb choice.
who cares about the 1lb.. these cameras are going on rigs and tripods. the external audio solution alone would weight more than 1lb. geez.
Only Canon knows what luxury it is that this camera is utilising. And class-leading ?
Canon "L" lenses are their "pro" models, while it is debated from time to time it is generally acknowledged that "L" stands for luxury. So as it turns out Canon, myself and I am sure many others know what sort of luxury the camera is utilizing; luxury glass.
As for you question, are you asking what class leading means or how the statement is justified? In meaning, it suggests one of more of the specs of the lens are better then or as good as the best examples of those models that share its "class". Generally meaning models that share a similar price and intended use. As for justification, that's easy if it fits the meaning of the statement in any way then it is justified. This is generally true of all logical claims based on empirical and measurable results. This is also generally easily proven or disproved with a little research. It is important to remember that for the claim to true you need only find evidence of at least one class leading spec, regardless of overall performance.
Luxury glass -- check. I hope it also comes with Corinthian leather -- another luxury feature I grew to love and demand over the years.
Re. the "Class Leading" part -- AFASIK, the Canon EOS Cinema line-up has no competition, sine the other manufacturers' similarly priced professional video cameras all offer higher resolution, better codecs, and so on.
Check into Panasonic, Red, Sony, etc.
Corinthian leather; agreed that would be best. In a brighter future perhaps more furriers will be involved in lens and camera design as well. Could put you of risk of getting a dab of red paint on the equipment but well worth the risk.
The original statement was "class leading optics". I am sure you know this as you are a individual of discriminating taste, but optics can at best only affect resolution not define it. That is why we don't see 20mp lenses. Codecs are even further removed from this equation. Hence there are not any (AFASIK) lenses marketed as AVI compatible (I know that is not strictly speaking a codec, but I am sure you get my point). Codecs and resolution are features of a digital camera recording body and not the optics of the system.
Thanks for your advise on other cameras to check into but I am not really in the market for a cinema camera. Film making is not something I do.
how come their "Luxury" glass line-up looks more utilitarian and no bling anyways?
Sure. But many film makers also do slow motion by lowering the rate to 24... Many much lower priced cameras with interchangeable lenses does 60p... You lose 50% of the detail, especially when you also add x2 tweening. The point was, why did Canon miss that, especially at that price? True, the 35mm large area sensor is an IQ win, but why miss out an otherwise easy-to-implement but very useful when you need it feature? This is quite frustrating since it has most of the features I want but misses out on the simple ones that I *need*.
"Film makers" use FILM cameras. Some videographers might end up using these strange-brew Canon jobs, however.
You should check up on how many 'films' are shot on real film these days.
The vast majority, some 80 percent of "films" are still shot with film cameras, of course. With the digital jobs, the results are iffy and the quality questionable.
With film acquisition, you can create a 4K, 5K, even 8K scan today, plus you can scan in the camera negatives 50 or a 100 years from now for even better results.
Just look at films and TV shows that were shot with video cameras in the 1960s, 1970s, 1980s, 1990s. Most of it look like hell.
Not really, film makers will always use film. It's never obsolete. On the other hand, even if they can afford to buy equipment like this, they wouldn't skimp by buying a budget model. This model is for 5D Mark II or 1D owners to "upgrade" to if they use their cameras more for cinematography.
With the expected $1,100 priced Panasonic Lumix DMC-GH3 being able to record Long GOP video at 50Mb/sec and Intraframe at 72Mb/sec in-camera, there will be few fools buying a maximum 24Mbit/sec AVCHD camcorder for EIGHT THOUSAND DOLLARS.
Canon has perfected the art of making a company look totally ridiculous. Greedy as hell, too.
Just 50i/60i at $7999? No thanks.
... and suddenly, family jewels of 5D and 1D owners are getting smaller.
How come DPR did not post the Sony EA50 NEX camera that was just released. Not to mention the 18-200 power zoom. Maybe if they had issued a press release under the CANON name, they would have made it.
Considering that the top items on dpReview right now are the Sony NEX-5R announcement AND the dpReview hands on of same, I'd say your CANON "would have made it" conspiracy theory is indicative of some personal problems, which you really should not be airing in front of other people, especially in a large online community.
So, it makes more sense to present a 30,000$ cine camera and 1ok lenses than an extesnion of the NEX camera line? That makes a ton of sense to you?
But DPR did two items on the Nex 5R, which is in most respects a model update, not radically new.
I'm really glad to see these cameras coming out, but I don't understand how the price point is justified. I see few practical improvements over a 5Dii or 5Diii - especially for 3 times the cost.
Hollywood studio execs just ordered a double dose of aspirins.
$7,999 just let the floor cave in on their studio lot.
I think you just spit into your OWN face!
canon just spit right into customers face.
Yes just what I wanted. 1080p @ 24 Mb/sec. 4:2:0 color. And only options for 24p and 30p recording. All for the "budget" price of just under $8000. Are they hiring NASA engineers now? Because this camera would have been cool about 6 years ago.
It is not that NASA engineers don't develop great things. It is just that all of the verification they must do takes a long time to produce a reliable product. In Canon's case I think they just have a bad case of Analysis paralysis.
Cmon Canon, how do you want to compete against red, seriously lol !
I'm waiting for GH3 too! nice post, ha-ha!
Looks like a good move to me, undermines the BMD Cinema camera a bit, since the C300 is way to much ££ and has the excellent same all important chip.
Uncrippled HDMI out if you need it, 50P would be useful.
To compare the GH2 for many tasks to this is somewhat silly.
This C100 and C300 is silly for many task. The price is close to true digital cinema camera, like Red One, which gives you RAW output and high fps.
Try actually putting together a working RED camera kit for £5000.
Have you see the cars they drive????
Video and cinema cameras again .. obviously Canon as a company has shifted their focus from DSLRs, disappointing (solely from a DSLR user's perspective).
FHD is ok, but only 30p?
Sorry, that's a bit too few features for too much bucks.
Are you complaining about the lack of CF, because that's not a "feature". It's a video camera. At the same speed, large SD cards cost less than half of what CF cards do, and you can easily fill 20 64 gig cards in a day's shooting. That much CF costs more than the camera.
And it's easier to deal with large numbers of SD cards.
There's the added bonus of being able to change cards in the field without worrying about a grain of sand in a CF card's connector breaking one of the 60 tiny pins in the camera's CF connector and disabling the camera.
$3,000 Blackmagic Cinema Cameras has comparable sensor, better audio inputs, a much better recording codec, a touchscreen LCD, and oh yeah, the BCC records to internal 2.5-inch SSD drive instead of SD flash cards.
Nice try, $$$$$ Canon $$$$$.
A single 64GB SDXC card will hold over 5 hours of this camera's 24Mbit/s AVCHD video and 16 bit PCM audio output. So if you shoot continuously for an entire 24 hour day, you will only fill 5 64GB cards at the best quality setting.
And in that scenario, one hopes you are backing up the card data during the shoot, which you will easily have time to do in triplicate before the next card in series is full. And if you are using the redundancy in the body, recording to duplicate cards, you will therefore only need a maximum of 4 SDXC cards in any scenario. Class 10 will be more than fast enough for this recording format, and your 4 64GB cards will run you about $200 by the time this camera ships.
The same capability in CF for the 50Mbps C300 would run you about $800 (twice as many cards at twice the price).
The "best codec" attainable with this camera is AVCHD version 1.0 at 24Mbit, which is definitely no broadcast quality anywhere where they use HDTV. In other words, this thing is great for events, such as weddings, funerals, B-days, Bar Mitzvahs, etc, but not for TV broadcasting, let alone theatrical releases.
Does this wunder-Canon has rolling shutter and tilts vertical lines when moving, same as normal DSLR?
A camer this size generally sits on a tripod and does not pan much. Otherwise, you'd probably see rolling shutter. The spec summary does not mention 120p or 60p shooting, which might reduce the effect.
Most of the key feature list can be added in firmware to existing and future Canon DSLRs. Thousands of dollars for a measly few lines of code is not cool.
Cinema sensor is completely different type. It don't miss pixels as DSLR in video mode.That's why Digital Cinema camera has sharp output.
I wasn't talking about the sensor.
It's the same price as a 1DX (hey, what happened to the "thousands of dollars"?) and it's faster. Cameras that do cost less than this one, like a 5D III, also have substantially less processing power.
Sorry, but it's your post that "is not cool".
But processing power like that is cheap,so it makes you wonder why Canon went cheap with their DSLR's. There are consumer cameras costing much less than $1k that can do >240mp/s.
And how long can those consumer cameras sustain that rate for? I just looked at the Nex7 review (I'm assuming that is the camera you are referring to) and it manages 24MP at 10FPS for 1.4 seconds. That's not much of a movie clip.
No, I wasn't referring to the NEX 7, since its introduction price was over $1k. I was referring to the A65.
This wasn't about sustained speeds though, it was about processors. These cameras are limited in their sustained speeds because of limited buffer depth and secondly the bus speed (A65 doesn't even support extra UHS-I bus speed), not so much processing power.
But if you insist turning this into a buffer argument, the 5Dmk3 mentioned by Joseph can store up to 18 RAW frames (4 more than the A65) and a measily 7 RAW+jpeg. The latter is almost half of what the afore mentioned A65 can do. It's only in jpeg mode where the difference becomes huge in favor of the Canon.
Weep not, o ye fellow paupers: Canon's own GF10 videocam sells for $1.2k and uses a 2mp sensor.
Actually, about 24mbps, or at most 28mbps, is about most people would ever need. Some fuss over hackware to boost the rates, but end up shooting limited action scenes, or defocus backgrounds, so that any advantage is moot. On YT, most viewers bother only to see the 480p 3mbps default versions anyway. To shoot decompressed video brings a whole kaboodle of challenges. More than anything, it's a sort of "union card" to confine the high end of the business to crews with big budgets. To shoot in AVCHD or h.264 MOV should be fine for just about anyone not committed to deliver Pixar-grade special effects.
Troj, I didn't realize the A65 had a very similar sensor/performance spec. Regardless of what the actual reason for the lack of ability to continually take advantage of 240+ MP/s rates though, clearly this new camera can do it and no other camera in its price range can. Whether it's buffer, bus, or processor, some hardware changed to allow this camera to do what it can do. It's not as simple as software tweaks.
Do people honestly believe that the bitrate of cheaper cameras is the best the hardware can do? Modified firmware has already debunked that for a lot of the popular models.


With cyber attacks seemingly an inevitable part of business, being proactive about cyber security is essential. We hear from business leaders who've put the time and resources into protecting their organisations about their experiences and the strategies they've found to be effective.
Read comments from Nik Whitfield, Panaseer CEO and others on Natwest's website.


Do you sometimes miss correspondence from the Department of Home Affairs about the visa status of your clients?
How many files are you keeping of your clients data?
How do you keep up to date with the visa expiries of all your clients?
Can you give an assurance to your clients that their visa status is legal?
What process do you currently have for checking client's visa status?
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Arrest made in sign vandalism (Anti-Racist is a Code Word for Anti-White)
03:05 14words 1 comment
Harrison Police Chief Pat Murphy said a 47-year-old Harrison man has been arrested in connection with vandalism of a controversial billboard on the Bypass.
A police report shows that an officer out at a residence on Rushing Drive about 8 a.m. Thursday arrested Chad Watkins, 47, on a warrant for first-degree criminal mischief with bond set at $2,500.
Murphy said the arrest stems from the late-November vandalism of the sign that reads (Anti-Racist is a Code Word for Anti-White."
A witness called the HPD about 12:10 a.m. Friday, Nov. 29, to report seeing several people vandalizing the sign, a police report said. The alleged vandals had painted over part of the last two words on the sign and wrote the word "Love" on it.
Assistant Police Chief Paul Woodruff said the witness saw the act in progress and was able to give police the license plate number of a vehicle seen leaving the area Friday morning.
Deputy prosecutor Wes Bradford told the Daily Times that he had been given the case, but he forwarded it to city attorney Van Younes for prosecution.
Younes told the Daily Times on Wednesday that he had turned in necessary paperwork for an arrest warrant to the Boone County District Clerk's Office earlier this week.
Younes said the matter would be prosecuted as a misdemeanor.
The sign has been a matter of controversy since it went up in mid-October. Some people decried the sign as racist, while others applauded it as an exercise of free speech.
Records show that Watkins was released Thursday morning after posting bail through a professional bondsman.
Posted in: Anti Zog Media,Cancer of Europe,USA,White Genocide
22 December 2013 at 16:12 Reply
Sooooo, I guess these 'white' guys were vandalising (sic) a pro white billboard. Which makes them....anti-white whites. We live in a target rich environment.


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Home > Information > History
The first fair, or agricultural show, in Siskiyou County was held in October 5-6, 1859 in Fort Jones. I.E. Harris was President of the Siskiyou County Agricultural Association, which sponsored the event.
Fairs were then held in Fort Jones each year until 1867 when through the efforts of Judge E. Steele, who was president of the Siskiyou County Agricultural Society during 1866, the fair was moved to Yreka. There were no fairgrounds and no exhibit buildings in the early fairs. Tents in Yreka City Park and empty store fronts along Miner Street were donated for the few days of the fair and livestock was housed in the local livery stables. William Irwin, who later became governor of California, was the President of the Agricultural Society for the first fair in Yreka.
In 1880, local fairs were abandoned for a while in favor of six-county shows sponsored by the agricultural and mining interests of the counties which included Siskiyou, Shasta, Modoc, Klamath, Lassen and Trinity. The County fair returned annually in 1919 through sponsorship by the Pomona Grange. William L. Kleaver was appointed President -Manager and the fair once again utilized the Yreka City Park and Harmon's Livery Stable.
In 1925 a group of local ranchers and business owners solicited funds for the purchase of the property still in use today - The Siskiyou Golden Fairgrounds. Public subscription contributed $12,000 to the purchase of the property which was later deeded to Siskiyou County contingent upon the county making a levy for construction of an adequate grandstand and exhibit buildings. The Board of Supervisors voted $20,000 by direct levy for the buildings over a two year period.
Under the State Agricultural Association Act, Siskiyou County was designated as the 10th District Agricultural Association and in December 1926 steps were taken to reorganize the Siskiyou County Fair Association which would put the District in line for participation in state funds garnered from pari-mutuel horse race licensing fees. The new Governor appointed a Board of Directors of the 10th District Agricultural Association and they held their first meeting on May 23, 1927, immediately laying plans for the construction of new buildings and opening of the first fair on our current fairground in September 1927. The bids for the new grandstand were rejected in 1927 and it was another year before a bid was accepted. The new grandstand was completed in time for the fair that opened on September 18, 1928; the fair ran for three days.
The 10th DAA hosted the Siskiyou County Fair until 1952 when a second fair was established in Siskiyou County - the "Tulelake Butte Valley Fair". The name was changed at that time to the Siskiyou County Fair and Paul Bunyan Festival. In 1972, the current name, Siskiyou Golden Fair, was selected by the Board of Directors and that name is still used today.
For 85 years, from 1926 to 2010, California Fairs continued to be funded by pari-mutuel horse racing fees. In 2010, fairs were moved into the State general fund and in 2011 because of the state budget crisis all California Fairs had funding eliminated. Today the10th DAA/ Siskiyou Golden Fairgrounds relies heavily on community support, the annual Siskiyou Golden Fair, interim rentals and our three interim events (The Siskiyou Sportmen's Expo, The Tony Nicoletti Memorial Jackpot Show and the Holiday Gift Fair) to stay fiscally sustainable and relevant in our community.
W.L. Kleaver was manager of the fairgrounds from 1919 to 1946, through a short suspension during the depression and World War I - 27 years in total. There have only been seven managers to follow in Kleaver's footsteps including: Steward Waite (June 1946 – March 1948), Ed Mathews (March 1948 – March 1963), Jim Jones (March 1963 – December 1969), William Whitaker (January 1970 – March 1974), Ron Lillard (April 1974 – December 1999), Rebecca Weathers Desmond (January 2000 – March 2010), and Cliff Munson (June 2010 - Present).


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Re: Iup basketball
Originally posted by Fightingscot82 View Post
Yes. OVG (Oak View Group) runs the operations like booking events, event setup, and marketing. IUP gets a cut. This is the same company that runs the UPMC Events Center at RMU.
What's the buzz around the Boro team this winter?
Fightingscot82
Last I spoke with Cleary they were out there finding the next Liggins and avoid relegation to Tier 2 status in McComb. (my words haha)
Ousmane Diop (Niagara transfer) is a freaking giant. The photos we saw of him from two years ago tell no part of the story. Dude looks like he's lived in the weight room the past 24 months.
I'd guess he's about 6'10" to 6'11" and about 240-250 lbs.
He'll look real good in the team photo. That said, hopefully he looks real good on the court. From what I'm told, he's not going to be here to score many points -- at least not early on. He has an incredible wing span and is said to be extremely aggressive/physical on the glass. He's also very athletic for his size (former soccer player).
On another positive note, the whole listed roster reported and is enrolled. No late surprises.
Didn't think there would be any late surprises. The fact that Diop has put on muscle is great. We already knew he was long but strength wise is what I was worried about. He'll be a rim protector that's for sure.
We haven't had a true rim protector for several years now. It will be a nice addition.
The guards have been justifiably getting all the buzz but that 'big man' crew is pretty solid.
Chucky should explode this season -- ultra athletic and can be a shutdown defender.
Ulrich is a big body under there at 6'8" and 235 lbs. As per Joe formula he redshirted a year ago but word is he tore up practices.
Tommy Demogerontas should fill that small forward role well at 6'8" and 215 lbs. He has a nice outside shot and is also pretty smooth around the basket. Plays with a chip on his shoulder.
Diop is a giant. I'd imagine Joe works him in a little slow.
Porterfield is already big at 6'8" and a 'listed' 220 lbs. We all saw what ESU's star freshmen big did a year ago. However, I'd be shocked if he doesn't redshirt.
Ulrich, Diop and Demogerontas have already taken redshirt seasons. I can't see Joe playing (5) bigs.
It's going to be interesting with what Joe does. Players need to stay out of the doghouse too. I'm excited for IUP basketball...
IUP24
The real question though, is how many of these guys does Joe actually run? The talent and depth is great, but not if you only play 7.
He may go Norman Dale and play four.
Joking aside I think he rolls with 8 this year. All three freshmen redshirt. Four guards and four bigs. Anthony White is the 9th man (if he doesn't redshirt) and gets some minutes here and there. He can play.
Luckily he would have depth in an emergency unlike other years.
I would love for him to just go outside the norm and play 9 or 10. But I know 8 is asking a lot out of him.
When you break down the roster, despite losing Dante's production from last season, the guard group this year is much more dynamic/deeper. You lose Dante and Bearer but replace them with Shawndale Jones (they haven't had a guard with his physical stature in years) and David Morris (who is Joe's next star PG). Add to it a year-older version of Malik and Armoni ... that's a scary four-man rotation. Lot of size, speed and talent. Defensively, they should be night and day better at the guard position. Add to it Anthony White is a pest defender when he gets inserted.
I just can't see Joe burning a year of Bryce Radford and K.J. Rhodes eligibility to play 5 minutes a game.
HOWEVER, one absolute item I'm convinced of watching Joe's teams year after year (especially the past four years) is that they tire out down the stretch. In my opinion, you can directly link that to his stars playing 38 minutes in 30-point blowouts of Clarion, etc. I truly believe last year's 30-3 team peaked in late January.
If he'd say 'screw the redshirts' and get his stars down to 28-30 mpg would it help late in the season? Probably. This group is going to blow a ton of teams out this year. I'd rather keep legs fresh and limit the chances of injuries in meaningless minutes.
Here's hoping that the IUP men have a successful trip to Canada this weekend.
Wonder if Joe will let them stop at Jack's Cantina in Niagara Falls?
Is Rumors still open? YANKS?