Metaglossary.com - Definitions for "micron"
A measure of length; the thousandth part of one millimeter; the millionth part of a meter.
one millionth of a meter. Measurement unit for wool fiber diameter.
(see Torr) A unit of pressure used in the lyophilization process. One micron = one Mtorr or 25,400 microns = 1" Hg., or 760,000 microns = one atmosphere.
one millionth of a meter; also written micrometer.
The standard measurement for transistor size. Current processors use a 0.18 micron transistor size. A micron is 10-6 meters, or one 1um. One inch is equal to exactly 25400 micrometers.
one-millionth of a meter, a metric unit of measure of length equal to 0.000001 meter or 0.001 millimeter.
A unit of length equal to one-millionth of a meter; approximately 0.000039 of an inch.
1/1000 mm or 0.00l millimetre used for instance to measure the thickness of gold plating.
Unit of measurement often applied to cells and organelles. Equal to 1E-6 meter or 1E-4 centimeter.
A micron is one micro-meter. So, a thousand microns is a millimeter, and 25,400 microns is an inch. The diameter of an atom is less than a nanometer, so a row of atoms one micron long would have several thousand atoms.
A unit of measurement equal to 10-6 meters.
A unit of length, 1/1000 of one millimeter (1/24,000 of an inch) used as a measurement of the largest diameter of a particle; 74 microns are equal to a 200 mesh opening.
Millionth of a meter ( 1 x 10 meter).
A metric measurement used to specify the thickness paper. One micron = 0.001mm.
One micron is equivalent to .001 mm or .00003973 inches. The micron is the unit of measurement of the particle-retention of filter media. Also, sometimes used as measurement standard for space cloth.
A metric unit that represents 1/1,000 of a mm or 0.000039". By comparison the smallest dot that can be seen with the eye is about 40 microns.
A unit of measuring particle size, used to rate filter performance (25 micron = .001").
A unit of measurement used in assessing the diameter of a fiber which equals 1/25,000 of an inch.
A distance measure equal to one thousandth of 1 mm.
A unit measurement that is 1/1000 of a millimeter. Used to describe gold plating [5, 10, 20 microns].
Unit of measuring the thickness of applied gold.
A unit of measure in the metric system equal to 10 meter. Also abbreviated µ or µ.
One thousand microns make one millimeter. A human hair is about 100 microns thick. A transistor in an advanced semiconductor process might have an area of about 4 microns by 1.5 microns (though of course transistors vary greatly in size depending on their purpose). In general, the micron number assigned to a technology (e.g. 0.25 micron technology) refers to the width of the smallest patterned feature of a transistor which is the polysilicon transistor gate.
A unit of length , (1 micron = about 1/25,000 inch). Twenty five thousand microscopic gold specks to the inch.
A unit of length = 1.0E-04 cm.
is a unit of length, about 40-millionths of an inch. A human hair is approximately 100 microns wide.
One micron is equivalent to 0.001mm or 0.00003937 inches. The micron is the unit of measure in the metric system. It is frequently used when referring to the aperture size or particle-retention of filter cloth.
1/1000 millimeter, 0.00003937 inch. The unit of measure for particle retention of filter media.
A unit of length. One millionth of a meter or one thousandth of a millimeter. One micron equals 0.00004 of an inch.
A unit of measure of length or distance equal to 1 x 10-6 meters, or 0.00003937 inches.
a unit of measurement of diameter equal to 1/1000 of a millimeter.
One thousandth of a millimetre.
One-thousandth of a millimeter, the common unit of microscopic measure.
A unit of length equal to 1 millionth of a meter - it is .000394 of an inch. Microns are used to describe the pore size of filter media. Sand filters have openings of 25 to 30 microns; cartridge filters have openings of 8 to 10 microns; and D.E. (diatomaceous earth) filters have openings of 1 to 5 microns. Humans, without magnification, can see objects 35 microns or larger. A granule of table salt is between 90 to 110 microns.
This is the length of one millionth of a meter, or 1/1000000 meters. This length is also referred to as a micrometer.
A unit of length equal to one millionth of a meter. One foot equals 0.30 meters.
Short for micrometer, a unit of measure that is 1 millionth of a meter, or 1 thousandth of a millimeter. A human hair is 100 microns in diameter, and a human cell is typically several microns across.
One millionth of a meter, or about 1/25,000 of an inch.
A unit of measure used to measure wavelength of light.
Micrometer; one millonth of a meter.
A micron is a unit of distance one millionth of a meter long. It is also known as a micrometer.
Unit of measurement of the thickness of the gold-coating. 1 micron = 1/1000mm.
One millionth of a meter. A micron is more correctly known as a micrometre (µm).
A unit of length. 1 micron = 1 µm = 10-6 meters = 0.000001 meters = one millionth of a meter. A typical human hair is about 100 microns. A sheet of tissue paper is about 25 microns thick.
A unit of length equal to 10-6 meter.
The metric measurement used to describe the thickness of poly. One micron is one one-thousandth of a mil.
One-millionth of a meter; also known as a micrometer and abbreviated μm.
A linear measure equal to one millionth of a meter.
001 millimeters. 10,000 Angstrom units. A unit used to measure wavelengths of radiant energy.
Unit of measure 1millionth of a meter. Used to describe pore size of filter media.
Is the metric measurement equal to one millionth of a meter, or 0.00003937 inch.
Short unit of length in the metric system. One millionth of a meter 10-4 centimetre, 10-3 millimetre or 0.000039 of one inch. Used as a criterion to evaluate the performance or efficiency of filter medium or to describe the condition of either the influent or effluent. Usually stated in terms of being either absolute or nominal. Nominal micron rating is generally taken to mean that 98% of all particles over a given micron value have been removed by specific medium. Absolute micron rating is generally taken to mean all particles over a given micron value have been removed. Naked eye can see a particle 40 microns or larger.
Equivalent to and replaced by micrometer; 10^-6 m.
Measurement of metal plating for durability.
A length equal to one thousandth of a millimeter. The ultra-fine size of MetaMax® particles, with an average 1.2 micron diameter, contribute to their high reactivity.
A unit of measurement. One millionth of a meter. For example, a human hair is, on average, 30 microns in width.
A unit of length in the metric system equivalent to one-millionth of a meter.
A measurement of length in the metric system appropriate for measuring infrared radiation wavelengths. 1,000,000 microns equals one meter.
Another term for micrometer. One millionth of a meter. 10-6 meter.
A standard size measurement used by filter makers. A micron is equal to one millionth of a meter, or about 0.00003937 inches. This is an area where smaller is usually better, but only to a point. A 5-micron filter is generally assumed to be more effective than a 10-micron, but a filter isn't effective if water won't go through it. For drinking water filters, somewhere around 0.5 microns, or 1/2 micron, is about the lower practical limit. That's tight enough to remove bacteria, but big enough to allow water to pass through. For whole house systems that require higher flow, 0.5 microns is usually too tight.
One millionth of a meter. Used to express applied film thickness. Mil One thousandth of an inch. 25 micron equivalent used mainly in the USA. Mild Steel Structural Steel or plate malleable iron based alloy. SEA 1020 with a carbon content of up to 2.5%.
one micrometer, 0.000001 meters. Visible light has wavelengths between 0.4 and 0.7 microns. 1 micron is 10,000 Angstroms, or 1000 nanometers (nm). 1 nanometer is 0.000000001 meters.
Metric unit of measurement equivalent to 10-6 meters or one millionth of a meter (mictometer). The naked human eye can see particles of 20 microns and above. Particles of size 0.03 to 19 microns can be seen with a microscope and those of 0.001 to 0.2 microns only with an electron microscope.
Also referred to as a micrometer, a micron is a metric unit of measure equal to one millionth of a meter. This unit is often used for describing sizes of airborne particles.
(Short for the preferred form "micrometer"): a measure of length equal to 10-6. Used to specify wavelength, it is equal to 1000 nanometers, the preferred term.
One thousandth of a millimeter. The symbol for a micron is.
One thousandth of a meter or 1/25,000 of an inch. A micron can be used to specify the core diameter of fiber optic network cabling.
A micron is the unit in which dust particles are measured. Another term for micron is micrometer. To give an idea of scale, a sharp pencil dot is about 200 microns in diameter and the Siesta removes particles down to a size of 0.001 microns. A micron is a 1/25,400 of an inch. A cubic foot of air in an average house contains approximately 3 million dust particles.
Unit of measure. One micron is equal to 1/1000 of a millimeter.
One-millionth of a meter. The diameter of a human hair is about 100 microns. Today's semi conductors have lines etched at 0.18 microns (0.18u).
One millionth of a meter, 10-6 meters.
A millionth of a meter, or 0.0000394 inch.
One millionth of a meter or 1/1,000,000 meters.
A unit of length that is equal to one one-thousandth of a millimeter. Human hair is approximately 100 microns in diameter.
(also known as Micrometer). A unit of length equal to one thousandth of a millimeter (0.001 MM).
A unit of length equal to one millionth of a meter -- it is .0000394 inch. Microns are used to describe the pore size of filter media. Sand filters have openings of 25-30 microns; cartridge filters have openings of 8-10 microns; and D.E. (diatomaceous earth) filters have openings of 1-3 microns. Humans, without magnification, can see objects 35 microns or larger. A granule of table salt is between 90 and 110 microns. Abbreviated as m m.
A unit of length. One Micron = 39 millionths of an inch (.000039"). Contaminant size is usually described in microns. Relatively speaking, a grain of salt is about 60 microns and the eye can see particles to about 40 microns. Many hydraulic filters are required to be efficient in capturing a substantial percentage of contaminant particles as small as 5 microns. A micron is also known as a micrometre, and exhibited as µm.
A micrometer or one millionth of a meter.
One millionth of a meter, and another term for micrometer. An easy conversion scheme is to remember that 25.4 microns=0.0254mm=0.001"=1 mil=1,000 microinches. With this formula memorized, it is simple to translate between inch and metric references.
Unit of measure of the thickness of the gold-plating. 1 micron = 1/1000mm.
a unit of length equal to one millionth of a meter; the unit of measure for wavelength.
Unit of length that is one-millionth of a meter or one-thousandth of a millimeter, short for micrometer.
One millionth of a meter. A micron is also known as a micrometer (µm).
(µm or micrometer) A unit of length; one-millionth of a meter or about forty-millionths of an inch. A human hair is approximately 100 microns wide.
One millionth (10-6) of a metric meter.
A unit of measurement equal to one-millionth of a meter or approximately 0.00003937 inch (e.g. 25 micrometers are approximately 0.001 inch).
One millionth of a meter (0.000001), and another term for micrometer (10^-6).
Unit of measurement equal to 10-6 meters. This term has conventionally changed to micrometer (µm).
a metric unit of measure equal to one one-thousandth (1/1000) of a Millimeter. Written as 0.001mm or 1µ or 1 µm.
A micron is a unit of length equal to 0.001 mm (millimeter).
A metric unit of length equal to one millionth of a meter. In other words, as thick as one slice of a single human hair cut up to 75 times, a hole so small that some bacteria can't even fit through it, a thousand times smaller than the eye of a needle, as wide as an inch divided up 25,000 times, 45 times smaller than your eye can detect.
a unit of measurement equal to one millionth of a meter, or about .00004 inch: 25 microns equal .001 inch.
A unit of measure of length equal to one millionth of a meter.
(µm): 1µm = 1,000nm. 10^-6 meters.
is a measure of vacuum equal to a millitorr.
an older term for micrometer.
The common unit of measurement in the filtration industry is the micron or micrometer. One micron equals forty millionths of an inch (0.00004).
1/1,000 of a millimeter or 1/1,000,000 of a meter.
A term for micrometer (one millionth of a meter). Used in defining fiber cable diameter.
A unit of measure equal to 1/1,000,000 of a millimeter.
One micron = 0.000001 meter or 0.001 millimeter.
1 x 10-3 millimeters; 1 x 10-6 meters; also known as a micrometer.
One one thousandth of a millimeter (about 1/25,000 of an inch). The standard measurement unit for pesticide drop size diameter; abbreviation - um.
A metric measurement equal to one-millionth of a meter.
Micrometer; one-one millionth (0.000001) of a meter.
A micron () is a metric unit of length equal to a millionth of a meter, or 0.00003937 inch. A human hair is approximately 75 in diameter. The smallest particle that can be seen with the naked eye is 40 across The smallest bacteria is about 0.22 while a virus is even smaller at 0.01 .
a metric unit of length equal to one millionth of a meter. Also known as micrometer.
A unit of measure. On millionth of a meter (25 microns = 0.001 Inch).
One millionth of a meter also called a micrometer.
unit of measurement of microscopic dimensions, like the wavelength of part of the radiation spectrum. A micron corresponds to one millionth of meter, that is a thousandth of one millimetre.
One thousandth of a millimeter. This is the standard unit of size in measuring the particle size of pigments and similar materials.
This is the same as above in that it is a way to measure the size of the water passage in a filter screen. The difference here is that the lower the number the finer the screen. This is opposite than the above Mesh. A 50 micron screen filters out smaller dirt than a 100 micron screen.
A unit of length, 1/1,000,000 (one millionth) of a meter.
The millionth part of a meter; also called micrometer. Common methods for indicating one micron may be shown as 1 micron, .001 mm., or 1µm.
A unit of length equal to one millionth of a meter, approximately 1/25,000 of an inch.
One micron is equivalent to 0.001mm or 0.00003937 inches. The micron is the unit of measurement of the particle-retention of filter media.
A unit of measurement, equaling one-millionth of a meter. A human hair is about 1000 microns thick; today's transistors measure .09 micron wide and getting smaller.
Millionth of a meter, abbreviated µm. Also known as micrometer.
Unit of measure equal to 10-6 meter.
A unit of length in the metric system equals to one-thousandth of a millimeter used to measure the dimensions of a virus.
A unit of measure. One-millionth of a meter or about .00004" (25 microns = 0.001").
A unit of length, the thousandth part of 1 mm of the millionth of a meter.
A unit of length equal to 1 millionth of a metre. Microns are used to describe the pore size of filter media. Sand filters have openings of 25 to 30 microns; cartridge filters have openings of 8 to 16 microns; and D.E. (diatomaceous earth) filters have openings of 1 to 5 microns. Zeolite used in sand filters have openings of 3 to 6 microns. A grain of salt is between 90 and 110 microns.
A unit of length, the thousandth part of I mm or the millionth of a meter (approximately 1/25,000 of an inch).
An obsolete unit of length equal to a micrometer (mm).
A unit of measure that equals 0.000039 inches (abbreviated as 1 m) is a micrometer (1 x 10.6 meter).
A unit of distance equivalent to one-millionth (10E-6) of a meter; a micrometer. (E. coli, a common bacteria, is 0.5 microns in length.
A unit of measure equivalent to one-millionth of a meter; synonymous with micrometer. Also the company name of one of the largest memory producers in the world and the parent company of Crucial Technology.
A unit of measurement representing one-millionth of a meter. Equivalent to a micrometer.
An alternative unit of measure for film thickness. As mil is the more common measure, a Micron is 25.4 times larger than a Mil.
Unit to measure length. It is often used to measure the wavelength of light. 1 micron is a thousandth of a millimetre. 10 000 micron correspond to 1 centimetre.
One millionth of a meter, or 0.000039 in. or 1/25400 in The diameter of dust particles is often expressed in microns.
A unit of length equivalent to 0.001 mm, used for measuring the thickness of electroplating.
One one-millionth (0.000001) of one meter, or 0.00003937 inch. Bacteria are typically less than one micron in length. The smallest object visible to the naked eye is approximately 40 microns across. Human hairs are between 60 and 80 microns in diameter.
Metric unit of linear measure equaling one millionth of a meter, or one thousandth of a millimeter. It's a thousand times bigger than a nanometer. Today, semiconductors have lines etched at 0.18 microns.
A unit of length equal to one-millionth of a meter. An average human hair is 70 microns in diameter. In general, particles down to 40 microns can be seen without the aid of magnification.
A unit of length. It is 1 x 10-6m (0.001mm).
A micron (micrometre) is the measurement used in wool classing to measure the actual diameter of a wool fibre. The smaller the number the finer the fibre.
A micrometre - 10-6 metre.
Micron is a superhero who has appeared in animated series based on DC Comics. He was voiced by Wayne Brady.
Micron aims to replace Vixie Cron, offering the same feature set with fewer security concerns and a smaller memory footprint.
1 micron = 1/1000 mm.


Riding to support all of our friends and family members who have had life altering experiences with any form of cancer.
Thank you, Kate, for joining the team!
As always, I appreciate all you do! Thank you!
Love your support! Appreciate how you do it. Loveya!
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This is a painting of the garage which used to belong to the original owners of the house in which we are currently residing. Back in the day, circa 1905, having a three car garage was unheard of. The third door is in the back. Currently, the garage is owned by the railroad.
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The View from Here: Middle Eastern Cinema at the 49th Thessaloniki International Film Festival
"What happens when the gaze is returned?"
There is today perhaps no region more misunderstood, and demonized, than the Middle East — the West's uber-Other. Overwhelmed by its preconceived and distorted perceptions, so many false constructs encouraged by a news cycle depicting mainly bloodshed and fanaticism, the Western world is blinded by its own gaze. What happens, then, when the gaze is returned, challenging the status quo? That is the premise behind the lineup of films from the Middle East screened at the 49th Thessaloniki International Film Festival in November 2008.
Under the banner "Division and Unity: Cinema in the Middle East," festival curators brought together ten films from nine countries, reflecting the cultural, historical, and political complexities of the region. The filmmakers, whose identities are as fluid and resistant to reductive classification as their works, present a different vision of their worlds than the West is accustomed to; we now have a chance to see through their eyes.
Questions of perspective are at the heart of Palestinian filmmaker Annemarie Jacir's Salt of the Sea (2008). Soraya (Suheir Hammad), a Brooklyn-born Palestinian, is determined to go "home" to Palestine, a country she has never visited, and reclaim money left in a bank account in Jaffa by her grandfather in 1948 — the year of the Nakba.1 After arriving at an Israeli airport and undergoing a humiliating strip-search in customs, she makes her way to Ramallah, where reality plunges headlong into fancy.
Defiant and naive, Soraya is intent on making a place for herself in the Palestine of her grandfather's memories, which no longer exists. It is not until she meets Emad (Saleh Bakri), a frustrated young man who wants nothing more than to leave Palestine, that she begins to wake up to the harsh world around her. A bank heist, a road trip to Jaffa disguised as Jewish settlers, and the village of al-Dawayima, destroyed in the war of 1948 and hundreds of its inhabitants murdered, all factor into the plot and the film's bitter denouement.
Salt of the Sea opens with black-and-white documentary footage of Israeli bulldozers destroying Arab homes, setting the tone of loss that permeates the film. It then switches back to color and the present-day calamities that are the daily stuff of life in the West Bank. Images of the streets, from boys congregating at a graffiti-covered fountain and the ubiquitous military checkpoints to a couple passing their baby over a barbed wire border fence, are contrasted with travelogue photos of the sea, the countryside, and the port of Jaffa (Jacir was forced to shoot some footage in Marseilles and on sets because Israeli officials denied her access to about 80 percent of her locations). This keenly felt sense of place and longing, however, doesn't quite rise to the drama it promises. Instead, Jacir eschews the emotional and depicts the tragedy of the Palestinians in solely political terms. The love story between Soraya and Emad is obstinate in its flatness. What may have been a window into the deeper, individual effects of the Israeli occupation is never fully explored. The end result is a visually compelling political tract; true to life, but only one part of the story.
Darker and more melancholy in its imagery and sensibility is Ahlaam (Dreams, 2005), directed and shot by Iraqi-born Mohamed Al-Daradji. Constructed as a series of flashbacks, Ahlaam opens in Baghdad, in 2003, two days before the fall of Saddam Hussein's regime, amid the bombed ruins of a psychiatric hospital. Terrified and bewildered patients escape into the streets as the American military lays siege to the city. Cut to 1998 and we are introduced to the film's three protagonists: Ali, a mild-mannered soldier completing his national service on the Syrian border; Ahlaam, a university student happily planning her wedding; and Dr. Mehdi, a hard-working medical student studying for his final exams.
Shifting between past and present, the film depicts how the characters' lives are profoundly altered by political events. Entangled in war and the brutality of the Baathist party, Dr. Mehdi is blacklisted and forced to work at the asylum because his father was a noted communist put to death by the regime. Traumatized by the American bombing in1998, which kills his best friend Hasan, Ali wanders mistakenly across the Syrian border and is later charged with desertion. The military court delivers a hideous punishment: imprisonment in the asylum and the severing of his ear. Ahlaam's wedding party is violently interrupted by the Baathist police, who arrest her fiancé and drag him off to a certain death. She goes insane with grief.
Working around violence, curfews, and power outages, Al-Daradji deftly captures the hallucinatory reality of a ruined Baghdad. Visuals of deserted streets, smoldering buildings, and documents fluttering in the gutter are punctuated by the sharp click of sniper shots. Dead bodies pile up. As Ahlaam roams the streets in her torn wedding dress, Ali, who is somewhat aware of what is happening, tries to help Dr. Mehdi round up the escaped patients. In the end, we see Ahlaam alone on a rooftop as her desperate parents and Dr. Mehdi try to convince American soldiers, who speak no Arabic, that they need to enter the building to get her. The brutality of the soldiers' response foreshadows what in reality has come to pass.
Ahlaam's production history is as harrowing as the film itself. Al-Daradji returned to Iraq from Europe in 2003, after an eight-year absence. Determined to shoot on the streets of Baghdad, he and his crew worked with only three hours of electricity a day, had their equipment and footage stolen, were shot at several times and wounded, and were kidnapped twice, once by the Iraqi police and once by American soldiers, each of whom thought the film was a propaganda piece for the insurgents. It took the Dutch embassy five days to secure Al-Daradji's release from American custody. He is a Dutch-Iraqi national.
Despite the merciless conditions, Al-Daradji is at work on a second feature that he intends to shoot in Iraq. "The reality today," he explains, "is that my friends, family, and countrymen are portrayed by the news as numbers and statistics, without faces or feelings. I hope to open the world's eyes to what is really going on in a country destroyed by wars, politics, and oil."
Two other films — French-Lebanese Philippe Aractingi's Under the Bombs (2007) and British-Yemeni Bader Ben Hirsi's A New Day in Old Sana'a (2005) — were shot under very difficult circumstances.
Under the Bombs was filmed guerrilla-style in the summer of 2006 during and after the Israeli bombing of Lebanon. Aractingi shot for a few days at the beginning of the war in July and then left for France to take care of his family. He edited the footage he had, secured financing from French television, and returned to Lebanon to film again, arriving four days after the cease-fire was declared. He and his two actors — Nada Abou Farhat, who plays a wealthy Shiite woman, Zeina, searching for her son and sister; and Georges Khabbaz, who plays Tony, a Christian taxi driver who befriends her — began improvising scenes as the crew traveled to the devastated southern region of the country.
True to his documentary roots, Aractingi decided to "react to what was going on rather than have a preconceived idea of what to do." The result is a visual odyssey of destroyed homes, bridges, and roads, a Hezbollah rally, the arrival of UN forces and journalists, as well as real-life victims interacting with the performers. The work's emotional authenticity comes in part from Aractingi's ability to quietly observe what is unfolding, often using long-distance shots, rather than attempting to shock with gratuitous images of death.
Unfortunately, the few scripted fictional scenes, which were later imposed, don't measure up to the rest of the film. In particular, a love scene between Tony and a hotel receptionist is stagy and makes no narrative sense. But these are niggling complaints, and, in the end, the scenes don't interfere with the overall power of the work.
"In my film," Aractingi says in a text he wrote for the festival catalogue, "I avoided showing the bodies of the dead. We saw too many of them, lifeless cadavers discovered as the stones and rubble covering them were removed. Under the bombs, most of the people around us died crushed. It is for these people that I made this film: to bear witness to the suffering of those innocents."
Although A New Day in Old Sana'a is a sweet tale about the unrequited love of a poor girl, a munagasher (henna artist), for an aristocratic boy, Ben Hirsi had an extraordinarily hard time getting first the script and then the footage approved by Yemini government ministers and religious clerics. On several occasions, religious extremists accused the director of making pornography and interrupted shooting. Eventually filming came to a halt until more than a dozen members of parliament screened the footage and gave the go ahead. That the crew was at least half female, including the director of photography, only made matters worse. The entire crew was forced to live in an armed compound surrounded by security for the duration of the shoot. Luckily Ben Hirsi persevered, and the result is a lyrical peek into the culture and traditions that constrain the young lovers.
The ancient city of Old Sana'a is a UNESCO World Heritage site, and as such is filled with beautiful sandstone towers and buildings, cobblestone streets, and gardens. Ben Hirsi makes good use of his locations, employing lots of wide shots that take in the city's picture-postcard skyline. The saturated colors of the women's clothing and veils add to the overall dulcet effect. And the sad yet romantic ending takes the edge off the deeper issues the film raises regarding class and hidebound ideas of familial duty and honor.
The antithesis of romance is Israeli director Ari Folman's Waltz with Bashir (2008), an animated documentary feature about the Israeli invasion of Lebanon in the summer of 1982. Much ink has been spilled over this work, mostly positive, commenting on Folman's earnest attempt to grapple with the tricky and often elusive subjects of truth and memory. Folman's interrogation of the events of that summer, when he was a 19-year-old conscript in the Israeli Defense Forces (IDF) then occupying southern Lebanon and Beirut, is, however, less about truth-seeking than it is about justification.
Driving the story is Folman's sudden desire to recover his memory of events he participated in during the war, which he claims to have blotted out for twenty-five years. "I had the basic storyline," he says, "but there were large holes."
The film opens with a feverish scene: a pack of vicious dogs with frightening yellow eyes tearing through the streets of Tel Aviv. The next shot is inside a bar; it's the winter of 2006. Folman is listening to his friend and comrade–in-arms, Boaz, discussing his recurring nightmare about wild dogs, 26 to be exact. It turns out that during the 1982 invasion Boaz was ordered to shoot any dogs on sight when the IDF entered a Lebanese town, so that the animals' barking wouldn't alert the residents. He had killed 26. When Boaz asks Folman if he had flashbacks from Beirut, he responds, "No, I never think of Lebanon. It's not in my system." It is at this point that Folman awakens and decides he must fill in the "large holes" in his memory.
Folman sets off to find the men he served with and to question them about their experiences. Along the way, he also speaks to a therapist friend, an expert on post-traumatic stress disorder, and a well-known Israeli journalist who covered the war. The images resemble those in a graphic novel, simultaneously lifelike and otherworldly. Although animation gives Folman room to maneuver visually, the ability to imaginatively heighten the surreal aspects of real events, it is also emotionally distancing. Misery when rendered in a cartoon format is misery lite — enough to make one uncomfortable but not enough to make one feel responsible, or guilty.
The interviewees' memories are a collage of fear, hallucinations (one soldier talks of passing out on the deck of a military transport ship and dreaming of a giant naked woman rising out of the sea foam like Aphrodite to save him), and destruction. No one seems to ask, however, what they were doing in Lebanon in the first place or what happened to the victims of their bloody assault. They were young and inexperienced and trying to survive. Apparently, nothing more need be said.
The heart of the film, and of Folman's repressed memories, is the massacre of Palestinian civilians at the Sabra and Shatila refugee camps in West Beirut. Christian Phalangists, one of multiple militias that emerged during the Lebanese civil war, rampaged through the camps for three days, killing up to 3,000 men, women, and children with the tacit approval of their IDF allies who controlled the area. The alleged reason for the killings was to avenge the death of Bashir Gemayel, the president of Lebanon who had earlier been assassinated. Folman's long-awaited epiphany finally arrives: he remembers that he was among the IDF soldiers who launched flares over the camps at night to aid the Phalangists in their obscene deed. They were only following orders; they "had no clue what was going on."
This grisly slaughter that occurred practically under Folman's nose, "merely hundreds of meters from my own post" he later acknowledged, the screams that surely must have rang out into the night, the stench of death emanating from the camps — none of this Folman recalled, or even speculated about? Oddly enough, he had vivid memories of furloughs home during the war and of being thrown over by his then girlfriend, Yaeli. Such is the capricious bitch called memory.
Needing to soothe his pricked conscience, Folman discusses the massacre with his therapist friend, who bizarrely assures him that the confusion and fear he is feeling is because Sabra and Shatila puts him in mind of another camp: Auschwitz, the Nazi death camp where his parents were sent. So Folman is off the hook again; he and his fellow soldiers are not complicit in the tragedy because they can't be Nazis. The facile analogy cancels any further introspection on Folman's part.
In the final minute of the film, animation gives way to real footage of the massacre. The horror of the death and destruction on screen is unspeakable. These are the real victims. And they cannot go back to their lives as they were before the war. No therapist, no friends, no film can ease their suffering. This is Folman's only brave, true moment in the entire work.
From the website alnakba.org: Nakba (cataclysm): "The mass deportation of a million Palestinians from their cities and villages, massacres of civilians, and the razing to the ground of hundreds of Palestinian villages." [↩]
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Harry Potter - Series Fan Fiction ❯ Harry Potter and the Werewolf Prophecy ❯ THE MORNING AFTER ( Chapter 15 )
Harry and Ron describe their adventure to the Weasleys.
"You should be upset!" said Ginny, her hands on her hips. "Someone tried to kill you! In fact, a lot of people were trying to kill you!"
Harry shook his head. "It's not that. In a way… that was getting involved. It's not as if I'm not used to people trying to kill me! And Malfoy was there to save me..."
"According to what you said, he turned up just slightly too late. If your cousin hadn't knocked out Goyle he'd have killed you. I bet Malfoy would have been broken-hearted."
"Well, Dudley did beat up Goyle, and Malfoy did stop Pansy Parkinson," said Harry. "I know they were trying to kill me but..."
Ginny shrugged. "It only happened to me once or twice and I can tell you, I wasn't able to shake it off that easily. You could have died, Harry. In a way, it was more dangerous than before. There's no Lord Voldemort wanting to save you for himself. Any of them would love to see you dead."
Harry shook his head slowly. "I was scared, of course, and I still feel a bit… shook up. The thing is, though – I still wanted to go to Malfoy's house and help. I felt… left out. Neville and Ron were going there, and I was just… sent home."
Ginny grinned. "I thought you hated the 'great Harry Potter, The Chosen One' thing?"
"I do," said Harry. "Honestly, I think I preferred it when everyone hated me for some reason. I used to cringe when poor little Colin Creevy kept wanting to take my picture. I just wanted to be useful, that's all."
"You were useful," said Ginny. "The chance of killing you drew in a whole lot of Slytherins who hadn't had the chance to be full Death Eaters. It also split them so Shacklebolt could take the kids first, then the rest of them. Of course, Malfoy could have told Kingsley who the target was, but then you might have decided not to turn up."
"I suppose…" said Harry, and shook his head again, wearily.
"You just want to be involved a bit," said Ginny. "I know how it is."
Harry smiled suddenly. "Maybe I did want to be 'Harry Potter, The Chosen One'. Just a bit. Storming the Malfoys' house to capture a bunch of Death Eaters."
Ginny touched his arm. "I think you can let Ron and Neville have their moment, though."
"Did we hear from Ron since last night?" Harry asked.
Ginny shook her head. "No, just that one time when his head popped up in the fireplace and he said they'd finished at the Malfoy's and they'd be hours dealing with the prisoners."
"We should go down to your Mum. There's no real risk now, but she's bound to be worried."
They put on dressing gowns and went downstairs, and found Ron sitting at the table eating a huge breakfast.
"Harry!" he shouted as soon as they appeared, "you should've been there, mate. It was brilliant."
Harry forced a smile. "Wish I had been, but I was sent home."
Ron nodded. "Sorry about that, but we had a plan all worked out, and, well…"
"It's fine," said Harry, tightly. "Stupid to risk messing things up. Did it go all right?"
"I tell you what," said Ron, buttering a thick slice of toast, "Malfoy is a complete…"
"Ron!" called Mrs Weasley from the stove.
"Well, he is. But, give him his due, when he sets out to betray all his friends, he's really really good at it. They were all still asleep, and most of them hung over. The Malfoys had half emptied their wine cellar. I think they'd put something in the food as well. Malfoy was always good at potions. All that greasing up to Snape."
"Was it Malfoy who planned it? Draco, I mean," said Harry.
"Hard to say, but I reckon it was mostly him. Old Lucius is pretty much a wreck at this stage, and that hag of a mother isn't much better. Bad enough being one of You… of Voldemort's henchmen, but Lucius was a really bad henchman. If we'd left it to him he'd probably have accidentally delivered us all the Horcruxes. But Draco - I mean, he made sure that the attack on Harry was all young wizards and witches, our age, and told the really dangerous Death Eaters to keep out of sight." Ron took a swig of tea, draining half the mug. "Funny, when we last saw Draco he was a wreck too, but he must have pulled himself together. Just goes to show that if you spend your life thinking you're better than everyone else it doesn't go away easily."
"Why did he do it, though?" asked Ginny. "Malfoy's always hated all of us, and he ended up landing all his friends into Azkaban, and saving Harry's life."
Mr Weasley lowered the newspaper, which had concealed him completely. "The Malfoys had pretty much switched sides by the Battle of Hogwarts," he said quietly. "Now, as you know, Harry, I never had much time for that family, but I never thought they were stupid. Voldemort is dead, now, and his followers are dispersed and disgraced. The Malfoys knew a lost cause when they saw one, or at least that little sneak Draco did."
"Draco probably wouldn't have gone to Azkaban, though," said Ron. "And Narcissa helped Harry. You know, when she said he was dead."
"Ah, yes, Ron, but that wouldn't be enough for a Malfoy. They've been one of the most influential and powerful wizarding families for hundreds of years. They would do anything – anything at all – to preserve their status." Mr Weasley stirred his porridge absent-mindedly.
"He seemed to gloat in it though," said Harry. "What he did to Pansy Parkinson…"
"Know what you mean," said Ron. "After hating her for years, all I could think of was when she saw the baby unicorns and couldn't help admitting how cute they were. I mean, I know she tried to kill you, and she had it coming, but still…"
"He didn't need to do what he did to her. It was... gratuitous. I'm sure that she would never have been involved in something like this if he hadn't set her up for it," said Harry, shaking his head. "I thought she was his friend. I thought she was his girlfriend!"
Ginny sighed. "Harry, you must have noticed how annoying Pansy Parkinson was. Malfoy had her hanging around him for six years. She must have driven him crazy with that horrible laugh and those stupid jokes."
"I always assumed he fancied her," said Ron. "I mean – well, Lavender was annoying too, but I fancied her lots, to start with."
Ginny laughed. "Ron, you fancied everybody. You'd have gone out with McGonagall if you'd had a chance."
"Shurrup!" said Ron, blushing.
"Malfoy must have hated all those Slytherin girls, what with fancying Hermione so much," continued Ginny.
"Hermione?" chorused Harry and Ron.
"He hated her!" said Ron.
"He hated her worse than me!" said Harry.
"Of course he hated her," said Ginny, patiently. "She was Muggle-born, and she was everything he despised. But she was clever and tough and precise, which was everything he admired. Do you really mean to say you never realised?"
Mr Weasley looked up again from his paper. "I hardly ever saw the boy but I could tell," he said, smiling.
Ron shook his head. "Blimey, I suppose it makes sense in a sick sort of way."
"Harry, you said Malfoy had a girl with him," said Ginny. "What's she like?"
"Like a Ravenclaw girl," said Harry. "Clever, tall – a bit strict."
"Sound like anyone?" said Ginny, dryly.
"Did Hermione know?" asked Harry.
"Why do you think she hated him so much?" said Ginny.
"Hang on a minute – Malfoy hated Hermione 'cause he fancied her, and she hated him why exactly?" Ron seemed somewhat perturbed.
Ginny sighed. "Hermione hated Malfoy because he was a pig, who insulted her horribly, and had a leering creepy way of staring at her. She certainly didn't fancy him."
"At last something I can understand," said Ron, grimacing, and he drained his mug. "Mum? Any tea left?"
"You could get it yourself, Ron," chided Ginny, as Mrs Weasley refilled Ron's mug.
"Have a heart, Gin – I've been up all night fighting evil. Thanks, Mum."
Mrs Weasley replaced the pot. "How's Neville?" she asked. "Is he seeing that Luna Lovejoy girl?"
"Lovegood, Mum. No, they're just friends. Neville's doing really well, but I'm not sure that he's enjoying it much." There was a pause while Ron addressed himself to his scrambled eggs. He continued with his mouth half full.
"When we'd rounded up all the Death Eaters at Malfoy's house, we had to search the place. Malfoy said there was no-one else but we weren't going to trust him, were we? I was told to stand guard over the prisoners. I've not been fully trained, you see."
Ron paused, and serious expression grew over his face. "There were no more Death Eaters, but there was… stuff. I didn't see it, but Neville did. They brought it out in sacks and crates. He was white as a sheet, but he kept on doing his job."
"I think Neville's the bravest out of all of us," said Harry. "I thought he was – well, not a coward, but a bit of a wimp when we first met – but the more scared he is, the more he'll wind himself up and do it anyway."
Ron nodded, and gestured at Ginny with his fork. "He asked her to the Yule Ball. Killing Nagini must have been a doddle after that."
They laughed, and Ginny slapped Ron's shoulder with the back of her hand.
"Surely they must have arrested Malfoy's Dad when they saw all that stuff," said Harry.
"He nearly blew it," said Ron. "He was about to protest about them taking everything, but Draco jumped in and said that the Death Eaters brought it all when they came to hide out." He gave a short laugh. "All covered in cobwebs and hidden at the back of drawers. Still, Shacklebolt is going to look the other way as much as he can."
Mr Weasley shook his head. "The times I searched that house… I dare say there's more hidden away somewhere."
"Judging by the look on Lucius Malfoy's face, we got a lot of it anyway," said Ron. "Hey, Dad, what does it say in the Prophet?"
Mr Weasley held up the paper and began to read.
"'A murderous attack on Harry Potter, the boy who defeated Lord Voldemort, was foiled last night by a brave band of Aurors, led by the Minister for Magic himself. Among the ranks of the heroes was Neville Longbottom, who slew Voldemort's snake Nagini, Ron Weasley, Harry Potter's greatest friend… '"
"Sorry, Ron," said Harry, grinning.
"For Pete's sake," said Ron. "Harry's friend. Is that all I'm ever going to be?"
"'…and Draco Malfoy, formerly thought to be part of Voldemort's gang.'"
"Malfoy!" exploded Harry. "Tell me they aren't making Malfoy an Auror?"
"Of course not, Harry," said Ron, soothingly. "Nobody with the Dark Mark will ever get in the Auror's Office. Just the paper getting it wrong. Who wrote it anyway? Oh, I think I can guess."
"'Draco Malfoy and his parents Lucius and Narcissa had infiltrated the Death Eater gang, and waited until the perfect moment to trap them all. Draco, an old school friend of Harry Potter…'"
Mr Weasley was drowned out by the chorus of derision. "Language, Ron!" snapped Mrs Weasley, before Ron could finish what he was saying.
"Yeah, I think that's enough, Dad," said Ron. "That's how it's going to be. The Malfoys are officially the brave wizards who spied on Voldemort for the good guys. They're implying that they were working with Snape the whole time."
"That's disgusting," said Harry, angrily. "How can Shacklebolt go along with that rubbish?"
Mr Weasley refolded the paper. "Because Kingsley has just arrested most of the Death Eaters who were still at large, Harry. And it's now in the Malfoys' interest to make sure that any remaining Death Eaters are caught as soon as possible, if they want to keep safe. You aren't the most hated person on the Death Eater list any more, Harry."
"It's still wrong!" snapped Harry. "Lucius Malfoy was the leader of the gang that murdered Sirius. He was sent to Azkaban and now he's being let off! The Malfoys deserve to be punished".
"Of course they do," said Mr Weasley. "I'm afraid that they probably won't be. How many people went along when Voldemort took over the ministry? Almost everyone." He stood up and walked to the door. "Even me. Must be off to work now." He kissed his wife and walked to the back door.
"Will you have some breakfast, dear?" said Mrs Weasley to Harry.
Harry forced a smile. "No, thanks. Not really feeling very hungry."
He stood up and walked out to the garden. It was looking unkempt, half tended, like the rest of the house. Molly Weasley was working, if anything, harder than ever, but many of the tiny jobs that nobody else would deal with had been left undone. Meals were always ready on time, but they were just food now, put together to keep them fed – not the loving feasts that brought the family together. Every surface was clean, but nowhere was polished to a gleam. Maybe it will change, thought Harry, now that the family is getting going again.
He felt a touch on his arm and turned to see Ginny. She smiled at him. "Feeling a bit let down?"
"It's stupid, but yeah. I wouldn't have minded Malfoy getting away so much. It's just…"
"When everyone else gets caught, and he's the one getting away with everything – getting to be the hero even."
Harry shook his head. "Do you know, I even felt sorry for Pansy Parkinson, and she was trying to kill me. And Millicent Bulstrode – she didn't say a nice word to me all the time we were in the same classes, but all I can think of is the one time, in third year, she dropped a book and I picked it up and she thanked me. Now she's dead."
Ginny squeezed his upper arm. "I didn't ask Ron if any of the Slytherins in my year were there. I don't think any of them were as bad as Malfoy's lot, but there were some nasty ones."
"It's weird, isn't it – going to school with someone who tries to kill you? Dudley was horrible, and he and his friends used to beat me up, but that was as far as it went. Crabbe and Goyle, though..."
"How much does Malfoy hate you?"
"I think he hates me because he couldn't make himself kill me. Couldn't kill Dumbledore, couldn't tell Bellatrix who I was. When it came down to it, I was that boy he was at school with and didn't like, not some enemy who had to be destroyed. He failed at the one thing he wanted to be good at, and he thinks it's my fault."
"Sounds like he's found a new vocation, though. Respectable leader of the pure-blood faction. They'll be squeaky clean, especially since all those dark magic treasures have been cleaned out."
Harry grinned. "They'll hate that. All that horrible stuff they spent centuries accumulating. Dobby hinted to me about it sometimes. Junk, mostly, but expensive. They'll have to watch it burn."
"That will have to do. No Azkaban for Draco or Lucius."
Harry thought for a minute. "I suppose, when it comes down to it… I would be dead if Draco and Narcissa hadn't lied to save me. But I can just imagine in twenty years seeing him in Flourish and Blotts and he'll sneer at my son and I'll lose my temper…"
Ginny gave him a sudden grin. "Thinking of having children, are you?" Harry blushed, and squeezed her shoulder. He leaned towards her, but then heard a call from inside the house.
"Hermione's here, Ginny, Harry!" It was Molly Weasley calling. Harry and Ginny ran back inside.
"Talk about her and she appears," said Ginny, laughing.
Hermione was sitting at the table talking animatedly. "...in the Prophet I was so worried about you both, so I apparated straight here. Harry, are you all right? They said you were attacked. And Ron too!"
"I'm fine," said Ron. "They're still keeping me out of the firing line. Harry was the one they targeted. We still don't know exactly what happened. Malfoy says that it was Goyle who planned it all, but I don't believe that. Goyle wouldn't tie his shoelaces without someone telling him to. Of course, Harry saved Goyle's life as well, but…"
"Oh, Malfoy would know how to hint to them. Goyle probably thought it was all his idea." Hermione shook her head. "Endangering Harry would have been a bonus."
"Yeah, if I'd been killed that would have suited him, and saving me and acting like a hero was the next best… hang on, what's that noise?" said Harry, looking around.
There was a creaking, grinding noise that kept getting louder, sounding like machinery that had been long out of use starting up.
"It's the clock!" said Hermione, suddenly. "Look, the hands are moving."
They all turned to look at the Weasley clock – the magical device that showed the whereabouts of every member of the Weasley family.
"It's been stuck on 'Mortal Peril' for years," said Ron. "Assumed it was broken."
"No, just that we've been in mortal peril and gotten used to it," said Ginny.
The hands on the clock were quivering, moving a little way off the position they had held for so long, then snapping back. Then, all at once, they began to circle the clock face, and the grinding noise settled down to a rhythmical tick.
"Oh, look! Look, Harry, Hermione – the extra hands!" said Ginny excitedly. "Dad must have added them."
Harry straightened his glasses and stared closely at the clock. There were three new hands, rotating slowly around the face, labelled Harry, Hermione and Fleur. He blinked, feeling momentarily overcome by emotion.
"Well, of course," said Mrs Weasley. "We have to have the whole family." Hermione ran to her and gave her a hug.
Gradually, the hands came to rest. The hands belonging to everyone who was in the kitchen were pointing to 'Home'. Those belonging to Arthur, Bill, Charlie, George and Percy were pointing at 'Work'. Fleur's came to rest at 'Shell Cottage'.
As the hands stopped moving, a butterfly made of tin, its wings brightly coloured, emerged from a slot at the top of the clock and circled the outside of the face. It came to rest eventually back above the slot from which it had emerged, its wings gently flapping.
"Hang on – does this mean we're all safe?" said Harry, slowly.
"Well, dear, it's not infallible, you know. You know what Arthur says about things that think without a brain." Molly Weasley shook her head. "I think it does mean that whatever you and Ron did yesterday has disposed of the main danger, for now."
"Greyback's still out there," said Ron, "but I don't expect he's got any particular grudge against us. More than anyone else, I mean. Everyone else who should be locked up is, now."
"Except the Malfoys," said Harry.
"Well, yeah. Which is bad, obviously. But not dangerous, as such," said Ron judiciously. "I mean, he had the chance to kill you and didn't. Or let you be killed."
Harry couldn't argue with Ron's reasoning, but was too angry about the Malfoys to say anything.
Hermione had released Mrs Weasley and was standing staring into space. "So that's it," she said. "The war is over. Things can really get back to normal."
"Yeah, suppose so," said Ron. "As normal as they ever are."
"Hermione, how are your parents?" asked Ginny. "They're home now, aren't they?"
"They're really well," said Hermione. She was looking at Ron, but he wasn't looking back. "They've settled back into their old life… re-opened the practice…" She tailed off.
She looked down. "I must get back. Just… so glad you're all OK." She got up.
Ron shovelled a last mouthful of scrambled egg into his mouth. "Hang on," he said indistinctly. "See you off."
Hermione went straight to the door, not looking back. Ron raced after her. The others stared at each other. A few seconds later there was a loud crack. Hermione's hand on the Weasley clock moved to 'Travelling'. Ron came back into the kitchen, looking puzzled.
"She… er… had to rush." He didn't look at them. "I think I'll go for a sleep." He left the room. The others sat in silence.


This programme is being held since 2003, to encourage Physics Teachers to conceive and set up original innovative experiments in Physics. The Competition is held every year at the venue of The Annual Convention. The high quality of entries, shows the usefulness of the programme.
NCIEP is generally held in mid October every year during IAPT convention. Any innovative experiment in Physics upto +2 level can be contributed in this competition. Innovation rather than sophistication is the main theme. Use of computers / microprocessors for data acquisition and display is not allowed. On the basis of evaluation by at least 3 judges best ten experiments are invited to convention venue to present the innovation incorporated. The selected 10 participants are paid SL class railway fare and reservation charges. These selected 10 experiments are again evaluated by at least three judges and best 3 are given cash prizes of Rs 5000/-, Rs. 3000/- and Rs 2000/-. The notification of this competition is likely to appear in March / April issue of the IAPT bulletin. The contributors are requested not to wait till the final announcement of NCIEP. They can always keep on carrying out the innovations but can submit the experiment only after the formal announcement. The age limit to directly participate in this competition as an author is 55 years however seniors can always guide youngsters and contribute their rich experience. The authors who have taken the help of experienced faculties are requested to gratefully acknowledge the help they have received.


With Boracay closed for five more months, summer winding down, and rain slowly creeping in, city folks are looking for one more chance to enjoy the season—and a place to spend it. We recently flew to El Nido, Palawan to shoot our "last hurrah for summer" fashion editorial and had the opportunity to stay in the town's first boutique hotel, Lagùn Hotel, which is currently on soft opening.
As you enter the hotel, the lobby has an immediate impact. The colorful interiors were thoughtfully designed by Cecil Ravelas. She used sustainable bamboo for the ceiling, turned felled trees into furniture, and hung handwoven wicker pendant lamps by Zacarias 1925 (a collaboration with artist Gabby Lichauco).
One of Lagùn Hotel's strong points is that it is far enough from the busy center, yet close enough that you can walk to town and enjoy the many charming bars, restaurants, and shops. And it's just a hop, skip, and a jump to the bancas parked by the shore and which can take you island-hopping—a must when in El Nido!


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dnata Selected as Best Ground Handling Provider by Aviation Business for the 11th time
Marmaduke Dittman December 1, 2021
D + N. S – Normal size
At the Aviation Business Awards 2021 dnata was named the "Best Ground Handling Service Provider" for the eleventh time. Received by Jafar Dawood, Senior Vice President, Dnata Airport Operations in the UAE at a ceremony in Dubai.
Jafar Dawood said: "This award is a testament to the hard work of our team and their unwavering commitment to excelling in service. We are proud to value our secure, high quality, and consistently innovative services. We will continue to invest in training, infrastructure and equipment to be the best in everything we do and to please our partners and their customers every day.
Over the past year, dnata has been constantly adapting its operations to the rapidly changing business environment. It has improved its supply and delivered innovative products and services while maintaining quality and safety in response to new customer needs and business opportunities.
Has continued to make strategic investments in infrastructure throughout its global network. This includes the opening of new, state-of-the-art cargo facilities in Manchester (UK) and Lahore (Pakistan), as well as additional cargo capacity and infrastructure in Sydney (Australia), Brussels (Belgium) and Toronto (Canada). In addition, the second phase of the dnata City East project is underway in London Heathrow (UK).
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Then interest
See also British Grand Prix: Hamilton takes the pole in the "sprint"
Previous Distrust of the effectiveness of vaccines against Omigran and increasing controls around the world
Next Clear View was fined $ 22.6 million for violating UK data protection laws


OHIO—Cleveland Indians relief pitcher Chris Perez was found guilty of misdemeanor drug abuse in Rocky River Municipal Court on Tuesday, September 3. According to the Associated Press, Perez was fined $250, placed on probation for one year, and was ordered to speak to students about drugs.
Libertarians have long known that the so-called War on Drugs—which President Nixon declared in 1971— can be costly and even tragic. But the raid on the rented Rocky River home of Perez shows that it can have its silly side as well. On Tuesday, June 4, police arranged a delivery under surveillance of two packages to the Perez home addressed to "Brody Baum," the family dog. Melanie Baum Perez, wife of the Indians' closer, accepted the delivery. The cops had been tipped off to the "suspicious packages" by federal postal inspectors.
On being asked if he had any illegal drugs or weapons on the premises by drug agents executing a search warrant, Chris Perez is reported to have pointed out two jars believed to contain marijuana, which he told officers was for his personal use. The amount found totaled less than one-third of a pound.
According to the AP, the criminal case against Melanie Perez is pending and, if she passes a drug test, she will face a $50 fine without needing to be placed on probation.
In addition to the legal circus, Chris Perez is participating in Major League Baseball's drug treatment program. Other than for purely public relations issues, one can only wonder why MLB bothers with marijuana. It can in no way be considered as "performance enhancing," nor can its use put players on the field—or anyone else, for that matter—in danger (unless someone is driving while high). Apart from medical benefits claimed for marijuana, its use is purely recreational.
In the meantime, the raid on the Perez home was a coordinated action of Rocky River police, U.S postal inspectors and the West Shore Enforcement Bureau. The cost of such an action must be considerable for a yield of such a small amount of "controlled substance." The Perezes have not been accused of distributing illegal drugs, and it seems extremely unlikely that busting them will lead in any way to bringing down a major drug-selling ring. There is no allegation that either member of the couple was under the influence of drugs at the time of the raid, nor is there any indication that either person did anything to endanger the welfare of another person, such as driving while impaired or recklessly endangering a child.
Besides netting a bit of publicity for the law enforcement agencies involved, it's hard to see what benefit can result from this prosecution. Except, maybe, giving the public a good laugh. Surely there could have been a better use found for these officers' time.
The Libertarian Party of Ohio notes that whether tragic, costly, or just ridiculous, the War on Drugs is a waste of public resources, hazardous to our individual liberty and our Constitutional rights, and disruptive of people's lives. It's time to end it, and treat non-violent drug use as a medical issue when appropriate, or as no else's business when no one is at risk.
This entry was posted in Libertarian Party and tagged libertarian party of ohio, War on Drugs on September 14, 2013 by Krzysztof Lesiak.


text:
"I have worked with many presses, all around the world, and I can say that I have greatly enjoyed working with you on this one, and now the very fine results."
- Graeme Harper, Making Up: Research in Creative Writing
Home / Buy A Book / Social Sciences / Contemporary Dance in South Africa: The Toyi-Toying Body
Contemporary Dance in South Africa: The Toyi-Toying Body
This book explores when and how, and to what effect, the body in South African contemporary dance protests, subverts, or represents a site of the struggle against oppressive forces of power. It considers how the dancing body is choreographed, what meanings lie behind the movements it makes in space, the possible effect of these movements, how and why it is costumed, and its relationship to its setting and space. It examines a selection of contemporary South African dance works, including Flatfoot Dance Company's Transmission: Mother to Child (2005), Siwela Sonke Dance Theatre's Home (2003), Musa Hlatshwayo's Umthombi (2004), Mlu Zondi's Silhouette (2006), and Nelisiwe Xaba's They Look at Me and That Is All They Think (2006).
Using both critical study of these works and the author's own practice research, the book develops an understanding of the body in contemporary dance and its political and social meanings both in the chosen performance and within the broader context of South African society from 2003-2007. This provides a snapshot of the practice and concerns of contemporary dance in just over a decade from the first democratic national elections in 1994. It is through the study of these dance works that this moment in South African history is captured. Contemporary dance in South Africa tells the story of South Africa; its past, present, and possible future, and is therefore an enticing and evocative historical period to research a dance practice.
Dr Sarahleigh Castelyn is a performer, choreographer, and researcher: a dance nerd. She is a Reader/Associate Professor in Performing Arts in the School of Arts and Creative Industries at the University of East London, UK, where she is also Postgraduate Research Degree Leader. Her work focuses on race, gender, sexuality, and nation in Apartheid and post-Apartheid South Africa, the politics of hybridity, and the use of practice as a research methodology. She has performed in, and choreographed, performance works, for example at JOMBA! Contemporary Dance Festival (South Africa), The Playhouse (South Africa), and the National Arts Festival (South Africa). She has authored chapters in Viral Dramaturgies (2018) and Narratives in Black British Dance (2018), as well as articles in journals such as The African Performance Review, Dance Theatre Journal, Animated, African Performance Review, and The South African Theatre Journal.
"This is definitely a book worth reading and studying for researchers, contemporary dance choreographers, students, teachers as well as other performing artists and audiences who think deeply, question constantly, and value originality. Sarahleigh Castelyn succeeds with insight and clarity, in her goal to integrate theory and practice of contemporary dance in a refreshing and innovative manner. Her embodied identification with, and reference to the "toyi toyi", a South African dance of demonstration, power, purpose and disruption, situates her work and identity strongly as a form of socio-political resistance against the racism, injustice, inequality, sexism and prejudice still rife in post-Apartheid South Africa."
—Sylvia "Magogo" Glasser, Founder of Moving into Dance Mophatong


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La vacuna de Pfizer-BioNTech contra la COVID-19 (DCI), amb el nom de codi BNT162b2 i més coneguda com a vacuna de Pfizer contra la COVID-19, és una vacuna contra la COVID-19, i una vacuna d'ARN. Està comercialitzat amb el nom de Comirnaty®. La vacuna conté l'ingredient actiu tozinameran.

Es dona per injecció intramuscular. Està composta per ARN missatger amb nucleòsids modificats (ARNmod) que codifica la proteïna S del SARS-CoV-2, encapsulada en nanopartícules lipídiques. La vacunació requereix dues dosis administrades en tres setmanes de diferència. Es desconeix la capacitat de la vacuna per prevenir infeccions greus en nens, dones embarassades o persones amb immunitat compromesa, i la seva durada de l'efecte immunitari. A febrer de 2021, era una de les dues vacunes d'ARN que s'estaven desplegant contra COVID-19, i l'altra era la vacuna de Moderna. Una tercera vacuna basada en mRNA de CureVac es troba en proves finals.

Els assaigs van començar l'abril del 2020; al novembre, la vacuna s'havia provat en més de 40.000 persones. El novembre de 2020, l'anàlisi provisional de l'assaig va examinar els participants de la investigació que havien estat diagnosticats de COVID-19 i que van rebre el candidat a la vacuna, demostrant que el BNT162b2 pot tenir una eficàcia superior al 90% en la prevenció de la infecció en els set dies posteriors a una segona dosi. Els efectes secundaris més freqüents inclouen dolor lleu a moderat al lloc de la injecció, fatiga i mal de cap. A desembre de 2020, els informes d'efectes secundaris greus, com ara reaccions al·lèrgiques, eren molt rars (menys d'1 de 10.000). i no s'han informat de complicacions a llarg termini.

El desembre de 2020, va ser aprovada per primera vegada per l'agència reguladora de medicaments i productes sanitaris del Regne Unit (MHRA) el desembre de 2020. i estava en fase d'avaluació per a l'autorització d'ús d'emergència per a un ús generalitzat (ús no restringit), de diversos reguladors mundials de medicaments; cal l'autorització d'emergència, ja que els assajos de fase III continuen en curs i el seguiment dels resultats primaris continua fins a l'agost del 2021 i els resultats secundaris el gener del 2023.

BioNTech és el desenvolupador original de la tecnologia de vacunes, que es va associar amb Pfizer per al desenvolupament, logística, finances, supervisió dels assaigs clínics i per a la fabricació mundial, a excepció de la Xina, on Fosun va comprar la llicència per distribuir i fabricar, juntament amb la seva inversió a BioNTech. La distribució a Alemanya i Turquia és de la mateixa BioNTech. Pfizer va indicar que 50 milions de dosis podrien estar disponibles a finals de 2020, amb uns 1.300 milions de dosis a mitjan 2021.

Pfizer ha avançat acords de compra d'uns 3.000 milions de dòlars per proporcionar una vacuna amb llicència als Estats Units, la Unió Europea, el Regne Unit, el Japó, el Canadà i el Perú.
La distribució i emmagatzematge de la vacuna és un repte logístic, ja que cal emmagatzemar-la a temperatures compreses entre -80 i −60 °C, fins a cinc dies abans de la vacunació quan es pot emmagatzemar a 2 a 8 °C, i fins a dues hores a temperatures de fins a 25 °C o 30 °C.

Assajos
De fase I-II amb 45 participants: Resposta forta al domini d'unió al receptor de la IgG i l'anticòs neutralitzant, assolint la resposta màxima 7 dies després després d'una dosi de reforç, robusta pels limfòcits T CD4+ i CD8+, de durabilitat indeterminada.
Durada: Maig2020 –.

De fase III amb 43.448 participants: Aleatoritzat, controlat amb placebo. Els resultats positius d'una anàlisi provisional es van anunciar el 18 de novembre de 2020 i publicat el 10 de desembre de 2020 amb una eficàcia global del 95%. Alemanya, Estats Units, Jul2020 – Nov2020

Eficàcia
Tret que sindiqui el contrari, les qualificacions d'eficàcia són indicatives d'eficàcia clínica 2 setmanes després de la segona dosi:

Notes

Autoritzacions

Emmagatzematge
La temperatura d'emmagatzematge a llarg termini és de -70±10 °C, en un ultracongelador. La vacuna es pot mantenir entre −25 i −15 °C fins dues setmanes abans de l'ús i entre 2 i 8 °C durant fins cinc dies abans de l'ús.

Administració
En 2 dosis separades per 3-4 setmanes, com a interval recomanat. La segona dosi de les vacunes Pfizer-BioNTech i Moderna es pot administrar fins 6 setmanes després de la primera dosi per pal·liar l'escassetat de subministraments.

Reacciones adverses
 Molt freqüents (≥1/10): cefalea, artràlgies, miàlgies, dolor o inflor en el lloc d'injecció; fatiga, calfreds, febre.
 Freqüents (≥1/100 a <1/10): nàusees, envermelliment en el lloc d'injecció.
 Poc freqüents (≥1/1.000 a <1/100): limfadenopatia, insomni, dolor a l'extremitat, pruïja en el lloc d'injecció.
 Rares (≥1/10.000 to <1/1.000): paràlisi facial perifèrica aguda.

Advertiments i precaucions
Principalment:
 Es recomana una observació estreta durant almenys 15 minuts després de la vacunació (vigilància d'excepcional anafilaxi)
 Es recomana posposar en individus que pateixin una malaltia febril aguda greu o infecció aguda no lleu.
 Es poden produir reaccions relacionades amb ansietat, incloses reaccions vasovagals (síncope), hiperventilació o reaccions relacionades amb estrès, associades a l'acte vacunal com a resposta psicògena a la injecció amb agulla.
 S'ha d'administrar amb precaució en individus que reben tractament anticoagulant o alguna alteració de la coagulació
 L'eficàcia de la vacuna pot ser menor en immunodeficiències.
 Hi ha experiència limitada amb l'ús en dones embarassades i no es preveuen efectes en el desenvolupament del fetus. Es desconeix si s'excreta en la llet materna.

Referències

Pfizer

redpajama_set_name: RedPajamaWikipedia


During the Grammy Awards on Sunday night, leftwing pop star Katy Perry tried to upstage country music legend Dolly Parton. Unfortunately for Perry, this move did not end well for her, as she is now receiving tons of backlash for it.
Fox News reported that the awards show included a ten-minute tribute to Parton that was started by Perry, who was dressed as a cowgirl, and singer Kacey Musgraves. The two teamed up to sing Parton's 1977 hit song "Here You Come Again," and Parton herself stepped onstage to join them a few minutes in.
As the three sang together, Perry was particularly loud, and many noticed that she was "pitchy" and could not hit some of the high notes. Social media users were quick to call Perry out for ruining the tribute.
"I've seen war. I've seen violence. But I've never witnessed anything close to the barbaric murder Katy Perry just committed on Dolly Parton," one social media user commented. Others questioned why a pop singer like Perry was even brought in to pay tribute to a country singer like Parton.
"Katy tried to make it her own. It was Dolly's night to shine, and Katy should have respected that," a backstage source said. The insider went on to say that Parton herself was furious at Perry for what she did.
As for Perry, she reportedly felt no remorse about butchering the performance.
It's sad that Perry took a moment that was supposed to be about Parton and made it all about herself. Once again, Perry has shown here that she is just another self-absorbed entertainer who is completely out of touch with reality.


In 2010 Samsung produced 18million lenses.
Samsung confirmed a commitment of making five new lenses a year (the lenses for 2011 are already announced).
They confirmed that a prototype of a 700mm NX lens is already existing.
By 2015 Samsung expects the compact system camera market to overtake the DSLR sales by volume.
Samsung is expecting to develop Super High Definition 4K2K video in the company's stills cameras as soon as 2013.


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What The Fatah
Volkswagen sentenced to three-year probation by American court
Business Latest Stories
By Editor April 22, 2017
Volkswagen faced another part of the sentence for the emission scandal after a federal judge in Detroit on Friday sentenced Volkswagen AG to three years' probation and independent oversight for the German automaker's as part of a $4.3 billion settlement announced in January.
The plea agreement called for "organization probation" in which the company would be overseen by an independent monitor. "This is a case of deliberate and massive fraud," U.S. District Judge Sean Cox said in approving the settlement that required the automaker to make significant reforms. He also formally approved a $2.8 billion criminal fine as part of the sentence.
As well as accepting the agreement reached between VW and the U.S. government, Cox rejected separate calls from lawyers representing individual VW customers for restitution. The German automaker pleaded guilty in March to fraud, obstruction of justice and falsifying statements after admitting to installing secret software in 580,000 U.S. vehicles.
Since the September 2015 disclosure that VW intentionally cheated on emissions tests for at least six years, the company has agreed to spend up to $25 billion in the United States to address claims from owners, environmental regulators, states and dealers and to make buy-back offers.
The U.S. Department of Justice announced Friday it had selected former Deputy U.S. Attorney General Larry Thompson to serve as the company's independent monitor. In a statement New York City Comptroller Scott M. Stringer, who oversees investments in Volkswagen on behalf of the New York City Pension Funds, said VW's "scheme was deceitful." "Today's massive fine underscores the extent of the fraud and the need for change at the company."
Venezuela officials say at least 12 people killed overnight
Uproar in America after U.S attorney general dismisses Hawaii as just an Island
CONCACAF Gold Cup: Late Claros Winner Fires Honduras Into Quarters
Editor July 13, 2013
South China Sea, Free Trade Deal to Feature at Asian Leaders Summit
Editor October 29, 2019 October 29, 2019
Facebook Voids Accounts Targeting Moldovan Election
Editor February 19, 2019 February 19, 2019
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Highway 93 North, Saint Ignatius – MLS# 21804252 – Wright Real Estate Co.
Public Remarks: Nice grass pasture or a ranch site with Highway 93 frontage north of Saint Ignatius. Beautiful view of Mission Mountains and west to the Bison Range. Irrigation available, has been grazed in past. Waiting to be your next project!


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Q: How to access .html or .php file without extension on 127.0.0.1/ How to access my .html or .php file without extension?
This is my Folder structure:
C:\Apache24\htdocs\search-html\test
         search-html
           test
            low.html
            high.html
            new.html

My URL is 127.0.0.1/search-html/test/low.html
But i want to access this URL like 127.0.0.1/search-html/test/low
for running localhost server I use httpd.exe -k start on command prompt

A: You can add a .htaccess file to the document root to rewrite the url.
# Apache Rewrite Rules
<IfModule mod_rewrite.c>
 Options +FollowSymLinks
 RewriteEngine On
 RewriteBase /

# Remove .php-extension from url
 RewriteCond %{REQUEST_FILENAME} !-d
 RewriteCond %{REQUEST_FILENAME}\.php -f
 RewriteRule ^([^\.]+)/$ $1.php

 # Remove .html-extension from url
 RewriteCond %{REQUEST_FILENAME} !-d
 RewriteCond %{REQUEST_FILENAME}\.html -f
 RewriteRule ^([^\.]+)/$ $1.html

# End of Apache Rewrite Rules
</IfModule>

And if you want to add a trailing slash at the end you can add this bit.
# Add trailing slash to url
 RewriteCond %{REQUEST_FILENAME} !-f
 RewriteCond %{REQUEST_URI} !(\.[a-zA-Z0-9]{1,5}|/|#(.*))$
 RewriteRule ^(.*)$ $1/ [R=301,L]

A: Use the following in your .htaccess file. It doesn't really matter where the .htaccess file is located, providing it is inside the document root and somewhere along the file-path being requested.
If you are requesting URLs of the form http://127.0.0.1/search-html/test/low then C:\Apache24\htdocs is your DocumentRoot (looking at your "folder structure"), as defined in the server config.
RewriteEngine On

# Append ".html" extension if the file exists
RewriteCond %{DOCUMENT_ROOT}%{REQUEST_URI}.html -f
RewriteRule !\.\w{2,4}$ %{REQUEST_URI}.html [L]

# Otherwise append ".php" extension if the file exists
RewriteCond %{DOCUMENT_ROOT}%{REQUEST_URI}.php -f
RewriteRule !\.\w{2,4}$ %{REQUEST_URI}.php [L]

The above rules specifically exclude any URL that already includes what looks-like a file extension. So static resources (images, JS and CSS, etc.) will naturally be excluded.
Alternatively, if you are doing nothing else in .htaccess and want extensionless URLs then just enable MultiViews. For example:
Options +MultiViews

However, this does have some caveats:

*

*Extensionless URLs are essentially enabled on everything, not just .html and .php files. Including images, JS and CSS etc.

*If you later want to do more complex URL rewriting with mod_rewrite then you may need to disable MultiViews and use the mod_rewrite solution instead. MultiViews and mod_rewrite can result in unexpected conflicts.

redpajama_set_name: RedPajamaStackExchange


Oakland junior guard Ray Tyler made a triumphant return from an injury last week.
Oakland's Ray Tyler was voted area boys athlete of the week for Jan. 7-12.
Tyler, a junior guard, made a triumphant return from an injury, scoring 30 points in two games for the Patriots.
He received 451 of the 731 votes (61.7 percent) while Eagleville's Ryley McClaran garnered 252 votes (34.5 percent).
McClaran scored 56 points in two games, including 39 in a triple OT loss to Fayetteville.
Other nominees were Eagleville's Mari Stoudemire, Riverdale Elijah Cobb, Stewarts Creek's Donovan Jackson, MTCS' Braden Smith and Central Magnet's Will Carver.
Who was the Murfreesboro area boys athlete of the week for Jan. 7-12?


At G&L and Sons Renovations worked on the design and installation of an outdoor wheel chair elevator lift.
In the spring of 2015, Jane Albanese reached out to G&L and Sons for assistance in constructing a wheelchair ramp for Conrado Bermudez of Paterson. Conrado is awaiting a kidney transplant and goes for dialysis treatments three times a week. In order for Conrado to have his dialysis, 2 men would carry him down 8 steps to the medical transport van. Knowing that a wheel chair ramp wouldn't fit in the space available between the houses we determined that a wheel chair elevator would be required.
Jane reached out to several elevator companies and James Boydston of Handi-Lift in Carlstadt donated the $14,000 elevator and the labor to install it.
Chris and David worked with James and his team to determine what would be required to integrate the elevator in the front of the house. After the plans were drawn up, Chris prepared the building permit paper work and submitted it to the Paterson Building Dept.
Upon approval by the Paterson Building Department, Chris Caputo coordinated with an electrician who facilitated the power to the elevator panels, directed a mason to build a concreete pad, James B and his team installed the donated elevator and approval was granted.
In November, there was a ribbon cutting ceremony that included those involved in the project along with Giants of Generosity Jane Albanese and board members and the Mayor Torres from the City of Paterson.
Another community service project in Bergen County which NJ NARI and National Remodeling Foundation (NRF) took on was to remodel a bathroom for a girl who was suffering from Cri Du Chat Syndrome. David worked on the project demo'ing a section of a room and framing a partition wall that would become a bedroom with an attached bathroom.
A few years later, Jane Albanese contacted Chris about a smaller project but just as worthwhile. This family's dishwasher had stopped working and this deaf single mom caring for her son really could use the assistance of a dishwasher.
Chris contacted a long-time colleague at Karl's Appliance in Fairfield to see if they would have a dishwasher they would be willing to donate to this needy family. Karl's Appliance graciously donated a new dishwasher and Chris and Gene installed it for the family.
Shortly after installing the dishwasher, we were asked to replace a gutter and downspout on the rear of the house. Chris and Gene purchased and installed the gutter and downspout.
Sometimes it's all about giving back. G&L and Sons Renovations, LLC is proud to be involved in community service.


text:
Neki Mohan, Anchor/Reporter
Published: June 22, 2020, 6:11 PM
Tags: News, Local, Coronavirus, Miami-Dade County
Several Miami-Dade city mayors urge public to follow heath guidelines as COVID-19 numbers spike in Florida
Cities cracking down on restaurants to ensure health and safety measures are followed
As COVID-19 cases keep rising across the state, South Florida continues to reopen.
MIAMI – As COVID-19 cases keep rising across the state, South Florida continues to reopen.
But now, there's a new mandate in place in some Miami-Dade County cities.
Socializing irresponsibly is leading to crackdowns on many area businesses. In Miami, three restaurants were targeted over the weekend, including one Miami Mayor Francis Suarez had just visited the day before it was shut down.
Enforcement will be stepped up in the popular entertainment districts around South Florida to enforce social distancing guidelines. This as COVID-19 cases continue to rise in Florida.
Area mayors came together Monday to make an urgent plea to restaurant patrons, urging them to follow the rules, and for businesses to enforce them.
"They have to try very hard to comply, and our code officers will be making sure that they do," said Miami Beach Mayor Dan Gelber.
Mayor Suarez was photographed without a mask at the popular Swan restaurant last weekend.
Suarez recently recovered from COVID-19 himself and said it's a moment he regrets.
"It's unfortunate, we take a lot of pictures and it's incumbent on me as a public official to make sure every picture I take is responsible, and that one wasn't," Suarez said.


This past week, Linz and cohorts presented the second concert of the series, titled "So Long Eric" after a Mingus composition written on the occasion of Eric Dolphy's departure from his band. A pre-concert Q&A in MacPhail's Antonello Hall addressed the assertion that "Mingus was amazing." Why? The evening's quintet—Linz, pianist Bryan Nichols, saxophonist Mike Lewis, trumpeter Greg Lewis (Mike's dad), and drummer J.T. Bates—offered answers: the flow of his compositions, his unique chord changes, his engaging melodies, his modern harmonies, his drive to challenge tradition that landed him somewhere between mainstream and free jazz. More specifically, they noted how Mingus combined the influences of bebop, choral music and Bartok, how he steadfastedly played his own music, how he managed to maintain his own bands. And how his music reflected the politics of the day, particularly racial segregation. Musically, Mingus was a civil rights activist.
The first concert in October was a trio presentation. The November event upped the complexity factor with the addition of two horns, adding dissonance, extending harmonies, creating at times a (somewhat) controlled chaos. "So Long Eric" was a toe-tapper with one rippling solo after another, at times melodic (especially Linz) and ending in a cacophony of bird calls, courtesy of Lewis and Lewis. More lyrical, more balladic was "Orange Was the Color of Her Dress," highlighted by the father-and-son horn duet, songful Linz solo, gentle brushwork from JT (interspersed with aggressive accents), Greg Lewis' soulful flugelhorn, and jaunty keyboard spins from Nichols. Somehow Mingus manages to swing while simultaneously disemboweling conventional structures. And Mike Lewis manages to simultaneously create the hymnal sound of Charles Lloyd and powerful wail of Sonny Rollins.
How can anyone hear "Fables of Faubus" and not like jazz? The music unfolded like a cartoon soundtrack, each instrument a character defined as much by posture and gesture as by sound. If only he had not been real, Faubus would have been hilarious. More serious, "Weird Nightmare" featured Greg Lewis' beautiful tone on flugelhorn, his lines weaving in and out with Mike's alto—a lovely combination of the lower brass and higher reed. Nichols seemed to channel Bill Evans here, while Linz delivered slow, exquisite lines, his long glissindos falling into further silky passages from Greg Lewis. "Jelly Roll" was an engaging circus of bop acrobatics with a freer purpose, summing Mingus's efforts to swing, to experiment, to collaborate with like-minded artists. Yes, at any minute, it might fall apart. What fun.
You can find John McDonough's article about the MacPhail grant in the November/December 2010 issue of Chamber Music, the magazine of Chamber Music America. The next Mingus concert at MacPhail will be February 3, 2011.


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Colbert Reflects On Coming Up In Chicago Comedy Scene
Filed Under:CBS, Late Show, Second City, Stephen Colbert
(CBS) — The Second City theater and improv group has been a Chicago institution for decades, and some of its most talented performers have gone on to entertainment stardom.
Now one of its alums, Stephen Colbert, has taken over one of the plum jobs in show business, hosting "The Late Show" on CBS.
Before he made his "Colbert Report" character a decade-long fixture on American TV, he honed his comedic edge on the "Daily Show" with Jon Stewart.
Prior to that, Colbert plied his craft as a member of the famous Second City, working alongside some actors and actresses who would go on to become household names.
"I was hired the same day as Amy Sedaris and Paul Dinello. … Chris Farley and I started on the same day at Second City," Colbert recalls. "He was a great, really sweet, really funny, really intelligent guy, which nobody knows. I miss him a lot."
Second City CEO Andrew Alexander was Colbert's executive producer.
"He was what I called the quintessential Second City person. He supported his fellow actors, he was smart, he was terrific to work with, everybody loved him," Alexander says.
Colbert believes that Chicago and Second City were perfect places for him to polish his skills in comedy and improv.


I had to go to a warehouse in Berkeley today to pick up some supplies. It used to be that I'd stress about losing the 3 hours of much needed production time, always so much to do. But my wise husband says "you have to go with the flow" and so I do. I enjoy the trip over and back, found some neat radio stations, some Jazz and some tasty Muddy Waters and Bonnie Raitt. Still haven't even started in the Studio yet, but I'll get there! Just have to remember to savor the moments, you know? I love this picture, it was taken in Berkeley, my van Piper, thinks she's a big dog too!