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Campskunk
Camping in the…
Camping in the Shadow of Mount Whitney
We finally ended our month-long stay in New Mexico when faced with the prospect of multiple days of rain. Trouble was, it was also raining in Arizona, so we had to keep heading west across the Colorado Plateau in the on-and-off drizzle, past the meteor crater and Flagstaff, refueling in Kingman because we knew the California fuel prices would be higher, and then down 4000 feet to the Colorado River as upland coniferous forest turned into the Mojave Desert. We spent the night in a casino in the southernmost tip of Nevada, woke up to 73 degree temperatures, and headed back uphill and west on I-40.
Its a lonesome stretch of highway through the Mojave until you get to Barstow, California. A bit west of Barstow was our destination, US Highway 395, which heads north up the Owens Valley toward Yosemite and Reno on the eastern side of the Sierras. We planned on going northward in California up this valley, rather than our usual pattern of driving out to the coast and going up the Pacific Coast Highway, because we've already done that for more years than we care to count. We've never been to the inland part of California north of Sacramento, and it's time we explored that section of the country while the spring weather holds. Inland means hot in mid-summer, and if we wait much past Memorial Day we'll miss our opportunity. We've been here before, but usually went east or west once we got up to Yosemite. This time we'll keep headed north.
As you drive north on US 395, you gradually climb up to 3700 feet by the time you get to Lone Pine, a one-stoplight town that is the location of the Eastern Sierra Interagency Information Center. Inyo County, where Lone Pine is located has an amazing eighty-four campgrounds, between the Forest Service, the state, BLM, the county, and the commercial parks. The Visitor Center, on your right as you approach town, will load you up on information about all of them. There's this nifty map (above) which is a concise guide to each campground, with amenities, altitude, directions, and cost.
It was eightyish in town, so I did some quick research on my handy NOAA website which allows me to get point forecasts for any given location by putting in latitude and longitude, no town name required. It looks like the upcoming week will be best enjoyed at an altitude of around 6000 feet, so I started looking for campsites matching that criterion. We had stayed at Tuttle Creek last time through, but it was too low and already familiar to us. Further up the Whitney Portal road leading west from Lone Pine was Lone Pine Campground, a Forest Service campground with water, no electricity, and 12 bucks a night for us old people. Lone Pine Campground it is.
Whitney Portal Road is aptly named, it's the approach to the notch in the Sierras where Lone Pine Creek originates and where climbers used to trudge to climb the mountain. Now it's paved all the way to the trailhead, but watch your temperature gauge, because you're climbing about 5000 feet in six miles up the giant alluvial fan created by the mountains. I babied our 11,000 pound campervan halfway up this long climb through the Alabama Hills where they shot all those movies, pulled in at Lone Pine Campground, and we miraculously got a spot on Saturday afternoon. Good thing there are so many campgrounds here, and so few people.
The view is breathtaking. you are about two miles from this 8000 foot high wall of granite which is the eastern face of the Sierras. You'll get a stiff neck looking up at the mountains.
The campground is in the creek bed of Lone Pine Creek, and the most striking feature are the gigantic granite boulders, some 30 to 40 feet in diameter. They're rounded, so my immediate thought was glacial, but the campground host said no, they rolled down here. I googled up a geological quadrant map, and he is right. Because the eastern face is so steep, there are no ice fields large enough to feed a glacier sufficiently to push out over the plains. The lowest glacial moraine is at 7000 feet, way uphill. The incline from the top of the mountains is so steep that huge boulders, once dislodged by weathering or earthquake, will gain astonishing speeds, and cover a mile or two of territory before finally coming to rest. The whole creek bed, halfway down to the town, is this narrow band of huge boulders. I am glad I wasn't here when they got deposited.
The dark tan snaky band is the bed of Lone Pine Creek, where these gigantic boulders are. The V-shaped deposit at far left is the glacial moraine, still up in the mountains. Alabama Hills, a separate uplift of a different type of granite, is the dark purple on the right.
I hiked a mile or so up the trail toward Whitney Portal and the upper campground, and looked back downhill toward our campground. Up on the lip of the creekbed, the view of the Owens Valley will give you an appreciation for the vast distances of this landscape. the White Mountains, of bristlecone pine fame, form the eastern edge of the valley here. Overhead, Navy fliers from China Lake do lazy loops, getting their flying hours in. As you go uphill, you start to see conifers in the creekbed- Jeffreys pines here, replacing the ponderosas I'm used to further east. The surface of the alluvial fan is covered with sagebrush and a few cholla cacti, along with a few lupines as you get closer to the mountains.
The weather here is cool, dry, and sunny – except when the Pacific storms blow in and spill over the mountains. We had one extremely gusty day here – fortunately, we were in town shopping and missed all the excitement, but there were limbs down out of most of the trees, and one tree was toppled. The wind hitting the western side of the mountains had been funneled through the gap in the mountains here, and was at least 60 or 70 mph for a brief period. I helped the campground personnel clean up the limbs and retrieve a few ones broken off but still precariously situated up in the trees, ready to fall on unwary campers. We're out west – the weather is unpredictable and can turn treacherous on you. It still beats tornadoes back east, though.
We will probably max out our stay here at two weeks and then head further north. It was nice to sit this long and explore the local geology and enjoy the spectacular views of the mountains.
Tags: campskunk fulltiming roadtrek rv travel Sierras
"campskunk" is a blissfully retired former public servant who has left the challenges of how to run the government to younger and less cynical hands, and wanders the continent in his Roadtrek Class B RV with his wife and cat. In addition to his work in the public sector, he has also at various times been a mechanic and delivery driver, skills which come in handy in his new role. Because his former job involved the forensic evaluation and sometimes the subsequent detention of some not-so-nice people, he uses the name campskunk instead of his legal name on the Internet. His was not the type of job where customer service feedback would be welcome.
So nice to have you as a Lone Pine neighbor for a few days, and such an eloquent description of the campground. . . It really is that nice. And thanks for your hard work in helping to clear so many of the fallen branches. Patty & David
campskunk says:
hi patty! is was nice to bump into you two. even at my advanced age, i can do physical labor in short spurts, and it's not like they're overstaffed here. the campsites needed to be cleaned up because more campers were coming in for the weekend, and those snags in the trees were dangerous.
Camping in the Shadow of Mount Whitney | Camping For Boy Scouts says:
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RVing and boondocking in inland California - RV Lifestyle says:
[…] we hit highway 395 in Barstow and meandered north up the Owens Valley to Lake Tahoe, stopping at Mount Whitney and the Long Valley Caldera. We took advantage of the shopping in Carson City and headed north of […]
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You can repeat this for the 'Fill' and 'Highlight' color options. Go ahead and set the color for the other elements in the document and save it as a template for future use. Go ahead and set the color for the other elements in the document and save it as a template for future use.... You can repeat this for the 'Fill' and 'Highlight' color options. Go ahead and set the color for the other elements in the document and save it as a template for future use. Go ahead and set the color for the other elements in the document and save it as a template for future use.
18/02/2017 · Is it that when you paste text into word from a website, there appears to be a color background or highlight to the text that you cannot remove? Or is …... Here's another example of a seemingly simple Office feature that has hidden depths – Highlighting. For a long time, there's been a highlight option in Office: Word, Excel, Outlook and even PowerPoint (albeit in a different form).
29/08/2011 · Going back into Word, there's no way to tell whether the author meant that color to be "highlighting" or to be a background color, so it remains a background color in Word and that's why you can't use the highlighting function in Word to get rid of it.... You can repeat this for the 'Fill' and 'Highlight' color options. Go ahead and set the color for the other elements in the document and save it as a template for future use. Go ahead and set the color for the other elements in the document and save it as a template for future use.
Click the Text Highlight Color command, and the cursor changes into a highlighter. You can then click and drag the highlighter over the lines you want to highlight. You can then click and drag the highlighter over the lines you want to highlight.
Here's another example of a seemingly simple Office feature that has hidden depths – Highlighting. For a long time, there's been a highlight option in Office: Word, Excel, Outlook and even PowerPoint (albeit in a different form).
19/03/2016 · The default color for highlighting is yellow, but you can change the color if you click the down-arrow to the right of the Highlight tool on the Formatting toolbar. Word allows you to pick any of fifteen different colors.
In this situation, highlights will visually interfere with track changes (although, both features can work together). Remove all Highlights from a Word Document Here is the sample document containing highlights.
Select some other color using Font color or Fill color or Outline color (either from More colors… or using EyeDropper). Now that color appears in the Recent colors list. Remember that recent colors area is determined on a per-presentation basis.


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Yo Ho Ho and a Bottle of Warm Milk
Pirates of the Burning Sea is a game for which I have some very conflicting emotions. I've always been a fan of the pirate genre. I even had pictures of Errol Flynn hanging in my bedroom when I was a kid, and I read every book about historical pirates that I could get my hands on.
Unfortunately, Pirates of the Burning Sea (PotBS) doesn't exactly live up to my expectations of what an online pirate game should entail. Don't get me wrong – the game's environments are gorgeous, the writing is superb, and there is a lot of fun to be had. But the actual game play is painfully repetitive. The majority of the game is spent in ship-to-ship combat, which may be a lot of fun when you're doing open sea PvP port battles with other players, but when completing the game's PvE missions it gets dull quick.
One unique feature in PotBS is "User Content". Players can create flag, sail, and even ship designs, that if approved, can be used in the game. When the game first launched, the approval process for the sail and flag designs was rather haphazard. Players would upload their designs to the PotBS website where other players could vote on it. If your design received enough votes, you were allowed to use it in the game. This resulted in a lot of goofy designs that were more than a little anachronistic. Eventually, a "Steering Committee" was created to review all of the player content before it was allowed to be used. At the same time, a lot of previously accepted player content was rejected. This leads to my rather sad mermaid tale.
When the game launched, I created what I thought was a tasteful, attractive and period-appropriate sail design of a mermaid (See 'Before' image.) My design was quickly approved and I was happily sailing the high seas in my pink Bermuda Sloop and mermaid-patterned sails. After a few months I quit playing the game and did not return for almost a year. Upon my return I discovered that my character had been moved to another server and my mermaid sail design was nowhere to be found.
Thinking that it was a simple error caused by the server move, I resubmitted my sail design. Which was promptly REJECTED! Flabbergasted, I sent a message to the Steering Committee, asking for an explanation. I was politely told that my design had been rejected because the 'breasts' on my mermaid were too 'vague'. I would need to put a pattern on the design to indicate that my mermaid was wearing a bra, or remove the 'vaguely breast-like circles' completely.
WTF? My poor mermaid was deemed 'offensive' because her breasts were too 'vague'?
In a fit of indignation I removed the 'breast circles' from the design completely and resubmitted it. My 'breast-less' mermaid was approved (See 'After' image.), but I lost a lot of respect for the folks at Flying Lab Software as a result of this incident.
I realize that the developers must comply with the ESRB's standards, which are probably a bit arbitrary at times. But PotBS is not marketing itself as a children's game. And the game is about PIRATES for cryin' out loud! How can shooting, stabbing, burning and pillaging be OK, but round 'breast-like' circles on a mermaid flag design be considered 'offensive'? How can we have such a pronounced contradiction in our culture, where violence is more acceptable than anything remotely resembling the naked human body?
I bet Edward Teach would have been amused.
Tags: Pirates of the Burning Seas
This entry was posted by Leslee	on Saturday, November 28th, 2009 at 2:53 pm	and is filed under Genres & Themes.
8 Responses to "Yo Ho Ho and a Bottle of Warm Milk"
Yet apparently the avatar is perfectly acceptable…those "breast-like" objects are anything but vague.
So if you'd turned the circles into seashells, I bet they'd have accepted that too…
…it's not like this was Puzzle Pirates or anything. The avatar up there is more provocative than the sail design you had.
henebry says:
That's a lovely design, by the way. Brilliant especially at the top (the hair/waves) and at the bottom (the tail's fin). Suggestive of fractals.
Did you do that on Illustrator?
Galenor says:
That is a really cool design. 😀
I'm also a little mystified over their ruling. Did they expect the enchanting yet deadly mermaids of the Seven Seas to be sporting Wonderbras made of seaweed and crabs?
Leslee says:
Thank you for the compliments! Unfortunately, I can't take full credit for the design. The mermaid was part of a larger design that I purchased from iStockPhoto. I then edited it in Photoshop to make it more appropriate to put on a sail.
Waffles says:
Oh how I loved that game.
Despite the PvE grind and the other flaws it was just so fun a world to play in, and being a freetrader who cheerfully steered an obscenely ornate ship into tough battles never got old.
I miss it a ton, but my boyfriend tired of it and with that great "fun together" part of it gone it just wasn't worth the time and money anymore.
I really hope the game keeps doing well. I've actually never come across an MMO developed by a team with such obviously good attitudes and playful demeanors. There's humor and fun everywhere you look but it never detracted from the serious parts.
How would you say they're doing? Are the servers well populated? Are there less servers now? I'm hoping to go back sometime and I'd be really disappointed if they shut it down.
PotBS currently has 5 servers – one specifically dedicated to EU-EN players. The servers always report 'light' populations whenever I've logged into the game.
According to the Flying Lab Software's website, they are currently developing an online game for children. My sense is that PotBS has reached a sort of 'statis' population-wise. And although it's not failing, the developers are probably focusing their energies elsewhere.
Haters Gon' Hate says:
Good ideas for the future:
Valve making a TF2 roleplay (or just a roleplay at all).
Whoever the hell made Rome: Total War making an MMO.
You see my point.
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Why You're Here
To read about the misadventures, travails and unintended humor that occurs when one woman can't stop playing massively multiplayer online games (MMOs).
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redpajama_set_name: RedPajamaCommonCrawl


text:
2Adaptation
5Themes and allusions
6Release and reception
7Restoration and re-release
8Awards
8.1Academy Awards
8.2Cannes Film Festival
8.3National Film Awards
8.4Filmfare Awards
9Bibliography
10See also
11References
Garm Hava
1973 Urdu film by M. S. Sathyu
M. S. Sathyu
Shama Zaidi
Ismat Chughtai
Abu Siwani
Ishan Arya
Farooq Shaikh
Dinanath Zutshi
Badar Begum
Geeta Siddharth
Shaukat Kaifi
A. K. Hangal
S. Chakravarty
Bahadur Khan
Garm Hava (translation: Hot Winds or Scorching Winds)[1] is a 1973 Indian drama film directed by M. S. Sathyu, with Balraj Sahni as the lead. It was written by Kaifi Azmi and Shama Zaidi, based on an unpublished short story by noted Urdu writer Ismat Chughtai. The film score was given by the classical musician Ustad Bahadur Khan, with lyrics by Kaifi Azmi, it also featured a qawwali composed and performed by Aziz Ahmed Khan Warsi and his Warsi Brothers troupe.
Set in Agra, Uttar Pradesh, the film deals with the plight of a North Indian Muslim businessman and his family, in the period after the 1947 partition of India. In the grim months after the assassination of Mahatma Gandhi in 1948, film's protagonist and patriarch of the family Salim Mirza, deals with the dilemma of whether to move to Pakistan, as many of his relatives, or stay back. The film details the slow disintegration of his family, and is one of the most poignant films made on India's partition.[2][3] It remains one of the few serious films dealing with the post-Partition plight of Muslims in India.[4][5]
It is often credited with pioneering a new wave of art cinema movement in Hindi Cinema, and alongside a film from another debutant film director, Shyam Benegal, Ankur (1973), are considered landmarks of Hindi Parallel Cinema, which had already started flourishing in other parts of India; in Bengal, notably by Satyajit Ray, Mrinal Sen and Ritwik Ghatak as well as in Kerala. The movie also launched the career of actor Farooq Shaikh, and also marked the end of Balraj Sahni's film career, who died before its release. It was India's official entry to the Academy Award's Best Foreign Film category, nominated for the Palme d'Or at the Cannes Film Festival, won a National Film Award and three Filmfare Awards. In 2005, Indiatimes Movies ranked the movie amongst the Top 25 Must See Bollywood Films.[2]
The Mirzas are a Muslim family living in a large ancestral house and running a shoe manufacturing business in the city of Agra in the United Provinces of northern India (now the state of Uttar Pradesh). The story begins in the immediate aftermath of India's independence and the partition of India in 1947. The family is headed by two brothers; Salim (Balraj Sahni), who heads the family business, and his elder brother Halim, who is mainly engaged in politics and is a major leader in the provincial branch of the All India Muslim League, which led the demand for the creation of a separate Muslim state of Pakistan. Salim has two sons, the elder Baqar, who helps him in the business, and Sikander (Farooq Shaikh), who is a young student. Halim's son Kazim is engaged to Salim's daughter, Amina. Although he had publicly promised to stay in India for the sake of its Muslims, Halim later decides to quietly emigrate to Pakistan with his wife and son, believing that there was no future for Muslims in India. Salim resists the notion of moving, believing that peace and harmony would return soon, besides which, he has to care for their ageing mother, who refuses to leave the house of her forefathers. This puts Kazim and Amina's marriage plans on hold, although Kazim promises to return soon to marry her. Halim's stealthy migration affects Salim's standing in the community. In the aftermath of partition, the sudden migration of many Muslims from Agra left banks and other lenders deeply reluctant to lend money to Muslim businessmen like Salim Mirza, who had previously been held in high esteem, over fears that they would leave the country without repaying the loan. Unable to raise capital to finance production, Salim Mirza's business suffers. Salim Mirza's brother-in-law, formerly a League supporter, now joins the ruling Indian National Congress in an attempt to get ahead in independent India, while his son Shamshad unsuccessfully woos Amina, who is still devoted to Kazim and hopeful of his return.
Halim's migration to Pakistan makes the family home an "evacuee property" as the house is in Halim's name and Halim did not transfer it to Salim Mirza. The Indian government mandates the take over of the house, forcing Salim Mirza's family to move out of their ancestral home, which is very hard on Mirza's aged mother. Salim's wife blames him for not raising this issue with his brother Halim before he left for Pakistan. Mirza resists his wife's hints that they also move to Pakistan and his elder son's calls for modernising the family business. Mirza finds it difficult to rent a house, facing discrimination owing to his religion and fears that a Muslim family would skip out on rent if they decided to leave for Pakistan. He finally succeeds in finding a smaller house to rent, but his business is failing and despite his son's exhorting, refuses to change with the times, believing that Allah would protect them. Salim Mirza's passiveness and disconnection from the outside world leaves his wife and son frustrated. The Mirza family house is bought by a close business associate, Ajmani, (A.K. Hangal) who respects Mirza and tries to help him. Despite growing troubles, the family is briefly buoyed by Sikander's graduation from college.
Amina and her family have almost given up on her marrying Kazim after Halim breaks his promise to return soon from Pakistan. Kazim returns on his own, and reveals that his father had become opposed to his marrying Amina, preferring that he marry the daughter of a Pakistani politician. Having received a scholarship from the Government of Pakistan to study in Canada, Kazim desires to marry Amina before he leaves, but before the marriage can take place, he is arrested by police and repatriated to Pakistan for travelling without a passport and not registering at the police station, as is required of all citizens of Pakistan. Amina is heart-broken, and finally accepts Shamshad's courtship. Sikander undergoes a long string of unsuccessful job interviews, where the interviewers repeatedly suggest that he would have better luck in Pakistan. Sikander and his group of friends become disillusioned and start an agitation against unemployment and discrimination, but Salim prohibits Sikander from taking part. Despite his political connections, Salim Mirza's brother-in-law ends up in debt over shady business practices and decides to flee to Pakistan. Amina again faces the prospect of losing her lover, but Shamshad promises to return and not leave her like Kazim. Salim Mirza's reluctance to modernise and cultivate ties with the newly formed shoemakers union results in his business not receiving patronage and consequently failing. Disillusioned, his son Baqar decides to migrate to Pakistan with his son and wife. Salim's aged mother suffers a stroke, and through his friend, Salim is able to bring his mother to her beloved house for a final visit, where she dies. While Salim is travelling in a horse-drawn carriage, the carriage driver, a Muslim, gets into an accident and a squabble with other locals. The situation deteriorates into a riot, and Salim is hit by a stone and suffers injuries. With his business and elder son gone, Salim begins to work as a humble shoemaker to make a living. Shamshad's mother returns from Pakistan for a visit, leading Amina and her mother to think that Shamshad would also come soon and their marriage would take place. However, Shamshad's mother merely takes advantage of Salim Mirza's connections to release some of her husband's money, and reveals that Shamshad's marriage has been arranged with the daughter of a well-connected Pakistani family. Shattered with this second betrayal, Amina commits suicide, which devastates the whole family.
Amidst these problems, Salim Mirza is investigated by the police on charges of espionage over his sending plans of their former property to his brother in Karachi, Pakistan. Although acquitted by the court, Mirza is shunned in public and faces a humiliating whisper campaign. Mirza's long aversion to leaving India finally breaks down and he decides in anger to leave for Pakistan. Sikander opposes the idea, arguing that they should not run away from India, but fight against the odds for the betterment of the whole nation, but Salim decides to leave anyway. However, as the family is travelling towards the railway station, they encounter a large crowd of protesters marching against unemployment and discrimination, which Sikander had planned to join. Sikander's friends call out to him, and Salim encourages him to join the protesters. He instructs the carriage driver to take his wife back to their house, and the film ends as Salim Mirza himself joins the protest, ending his isolation from the new reality.
Adaptation[edit]
The film was an adaptation of Ismat Chughtai's story by noted Urdu poet and lyricist, Kaifi Azmi. While the original story centred on a station master, stuck in the throes of Partition, Kaifi Azmi brought in his own experiences as a union leader for the workers of a shoe manufacturing factory to the film. He not just changed the profession of the film's protagonist, but also placed him right in the middle of film's emotional cauldron, as he watches his livelihood (shoe manufacturing) and family disintegrating rapidly, immediately making the trauma of the Partition personal, compared to the original story, where the protagonist is a mere observer, watching his friends and family migrate. This fulfilled the main object of the film, to show the human consequences, not social and economic consequences of a large political decision, like the Partition of India, to which none of its suffers, the people, were party, as in the words of film director, M.S. Sathyu, "What I really wanted to expose in Garm Hava was the games these politicians play...How many of us in India really wanted the partition. Look at the suffering it caused."[6]
The screenplay was written jointly by Kaifi Azmi, and Satyu's wife, Shama Zaidi, with Kaifi Azmi, adding the dialogues to the film.
The movie ends with a poem/shairi by Kaifi Azmi:
"Jo door se toofan ka karte hai nazara, unke liye toofan vahan bhi hai yahan bhi...
Daare me jo mil jaoge ban jaoge daara, yeh waqt ka ailaan vahan bhi hai yahan bhi"
Badar Begum – Mother of Salim Mirza, Halim Mirza and Akhtar Begum.
Balraj Sahni – Salim Mirza.
Shaukat Azmi – Jamila, Salim's wife.
Gita Siddharth – Amina, Salim's daughter.
Abu Siwani – Baqar Mirza, Salim's elder son.
Farooq Shaikh – Sikander Mirza, Salim's younger son.
Dinanath Zutshi – Halim Mirza, brother of Salim Mirza. He is a Muslim politician.
Jamal Hashmi – Kazim Mirza, son of Halim Mirza and thus Amina's first cousin. He is her first love interest.
Ramma Bains – Akhtar Begum, sister of Salim Mirza, wife of Fakruddin, mother of Baqar's wife and of Shamshad Mian.
Yunus Parvez – Fakruddin, husband of Akhtar Begum, father of Baqar's wife and of Shamshad Mian.
Jalal Agha – Shamshad Mian, son of Akhtar Begum and thus Amina's first cousin. He is her second love interest.
A. K. Hangal – Ajmani Sahib, a Hindu refugee from Pakistan. He is a broad-minded man, Salim's business associate and friend.
Rajendra Raghuvanshi – Salim Mirza's tonga driver
Gulshan Verma – Gulshan Verma
Vikas Anand
The film was based on an unpublished short story by writer-screenwriter Ismat Chughtai and later adapted by Kaifi Azmi and Shama Zaidi.[7] Chugtai narrated the story to Sathyu and his wife Zaidi, deriving from the struggles of her own relatives during the Partition before some of them migrated for Pakistan. While developing the screenplay, poet-lyricist Azmi added his own experiences of Agra and the local leather industry. Later, he also wrote in the dialogues.[8]
The film was shot on location in the city of Agra, with scenes of Fatehpur Sikri as well. Due to repeated local protests owing to its controversial theme, a fake second unit with unloaded cameras were sent to various locations to divert attention from the film's actual locations. As the film's commercial producers had early on backed out fearing public and governmental backlash, and the "Film Finance Corporation" (FFC), now National Film Development Corporation (NFDC), stepped in later with a funding of ₹ 250,000. Sathyu borrowed the remaining ₹ 750,000 of the budget from friends.[9][10] The film was co-produced and shot by Ishan Arya, who after making ad films made his feature film debut, using an Arriflex camera, lent by Homi Sethna, Sathyu's friend. As Sathyu couldn't afford recording equipment, the film was shot silent, and the location sounds and voices were dubbed in post-production. Shama Zaidi also doubled up as the costume and production designer.[10]
Sathyu had long been associated with the leftist Indian People's Theatre Association (IPTA), thus most roles in the film were played by stage actors from IPTA troupes in Delhi, Mumbai and Agra. The role of family patriarch, Salim Mirza was played by Balraj Sahni, also known to Sathyu through IPTA, and for whom this was to be his last important film role, and according to many his finest performance.[11] The role of his wife was played by Shaukat Azmi, wife of film's writer Kaifi Azmi, and also associated with IPTA. Farooq Shaikh, a law student in Mumbai, till then had done small roles in IPTA plays, made his film debut with the role of Sikandar.[10] The role of Balraj Sahni's mother was first offered to noted singer Begum Akhtar, which she refused,[12] later Badar Begum played the role. The locale of the Mirza mansion was an old haveli of R. S. Lal Mathur in Peepal Mandi, who helped the whole unit throughout the shooting. Mathur helped Sathyu find Badar Begum in a city brothel. Badar Begum was then in her 70s and almost blind due to cataracts. However, when she was sixteen years old, she ran away to Bombay to work in Hindi films, but soon ran out of money and only managed to get work as an extra in a Wadia Movietone film. She used the money to return to Agra, and eventually ended up in the red-light area of the city and ran a brothel in the area. Her voice was later dubbed in by actress Dina Pathak.[8][10] The film's lead, Balraj Sahni however, died the day after he finished dubbing for the film.[13] The soundtrack included a qawwali "Maula Salim Chishti", by Aziz Ahmed Khan Warsi, of Warsi Brothers.[14]
Themes and allusions[edit]
The title alludes to the scorching winds of communalism, political bigotry and intolerance, that blew away humanity and conscience from across North-India in the years after the partition of India in 1947, and especially after the assassination of Mahatma Gandhi, to the which the film opens. In its prologue, poet Kaifi Azmi narrates a couplet summing up the theme, "Geeta ki koi sunta na Koran ki sunta, hairan sa eemaan vahan bhi tha yahan bhi" (Nobody listens to Gita or Quran, shocked conscience was here as well as there.)[7] Just like his ageing mother is reluctant to leave the ancestral haveli where she came as a young bride, her son Salim Mirza, the protagonist is also holding on to his faith in new India. Despite the fact that his shoe manufacturing business is suffering in the new communally charged environment, and the family had to sell off their haveli to move into a rented house. Yet, he struggles to keep his faith in secularism and idealism alive, along with his optimistic son.[7]
Release and reception[edit]
Prior to its release, the film was held by the Central Board of India, for eight months, fearing communal unrest, but the film's director persisted and he showed it to government officials, leaders and journalists. Finally, the film was released to both critical and commercial success.[15]
The film first opened at two theatres; Sagar and Sangeeth in Bangalore. Positive response at these theatres paved way for a subsequent nationwide release.[16] The Indian premiere was held at Regal Cinema in Colaba, Mumbai in April 1974. However, prior to this Bal Thackeray, head of Shiv Sena had threatened to burn down the cinema, if the premier was allowed, calling it 'pro-Muslim' and 'anti-India' film. On the day of the premiere, Thackeray was persuaded to attend a special screening of the film in the afternoon, and allowed the film to be screened. Subsequently, the film had a limited pan-India release.[13][17] Ironically, in the 1974 National Film Awards, it was awarded the Nargis Dutt Award for Best Feature Film on National Integration.
Today it is noted for its sensitive handling of the controversial issue, dealt with in only a few Indian films,[1] like "Kartar Singh" (1959) (Pakistani film),[18] Manmohan Desai's Chhalia (1960), Yash Chopra's Dharmputra (1961), Govind Nihalani's Tamas (1986), Pamela Rooks' Train to Pakistan (1998), Manoj Punj's Shaheed-e-Mohabbat Boota Singh (1999) and Chandra Prakash Dwivedi's Pinjar (2003).
Restoration and re-release[edit]
In 2009, a privately funded restoration work of the film started at Cameo Studios in Pune.[19] Subsequently, the restoration budget climbed to over ₹ 10 million, and restoration work was done by Filmlab, Mumbai (Mr. Ujwal Nirgudkar) and the sound quality enhancement by Deluxe Laboratories in Los Angeles, US.[10] The restoration process, which included restoration of original soundtrack took over three years to complete and the print was re-released on 14 November 2014 across 70 screens in eight metro cities in India.[14][20]
Awards[edit]
Academy Awards[edit]
1974: Indian submission for the Academy Award for Best Foreign Language Film[21]
Cannes Film Festival[edit]
1974: Cannes Film Festival: Golden Palm – Nominated for "In Competition" section.[22]
National Film Awards[edit]
1974: Nargis Dutt Award for Best Feature Film on National Integration[23]
Filmfare Awards[edit]
1975: Filmfare Best Dialogue Award- Kaifi Azmi
1975: Filmfare Best Screenplay Award- Shama Zaidi, Kaifi Azmi
1975: Filmfare Best Story Award- Ismat Chughtai, Kaifi Azmi
Bibliography[edit]
Three Hindi Film Scripts, by Kafi Azmi and Shama Zaidi, 1974.
Four and a Quarter Our Films, Their Films, by Satyajit Ray, Orient Longman, 2005. ISBN 81-250-1565-5.Page 100-102.
Garm Hava (Hot Winds) 1973 Limiting Secularism: The Ethics of Coexistence in Indian Literature and Film, by Priya Kumar, University of Minnesota Press, 2008. ISBN 0-8166-5072-1. Page 186-187.
List of submissions to the 47th Academy Awards for Best Foreign Language Film
List of Indian submissions for the Academy Award for Best Foreign Language Film
^ a b Review Garm Hava
^ a b 25 Must See Bollywood Films Archived 15 October 2007 at the Wayback Machine indiatimes.com.
^ SAI Film Series – 2007 Archived 18 January 2009 at the Wayback Machine Southern Asia Institute, Columbia University.
^ Secularism and Popular Cinema:Shyam Benegal The Crisis of Secularism in India: Gandhi, Ambedkar, and the ethics of communal representation, by Anuradha Dingwaney Needham, Rajeswari Sunder Rajan. Duke University Press, 2007. ISBN 0-8223-3846-7. page 234-235.
^ Our Films, Their Films, by Satyajit Ray, Orient Longman, 2005. ISBN 81-250-1565-5.Page 100-102.
^ Review Garm Hava, 1973 Upperstall.com.
^ a b c "Blowin' in the wind". The Hindu. 19 August 2013. Retrieved 14 November 2014.
^ a b "Back with the wind". The Hindu. 14 November 2014. Retrieved 14 November 2014.
^ Garm Hava Review Archived 3 October 2008 at the Wayback Machine planetbollywood.com.
^ a b c d e "Back Story: Separate lives". Mint. 27 July 2012. Retrieved 14 November 2014.
^ Balraj Sahni – Profile Upperstall.com.
^ "What a life: Begum Akhtar's reality was much wilder than fiction". Mint. 7 November 2008.
^ a b Satyen K Bordoloi (23 November 2012). "The filmmakers who stood up to Thackeray, and won!". Sify.com Movies. Archived from the original on 24 December 2014. Retrieved 14 November 2014.
^ a b Sandhya Soman (14 November 2014). "Iconic 'Garm Hava' all set to hit theatres today in its restored glory". The Times of India. Retrieved 15 November 2014.
^ "EVERYTHING you should know about Garm Hava". Rediff.com movies. 11 November 2014. Retrieved 14 November 2014.
^ Khajane, Muralidhara (13 November 2014). "'Garm Hava' to hit screens after four decades – The Hindu". The Hindu. Retrieved 14 November 2014.
^ Kartar Singh – Review Upperstall.com.
^ "Play it again". The Indian Express. 30 June 2009.
^ Khajane, Muralidhara (13 November 2014). "Garm Hava wafts into theatres again". The Hindu. Retrieved 14 November 2014.
^ Margaret Herrick Library, Academy of Motion Picture Arts and Sciences
^ "Festival de Cannes: Garm Hava". festival-cannes.com. Retrieved 26 April 2009.
^ "21st National Film Awards" (PDF). Directorate of Film Festivals. Retrieved 29 September 2011.
^ "Best Screenplay Award". Filmfare Award Official Listings, Indiatimes. Archived from the original on 29 April 2014. Retrieved 28 April 2014.
Garm Hava at IMDb
National Film Award for Best Feature Film on National Integration
Shaheed (1965)
– (1966)
Janmabhoomi (1968)
Saat Hindustani (1969)
Thurakkatha Vathil (1970)
Do Boond Pani (1971)
Achanum Bappayum (1972)
Garm Hava (1973)
Parinay (1974)
Grahana (1978)
22 June 1897 (1979)
Bhavni Bhavai (1980)
Aaroodam (1982)
Sookha (1983)
Aadmi Aur Aurat (1984)
Sree Narayana Guru (1985)
Tamas (1987)
Rudraveena (1988)
Santha Shishunala Sharifa (1989)
Aadi Mimansa (1991)
Sardar (1993)
Mukta (1994)
Bombay (1995)
Kaanaakkinaavu (1996)
Border (1997)
Zakhm (1998)
Shaheed Udham Singh (1999)
Pukar (2000)
Bub (2001)
Mr. and Mrs. Iyer (2002)
Pinjar (2003)
Netaji Subhas Chandra Bose: The Forgotten Hero (2004)
Daivanamathil (2005)
Kallarali Hoovagi (2006)
Dharm (2007)
Aai Kot Nai (2008)
Delhi-6 (2009)
Moner Manush (2010)
Thanichalla Njan (2012)
Thalaimuraigal (2013)
Nanak Shah Fakir (2015)
Dikchow Banat Palaax (2016)
Dhappa (2017)
Ondalla Eradalla (2018)
Taj Mahal (2019)
Indian submission for Academy Award for Best International Feature Film
Mother India (1957)
Madhumati (1958)
The World of Apu (1959)
Sahib Bibi Aur Ghulam (1962)
Mahanagar (1963)
Guide (1965)
Amrapali (1966)
Aakhri Khat (1967)
Majhli Didi (1968)
Deiva Magan (1969)
Reshma Aur Shera (1971)
Uphaar (1972)
Saudagar (1973)
Manthan (1977)
The Chess Players (1978)
Payal Ki Jhankaar (1980)
Saaransh (1984)
Saagar (1985)
Swathi Muthyam (1986)
Nayakan (1987)
Salaam Bombay! (1988)
Parinda (1989)
Anjali (1990)
Henna (1991)
Thevar Magan (1992)
Rudaali (1993)
In Custody (1994)
Kuruthipunal (1995)
Guru (1997)
Earth (1999)
Hey Ram (2000)
Lagaan (2001)
Shwaas (2004)
Paheli (2005)
Rang De Basanti (2006)
Eklavya: The Royal Guard (2007)
Taare Zameen Par (2008)
Harishchandrachi Factory (2009)
Peepli Live (2010)
Adaminte Makan Abu (2011)
Barfi! (2012)
The Good Road (2013)
Liar's Dice (2014)
Court (2015)
Visaranai (2016)
Village Rockstars (2018)
Gully Boy (2019)
Jallikattu (2020)
Pebbles (2021)
Last Film Show (2022)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Garm_Hava&oldid=1125706315"
1970s Hindi-language films
1970s Urdu-language films
1973 drama films
Films with screenplays by Shama Zaidi
Films directed by M. S. Sathyu
Films set in Uttar Pradesh
Films based on short fiction
Films set in the partition of India
Partition of India in fiction
Films shot in Uttar Pradesh
Social realism in film
Films set in 1948
Indian drama films
Best Film on National Integration National Film Award winners
Films whose writer won the Best Story National Film Award
1973 directorial debut films
Hindi-language drama films
Urdu-language Indian films
EngvarB from April 2015
Use dmy dates from November 2021


YA-scooter-rental-bali – Rent your scooter or motorbike on Bali with best service and quality.
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text:
Women and the Nation's Narrative
Gender and Nationalism in Twentieth Century Sri Lanka
De Neloufer Mel
This book explores the development of nationalism in Sri Lanka during the past century, particularly within the dominant Sinhala Buddhist and militant Tamil movements. Tracing the ways women from diverse backgrounds have engaged with nationalism, Neloufer de Mel argues that gender is crucial to an understanding of nationalism and vice versa. Traversing both the colonial and postcolonial periods in Sri Lanka's history, the author assesses a range of writers, activists, political figures, and movements almost completely unknown in the West. With her rigorous, historically located analyses, de Mel makes a persuasive case for the connections between figures like actress Annie Boteju and art historian and journalist Anil de Silva; poetry whether written by Jean Arasanayagam or Tamil revolutionary women; and political movements like the LTTE, the JVP, the Mother's Front, and contemporary feminist organizations. Evaluating the colonial period in light of the violence that animates Sri Lanka today, de Mel proposes what Bruce Robbins has termed a 'lateral cosmopolitanism' that will allow coalitions to form and to practice an oppositional politics of peace. In the process, she examines the gendered forms through which the nation and the state both come together and pull apart. The breadth of topics examined here will make this work a valuable resource for South Asianists as well as for scholars in a wide range of fields who choose to consider the ways in which gender inflects their areas of research and teaching.
Pages: 304 • Trim: 5¾ x 8½
978-0-7425-1807-0 • Paperback • February 2002 • $45.00 • (£29.95)
Subjects: Social Science / Ethnic Studies / General
Neloufer de Mel is senior lecturer of the Department of English, University of Colombo, Sri Lanka, and a member of the visiting faculty in the women's studies program at the same university.
Chapter 1 Introduction
Chapter 2 Setting the Stage, Gendering the Nation: John de Silva's Nationalist Theatre and the Entrance of Anie Boteju
Chapter 3 Framing the Nation's Respectability: Anil Marcia de Silva's Rite of Passage
Chapter 4 A Question of Identity: Jean Arasanayagam's Landscape of the Nation
Chapter 5 Agent or Victim? The Sri Lanka Woman Militant in the Interregnum
Chapter 6 Crossing the Issues—Mother Politics and Women's Politics: Notes on the Contemporary Sri Lanka Women's Movement
Elegantly written, thorough, and assured, this book represents a different and extraordinarily valuable insight into the ways in which gender is mediated through the intersection of cultural production and politics. There is very little work done about Sri Lanka on this subject that asks questions with the subtlety de Mel brings to her readings. This work stands as one of most groundbreaking contributions to the literature and will transform how the questions that it engages with are read.
— Geeta Patel, Wellesley College


We have had the iPhone encrusted with diamonds so why not the iPhone 3G. Swiss luxury designer and jeweler Knalihs Athem's newest creation is an iPhone 3G encrusted with more that 475 finest quality brilliant cut diamonds that weigh 3.75 carats in total. Only 50 such handsets will be created worldwide. Each handset is accompanied by appropriate and official diamond grading report from a gemological lab. The first 10 pieces would be sold for $10,000 after which the pricing would be revised.


text:
Pierre the Pelican is back, and he is far less terrifying than before (Video)
Dan Devine
Ball Don't Lie February 13, 2014, 3:45 AM UTC
After "successful surgery" to repair a "broken beak" suffered during a recent mascots-only pickup game, first-year New Orleans Pelicans mascot Pierre the Pelican was back in the lineup on Wednesday, having shed the bandages and showcasing a brand new look that the franchise hoped wouldn't be quite so famously, utterly terrifying. The result ...
... seems like a mission accomplished.
Old pal J.E. Skeets provided a helpful side-by-side of Pierre's past and present:
Who wore it better? pic.twitter.com/6DSQLyNNko
— J.E. Skeets (@jeskeets) February 13, 2014
And here's a side-by-side of Pierre and an actual pelican:
The new Pierre, a reboot several weeks (and countless tears) in the making, certainly seems softer than his predecessor. (This could be due, in part, to a changed-up coat that seems to have more in common with Moondog's fur than fowl feathers.) The Mohawk remains weird and somewhat senseless, but if that's the price we have to pay for significant improvements in eyes (less illegal-drug-dilated), beak (no longer deep red, sharp and evidently bloodthirsty) and tongue (no longer notable/prominently horrifying), then I suppose that's a worthwhile trade-off.
If nothing else, this version of Pierre seems unlikely to abjectly terrify a young Pelicans fan. That is a plus if you are a young Pelicans fan, or someone who cares about one, but it's also something of a bummer for the rest of us. The NBA got a little bit less weird on Wednesday night, and that's a sad thing.
I'd like to imagine that old Pierre — the real Pierre — is still out there somewhere, sticking to the shadows, subsisting on carrion and waiting for his time to remind us all that, Q scores be damned, this bird you cannot change. And he reminds us of that by biting our faces off. Oh, well. A blogger can dream, I guess.
If you want to relive the entire saga, the Pelicans shared the footage of how Pierre busted his beak, as well as his grueling two-day road to recovery. If you were worried that it wouldn't be very, very creepy, fret not — it features a doctor using a hammer, a hacksaw and a chainsaw on Pierre's face, as well as the implication that Pelicans medical staff ignored league protocol in bringing Pierre back just two days after suffering a concussion, which is great:
Dan Devine is an editor for Ball Don't Lie on Yahoo Sports. Have a tip? Email him at devine@yahoo-inc.com or follow him on Twitter!
Follow @YourManDevine
Stay connected with Ball Don't Lie on Twitter @YahooBDL, "Like" BDL on Facebook and follow BDL's Tumblr for year-round NBA talk, jokes and more.


text:
Baden-Baden fou un marcgraviat del Sacre Imperi Romanogermànic centrat a la població de Baden-Baden.

Història
Va sorgir per primer cop el 1190 per partició de Baden en les línies de Baden-Baden i Baden-Hochberg a la mort d'Herman IV; va correspondre al fill Herman V. La línia va subsistir fins al 291 quan va morir Herman VII i es va procedir a un repartiment sorgint les línies de Baden-Pforzheim i Baden-Eberstein.

La línia es va crear per segon cop el 1348, quan va morir Rodolf IV de Baden-Pforzheim i el fill Frederic III va heretar la nova línia de Baden-Baden que va subsistir fins al 1515 quan es va procedir a un nou repartiment. Aquesta línia va adquirir la de Baden-Pforzheim el 1361 (que al seu torn havia adquirit els dominis de Baden-Eberstein) i després va reunir també els dominis de les branques col·laterals d'Hochberg (el 1415) i Sausenberg (1503) aconseguint així Cristòfol I de Baden-Baden reunificar tots els dominis de Baden el 1503.

Però no va conservar la unitat, ja que el 1515 es va procedir a un repartiment entre els seus fills. Baden-Baden, fou pel gran Bernat III, que el 1533 va recuperar una de les noves línies, la de Baden-Sponheim, però tres anys després es va dividir, quedant separada la línia de Baden-Rodemachern. El 1584 Baden-Baden, de sobirà catòlic, fou amenaçada per primera vegada, per un marcgravi rival protestant; El 1588, en plena guerra, la línia Baden-Rodemachern es va apoderar de Baden-Baden però la va perdre el 1596 davant d'Ernest Frederic (calvinista) de Baden-Durlach que va ocupar també Rodemachern; Ernest Frederic va morir el 1604 i el va succeir el seu germà (luterà) Jordi Frederic de Baden-Sausenberg que va agafar per a la seva línia el nom de Baden-Durlach, i que va mantenir ocupats els territoris de Baden-Baden i Baden-Rodemachern fins al 1622 quan van ser evacuades després de la destrucció del seu exèrcit a la batalla de Wimpfen.

Llavors es va restablir la línia legítima de Baden-Baden amb Guillem, i va subsistir fins a la mort d'August Georg Simpert el 1771, passant llavors a Carles Frederic de Baden-Durlach (abans Baden-Sausenberg), governant longeu (1738 a 1811) que va reunificar tots els dominis de Baden.

Marcgravis

Primer marcgraviat
 Herman V 1190-1242
 Herman VI 1242-1250
 Frederic 1250-1268
 Rodolf I 1250-1288
 Hessó 1288-1297
 Rodolf II 1288-1295
 Herman VII 1288-1291
 Rodolf III 1288-1332
 Rodolf Hessó 1297-1335

Segon marcgraviat
 Frederic III 1348-1353
 Rodolf VI l'Alt 1353-1372
 Bernat I 1372-1431
 Rodolf VII 1372-1391
 Jacob 1431-1453
 Bernat II 1453-1458
 Carles I 1453-1475
 Cristòfol I 1475-1515 (+1527)
 Bernat III 1515-1536
 Filibert 1536-1569
 Felip II 1569-1588
 Ocupació per Baden-Rodemachern 1588-1596
 Ocupació per Baden-Sausenberg (des de 1604 Baden-Durlach) 1596-1622
 Guillem 1622-1677
 Lluís Guillem 1677-1707
 Lluís Jordi Simpert 1707-1761
 August Jordi Simpert 1761-1771

Referències
 Regnal Chronologies

Marcgraviats del Sacre Imperi

redpajama_set_name: RedPajamaWikipedia


Having completed three years of reviews and beginning a fourth, the CCOC has now established a regular process for continual review of all courses holding core designations in the UA Core Curriculum. Every program offering core designated courses will have its core courses reviewed by the CCOC, minimally, every five years to retain their core designations. At the time of their reviews by the CCOC, programs are encouraged to submit applications for new core designations for any of their existing courses. Such applications for new designations will be reviewed by the CCOC, along with those core courses due for renewal.
The CCOC does not review new courses (i.e., a course not already approved through CourseLeaf and existing in the Banner inventory), nor does it handle petitions for temporary core designations. Temporary core designations are considered on an ad hoc basis for individual courses, at the request of department heads or deans, in order to resolve student or departmental scheduling problems that may only be resolved by the immediate granting of the designation. If approved, these petitions are only granted temporary status. Any course granted a temporary core designation that is not submitted for review by the CCOC in the next regular review cycle will have the core designation automatically removed. All petitions for temporary core designation are handled by the Office of Academic Affairs.
Construct a formal petition – explaining the need for an immediate decision on the course and why it cannot wait until the regular program review cycle.
Prepare the course syllabus and supporting materials – identifying how the course meets the requirements for the core designation, in reference to the core designation template.
Submit both to the Office of Academic Affairs.
Review the petition to determine if the necessary information has been supplied.
Compare the course materials with the core requirements to determine the appropriateness of the petition.
Submit the petition for review by the Vice Provost, who in consultation with the appropriate representative from the CCOC subcommittee will make the decision.


Home / Models / Add a splash of stars with this short necklace.
Add a splash of stars with this short necklace.
She plays with the beautiful autumn light.
Natural & Breezy, fresh as 2019.
Exclusive jewelry that warms the soul.
Follow our sweets & indulge yourself.
Gold jewelry capturing the Dolce Vita era.


Goodleigh village hall (postcode EX32 7LU) underwent a major refurbishment project in 2011. The Hall is a large venue(approx. 42' x 45') with a separate skittle alley and kitchen and is suitable for all occasions. Capacity: 199; licensed for alcohol and music; kitchen with Rangemaster cooker (5 hobs, 2 ovens & grill), Commercial dishwasher, microwave, fridge/freezer, water boiler, cutlery and crockery; chairs and tables, including trestles; portable stage; Main entrance suitable for wheelchair access; newly refurbished cloakroom facilities include a disabled toilet; Large car parking area. The hall is used by many of the village clubs and societies and is available for hire. Please see details of regular events & availability on the attachments listed. Please contact Lynda Thorne on 01271 346566 or email lyndathorne@bampfieldfarm.co.ukto make a booking.
The Village Hall is a Charity organisation and the committee is made up of representatives of the main local user groups in the community and elected members.
For guidance only, a sample of charges for hall hire are indicated below.
Charges may vary according to nature and duration of booking.
Please confirm with Bookings Officer 01271 346566 or email lyndathorne@bampfieldfarm.co.uk for the charges that are applicable for your hire.
Click on the following links to see details of the village hall bookings.
Please be aware that these bookings may have changed after being published on this website.


This Christmas mend a quarrel.
Examine your demands on people.
Take pleasure in the wonder of the earth.
that compares with the realization of its true meaning.
The greatest gift to man kind ever has been and always will be Jesus Christ ! ! !


The relationship between food, health and modern life can be improved through planning and design and the focus needs to range from the individual to society as a whole. At the local level, it means ensuring healthy food options are available within walking distance of houses, as well as in schools and workplaces. On a broader social level, improving transport and accessibility to healthy food options promotes healthy eating, particularly to the disadvantaged.
Wider again, creating community gardens can help community interaction while promoting mental, physical and environmental aspects. And, finally, safeguarding land for food growing and ensuring efficient transport infrastructure to deliver food must be a consideration of planners and governments.
This section includes a broad range of case studies highlighting the breadth of ways to improve Australia's relationship with and provision of healthy food.
What do we mean by 'healthy food'?
Ensures healthy food is accessible through a variety of transport modes such as public, community and active transport.
Makes use of existing facilities/spaces (e.g. schools) for local food production/provision of fresh produce such as through farmers' markets.
Safeguarding local healthy food access and economic viability of local producers through peri-urban agriculture.
Source: Caraher, M., Dixon, P., Lang, T., Carr-Hill, R., Access to healthy foods: Part I. Barriers to accessing healthy foods: Differentials by gender, social class, income and mode of transport. Health Education Journal, 1998. 57(3): p. 191-201.
Source: Lovell, R., Husk, K., Bethel, A., Garside, R., What are the health and well-being impacts of community gardening for adults and children: a mixed method systematic review protocol. Environmental Evidence, 2014. 3(20): p. 1-13.


Men's Loafers et Boat shoes - Discover online a large selection of Loafers & Boat shoes - Free delivery with Spartoo UK !
At the beginning, boat shoes (as their name indicates), were designed to be worn at sea. Today, they are taken over the men's, women's, and children's fashion world. Brands that design men's boat shoes, the most popular brands are Sperry Top Sider and Sebago with the legendary model: the Dockside.
Boat shoes are so comfortable, lightweight, and come in a wide variety of colours and materials. Boat shoes can now be worn both at sea and on dry land thanks to brands such as (Timberland and Hush Puppies ), who have designed their own version of the shoe.
When worn with a pair of trousers or jeans, boat shoes embody both a casual and chic look. Boat shoes are perfect for any situation and are available from numerous brands such as Clarks, Nobrand and TBS.


text:
Home People Alumni For the Love of Biscuits. For the Love of People.
For the Love of Biscuits. For the Love of People.
Biscuit Love owner Sarah Worley shares with students about her career path in the business of biscuits and people.
Nicole Jones
Biscuit Love: Dream Big! Alumna Sarah Hadzor Worley talks to students at Belmont University in Nashville, Tennessee, January 29, 2020.
Sarah Hadzor Worley, owner of the Nashville-based brunch staple Biscuit Love and an alumna, came back to campus to share with students the success story of her career. This, however, was not a conversation about business proposals and marketing; instead, it focused on community and heart.
"Biscuit Love is a story of dreams. It's a story of community," said Worley, who studied accounting and received a graduate degree from Belmont in business. She shared the story of how she and her husband, Karl, have made community an intricate and integral part of Biscuit Love since they first opened as a food truck in 2012. When they made the transition to open the first brick-and-mortar location of Biscuit Love in the Gulch in 2015, they prioritized creating a place where people can commune, relationships can grow and dreams can thrive. While this creates an atmosphere customers love, it all begins with the employees. Sarah and Karl take the time to get to know each employee as a part of their mission to create community. Whenever a new employee starts at Biscuit Love, they are asked what their big dream is, as Worley's goal has always been to take her dream and use it as a catalyst for other's dreams.
Biscuit Love exists to nourish both stomachs and souls. "I'm not passionate about the biscuits," Worley said. Rather, she is passionate about impacting people's lives. She believes it is this heart of Biscuit Love that sets it apart from restaurants like it and integrates it into the community of Nashville.
Worley proposed the challenge for current students to figure out ways to create community with the people around them and invest in that community. As students consider their future, she advised them to build community by surrounding themselves with people who have similar passions to be encouraged, while also finding people who think differently to be challenged. Worley told students to dream big and start becoming who they want to be.
Worley is trying to make the world a better place through biscuits, and leading the way as an inspiration for students with big dreams of their own.
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text:
How Gordan Lederer Memorial Makes a Tragedy Beautiful
By Land8: Landscape Architects Network on	 February 4, 2016 No Comments	/ 1971 views
Article by Kaila Johnson Gordan Lederer Memorial, by NFO, in Čukur Hill in, Croatia. What comes to mind when thinking about a memorial? Most would perhaps say a statue, plaque, or some other singular structure aimed at commemorating a specific person or event. Memorials are erected to commemorate people, events, and significant happenings of times past. The Gordon Lederer Memorial is no different in that it commemorates a specific person and event: a Croatian photo- and videographer who was killed by a sniper while filming soldiers in the Čukur Hills. However, it does so by using the whole landscape as the memorial itself. In this particular location, photographer Gordon Lederer was killed by a sniper on August 10th, 1991, while filming Croatian soldiers in action on Čukur Hill in the Bania Region.
Opening ceremony. Photo credit: Boris Kovacev
The memorial was created as part of a design competition, put on by Croatian Radio Television (HRT), as a plan to commemorate all locations where HRT photo and videographers were killed during the war in Croatia in the 90's. So what, exactly, does this have to do with landscape architecture? Well, the winning design, by NFO, turned the landscape into the memorial itself by injecting it with art, architecture, and sculptural elements, with a main emphasis on the breathtaking natural landscape surrounding this space.
The materials used in this landscape are especially interesting, in that they don't actually focus on the vegetation, but on the hard, human-fabricated materials used within the design. In fact, the only vegetation actively featured in this design is the grass that surrounds the walkways. This allows the sculptural and architectural elements of the site to stand out, as well as the beauty of the surrounding natural environment to be highlighted.
Gordan Lederer Memorial. Photo credit: Daniel Pavlić
The Journey of Lederer's Life
The surrounding landscape of the Čukur Hills features dense willow and poplar forests along the rolling hills. The whole design is aimed at being a pathway, which illustrates Lederer's life as a photographer. The path is constructed out of concrete slabs which are framed by black steel, mimicking film negatives and representing significant events in Lederer's life.
Gordan Lederer Memorial. Photo credit: Ivan Dorotić
Symbolism in Design
It begins with small blocks of concrete, spaced apart at varying distances by crushed limestone gravel and appearing to be "broken"; but as one moves along, the slabs become closer and closer together until they are strung together in a continuous pathway. See More Memorial Based Designs:
Diana Memorial Fountain: "Reaching Out, Letting In"
Landscape Storytelling – Memorial to Victims of Violence
How A Symbol of Tragedy Can Encourage People to Look into the Future
The Camera Lense and the Bullet Hole
It continues along and meanders strategically across a plateau, and culminates in a large, circular glass frame that serves as a vantage point and lookout on the incredible natural landscape surrounding this space. This glass frame is encased in stainless steel, resembling a camera lens and representing the circle of life, and showcases the exact location where Lederer died taking his final shots. The glass has an imitation bullet hole within it, to undeniably illustrate the historically tragic event that took place on the site. Upon approaching the lens, the pathway splits and one section rises up beside the walkway.
Breathtaking Views
Here, the visitor is free to experience the lens and the landscape from the raised portion, which can act as a bench, or they can continue across the grass to the sculpture itself for a close-up view. Once the site visitor reaches the glass lens, they are welcomed by breathtaking views of the Una River Valley, where they can reflect on the events that occurred through the sculptural elements, while appreciating nature in its raw beauty.
The Landscape as the Memorial
In this design, the landscape is the memorial. There are architectural and sculptural elements that add to the design, and though the vegetation isn't the primary feature of the site, the lack of vegetation allows the visitor to experience just how important the human-made features are, without detracting from the fact that it is a memorial. NFO further develops this idea by creating an experience for the visitor, with a pathway that acts as a journey, telling a story, until one comes to the end where they can see, think about, and reflect on the "end" of a life, while sharing in its beauty.
A Memorial that Stretches the Boundaries
The Gordan Lederer Memorial by NFO is a special memorial, both for whom and what it represents, and for how it is physically represented. It serves as a constant reminder of the devastating effects of war, but celebrates the life of someone who dedicated their life to capturing the beauty in their surroundings and showcases this beauty in an everlasting, unique, and well-thought-out memorial that uses the entire landscape as part of its story. This design shows that memorials can stretch the boundaries of what they're traditionally thought to be, without losing sight of the person, place, or event that they are commemorating. Do you think this is an effective way to commemorate someone or something? Let us know in the comments below! Go to comments
Full Project Credits For Gordan Lederer Memorial:
Project Name: Gordan Lederer Memorial Location: Čukur hill, Hrvatska Kostajnica, Croatia Authors: NFO (Kata Marunica, architect, Nenad Ravnić, architect.) + prof.Petar Barišić,sculptor Project team: Sandra Perić, NFO architect; Nikica Pavlović,NFO architect; Filip Vidović, NFO architect; Dragan Mileusnić; Željko Serdarević Investor: Croatian Radiotelevision – HRT , project manager prof. Milan Bešlić Contractor: Beton Lučko d.o.o., Piletić staklo d.o.o., Šurba d.o.o., Telektra d.o.o. Photographers: Bosnić+Dorotić, Boris Kovačev / CROPIX, Daniel Pavlić Completion: August 2015 Learn more about NFO: Website: www.nfo.hr Facebook: www.facebook.com/nfoarhitektura Recommended Reading:
Becoming an Urban Planner: A Guide to Careers in Planning and Urban Design by Michael Bayer
Sustainable Urbanism: Urban Design With Nature by Douglas Farrs
Article by Kaila Johnson Return to Homepage
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text:
Published On: Thu, Apr 25th, 2013
Health / Hometown News / Infectious Disease Q&A by Robert Herriman / Outbreak News | By Robert
Salmonella Saintpaul outbreak in 18 states linked to Mexican cucumbers
The Centers for Disease Control and Prevention (CDC), in coordination with state public health departments and the Food and Drug Administration (FDA) have initiated an investigation of a multistate outbreak of Salmonella Saintpaul that has sickened at least 73 people in 18 states, according to a CDC outbreak notice April 25.
Public domain image/Gruepig at the English Wikipedia project
The outbreak, which has hospitalized 14 individuals, has been linked to the consumption of imported cucumbers from at least two Mexican farms.
On April 24, 2013, the U.S. Food and Drug Administration placed Daniel Cardenas Izabal and Miracle Greenhouse of Culiacán, Mexico on Import Alert.
Cucumbers from these two firms will be denied admission into the United States unless the suppliers show that they are not contaminated with Salmonella.
The tainted cucumbers were distributed by Tricar Sales, Inc. of Rio Rico, Arizona.
The number of ill persons identified in each state is as follows: Arizona (9), California (28), Colorado (1), Idaho (2), Illinois (3), Louisiana (1), Massachusetts (1), Maryland (1), Minnesota (8), Nevada (1), New Mexic0 (2), North Carolina (1), Ohio (1), Oregon (2), South Dakota (2), Texas (6), Virginia (2), and Wisconsin (2).
The CDC reports the number of illnesses reported has declined substantially since a peak in early March. Currently, there is no evidence that contaminated cucumbers are still on the market. However, due to the time it takes between when a person becomes ill and when the illness is reported, additional ill persons may be identified.
This is not the first time that this strain of salmonella has been implicated in an outbreak in the US. In 2008, a nationwide outbreak of Salmonella SaintPaul was linked to raw produce. That outbreak affected 1500 people in 43 states.
Then in 2009, an outbreak of Salmonella Saintpaul affected 235 persons from 14 states. The vehicle for the outbreak in this case was alfalfa sprouts.
Salmonella is an organism, which can cause serious and sometimes fatal infections in young children, frail or elderly people, and others with weakened immune systems. Healthy persons infected with Salmonella often experience fever, diarrhea (which may be bloody), nausea, vomiting and abdominal pain.
Children are especially susceptible because they frequently put their fingers into their mouths and because their immune systems are still developing.
In rare circumstances, infection with Salmonella can result in the organism getting into the bloodstream and producing more severe illnesses such as arterial infections (i.e., infected aneurysms), endocarditis and arthritis.
For more infectious disease news and information, visit and "like" the Infectious Disease News Facebook page
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On the DISPATCH: Headlines Local Opinion
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Robert - Writer, Co-Founder and Executive Editor of The Global Dispatch. Robert has been covering news in the areas of health, world news and politics for a variety of online news sources. He is also the Editor-in-Chief of the website, Outbreak News Today and hosts the podcast, Outbreak News Interviews on iTunes, Stitcher and Spotify Robert is politically Independent and a born again Christian Follow @bactiman63
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Displaying 3 Comments
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Eight new cases reported in the multistate Salmonella Saintpaul outbreak linked to cucumbers - The Global Dispatch says:
[…] a follow-up to a April 25 report, the multistate outbreak of Salmonella Saintpaul has increased to 81 cases, up eight from from the […]
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text:
namespace chrono
{
namespace pneumatics
{

/// Class defining pneumatic nozzles.

class ugello {

protected:
	double ci, co, bi, bo;
			// ci=Conduttanzain ingresso; co=Conduttanza in uscita [m^3/(s*Pa)]
			// bi=beta in ingresso; bo=beta in uscita
	double pvalle, pmonte;
			// Pvalle=Pressione a valle dell'ugello; Pmonte=pressione a monte
	bool isopen;
			// Variabile che definisce se la valvola è aperta o chiusa

	double Q, pres;
			// Portata massica [kg/s]
	double fi;
			// Funzione che discrimina fra flusso sonico e subsonico (fattore sonico)
	double rho;
			// Densità normale dell'aria [kg/m^3]
	double t0;
			// Temperatura in condizioni normali [K]
	double tambiente;
			// Temperatura ambiente [K], (25°C)

	double b;			//beta istantaneo
	double beta;		//beta della valvola

public:
	enum TipoFlusso {flusso_out = 0, flusso_in = 1} verso;
			// verso definisce la direzione del flusso flusso_out = 0, flusso_in =1

public:
	ugello()  {isopen = true;verso = flusso_in; ci=co=bi=bo=pvalle=pmonte=.0;
				rho=1.225;t0=293.15;tambiente=298; b=beta=0;};
	virtual ~ugello() {};

	void SetCi(double myci) {ci = myci;};
	double GetCi() {return ci;};
	void SetCo(double myco) {co = myco;};
	double GetCo() {return co;};
	void SetBi(double mybi) {bi = mybi;};
	double GetBi() {return bi;};
	void SetBo(double mybo) {bo = mybo;};
	double GetBo() {return bo;};

	double GetB() {return b;};
	double GetBe() {return beta;};

	void SetPvalle(double mypvalle) { pvalle= mypvalle;};
	double GetPvalle() {return pvalle;};
	void SetPmonte(double mypmonte) { pmonte= mypmonte;};
	double GetPmonte() {return pmonte;};

	void SetIsopen(bool myisopen) {isopen = myisopen;};
	bool GetIsopen() {return isopen;};

	virtual double GetConduttanza() { if (verso == flusso_in) {return ci;}; return co;};
			// Decide in funzione del verso quale C usare
	virtual double GetBeta() { if (verso == flusso_in) {return bi;}; return bo;};
			// Decide in funzione del verso quale b usare
	double Portata();
			// Restituisce il valore della portata
	double SetDirezione();
			// Impone la diresione del flusso a seconda delle pressioni a cavallo della valvola

};

} // END_OF_NAMESPACE____
} // END_OF_NAMESPACE____

#endif						//*****

redpajama_set_name: RedPajamaGithub