text:
Tag: Doug Moench
Wait, What?, Ep. 281: Wild Dog 2020
Tagged as:	budgeting, Comixology, DC Universe, Don Perlin, Doug Moench, Gene Yang, Graeme, Grant Morrison, Gurihuru, Jeff, Judge Dredd, obsessiveness, Podcast, reviews, Scott Snyder, Steve Ditko, Superman Smashes The Klan, Wait What?, Werewolf by Night, X-Men, X-Men: Grand Design
http://theworkingdraft.com/media/podcasts3/WaitWhat281.mp3
0:01-7:17: Greetings from Graeme "Are You Sure?" McMillan and Jeff "She'll Be Fine, She'll Be fine!" Lester! Edi took a tumble, Graeme has been under the weather, and we are not even sure we want to talk about comic books? So what do we do, then?
7:17-28:07: Well, why not talk about Fast and Furious Presents: Hobbs and Shaw? It's kind of like a comic book and, like many a comic book, neither Graeme nor Jeff have seen it! So it's got to be a great topic for conversation, yeah? How about Joker, that seems a little more on topic, right? Even if we haven't seen that either? Also discussed: budgeting and The Alamo Drafthouse Season Pass; budgeting and comics purchasing database number crunching; X-Men: Grand Design; and more.
28:07-1:00:28: "You know, Graeme," ever-obsessive Jeff asks, "what are you obsessive about? It's clear I'm an obsessive hoardy mess but I don't necessarily know if we've talked about, what are the things that you feel uncomfortably obsessive or sweatily compulsive about?" Discussed: work, food, training yourself off of things, heroin (metaphorical), friendship, upgrading phones, FOMO, X-Men #1, Superman Smashes The Klan #1, failing Marc Singer (sorry Marc!) for not crediting his point in our comments on air, Giant Days, obligation, and MUCH more.
1:00:28-1:17:33: Way back when, Graeme had mentioned Matt Singer's new book, Marvel's Spider-Man: From Amazing to Spectacular: The Definitive Comic Art Collection. And he had a point or two to make about it, so we return to more typical Wait, What? ground for a bit. To make it even more on point, Jeff wishes that people writing these mass market character overviews got the chance to curate on streaming services like DC Universe or Marvel Unlimited. (To be fair, Marvel Unlimited actually does something like this already, but only using their own editors and creators.) Also discussed: Disney+, Enigma being reissued (finally!) by Dark Horse; BizarroTV; and more.
1:17:33-1:33:38: Speaking of DC Universe and their TV show offerings, we assume you know about the contest they're holding where the winner will create a DC Universe unscripted/reality show? We can't enter, but you can! So listen closely as we try—mostly unsuccessfully, it should be admitted—to come up with winning pitches you can use! Discussed: Booster Gold 2020, Space Cabby 2020, Night Force 2020, Who's Going To Be The Next Phantom Stranger (2020), and more.
1:33:38-1:47:32: "Hey, you know who's still alive?" asks Jeff semi-rhetorically. "Don Perlin is still alive!" And how does Jeff know that you might ask? Well, therein lies a story…and a whole lot of talking about Werewolf By Night and Moon Knight.
Undiscovered Country #1 is Image Comics' Biggest Genuine Launch in Five Years With 83,000 Pre-Orders https://t.co/ZaWNyb9p3H
— Bleeding Cool (@bleedingcool) October 17, 2019
1:47:32-1:55:46: Dipping our toes in the water of current comics news in the mildest way possible: good on Scott Snyder, Charles Soule, and Guiseppe Camuncoli for the preorders on Undiscovered Country #1! Also discussed: SAGA—where is it? Also, Jeff tries to ask about something about perennial (or strong) sellers for books that only ran about 30 issues and…somehow the question doesn't quite connect with Graeme, apparently? Hey, it happens!
1:55:46-2:11:53: Back on our bullshit (well, Jeff's bullshit is probably more accurate) as Graeme returns to The Pitch Zone to suggest some great DC styled reality shows! Discussed: the Legion of Superheroes 2020 reality show and (here's the Graeme genius in action) the Legion of Substitute Superheroes reality show. Challengers Of The Unknown 2020! Challengers Of The Known 2020! The CW shows and their special effects budgets (2019?), and more!
2:11:53-end: Closing comments! Look for us on Stitcher! Itunes! Instagram! Twitter together and separately: Graeme and Jeff! Tumblr, and on Patreon where a wonderful group of people make this all possible, including Empress Audrey, Queen of the Galaxy, to whom we are especially grateful for her continuing support of this podcast. (Also, don't forget about Spotify!)
Next week: Drokk!! Grab your copy of The Complete Judge Dredd Case Files, vol. 9 and join us!
Wait, What?, Ep. 266: Text to Subtext, Tweet to Subtweet
Tagged as:	Alan Moore, David Wolkin, Don McGregor, Doomsday Clock, Doug Moench, Eclipse Comics, Exorsisters, Gary Frank, Geoff Johns, Gisele Lagace, Graeme, Guy Davis, Hellboy, Hoopla, Ian Boothbhy, Image, Jeff, John Arcudi, Marvel Meow, Mortal Kombat, Neil Marshall, Nightmares, Paul Gulachy, Spider-Man: Into The Spider-Verse, Steve Epting, Superman, Superman Family, Tom King, Wait What?
0:01-23:08: Greetings from Graeme "Burp!" McMillan and Jeff "Saliva!" Lester, where your two faithful podcasters are here at your service, despite problems with taxes, and talking, and breathing. Thanks to tax prep, we look back at the state of digital affairs for Jeff's library with talk about the amazing month of March and April 2018; do a quick review of the state of comic streaming services we use and what's changed about them; more singing of the praises of Hoopla (for comics, anyway); whether Jeff should get the DC Universe app, and more.
23:08-35:50: From there, a sort of strange left turn: the new redband trailer for Hellboy resurfaces a tweet from B.P.R.D. and Hellboyverse writer John Arcudi. Did Arcudi leave Hellboy and B.P.R.D. (and Guy Davis leave comics altogether) based on how they were handled and/or (un)compensated in relation to this? The Magic Eightball says "All Signs Point To 'Comics Will Break Your Heart.'" Also discusssed: reaction to the original trailer; reaction to rough cuts of the film; Vague Recollections of Forgotten Dinner Parties; the filmography of Neil Marshall; the strangeness of having people hype things that don't seem like what they're hyping; and more.
35:50-53:52: The Hellboy thing may leave a bad taste in your mouth if you're a B.P.R.D. fan, but Jeff's not really into it or Hellboy. He is, of course, alternately appalled, guilty about, and mystified by the Wikipedia summary of Doomsday Clock, Geoff Johns and Gary Frank taking the Watchmen characters into the DCU. Graeme has read issue #9 of the book (not out until later this week so Graeme does superhuman work in trying to avoid spoilers of any kind) and we discuss what's come before, what might be coming next, and what Johns is trying to say (apart from "back up the money truck").
53:52-1:01:51: And from our discussion about narrative jumps, Jeff goes on to mention the first five issues of Exorsisters by the talented team of Ian Boothby and Gisele LaGace. Jeff is heavily in the tank for these two, so what did he think of the book? The answer may surprise you…or at least baffle you? (Jeff is clearly baffled, as you'll hear.) Jeff summarizes the book, talks about its charms, and entreats Graeme to read the issues so we can talk about it more.
1:01:51-1:04:57: Jeff's got a throughline in mind as he transitions from Exorsisters to Action Comics #1008 by Brian Michael Bendis and the terrific Steve Epting. (Jeff really didn't talk about it here, but man does Epting's stuff look gorgeous on the DC characters!) That throughline, fortunately or unfortunately, tiptoes around Crabby Jeff and tries to hew close to the path of Diplomatic Jeff. (There's also an all-too-brief shoutout to Satoru Noda's Golden Kamuy, which is still flat-out excellent.)
1:04:57-1:53:43: Part of why Epting and Noda get short-shrift is Graeme chimes in with his experience about catching up on Tom King's Batman, which Graeme hadn't read since September. There's been some grumbling about the pacing and storytelling choices King has made with the title since issue #50—do those grumblings have merit for someone reading all those issues in a oner? (1er?) Also discussed: Heroes in Crisis #6; subtext becoming text; the futility of a work-for-hire creator as embodied in a work-for-hire creation; Batman RIP; Mortal Kombat and common ground; movie violence in the '80s; and, quite obviously, us back to circling around Doomsday Clock again (ha, "circling!")
1:40:15-1:53:43: Graeme still hasn't seen Aquaman! But that may well be rectified *very* soon, thank goodness. And Jeff re-saw Spider-Man: Into The Spider-Verse, and has a lot of thoughts about, many of which are informed by…Natalie Nourigat's I Moved to Los Angeles to Work in Animation? Really? Warning: big ol' spoilers for the movie and in-depth descriptions so take a pass if you haven't yet seen this (really excellent) film.
1:53:43-2:05:35: Graeme has picked up a bunch of old 80 pg. dollar Superman Family comics, describes 'em for our delight, and sings the praises of low-stakes/no-stakes comics.
2:05:35-2:20:21: As for Jeff and the old comics routine, thanks to the wonderful David Wolkin, Jeff has read issue #131 of Dark Horse Presents from 1998, and issues #1 and #2 of Nightmares from Doug Moench, Paul Gulacy, and Don McGregor, published by Eclipse all the way back in 1985!
2:20:21-2:37:33: News? Well, maybe there's some somewhere, but the only stuff we can think of worth mentioning is, as Graeme rightly points out, everyone should check out the trio of speeches given at ComicsPro by ex-DC Marketing Director Bob Wayne, and retailers Brian Hibbs and Joe Field. And there's also a bit of a lazy roundup of stories, or maybe as much roundup as a week that includes "Marvel Meow."
2:37:33-end: Closing comments! Look for us on Stitcher! Itunes! Instagram! Twitter together and separately: Graeme and Jeff! Matt! Tumblr, and on Patreon where a wonderful group of people make this all possible, including Empress Audrey, Queen of the Galaxy, to whom we are especially grateful for her continuing support of this podcast.
Wait, What? Ep. 255: Mighty
Tagged as:	Andrew Dalhouse, Andrew Hennessy, Brad Walker, Catwoman/Tweety & Sylvester, CBLDF, Charles Soule, Chris Claremont, Daredevil, David Wray, Doug Moench, Gary Friedrich, Ghost Rider, Graeme, Jeff, Jim Craig, Kirbyverse, Lex Luthor/Porky Pig, Marie Severin, Mark Russell, Master of Kung-Fu, Mike Zeck, Milkshake Duck, Nightman, Paul Gulacy, Podcast, Ron Garney, Satan's Six, Son of Satan, SPX, Steve Englehart, The Stranger, Tom King, Ultra Comics, Wait What?
0:01-27:04: Greetings from Graeme "Self-Embargoed" McMillan and Jeff "Self-Impetigoed" Lester, who move relatively quickly into this news discussion dense episode, starting with the passing of Gary Friedrich and the mighty Marie Severin, two workers in comics with very different careers who nonetheless managed to pass away within a day of one another. We start discussing the career of Gary Friedrich and his life and times, including his creation of Ghost Rider, his lawsuit with Marvel re same, his last comics credit, his long interview in Comic Artist, an on-point digression about the 90s Kirbyverse comics and Ultra comics, and much more.
27:04-37:21: And then we talk about Marie Severin, how absolutely amazing her work is, and how essential she was to Marvel in the Sixties and Seventies. We coo in awe over the suppleness of her line, her amazing house ad work for Marvel, her flawless pastiche work for Not Brand Echh, her sense of design, and discuss her ties to both Marvel and E.C, and how that perhaps one to inherit the mantle of the latter.
37:21-41:05: And from there, we move from discussing dead comics creators to the crib death of a nascent fandom with an article over at Graphic Policy about David Wray, better known to Twitter followers of this summer's San Diego Comic-Con as Tom King's bodyguard.
41:05-1:20:15: So perhaps it's unsurprising we move on from there to talk about Comicsgate, the topic (unfortunately) on social media's mind. Graeme wants to write about it, but is that just stoking the fires? Or does the industry need a definitive article that can prevent dozens of bad faith arguments? Also discussed: the lack of official statements from major comics publishers; other statements from Marvel; David Uzumeri's article at Medium about the road to Comicsgate; and more.
1:20:15-1:30:25: Graeme offers Jeff a chance to get off the comics news train, but offers the recent story about the Small Press Expo and the CBLDF forming a new fund to help the creators and comics industry workers currently being sued by small press publisher Cody Pickrodt for defamation.
1:30:25-1:40:54: And then…there were comics! Graeme sat down with Marvel Unlimited and caught up with Charles Soule's run with Ron Garney on Daredevil ("caught up" having that asterisk of Marvel Unlimited's six month delay, of course). Graeme also covers Letter 44, Poe Dameron, and Soule's work on Lando.
1:40:54-2:00:05: By contrast, Jeff has made his way up to the mid-sixties of Master of Kung-Fu, and tries to sell Graeme on the book. Moench! Gulacy! Marlon Brando! Fleetwood Mac! It's Seventies Marvel Comics at its Seventiest! There's also some talk about Marvel's westerns, and the BOGO sale going on over at Comixology through September 6.
2:00:05-2:10:43: Sure, but what about more current comics? Well, we talk about wave 2 of the DC/Looney Tunes crossover books, with us recapping (to the point of spoiling, it should be said) Catwoman/Tweety & Sylvester; Joker/Daffy Duck; Harley Quinn/Goassmer; with a special focus on Lex Luthor/Porky Pig by Mark Russell, Brad Walker, Andrew Hennessy, and Andrew Dalhouse.
2:10:43-2:21:20: Jeff caught up with the latest issues of X-Men: Grand Design by Ed Piskor. Are these recaps of the first several hundred issues of Uncanny X-Men a good introduction for someone wanting to get into the comics? Jeff initially thinks so, but Graeme makes a pretty good case against. Also discussed: TOM SCIOLI!
2:21:20-end: Closing comments!! Look for us on Stitcher! Itunes! Instagram! Twitter together and separately: Graeme and Jeff! Matt! Tumblr, and on Patreon where a wonderful group of people make this all possible, including the kind crew at American Ninth Art Studios and Empress Audrey, Queen of the Galaxy, to whom we are especially grateful for their continuing support of this podcast.
NEXT WEEK: Skip week due to travel! But join us in two weeks for Baxter Building! Read issues #382-388 of Fantastic Four by Tom DeFalco and Paul Ryan and join us!
Wait, What? Ep. 247: Word to Your Moms
Tagged as:	Al Ewing, Alan Moore, Avengers: Infinity War, Brian Michael Bendis, Captain America, Clay Mann, DC Nation, Dead Dead Demon's Dededede Destruction, Doug Moench, Exit Stage Left: The Snagglepuss Chronicles, Gambit, Graeme, Inio Asano, J. Michael Stracyzynski, Jeff, Jeremy Piven, John Warner, Jorge Jimenez, José Luis García López, Josh Brolin, Justice Leage: No Justice, Mark Russell, Mike Freeman, Platinum End, Salva Espin, Scott Snyder, Superman, Ta-Nehisi Coates, Takeshi Obata, Thanos, Tom King, Tsugumi Ohba, Vampire Tales, Wait What?, Yong Montano, You Are Deadpool
[apologies if that link doesn't turn into something you can auto-play. I have no idea why it's acting up, but hopefully have got the damn episode encoded elsewhere…]
0:01-13:13: Welcome! Graeme announces he is weirdly crabby; Jeff announces he just had a visit from Mr. David Wolkin; and there's a terrifying story about the best pizza place in Portland going *too* Portland, a profile about the man behind Dave's Killer Bread, and much more "not yet" talk. Don't worry! comic book talk is coming!
13:13-1:08:08: In fact, it's here! Our ALL-SPOILERS, WE GIVE-IT-ALL-AWAY talk about Avengers: Infinity War has arrived. Discussed: Some really smart choices; what happened to Hawkeye; what are the gimmes for the sequel, including Jeff's beautiful theory that Graeme is more or less entirely sure will not happen; the JMS-ification of MCU Spider-Man; the bit that broke the movie for Graeme; Jeff's pinko anxiety about the MCU's neolib anxiety; the Kingsman: The Secret Service connection; the choices made for MCU Thanos; and more (Carboat)!
1:08:08-1:21:31: In fact, Carboat leads us into a discussion of contrarian social media and the motivations behind it; 9/11 and superhero movies, which lead us to…
1:21:31-1:33:06: Actual comic book talk! About comics! Jeff just read Dead Dead Demon's Dededede Destruction, Vol. 1 by Inio Asano, and it gave him an abundance of feels! We circle back to the MCU and the military-industrial complex; how Marvel Comics treats the MIC, reflected in, for example, the work of Brian Michael Bendis.
1:33:06-1:55:02: Speaking of Bendis: how is he going to fit into the DCU, considering some of his takes on things at Marvel? Are we going to see something different from him, considering he's writing Superman, who, as Graeme puts it, "is one of the more establishment characters." Which ropes us into a discussion of DC Nation #0: the Bendis story in it, but also the pieces in the recent free (or near-free) comic. Also discussed: Justice League: No Justice #1; Dial L for Loeb; discussing Bendis' final Marvel work, including his work on Iron Man; a summing up of the Superman and Action Comics Rebirth titles up to now; and more.
1:55:02-2:19:48: A comic book round-up of various titles, including: Batman #46 by Tom King and Tony Daniel! Jeff does not like it, but can give a spirited defense of it nonetheless? Discussed: Alan Moore; cheap comedy; and more; You Are Deadpool #1 by Al Ewing and Salva Espin—a Deadpool comic that is a Choose Your Own RPG comic! Absolutely an impressive formalistic achievement…but then why are both Graeme and Jeff left a bit cold? Additionally Jeff caught up on issues #3-5 of Exit Stage Left: The Snagglepuss Chronicles by Mark Russell, Mike Freeman, and Mark Morales, and wanted to check in with Graeme about his feelings about the book; and Jeff also caught up with something like six chapters of Platinum End by Ohba and Obata, and is happy to report…he now kinda maybe likes it? Plus: Vampire Tales, Vol. 3!
2:19:48-2:38:53: Finally, a very important Infinity Wars-related question: if you could cast Hawkeye but only with an actor named Jeremy, who would you pick? Also discussed: CQ, what happened to Josh Holloway; are we ever going to see Gambit: The Movie; the Avengers relaunch and the preview of Ta-Nehisi Coates' Captain America; and more.
2:38:53-end: Closing comments! Look for us on Stitcher! Itunes! Twitter together and separately: Graeme and Jeff! Matt! Tumblr, and on Patreon where a wonderful group of people make this all possible, including the kind crew at American Ninth Art Studios and Empress Audrey, Queen of the Galaxy, to whom we are especially grateful for their continuing support of this podcast.
NEXT WEEK: Baxter Building! Join us for a discussion of Fantastic Four Annual #s 19, 22-24, but also feel free to check out the 40 pages of Barry Windsor-Smith's unpublished Thing graphic novel that several people have pointed us to. We probably won't discuss it….but we might?
Wait, What? Ep. 246: 3…2…1…blah.
Tagged as:	Avengers: Infinity War, Batman, Baxter Building, Dan Abnett, Doug Moench, Fantastic Four, Graeme, Infinity Crusade, Jeff, Jim Starlin, Judge Dredd, Larry Leiber, Mark Waid, Marvel Comics: The End, Marvel Unlimited, Master of Kung-Fu, Mike Wieringo, Phil Winslade, Podcast, San Francisco, Thanos, The Infinity Abyss, Tom Hardy, Tom King, Vampire Tales, Venom, Wait What?
0:01-7:35: A little bit of catching up, mostly about the unfortunate Penthouse Forum-ian aspect of Jeff's work recently. And then…
7:35-15:16: We have a spoiler-free discussion of Avengers: Infinity War, as Graeme has seen it but Jeff has not. And then from that, it's off to…
15:16-39:59: Graeme talking about the big stack of Jim Starlin Thanos stuff (Infinity War the comic, Infinity Crusade, the three Thanos graphic novels Starlin did, The Infinity Abyss, Marvel Comics: The End, and even more) he's read in preparation for writing about the film. If you've followed us for a while, you know Jeff is a huge fan of Starlin's work in the Marvel Universe with Thanos, while Graeme….eh, not so much. UNTIL NOW. We talk about these books, about Starlin, and about the possible future of Marvel Unlimited (where Graeme read almost all of the material mentioned).
39:59-1:00:56: And now it's time for what is becoming a terrifyingly regular feature to our Wait, What? Episodes—more discussions about the Fantastic Four aside from, in addition to, or in spite of our regular Baxter Building podcast. In this installment, Graeme has read the first thirty issues of the DeFalco/Ryan run to come, and Jeff read vol. 4 of the collected Mark Waid/Karl Kesel/Mike Wieringo run, and here we are talking about it in our non-FF podcast. What is wrong with us?
1:00:56-1:12:47: But to discuss other stuff we've read or watched: Jeff spends some time blabbing about the first Master of Kung-Fu Epic Collection by Doug Moench, Paul Gulacy, Al Milgrom, Ron Wilson, John Buscema, and *many* other artists.
1:12:47-1:34:45: How are the broilingly conflicted undercurrents of MOKF similar to those Jeff perceives in that Venom trailer? And how does that connect to Die Hard? Or the Netflix McG movie, The Babysitter? We're so glad you asked!
1:34:45-1:50:18: And finally (sorta), Jeff had an epiphany about the new role Joss Whedon should play in the Marvel Cinematic Universe. He felt it was worth sharing. Here's your chance to listen and say to yourself (in your best Graeme McMillan voice) : was it, though?
1:50:18-2:11:16: "Graeme," Jeff finally all but pleads. "Let's talk about what you want to talk about!" And what does Graeme want to talk about? In no particular order: Bendis's Clark Kent; Tom King's Batman issues #45 and #46; "a metric shit-ton of 2000 AD stuff," including Abnett and Winslade's Loveless; and more, especially when Jeff decides to cut in and start talking about the digital Vampire Tales collections he's been reading.
2:11:16-???: Technical difficulties give us the title of this episode, but also start steering us toward closing comments. How long does it take us to get there?
2:21:49-end: This long! And also: closing comments! Look for us on Stitcher! Itunes! Twitter together and separately: Graeme and Jeff! Matt! Tumblr, and on Patreon where a wonderful group of people make this all possible, including the kind crew at American Ninth Art Studios and Empress Audrey, Queen of the Galaxy, to whom we are especially grateful for their continuing support of this podcast.
NEXT WEEK: Another installment of Wait, What? And if Jeff can gets his act, together—Avengers: Infinity War!
Wait, What? Ep. 187: On The Importance of Unjustified Ridiculousness
Tagged as:	Bad Machinery, Brian Buccellato, Chris Claremont, DC, Doug Moench, Francis Manipul, Geoff Johns, Graeme, J.M. DeMatteis, Jeff, Jeff Parker, John Allison, John Byrne, Justice League, Larry Hama, Marvel, Neil Conan NPR Reporter, Pat Broderick, Podcast, Satan, Son of Satan, Steve Englehart, The Champions, The Colonel of Two Worlds, The Defenders, Tony Isabella, Wait What?
http://theworkingdraft.com/media/podcasts/WaitWhat187.mp3
Early trick? Infrequent Treat? Either way, Wait, What? Ep. 187 is at your doorstep, dressed up this year as "Sexy All Things Considered"! This episode is two and a half hours of Graeme and Jeff sonically toilet-papering comics' house, and you're invited to hide in the bushes and snicker with us!
(For those of you reading this who don't have Halloween in your location, I hope that paragraph was more charmingly surreal than vexingly impenetrable.)
Anyway, let's get on with those show notes, shall we? This year, they're dressed up as "Sexy Medical Consultation Notes"!
00:00-13:47: Greetings from Jeff "I Am The Devil!" Lester and Graeme "Yes, He Is The Devil" McMillan, who are off and running almost immediately thanks to some pressing comic book questions, like: was the Son of Satan actually, y'know, the son of Satan? Discussed: J.M. DeMatteis, The Defenders, Buddha and Anti-Buddha, The Twentieth Century Satans, the David Bowie with the least amount of Bowie Flavor, the world's meekest defense of Elvis Costello, Marvel's recent BOGO sale, Iron Fist, Power Man, and Power Man & Iron Fist, and more. "Patient's autonomous reflexes are responsive…especially the sexy reflexes!"
13:47-34:59: But still tho: Iron Fist. Jeff has been re-reading from Iron Fist's debut in Marvel Premiere #15 and so as you can imagine we discuss: Iron Fist, the Marvel premiere of Iron Fist (in Marvel Premiere), the career of Pat Broderick, the episode when Jeff suffers a stroke on-air, the penciling debut of Larry Hama and some of the visuals that get carried over to G.I. Joe, Tony Isabella as Gerhard Schnobble, Batroc The Leaper, the origin of Ghost Rider, Seeker 3000, Crystar's comrade in arms Beau Bridges, Mag-NEET-oh vs. Mag-NET-Oh, the origin of The Champions, Jimmy Woo founding member of the Defenders, and etc. "Patient's seems dazed and only partially responsive to questioning…unless the questions are sexy and provocative!"
34:59-1:02:43: But of course a big deal about early Iron Fist stories is it's where a certain Chris Claremont gets his first ongoing series (and with John Byrne, his first regular collaborator) and just like with Hama, it's pretty damn interesting to see how much of Claremont's interests, obsessions, and tropes are here in nascent form and how much of them are just…there, right from the get-go. Discussed: softball, creator cameos, mind control, the success of Spider-Man eyes, Bill Everett and Amazing Man, Batroc The Leaper as Pepé Le Pew, Chris Claremont's scripts, what made the X-Men sell and sell and sell, Claremont and his desire to create tiny little stories about people, how everyone in the cast powers up and the bionic arm reveal in Iron Fist #3, Neil Conan NPR Reporter and Moira McTaggert, Peter Corbeau, more about Jo Duffy on Power Man and Iron Fist, Kerry Gammill, Trevor Von Eeden, Bob MacLeod on New Mutants vs. Bill Sienkiewicz on New Mutants, and much more in that vein. "Veins and pulse rate are shallow…except for the sexier veins. MROWR!"
1:02:43-1:17:16: "I want to spin us around entirely differently," Graeme announces, "and say did you got to the store this week?" Jeff hasn't, and technically neither has Graeme but thanks to the miracle of digital downloads and comp copies, he's here to talk about one of his favorite books of the week, Justice League #45 by Geoff Johns, Francis Manipul and Brian Buccellato. "You have this absolutely ridiculous plot and this astounding art, and I just finished it being like 'why can't Justice League *always* like this? This is amazing!'" SPOILERS for this arc, The Darkseid War, and also SPOILERS for Brian Hitch's opening arc on Justice League which Graeme is also enjoying. Also discussed: Geoff Johns tropes, The Amazo Virus, old rumors from the time of Final Crisis, Jeff Lemire and Justice League Dark, Jeff Parker and Justice League United, "Even Cowgirls Get The Plants," and more. "Conjunctivae pink. Sclerae anicteric. Oropharynx clear…and hotter than a barbecue pit in July!"
1:17:16-1:22:14: "You know what I've been enjoying more than anything?" Graeme asks, but thank goodness it's a rhetorical question because Jeff doesn't know. "Bad Machinery." Discussed: yup, you guessed it: Bad Machinery by John Allison, a comic that Graeme says is "perfectly tuned to my sense of humor and my sense of the ridiculous," the template for Bad Machinery cases, and SPOILERS for the upcoming volume from Oni, The Case of the Lonely One (and what Jeff does not say but should have is that Graeme would probably like him some Daniel Pinkwater). " No cyanosis, clubbing or edema…except for *erotic* edema!"
1:22:14-1:28:03: As becomes clear from the conversation that follows, Graeme has not read Jeff's review of The Colonel of Two Worlds,( and Jeff is okay with that!) but he has read the comic itself, so the duo are able to discuss that very fun and strange freebie comic. Discussed: the importance of unjustified ridiculousness, the new sincerity and the new irony." This area was mildly indurated. There was absolutely no erythema or fluctuance and it was not tender at all. No drainage…except for the *love* drainage!"
1:28:03-1:49:12: Although he did not get to the store, Jeff did read a lot of comics and he wanted to talk about Captain Marvel #35-46, more or less by Steve Englehart and Al Milgrom. This period falls right after the stunning run by Jim Starlin and, being buds and partying pals of Starlin, Englehart and Milgrom have big shoes to fill but also a semi-sympatico sensibility (and with that I'll just collect my Alliteration Award at the window and be on my way, thank you very much)…or do they? Discussed: The Lunatic Legion, dropping acid in the Negative Zone, The Trial of the Watcher, the Skrull version of the MacArthur Genius Grant, the secret origin of Captain Marvel, space mules, how the storyline should've ended, Field of Dreams, and more. ALSO ALSO: If you want to read a little bit more about how less than spotless this run is, Jeff uses the letters pages as an example here. "1+ posterior tibialis bilaterally. Feet are warm and capillary refill a bit slow but still less than 2 seconds. Decreased hair…which suggests sexy waxing! (Or hair loss.)"
1:49:12-2:00:51: Really, we should be just about done, right? Well, no, not quite: Jeff, knowing how much Graeme has had to write about Star Wars recently, asks Graeme about…Star Wars! And yet, Graeme doesn't quite take the bait and pivots instead to discuss…Back To The Future Day! Also discussed: the impeccable craft of the first Back To The Future movie; Jeff's suspicions about Back To The Future and Forrest Gump, Graeme's criticism of how Back To The Future 2 steals the thunder of Back To The Future 3; Graeme's criticism of Jeff's theory, especially in light of the villain of Back To The Future 2 being deliberately modeled on Donald Trump, FULL SPOILERS for Back To The Future 2, shooting sequels back to back and whether that can work with movies that aren't books, and more. "Heart is Regular rate and rhythm without murmur, rub or gallop except for intermittent pangs…OF SEXY LOVE."
2:00:51-2:27:48: "I like how we were actually 'let's talk about Star Wars' and we totally didn't," sez Graeme, and so we finally do. Discussed: The release schedule for Star Wars movies, Greg Rucka's Journey To Star Wars—The Force Awakens miniseries (and Graeme's review), whether the new movie would be more satisfying the less you know about it, J.J. Abrams *KEEPER OF MYSTERIES*, Star Trek Into Darkness and Graeme's rewatch and Jeff's refusal to believe anything Graeme says now, rewatching Man of Steel vs. rewatching Green Lantern, rewatching Avengers vs. rewatching Avengers Age of Ultron, the good moment from The Phantom Menace, why Jeff likes John Cassaday on Star Wars and why Graeme likes Stuart Immonen on Star Wars, and more. "Possible abnormal chest xray. Will repeat today….over a romantic candlelight dinner in the nude!"
2:27:48-close: Closing comments! Our special thanks to the kind crew at American Ninth Art Studios for their continuing support of this podcast..as well as our special thanks to the Empress Audrey, Queen of the Galaxy…and to all 112 of our supporters on Patreon who make all this possible. Stitcher! Itunes! Twitter together and separately: Graeme and Jeff! Matt! Tumblr!
NEXT WEEK: Another skip week since there were five Thursdays this month and the very last Thursday is right before Jeff's birthday so…yes, no podcast next week and blame Jeff for that.
HOWEVER, did you read all of the roundtable between Graeme, Matt, and I about the first issues of Paper Girls, Survivors' Club, Batman & Robin Eternal, and Doctor Strange? It's like a podcast for the eyes! It's worth a read! We had a lot of fun doing it and will probably want to do more!
ALSO, on Friday, Graeme and Jeff are special guest-stars on the only movie podcast in the universe, Travis Bickle on the Riviera! We are on part two of the massive Spookstravaganza where Sean Witzke, Travis Stone, and an unstoppable super-team of cinematic smartypants look at the film of Ridley Scott versus the films of Tony Scott! Go check out Part 1 so you can be prepared for the sonic chair match that is Graeme vs. Jeff vs. Sean vs. Tony Scott's Domino!!!
ALSO ALSO, Secret Convergence on Infinite Podcasts starts this week so keep an eye out on the Secret Convergence tumblr so you can catch the first crossover at Fan Bros featuring our very own Graeme McMillan!
It looks like the auto-embedding of the player is back so look to our first comment if you need a link for cutting and pasting needs. And as always, thank you for listening!
Previews Reviews: Jeff and his Amazing Purple Painted Corner
Tagged as:	Adrian Tomine, Adventure Comics, Don Perlin, Doug Moench, Ethan Rilly, Fresh Romance, hambuggers, Jim Aparo, Marvel Spotlight, Molly Brown, Moon Knight, Optic Nerve, Pope Hats, Sanity and Tallulah: Plucky Teen Girl Space Detectives, Sarah Kuhn
Yes, scheduling. Not my strong point: if there is one thing everyone can take from my entries, it's that they are the experiences of a dude jammed into a corner, unable to fully explain how…
The Future in a Can: Jeff Speedreads Astonishing Tales featuring Deathlok The Demolisher
Tagged as:	Astonishing Tales, Deathlok The Demolisher, Doug Moench, extirpated is really a word, Hashtag Your Villain Looks Like A Muppet, Jeff, reviews, Rich Buckler, the 70s, The Future Ain't What It Used To Be
There are some characters that are some completely of their time they somehow manage to transcend that time entirely. Such is the case with Rich Buckler's Deathlok The Demolisher, whose original incarnation I revisited recently…


If you're looking at building fixed, full-height walls, it might pay to take a look at modular walls.
Modular wall systems were first introduced in the late 60's and for many years, mostly large corporations with big construction budgets and high churn rates were the only ones that could cost justify them. At two to three times the initial cost of standard construction, movable wall systems were difficult to justify. Just in the last decade, things have changed and movable wall systems are gaining wide acceptance with designers, corporations as well as construction companies.
As organizations of all sizes look for ways to adapt to a constantly changing workplace, the case for modular walls has become stronger.
Flexibility – Modular wall systems are relatively easy to move and reconfigure. There's little down time and waste when you need to move and change.
Reduced Construction Time – Wall systems save 3-4 weeks on a typical construction project compared to dry wall.
Fewer Disruptions – Modular walls are fairly easy to move and reconfigure and there is no construction.
Tax savings – Wall systems are depreciated on a 7-year furniture schedule.
Superior Aesthetic– Wall systems can be specified with glass, laminates, wood veneer and other materials that can create a beautiful image.
More Options – Wall systems include many options such as white boards and fabric tack boards.
Connectivity – Most wall systems can connect with modular furniture systems allowing for even more flexibility and furniture integration.
Better for the Environment – Modular wall systems all but eliminate waste and provide a sustainable solution.
If you're planning to build walls, you might consider a modular wall system. Team Office sells and installs Teknion's award-winning wall systems, Altos and Optos. You can see more here.
For more information, call or email your Team Office representative today.
Before you buy new office chairs, call Team Office to learn about our Annual Chair Trade-in Event. Most used office chairs have some residual value – and we can tell you how much your old chairs are worth. Simply trade-in your old chairs – like an old car – as a down payment on new and up-to-date chairs.
Call 816-221-9155 or email us today and see how much your old chairs are worth!


text:
Puerto Rico Construction Update July 2016
Construction associated with Crowley's investment in its Puerto Rico service is advancing on multiple fronts. We wanted to take a brief moment to give you an update and share photos (below) of the progress.
In San Juan at our Isla Grande Terminal, we have completed the installation of a new sheet pile bulkhead, and finished dredging approximately 410,000 cubic yards of material to support the arrival of the new ships. Installation of pipe pilings for the main pier is nearly complete, and concrete will soon be poured for the approach platform and the main pier.
In Pascagoula, Miss., at VT Halter Marine's shipyard, construction of El Coqui and Taino continues at an impressive pace. The engines are installed on El Coqui and her Ro/Ro decks are almost fully erected. Taino's LNG tanks have been installed, and her main and auxiliary engines will arrive to the shipyard in late July and early August, respectively. El Coqui recently achieved a milestone with the erection of her lower bow and bulbous bow module. Click here for a quick time-lapse video of the lift.
To support the pier, 444 pipe piles are installed and driven into the sea floor. Each pile, which will serve as the foundation for the pier decking, is between 120 and 140 feet long.
The concrete "cap" of the new sheet pile bulkhead is installed. The bulkhead had to be installed to allow for dredging associated with the new pier.
Forms are being installed for the approach platform as construction continues toward the first concrete pour for the new pier.
The lower bow module is erected for El Coqui.
LNG tanks are installed in Taino.
We appreciate your continued support of Crowley and our full suite of supply chain solutions. Going forward, we will be pleased to continue to provide you with additional updates of the progress on our ships and terminal infrastructure in advance of the introduction of El Coqui next year.

redpajama_set_name: RedPajamaCommonCrawl


While the earth has been warming overall, the giant East Antarctic ice sheet — which holds about five times as much ice as West Antarctica and Greenland combined — has actually been growing in size. That's because East Antarctica is far too cold, even in summer, for any appreciable melting to happen. And since a warmer world means more precipitation, any extra snow that falls on East Antarctica stays there indefinitely.
Or at least, that's how things have gone until recently. But a new study in the journal Nature Geoscience suggests that this growth spurt may have come to an end. Starting in about 2006, says lead author Jianli Chen of the Center for Space Research at the University of Texas at Austin, East Antarctica started declining, just like the world's other great ice sheets. "The amount [of decline] right now isn't very big, but the trend is alarming," he says.
It's alarming because the behavior of ice sheets is the biggest variable in estimates of how sea levels will rise over the next century — the faster ice sheets melt, the more sea levels will rise. As recently as 2007, the Intergovernmental Panel on Climate Change (IPCC) admitted in its fourth major climate-assessment report that there simply wasn't enough data to make a useful projection. But since then, satellite observations have shown that the ice in both Greenland and West Antarctica is sliding into the sea faster than anyone expected.
And now it's happening in East Antarctica as well. The new evidence comes from the Gravity Recovery and Climate Experiment, or GRACE. It's a pair of satellites that circle the planet in tandem, moving slightly closer together or farther apart as they fly over regions of higher or lower local gravity — higher over a mountain range, for example, lower over a crater.
Starting in 2006, GRACE began to detect lower gravity over East Antarctica, suggesting that the ice sheet was getting less massive. Exactly how much isn't clear: the best guess is about 57 billion tons per year, but with a huge uncertainty of plus or minus 52 billion. That's because Chen and his colleagues had to factor in something called Post Glacial Rebound, or PGR: during the last Ice Age, Antarctica had far more ice than it does today, and all that ice weighed down the underlying bedrock. With some of the ice gone, the rock is rising back up, like a mattress regaining its shape when a sleeper gets off — and as the depressed rock rises, so does the gravity it exerts on GRACE. "There's large uncertainty in the models of PGR," says Chen, so there's a corresponding uncertainty in how much ice is being lost."
But it isn't the amount that matters so much at this point, says Konrad Steffen, director of the University of Colorado's Cooperative Institute for Research in Environmental Sciences. "It's that there's been a major change from stability to ice loss."
As for what's causing East Antarctica to lose ice, it's probably much the same phenomenon as in West Antarctica and Greenland. Warming ocean temperatures are melting or weakening the ice where glaciers flow into the sea, and with less ice grinding on the sea floor, there's less friction. That lets ice from the interior flow seaward more quickly. "If you have ice loss," says Steffen, "it has to do with an increase in ice velocity."
What that means for the future is unclear. Nobody really imagines that the whole East Antarctic ice sheet will slide into the sea anytime in the near future — and that's good because if it did, sea levels would go up 200 ft. or more. But with current projections hovering at about 3 ft. of sea-level rise by 2100 without any contribution from East Antarctica, the trend is worrisome.
It isn't just the sea-level rise people have to worry about either: on Tuesday, glaciologists reported that at least 100 icebergs, and possibly more, are headed toward New Zealand, where they could pose a hazard to shipping. The bergs are fragments of a giant ice floe that broke off the frozen continent last year — one more example of the ominous fact that what happens in Antarctica doesn't stay in Antarctica.
— Michael D. Lemonick is the senior science writer at Climate Central.


Need a ride? Your thumb might not get you very far these days, but your Visa credit card is a different story.
That's because right now you can earn Uber credits when you use your Visa card at participating local restaurants and businesses, thanks to the Visa Local Offers program.
To participate in the program, open the Uber app, go to your messages and find the one from Visa Local Offers. Click "Get Started" and then select "Count Me In." You might have to search your account settings for the offer.
Once you're set up, you'll be able to see participating local merchants. Then use your card at these businesses and watch the Uber credits roll in.
There's no fee to take part in Visa Local Offers, and credits don't expire. Featured store offers have their own terms, and you can get more information by tapping on the offer. You can earn up to $100 in Uber credits per purchase, but there's no limit to the amount of credits you can earn overall.


text:
The 2015 Campeonato de la Victoria or 2015 Torneo de la Victoria was held at the Secretaria Nacional de Deportes in Asunción, organized by Federación Paraguaya de Atletismo. It was the 65th edition.

The competition serves as the Paraguayan Athletics Championships in track and field for the Republic of Paraguay, being the country's most important national athletics competitions.

Paraguay Marathon Club was crowned champion of the championships, where it achieved a score of 139. Larson Giovanni Diaz Martinez and María Caballero were the best athletes of the championships.

Results
Results of the competition were published on the official website of the Federación Paraguaya de Atletismo.

Men's

High jump

Long jump

Triple jump

Shot put throw

Discus throw

Javelin throw

Hammer throw

Women's

High jump

Long jump

Triple jump

Shot put throw

Discus throw

Javelin throw

Hammer throw

See also
 Sport in Paraguay
 Paraguayan Olympic Committee
 Paraguayan Athletics Federation
 Paraguayan records in athletics
 List of athletics clubs in Paraguay

References

Paraguayan Athletics Championships
2015 in Paraguayan sport
Sport in Asunción
September 2015 sports events in South America
2010s in Asunción

redpajama_set_name: RedPajamaWikipedia


We can organize any event for you, like Weddings, Christenings, Parties and Business Events.
The outdoor area of Leone Villas can accommodate 600 seated people. The audio coverage is by professionals permanent partners (DJs), while the location of the property gives you the advantage to enjoy your music in the intensity you want without time or sound restrictions. The impressive gastronomic suggestions and our excellent service will make your evening at Leone, bright and unique. The Leone property combines functionality and aesthetics, providing a guarantee for a successful event. In the field of decoration we can meet your every need. In our outdoor area there is a pool, an ample secure parking, modern audiovisual equipment and lovely decor with lush gardens, waterfalls and rock gardens with marble staircases, cobblestone streets and quaint alleys.


text:
Daniel Bryan says his time as being a "full-time wrestler are numbered," possible transition with new WWE deal
By Pro Wrestling On Dec 23, 2020
Daniel Bryan did an interview with BT Sports where he opened up on not only his WWE contract status but also what he sees his future being in the company.
The former WWE Champion mentioned how his contract is set to expire in the near future and while he plans to remain with the company, he's also looking to reduce his schedule to the point where he wants to be a part-time wrestler.
"So, I'm confident in my body and longevity, but it's also like now, my life I've got different priorities as far as like I still love wrestling and I feel like I'll always wrestle as long as I can physically do it. But do I want to continue to wrestle full time when you've got two babies at home?"
He noted that even talking about wrestling fills him with joy and gives him energy. He noted that he has things in his life that he loves more than wrestling that gives him a different feeling. Bryan brought up how he had a facetime with his daughter and how much she misses him. He listed various things that they do and knows that stages in the life of kids continue to change. He noted that there will be new things while previous things change such as sleeping in the same room or hanging out.
"So now I am switching priorities in my life where for years wrestling has been the key focus. Like my contract is coming up soon, and we're looking at me transitioning to maybe less than a full-time wrestler. My time being a full-time wrestler are numbered. I'm going to be more like a full-time dad, part-time wrestler. Wrestling is my side job, daddy is my most important job."
It should be noted that WWE does have plans to reduce how many house shows they do after the COVID-19 pandemic. Perhaps, he can get a Randy Orton type deal that limits the number of dates he works while remaining on television full-time.
"I'm switching priorities in my life. My contract is coming up soon, and we'll be looking at me transitioning to less than a full-time wrestler."
"I'll be a full-time dad, part-time wrestler."@WWEDanielBryan will always love wrestling, but priorities change ❤
Respect. pic.twitter.com/35eOCRCVAF
— WWE on BT Sport (@btsportwwe) December 23, 2020
Watch WWE Slammy Awards 2020 12/23/2020 Full Show Online Free
Watch WWE NXT 12/23/2020 Full Show Online Free
WWE returning to Saudi Arabia next month with Elimination Chamber –
Samantha Irvin is the new ring announcer for WWE Friday Night SmackDown –
Watch AEW Rampage 1/14/2022 Full Show Online Free
Watch MLW Azteca 2 Hardcore Match 1/13/2022 Full Show Online…


text:
Q: Get the row index and column index of maximum value from Pandas DataFrame I have 50000 rows and 50000 columns of Pandas DataFrame, row index is from [0...50000] and column index also from [0,....50000], the range value is [0-1]
I want to get the top-n of maximum values which the output is the list of tuple of [row index, column index, and the value itself], for example, the output is (1, 54, 1.0),(59,0,1.0)....etc
I used stack df.stack().nlargest(7) and I got the result
0  21    1.0
   22    1.0
   23    1.0
   24    1.0
   26    1.0
   27    1.0
   28    1.0
dtype: float64

I was not able to convert those output to the tuple and it seems it is slow.
Is there any another way that better than this? or how to convert the stack result to the tuple.
Desire output:
 (0,   21,    1.0)
 (0,   22,    1.0)
 (0,   23,    1.0)
 (0,   24,    1.0)

A: You can convert Series to DataFrame, then to to_records and last convert to tuples:
t = [tuple(x) for x in s.reset_index().to_records(index=False)]
print (t)
[(0, 21, 1.0), (0, 22, 1.0), (0, 23, 1.0),
 (0, 24, 1.0), (0, 26, 1.0), (0, 27, 1.0), (0, 28, 1.0)]

Alternative:
t1 = s.to_frame().set_index(0, append=True).index.tolist()

A: You can use if s is your series :
s.reset_index().apply(tuple,1)

0    (0.0, 21.0, 1.0)
1    (0.0, 22.0, 1.0)
2    (0.0, 23.0, 1.0)
3    (0.0, 24.0, 1.0)
4    (0.0, 26.0, 1.0)
5    (0.0, 27.0, 1.0)
6    (0.0, 28.0, 1.0)
dtype: object

If you want the output to be a list then add .tolist()

redpajama_set_name: RedPajamaStackExchange


An evaluation of the carcinogenicity of red meat and processed meat has classified red meat as Grade 2A carcinogenic, i.e., probably carcinogenic to humans, and processed meat as Group 1 carcinogenic, i.e., carcinogenic to humans.
A Working Group of 22 experts from ten countries was established by The International Agency for Research on Cancer (IARC) Monographs Programme to complete this thorough analysis of in excess of 800 studies in order to ascertain the carcinogenicity of these meats. The studies considered the associations of over a dozen types of cancer with the consumption of red meat or processed meat in many countries and populations with diverse diets.
It was concluded that each 50 g portion of processed meat eaten daily increases risk of colorectal cancer by 18%. Processed meats include meat that have undergone salting, curing, fermentation, smoking, or other processes to enhance flavor or improve preservation.
For the purposed of this investigation, red meat included all types of mammalian muscle meat, such as beef, veal, pork, lamb, mutton, horse and goat. The classification of red meat as Group 2A carcinogenic was based on limited evidence for consumption causing cancer in humans and strong mechanistic evidence supporting a carcinogenic effect.


text:
John Charles Fremont Explores the American West
Date(s): May 2, 1841
Location(s): ST LOUIS, Missouri
Tag(s): Migration/Transportation
In 1841, Fremont, originally raised in Charleston, South Carolina, made the first of five major explorations of the American West. With financial assistance from his father-in-law, Missouri Senator Thomas Hart Benton, Fremont embarked westward to explore the Oregon Trail. During this journey Fremont established and mapped a route through the Rocky Mountains from the Mississippi River to South Pass Wyoming. His map was printed many times over by the U.S. Government and countless settlers referred to it in their Westward journey.
His initial expedition promulgated Fremont into the national spotlight and earned him the nickname of the "Great Pathfinder.' Later in life he helped gain control of California from Mexico and served as that state's senator. His immense national popularity and anti-slavery position resulted in him becoming the Republican Party's first presidential nominee in 1856. He lost the election to James Buchanan but, following the outbreak of the Civil War, was appointed a general in the Union army by President Lincoln.
James M. Volo and Dorothy Denneen Volo, Encyclopedia of the Antebellum South (Westport, CT.: Greenwood Press, 2000).
John Charles Fremont, Memoirs of My Life (1st Cooper Square Press, 1887).


Thistledown Copper Lustre is a Registered WP&CS Section B with Downland Chevalier & Paddock Camargue bloodlines.
"Harry" was successfully shown in hand before being backed with the intention of producing him for the dressage arena and he qualified for the Regional Finals at both Novice and Elementary Open Level in just a few outings on scores always between 68% and 74% at affiliated level.
His exquisite temperament, attitude and outlook on life make him a pleasure to compete and partner. This is also alongside the odd days hunting, "kids pony" and a best friend.
Sire: Delvers Tarragon was himself successfully shown as a youngster, he holds the Bunbury lines which are prolific ridden ponies, alongside Twycross, Lydstep and further back the most sought after lines of the World Famous Downland Chevalier, the Royal Welsh Champion Solway Master Bronze, and the Rotherwood Bloodlines.
Dam: Paddock Northern Lustre, bred by the famous Paddock Stud, herself a Gold Medal Winner and Reserve Champion at the Royal Welsh alongside many other superb results. Her bloodlines speak for themselves having produced many outstanding offspring including "Harry's" full sister Thistledown Fairy Lustre who qualified for HOYS.
Damsire: Paddock Camargue, himself being sired by the World Famous Downland Chevalier, in 1991 was the Royal Welsh Champion Gold Medal Winner. He was exported to Sweden in 1994 as a Premium Elite Stallion, and he also Sired the Royal Welsh Gold Medal winning Paddock Picture.
As a yearling, two and three year old Harry was successfully home produced and won and was highly placed at County level on numerous occasions at many venues including Newark & Notts County show, Lincolnshire Agricultural Show, Derby County Show, Ryedale Show. He has also taken many Supremes and Championships at local level, with many commendable comments from the judges on his superb manners.
Harry was baked at the end of summer '05 with the intention of producing him as a dressage pony for 'fledgling' riders (children aged 8 to 12 years). With his exquisite temperament and intelligence he is an eager and willing person, trying always to please. He made his first appearance with our fledging rider who is 9 years old at Caythorpe on 22nd January 2005; riding her first dressage test he competed in a Trailblazer 1st round Prelim 7 and gained a super 63.17% which is a qualifying score for the second rounds. They are pictured above right at the end of the test.
His staring role in a production of Cinderella in January 2007 (see pictures above), with the Spotlight Studio Theatre Productions, also combined with the odd days hunting and being that he can ridden alongside mares even with the smallest child on board, proves again his outstanding temperament.
In 2011, Harry qualified for the prestigious Trailblazers Final at Stoneleigh and is pictured below at the Final ridden by 13 year old Polly Clark, who is really a jumping fanatic and has only ever done a few dressage tests!!
After a break while his owner was on maternity leave, Harry made a successful return to the affiliated dressage arena in February 2014 when he won one class on 72.69% and scored 70% for 4th place in the other.
Thistledown Copper Lustre was bred selectively by Mr S Anderson of Thistledown Stud to hold strong bloodlines of the famous stallions Downland Chevalier and Paddock Camargue and for the outstanding temperament needed in a child's pony.
Harry has manners to burn and is regularly handled and ridden alongside mares by small children. Harry is stabled and turned out on a mixed yard with no problems. He is a natural showman in-hand and well mannered under saddle.
Harry is pictured (lower right) with his 15.3hh son Bathleyhills Chanel Allure (out of Chanel V) in February 2014. Both Harry and "Arnold" won a class at that British Dressage Show.
Coloured colt. Dam: Lloyds Gertrude. Born June 2009. Breeder: Vicky Leggett.
Bay filly. Dam: Bathleyhills Marranello (SPSS by Top Yellow). Born 2nd April 2011. Breeder: Bathleyhills Stud.
Bay colt. Dam: Bathleyhills Sea Spray (Sach. Thuringen by Chateau De Brion). Born 13th April 2011. Breeder: Bathleyhills Stud.
Bay filly. Dam: Bathleyhills Silver Flight. Born 27th March 2011. Breeder: Bathleyhills Stud.
Chestnut filly. Dam: Hilkens Mighty Gold (by Joldis Charmant). Born 20th March 2013. Breeder: Bathley Hill Stud.
Bay filly. Dam: Bathleyhills Sea Breeze (by Casino Royale K). Born 24th March 2013. Breeder: Bathley Hill Stud.
Bay colt. Dam: Bathleyhills Swift (by Casino Royale K). Born 30th March 2013. Breeder: Bathley Hill Stud.


text:
Karl-Theodor zu Guttenberg resigns after admitting plagiarism
MetrowebukmetroTuesday 1 Mar 2011 7:56 pm
Germany's defence minister Karl-Theodor zu Guttenberg has resigned after admitting that he plagiarised his PhD thesis.
Kaput: Karl- Theodor zu Guttenberg arrives with his wife Stephanie at a recent event in Berlin. His political career is now over (Picture: AFP/Getty)
It followed an unprecedented outpouring of anger from Germany's academic community when it was shown that half his doctorate was written by others.
Once touted as a future chancellor, he was variously branded 'Baron Cut-and- Paste', 'Zu Copyberg' and 'Zu Googleberg' by the German media as the scandal developed.
The 39-year-old told a news conference in Berlin: 'It is the most painful step of my life.
'I must agree with my enemies who say that I was not appointed minister for self-defence, but defence minister.
'I was always ready to fight, but have to admit I have reached the limit of my strength.'
The controversy began when a Bremen University law professor began reviewing his 2006 thesis with the aid of the internet.
Further analysis showed more than half the 475-page paper had long sections lifted from other people's work.
Bayreuth University revoked Mr Guttenberg's academic title last week, saying he had 'seriously violated' its standards by failing to credit some of his sources.
But the minister clung on, saying the allegations were absurd. Last week he told Bundestag members that he 'did not deliberately cheat but made serious errors'.
At least 23,000 academics signed an open letter to chancellor Angela Merkel urging her to sack him.
He finally walked before he was pushed and his political career is over.
Coldest night of year expected as bitter -6°C freeze brings snow and hail
Boris Johnson 'faces two no-confidence votes' before summer - but he won't resign
Tongan 'Aquaman' swims for 27 hours to survive tsunami
Tony Blair says UK facing 'inexorable decline' with Boris Johnson in power
Boris Johnson 'faces two no-confidence votes' before summer – but he won't resign


text:
<?php

declare(strict_types=1);

namespace PandawanTechnology\StripeWebHook;

use Symfony\Component\EventDispatcher\EventDispatcherInterface;
use Symfony\Component\EventDispatcher\EventSubscriberInterface;
use Symfony\Component\HttpKernel\Exception\BadRequestHttpException;

class StripeEventFactorySubscriber implements EventSubscriberInterface
{
    /**
     * @var string
     */
    protected $stripeApiKey;

    /**
     * @param string $stripeApiKey
     */
    public function __construct(string $stripeApiKey)
    {
        $this->stripeApiKey = $stripeApiKey;
    }

    /**
     * {@inheritdoc}
     */
    public static function getSubscribedEvents()
    {
        return [
            Events::STRIPE_WEBHOOK => 'onStripeEvent',
        ];
    }

    /**
     * @param StripeFactoryEvent       $stripeFactoryEvent
     * @param string                   $eventName
     * @param EventDispatcherInterface $eventDispatcher
     */
    public function onStripeEvent(StripeFactoryEvent $stripeFactoryEvent, string $eventName, EventDispatcherInterface $eventDispatcher)
    {
        if (!$payload = $stripeFactoryEvent->getRequestContent()) {
            $stripeFactoryEvent->setException(new BadRequestHttpException('Unable to read input'));

            return;
        }

        $this->callStatic([\Stripe\Stripe::class, 'setApiKey'], [$this->stripeApiKey]);

        try {
            $stripeEvent = $this->callStatic([\Stripe\Webhook::class, 'constructEvent'], [
                $payload,
                $stripeFactoryEvent->getStripeServerRequestSignature(),
                $stripeFactoryEvent->getStripeSignature(),
            ]);
        } catch (\Exception $e) {
            $stripeFactoryEvent->setException(new BadRequestHttpException($e->getMessage()));

            return;
        }

        $targetEventName = $stripeFactoryEvent->getEventName();

        if (!$eventClass = $this->getEventClass($targetEventName)) {
            $stripeFactoryEvent->setException(new BadRequestHttpException(sprintf('Unsupported event "%s"', $eventName)));

            return;
        }

        $eventDispatcher->dispatch($targetEventName, new $eventClass($stripeFactoryEvent, $stripeEvent));
    }

    /**
     * @param string $eventName
     *
     * @return null|string
     */
    protected function getEventClass(string $eventName): ?string
    {
        switch ($eventName) {
            case Events::ACCOUNT_UPDATED:
                return Events\AccountUpdatedEvent::class;
            case Events::ACCOUNT_APPLICATION_DEAUTHORIZED:
                return Events\AccountApplicationDeauthorizedEvent::class;
            case Events::ACCOUNT_EXTERNAL_ACCOUNT_CREATED:
                return Events\AccountExternalAccountCreatedEvent::class;
            case Events::ACCOUNT_EXTERNAL_ACCOUNT_DELETED:
                return Events\AccountExternalAccountDeletedEvent::class;
            case Events::ACCOUNT_EXTERNAL_ACCOUNT_UDPATED:
                return Events\AccountExternalAccountUpdatedEvent::class;

            case Events::APPLICATION_FEE_CREATED:
                return Events\ApplicationFeeCreatedEvent::class;
            case Events::APPLICATION_FEE_REFUNDED:
                return Events\ApplicationFeeRefundedEvent::class;
            case Events::APPLICATION_FEE_REFUND_UPDATED:
                return Events\ApplicationFeeRefundUpdatedEvent::class;

            case Events::BALANCE_AVAILABLE:
                return Events\BalanceAvailableEvent::class;

            case Events::CHARGE_CAPTURED:
                return Events\ChargeCapturedEvent::class;
            case Events::CHARGE_FAILED:
                return Events\ChargeFailedEvent::class;
            case Events::CHARGE_PENDING:
                return Events\ChargePendingEvent::class;
            case Events::CHARGE_REFUNDED:
                return Events\ChargeRefundedEvent::class;
            case Events::CHARGE_SUCCEEDED:
                return Events\ChargeSucceededEvent::class;
            case Events::CHARGE_DISPUTE_CLOSED:
                return Events\ChargeDisputeClosedEvent::class;
            case Events::CHARGE_DISPUTE_CREATED:
                return Events\ChargeDisputeCreatedEvent::class;
            case Events::CHARGE_DISPUTE_FUNDS_REINSTATED:
                return Events\ChargeDisputeFundsReinstatedEvent::class;
            case Events::CHARGE_DISPUTE_FUNDS_WITHDRAWN:
                return Events\ChargeDisputeFundsWithdrawnEvent::class;
            case Events::CHARGE_DISPUTE_UPDATED:
                return Events\ChargeDisputeUpdatedEvent::class;
            case Events::CHARGE_REFUND_UPDATED:
                return Events\ChargeRefundUpdatedEvent::class;

            case Events::COUPON_CREATED:
                return Events\CouponCreatedEvent::class;
            case Events::COUPON_DELETED:
                return Events\CouponDeletedEvent::class;
            case Events::COUPON_UPDATED:
                return Events\CouponUpdatedEvent::class;

            case Events::CUSTOMER_CREATED:
                return Events\CustomerCreatedEvent::class;
            case Events::CUSTOMER_DELETED:
                return Events\CustomerDeletedEvent::class;
            case Events::CUSTOMER_UPDATED:
                return Events\CustomerUpdatedEvent::class;
            case Events::CUSTOMER_DISCOUNT_CREATED:
                return Events\CustomerDiscountCreatedEvent::class;
            case Events::CUSTOMER_DISCOUNT_DELETED:
                return Events\CustomerDiscountDeletedEvent::class;
            case Events::CUSTOMER_DISCOUNT_UPDATED:
                return Events\CustomerDiscountUpdatedEvent::class;
            case Events::CUSTOMER_SOURCE_CREATED:
                return Events\CustomerSourceCreatedEvent::class;
            case Events::CUSTOMER_SOURCE_DELETED:
                return Events\CustomerSourceDeletedEvent::class;
            case Events::CUSTOMER_SOURCE_UPDATED:
                return Events\CustomerSourceUpdatedEvent::class;
            case Events::CUSTOMER_SUBSCRIPTION_CREATED:
                return Events\CustomerSubscriptionCreatedEvent::class;
            case Events::CUSTOMER_SUBSCRIPTION_DELETED:
                return Events\CustomerSubscriptionDeletedEvent::class;
            case Events::CUSTOMER_SUBSCRIPTION_TRIAL_WILL_END:
                return Events\CustomerSubscriptionTrialWillEndEvent::class;
            case Events::CUSTOMER_SUBSCRIPTION_UPDATED:
                return Events\CustomerSubscriptionUpdatedEvent::class;

            case Events::INVOICE_CREATED:
                return Events\InvoiceCreatedEvent::class;
            case Events::INVOICE_PAYMENT_FAILED:
                return Events\InvoicePaymentFailedEvent::class;
            case Events::INVOICE_PAYMENT_SUCCEEDED:
                return Events\InvoicePaymentSucceededEvent::class;
            case Events::INVOICE_SENT:
                return Events\InvoiceSentEvent::class;
            case Events::INVOICE_UPCOMING:
                return Events\InvoiceUpcomingEvent::class;
            case Events::INVOICE_UPDATED:
                return Events\InvoiceUpdatedEvent::class;

            case Events::INVOICEITEM_CREATED:
                return Events\InvoiceItemCreatedEvent::class;
            case Events::INVOICEITEM_DELETED:
                return Events\InvoiceItemDeletedEvent::class;
            case Events::INVOICEITEM_UPDATED:
                return Events\InvoiceItemUpdatedEvent::class;

            case Events::ORDER_CREATED:
                return Events\OrderCreatedEvent::class;
            case Events::ORDER_PAYMENT_FAILED:
                return Events\OrderPaymentFailedEvent::class;
            case Events::ORDER_PAYMENT_SUCCEEDED:
                return Events\OrderPaymentSucceededEvent::class;
            case Events::ORDER_UPDATED:
                return Events\OrderUpdatedEvent::class;

            case Events::ORDER_RETURN_CREATED:
                return Events\OrderReturnCreatedEvent::class;

            case Events::PAYOUT_CANCELED:
                return Events\PayoutCanceledEvent::class;
            case Events::PAYOUT_CREATED:
                return Events\PayoutCreatedEvent::class;
            case Events::PAYOUT_FAILED:
                return Events\PayoutFailedEvent::class;
            case Events::PAYOUT_PAID:
                return Events\PayoutPaidEvent::class;
            case Events::PAYOUT_UPDATED:
                return Events\PayoutUpdatedEvent::class;

            case Events::PLAN_CREATED:
                return Events\PlanCreatedEvent::class;
            case Events::PLAN_DELETED:
                return Events\PlanDeletedEvent::class;
            case Events::PLAN_UPDATED:
                return Events\PlanUpdatedEvent::class;

            case Events::PRODUCT_CREATED:
                return Events\ProductCreatedEvent::class;
            case Events::PRODUCT_DELETED:
                return Events\ProductDeletedEvent::class;
            case Events::PRODUCT_UPDATED:
                return Events\ProductUpdatedEvent::class;

            case Events::RECIPIENT_CREATED:
                return Events\RecipientCreatedEvent::class;
            case Events::RECIPIENT_DELETED:
                return Events\RecipientDeletedEvent::class;
            case Events::RECIPIENT_UPDATED:
                return Events\RecipientUpdatedEvent::class;

            case Events::REVIEW_CLOSED:
                return Events\ReviewClosedEvent::class;
            case Events::REVIEW_OPENED:
                return Events\ReviewOpenedEvent::class;

            case Events::SKU_CREATED:
                return Events\SkuCreatedEvent::class;
            case Events::SKU_DELETED:
                return Events\SkuDeletedEvent::class;
            case Events::SKU_UPDATED:
                return Events\SkuUpdatedEvent::class;

            case Events::SOURCE_CANCELED:
                return Events\SourceCanceledEvent::class;
            case Events::SOURCE_CHARGEABLE:
                return Events\SourceChargeableEvent::class;
            case Events::SOURCE_FAILED:
                return Events\SourceFailedEvent::class;
            case Events::SOURCE_TRANSACTION_CREATED:
                return Events\SourceTransactionCreatedEvent::class;

            case Events::TRANSFER_CREATED:
                return Events\TransferCreatedEvent::class;
            case Events::TRANSFER_REVERSED:
                return Events\TransferReversedEvent::class;
            case Events::TRANSFER_UPDATED:
                return Events\TransferUpdatedEvent::class;

            case Events::PING:
                return Events\PingEvent::class;
        }

        return null;
    }

    /**
     * @param callable $callable
     * @param array    $args
     *
     * @return mixed
     */
    protected function callStatic(callable $callable, array $args = [])
    {
        return call_user_func_array($callable, $args);
    }
}

redpajama_set_name: RedPajamaGithub


Sabra - a documentary film about the life and work of printmaker Sabra Field.
Hi there, I'm Sabra Field.
I like to say I was born in a tiny building on the campus at Middlebury College. Well, NOT really. But it was here in the 1950s, in Joe Ablow's Renaissance Art course, that I first saw Piero della Francesca's "Flagellation" and understood that great art is composed from what we see but it is not a REPLICA of what we see.
My next epiphany was in the art library at Wesleyan University where I discovered "The Language of Vision" by Gyorgy Kepes, who understood the interrelatedness of visual phenomena in all places and at all scales, and saw meaning and beauty in the humble bubble pattern.
And it was at Wesleyan's Print Laboratory that Butch Limbach turned me on to the ancient technology of woodblock. I've never fallen out of love with my medium, only added to it the new technology of Iris ink jet to which I've been fortunate to gain access by living long enough.
But why on earth did I become a professional artist? Arthur K.D. Healy, the watercolorist on the Middlebury faculty, made it seem like a noble calling. No one said I couldn't and I was too naive to realize the odds. But mostly, I wanted to spend all my time making images and I was willing to take the risk. I felt, in a sense, that I had no choice. I couldn't be happy otherwise.
My life as a pro really didn't begin until I moved to an old tavern in a tiny village in Vermont in 1967, part of a migration away from city and suburb by lots of independent creative types. Vermont was beautiful and Vermonters unpretentious, generous, and understood "home occupation." I was free to be me.
I don't need to tell you how little money I made those first years, or how many teaching gigs I did or how many craft fairs. One way or another, I learned to balance the imagery that I could depend on with the more cerebral subjects that haunted me. You can read Tom Slayton's excellent book "Sabra Field, The Art of Place" and my own visual autobiography "In Sight" to see how the journey progressed.
The best thing that happened in the early years in Vermont was meeting my husband Spencer, a wildlife artist. He became our business manager and made my productive life double what it would otherwise have been.
Spencer died in 2010 after 39 happy years together. Occasionally collaborating with him was one of my joys.
The career highs that sustain me are not glamorous by the standards of the wider world, but they confirm that I made the right decision and that this wonderful place is home. I've received awards, commissions, an honorary Ph.D., and inclusion in international exhibitions, and I've been able to hold Italian printmaking workshops at Spannocchia near Siena.
Most important for the long term is "The Sabra Field Collection" at the Middlebury College Museum of Art. There, one of each print I have made has a permanent home. I have had three retrospectives to date.
I've reached the time of life artists dream of: a few commissions, sales of reproduction rights, a lot of time to think and dream and invent new images while still having the strength and energy to make them come true.
This new film (Sabra) shows about 175 of my images from over the years. Another 175 can be seen in a bonus section on an upcoming DVD. If you find a print that speaks to you, please visit my website at sabrafield.com. If you get one, I hope you will commit to it and live with it so that we may share that special relationship between artist and collector: I make it, but you SEE it!


Your organisation is defined by words. In print and online, words create first and lasting impressions. With the right words you'll flourish. With the wrong words you'll languish in the doldrums... or worse.
My name is Alex Cruickshank and I write. That's all I do. I've been writing professionally since 1994. I write words that entice and entertain, words that intrigue and evoke and clarify, words that inform and influence. Words that work.
My current clients range from billion-dollar multinational corporations to small privately-owned companies with just a few dozen employees. Whoever you are, whatever your business, I can make words work for you.
Compelling, engaging online content: vital to your success, your online presence defines your business. I've written effective and compelling online content for corporations, small businesses and government departments. I'll do it for you.
Content Marketing: if you're in PR or marketing, you'll know that content is king. I'll write real, engaging stories for and about your clients' businesses. My prose will help you promote your clients in an ethical, viral, legitimate way.
Proof-reading: don't let grammatical, contextual or spelling errors reduce your brand's impact. I'll check all your content with a fine-toothed comb. From brochures to books (novels and non-fiction) I can proof it all.
Editing: corporate magazines, white papers, etc. I'll handle the whole process (commissioning, subbing, editing, proofing) using your preferred writers or my own.
Pitches, bids and tenders for new business contracts: you only get one chance. I'll stack the odds in your favour with words that stand out from the page and stick in the mind.
Press releases: I'll tailor your press releases to specific publications, giving you the best chance of obtaining valuable coverage in print and online.
Anglo-proofing: so the user documentation for your product reads like it was translated from the original Chinese using software written in India by a Frenchman? I'll fix that.
PR & advertising: I'm not a PR or advertising agency, but I'll work with yours to add value to your public relations activities and advertising campaigns.
Fiction: I also write science fiction, just for fun. You can find out more here.
In a word: psychology. Thoughts are words, and thought is processed through language: the mind has a voice. Words shape our thinking and affect our behaviour. We are all creatures of prose.
As the Ministry of Prose Chief Wordsmith, I use cognitive psychology to sculpt textual content that engages with the human mind, for the maximum impact on your target audience.
My work is informed by nudge techniques, the theories of Chomsky and others, NLP, the interaction between the visual cortex and Broca's area, CBT and many other branches of research.
It's not magic: it's the combination of good writing and cognitive psychology.
Employees are rarely trained in word-craft, nor hired for their writing skills. Your staff may be wonderful in their given roles, but without the right words your business is losing out to competitors who fully understand the value of well-written prose.
I am adept at writing good quality prose. It's innate, hard-wired. I craft words into linguistic structures that entice, entertain, inform and influence in equal or variable measure. It's not just what I do: it's who I am.
So I'll write your important words for you, the words that present your company to the world. Whatever the style, whoever the audience, from a few hundred words to tens of thousands, I'll write new life into your business.
You've read about what I do, how I do it and why it's so important for your business. Now it's time to talk about your specific requirements.
Get in touch with me, Alex Cruickshank, via words@ministryofprose.com. Let's have words.
Alternatively, if you'd first like to know a little more about my background and how I work, read this. And if you'd like to read some thoughts on the use of psychology and prose in business (it's a blog by any other name), read this.


text:
Q: How to drop insignificant zeros when converting a BigDecimal to a String in Java? java.math.BigDecimal.toString() can return something like "0.888200000". What can be the best I can do if I want "0.8882" instead? I can never know (unless I calculate it for every particular case) the length of the integer (left to the point) part, the value can be 123.8882 as easily as 123456.88.

A: Use stripTrailingZeros():

Returns a BigDecimal which is numerically equal to this one but with any trailing zeros removed from the representation.

See http://docs.oracle.com/javase/1.5.0/docs/api/java/math/BigDecimal.html

A: Or, if you fancy regular expressions:
Pattern p = Pattern.compile("(.*?)0*$");
Matcher m = p.matcher(yourString);
String result=m.group(1);

which might be faster than all the messy stuff the BigInteger class does internally in its stripTrailingZeroes method


Instant messaging is similar to email in terms of surveillance. Almost all mainstream messaging systems pass through a central server (managed by the company who made the instant messaging platform or software). The vulnerable location for legal (with a warrant or other government sanctioned surveillance) interception of instant messages is at the provider's server location.
If instant messages are not encrypted, then they can be intercepted anywhere. A good example of this is SMS text messages from cellular phones. Anyone with the right equipment can intercept them locally (in the area that you are located by reading the wireless communications). Internet based communications, such as Apple's iMessage, BlackBerry's BBM, and the myriad of companies (AIM, MSN, Yahoo, etc) all have different types of encryption supported, and all have limitations in how the applications (apps or programs) function.
First lets consider the sender and the recipient. Both of these will be using a computer or a mobile device (we'll call those "endpoints"). If an endpoint is compromised, either infected with malware of running a program that copies any incoming and outgoing text typed on the keyboard, then your messages are not secure. If someone is looking over your shoulder as you type messages, then they are not secure. If the password you use on your computer or device is very easy to guess (such as "12345" or your birthday), then your information is not secure. Your first line of defence is protecting what you have control over – namely your computers and devices.
There are a few services that claim that your messages will be destroyed after a few seconds or minutes. Consider that these messages can still be intercepted regardless of how quickly they are destroyed on an end point. Next, even if the endpoint can't save the messages in their native format, they can easily take a screen capture in order to save a copy of the message.
Some services claim that their messages are encrypted in transit. Consider that in transit means from one point to another, so the message may be encrypted from your computer or device to the organization's server, stored there in clear text (unencrypted), then encrypted from that point to the recipient's computer or device. This reduces the likelihood that some random computer (or person) on the internet will intercept your messages, though does nothing to protect from interception and surveillance at or near the server that the service uses.
Other services claim end to end encryption. This means that messages are encrypted from one endpoint to another. While this may sound good, the type of encryption used is very important to consider. If the encryption keys are the same on all devices (as was reputed to be the case with earlier models of BlackBerry devices), then anyone who knows the encryption keys could read your messages (provided that they could intercept them).
Public key cryptography is a great concept for securing messages, though it is not always implemented well. Public key cryptography implies that each person will have a public and a private key pair. They tell everyone their public key, and keep their private key private. When you send someone an encrypted message, you're going to use their public key in order to encrypt it, and only that person is supposed to be able to decrypt it. The flaw in this system is that you have to trust in the protections on the private key. If a computer or device keeps backups of private keys, they need to be secured. If the same set of keys can be copied to multiple devices (such as if you want to be able to read your encrypted messages on both a computer and a tablet), then a malicious person who gets a copy of your private key could easily read your messages. The best method of implementing public key is one where the private key can not be copied (such as when it's stored on a trusted platform), though in that case the disadvantage is that you can't use multiple computers or devices.
Finally, even if we trust that encryption technology has been implemented properly, we have to also trust in the algorithm that is used for encryption. The types of keys used, the size of the keys used, and how the keys are protected (using a password or phrase) are very important.
In summary, there are ways to secure instant messages, though unless you are a technologist, cryptographer, and can review the code of the program or application that you intend to use, you have to trust some entity (company, person, etc.) to be competent, ethical, and not to divulge your information.


There are two levels of "archiving" in Studiometry.
A. The first level, which applies to Clients or Projects, is the Live setting. If a client or project is set to "live" it will appear in lists throughout the application. If it is complete and set to non-live, it will only be accessible through the search window or via linked items.
If your Client/Project list on the main Studiometry window is being overrun by items you no longer actively use, you can simply change their live or non-live status in the Client Info tab and Project Info tab.
To mark a project as non-live, select it in the main window, and bring up the Edit Project window by clicking on the Project's name or the Edit button, or by pressing Command-I (Control-I on Windows). Then simply uncheck Live Project in the window that appears.
To mark a project as non-live, select it in the main window, and bring up the Edit Client window by clicking on the Client's name or the Edit button, or by pressing Command-I (Control-I on Windows). Then simply uncheck Live Client in the window that appears.
When you refresh your Studiometry Main Client/Project List, the items you have changed to non-live status will move to the Search window exclusively.
To find these non-live projects and clients at a later date, simply click on the Search group in the leftmost pane of Studiometry (Command-Shift-I on Mac, Control-Shift-I on Windows). You can include/exclude non-live items in the search by choosing from the "Live Items"/"Live and Non-Live Items" filter.
Double-clicking on an item in the list will select it and show it in the main window.
1.) All projects related to a client must be non-live before a client itself can be changed to non-live.
2.) The items do not leave the main Client/Project List until restart of Studiometry or when you change the view of the main Client/Project list menu display setting(for example: to all "All Clients").
B. The second level of archiving, which applies only to Projects and their attached items, is to actually archive Projects so they no longer load when launching Studiometry.
You can archive or unarchive non-live projects by using the File Menu > Data Management > Archive/Unarchive Projects option. Please note that on a Studiometry network you can only initial archiving and unarchiving of projects on the server machine.
Archiving a project completely will improve performance when launching and syncing Studiometry, but you will not be able to access any related data without first unarchiving the items.
You can always unarchive and reference your projects in Studiometry, but you're correct that currently you cannot search through the archives directly. We are planning on adding this as well as a few other neat features related to archiving and the database itself into an upcoming version of Studiometry.
For now, though, this is still the best way to speed up the program without deleting any information.


DANIELS and Prettybird are at it again!
Romain Gavras is one of my favourite music video directors. His pieces are so powerful it makes me want to explode.
Gigi and Roy Ben Artzi write and direct this fantastic 70s style behind the scenes promo for Pop & Suki, the British accessories brand. I seriously loved the Japanese director. I even know him in real life! I think.
Directed by Thirteen & Co's Armand de Saint-Salvy as part of the promotion for The Melbourne Advertising and Design Club's Stars Creative Showcase.
I cannot ever imagine something like this happening during an ad shoot. Ever.
I knew I loved Prettybird, but I didn't know I loved Matt Piedmont. Here's why I love him.


text:
Mercedes-Benz GLS
Mercedes-Benz GLS in East Petersburg, PA
2019 Mercedes-Benz GLS 450
This is a popular model with 18 similar vehicles in Lancaster, PA
This Mercedes-Benz GLS is priced $593 below predicted market average.
The top features on this vehicle are: 20, High Performance Tires, Rear-View Camera.
Popular Color
This GLS is White, one of the top 3 Mercedes-Benz GLS colors in Lancaster.
Please call Ryan Charleston today for more details or to set up a time to see and drive this vehicle.
Mercedes-Benz of Catonsville / Baltimore, MD
Mercedes-Benz of Owings Mills / Owings Mills, MD
5,635 miles / $70,603
Mercedes-Benz Lancaster 717-569-4514 | Lancaster, PA
Popular Mercedes-Benz models in Lancaster, PA
Used Mercedes-Benz GLS in East Petersburg, PA (49)
Mercedes-Benz GLS cars for sale nearby
Used Mercedes-Benz GLS for sale in Long Island City, NY (73)
Used Mercedes-Benz GLS for sale in New York, NY (67)
Used Mercedes-Benz GLS for sale in Englewood, NJ (63)
Used Mercedes-Benz GLS for sale in Paramus, NJ (53)
Used Mercedes-Benz GLS for sale in Mechanicsburg, PA (50)
Used Mercedes-Benz GLS for sale in Edison, NJ (48)
Used Mercedes-Benz GLS for sale in Bayside, NY (42)
Used Mercedes-Benz GLS for sale in Roslyn, NY (41)
Used Mercedes-Benz GLS for sale in Union, NJ (38)
Used Mercedes-Benz GLS for sale in Little Silver, NJ (32)
Mercedes-Benz GLS trims for sale
Used Mercedes-Benz GLS 450 for sale (4,047)
Used Mercedes-Benz GLS 550 for sale (468)
Used Mercedes-Benz GLS 63 AMG for sale (203)


This code will most likely be incorporated as an option in that script anyway. The new anti recoil compensation value is output to the Gtuner output window every time you release the trigger. Just squeezing the trigger will not alter the value so long as your stick noise does not exceed 8. If it does just change that variable in the code and consider getting a new controller.
Technically speaking, while the trigger is depressed it records the position of your right thumb stick every 50 milliseconds. Then every time your thumb stick goes back to a neutral position or is released, it sums and averages the last 100 positions and modifies your vertical anti-recoil based on that average. For now the result is not persistent so if you switch slots or reload the script it will reset. There is a balance between usage time and amount of information captured which leads to accuracy. With that being said I slowed down the rate of compensation for more constant accuracy. Meaning it will take you longer to get it dialed in but once its there it should stay pretty consistent. So please go test this on a wall somewhere before jumping into a match. If you notice some crazy forces just try to compensate or reset the script. This hasn't happened to me yet but I have only tested it today and there is definitely room for improvement. This is a beta so it will most likely change. If you use this code please consider leaving feedback so we can continue to improve. To drag and drop just search for "Dynamic Recoil" in the online resources of Gtuner.
Still in beta and unoptimized.
Free to use and modify.
Please DO NOT distribute for profit.
@User101 - for concept and creation of "Dynamic Recoil"
Here give this a try! If your holding fire trigger click sprint button which will give you 5 seconds to adjust then it locks in! If not it just constantly adjusts while playing!
Thanks for the script, USER101. Would it be possible to add anti-recoil for horizontal, too?
jelly44 wrote: Thanks for the script, USER101. Would it be possible to add anti-recoil for horizontal, too?
The issue with horizontal is that people could run either way and if for example they tend to run left a lot you will have some weird unwanted right compensation.. I will eventually probably just make a "training" mode.
understood - thank you. I'm yet to try your script.


text:
Drug Release from Resorbable pH-Sensitive Nanocomposites
Stanford Reference: 17-308
Invention Type: Devices/Drug Delivery
Patent Status: Pending
Patent Link: http://techfinder.stanford.edu/technology_detail.php?ID=42155
Research Institute: Stanford University
Disease Focus: Diabetes
Basis of Invention: Combination of conductive biodegradable materials and electric field for controlled drug release
How it works: The composition comprises a conductive polymer nanoparticle, which can encapsulate an electrically-charged compound. Applying an electric field can lead to controllable release of the compound.
Lead Challenge Inventor: Richard N. Zare
Inventors: Richard N. Zare , Katy Margulis, Rohan Mehrotra, Devleena Samanta
The method of delivering a composition
Controllable release of drugs
Programmed drug delivery
General Description: An electroresponsive drug delivery system that incorporates non-toxic, biodegradable FDA approved nanomaterials. Applying weak electric stimuli (0.5-1.5 V, 50-400 uA) to the nanocomposites can control the timing and quantity of drug release. This system demonstrated relatively high drug loading (>30%) and can release of both small molecules (molecular weight <500 amu) and macromolecules (molecular weights >3000 amu), hydrophilc as well as hydrophobic compounds. The conductive composition and the method of electric field-induced compound release is essential for programmed drug delivery.
Scientific Progress:
Validation of in vitro release of drugs by the system
Validation in other animal models and clinical validation
This drug delivery system could be coupled to bioresorbable electronics in the future for treatment of chronic diseases like cancer, neurological disorders, and chronic pain, each of which requires repeated drug doses
Need to be tested in animal models for reproducible results
Publication PMID: 29058737
Samanta, Devleena, Rohan Mehrotra, Katy Margulis, and Richard N. Zare. "On-demand electrically controlled drug release from resorbable nanocomposite films." Nanoscale 9, no. 42 (2017): 16429-16436.
Inventor Bio: Richard N. Zare
https://web.stanford.edu/group/Zarelab


text:
Concert Pictures in Electronic
Venue: the Hollywood Bowl – City: Hollywood – Date: October 12th, 2017
As a long-time Depeche Mode fan – there are my favorite band along the Jesus and Mary Chain – I've had the chance to see Depeche Mode live whenever they were in town and this first night of 4 shows at the Hollywood Bowl featured one of their best live set lists.
Kicking off with the politically-charged "Going Backwards" from their latest album Spirit, they then followed with a flawless succession of 80's/90's hits intertwined with the best of their 2000+ era. While I was particularly thrilled with moody entries such as "In Your Room", "World in My Eyes", "Stripped" and "A Question of Lust", new songs such as "So Much Love" and "Cover Me" easily found their place among classics.
Even though "Enjoy the Silence" and "Never Let Me Down Again" were undoubtedly highlights for the crowd, the band also seemed to want to prove they could still rock electronic music, which they successfully achieved closing with "I Feel You" and "Personal Jesus".
Here's the full set list:
So Much Love
A Pain That I'm Used To
A Question of Lust
Poison Heart
Where's the Revolution
Walking in My Shoes
Heroes (David Bowie cover)
I Feel You
Dave Gahan – Depeche Mode in concert at the the Hollywood Bowl, October 2017
Martin Gore, Dave Gahan, Peter Gordeno – Depeche Mode in concert in Hollywood at the the Hollywood Bowl
Dave Gahan – Depeche Mode live in Hollywood
Dave Gahan – Depeche Mode, Hollywood 2017


And with this dark, sad and creepy page we're leaving Askaran.
This is the last page of chapter 2!
I will have crushed hearts till this story ends anytime.
The new voting incentive is up!
I have really no idea how to cap Ree's last pin up, that's why I made something complete different.


text:
Collaborative Industrial Robots
Collaborative industrial robots are developed with the aim to perform tasks in partnership with human workers in manufacturing sectors.
An industrial collaborative robot also known as cobot, is a robot that has the capacity of learning many tasks in other to help human being. The development of modern technology such as cognitive computing, mobile technology, touch technology and machine vision has made it possible for small robots to be conscious of their environs and do multiple tasks safely that is close to human workers.
collaborative industrial robots often function from a fixed mounting, but there is an increasing demand for mobile industrial robots that association with a mobile based and a cobot. collaborative industrial robots are tools designed to support to support human workers in their work, relieving employees of many heavy, tedious and unergonomic tasks such as holding a heavy part steady in the needed position where human workers are to fit screws. collaborative industrial robots help manufacturers to improve on their productivity by using robots instead of human workers to complete industrial tasks.
collaborative robots stand in contrast to traditional industrial robots, which are intended to function separately with protection assured by separation from social links. With sensors and other design features such as rounded edges and lightweight materials, collaborative industrial robots can interrelate directly with humans. Service robots, which are for domestic and professional use, can be considered to be collaborative industrial robots as they are planned to function together with humans. Collaborative industrial robots can perform many functions, and it can be used to power repetitive and tasks that are not ergonomic such as fetching and carrying weighty parts, machine feeding, and final assembly. Collaborative industrial robots enable electronics manufacturers to extend robotics to final finishing tasks and quality inspection. Collaborative industrial robots when working together with human workers can quickly learn tasks through demonstration and support of learning.
Many industrial robots are still independent, very expensive, large and stays behind barriers for security reasons. However, industrial robot has played a crucial part in the motorized industry and their high cost and multifaceted programming necessities have restricted their use in the other industries.
Collaborative industrial robots are not designed to supplement the human workers capacities nor take the place of human worker. This technology called Collaborative industrial robots takes the form of arm that provide workers with an extra hand in their worker, that is, to make the work easy.
Today, these types of robots are mostly used in industries, such as supply chain management, manufacturing, healthcare etc.
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