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As our Operations Manager, you will be overseeing a portfolio of up to 20 services across London. This is a great chance to manage teams of varying abilities, motivation and performance levels - if you want the challenge of helping services, people and service users flourish, then this is for you!
Once you get in touch, I'll book your face to face interview with our panel where you can lay out your experiences, personality, coaching and mentoring capabilities. Can you change the lives of people living with challenging conditions or circumstances?


' BAZAAR'.A solo show in Art2Day Gallery, Pune.
An artist based in Mumbai for whom creativity... is a way of life.
An expression of this can be seen through her paintings and jewellery.
Music, poetry & literature have been her constant inspiration.


text:
Mixed der Weltmeisterschaften im Doppel und Mixed 2019 im Squash.

Das Teilnehmerfeld bestand aus sieben Doppelpaarungen, die in zwei Gruppen à drei bzw. vier Doppelpaarungen im Round-Robin-Modus gegeneinander antraten. Die Gruppensieger und Zweitplatzierten zogen ins Halbfinale ein und spielten im K.-o.-System die Plätze eins bis vier aus.

Sieger der letzten Austragung waren die Neuseeländer Joelle King und Paul Coll, die nicht erneut antraten. Die topgesetzten Donna Lobban und Cameron Pilley setzten sich im Endspiel gegen Christine Nunn und Ethan Eyles mit 11:5 und 11:8 durch.

Setzliste

Ergebnisse

Vorrunde

Gruppe A

Gruppe B

Finalrunde

Weblinks
 Auslosung auf squash999.com (englisch)
 Ergebnisse auf squashinfo.com (englisch)

2019
Squashturnier in Gold Coast (Australien)
Squashturnier 2019

redpajama_set_name: RedPajamaWikipedia


text:
DAMIANO FINA
PEDAGOGIA QUEER
GALLERIA PRINCIPALE
CORSO SETTIMANALE
I am not tino sehgal but I have him
6 perfomers, 6 books, 6 hours of perfomance. Each performer signs its book as Tino Sehgal for an hour. Change each hour, for six hours. You are but you do not have yourself. I have thee. In my eyes, in my opinion, under my touch, in my expectation. We are made of interstices between us. I am not Tino Sehgal, neither you. But we have him. In our pen, signing the book with his name. This action is not about signature. Who cares who the author is? It is all about identity possession and negotiation of connections. The archaic value of gossip. Special thanks to the performers: Eldi Dundee, Annemiek van Elst, Chiara Pancot, Edoardo Pascale, Sarah Hill, Paolo Rosini and Gabriella Catalano.
Annemiek van Elst thoughts about the experience:"Not knowing what to expect from the artist or the work we were required to do, the workshop started with opening the body and therefore the mind. In simple steps we were brought to a different level of awareness where we had no judgement towards ourselves, the space and the other in the space. The bodies were loved in whatever form they came in, and that made them present themselves as strong and open bodies and spirits. I will carry the balance of the bird on back for years to come, not only in performance, but also to open and ground in daily life - a very thoughtful and useful observation from the artist Damiano Fina. The final step, worked towards by the previous exercises, was a deep contact made through the eyes but reflecting so much more. Not to disappear in someone else's eyes, but take take their presence, build it with yours, and reflect this in your performance work. The space that was left in between the workshop and the actual performance was distracting. Although the action of signing the book as Tino Seghal was so meditative that I entered a whole other space - where I was alone creating different spirits on each page. The hour flew by, like a bird floating through the air might not notice the miles it has travelled. When documentation becomes the artwork, the creator becomes a performer. I've never felt this more than taking part in 'I Am Not Tino Seghal But I Have Him'. "Just be normal" is the hardest thing to perform once people are watching, which is why we perform, but in this case the book and the writing hand was doing all the work and my mind was just supporting them. I've had an extremely inspiring experience and will carry the memory with me when building on my own practice. Thank you for that". Sarah Hill thoughts about the experience: "I sat at the front door entrance, right near the mat, hoping to attract some attention. I think the audience were not sure whether to come in or not, and some people probably wouldn't understand why I was sitting there. Because I could not look up from my book I'm not sure how many people looked at me, but I think I could feel eyes on me as people passed by. When people walk past talking, they did not stop talking and did not seem bothered by my presence or make any comments. I don't really think people were curious about why I was sitting there writing in my notebook. Even though it was a strange situation, I did not feel out of place or nervous. The time went quickly. With not gaining any attention from the public walking past me, it made me feel quite angry, and made me draw and write faster. In my head I was thinking " I command your attention/look at me". Throughout the day there had not been many members of the public coming into the gallery and by being near the front entrance some more people did come in. All the other performers were well within in the gallery space, but I was at the periphery, almost like an outsider. I was obstructing the entrance and almost acting as a barrier to stop people coming in, yet I was also looking like I could be inviting them in. When I saw the other sketchbooks, I was interested to see what the other performers had done, but Eldi's book was shut and I felt like I could not open it. Felt strangely invisible but also on show/centre of attention at the same time, invisible because I was sitting on the floor alone in a quiet gallery, but also sticking out like a sore thumb and noticeable because I was the only one".
Strada dei Pizzolati 14, 36100, Vicenza (VI).
P.IVA/VAT: 04103360246
Bibliografia.
Contacts.
Corso Butoh Vicenza.
Libro La Danza di Eros e Thanatos.
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redpajama_set_name: RedPajamaCommonCrawl


The beautiful island chain of Palau Rock Islands consists of many saline lakes which are connected to the Pacific Ocean by rock fissures and cracks. During last ice age the global sea level was much lower and Palau Islands consisted of dry land mass with hollows and valleys. When the ice started to melt the global sea level increased significantly. Consequently, Palau Rock Islands was formed and unique isolated saline marine lakes was formed inland. Palau has 57 saline marine lakes, there is identified around 200 worldwide. During the transgression, jellyfishes got isolated in the lakes. During the last 12.000 years they have evolved into the sub-species we know today with different look and physiology.
Millions of golden jellyfish migrate horizontally across the lake daily.
In five of the jellyfish lakes in Palau there are some unique endemic jellyfish, and each jellyfish species are only found in one specific lake. Therefore, the name jellyfish lakes. 5 millions jellyfish daily swim from one end of the lake to the other to follow the sunlight. It is one of the largest and most spectacular animal migrations on the planet. Jellyfish eats algae living inside their body, who turn sunlight into sugar.
One of the special jellyfish species who are living in Palau Island Jellyfish Lake, are called the Golden Jellyfish or Mastigias Papua Etpisoni – named after one of the presidents of Palau.
It is possible to swim and snorkel around among the colorful jellyfishes and experience the fascinating sight of their migration. However, due to the unique environmental conditions public access to the jellyfish lakes is limited. So it is a good idea to check the restrictions in advance.
Another example of a major animal migration is the migration of wildebeest between Tanzania and Kenya near Masai Mara.
A jellyfish is following the sun light.
Millions of jellyfish live in the Jellyfish lakes on Palau Rock Islands.
It is possible is swim and snorkeling in the jellyfish lake.
Air photo of the jellyfish lakes in Palau Rock Islands.


They are remembered as the "Whitechapel Boys," a group of writers and artists who came from the Jewish working-class district of London and forged promising careers through the early part of the twentieth century. Isaac Rosenberg wrote some of the finest poetry to emerge from the First World War. Mark Gertler and David Bomberg became significant modernist painters.
What tends to get lost is that one of the "Boys" was a "Girl." Clare Winsten, born Clara Birnberg, studied at the Slade from 1910 to 1912, and developed a fascinating body of work as a painter and sculptor. She became good friends with George Bernard Shaw, and illustrated three of his books.
Clara Birnberg became Clare Winsten when she married the writer, Stephen Winsten. He was imprisoned as a conscientious objector during the First World War, as she gave birth to the first of the couple's two daughters. Stephen's imprisonment led to Clare's producing a series of haunting illustrations to Oscar Wilde's The Ballad of Reading Gaol.
As part of the exhibition, "Colours More Than Sentences: Illustrated Editions of The Ballad of Reading Gaol," running at the Berkshire Record Office until 8th June, the University of Reading Department of English has invited scholar and curator, Sarah Macdougall of the Ben Uri Gallery, to share her new research on Winsten's life and career. Macdougall will be talking about her rediscovery of the "Whitechapel Girl" at a public lecture at the Berkshire Record Office in Reading at 6-15 p.m. on Thursday 19th April.
The lecture and the exhibition are both free, but places for the lecture are limited. People can register in advance for the lecture by going to www.berkshirerecordoffice.org.uk/ContactUs.


The Oscar® nominations announced by Tracee Ellis Ross and Kumail Nanjiani on Good Morning America. It is an entertaining announcement for the 91st Oscars.
This year leading the nominations with ten each is The Favourite and Roma. The Black Panther, A Star Is Born, and Vice close second with eight nominations.
Bradley Cooper, A Star is Born actor, was snubbed in the Best Director category. If Beale Street Could Talk is snubbed in many film categories, but did get a nomination for Regina King's performance as Best Actress. First Man completely eliminated for all top categories.
Black Panther is the first superhero to be nominated as Best Picture. Roma, a Foreign Film, is the biggest surprise in the nominations. This film is nominated for Best Picture and Best Foreign Film. This is a Netflix production and their first Best Film nomination. This film is also nominated for two acting categories. This includes first-time actress Yalitza Aparicio and Marina De Tavira for Best Supporting Actress. It also nominated for another Best Director for Alfonso Cuaron.
The 91st Oscars® will be held on Sunday, February 24, 2019, at the Dolby Theatre® at Hollywood & Highland Center® in Hollywood, and will be televised live on the ABC Television Network at 8:00 p.m. EST/5:00 p.m. PST.


Behind closed doors - Biking Endorphines idea.
Biking Endorphines - Where to Begin?
Get Noticed! - Programming Contest for making your own programming project and blogging about it!
How to make your own Blog using Pelican Python Static-sites generator engine.
Pasjonata Python'a. Po godzinach Bloger. Nałogowy rowerzysta.


Channel this season's ladylike trend with our ruffled white shirt. Subtle ruffled trim at the neck, placket and cuffs make the shirt feminine without being sugary sweet. Made in pure cotton with a regular fit, it looks great tucked into paper bag trousers or belted over a skirt. Centre back length is 63 cm on small. The model is wearing a size small.


text:
Mortal Kombat DLC: Skarlet
Published 21 May 2011 2 min read
It has been about a month after the release of Mortal Kombat, and there are many rumours going around regarding DLC, and console-exclusive characters. There will definitely be DLC coming out soon which may contain 3 MK characters in the series. It is unknown which characters are going to be released first but through the hacking of the game, Skarlet a.k.a the Lady in Red will definitely be one of the 3 characters in the first line-up of DLCs.
In the original trilogy, many characters were created through glitches and secrets and one of these characters, Skarlet, was created through a coding glitch in Mortal Kombat II. While she was not apart of the original storyline, Skarlet can be seen throughout story mode, as well as in the background of some Arenas (ShaoKahn's Coliseum)
In the Mortal Kombat Wiki and seen in a number of Youtube Videos, Skarlet appears to be a red ninja who uses knives and daggers in her move-set, as well as having the power to manipulate blood. (Pretty weird right?)
Here is a list of characters that are rumoured to be DLC characters:
Fujin – his name was heard in the character selection screen through hacking
Havik – was seen in Noob Saibot's Arcade Ending
Mavado
MACDefender - The new hoax anti-virus for Mac
Sony hacked AGAIN, phishing site found on servers


In HBO's newest hit, Jude Law stars as The Young Pope. If you don't have HBO, don't worry. There are plenty of ways to watch The Young Pope online.
What happens when a new, young, conservative Pope is chosen? Jude Law is The Young Pope, a conservative cardinal, who was placed in an orphanage as a young child. Raised by nuns, Lenny, the new Pope Pius XIII, wants to restore the papacy to its conservative Catholic teachings, and move away from the liberal progress of his predecessor. Of course, that is accompanied by lots of drama.
The Young Pope will air on HBO on January 15 at 9 p.m. ET. You don't need cable to watch The Young Pope online. In fact, several streaming services off the ability to add HBO to their lineup. Here's all of the ways that you can watch The Young Pope online without cable.
DIRECTV NOW is one of the newest streaming services available in the streaming market. Starting at $35 a month, you'll get a wide variety of channel options and a guide that was made for channel surfing. You'll also have access to an on-demand library and the ability to add premium channels, like HBO, for just $5 a month. Other available channels include AMC, A&E, Cartoon Network, Disney, Destination America, History, Syfy, and TBS. You can watch DIRECTV NOW on the majority of streaming services and more are adding the ability every day.
DIRECTV NOW offers everyone a free 7-day trial. Not only does this give you the chance to watch The Young Pope online free, it gives you a chance to make sure that DIRECTV NOW is the service you need. Remaining a member means that you can get a free streaming device with anywhere from one to three months of prepaid service. If you want to learn more, here's our full review.
Don't forget to sign up for that DIRECTV NOW trial!
Sling TV offers more than 25 cable channels for just $20 a month. In this package, you'll receive AMC, BBC America, Food Network, ESPN, TBS, and TNT. While that's great on its own you can also add channels to your package for a small fee. If you want to watch The Young Pope online, you can add HBO for just $15. While that may seem like a lot, it's cheaper than if you had a cable subscription and it's the same price as if you had HBO NOW, which means you'd have the content of two streaming platforms in one app! You can watch Sling TV on streaming and mobile devices, including Roku, Apple TV, Chromecast, and mobile devices.
Sign up for your Sling TV trial and you'll have the opportunity to watch The Young Pope online free. You can even get a free Roku or a discounted Apple TV if you remain a member and you prepay for a few months of service. Our Sling TV review has more information if you're interested.
Here's that free trial, so you don't forget to sign up!
PlayStation Vue is another live streaming option. Here you begin with a minimum package price of $30. This package includes a variety of channels ranging from AMC to USA. You can also add premium channels, like HBO, to your package for a small monthly fee. You also receive local channels. If you're in New York, Miami, Dallas or one of four other major cities your local channels will be in live stream. If you're elsewhere, your local channels are found in the on-demand library and shows will be accessible the day after they air on TV. Vue works on Chromecast, Roku, Amazon Fire TV, and other streaming devices.
We recommend signing up for the PlayStation Vue 7-day trial. This allows you to try out the service and to test the mobile restrictions. Unlike less restrictive services, Vue locks you in to your home location and that's the only place you can watch Vue programs. You can learn more in our full review.
Is The Young Pope on Hulu?
You shouldn't expect to stream The Young Pope anytime in the near future on Hulu. Your best bet is something like HBO NOW if you want to watch The Young Pope full episodes. You can learn more about Hulu, here.
Is The Young Pope on Amazon Prime?
Amazon Prime does not offer The Young Pope streaming as part of the regular Prime lineup. They do however, offer an HBO Channel that will allow you to watch The Young Pope full episodes as they air on TV.
Amazon allows you to pay for your subscription annually at $99 (roughly $8.75 a month) or if you can't afford an annual payment you can pay monthly. Monthly payments start at $8.99 for just the Prime Video membership or $10.99 for the full Prime membership.
With Prime Channels, you can choose dozens of different options. You just pay an additional fee each month and you get access to all that channel has to offer. With HBO, you pay $14.99 a month and get hundreds of movies along with all the HBO specials, documentaries, and full season Original shows that HBO offers in their standalone service, HBO NOW.
With the 30-day trial, this makes Amazon a great way to watch The Young Pope online free. Not only that, but you'll have time to watch plenty of HBO shows before you begin paying for your Prime membership. Here's our review, for more information!
Is The Young Pope on Netflix?
You cannot stream The Young Pope on Netflix. As this is an HBO show, your best bet is to use a service that offers HBO streaming if you want to watch The Young Pope streaming. You can learn all about Netflix, here.
HBO NOW is the standalone answer to having HBO with cable. For just $14.99 you can receive hundreds of movies and all of your favorite HBO series in their entirety. Every episode that has aired will be available to you. And, new episodes are released on the same schedule as they air on TV. So, while HBO NOW (review) isn't a live streaming service, it acts like one because you still can watch the episodes as they air on TV. With HBO NOW you can watch on computers, cell phones and tablets, Chromecast, gaming consoles, and other devices.
Make sure to sign up for your free HBO NOW 30-day trial! This gives you a full month to watch The Young Pope online free.
You know all you need to watch The Young Pope online, but if you have questions you can leave them in the comments. Our guides are here if you are looking for new ways to watch TV online. Are you having problems streaming? It could be your Internet speeds. Verizon Fios has some of the best in streaming. Here are some Verizon Fios deals to check if you're thinking of switching.


text:
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redpajama_set_name: RedPajamaGithub


text:
Q: How to make the key combination "win" + "." send the instruction to media_next? How do I make the key combination Win + . send the instruction to media_next?
I have tried writing in several different ways but I always get a script error.
My objective is to press the keys Win and . and have the music players skip to the next track.
Please tell me the exact sentence as I'm completely new to scripting and one character missing, for example, will be a huge obstacle for me...
Not so important: should I be writing these instructions in autohotkey.ahk or in shortcuts.ahk?
Thank you very much!

A: This should work (I tested it with VLC and XMPlay):
#.::Media_Next

It sends the media-next key to just the active window, so if you want to use the hotkey while watching a full-screen movie or something, it would do the trick. If you are watching a video in the corner of the screen while working on other things, then you'll need to send the key globally:
#.::Send {Media_Next}

Of course your media-player must be able to detect and respond to the actual media keys. Some are written to do so by default, some you can set to do so in their key-mapping configuration, others do so automatically when they have the appropriate file-type associations.
As Sonamor pointed out, you can target the hotkey to specific windows in case you have multiple media-players running that all respond to the media-keys (though in my experience, the first one that runs tends to register the key and thus block others from receiving it; so you could just shut them all down and run the one you want).

In response to the more detailed question…

I keep trying and I always get error. This is what I've tried the last time:
LWin + ,::{Media_Next}

I've also tried:
Win + .::Media_Next

There's several things wrong with those lines:

*

*The + denotes the ⇧ Shift key, so the hotkey only work when ⇧ Shift is held down

*The ; is the ; key, so it only works when the ; key is held down

*You can't use {Media_Next} as the operation, you can use either:

*

*Send {Media_Next} to send the media-next key in general
or

*Media_Next to send the media-next key to just the active window

*Win is not valid, you need to use # as a modifier

*LWin is only valid to use ⊞ Win the hotkey. As a modifier, you must use <#.

So in your case, you probably want this:
<#.::Send {Media_Next}

*I only have one "win" key on my keyboard.

Then why make it specific to the left Windows key? If there's only one, then it makes no difference which you specify. In fact, it is safer to just use the generic version in case for some reason, the manufacturer decided to use the scancode for the other key. You may as well just use this:
#.::Send {Media_Next}

A: You can add the following line to your autohotkey.ahk file, save, and then right-click on the AutoHotKey icon in your tray select, Reload This Script:
#.::Send {Media_Next}

A: You can also use the AutoIt3 Window Spy and make the hotkey work only for VLC Media Player
#IfWinActive, VLCWINDOW
#.::Media_Next

redpajama_set_name: RedPajamaStackExchange


○■ 渇水期の暑い夏を� ��事に経過した... These are many word of blog in Japanese the most recent topics.
○■ もちろん鮎漁はシ� ��ズンオフです... These are many word of blog in Japanese the most recent topics.
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○■ 渇水気味の我が郷� ��... To learn more, ask bloggers to link to.
○■ それによっては、� ��沢氏は政界... May be linked to more detailed information..
○■ ほんと、プロだな� ��て思いま... These are many word of blog in Japanese the most recent topics.
Japanese Topics about Drought, Reportage, Livelihood, ... what is Drought, Reportage, Livelihood, in japanese? Did you find the information you're looking for? All trademarks and copyrights on this page are owned by their respective owners.


text:
Home/Entertainment News/79th Annual Golden Globes Awards: No red carpet, no audience, no media coverage
HFPA
On the same day it emerged that the beleaguered Hollywood Foreign Press (HFPA) is reportedly having trouble booking celebrity presenters for its upcoming Golden Globes, come details from the organization about the awards show.
The lack of Hollywood enthusiasm notwithstanding, the HFPA just released details about its 79th annual event that will be held on January 9 at the Beverly Hilton in Los Angeles. In short, they seem even more odd than the concept of a showbiz awards show without celebrities.
There will be no audience, no red carpet, and no media credentials provided for journalists to cover the event.
And as previously reported, the event won't be televised, after longtime broadcast partner NBC severed ties with the awards show, following a racial controversy.
Instead, the organization explained, "In addition to recognizing 2021's best in film and television, the Golden Globe Awards will shine a light on the long-established philanthropy work of the HFPA, showcasing a range of grantees during the program."
Furthermore, the HFPA reported, "Kyle Bowser, Senior Vice President of the NAACP Hollywood Bureau, will further discuss the 'Reimagine Coalition,' a joint five-year initiative to increase diversity, equity and inclusion across the global entertainment industry."
'And Just Like That…' he's alive: See Chris Noth in Peloton ad after shocking series surprise
Alec Baldwin exclusive: "The trigger wasn't pulled. I didn't pull the trigger"
Halle Berry teases "all female" 'Bruised' soundtrack featuring Cardi B, H.E.R., Saweetie and more
Kim Kardashian and Pete Davidson "officially dating"
Emmys 2021: 'Ted Lasso''s Brett Goldstein wins Supporting Actor in a Comedy Series


For every application the system is designed to provide the lone worker with a manual and an automatic means of summoning help in an emergency.
Emergency Button. Each lone worker is equipped with a radio alarm transmitter clipped on to a belt. It has a red emergency button on top which the lone worker can press to send a radio alarm signal to the monitoring receiver. Once the emergency button is pressed, a location sounder is activated and a repeat alarm transmission sent until both reset buttons on the unit are pressed together.
Motion Detector. For situations when the lone worker is incapacitated due to illness or injury, the radio alarm transmitter senses the lack of movement and responds accordingly. As soon as the radio alarm transmitter is removed from its charger, monitoring of the worker commences. Lack of movement for one minute (variable to suit different working environments) starts an alert bleep lasting for up to 15 seconds (variable). If the lone worker fails to acknowledge the alert by tapping the unit or pressing the pause button, a radio alarm transmission is sent and the location sounder activated.
Pause Function. The motion detector works very well for people performing fairly active manual tasks, however, many jobs now involve periods of static computer-based work. To cope with both situations in a single unit, we have developed a pause function which temporarily disables the motion detector for a preset time, say 15 minutes. This allows the worker to complete their 'static' task without being interrupted by the alert bleep. The pause function may be cancelled manually by pressing the button a second time or automatically when either the unit senses an increased rate of activity or when the pause period has elapsed. Other combinations of tilt sensors and motion detectors are available for special requirements.
Recharging the transmitter. When the radio alarm transmitter is not in use, it is kept in a drop-in fast charger. This disables the motion detector and recharges the transmitter's NiMH battery in under 2.5 hours before switching to a trickle charge, keeping the battery topped up and ready for use.
Automatic Fault Monitoring. The transmitter can also be programmed to automatically send regular test calls which include the transmitter's battery status. Low battery and missed test call faults are displayed on the monitoring receiver. This continuous monitoring of the transmitter enables operational faults due to damage or component failure to be quickly detected when the system is in use.
On-site Alarm Monitoring. A radio alarm transmission will be detected and latched by a monitoring receiver located on site, typically in a security lodge, reception or central control room. There is an audible warning and the Lone Worker's unit is identified by a numbered light. The audible warning may be muted, however, the light stays illuminated until the system is muted and reset, or a reset signal is received from the lone worker. The standard range of monitoring receivers will support 2, 4 or 8 lone workers with provision for expansion up to 32. The standard unit has 4 output relays with programmable delays which can be used to trigger external warning devices such as a siren, flashing beacon or paging system.
External Monitoring. If there is no-one on site to respond to an alarm, the system can interface to either a digital communicator or an automatic telephone dialler to contact a 24-hour central monitoring station or other company sites and employees.
Demonstration and Range Tests. It is impractical to quote a standard radio range for the system as it depends on the topography of the site, the construction of buildings and the location and height of the receiving aerial. The 'typical' range of the system on industrial sites is in excess of 500 metres, with ranges of 2 - 3km possible in some situations. A transceiver or aerial amplifier may be used on difficult sites to boost the system's range or to improve reception from problem areas such as basements. As part of our free demonstration we can conduct range tests and assess the radio performance on individual sites.


Convicted polygamist James Oler will be back in B.C. Supreme Court in Cranbrook on April 1, 2019 for the start of his retrial on the charge of taking his under-aged daughter to the United States for sexual purposes.
Justice Martha Devlin will hear the case. On Friday, she appointed Joseph Doyle as amicus (or friend of the court) to assist her.
Oler, a former bishop of the Fundamentalist Church of Jesus Christ of Latter Day Saints, had no legal counsel in his two previous trials in B.C. Supreme Court and none for an appeal.
In August, the appellate court overturned Oler's February acquittal. It determined that the trial judge erred in two ways in his decision on a law that had not been used before. The unlawful removal of a child for illegal purposes section in the Criminal Code was a precursor to the child trafficking law that was passed after Oler's offence is alleged to have occurred.
The three justices said the law doesn't require proof of where Oler formed the intent to take his 15-year-old daughter from Bountiful, B.C. in 2004 to be forced into a religious marriage to a much older man in the United States.
Oler, 54, is currently serving a sentence after his conviction of one count of polygamy. Having been found guilty of having five wives, including two under the age of 18, Oler was sentenced in July to three months of house arrest, a year's probation, and 75 hours of community service.


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Shishangeni, a private concession in the Kruger National Park, comprises of three camps to choose from. Shishangeni Camp, Shonga Camp and Shawu Camp. Each of the three adding a different experience to the visitor.


"In the End You Will Carry Me in Your Car": Sexual Politics in the Field. Abbott, Susan 1982-Dec. 1 microfiche : negative.
1979 Distinguished Achievement Award Entry: University of Washington Teacher Education Program. 1979. 1 microfiche : negative, ill.
Advanced Placement Program, National Summary Reports, 1984. College Entrance Examination Board, New York, NY. 1984. 1 microfiche : negative, ill.
Albuquerque Public Schools Diploma Granting High Schools Dropout Report 1984-85. McDaniel, Patrick 1985-Oct. 1 microfiche : negative, ill.
Aloha, Welcome to the Hawaiian Islands. Happel, Sue 1980. 1 microfiche : negative, ill.
AP Yearbook, 1984. College Entrance Examination Board, New York, NY. 1984. 1 microfiche : negative, ill.
An Application of the Rasch Model for Comparing the Performance of English-Speaking and Spanish-Speaking Children. Powers, Stephen; And Others. 1985.. 1 microfiche : negative, ill.
The Arts Britain Ignores: The Arts of Ethnic Minorities in Britain. Khan, Naseem 1978. 2 microfiches : negative, ill.
ASCD in Retrospect. Contributions to the History of the Association for Supervision and Curriculum Development. Van Til, William, Ed. 1986. 2 microfiches : negative, ill.
Asian Languages Library Materials: Japanese, Korean Bibliographies. Kobayashi, Vivian; Yeh, Irene 1979.
The Balch Institute Study Guide for Immigration History and Ethnic Studies. 1976. 1 microfiche : negative, ill.
Ballads of the Romanian Immigrants. Romanian Americans in Lake County, Indiana: An Ethnic Heritage Curriculum Project. Leuca, Mary, Comp. 1977. 1 microfiche : negative.
Bibliographies: Swedes, Danes, Finns, Icelanders, and Norwegians in Minnesota. 1974. 1 microfiche : negative.
Bibliography of Human Rights: Elementary Schools. 1981-04. 1 microfiche: negative.
Bibliography of Human Rights: High Schools. 1981-04. 1 microfiche: negative.
Bilingual Education: Meeting the Needs of the Eighties. Workman, Randall H. 1983-Jul. 1 microfiche: negative.
Bilinguisme et problematique des langues ethniques. Enquete sur le comportement linguistique des jeunes montrealais d'origine italienne (Bilingualism and the Problem of Ethnic Languages. A Study of the Linguistic Behavior of Young Montrealers of Italian Descent). Publication B-149. Villata, Bruno 1985. 3 microfiche: negative.
Birthplace and Language Characteristics of Persons of Chinese, Japanese, Korean, Pilipino and Vietnamese Origin in the United States, Spring 1976. Bulletin 79-B-12. 1979. 1 microfiche : negative, ill.
Broadcasting in a Multi-Racial Society. Occasional Paper No. 6. 1979. 1 microfiche : negative.
Bulgarian Ethnic Heritage Studies Kit: Teacher's Manual. 1978. 1 microfiche: negative.
Bulgarians: Costumes. Kolar, Walter W. 1979. 1 microfiche: negative, ill.
Bulgarians: Dances. Jordanoff, Nicholas, Comp. 1979. 1 microfiche: negative, ill.
California College-Going Rates, 1983 Update. Commission Report 85-7. California State Postsecondary Education Commission, Sacramento. 1985-Jan. 1 microfiche : negative, ill.
Cape Verdeans in America: Our Story. Almeida, Raymond Anthony, Ed. 1978. 1 microfiche : negative, ill.
Carl Campbell Brigham, the Native Intelligence Hypothesis, and the Scholastic Aptitude Test. Saretzky, Gary D. 1982-Dec. 1 microfiche : negative, ill.
CBEST Performance in Relation to Personal Background Factors. California Commission on Teacher Credentialing, Sacramento. 1984-Jan. 1 microfiche : negative.
The Changing Ethnic Population and Its Impact on School Districts in California. Wang, Peter 1980. 1 microfiche: negative.
Chapter I English as a Second Language Program. (Funding Source: ECIA 83-035-134, F330-910-0900.) Interim Evaluation Report, 1982-83. Vazquez-Nuttall Associates, Inc., Newton, MA. 1983-Feb. 1 microfiche : negative, ill.
Characteristics of Greek Adolescents in Sydney. A Survey of Greek-Australian High School Students. Athanasou, James A. 1983-Dec. 1 microfiche: negative.
Children's World View: The Basis for Learning Activities. Responsive Multicultural Basic Skills Handbook for Teachers & Parents. Lewis, Francione N.; Margold, Jane 1981. 3 microfiches : negative, ill.
Chinese in America, 1840-1943: A Bibliographical Introduction. Wong, Kevin S. 1981-Jan-20. 1 microfiche: negative.
Civil Rights Issues of Euro-Ethnic Americans in the United States: Opportunities and Challenges. A Consultation Sponsored by the United States Commission on Civil Rights, Chicago, Illinois, December 3, 1979. 1980. 7 microfiche: negative.
Cognitive Style, Environment and School Achievement: A Cross-Cultural Study. Delta Research Monograph No. 1. Harker, Richard K. 1977. 1 microfiche : negative, ill.
College-Going Rates in California. 1979 Update (A Summary). 1981. 2 microfiche: negative, ill.
The College-Level Academic Skills Test: A Review of the 1989 Issues. McCabe, Robert H. 1987.. 1 microfiche : negative, ill.


This is a 1.27 mi Winter Sport / Activity in Athens, WI, United States. The Winter Sport / Activity has a total ascent of 35.92 ft and has a maximum elevation of 1,399.64 ft. This route was created by KellyY209 on 12/15/2013. View other Winter Sport / Activitys that KellyY209 has done or find similar maps in Abbotsford.


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A Portal to Another Dimension: Alan Moore, Dave Gibbons, and Neil Gaiman
BY TCJ Administrator Jun 6, 2012
From The Comics Journal #116 (July 1987)
Riding the crest of DC's explorations of the adult comics market in '86 and '87 was Watchmen, perhaps one of the most thoughtful renditions of the superhero genre. Scheduled to finish its 12-issue run this summer, Watchmen has shown comics fans and professionals alike that a comics series employing literary techniques — such as the layers of theme and plot inherent in each issue, the intricate and precise attention to detail evident not only in the writing, but also in the artwork, and the desire to portray the genuine crises the world faces today — could be both a commercial and a creative success. The following is a discussion on the influences and thought behind Watchmen between series creators Alan Moore and Dave Gibbons at the UK Comic Art Convention in London on Sept. 21st, 1986. Moderating the panel discussion is British comics writer Neil Gaiman.
NEIL GAIMAN: I thought I'd start off by asking Alan and Dave a couple of questions about the genesis of Watchmen — how it started out way back when Alan was asked to do something with some Charlton superheroes, and how it evolved into the rather remarkable comic it is now.
ALAN MOORE: We weren't asked to do anything with the Charlton superheroes. I just thought that they were all lying around, up for grabs, and I hadn't heard of anything else that was being done with them. They were just a nice, innocent little bunch of characters, which is always fair game, really, and there was a self-contained universe with four or five characters, and I thought it'd be nice to just take that and do whatever you wanted with it. So I started mapping out a few ideas, and originally it was just a murder mystery, "Who killed the Peacemaker," and that was it. We sent all this stuff to Dick Giordano and some of it was extreme. We were going to treat the Question as a lot more extreme than he'd been treated before. Dick loved the stuff, but having a paternal affection for these characters from his time at Charlton, he really didn't want to give his babies to the butchers, and make no mistake about it, that's what it would have been. He said, "Can you change the characters around and come up with some new ones?" At first I wasn't sure whether that would work, but when Dave and I got together and started just planning these things out, it all really snapped into place and worked fine. I'm much happier now doing it with original characters. It's worked out much better than it would have done if we had used Captain Atom, Blue Beetle, and all the others, and I'm pleased with it. Me and Dave have been wanting to do something together for a long time, so when this came up I said I'd be happy to work with Dave and Dave said he'd be happy to work with me and that's it.
DAVE GIBBONS: Yeah, I'll go along with that. People ask me how I got involved in it, and I can't really remember. I remember Alan sending me a synopsis. We'd done quite a lot of things that we'd tried to get done with DC — we were going to do Martian Manhunter and Challengers of the Unknown, and some of the aspects of that led into Watchmen.
MOORE: Some of them, yeah. There were projects that we'd talked up that we both wanted to do, and it all just came out. The thing was that with Watchmen if you read that original synopsis it's the bare skeleton. There's the plot there, but it's what's happened since then that's the real surprise because there's all this other stuff that's crept into it, all this deep stuff, the intellectual stuff. [Laughs.] That wasn't planned. The thing seems to have taken on an identity of its own since we kicked it off, which is always nice.
GAIMAN: How much feedback is there between the two of you to create what we see now?
GIBBONS: Alan did quite a detailed synopsis plot-wise, but I visualized it first as being the Charlton characters, but I seem to remember as far as the design of the characters goes Alan came up with the names and a sort of character description, but not anything specific about how they would dress. I didn't actually sit down and say, "I'm now going to design the Watchmen." I did it at odd times and spent maybe two or three weeks just doing sketches. There was one day that Alan came to my house, and we spent the day going through the sketches and talking about possibilities. To me now it seems like the Watchmen have always been there. Because we've done so much with them since that, I'm hazy about where they came from.
MOORE: When me and Dave fall out in a couple of year's time, this is the sort of thing we shall argue about. There's little things like … when did we decide not to put any clothes on Dr. Manhattan? We were talking about it and I remember saying, "Will they let us get away with that, just not putting any clothes on him?"
GIBBONS: "Shall we? Yeah." And in fact, no one has made any objection to that.
MOORE: It looks so innocent. If you make it coy, then it looks weird, but if he's just walking around stark naked and nobody's taking any notice of it then somehow it does look really innocent. We've got male full-frontal nudity in issues # 3 and #4, and you don't even notice it, really. It's there, but so what, it's really casual.
GIBBONS: I was looking at some of the original sketches the other day, and many of our first ideas have made it through. The ads that DC have run for the Watchmen come from little doodles Alan did on the day that we spent together, and they are just copies of what we ended up with. The whole look and design of the book with the clock going round and everything is our primal instinct with very little compromise.
GAIMAN: What was DC's reaction to a book that didn't have people fighting on the cover and a plot with people dripping blood and so forth?
MOORE: There's bound to be a certain amount of nervousness, but to DC's credit they backed us all the way on it. It could be said that it's commercial suicide just having a badge on one cover, a statue on the next cover, a radiation symbol on the third one and so on, and it was a new title with no known super-heroes in it. You're going to sell a few copies on me and Dave's names I suppose, but there's nothing else there that's going to grab the reader. You've got the title on sideways so that it's not always easy to see it on the racks if they don't have flat displays, but DC could see what we were doing, that we were trying to produce a package that looked radical, that was maybe going to interest people who weren't interested in comics, that you could put out in Waldenbooks or something like that and people would say, "Oh, this doesn't look like a comic. I'll buy it." DC backed us all the way on that and have been really supportive about even the most grotesque excesses.
GIBBONS: I remember the covers in particular. We hemmed and hawed for a long time about what would be on them, and we knew that whatever it was, it wasn't going to be fight scenes or full-figure superheroes. After drawing the first issue I thought, "Perhaps we could have the smiley face on the cover," and drawing it and immediately having a really good idea of where the series was going, another six cover designs popped into my head. I think the fact that what we sent to DC wasn't, "Here's this smiley face, the cover of the first issue," but six or seven covers that all worked as bits of graphic design, was what really sold them on it. Subsequently, it was Alan's idea to take it a bit further and make each cover the first panel of the story, and that's a really strong idea as well. The way that we rationalize it to ourselves is that it's a crossover. The cover of the Watchmen is in the real world and looks quite real, but it's starting to turn into a comic book, a portal to another dimension. This is the kind of thing we think about while we're doing it.
MOORE: Watchmen has just got to be more and more hard labor as it's gone on. We started out with all these innocent ideas like making the smiley badge on the cover of the first one the first panel of the story, and then to be really clever we'll make it the last panel of the story as well, and have it on the last panel of the book. Then we did that with the statue in the second issue as well, and by that time it's a feature and you've got to do it every issue. Then there's the little quotes at the end of the episodes that didn't get into the first three issues, but now they're running OK and tying the whole story in with a quote. That seemed really clever and stylish and smart and sophisticated, but by the time you get to issue #8, you're thinking, "Christ …" It's like all those titles beginning with "V" [in V for Vendetta] and you make a rod for your own back sometimes. The story's just gone on getting more and more complex.
GIBBONS: This might come up when you're asking questions later, but it's where we really ought to have the Twilight Zone theme in the background because there've been some really spooky coincidences. For example, the issue that's just out, #5, is about symmetry and there's a scene in it where the two detectives we feature are called to this apartment where an aging hippie … [looks at Alan; laughter from the audience] ... has just butchered his children rather than have them killed in a nuclear war. Alan, as he usually does, made lots of suggestions for the decor of the apartment and I thought, "What they really need is a '60s rock poster," and I don't know anything about '60s rock groups …
MOORE: [Disbelieving] Oh ho ho.
GIBBONS: Well, I know lots about '50s rock groups. I thought that it could be a Grateful Dead poster, because that ties in as these kids are dead, and they ought to be grateful … [laughter from the audience] … so I'd like to stress that not possessing any Grateful Dead albums, I got a book called The Album Cover Album and looked up Grateful Dead in the index for a cover, and it's an album called Aoxomoxoa, which is a symmetrical word.
MOORE: It's a Rick Griffin cover as well, which is absolutely symmetrical.
GIBBONS: And it's got a skull on it, and throughout issue #5, there's the skull and crossbones of the pirate ship. Also, this skull has an egg in its hands, and the book starts with Rorschach breaking an egg. And also on the facing page of the book there's an album called Tales of the Rum Runners and I forget who it's by but at the beginning of issue #5 we have the Rumrunner Club. [Tales of the Rum Runners is by Robert Hunter, with the cover also designed by Rick Griffin.]
GAIMAN: John Higgins wasn't able to make it to the panel, so I thought it might be nice for Alan and Dave to comment on the coloring, which is rather unlike anything else ever seen before.
GIBBONS: It was my idea to use John because I've always liked the really unusual way that he does color, and I was struck coincidentally enough by a story he colored that Steve Dillon drew and Alan wrote, an ABC Warriors story [in the 1985 2000 AD Annual]. I thought it was such good work and not only did I really admire the color, the great thing is that he only lives about eight miles from me, which means that we can actually discuss it and have some kind of human contact rather than just sending it across the ocean. I couldn't be happier with the way it's colored. I could be happier with the way it's printed, and I think what with the success of Dark Knight if DC had their chance again, they'd make it a full-color book like Dark Knight, but within the restrictions that he's given I think John does some really startling stuff.
MOORE: I've always loved John's coloring, but always associated him with being an airbrush colorist, and frankly I don't like airbrush: it's just lacquer. It looks to me to be too smooth; even though I can see there's a lot of artistry and skill involved in doing it, it's a bit plastic. So although I liked John's coloring, I didn't think airbrush would be right for this, and so Dave put that to John and he said, "No, I'll do this in European-style flat color," and he showed me the samples and they were wonderful. He just has different coloring ideas. I know that a lot of people don't seem to recognize the amount of work a colorist does. That has been changing recently what with people like Lynn Varley, who are obviously really wonderful colorists, and John is in that category as well. In most comics the colorist will say, "Okay, here's Superman — his cloak's red, his costume's blue, and his boots are red," and he'll go through the whole issue first and colors Superman's costume making sure that it's the same color the whole way through. What John does is go through and say, "OK, this is Rorschach — his coat's a sort of off-brown, but if he's in a bar and there's red lights in the bar, it's going to be a different color. If he's out in the street and there's sodium lamps or just moonlight, it's going to be a different color," and so the color of the characters' costumes change according to what lighting they're in, which is much more emotional and much more atmospheric than very straight plastic color all the way through. I'm knocked out with what John's done, and some of the scenes have really come alive with color. We've thought about it when I've been doing the scripts and Dave has been dong the artwork, and we know that John's going to do a real good job with it and plan around it to a certain degree, thinking, "That'll look good, that'll look nice," like Dr. Manhattan on Mars, blue on pink.
the coloring shifts with the light
Something that's really good about John as a colorist concerns issue #6: It's the Rorschach story, and it's really depressing. Lock the razor blades away before you read this one. The cover is a Rorschach blot, a card from the psychology tests just lying on a table, a pretty simple cover. John colored the cover and colored it really warm and cheerful, and it looks really nice. And Dave was saying, "Look, this is a bit of a bleak issue. Why have you colored it warm and cheerful?" And [John] said, "Well, that's my plan. It starts off really warm and cheerful, so you color them that way, and on page five we make it a bit darker, and on page seven darker still, and it's like the lights are going down the entire issue, so when you get to the end it's really dark and really black." Emotionally, John is using the colors to really take the readers down, which is really clever. That's the kind of thinking that we're trying to do with the art and the story, and it's real nice that John is trying to put the same thing through with the coloring.
GAIMAN: Let's throw it open for some questions.
FROM THE AUDIENCE: In Alan's interview in Q Magazine there was a quote pertaining to Swamp Thing saying that if ever a country needed scaring it's America. Do you feel Watchmen is taking this further?
MOORE: Yes. This is not anti-Americanism, it's anti-Reaganism, and these are only personal opinions, not necessarily shared by Dave or John. My personal feelings, because I'm the writer and can do anything that I want, is that at the moment a certain part of Reagan's America isn't scared. They think they're invulnerable. There's this incredible up mood that leads at its worst excesses to things like the Libyan bombing and things like that, and they worry me and frighten me. The power elite in America and an awful lot of the people who vote for them seem to have this … I think the best example is a quote that Clive Barker dredged up for one of his books, The Damnation Game, from an explorer called Freya Stark, a wonderful old woman who went everywhere in the world, an incredible pioneer, and she wrote an awful lot of travel books and said some really bright things, and one of the things she said is, "The society that knows fear is not the society that's faced with extinction. It is the society that has forgotten fear that is faced with extinction." The society that just thinks that they can do whatever they want because they're invulnerable, they're not afraid, and they can gloss over the terror of the nuclear stockpiles, the world situation and all that and just think, "Hey, we're doing all right, we're OK."
That's unhealthy. I know it's only a tiny little comic book that goes over there every month and gets seen by a relatively small number of people, many of whom perhaps agree with us anyway, so it's difficult to see what it's doing, but I was consciously trying to do something that would make people feel uneasy. In issue #3 I wanted to communicate that feeling of "When's it going to happen?" Everyone felt it. You hear a plane going overhead really loudly, and just for a second before you realize it's a plane you look up. I'm sure that everybody in this room's done that at least once. It's something over everybody's head, but nobody talks about it. At the risk of doing a depressing comic book we thought that it would be nice to try and … yeah, try and scare a little bit so that people would just stop and think about their country and their politics. It's not that America's worse than England, that we're any better than them, because we have our fair share of strange political leaders as well. When I'm doing V for Vendetta it's aimed at England, and Watchmen is aimed at an American audience and the intention was to try and make people feel a little bit uneasy about it.
FROM THE AUDIENCE: To what extent have you had to fit into an American mode?
MOORE: It affects both of us. Dave is drawing for Americans and I'm writing for Americans. I was anticipating an awful lot of trouble when I started doing Swamp Thing, which is supposedly set in real America, just getting things wrong. You see how some American writers have handled England with the little thatched cottages in Charing Cross and things like that and you think you're probably going to do the same thing over there, and it's worrying. When we got into it I found that because Britain's probably a cultural satellite of America anyway, I'd absorbed so much American TV, movies and records, books and comics that you tend to know the speech patterns. I still make mistakes, but you tend to have a feel for American speech patterns and stuff like that. With Watchmen we've got a little bit more leeway, particularly with the art, because it is a parallel world.
GIBBONS: I think that one of the mistakes I've made in the past is to switch into the American mode. Certainly the Green Lantern stuff that I did was "Let's draw an American comic book," but what I've actually done with Watchmen is to switch into the Dave Gibbons mode, and that's the most successful way to do it. I do view America as an exotic culture, an exotic, far-off country, and I think that's the approach to take, and because of the perspective you're probably getting more to the reality of America than if you actually live there.
MOORE: I think by the fact that Dave's changed some bits about the American landscape, like electric cars, slightly different buildings, everyone's wearing double-breasted suits, there's little spark hydrants for recharging your cars instead of fire hydrants, it perhaps gives the American readership a chance in some ways to see their own culture as an outsider would. There are enough elements of difference. When Americans read American comic books that show the American landscape, they tend to blot out the backgrounds, because it's familiar to them, they don't need to pay any attention, whereas in Watchmen I think people are being drawn into it and looking at the panels closely because it's obvious that we are putting lots of little details in the background. With a bit of luck it will help to get across that feeling of an alien culture to an audience who lives there, which is what we want.
GIBBONS: That's a really liberating thing to be able to say that it isn't this world, because I don't have to get a load of reference books out and get bogged down in reference. I can give it the feeling of America without having to draw a certain model of car, or a certain building or a certain place. I draw the Chrysler building, the sort of art deco thing, and by putting that in it just gives it that tie into reality to make it convincing.
FROM THE AUDIENCE: I've heard a rumor that Watchmen has been optioned as a film and a screenplay's been prepared.
MOORE: The screenplay's not been prepared, but the rumor's absolutely true — it has been optioned for film, and it's looking good. It was a substantial amount of money that was offered for the screen rights. We all know that a Silver Surfer movie has been being made for the past 20 years at least, so a lot of films get optioned, and I can't promise that it will ever get made, but everyone seems very eager with the project. It's not Walter Hill, and I don't know where this Walter Hill story came from. I think it's probably because 48 Hours was directed by Walter Hill and produced by Larry Gordon and Joel Silver, and it's Larry Gordon and Joel Silver who want to do it. I spoke to Joel Silver on the phone, and he seemed like a real nice bloke. He was saying that he wants me to write the screenplay, starting next year maybe, and he also said, "Can you do it panel by panel like the comic book?" which I don't think will be possible because that would make a real crap movie. It was written to be a comic, not a movie, and they're not interchangeable, but the fact that he wants it done like that speaks volumes to me. They're not going to give Rorschach a friendly waggy-tailed dog. Although that might be a good idea, mightn't it? [Laughter.]
GIBBONS: As I remember, that's one of my ideas! Blot the Dog. [More laughter.]
MOORE: So it looks good. I don't know when it'll be made or if it'll be made, but the signs look healthy that it might be a good film.
FROM THE AUDIENCE: Do you actually own Watchmen?
MOORE: My understanding is that when Watchmen is finished and DC have not used the characters for a year, they're ours.
GIBBONS: They pay us a substantial amount of money. ..
MOORE: … to retain the rights. So basically they're not ours, but if DC is working with the characters in our interests then they might as well be. On the other hand, if the characters have outlived their natural life span and DC doesn't want to do anything with them, then after a year we've got them and we can do what we want with them, which I'm perfectly happy with.
GIBBONS: What would be horrendous, and DC could legally do it, would be to have Rorschach crossing over with Batman or something like that, but I've got enough faith in them that I don't think that they'd do that. I think because of the unique team they couldn't get anybody else to take it over to do Watchmen II or anything else like that, and we've certainly got no plans to do Watchmen II.
FROM THE AUDIENCE: Is it possible to handle the superheroes realistically without the fascist overtones creeping in?
MOORE: I think that when Watchmen was first announced everybody assumed that it was going to be Squadron Supreme, the superheroes take over. We never said that. We said that we were going to try to treat them realistically. I think that because there've been a lot of fascist overtones in Marvelman [Miracleman] people assumed that the superheroes had taken over. There aren't really any fascist superheroes in Watchmen. Rorschach's not a fascist; he's a nutcase. The Comedian's not a fascist' he's a psychopath. Dr. Manhattan's not a fascist; he's a space cadet. They're not fascists. They're not in control of their world. Dr. Manhattan's not even in control of the world —he doesn't care about the world. I think that while people expected that, we've not investigated the idea of superheroes as fascists the same way that Frank [Miller] has in Dark Knight, or the same thing they've done in Squadron Supreme. It wasn't really our intention. Our intention was to show how superheroes could deform the world just by being there, not that they'd have to take it over, just their presence there would make the difference. It's what we try to show in Watchmen #4. From the point where Dr. Manhattan appears, it slowly starts to go downhill from there — everything starts to change. He doesn't take over the country or make people subservient to him, but just his presence there makes everything begin to change. Yet on another level, if you equate Dr. Manhattan with the atom bomb, the atom bomb doesn't take over the world, but by being there it changes everything. That was more the idea that I was trying to explore. I'd say it's possible to do superhero stories that are realistic without getting into that Nazi mode.
FROM THE AUDIENCE: Is the Black Freighter anything to do with Bertolt Brecht?
MOORE: It certainly is, you clever cultured boy. For those cultureless people in the audience, Bertolt Brecht, Bert as I call him, wrote The Threepenny Opera with Kurt Weill. It's a magnificent story set around the coronation of King Edward in England. It's where the song "Mack the Knife" comes from, and it was originally a very nasty bloody song, whatever Bobby Darin did with it. One of the prostitutes in the story, a girl called Jenny, sings a song called "Pirate Jenny." She works in a hotel, scrubbing floors, and in her head she's thinking about all these guys smoking cigars who're sneering at her, and there's a black freighter waiting out at sea and one day it's going to come into town with guns firing from its bow, and the pirates are going to teem off the ship and run through the town, and they're going to be piling up the bodies. It's this horrible black vision of this ship coming in with a skull on its masthead. Everything's still in the town, with everyone wondering what's going to happen, and then this prostitute says, "I step out, looking pretty in the morning with a ribbon in my hair, and a cheer splits the air." In her dream, she's the pirate queen, and they're going to kill all the rich people and they're going to say to her, "Shall we kill them now or later?" and she'll say, "Kill them now." At the end she goes out on the Black Freighter. It's such a powerful image, this death ship coming in, and in the Watchmen another sort of death ship is coming in — the nuclear war that's looming. The idea of death that you can do nothing about just coming in on the tide just seemed to tie in so nicely that I thought, "I'll rip that off. I'll take the 'Black Freighter' and bring it into the Watchmen as one of the pirate comics," using it as a counterpoint.
GAIMAN: Anything from Dave on the pirates and the "Black Freighter"?
GIBBONS: I've never heard of it.
FROM THE AUDIENCE: How did you actually conceive and put together the universe of the Watchmen? And question two is "Who watches the Watchmen"?
GIBBONS: As Alan said, it's a universal world that's deformed by the presence of superheroes, and I think Alan is more concerned with the social implications of that and I've gotten involved in the technical implications of it. You've got electric cars and airships because of the technological breakthrough. Dr. Manhattan could transmute metals and create supplies of rare metals and so there probably wouldn't be as much need for the petrochemical industry because you'd have clean electric cars. I'm not putting this very well. They can't make electric cars here because the batteries are too heavy, and there's a thing called polyacetyline something, but you need lithium to make this, and lithium is a very rare metal. Of course, Dr. Manhattan can actually form lithium, so there's as much lithium as you want, so that's why you've got electric cars.
GAIMAN: What about the cigarettes?
GIBBONS: They were just to give a small element of strangeness. It's something they obviously smoke, but doesn't look like anything people here smoke.
MOORE: It's like a water-cooled pipe or something like that, something to cool the smoke. It's a slightly different sort of cigarette, and there's the Gunga Diners. It was Dave's idea to have Indian restaurants instead of McDonalds, and that made sense because there's a different political situation in this world, there's going to be wars in different places. In our story, some sort of conflict in Asia has caused a massive famine in India, so there's been a massive amount of Indian and Asian refugees teeming into America, and consequently you've got Indian food catching on, and you've got this stream of Gunga Diners stretching across the country. There's lot of little things like that and all of them are semi-logical, they all follow from the idea of superheroes. The comics are different because people are fed up with superheroes, there wasn't a big superhero boom like there has been here, and so all the little details are worked in. That's how we came up with the world. We took a central premise and worked it from there. As for "Who watches the Watchmen?" we didn't know were the quote came from until I had a phone call from Harlan Ellison, who phoned up just to tell me because he'd seen us expressing our ignorance in Amazing Heroes, and wanted to put us out of our misery. Apparently the original quote is "Quis custodiet custodies?" which means "who guards the guardians," "who watches the watchmen," and it was said originally by the satirist Juvenal, and it was the quote that got him slung out of Rome and placed in exile. It's a dangerous political quote. Who's watching the people who're watching after us? In the context of Watchmen, that fits. "They're watching out for us, who's watching out for them?" That's where the title comes from. It's also a nice bit of graffiti, so you get little snatches of it in the background.
FROM THE AUDIENCE: What's the quote for the third comic?
MOORE: It's "Shall not the judge of all the Earth do right?" The quote from issue #l's "At midnight all the agents" is from a Bob Dylan song: "At midnight all the agents and the super-human crew go out and round up everyone who knows more than they do," from Desolation Row, which fits in pretty nicely with the first issue. The second one is "Absent friends" from The Comedians by Elvis Costello: "I should be drinking a toast to absent friends instead of these comedians," which with the second issue being about the Comedian fits in nicely. The third one is from the Bible and it's from that bit in Genesis where God's going to nuke Sodom and Gomorrah, and one of the prophets goes out and tries to barter with him and says, "If there's a couple of good people there perhaps you could spare it," and God says, "Yeah, all right," so he says, "What if there's one good person there? Is it OK?" and God says, "Shall not the judge of all the Earth do right?," so that also fits in nicely. It fit in very nicely with the story because there's an awful lot of judges of the Earth there: the news vendor who is giving his judgment of the Earth earlier on, the President and the people in the war room at the Pentagon who're obviously judges of the Earth in a very real sense, because they're the ones who're going to decide when to set the nukes flying and there's Dr. Manhattan. At the end with that last panel where he's sitting there on Mars looking up at the sky it should have said, "Shall not the judge of all the Earth do right?" So that's where that one comes from. The rest of the issues will all have the proper quote at the end.
GAIMAN: Which comes first for you, the quote and the title or writing the episode?
MOORE: What we do is think of the actual story and what's in it and then try and come up with a quote that's appropriate, and then when we've got the appropriate quote I write the script, and write in lots more bits that are appropriate to the quote to bring it more into the center of the story.
FROM THE AUDIENCE: Is there any chance of turning Under the Hood into a book?
MOORE: No, because there's only three chapters of it: it's not a real book you see.
GIBBONS: Ooohhh.
MOORE: If you opened it up, most of the pages are blank. Originally we thought, "OK, we've got 28 pages of comic strip in here and what are we going to do with the rest of them? We thought "letters page. But there's no letters coming until issue #3, so what shall we do to fill the first three issues? Shall we do something self-congratulatory that tells all the readers how wonderful and clever we all are for thinking up all that?" And we thought, "No, because that should be obvious, shouldn't it?" So we thought we'd do something that tied in with the story and threw this Under the Hood stuff in because it was mentioned in the book. By the time we got around to issue #3, #4, and so on, we thought that the book looked nice without a letters page. It looks less like a comic book, so we stuck with it.
All images written by Alan Moore, drawn by Dave Gibbons and colored by John Higgens. ©DC Comics
FILED UNDER: Alan Moore, Dave Gibbons, Highlights from the Archive, Neil Gaiman, Watchmen
11 Responses to A Portal to Another Dimension: Alan Moore, Dave Gibbons, and Neil Gaiman
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Islington Comic Forum says:
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HA: "That seemed really clever and stylish and smart and sophisticated, but by the time you get to issue #8, you're thinking, "Christ …""
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David N says:
Moore: "He was saying that he wants me to write the screenplay, starting next year maybe, and he also said, "Can you do it panel by panel like the comic book?" which I don't think will be possible because that would make a real crap movie. It was written to be a comic, not a movie, and they're not interchangeable, but the fact that he wants it done like that speaks volumes to me."
Bwaaahaaahaaa
1) Give 'em time, Dave.
2) See Bwaaahaaahaaa, above…
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Clark Gwent says:
The only thing they got right is the strange cigarette things!
Stewart Moore says:
Regarding the line 'Who Watches the Watchmen?'
Both Alan Moore and Dave Gibbons started out in the British anthology comic 2000AD featuring Judge Dredd.
In the centre-spread of Judge Dredd UN-AMERICAN GRAFFITI -issue (Prog) 206 (4 April 1981) there is a wall of graffiti that includes – "WHO JUDGES THE JUDGES?".
Story by John Wagner and Alan Grant, illustrated by Ron Smith.
A Lousy Week for Woods (Remembering Roger Brand)
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text:
Ending Violence in 6 Languages
As Chair of the Australian Muslim Women's Centre for Human Rights, I was delighted to preside over the launch of its publication, 'Islam and Muslims Oppose Violence Against Women', today.
Developed by Joumanah ElMatrah, the CEO of AMWCHR, this booklet was developed as a guide for Muslim women and communities to increase awareness and understanding of family violence, early and forced marriage.
Guest speakers included the Minister for the Prevention of Family Violence, Gabrielle Williams MP, and Member for Batman, Ged Kearney MP.
The absolute highlight of the event, however, was Amani Haydar. A Sydney based activist, artist and writer, Amani's poignant presentation, linking her personal tragedy with state statistics, national figures of murdered women and then international gender based violence statistics, was a compelling testimony to the horror and pervasiveness of family violence . Her articulation and bravery left everyone visibly affected. Sarah Malik, award winning journalist and feature writer on Family Violence, closed the proceedings with an inspirational call to gather and combat this vice across all levels of society.
Kudos to the AMWCHR staff of legends for steering this event with seamless execution. We had a full house, rave reviews, brilliant resource, superb speakers and massive banquet to boot. In all, a brilliant outcome.
This particular resource was funded under the Respectful Relationships initiative of
the Victorian Department of Premier and Cabinet.
In addition to this booklet, this initiative achieved:
Intensive group work programs, in urban and rural areas engaging over 328 Muslim women from diverse backgrounds
• Training with service providers in Melbourne and Shepparton, engaging with 81 service provider participants
• Radio programs, 7 radio programs were aired in four community languages Farsi, Dari, English and Turkish on Family Violence and Early and Forced Marriage
In order to reach diverse groups, translations of the booklet have been published in 6 community languages; English, Farsi, Urdu, Dari, Arabic and Somali.


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text:
Carriera

Club
Cresce calcisticamente nel Grimsås IF, per poi trasferirsi nell' con il quale esordì anche in Superettan (la seconda divisione svedese) a 16 anni nel 2002. Dopo due stagioni, andò a giocare nel massimo campionato svedese, l'Allsvenskan, con la maglia dell'IFK Göteborg nel 2005, divenendo presto uno dei più giovani leader del club per talento, concentrazione e capacità di guidare la difesa.
Il 16 luglio 2009 si trasferisce al , firmando un contratto quadriennale. Dopo un prestito al Rosenborg e un breve rientro ai verdi di Atene, torna in Svezia per iniziare una seconda parentesi con la maglia dell'.

Il 20 luglio 2017, complice il contratto in scadenza e durante un'annata difficile per il club biancoblu visto il momentaneo 11º posto in classifica, il capitano Bjärsmyr lascia il Göteborg per passare ai turchi del Sivasspor, dove rimane due anni prima di passare al Gençlerbirliği a parametro zero. Con i rossoneri disputa l'annata 2019-2020, durante la quale gioca 8 partite di Süper Lig.

Dopo aver rescisso con il Gençlerbirliği nel maggio del 2020, Bjärsmyr torna all'IFK Göteborg per la sua terza parentesi personale in biancoblu, alla luce del contratto valido fino alla fine dell'anno con un'opzione per un'ulteriore stagione. Prolunga poi per un'altra annata sia nel dicembre 2020 che nel dicembre 2021, ritirandosi infine al termine del campionato 2022.

Nazionale
Gioca dal 2005 nella Nazionale svedese Under-21 dove si impone come baluardo della difesa sino ad acquisire la fascia di capitano.

Ha esordito con la nazionale maggiore contro la Costa Rica.

Statistiche

Presenze e reti nei club
Statistiche aggiornate al 2 novembre 2018.

Palmarès

Club

Competizioni nazionali

IFK Göteborg: 2007

Panathinaikos: 2009-2010

Panathinaikos: 2009-2010

Rosenborg: 2010

IFK Göteborg: 2012-2013

Note

Collegamenti esterni

Calciatori della Nazionale svedese


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text:
No. 25 Washington State Beats No. 12 Oregon, 34-20
PULLMAN (AP) — One of the biggest days in program history for Washington State started with a celebration outside the gates of Martin Stadium and ended with fans partying on the field.
Gardner Minshew threw a 22-yard touchdown pass to Dezmon Patmon in the back of the end zone with 3:40 left and No. 25 Washington State beat No. 12 Oregon 34-20 on Saturday night.
The Cougars (6-1, 3-1 Pac-12) capped a long, crazy day on the Palouse by taking control of the North Division race. Washington State hosted ESPN's "College GameDay" starting before sunrise, and later celebrated its fourth straight victory over Oregon (6-1, 3-1).
Minshew was 39 of 51 passing for 323 yards and four touchdowns, picking up his biggest win since arriving at the school as a transfer during the offseason.
"He is a very inspired player and I think inspires the rest of the units," said Washington State head coach Mike Leach on Minshew's late game-winning drive. "So, down the stretch, he does a good job inspiring and they draw from him some."
Down 27-0 at the half, Oregon pulled to 27-20 on Adam Stack's 23-yard field goal with 6:38 left and started to create restlessness for Washington State fans who had seen big leads disappear in the past. The Cougars got a huge play on the next drive from Travell Harris, when he stole a pass from Oregon's Jevon Holland for a 37-yard gain into Oregon territory. Minshew then hit Harris for 11 yards to convert fourth-and-6 and, two plays later, Minshew hit Patmon for the touchdown that finally put away the Ducks.
"Travell, he's a competitor," Minshew said. "He wasn't going to let him take it. He fought for me."
Oregon quarterback Justin Herbert was 25 of 44 for 270 yards and a TD, but it was a big letdown for the Ducks after last week's overtime victory over Washington. The Ducks were lethargic and struggled with execute in the first half, finishing with 39 total yards of offense and just three first downs in the first 30 minutes.
"Any time you play like that in the first half, you're not gonna win many ballgames," Herbert said.
Meanwhile, the Cougars had little trouble scoring in taking the big lead.
Minshew had a pass intercepted by cornerback Deommodore Lenoir to start the game after driving deep into Oregon territory. Minshew and the Cougars then went on a tear, pulling away to the big halftime lead.
Washington State scored on its second possession on James Williams' 24-yard run. Williams bounced off several defenders and stiff- armed his way to the sideline. Minshew found wide receiver Renard Bell for a 16-yard touchdown pass early in the second quarter, and added two more strikes in the final three minutes of the half — a 6-yarder to Easop Winston Jr. and a 15-yarder to Max Borghi.
Herbert scored on an 8-yard run on Oregon's first drive of the second half, but the Ducks twice had to settle for field goals after driving inside the Washington State 20.
"It was a tale of two halves. We certainly played a different brand of football in the second half, but it wasn't enough," Oregon coach Mario Cristobal said.
In a big surprise, Washington State outgained Oregon running the ball. The Cougars finished with 77 yards rushing, while the Ducks were held to 58 yards on the ground. Williams had nine carries for 53 yards, while Borghi had 10 carries for 40 yards.
CJ Verdell led Oregon with 55 yards on 12 carries.
Oregon: A week after knocking off Washington at home in overtime, the Ducks were flat in the first half and unable to overcome such a large deficit. With two conference losses, Oregon will need help from someone to get back into the North Division race.
Washington State: The Cougars four-game win streak against the Ducks is their longest since the early 1980s. Washington State has a clear path to the North Division title, but will face road tests at Stanford and Colorado, along with Washington in the Apple Cup.
"We want to be in a position to control our own destiny," Minshew said.
Oregon: The Ducks are at Arizona next Saturday.
Washington State: The Cougars travel to Stanford next Saturday.
Filed Under: cougars, oregon, washington state


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Firas Al Ali is a soccer player for the Al-Arabi (Irbid), Taliya SC, Al Shorta SC (Syria), and Al-Sheikh Hussein FC. Firas was born on August 1st, 1985 in Hama.
How Popular is the name Firas? Firas is the 18,354th most popular name of all time.
How many people with the first name Firas have been born in the United States? From 1880 to 2017, the Social Security Administration has recorded 408 babies born with the first name Firas in the United States. That's more than enough people named Firas to occupy the territory of Pitcairn Islands (United Kingdom) with an estimated population of 66 (as of July 1, 2008).
What year were 5 or more babies first named Firas? The name was first given to 5 or more babies in the year 1978 when it was given as a first name to 5 new born babies.
When was Firas first recorded in the United States? The oldest recorded birth by the Social Security Administration for the first name Firas is Monday, February 16th, 1970.
What year had the most people named Firas born? The highest recorded use of the first name Firas was in 2017 with a total of 22 babies.
Random Firas Factoid: According to the 1993 U.S. Social Security Administration data, the first name Firas is not a popular baby boy's name in California. Imagine that, only 6 babies in California have the same name as you in 1993.
Weird things about the name Firas: Your name in reverse order is Sarif. A random rearrangement of the letters in your name (anagram) will give Sfiar. How do you pronounce that?


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