1. How do I create a user account?
To create a user account on our service you must follow each step on our registration page. You will find this for example here .
Accept the Terms and Conditions and click on the Register button.
Your data will then be sent to your e -mail address.
Please pay attention when you create your account to ensure that all informations are correct.
Should your data be identified as incorrect in a validation, your account will be removed immediately.
- Here are your existing projects listed, which you can edit or delete.
- Here you can create a new project.
- Here you can change your profile in case that it has changed.
- Here you can change your your e-mail address and your password.
3. What do I have to do if I forgot my password?
To create a new password you can just use one of our " forgotten password " forms , such as here .
Just enter your user name or your email address and choose a new password.
4. What do I have to do if I forgot my e -mail address?
If you have forgotten the e- mail address for your account, you can use the WHOIS function of our service . Here you can find all necessary informations about the user of a domain.
5. How do I delete my user account?
Deleting the user account is not possible for the users themselves.
However, should you want it to be removed , apply with our contact form to the Support.
6. What do I have to do if my account has been locked?
If your account is locked, it can not be unlocked from us.
Reasons for blocking can be found in the Terms .
1. How do I create a new project?
To create a project, first you must have an user account and need to be logged in..
You can create a new project under " New Project ".
The set up of the business card is now complete.
In your user account can be found at My projects your new project .
The set up of a project will take up to 15 minutes after completion of the configuration !
2. How do I manage a project?
Already started projects can be found at My projects .
To change the project properties , click on Edit next to the appropriate project.
Warning: subdomains goes after removal into lock status to prevent abuse of the domain name. This lock could last several months!
3. How do I delete a project?
You can delete your project under "My Projects " by clicking on the icon behind the project.
4. How do I configure a domain?
In this section, we go step by step into the domain tabs and explain the management of each function.
This tab can be found in the section My Projects under forwarding and web space.
- Here are the individual subdomains listed.
- With the button " Add Subdomain " you can create new subdomains and add them to the listing.
- More details can be found under create project .
- Here it is possible to start an own main domain if one is available. These will be listed again.
- You can find precise details about the intrusion of a domain under intruding domain .
5. How do I set up a own Domain?
1. Log in on the website of the provider domain and click Edit (or similar), next to your domain. 2. Create a CNAME record that points to a subdomain of your project. Then add a final point to the subdomain!
Example: I want to intrude my - own - domain.de on the project : my project. The project already has a subdomain named "my-subdomain.kilu.de ".
In the second step you need to go to the project page in your account and enter your domain in "My Domains".
A project must always have a subdomain. Without a subdomain a project can't be operated.
In this case the CNAME must be set again ( see step 1 ). Simply use a different subdomain from the same project.
The old CNAME entry can be removed.
1. What is a .htaccess file?
In the .htaccess the users of the subdomain service can customize certain features of the Apache server in relation to your own webpackage .
2. How do I set a password protection with .htaccess / .htpasswd?
Authentication method of the user. In this case, Basic.
Describes how the password-protected area is called . In this case, Internal Area.
The value indicates where to find the . htpasswd file. The passwords for each user are stored in it..
Specifies which rights the respective user has.
Specifies that only the users that are defined in the htpasswd get access.
Closes the tag for the user again.
The first part up to the colon is the user . The second part is the password , in this case 1234. Exactly the same at testuser2.
Important! While applying a new user, take care that users are case-sensitive!
There are many different .htaccess generators to create the password protection, .
3. What is mod_rewrite and how do I use it?
mod_rewrite is an additional Apache module, which makes it possible to access files normal on other URLs.
example: A visitor views test.html, but will get test.php instead of the desired page.
4. How do I change the charset?
If you want to change the default charset of your website , it is also possible via the .htaccess.
This example would change your charset to UTF-8.
5. How can I disable / configure the "Index of " view myself ?
1. How do I make a correct UTF -8 representation of a dynamic website?
If used on a web page forms, these corresponding UTF-8 compliant must be created.
The most important thing is that the files themselves are actually stored as UTF-8.
This counts essentially for normal static HTML pages which should be shown UTF -8 encoded, whereby the MySQL part can be omitted here.
To control that you have done everything correctly, look in the browser under View-> Encoding. There must be something like this: Unicode (UTF -8).
2. Why do I get error messages on my website , although it works fine with xy?
The servers of Kilu.de are running the (currently) latest version php 5.3.
In particular older Web applications are not fully compatible with it (yet) and use partially outdatet functions.
Therefore, you should first try to get an up-to-date, php 5.3 compatible version of the application from the manufacturer .
Sometimes it helps to take a look at the support section of the manufacturer.
3. I have loaded all the data via FTP to the server. Why is it still not visible?
The files for the site must all lay in the www directory.
4. Can I change the memory limit?
You have a problem with a script that takes too much memory? Unfortunately, we can not increase the memory limit , as this would go to the expense of all users.
5. What is the download bandwidth limit?
6. Can I make a business card from a forwarding?
You can always switch between forwarding and business card. Just switch to "My projects" and edit a forwarding or business card. At the item "Convert to business card" you can by clicking on "convert" convert your projects into a forwarding or business card..
If this is still intended, you should set up a new domain and upload the data from the old domain there.
6. Can I book a webpackage for a forwarding / business card?
It is possible to book a webpackage on a business card or forwarding. Just switch to "My projects" and edit a redirection or business card. Under the item "Convert to paid webpackage" you can book a webpackage onto your forwarding or business card by clicking on "convert" . It is not possible to convert a webpackage to a forwarding or business card.
7. My domain is not registerable?
8. My project or my domain has been locked?
You have removed a project and can not re-register your domain again? : Terms .
9. Can I create SubSubdomains?
It can be used one more level subdomains below your subdomain. You can then open this with www, too.
10. Why is Index of / displayed on my front page?
To prevent the listing of files in directories ( Directory Listing), simply load an index.htm , index.html or index.php into the corresponding directory.
The home page of your website usually has the name index.htm ( l ) | php, so that after uploading your files and loading the subdomain the home page of your website will be displayed .
11. Why is the server / page not accessible?
Unfortunately, as a free hosting service we can not always guarantee the availability of our servers because there are always times to maintenance, server failures or temporary overloads.
Of course this will also result in loading errors on the domain, the SQL server or the ftp client.
We guarantee that we are always and constantly anxious to avoid and resolve such inconvenience as soon as possible.
Here you can see which servers are accessible.
to avoid further problems, you should put a file named index.htm(l) or index.php into the affected folder .
If problems with logging in to kilu.de , my PHP or MySQL Admin occures , we will ask you to check your access data.
If the problem won't be solved, you should make use of the " password forgotten function to create a new password.
The credentials for PHP My Admin and MySQL can be found under the appropriate tab.
Settings for Uploading a Zend Optimizer are not provided.
You will find the exact instructions for password protection of web sites here .
1. What types of locks are available?
2. Can I do anything against the blocking?
Only against the blocking due to insufficient advertising. All other locks can not be canceled.
3, How do I unlock my project?
For locks which can be cancelled a dialog appears when logging in to the user area. Follow the instructions.
When will this lock be set?
If the user one of its subdomains , or domains bridged his projects deletes , or if he makes an application to delete his user account.
Why will this be set?
The lock itself is caused by an action of the user. It is necessary to prevent abuse in many ways.
When will the lock be released?
The lock will be removed after 14 days and then a new registration is possible.
Once the user violates consciously or unconsciously against the Terms and Conditions .
The more severe the violation , the more extensive the lock.
It may be that only the project will be blocked (eg if the user uses scripts that excessively strain the server) or the whole user disabled (eg in cases of obvious false reports).
To stop an active abuse.
The lock for violating the Terms and Conditions lasts 28 days.
What should I do to not get this lock?
Read the Terms and act accordingly.
When we receive the notice of the police, prosecutors, a copyright owner or an attentive user that the project is not something legally acceptable.
If we determine through our automatic analysis of the traffic that too little advertising is displayed on the side.
The full costs of the project are carried by advertising .
By interaction of the user in the user area.
What should I have do to not get this lock?
Ensure that enough advertising is retrieved in relation to the calls on the side.
It does not matter whether the user use an adblocker, this is also included in our calculation.
Another problem is when your pictures & files are linked directly to other sites.
As a result only these and no advertising will load. One possibility will be that your always refers to an HTML page.
We need only the file extensions on your and your subdomains adjust.
All redirects are checked daily for functionality.
Is a forwarding unreachable three times within seven days , or the web server of the target page does not answer correctly , the project will be disabled.
Redirections are followed up to eight times. All sides which have so far not responded correctly will be considered as a redirect loop.
To sort out no longer used / no longer working redirects and to unlock the Subdomains for meaningful projects again.
What should I do to correct this lock?
The destination address should be properly accessible.


text:
First generation college student finds success
Vice President of Senate Jason Sparks works with Student Government Association members to bring SGA "to the students for the students." This was Sparks campaign in the 2017 SGA Officer elections.
By SGA Beat Writer Jessica Livingston
Despite common difficulties associated with being a first generation college student, junior Jason Sparks found success in his endeavor for higher education.
Students elected Spark the vice president of Student Government Association Senate under the slogan "to the students, for the students."
Sparks said he holds himself to high expectations. He said he was extremely excited to receive the Vice President of Senate position from Tyler Delano back in April.
"My sister and I are first-generation college students," Sparks said. "She is working on her doctorate now. She is really smart, and graduated from high school at 16, so I am following powerful footsteps."
Sparks is from Muscle Shoals and graduated from Muscle Shoals High School in 2015.
Sparks' colleagues said he works hard to keep his grades up, stay present in the SGA and stay financially stable.
Senior Hayden Sutton, Sparks' roommate, said Sparks is an outstanding person.
"He is honest and trustworthy, always there for you when you need him and always willing to help," Sutton said. "I always know that I can count on him, and I have the utmost respect for him."
Sparks is in the College of Republicans, Catholic Campus Ministries and Alpha Tau Omega.
One of Sparks' fraternity brothers, junior Will Lindsey, said he has known Sparks for a long time.
"He's everything you could ask for as a friend, Senate VP and fraternity brother," Sparks said, "He sets his mind on things and works hard to get things done."
Tyler Thompson, director of student engagement, said Sparks is a good listener, which Thompson said is extremely important for his role.
Sophomore Grace Binkowski said Sparks is a driven leader.
"His heart is for the students and desires for SGA to be a positive organization on campus," Binkowski said.
Sparks said he, along with all of the executive branch, is working to push senators to capacity so every student can have representation.
Sparks said Senate has a maximum capacity of 31 senators right now. This allows each senator to represent 240 students.
"We are striving to get more student input this year more than ever before," Sparks said.
Junior Sam Mashburn said Sparks was an asset to the Rules and Regulations committee last year.
Mashburn said Sparks, alongside senior Andrew Barton, created and altered the Code of Laws concerning the Judicial Branch of SGA.
"One thing I really appreciate about Sparks' leadership style is that he allows people to be creative in the way they accomplish goals," Mashburn said, "Sparks is always willing to help enable people to be better leaders themselves."
Sparks said he looks forward to the rest of his time in office.
"My time as VP has already been more than I could have imagined," Sparks said. "Being able to come to UNA everyday and be able to see the changes we've made, knowing the things we are working on, and knowing we have a bright future ahead gets me so excited and ready for things to get done for the welfare of the student body."
FSL welcomes new director
Empty Table Fund exceeds goal for 2022
UNA celebrates 193rd Founders' Day
For the Record opens in Florence
New scholarship opportunity for women
UNA welcomes new football coach
UNA introduces new mobile credentials
University celebrates Leo III's 20th birthday
University to celebrate National French Week
Southern Native opens new location in Seven Points

redpajama_set_name: RedPajamaCommonCrawl


Hannah Kent's first novel, Burial Rites, is a semi-fictional retelling of the true story of Agnes Magnusdottir, punctuated by excerpts from original letters and documents related to the case. My favourite thing about this book was Kent's ability to paint the bleak, cold setting of this story so vividly. I could almost feel the chill and smell the pungent odours present in the farmhouse to which Agnes was sent. I could feel her desperation at her present situation and indeed at circumstance that had confronted her throughout her life.
The story is told primarily in the third person, following various character's point of view, with Agnes herself picking up the narrative in parts. Despite already knowing Agnes' fate, I still found her story gripping and my interest was also held by the parallel stories of those around her.
I was really thrilled to find a novel by an Australian writer that was 'un-put-down-able'. Heavy as the subject matter was, I thoroughly enjoyed this book and I can't wait to see what Hannah Kent produces in the future.


Warm-up: Why do you think the Phoenicians looked to foreign lands and sea trade to develop their wealth?
Daily Did you Know: There are two equally credible theories about who build the Hanging Gardens of Babylon, they are assumed to be the work either of semilegendary Queen Sammu-ramat (Greek Semiramis), the Assyrian queen who reigned from 810 to 783 BC, or of King Nebuchadrezzar II, the king of the Babylonian Empire, who reigned c. 605 BC – 562 BC.
Warm-up:What was the role of women in Mesopotamia? How was it compared to today's society?
Picture of the day: Cuneiform, Sumerian text is a list of "gifts from the High and Mighty of Adab to the High Priestess, on the occasion of her election to the temple".
Daily did you Know: Important inventions of the Sumerians that contributed to advancing ancient technology were the development of a calendar and the plow. Without Sumerian contributions to the ancient world, human advancement would have been seriously delayed.
Warm-up: Video - How many laws were written on the Law Code Stele of King Hammurabi? How old is the Law Code of Stele? What is the legacy of Hammurabi?
- If someone cuts down a tree on someone else's land, he will pay for it.
- If someone is careless when watering his fields, and he floods someone else's by accident, he will pay for the grain he has ruined.
- If a man wants to throw his son out of the house, he has to go before a judge and say, "I don't want my son to live in my house anymore." The judge will find out the reasons. If the reasons are not good, the man can't throw his son out.
- If the son has done some great evil to his father, his father must forgive him the first time. But if he has done something evil twice, his father can throw him out.
- If a thief steals a cow, a sheep, a donkey, a pig, or a goat, he will pay ten times what it is worth. If he doesn't have any money to pay with, he will be put to death.
- An eye for an eye, a tooth for a tooth. If a man puts out the eye of another man, put his own eye out. If he knocks out another man's tooth, knock out his own tooth. If he breaks another man's bone, break his own bone.
- If a doctor operates a patient and the patient dies, the doctor's hand will be cut off.
- If a builder builds a house, and that house collapses and kills the owner's son, the builder's son will be put to death.
- If a robber is caught breaking a hole into the house so that he can get in and steal, he will be put to death in front of that hole.
- If a son strikes his own father, his hands shall be cut off.
Warm-up: How did trade influence Mesopotamia? What things were spread around the region due to trade?
Daily Did you Know: Ur was very religious, the patron deity is the moon-god, Nanna (Akkadian Sin), Lord of Wisdom, Lord of Destiny.
Daily Did you Know: Lobster, rabbit, chicken, fish, squashes, beans, chestnuts, hickory nuts, onions, leeks, dried fruits, maple syrup and honey, radishes, cabbage, carrots, eggs, and goat cheese are thought to have made up the first Thanksgiving feast. The pilgrims didn't use forks; they ate with spoons, knives, and their fingers.
Warm-up; What geographical features made life in the Fertile Crescent possible?
Daily Did you Know: The people of Mesopotamia believed that their world was controlled by gods and goddesses, demons and monsters. There were hundreds of gods who were responsible for everything in the world, from rivers and trees to making bread and pottery.
Warm-up: What is a city-state? How are city-states different from each other?
Daily Did you Know: In 539 B.C. Cyrus led the Persian army into victory over Babylon by diverting the Euphrates River during a Feast. Nothing remains today of Babylon except a series of widely scattered mounds to study.
Daily Did you Know: Babylonia's name is the Greek form of Babel, which is derived in turn from the Semitic form bab-Illu, meaning "The Gate of God". This Semitic word is a translation of the Sumerian Kadmirra.


text:
Niklas Roest
Norway Niklas Roest
Date of birth August 3, 1986
place of birth Oslo , Norway
size 174 cm
position Left wing
number # 28
Shot hand Left
Career stations
until 2006 Manglerud Star
2006-2013 Sparta Warriors
since 2013 BIK Karlskoga
Niklas Roest (born August 3, 1986 in Oslo ) is a Norwegian ice hockey player who has been under contract with BIK Karlskoga in the Swedish HockeyAllsvenskan since 2013 .
1.1 International
2 Achievements and Awards
Roest began his career in the youth department of Manglerud Star and made his debut in the 2004/05 season in the second-class 1st division , where he and his teammate Martin Røymark were among the best scorers in his age group with 19 points from 31 games . In the following season he made his professional debut in the UPC-ligaen , today's GET-ligaen, and scored 16 points for Manglerud in his rookie season . After his club's relegation again, the winger then moved to the Sparta Warriors and earned a permanent place in the squad in the highest Norwegian league. In the 2008/09 season he reached the final of the play-offs for the first time with the Warriors . Two years later he became Norwegian champions with the team in the 2010/11 season .
In April 2013, after seven years with the Sparta Warriors, Roest moved to the Swedish HockeyAllsvenskan and signed a one-year contract with BIK Karlskoga .
Niklas Roest represented Norway for the first time at the U20 Junior World Cup in 2006 , but could not prevent the team from relegating from the top division there.
The winger made his debut for the men's national team in the 2011/12 season, before being nominated for an international tournament for the first time at the 2013 World Cup . At the 2014 Winter Olympics , he was also in the squad of the Norwegian team and remained unpunished in three games.
2011 Norwegian champion with Sparta Sarpsborg
GET-Ligaen main round 8th 327 53 91 144 643
GET Ligaen playoffs 7th 77 14th 20th 34 141
Allsvenskan main round 1 37 3 8th 11 65
(Status: end of the 2013/14 season)
Niklas Roest at eliteprospects.com (English)
Niklas Roest at eurohockey.com
SURNAME Roest, Niklas
BRIEF DESCRIPTION Norwegian ice hockey player
This page is based on the copyrighted Wikipedia article "Niklas_Roest" (Authors); it is used under the Creative Commons Attribution-ShareAlike 3.0 Unported License. You may redistribute it, verbatim or modified, providing that you comply with the terms of the CC-BY-SA.


text:
'For Honor' Release Date and Updates
By Team Games Official -
It is with no doubt that the gaming world has captured the heart of many. Ubisoft's For Honor has featured among the best games after players who tried the beta test had nice words about the game. The official date for release of the much anticipated game has been announced for February 14, 2017 with fans and followers anticipating the feel of the game.
The Alpha and Beta Test Performance
Ubisoft announced in 2015 at the year's Electronic game Entertainment Expo that the video game just concluded its Alpha test that registered tremendous success. It was not by surprise that the Beta test received similar emotions and positive reviews from fans who overwhelmingly registered for the test.
Playing "For Honor"
The game is playable in single and multi-player campaigns. Nevertheless as indicated on Ubisofts website the multi-player campaign has attracted more attention from games due to its unique experience during gaming. Nevertheless, the single player campaign is also capable of providing the much anticipated thrill and satisfaction.
The story line of For Honor
The game is about the knights, the Vikings, and the samurai. These factions have all been adapted to each other but are put to test against each other in a one hour war. The game is based on the pro-war and chaos-starter Apollyon who is a warlord. According to the creative director, Jason Vanden Berghe, the game is a full story adventure that allows the gamers to enjoy playing as Knights, then Raider, then plays as Orochi from the various factions respectively.
The multiplayer is about dominion, brawl, and duel where you score points by eliminating enemies in dominion, capturing, and controlling their areas. The game ends when the last hero is subdued and killed. Duel and Brawl mode are both three-round fights in an arena. while a Duel is 1v1 the Brawl mode is 2v2.
Featured Image Credits
Previous articlePlayStation 4 Pro Release Date and Specifications
Next articleHalf Life 3 delay irks enthusiasts
Team Games Official


text:
Metrosports  was an American sports syndication network. Founded in Rockville, Maryland in 1972, they produced television and radio broadcasts of sports games, primarily college football and basketball, for various local stations. In 1984, they were acquired by Total Communications Systems (TCS) and became TCS/Metrosports. After failing to make payments to sports conferences and losing rights deals, TCS/Metrosports filed for bankruptcy in 1985.

History
In 1972, Metrosports was incorporated under the name Metro Communications, Inc. in Rockville, Maryland. The company was founded by husband-and-wife Lenny Klompus and Marsha Cherner.

In 1984, the Washington Post called Metrosports "one of the nation's leading independent syndicators of college basketball games", citing its syndication deals with the Big East Conference and the Pacific-10 Conference.

After the U.S. Supreme Court made a decision in June 1984 voiding the NCAA's exclusive television contracts with CBS and ABC, schools and conferences were free to seek television deals with other broadcasters and syndicators. In the wake of this, Metrosports signed a $3 million rights deal with the Pacific-10 Conference. However, it only managed to pay $2.5 million, leading the Pac-10 to file suit for the remaining $500,000.

In April 1984, Metrosports was bought out by Total Communications Systems (TCS) and became TCS/Metrosports.

In August 1984, the athletic departments of Penn State, Notre Dame, West Virginia, Temple and Rutgers announced the formation of a National Independent Football Network in conjunction with TCS/Metrosports.

On January 31, 1985, the Big Ten Conference announced it was severing its rights deal with TCS/Metrosports due to non-payment.

On March 15, 1985, TCS/Metrosports filed for Chapter 11 bankruptcy.

References

American companies established in 1972
Entertainment companies established in 1972
Telecommunications companies established in 1972
American companies disestablished in 1985
Companies that filed for Chapter 11 bankruptcy in 1985
Television syndication distributors
Defunct film and television production companies of the United States
College sports television networks
1972 establishments in Maryland
Companies based in Rockville, Maryland

redpajama_set_name: RedPajamaWikipedia


text:
Q: Set active slide in modal click on Swiper slider Im having a table where it has a a button which opens up a modal window and inside the modal there is a Swiper slider which shows some text/slide
What i need to do is when someone clicks on a button, on the modal it should automatically load the relevant slide on Swiper.
For an example, When i click on SET 1 It should show slide 1, and when i click on SET 2it should load the second slider with the proper pagination selected.
Below is my code
JS
var swiper = new Swiper('.swiper-container', {
        pagination: '.swiper-pagination',
        paginationClickable: true,
        spaceBetween: 30,
    });

HTML

  Set 1
  View

  Set 2
  View

  Set 3
  View

  Set 4
  View

          <button type="button" class="close" data-dismiss="modal" aria-hidden="true">×</button>

Modal title

Slide 1

Slide 2

Slide 3

Slide 4

Fiddle
https://jsfiddle.net/livewirerules/fu8mezk3/7/
Any help will be appreciated

A: HTML:

  Set 1
  View

  Set 2
  View

  Set 3
  View

  Set 4
  View

          <button type="button" class="close" data-dismiss="modal" aria-hidden="true">×</button>

Modal title

Slide 1

Slide 2

Slide 3

Slide 4

JS:
$( document ).ready(function() {
 var swiper = new Swiper('.swiper-container', {
        pagination: '.swiper-pagination',
        paginationClickable: true,
        spaceBetween: 30,
    });

    $('#myModal').on('shown.bs.modal', function(e) {
     swiper.update();
    var $invoker = $(e.relatedTarget);
      swiper.slideTo($invoker.data('slider'));
      swiper.update();
    });

    });

this should do the job. !!

redpajama_set_name: RedPajamaStackExchange


text:
Pennsylvania House of Representatives
https://www.legis.state.pa.us/cfdocs/legis/BiosHistory/MemBio.cfm?ID=421&body=H
Home / Historical Biographies / ROGER F. DUFFY
ROGER F. DUFFY
1977 33 Democrat
DUFFY, Roger Francis, a Representative from Allegheny County; born in Pittsburgh, Allegheny County, Pa., November 19, 1925; graduated, Taylor Allerdice High School, 1944; B.A., business administration, Duquesne University, 1951; served, B Company, 27th Armored Infantry Battalion, 9th Armored Division, United States Army (1944-1946, World War II: two Presidential Unit Citations and Bronze Star recipient); salesman, Joseph Ziskind Construction Company; elected, mayor, Oakmont (1970-1974); elected, council, Oakmont (1974-1978); chair, Oakmont Democratic Committee; elected as a Democrat to the Pennsylvania House of Representatives in 1976; served 5 more consecutive terms; appointed, Local Government Commission (1987-1988); unsuccessful campaign for reelection to the House (1988); died, March 31, 2007 in Shelby, Cleveland County, North Carolina; interred, Verona Cemetery, Oakmont, Allegheny County, Pennsylvania.
#PaHouse Committee Meeting, STATE GOVERNMENT, 01/21/2021, 2:00 PM: https://tinyurl.com/y2c45oz3#01/21/2021 about 2 days ago
#PaHouse Committee Meeting, LOCAL GOVERNMENT COMMISSION, 01/27/2021, 9:00 AM: https://tinyurl.com/y38jzwc8#01/27/2021 about 2 days ago
#PaHouse Committee Meeting, LABOR AND INDUSTRY, 01/27/2021, 9:45 AM: https://tinyurl.com/y38jzwc8#01/27/2021 about 3 days ago
House Scholarship Program
House of Representatives Legislative Fellowship Program
House Archival Internship Program


Regardless of whether you loved or hated math as a student, as a caregiver or parent today, math educators see you as an integral and necessary part of growing a child's mathematical understanding.
When caregivers support their students' mathematical development at home, it has a great impact in the classroom. But the way math is taught in today's classrooms, in some cases, is radically different from what we experienced when we were students. Parents might feel frustrated that 'the way I learned how to do math' is different from what their students are learning.
Classrooms are moving away from the days when teachers were the "sage on the stage." Gone are the days when teachers showed students exactly what to do, teaching mathematics through a set of isolated rules and tricks, and expecting students to replicate those procedures without fail.
Math educators today prioritize conceptual understanding- which means they not only want students to compute, but they want them to understand why those computations work. Instead of seeing mathematics as a set of isolated rules, teachers want them to understand that it's a beautiful set of interconnected patterns.
But this philosophical change means that parents and caregivers must also be prepared to adjust their own thinking about math. Today's students are being challenged to think more deeply, beyond rote memorization, and tasked with understanding what it is they're trying to accomplish.
Don't let the ways of the past present a barrier for you when it comes time to support mathematics instruction. Your student has a great opportunity for deep and rich learning of mathematics, and you just might come to appreciate it as well.


Home » Find a Chiropractor » DEBETHUNE, ANDREW W.
An athlete himself, Dr. Andrew deBethune specializes in the assessment and treatment of athletic injuries and performance enhancement. After completing his undergraduate degree in sports medicine, he went on to complete his Doctorate of Chiropractic at Logan University. Dr. deBethune's unique approach integrates the best of traditional chiropractic and myofascial work with functional movement screening and correction. He focuses on addressing the complete kinetic chain from spine to extremities, optimizing its ability to perform and recover naturally.
Dr. deBethune believes what makes you more athletic, makes you less prone to injury and pain. He engages his patients with care plans that are both active and goal oriented based on the patient's needs. Goals can be anything from navigating stairs pain-free or picking up grandchildren to reaching personal bests on the field as well as in the gym. Dr. deBethune excels in evaluating and treating tendinopathies, myofascial pain, joint and spine pain, repetitive overuse injuries and impingement syndromes. As an overhead athlete himself, he specializes in the evaluation and treatment of shoulder pain and pathology.
Dr. deBethune currently lives in South Portland with his wife Audra and their Australian Shepherd, Coral. Together, they love exploring the beaches, rivers, and hikes of Maine.


Guy Webster was among the earliest and most influential innovators of rock 'n' roll photography. His remarkable fifty-year career took him around the world and brought him into contact with some of the most iconic figures in music, film, and politics. His hundreds of album covers included the Rolling Stones, the Mamas and the Papas, the Beach Boys, the Byrds, the Doors, Simon & Garfunkel, Chicago, and many more.
Guy photographed the Monterey International Pop Festival, and his images of Janis Joplin, Jimi Hendrix, and the Who decorated the festival booklet. As the primary celebrity photographer for hundreds of magazines, Guy also captured a vast range of film legends including Charlton Heston, Natalie Wood, Jack Nicholson, and Raquel Welch.
Guy moved to Florence, Italy in the early 1970s where he developed a passion for vintage Italian motorcycles. He returned to California later in the decade, ultimately settling in Ojai, where he lived until his passing in February 2019. Guy's work was collected for the 2014 retrospective Big Shots: Rock Legends and Hollywood Icons, and a documentary about his life is in progress.
Please Note: We no longer offer prints from Guy, but we have preserved this gallery of his iconic music photography as a memorial tribute.


Replacement Saflok MT series guest room lock.
Select your preferred mortise style. Standard Mortise requires manual operation of thumbturn to engage deadbolt. Automatic Mortise engages deadbolt without operation of thumbturn when door closes.


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Two new Blitzcrank skins that turn him into a knight are coming to League of Legends
By Andrew Kim October 20, 2017
Photo courtesy of Riot Games
Two new Blitzcrank skins that fashion the champion into a knight are coming to League of Legends, according to a developer post Friday by Riot Games' Adam "Adamunicorn" Kupratis.
"We originally set out to make one Blitzcrank skin, but somewhere along the way, we realized there was a second, complementary skin to the one we were working on," he wrote. "Rather than putting it on the back burner, we kind of just went for it: Could we create a second skin simultaneously, without adding too much time to development?"
The idea came centered around the most iconic ability in Blitzcrank's kit, his hook. With a concept of a sci-fi, horror, or fantasy based skin, the art team came up with variations to his hook and settled with the Dark Lancer. As development continued, the concept artist started to move toward the opposite direction for a Light Lancer at the same time.
"Since we were already in the process of creating the Dark Lancer skin, we were able to use what we'd learned so far and apply it to making the Light Lancer skin," he continued. "There were also just raw technical advantages; with some effort and creativity, we found we could use the same rig and animations for both skins. This freed up some extra time for us to focus on making a new character model, new VFX and SFX, and a new recall animation. Our goal was always for each skin to feel unique, even if they share a theme (and some under-the-hood features)."
The two skins won't have separate splash artwork, but they will feature the same one that's divided in the middle with the Dark Lancer on the left and the Light Lancer on the right side. The skins haven't gone to the Public Beta Environment for testing yet, as bugs for both are being hammered out.
Posted in NewsBlitzcrank League of Legends
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Haines City Cop Quits Before Being Fired
AMBER SMITH THE LEDGER
HAINES CITY -- A Haines City police sergeant quit before he could be fired.
Howard Porter, 39, was under investigation for improper conduct when he resigned late Monday afternoo. That was a day before his hearing with City Manager Ann Toney-Deal to appeal police Chief Morris West's recommendation that Porter be fired.
"It wasn't because of the last incident that he was being fired,'' West said. "It was the totality of everything he had done. This was not an isolated incident with this officer.''
Porter, who had been at the department since February 1993 and was paid $44,526 a year, was on paid suspension while the Polk County Sheriff's Office investigated allegations that Porter had downloaded pornography on a Police Department computer while at work, had shown the pornography to others and had posted a picture of himself in uniform on his MySpace.com Web page.
The full story will be in Saturday's Ledger.


SSL or Secure Socket Layer certificates are a valuable asset to any business with an Internet presence. They allow customers to make online purchases with confidence that their information is safe. Primarily, these certificates, issued by a certification authority, establish a unique encrypted electronic signature for the business. This ensures that any information transmitted from the business to a financial clearinghouse or bank is reliable. The data, sent through an encrypted packet, uses separate secure SSL certificates between servers. The higher-level certificate provides another layer of security during the transmission. The data is most vulnerable during transmission so this extra layer of security is necessary.
Verisign created the five classes or levels of security in use today. The lowest class is used by individuals in their e-mail accounts and so forth, and the highest class is used by governments all over the world. In fact, Verisign was the first certification authority, although there are other reliable authorities in business today as well. Every certification authority uses this classification system.
SSL Certificates or digital certificates as they are also called are used to securely process information/forms. They are shown in your web browser with an (s) attached to the URL such as https://www.affordableecommecewebsites.net.
Why Is Google Forcing You To Have A SSL?
Our INITIAL FREE CONSULTATION! will give us a better understanding of your goals. Call us today at 478.922.8979.


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DUST 514 Completely Screws Microsoft
Thread starter Scott Tortorice
ccp dust 514
Scott Tortorice
Okay, we knew CCP's DUST 514 was not coming to the PC anytime soon, but today we learned it is not coming to the XBOX either! It is going to be PS3 exclusive, one that is also going to be supported by micro-transactions.
E3 2011: Dust 514 is a PS3 exclusive, supported by micro-transactions
That's a whole lot of bad in one package....
Dr Zaius
Chief Defender of the Faith
The Forbidden Zone
Yeah, I already heard about it on the EVE forums. My guess is that Microsoft's draconian rules governing games on Xbox Live would not have permitted CCP to update the game regularly. Sony, however, allows developers to keep control of their games.
It sucks, but that's the sorry state of affairs in the console world. This is exactly the type of thing you get when big publishers control what games get made instead of game designers.
Stranger and stranger....
E3 2011: Prediction: Dust 514 will be on PC a year after its PS3 release
Dust 514 is a PS3 exclusive. Why isn't it coming to PC?
Thomas Farrer, Dust 514 producer: "We're looking at trying to expand the players that occupy New Eden, so for now we're focusing on PlayStation."
Halldor Fannar, CCP's Chief Technical Officer: "We wanted to find an audience that was kind of diagonally opposite of what we already have, instead of trying to cannibalize what we already have. So that's initially what we're trying to do. If you look at all the people that actually tried EVE, it's a really large number, so it also tells us that there is interest out there for people to experience this world, but the gameplay style, whether it's being on PC or whether it's how you play, it doesn't suit them. So we wanted to create something that's very different. So we understand that the EVE players are thinking, 'Oh man, I want to play this game but I need a PS3,' but they have to understand that we're also trying to build this game for a slightly different audience. So that's the difference.
"For those of you who have tried EVE, you've probably seen that we don't do a terribly good job in trying to explain it. We're not going to get away with that in Dust, whereas if we were publishing it on PC, we would. Sony wouldn't come over and say, 'Guys, this is sensory overload, this is too much information…'. So that's another reason why we're doing it. We're trying to cater to an audience and get them to… These games are always going to end up being pretty complex, but there's a way to introduce people to them."
The thing about this answer is that it doesn't quite make sense. Wanting to create an accessible experience is great, but there's nothing actively stopping them from doing that on PC, and for all the motions towards making it easy to understand, Dust 514 is still complex. The audience for this kind of game – persistent, with classes people construct themselves, with huge battles, with micropayments – is traditionally a PC audience.
There's also the casual use of the word "initially." They wanted to find an audience that was different from EVE's, so that's "initially what we're trying to do." I followed up on that, asking them whether it meant there was a chance that Dust 514 would come to PC further down the line. Every CCP developer in the room smirked and looked off toward the middle distance, and the audience of journalists laughed.
Looks like DUST might go F2P (which means a PC conversion at some time, right?):
Dust 514 will require initial "cover charge"
"You're really getting the game for free but you have to pre-buy credits in the beginning," explains CCP CEO Hilmar Veigar Pétursson in an interview with Gamesindustry.biz. "We might go fully free-to-play down the line, but in the beginning we have a cover charge just to manage the initial launch of it.
This is a weird financial model.
Scott Tortorice said:
Very strange. I have to wonder whether CCP knows anything about the console market.
What a surprise:
GDC 2012: CCP talks DUST 514 PC possibilities and World of Darkness development
While many EVE Online players aren't thrilled with DUST 514's PlayStation 3 exclusivity, there may be hope for a PC release yet. And while the devs weren't ready to make any official statements on the spot, a bit of wink-nudging indicates that a PC release may still be in the cards. As the devs note, mouse and keyboard controls are already supported in the PS3 version of the title. "I wonder why we did that," Hilmar joked during the interview.
To not invite their core PC audience would be a huge mistake. I've been thinking about re-subing to Eve again but haven't because it really annoys me when I realize that as a PC only gamer, I will only be able to access half of New Eden once DUST is released.
The DUST hype begins:
Watch An MMO PC Gamer Shoot His Way Into an FPS Player's Console Game


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At school construction site, a change in the skyline
Goldie Fields
HIGHER: New support beams visible at the Shalhevet construction site rise to the level of the third-story floor, much higher than the building they are replacing.
By Rose Lipner, Community Editor
Rising two stories tall above the dirt and machinery, the first piece of Shalhevet's building is now visible above the scaffolding on Fairfax Avenue, about 27 feet in the air.
Two reddish-orange steel beams are now standing in the construction zone on Fairfax.
According to John Vega, the project's head contractor for Ed Grush General Contractor, the newly visible beams are called structural scale columns, which will support the floors of the school.
This week there are two columns up, but there will be 20 by the time they are ready to start putting in the first floor, Mr. Vega said in an interview.
At 27 feet tall, they will reach the third floor elevation, but above that there will be another 10 feet of height to the ceiling and roof, said Don Tinkley, project superintendent at the site.
Mr. Vega said that the workers are beginning to install the basement floors but haven't yet laid down the tile yet. Soon they will be putting down the foundations for the first floor, he said.
He added that construction is proceeding on schedule.
"No major changes have been made, so we're right where we're supposed to be in the construction process," Mr. Vega said.
As of now, the construction site is layered with solid dirt, small trailers and trucks, orange cones and a dump truck. Caution tape is spread across the metal fence surrounding the perimeter of the site, which is visible from the street on Fairfax and less so on Olympic.
The new beams can be seen clearly from Fairfax, Olympic and San Vicente, reaching far above the old building's former roof line, with the Los Angeles County Museum of Art as a backdrop.
Rose Lipner, Deputy-Editor in Chief
Rose Lipner has been a part of the Boiling Point staff since freshman year. She has written as a staff writer, Arts & Culture Editor, Community Editor, Features Editor, and, as a senior, she is now Deputy-Editor in Chief & Features Editor. In addition to writing for the Boiling Point, Rose enjoys listening to John Mayer, reading, and playing tennis.
Community	Favorite restaurants providing school lunch this y…
Community	Cheers in the auditorium as administration declare…


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Home Drama Contagion – Matt Damon and his bald new look
Contagion – Matt Damon and his bald new look
Sep 1st, 2011 @ 10:27 am EDT
Mitch Emhoff (Matt Damon) © 2011 Warner Bros
Matt Damon and director Steven Soderbergh have worked together several times, including Ocean's Eleven and The Informant! But those are lighthearted movies compared to their new film Contagion which unfolds a frightening scenario about a lethal super-virus that encompasses the world with terrifying swiftness.
Damon portrays Mitch Emhoff, whose wife Beth (Gwyneth Paltrow) dies a horrible death just two days after arriving back from a business trip to Hong Kong. Within days the pandemic has spread around the world.
The actor came to the press conference with a totally new look – bald, which prompted the question…
I've never seen you with a shaved head before, what's that all about?
I'm doing a movie (Elysium) with Neill Blomkamp who directed District 9 and this is what the character looks like.
I did shave my head once when I did The Brothers Grimm, just because it was easier to get the wig on than lacquering my hair down. I just shaved my head, so I walked around in my regular life like this. And I love it; I see why these guys rock the look. It's great in the summertime, real easy getting out of the shower. I'm a fan.
What was your reaction when you read the script for Contagion?
[Steven and I] were getting ready to do something else, another project that we're still going to do, and he called and said, 'I've got this other thing and we've got to make it now, because it's really timely.
I think it's the best thing Scott [Z Burns] has written,' which is saying quite a bit. So he sent it over to me with a note that said, 'Read this and then wash your hands!'
I read it and I really wanted to be in this movie. It's just a terrific, riveting, really fast read, really exciting and horrifying, but it managed to be touching too.
You've played a lot of action heroes in your career; you play a family man in this, which comes more naturally to you?
Jory Emhoff (Anna Jacoby-Heron) and Mitch Emhoff (Matt Damon) © 2011 Warner Bros
Obviously the action guys come way more naturally to me! (he laughs) If the director's good and the script is good it all comes pretty naturally, and if those things aren't in place then it's impossible no matter what the role is.
Mitch is an everyman, one of the human faces of the epidemic. In very short order he loses his wife and stepson to this super-virus, leaving him with only one surviving family member, his 15-year-old daughter, Jory. For him, it then becomes all about keeping her safe.
The scene where you find out your wife has died was very powerful.
[It's] one of my favorite scenes that we did. It's very early on in the movie, and I went to Steven and I said, 'I don't know what to do. How do you do this scene? It's five minutes into the movie, we're not invested in me or her; we don't care.'
We had a doctor there [on the set] who delivers this kind of bad news a lot and we asked for certain trends. He said, 'Sometime people fall apart, but there is this other reaction that we get just as much. I said, 'What is it?' He goes, 'What you get a lot is that it's just too much to [cope with].'
Scott had written, 'She has passed away.' And the guy said, 'No, she died. You have to be completely specific and look at the person.' There's a whole script that they go on and they expect you to not even get it. They expect you to go, 'Okay, can I go talk to her?'
So I got up that morning and I was freaking out about how the hell I was going to do this scene, and I ended up going to work and getting this scene that's really interesting. I've never seen it done that way.
What is it like working with Steven?
Working with Steven is very different than working with anybody else.
To give you an example of a day, we'd go and we'd shoot, we'd talk about what we were going to do, we'd figure it out, we'd execute the plan and then we'd go back to the hotel and go to the bar.
In the backroom of the bar they'd deliver the footage and Scott and I would sit there and talk while Steven put on headphones and opened up his laptop and sat in the corner for 45 minutes. Then at the end he'd take his headphones off and he'd turn the computer around and he'd show us what we'd shot that day, cut [together].
When you are working that way it's kind of like making a movie in your backyard with your friends. You talk about, 'What else do we need?' And it's very different from going off on my own and doing three months of research and showing up [on set], the hocus pocus is taken out of the experience.
In an outbreak like this, would you be very prepared and overprotective, or just let things happen?
I'm probably more protective than I've ever been now that I have children. My wife's nickname for me is Red-Alert. I sometimes just check to see if the kids are breathing. I think my tendency [in those circumstances] would be to be a little overprotective without trying to be a helicopter parent.
Contagion has it's theatrical release next week on September 9, 2011 but will be screened at the Venice Film Festival on September 3, 2011.
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Ripples of Sound
LUTZ KOEPNICK
Contemporary German sound artist Carsten Nicolai is internationally known for his experimental music performances and installation works such as wellenwanne (2001/2003/2008), in which water trays visualize musical sounds through changing wave and interference patterns. In fall 2015, Nicolai presented a new work of immense proportions, unitape, at the Kunstsammlungen Chemnitz. [1] Twenty-five meters in length and four meters in height, unitape puts to work different encodings of sound and music, its visual structure recalling the look of punch cards as they had first been used in the weaving industry around Chemnitz in the mid-1800s. Cascading from the gallery's ceiling, ever-changing arrangements of quadrilateral marks trigger the production of acoustical signals, their vibrations so intense that we can literally sense them with our entire bodies. Mirrors on each side of the projection screen create wondrous impressions of endlessness: a sense of openness resulting from the sheer infinite combination of basic elements, the simplicity of binary code. Whether you witness the installation for only few minutes or for hours on end, it is difficult not to experience unsettling wanderings and cross-overs of perception. Nicolai's falling patterns invite us to listen with our eyes as much as with our ears. Hidden underneath the bench, the speaker system causes visitors to see with their ears as much as to attend to sound through their guts. Though seemingly based on unambiguous algorithms and bonding sound and image into seamless synchronicity, then, unitape suspends the ordinary work—the reliability—of sensory perception. As we scan Nicolai's monumental projection, the visible seems to slip away from the audible. And as we listen closely to the installation's sounds, we come to realize that projected image and sound space can never fuse into absolute unity, not least of all because the varied operations of our sensorium are much more complex, layered, messy, and unpredictable than a purely technical synchronization of acoustical and visual codes might suggest. Unitape's beats and rhythms hit the viewer with the unswerving precision of a techno performance. Yet in the end the possibilities of how we translate different codes into each other emerge as seemingly endless while the space in-between sound and image unlocks a vast zone of indeterminacy, a zone of unscripted pleasure, attention, and resonance.
What we over the course of the last two decades have come to call sound art—understood as a curious blend of performance and installation art, of experimental music, and of new media practice—certainly witnessed a first awakening among modernist and avant-garde practitioners in the early decades of the twentieth century. Think of Futurism's praise of industrial din and its construction of elaborate noise machines. Think of Dada performances such as Kurt Schwitter's Ur-Sonate (1922-1932).
Click to listen:
Think of experimental moving image work such as Hans Richter's Rhythm 21 (1921), Walter Ruttmann's Opus 1 (1921) and Weekend (1929), and Viking Eggeling's Symphonie Diagonale (1924), all designed to explore synesthetic modes of perception and to make viewers hear the beats, rhythms, and echoes of visual shapes. But much of this early work was undertaken with means starkly different from what computational devices can do for artists today. Richter's or Ruttmann's experiments were dedicated to investigate the artistic specificity of the filmic medium prior to the coming of sound, its difference from other modes of artistic production. Today's work, by contrast, often rests on the assumption that digital machines integrate the operations of all previous mediums and therefore allow us to move beyond modernism's obsession with issues of medium specificity once and for all.
And yet, Nicolai's desire to move sound and image into a zone of indeterminacy was certainly on the mind of German filmmakers, theorists, sound technicians, voice coaches, and musical composers as well as they, in the late 1920s, faced the transformation of synchronized sound into a new industrial standard of cinema. Many Weimar film theorists continue to receive a lot of bad press for arguing against the coming of synchronized sound. Their fear that sound could debase the aesthetic properties of film strikes many today as a strangely technophobic gesture amid their ambition to celebrate cinematic technology as the bedrock of twentieth-century art. But what some critics in the 1920s dreaded most about sound in the theater was less the mere addition of new technological components than the specter of redundancy: that cinema could disseminate the same thing through multiple channels at once and thus thwart what good art was considered to be all about. True art embodied creative uniqueness and non-conceptual singularity in each and every of its objects and moves. Sound film, on the other hand, was seen as simply adding information unnecessary for those able to watch with attentive and discerning eyes. It was feared to double information about the image on screen, and to duplicate information meant to undo any rigorous aesthetic aspiration.
The historical response to these misgivings about possible redundancy was threefold, as we know. Filmmakers were eager either (1) to build a fortress around the moving image to silence sound altogether; (2) to pursue the possibilities of contrapuntal sound in order to run a film's acoustical dimensions against its visual properties, and vice versa, and thus explode possible duplication dialectically from within; or (3) to allow sound to engage with the image across the boundaries of a given frame, expanding or placing pressure on the visible and thereby enriching the cinematic experience. Each of these responses was meant to vaccinate the art of art cinema against the disease synchronized sound was alleged to bring to the theater. All of them certainly inspired creative practices and artistic departures, even if they in the end rested—as I will suggest in a moment—on false assumptions about the nature of sound. Yet none of these efforts seemed to entirely placate some of the most critical viewers appalled about all-too frequent situations during the early days of synchronized sound in which sound and image appeared at odds with each other, not for deliberate artistic reasons, but simply due to technological failures and technical lapses of their makers.
In an essay written in April 1929, shortly after the first full-length films had premiered in German theaters, film critic Béla Balázs described the most virulent danger of sound cinema as a quasi-schizophrenic disjunction of visual and acoustical perspectives, a painful sliding off of the sound image from the visual image:
The sound that issues from the fixed speaker, and therefore always comes from the same place, simply cannot follow the picture that moves straight across the space of the screen. Imagine I have realized that there is sound coming from the moving lips of a singer standing in the left corner of the screen. If he then moves to the right side of the screen, regardless of how wide he opens his mouth or how forcefully he uses his vocal instrument, the sound will not move to the right side with him. The acoustic image stays where it is, sliding off from the visual image, and what we are left with in the end is a ventriloquial effect. You hear the sound coming from an entirely different place than where you see the source. Without really knowing why, the audience experiences a sense of unease resulting from this general confusion of impressions.[2]
Though known as a champion of cinema's visual qualities, Balász was certainly no outright enemy of synchronized sound. Like some others, he was eager to envision a future of sound film art able to retrain the viewer's hearing and make moviegoers listen to the formerly unheard, the acoustical unconscious. But mainstream sound film, as it came to fill the screens and theaters circa 1929, in Bálasz's perspective, largely failed to live up to this task because filmmakers, in their very efforts to wed visual and acoustical image into perfect matrimony, produced bastard offsprings: films whose sounds did not want to stick to the images; films in which images made sounds stutter; and worst of all, films in which actors, contrary to intention, appeared as ventriloquist dummies.
Balász's notion of sound cinema as a cinema of unaesthetic ventriloquism is as intriguing and instructive as his metaphor of a film's sound image sliding off the visual image. Both are helpful to untangle the very etiologies Weimar critics sought to identify when synchronized sound entered the stage; and both are valuable to understand why all three cures suggested around 1930—no matter how path-breaking they may have been—often rested on erroneous conceptions of the nature of sound and auditory perception. Whether film practitioners argued for silence, counterpoint, or frame expansion as a cure to the ills of un-artistic sound: in most cases they endorsed Balász's implicit view of synchronized sound as an acoustical image, a track similar to a film's image track, their mutual relationship to be defined by the filmmaker and welded into predictable and lasting existence on the celluloid strip itself. Whatever their factual results, all three cures were conceived as strategies to oppose artistically mindless couplings of image and sound. They were designed either to exclude the possibility of redundant parallelism or to prevent seemingly inevitable schizo-dramas of visual and acoustical perspectivalism, the anti-aesthetic of exposed ventriloquism. As Balász's underlying notion of the sound image suggests, however, Weimar's crusade against audiovisual redundancy and its fear of the ventriloquial modelled its understanding of sound along the lines of what was known and familiar about the image. It expected sound to follow the principles of visual perspective, presupposed that the audible should travel from speaker to listener similar to how the visible image would travel from screen to viewer, and then cried havoc when sound suddenly seemed to assume a life of its own.
There were certainly good reasons in the late-1920s to do so. What made synchronized sound possible was the ability to record sound as a visible trace on the actual film strip, right next to the frames of the image track—as nicely retold and entertainingly illustrated for historical audiences in Max Fleischer's 1929 cartoon, Finding His Voice. Moreover, static microphones, mono-channel recordings, and single speakers centrally hidden behind the screen, made sound initially appear as immobile indeed, void of direction, depth, and relative location. What fueled Weimar misgivings about redundancy and ventriloquism, then, was nothing less than the fact that historically specific states of sound technology caused critics to graft their ideas of the visual onto the auditory, not to hear that even single-channel sound behaved quite differently than projected images, and as a result to present their skewered experience of sound as an ahistorical law of the acoustical, an anthropological constant of what it might me mean to hear. To think of sound as image created the very problem Weimar film practitioners and critics so eagerly and polemically sought to solve. It resulted from a thinking assuming that sound should address the ear analogous to how moving images addressed the viewer's eyes through the window of a quadrilateral screen in front of the cinematic auditorium. And it produced cures to illnesses that even mono-channel sound never had. It thought film from the materiality and parallel logics of inscriptions on the film strip, whereas the true challenge would have been to think of how the human sensorium relates quite differently to visual and acoustical input while never keeping one channel of information entirely separate from the other.
The coming of stereophony in the course of the 1930s exposed what Weimar critics, compelled by the loaded but misleading metaphor of sound as image, were often unwilling to hear: sound waves do not behave like the rays of light; we do not encounter sound like something following the tenets of Renaissance perspective. As conventionally projected onto flat surfaces, moving images create powerful illusions and impressions of spatial depth. They offer portals to what the perceiving eye and body take as three-dimensional even if it, in fact, may exist only in two-dimensions in the world. Even prior to stereo and surround technologies, sound on the other hand produces actual spaces; invisible, albeit physical, environments of immersion; something that envelopes, floods, activates, and physically touches upon the body. Sound cannot but exist in space: it models three-dimensional experience, articulates time in space. There may be good reasons, as Jonathan Sterne has rightly argued, not to ontologize and naturalize the difference between the auditory and the visual all too much and hence proclaim laws for each independent of historically available recording and reproduction technologies.[3] But once you actually abandon the idea of sound as image and start to recognize the different sensory dimensions of the auditory and the visual, once you desert the assumption that the ear's operations simply emulate the eye's functions, then neither Weimar's fears about redundancy and ventriloquism, nor historical visions of audio-visual counterpoint or other cures to the alleged pathologies of the coming of sound make sense at all anymore. Dialectical audio-vision is categorically as impossible as any perception of sound perversely slipping off the image. The first plays out material against virtual perceptions of space; it juxtapose elements that are different anyway or that meet in much more messy ways than the iron fist of dialectical thinking might be willing to grant. The second ignores the fact that sound can actually never slip off any image unless you think of sound as an image in the first place, and not as something whose space for the perceiving subject is always already different as the space of the image.
Even before stereophony stressed the spatiality and dynamic character of sound, however, imaginative filmmakers such as Fritz Lang were already eager to reveal the inadequacies of what most contemporary critics had to say about the coming of synchronized sound. To be sure, Lang's own reflections on cinema often ripped off the writing of critics such as Bálasz. But in some of his statements about the coming of sound film, and even more so in his first sound films, Lang left little doubt that sound cannot and should not be treated like an image—and that, therefore, Weimar's qualms about the pathologies of redundancy and ventroquialism relied on flawed diagnoses. In 1931, curious readers of Film-Kurier were presented with this stunningly perceptive summary: "Lang does not believe that a generalized sound symbolism is attainable. The spoken word will remain as an unavoidable factor of realism, and even of the theatrical stage. For this reason, it will frequently be difficult to translate image montages into sonic form, for sound spreads as a spherical wave identical on all sides; no sound 'shot' can change the imprint of a sonic expression—whereas the visual can be approached from many different angles, and creates a different impression each time."[4] Unlike those who envisioned sound from the vantage point of the image and were dismayed when it violated the corset of visual perspectivalism, Lang's understanding of the acoustical as spherical underwrote uses of sound in film no longer simply meant to prevent possible ills and cure existing contagions. Sound, for Lang, was an animal altogether different from the visual image—and filmmaking at its best embraced this tension between the perspectival and the spherical as a source of infinite artistic opportunity, as something that freed sound film categorically from the specters of redundancy and ventriloquism.
The very first sequence of Lang's very first sound film, M (1931), certainly knows of and details this. When Elsie's mom leaves the stage-like setting of the balcony, assuming that she has succeeded in shutting down the children's song, and when after a few moments of pregnant silence we hear the song again without witnessing the camera redirect its gaze: what we certainly do not experience here is a Balászian instance of sound sliding off the image, nor are we encouraged to understand Lang's choreography of image and sound as intentionally contrapuntal or as an attempt of simply expanding the frame. Quite on the contrary. What we witness is that sound, due to its spherical nature, travels and behaves quite differently than the projected image; that it has little respect for the integrity of frames, stages, and screens to begin with; that it can have the power to overwrite the image; and that even moments of redundancy—the repeat singing of that "awful song"—can produce chilling aesthetic effects, reminding us of the fact that no one can ever fully control the spaces of urban life in each and every of their aspects. Sounds can clash with sounds and thus develop dialectical tensions; sounds and images can't as they belong to partially different experiential orders. Sounds do not simply expand the frame of the image while leaving the principles of central perspective intact. They are hostile to the very idea of the frame and instead spread across and contaminate the visual, questioning the very reliability of monocular vision and the ideologies of sovereignty—of controlling space through imperial gazes, of being one's master in the house, of speaking in one and only one firm voice— Western societies have come to attach to vision ever since the Renaissance.
As any astute viewer of Lang or any listener of Nicolai's unitape can discover, even the seemingly most redundant projection of visual and acoustical elements can produce bodily responses that are complex, differentiated, and unsettling. No matter what inscription you may see on a film strip or can visualize on today's hard drives, the meeting of sound waves and light rays in the world cannot but produce relative zones of indeterminacy simply because our ears and eyes don't operate like mechanistic channel readers, one solely focused on the first, the other solely on the second channel, both trying to weld everything that comes along their way into perfect harmony. Weimar viewers were probably much more playful, creative, and less prone to being duped than many of their critics feared. Like Lang himself and like Nicolai's audience in Chemnitz, they may have understood that redundancy is never as redundant as wary critics and judicious watchdogs make it out to be, and that ventriloquism—far from being a negative, a haunting specter—is one of the most profound pleasures cinema has to offer. "Our senses have boundaries," says Nicolai. "But one can enable translations and transfer sounds into a different medium one can see or sense."[5] The infinite, albeit never complete, translatability of images, sounds, movements, thoughts, and affects between and across different registers of the human sensorium remains perhaps cinemas greatest and most enduring promise.
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Lutz Koepnick is the Gertrude Conaway Vanderbilt Professor of German, Cinema and Media Arts at Vanderbilt University in Nashville. He has published widely on film, media theory, visual culture, new media aesthetic, and intellectual history from the nineteenth to the twenty-first century. He is the author of On Slowness: Toward an Aesthetic of the Contemporary (2014); Framing Attention: Windows on Modern German Culture (2007); The Dark Mirror: German Cinema between Hitler and Hollywood (2002); Walter Benjamin and the Aesthetics of Power (1999); and of Nothungs Modernität: Wagners Ring und die Poesie der Politik im neunzehnten Jahrhundert (1994). Koepnick is the co-author of Windows | Interface (2007), [Grid ‹ › Matrix] (2006), and the co-editor of various anthologies on German cinema, sound culture, new media aesthetics, aesthetic theory, and questions of exile. His current projects include Unframing the Long Take: Art Cinema and the Wondrous, a book investigating the representation of time and duration in international art cinema and moving image art today; and a monograph on director Michael Bay.
Lutz Koepnick: http://lutzkoepnick.com
Please cite this article as:
Koepnick, Lutz. "Ripples of Sound." The Promise of Cinema. 12-11-2015. http://www.thepromiseofcinema.com/index.php/ripples-of-sound/.
[1] Kulturstiftung des Bundes
[2] Béla Balász, "A Conviction: An Initial View of a New Art Form's Perspectives and Limitations," trans. Christopher M. Geissler, in: The Promise of Cinema: German Film Theory 1907-1933, eds. Anton Kaes, Nicholas Baer, Michael Cowan (Berkeley: University of California Press, 2017) 561.
[3] Jonathan Sterne, The Audible Past: Cultural Origins of Sound Reproduction (Durham: Duke University Press, 2003) 14-15.
[4] "Fritz Lang: Problems in Sound Film Design: Moving Away from Naturalism," The Promise of Cinema 576.
[5] Carsten Nicolai, Parallel Lines Cross at Infinity (Chemnitz: Kunstsammlungen Chemnitz, 2015) 10.


Born in Montréal, Liz grew up in Toronto and attended The Ontario College of Art, where she graduated in sculpture. She now lives in a small town of the Quebec Townships, in a house with large studios and a big garden.
Her initial body of work was playful and whimsical at first, changing gradually to deeper and darker themes. The Montreal Massacre of 1989 had a profound effect on Liz and by 1995 she was showing strongly feminists work "for Sophia… the female christ" and deepening that installation into a performance work "The Singing of the Stones". Printmaking in all it various forms has been one of the threads in Liz's work, silkscreen, photocopies, photos, poetry, drawing, books, the very paper itself used in an earlier series of translucent body castings, "Through the Boundaries", has now become a dominant voice.
Her work is not linear, not conceptual, rather it's instinctive and internal in the romantic tradition. It has allowed her to bring together all the elements she loves most. It's a gathering, a collage, a wholeness, and at the same time a paring away, a letting go of the superfluous. In many ways, Liz's work is a metaphor for our lives, it's about hope and despair and finding a home for each, it's about being human enough, and open enough, and vulnerable enough and courageous enough to live with not just the light, but the shadow. In the end it's about becoming fully human.


A lot of things have happened this week that have entered the airy cavity sitting atop my neck and floated around waiting to be recognized as conscious thought.
I can imagine all these little snippets of inner dialogue waiting patiently in some line, bitching about how slow a goose I am at moving them from the dark of my subconscious where they effect my thinking in mysterious ways, to the light of consciousness where I can examine them, caress them, milk them for their illuminating properties.
It's easy to allow emotion to crowd out valuable insights that appear from time to time. At best, we recognize through reflection that perhaps we shouldn't have written this, or said that, or made a mistake in judgment when analyzing something else. You end up wishing you hadn't snapped back at your spouse, or yelled at your kid, or dismissed a co-worker's attempt to be friendly.
I could start a blog and fill it with such reflections without any trouble - as could most of you, I'm sure. Learning from our mistakes is the essence of being human - probably the major factor in the rise of Homo Sapiens. Don't get too close to that mammoth or you won't come home from the hunt. Going after a Saber Tooth cat alone is not a good idea if you want to pass your genes on to the next generation. Trial and error not only advanced human evolution, it forms the basis of modern science and has led to the astonishing outpouring of creative thought we see today in everything from computers to razor blades.
Some venues do not allow for such errors. Political blogging is one of them. As ideology is set in stone and cannot be changed or challenged on either the right and the left, variance with the established themes and theses is not only frowned upon but punished severely. Here, "getting it wrong" does not mean that you are necessarily "incorrect," only that you are in disagreement with the vast majority who march in ideological lock step. Deviate from the shining path and you are cast out as an apostate.
No matter. I came to the conclusion years ago that I could try to be honest with myself and my beliefs, incurring the wrath and disapprobation of those who consider themselves guardians of the Ya-Ya Conservativehood by challenging the underlying assumptions of their excessive and blindered ideology; or toe the line, betray my true beliefs, and enjoy the warmth of fellowship found in their ever narrowing definition of the "true conservative" path.
Lest some believe I am nailing myself to a cross by wallowing in self pity and whining about conservatives - most anyway - not taking me seriously, allow me to disabuse you of that notion. I celebrate my freedom from conformity every fu**ing day. I will lord it over those who, when confronted with a new issue, a new attack, feel lost and alone until they are told by others how they must think, be it Glen Beck, Rush Limbaugh, Sarah Palin, or other "movement" leaders.
To be fair, most conservatives don't really need to wait for the word coming down from on high. All they have to do is unthinkingly, uncritically, hold a mirror up to whatever the left is saying about an issue and simply reverse the image. That's what the Limbaughs of the world do anyway. There's no reason or rationale to it. That comes later - at least the rationale - as the right congratulates those whose "insights" are the most vitriolic and hateful.
The ideological screen through which most opinion on the right is washed has become internalized so that favorite themes regarding the left - unpatriotic, hate America, socialists, communists, liars, traitors - can be pulled off the shelf and slapped on to any "analysis" to make it conform to the "right thinking" brigades of hysterical paranoids who believe themselves guardians of Reagan's legacy or, in extreme cases of delusional thinking, of conservatism itself.
In this way, ideology at the expense of rational thought is celebrated and rewarded.
And yes, we find the exact same kind of irrational, nonsensical paranoia on the left. There is no difference. One is not worse than the other, except perhaps there is a bigger responsibility generally recognized throughout history for the majority to treat the minority with respect. But this hasn't been true in American politics for decades so why bother discussing it?
In a number of interviews that will air in fuller form Sunday morning, the president also addressed the tone of a heated summer debate over health-care, and the contention of one former president that much of the criticism Obama faces is because he is black.
He is absolutely correct, of course. Not sure that "fear" is exactly the right word to describe what conservatives are feeling. Anyway, I am very glad he said this. But we must demand he go much farther in condemning the wild, out of control explosion of charges being made by his supporters that tar opposition to his policies as motivated solely by race. I realize this is very difficult for him to do because he benefits politically by this ridiculous, false, and hateful rhetoric coming from the left. But as long as his allies continue to deliberately, knowingly, and smugly raise the issue of race and use it as a political club, he will be seen as giving such deceitful arguments credence by the wink and the nudge.
I joke about lefty folkies, of course - more playing to stereotype than reality. But we are of a generation that perhaps learned valuable lessons about civic disagreements and how they can truly lead to bloodshed unless we all remember that we are Americans who love our country and wish only the best for it. If only we could all start from that premise, I think a lot of the ugliness in our politics would be muted and we could get down to the business of truly addressing some of the problems facing the country today.
Does believing this make me any less passionate in my opposition to what I see are the wrongheaded, dangerous polices and politics of Barack Obama? Does not calling the president a Communist or Marxist disqualify my opinions because they are not hateful enough?
To some, yes. And those who cannot see what this kind of rigid, uncritical, self-defeating thinking is doing to our country - both right and left - may live to see the day where useful dialogue and reasoned debate become an impossibility and our country dissolves into weak, divided, quarreling bunch of ideologues who prevent us from facing vital challenges both at home and abroad.
Besides you, Mr. Dreher, and Dave Frum what folks on the right are doing the corollary that you're requesting the president and his allies do.
I mean, can't the exact same thing be said about the language coming from some quarters on the right. Aren't some folks on the right knowingly and smugly using race as a club (well I've never seen his birth certificate… I'm looking at you Senator Shelby).
Southern GOP field offices emailing racist literature to web groups, signs at rallies with Obama sitting in a watermelon patch while dressed in safari grass with a bone in his nose, one of the Tea Party organizers on national TV calling the president a Kenyan welfare thug.
A white southern Congressman calling a 50 year black man a "boy" while another calls him "uppity ". This stuff is just unreal. And we should be honest and call this the race baiting that it is.
Shouldn't there be folks on the right going farther to condemn this out of control vitriol that IS based on the president's race? Perhaps this is difficult to do because appeals to racial resentment have been beneficial politically to some folks in the GOP. I don't know.
I've read your blog for about two years now and you appear to be very sincere in aiming for a reasoned discourse.
But look at the flak you take from people on the right when you point out the real obvious stuff. Just reflect on the pushback you experienced after your essay taking down the birthers and Geoff Davis this summer.
If folks can't see that calling a grown black man a boy and that passing out images of President Obama in jungle garb, with a bone in his nose, IS racially antagonistic then reasoned dialogue isn't possible.
Augustine, please clarify for me which congressman called which black man a boy.
Here is my stream of consciousness: Please, please stop with the "both the right and left" nonsense. At least say "the left, for years and years and years," and "the right, more recently." The political climate we find ourselves in today is wholly a creation of the left, which was permitted by the nation's media and political elites to launch blood libel after blood libel for years with absolutely no filter, no shame, and no calls for party introspection. It continues today with "racists," "teabaggers," and now allusions to John Kennedy and 1963. I would really like some "reasoned, rational" person to acknowledge that our poisonous political climate was given to us by the poisonous left, of which our president is a member, that he has benefited greatly from that poison in his political ascension, and that he has never, ever chastised his own side for its many, many vitriolic excesses. Now, the right is taking a page from the left's Alinsky playbook — to their political benefit, as well, I might add — and it's time to put on the brakes and seek "rational discourse"? The political left are like wife beaters who want to have a glass of wine and "talk" when the beating's over and the police have been called. This entire conversation reminds me of the liberal parent who tells her son, after taking a beating at school day after day, to seek "conversation and common ground." Then Uncle Joe comes over for a visit, sees the kid's black eye, pulls him aside, and says "They're gonna keep hitting you until you hit them back. The next time they jump you, punch the biggest one there right in the face." The left have been bullies for far too long, and now that the right is hitting back, they are, like all bullies, crying and looking around for mommy to come in and save them, complete with their whining pleas that "It's not fair!" I don't think the environment will ever change until the leaders of the far left — and that is the president himself — demonstrate some introspection about their very large role in bringing us to this point, and THAT is never going to happen. So, I'm glad the bullies are getting hit back. It's petty, perhaps, and maybe it doesn't help solve all "the problems" of the nation, but neither has letting these bullies abuse unfettered all these years. If this is the political climate we have — hardball and invective all the time — and I believe it is, then it's a good thing both sides are bringing some muscle to the fight. It's about time.
Anyway, I am very glad he said this. But we must demand he go much farther in condemning the wild, out of control explosion of charges being made by his supporters that tar opposition to his policies as motivated solely by race.
May I ask by name which supporters of Obama have saud the charges are soely based on race?
What I do hear is them saying it is clear some of it is based on race and more importantly pointing out what their see as evidence. And what hear them asking for for voices other than yours, Frum, and Dreher to denounce it when the evidence supports it.
I believe I am quoting you accurately when you say you don't believe Rush is a racist, rather a racial agitator. What is the difference?
Except that the race agitator is more cynical and damaging since they know what they are saying generates heat precisely because of race and that they say those things even when they know it is based on bulls**t.
I completely get that the teabaggers are angry at everybody. What I don't get is why Senators and Congressmen from the GOP can't say without equivocation or qualifiers that the birthers are whacked out about Obama and the reason, obvious to me, is his race.
That's not everyone on the Right, that's the birthers on the Right who the GOP politician won't call out because when it comes down to voting day they expect them to pull the lever for the GOP.
Can you understand why a Congressman who is a member of the Sons of Confederate Veterans would get no benefit of the doubt about his motivations for disrespecting the President.
We see the GOP katowing to a segment of their base who romanticize their "lost cause" and can never admit their ancestors were traitors who lost a war they started. We know this because the leadership of the party can never come right out and say the Confederate flag should not be flown on government buildings (or like McCain they say it and recant when it's politically expedient).
Bob Jones University is known its ban on interracial dating. The ban was lifted after George Bush I visited, not because the leaders there think it was wrong in the first place but because it had became known. When Dole, Bush II, and McCain go there during GOP campaigns we see it as a wink to the segment of the party that can't accept blacks.
We believe there is a significant segment of the GOP who follow and agree with the writings of Samuel Francis, Peter Brimelow, and others connected the American Renaissance. These people state explicitly that blacks are inferior and use that as the basis for how they approach everything from welfare reform to health care.
These groups and many like them are founded by current and former members of the GOP. The don't wear sheets and they've learned to to say that word, but its pretty clear what they believe. Not all of the GOP, just some.
I don't overstate their influence, I simply state their existence and why certain parts of the Republican apparatus uses their manpower and money to stay in office.
For eight years, a major direct-mail firm "specializing in the Christian and conservative markets" has been selling lists of the readers of America's leading anti-Semitic newspaper and, since about 2001, its successor publication.
Zodhiates also peddles lists of subscribers to the American Free Press, which replaced The Spotlight when that tabloid was shut down amid legal and financial troubles surrounding Carto. The Free Press began immediately after The Spotlight fizzled in 2001 and picked up many of its predecessor paper's propagandists.
Today, the Free Press carries stories on Zionism, secret "New World Order" conspiracies, American Jews and Israel. Mixed in are advertisements for outfits like Pete Peter's Scriptures for America and Kingdom Identity Ministries — practitioners of Christian Identity, a theology that claims that Jews are the literal descendants of Satan.
I am not saying the GOP agrees with what these people believe, I am saying their are those in the GOP who aim their advertising to these people solely for political gain.
That is what we are asking to the GOP to won up to and to cease. I write about it to encourage you to add this to the list of things you'd like the Republican party to stop do on small or large scale. Stop it period.
Is there any lengths to which some Obama supporters won't go in order to discredit a particular swath of criticism? I think not. It's sort of like a bad political game of Six Degrees of Kevin Bacon.
Attributing motives to one's opponents in an attempt to discredit the message is an old and well worn game played by both sides, but as Rick has noted many times eloquently in the past, the "racist" label is a powerful trump card. The "un-American" or "un-Patriotic" label used by some of the right doesn't even come close.
President Obama's comment about the opposition to his "initiatives" is the flip side of the damning with faint praise coin. In the video, he assumes his most beatific countenance and then releases his opponents from responsibility for their ignorance and malfeasance in an act of near total forgiveness. It is one of the many poses that he returns to and will continue to return to time and time again. It is a pose and he is the poseur.
Telling ideologues from the left or right that their words and actions are wrong and hurtful is, in my opinion, useless. Why? Because it will not change these ideologues, it casts a pall over the good people that do not have these ideas, and, more importantly, it wastes time, effort and brainpower on the part of people such as you that could have far better things to say about how to change things in the country for the better.
How to make the conservative movement better. How to win elections in 2010 and 2012. What the winning issues are, and how to sell them. How to have a positive influence instead of a negative one. Yes, "how to win friends and influence people!" How about simply ignoring BDS'ers, birthers and truthers, etc, and look for worthwhile ideas for a change?
Civic disagreements and civil discourse is always the counterweight to over the top rhetoric in any democracy. I think you will always have the two, maybe we need them but I always thought the ability to tolerate the political opponent was America's great strength. I guess I mellowed with age but I liked your analogy of the ying and yang when looking at democrats and republicans in American politics. To all the folks saying but the left/right did this and now we strike back without mercy etc I ask you this: of all the countries in the world would you rather live in Venezuela, Saudi Arabia, Nigeria, Russia etc or in bad, bad Massachusetts/Texas (depending on your political leanings). I mean, Come on…the world isn't going to end.
Is there any lengths to which some Obama supporters won't go in order to discredit a particular swath of criticism?
Now, having gotten that out of your system could you address the specific issue of paying for mailing lists to magazines that are known to be popular with that who are unquestionably racist (i.e. Spotlight) in order to reach their readers without having to actually say anything racist yourself.
Will the GOP explicitly take on the issue of the Confederate flag in official government settings?
Will the GOP stop using vote caging and voter roll purging tactics in areas dominated by black voters?
A simple yes or no will do for a start. Details can follow.
And those who cannot see what this kind of rigid, uncritical, self-defeating thinking is doing to our country - both right and left - may live to see the day where useful dialogue and reasoned debate become an impossibility and our country dissolves into weak, divided, quarreling bunch of ideologues who prevent us from facing vital challenges both at home and abroad.
The history buff inside me is reminded of the public and political vitriol of the 1850's when thinking of all the madness that is currently occupying our lawmakers and media outlets. (Abraham Lincoln's "House Divided" speech has never sounded more relevant, today's lack of moral clarity on either side notwithstanding.) All democracies face touchy and divisive issues that spilt citizens opinions and votes, yet history tells us that only a very few specific topics are capable of tearing nations apart.
Sometimes the stream of consciousness carries you right on out to sea. In order to stay anchored, I've turned to satire: fun and nutritious!
I think Michelle would approve.
He was speaking of then-Senator B. Obama. Rep. Davis appears to be white in his bio picture on wikipedi. (and to answer your question completely, B. Obama is half-white, half-black but is generally considered black.) Rep. Davis subsequently apologized.
Rep Davis is about two years older than B. Obama.
Sounds like a fun game. I'll give it a shot.
This doesn't lend itself very easily to a yes or no answer, but I'll assume for now that you meant something along the lines of the other questions (Will the GOP stop paying for mailing lists…?).
Frankly, in the end, I don't believe candidates on either side of the aisle care much about the opinions of the people who vote for them. Mailing lists are simply another tool both sides use to drive people to the polls (hopefully, to vote for them). I think we'd all be pretty disappointed in the types of people politicians go vote-hunting for. In fact, I suspect most Democrats would be happy to have those racist GOP'ers pull the lever for them rather than their opponent.
Other than racism, do you see ANY possible motive for any of those things you're asking about? Or are these things automatically racist?
Yet I see this same approach coming from you, Rick. You call a reader of your site that he is a closet klansman for trying to explain a statement from Rush that you feel he takes out of context. It seems to me that the supposed "non-ideologues" have their own brand of rigidity. You assume Rush Limbaugh does not offer reasoned debate (that I disagree with you on) and so when someone tries to point out where you are wrong, you name call.
Seems to me that you should look in the mirror before you attack the rest of Conservatism.
If however your target's for vote caging are always black then that is de facto a tool to hurt black voters.
I'll give an example of something that I am sure no one in their heart thinks is racist but turns on the loathing of the GOP to 11.
It is the assumption that all black people care about from the Democratic party is welfare. It is as if some time warp exists and these people think it's always 1972.
Turth is most black Democrats care about the same thing every other Democrat cares about and most Republicans too. Having a good job in a safe environment, good schools for their kids, adequate police protection without violating their civil rights, and clean water.
The goodies we do want are the same as everyone else, Medicare, Social Security, unemployment benefits at a decent level when we need them.
Welfare is a non-issue. It was dealt wil nearly 20 yars ago.
Personally when the economy is on its feet I make over six figures and that's not counting my wife's income.
I've never been on welfare nor do I know anyone who has. That's one insult, one we perceive as solely based on race you could put a stop to right now.
BTW, please also assume that no watermelon jokes, monkey jokes, any references to cotton or witch doctors will be given the benefit of the doubt.
I'm 54 so I've heard them all and we have no sense of humor about it.