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Beer Chevron Right
British Beer Prices Are About to Rise, Which Is Actually a Big Deal
They're set to jump as high as nearly 4 percent next month.
ultramarinfoto / Getty Images
One of the biggest differences between American and British bar/pub culture is the extent to which Brits sweat the small stuff.
For instance, in the U.K., by law, a pint has to be exactly a pint of beer. It's very common for a pint glass to hold exactly that measurement and get filled precisely up to the brim. Meanwhile, in the States, beer glasses come in all sizes and typically get filled with reckless abandon, leaving drinkers to hope that once the foam settles, they'll still be left with a satisfactory amount. Maybe for that exact reason, American beer prices also tend to be looser, often rounded to the nearest dollar for simplicities sake. But back across the pond, the Brits usually charge a more precise amount with prices varying by as little as five or ten pence depending on the brew – and customers will sometimes notice even small adjustments in price.
So with all that in mind, it's easy to see how this is big news in the U.K.: Two major beer companies have announced that they'll be raising wholesale prices by as much as nearly 4 percent. According to The Morning Advertiser, AB InBev – producer of popular brands like Stella Artois, Budweiser and Boddingtons – said it will be bumping prices across its portfolio by 3.9 percent starting next month. "We have communicated to our customers that from 1 February 2018 we will be increasing our wholesale price," a spokesperson for the brand was quoted as saying. "The increase is part of our regular prices reviews and reflects ongoing pressure in the beer industry and the UK economy." The spokesperson then added, "We always look to keep any increases to a minimum for our customers, maintaining an increase lower than the retail price index, despite this having more than doubled versus last year."
Adding insult to injury, Molson Coors also announced it will increase its prices, though not as steeply. The brewing giant said its beers and ciders would see an average increase in price of between 3 percent and 3.2 percent. "At Molson Coors, we are constantly working to manage the variety of different costs associated with the production and supply of our beers," a spokesperson told The Morning Advertiser.
To put all this in perspective, the Evening Times suggests that the increase in price could be "as much as 12p" – or only about 17 cents. Still, all that change can add up – especially if you're ordering a few rounds.


By CORRESPONDENT, NAIROBI, Kenya, Oct 3 – The corruption case against former Nairobi Governor Evans Kidero will be heard for 66 days, beginning May 2, 2019.
Both prosecution and team of defence lawyers will spend six hours a day during the trial.
Presiding Chief Magistrate Douglas Ogoti said that since the prosecution has lined up 27 witnesses, it was important to set a time frame that will guide the court during the hearing.
The case will take over 360 hours for completion of the matter, according to the calculation by both defence lawyers and prosecution.
The former governor and 10 ex-officials from Nairobi County, Lilian Wanjiru, Jimmy Kiamba, Gregory Mwakanongo, Stephen Osiro, Luke Gatimu, John Njogu and Grace Githua are facing a criminal charge of defrauding the county of Sh213 million.
Except for Kidero and Maurice Okere who are out on cash bail of Sh2 million the rest were ordered to deposit a bond of Sh5 million, after the prosecution opposed their release on cash bail over alleged failure to appear in court as ordered.
The nine accused have since given indication to move to the High Court to seek review of the decision of the Magistrate to refuse them cash bail.
They have through defence lawyers Ochieng Oduol and Cliff Ombeta applied for typed proceedings and the ruling of the court to be able to file the appeal for review of bail terms.
They told the court that their clients were not served with the order directing them to appear in court.
They said the accused presented themselves to court after they were informed that criminal charge has been entered against them.


Tandus Centiva, a Tarkett company, celebrated the 20th Anniversary of Publicolor at the organization's annual Stir, Splatter + Roll Gala which was held on May 16, 2016 at the Metropolitan Pavilion in New York City. The gala honored two charitable individuals, The Honorable Michael R. Bloomberg and E. John Rosenwald, Jr. for their longtime support of Publicolor and its programs.
Recognizing the importance of education and Publicolor, Tandus Centiva, a Tarkett company, Suzanne Tick Inc. and Antron® carpet fiber, support the Publicolor Summer Design Studio. The Summer Design Studio is an innovative work-study program that utilizes a non-traditional curriculum emphasizing tactile learning experiences. The combination of project-based learning, community service and paid work opportunities provide a compilation of meaningful activities for youth who otherwise would be idle when the school year ends in June.
The Tandus Centiva, Suzanne Tick Inc., Antron® carpet fiber collections contribute up to $0.30* cents per square yard to the Publicolor Summer Design Studio. The contribution is a match among partners based on product sales into education environments.
Based on 2015 qualifying sales, $132,497.97 was donated to the Summer Design Studio, helping to prevent summer learning loss for 76 disconnected youth by uniquely teaching math and literacy through product design.
For more information on the Publicolor Summer Design Studio, please view the documentary video below. The documentary was selected to be screened during the Marche Du Film in Cannes May 11 – May 20.
Publicolor – Documentary from Ehsan Abbasi on Vimeo.


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Faculty Sign Petition for Professors in Maryland
Rachael Franchini '19, Associate News Editor
Nine Dickinson professors have signed a petition to reinstate two faculty members at Mount St. Mary's University in Emmitsburg, Maryland, who were fired as a result of noncompliance with a controversial retention rate program instated by the university's president. As of print time, a total of 8,494 professors from universities and colleges around the world have signed the petition.
The program, devised by Mount St. Mary's President Simon Newman, was designed to dismiss 20-25 students in the class of 2019 in the first month of the fall 2015 semester prior to the mandatory submitting of class size to the federal government. The motivation behind the program was to dismiss weak students before they could fail out of the college and affect its first year retention rate.
The two fired faculty were Ed Egan, campus newspaper adviser and prelaw program director, and Thane M. Naberhaus, a tenured philosophy professor. According to the petition to reinstate the professors, Egan was fired partly for his actions taken as student newspaper adviser, since the school newspaper first broke the stories leading to the controversy over the program. Additionally, these faculty were fired without "any academic due process as required under AAUP [American Association of University Professors] guidelines" or "customary standards of tenure," according to the petition.
"The manner and circumstance of their dismissal raise serious questions about the respect given to moral conscience and intellectual freedom at Mount St. Mary's," the petition reads. "As a university, it is bound by the standards that govern any university in respect to its faculty."
The petition calls for the immediate reinstatement of the fired faculty members, and for the administration of the university to be held accountable for their actions.
One of the Dickinson professors who signed the petition was Carol Ann Johnston, professor of English.
"Retention is an important issue for all institutions of higher learning. When students enroll in a college, everyone's goal is that they graduate with a degree. The institution should do its best to ensure that happens, which Dickinson certainly does," Johnston stated. "The professors were fired without due process, with President Newman giving the reason as disloyalty. When a professor has been at an institution for many years, he or she has a vested interest in the institution. Faculty with tenure, unlike other employees, are bound to an institution for life. If a faculty member sees a behavior by representatives of the institution that is contrary to the goals of the institution as stated in its charter—or even an action that the professor judges would be detrimental to the institution—the professor has an obligation to speak out. Speaking from conscience is the loyal action, not silence."
One of the most controversial aspects of the situation was Newman's reference to struggling students as "cuddly bunnies" who needed to be "drown[ed]." The student newspaper at Mount St. Mary's quoted an email from Newman where he told professors that "you just have to drown the bunnies…put a Glock to their heads."
"Referring to students as 'bunnies' that sometimes need to be either drowned or shot in the head is absurd and completely inappropriate," said James Sias, assistant professor of Philosophy at Dickinson. "But even aside from his insane choice of words, some of the other things he's said in defense of the plan suggest very strongly that he does not think of students as people whose needs the school has an obligation to at least attempt to meet, but rather as mere numbers to be added or subtracted in whatever ways are necessary in order to meet some sort of quota."
Joyce Bylander, vice president of Student Life, said that "Dickinson doesn't weed students out" to improve its retention rate.
"First and foremost Dickinson only accepts students they believe can be successful here," she stated. "Then, the college puts in place a wide variety of resources and support systems to help students adjust to college both socially and academically…a strong faculty advising system, first-year seminars, college deans, RAs and First-year Mentors, the Writing Center and new Q Center, librarians and the Advising Center with peer tutors and Learning Support. Dickinson students through their own hard work and by accessing the resources provided are able to succeed. We are very proud of our retention rate."
"Dickinson seeks to retain students from the moment they matriculate until they graduate," Damon Yarnell, dean of Academic Advising said. "If anything, the philosophy behind Dickinson's approach appears to be the opposite of what the press has reported about St. Mary's. Rather than 'weeding out' new students who appear to be struggling, we work to connect with such students so we can help them assess any difficulties and provide appropriate support. Our goal is to help all students meet Dickinson's high academic standards."
The Dickinsonian strives to provide a forum for lively and respectful discussion among members of the Dickinson College community. We reserve the right to remove any comments that we do not adhere to our community standards.
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Italian Film Festival Received Well By Attendees

redpajama_set_name: RedPajamaCommonCrawl


Here we combine umami and sour.
Washed rind cheeses are so called because they are ripened, then washed in brine, which creates a wonderful umami flavour that pairs beautifully with the sour in the fermented mushroom.
Start with our Caramelised Onion Flatbreads, they also bring out the flavour of this fantastic cheese. Spread on your favourite washed rind cheese, add the pickled mushrooms, then just a sprinkle of fresh thyme to finish.
- Store-bought pickled mushrooms are handy to have in the cupboard for a five-minute cracker flavour fix!
The pale, off-dry lightness of Crafters Union Pinot Gris is beautifully complex: perfect with washed rind cheese.


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COVID-19 and Programmatic Advertising
Posted by Madison Comstock
During this period of uncertainty, many advertisers and brands are wondering how to speak to consumers, or if they even should have a conversation with them at all. As people turn to different media channels to get a break from the news and consume content, with rising inventory and lowered demand, it's an opportune time to get the most out of programmatic investments.
With programmatic advertising, we can effectively reach data-driven audiences at scale at efficient CPMs through a variety of channels. At the same time, we can steer clear from hard news about the disease spread and infection rates, as well as other COVID-19 content through brand-safety controls. Within the programmatic landscape, PMG has seen several trends across different verticals, both for our brands at PMG and the entire ecosystem.
Trend 1: Decreasing Costs for Brands Across Ad Formats
With consumers spending significantly increased amounts of time online, programmatic inventory availability has skyrocketed. The channel most impacted by increasing inventory is display, with a large percentage growth in inventory, which leads to a decrease in CPMs. Partners are reporting various increases in the range of 19-36% across both desktop and mobile ad calls.
Another space that has seen inventory growth is Connected TV and OTT. With people at home and eager to fill their time with streaming content, costs decrease as inventory increases substantially. From March 16th to March 22nd, Connected TV usage in the U.S. grew by 28% according to Nielsen, and March 23rd to March 29th showed a similar trajectory with another increase of 5%. Video management company Beachfront has seen an increase of 105% in Connected TV ad calls.
Native advertising has seen slower and less significant changes than display and CTV inventory, but gradual month over month declines in costs, and increases in inventory. Bidtellect, a leading native DSP, is reporting a 9.59% decrease in average impression costs from February 2020 to March 2020, and an even more significant decrease of 17.1% from January 2020 to March 2020.
Programmatic streaming audio inventory has been volatile throughout the month of March and has not seen the drastic CPMs decreases that other channels have. Audio categories with the biggest growth are podcasts and educational content. Music listening has been steady and unimpacted. For a deeper dive into the audio landscape's COVID-19 impact, see our POV here.
What do these increases in inventory mean for brands? Well, the programmatic landscape has become extremely efficient, which means that inventory opportunities previously not available for brands are available now. Typically, inventory carries a premium cost for Connected TV; now, costs make inventory more accessible to advertisers to create high impact and engaging ads.
As both created content and consumer time spent online rapidly increases during COVID-19, display becomes increasingly more efficient. Across PMG clients, we have seen an over 40% decrease in display CPMs from the beginning of March until the beginning of April.
It's an effective time for brands to invest in programmatic advertising, both for more tried-and-true formats such as native and display, and for newer formats like Connected TV and streaming audio. Adoption is less widespread for these newer formats, and brands have the opportunity to break into emerging markets at discounted rates. Right now, consumers are highly engaged in ad-supported content. Advertisers have the opportunity to reach these engaged consumers by leveraging programmatic media.
Trend 2: Though Inventory Availability is Up, Inventory Demand is Down
Another trend for programmatic advertising is that although the amount of available inventory is incredibly high, the actual demand for inventory is down. As brands take losses in revenue and need to furlough or lay off employees, budgets are cut. Almost half of brands have decreased ad spend for Q1-Q2, and nearly a quarter have cut Q2 ad spend altogether.
As a result, a recent survey by Digiday shows that 88% of publishers expect to miss their revenue forecasts for the year because brands aren't able to invest like they used to. This presents both a challenge and opportunity for brands. While budgets are tighter, those that are able to continue investing in programmatic advertising are seeing less competition in auctions, leading to greater efficiency and a larger share of voice.
Trend 3: Brand Safety is More Important than Ever
With the current state of our world, brand safety is more important than ever. With 15 billion web pages per month talking about COVID-19, it is a daunting task to block COVID-19 content and prioritize brand safety. With the targeting granularity available in our demand-side platforms, programmatic advertisers can block any content related to layoffs, disease, outbreaks, or travel restrictions. Brands don't want their messages to appear next to COVID-19 content, as over half of consumers have reported some level of concern around brands advertising on COVID-19 content, according to Integral Ad Science.
Google has offered a guide of what to block in order to ensure brands are not present near COVID-19 content, including blocking the Tragedy sensitive category, blocking several health categories, and using brand-specific negative keywords.
IAS, DoubleVerify, and Oracle have all sent through best practices for avoiding COVID-19 content. Fortunately for brands in the programmatic landscape, all three of these major brand safety partners are already capturing COVID-19 in their standard blocking segments.
However, there is some content that mentions coronavirus as brand-safe — positive stories of people coming together, communities helping each other, and family-friendly activities for being at home. An estimated 26% of coronavirus content is actually brand-safe; by working with the leading brand safety vendors that contextually analyze a page to determine sentiment and emotions, programmatic advertisers can separate the good from the bad.
PMG's POV
PMG advocates to let programmatic advertising do what it does best — reach data-driven audiences at scale in a strategic way. Programmatic advertising allows brands to enter a market at lower costs and utilize the applicable brand safety restrictions at the same time. With people spending more time online and at home, programmatic advertising is able to go farther and work harder than ever before.
Therefore, it makes sense to take advantage of this tool to reach more consumers. The trends are here with fewer barriers to entry in terms of cost for premium and newer channels like Connected TV and streaming audio, and we have an opportunity to be an early adopter of channels with thoughtful messaging.
Programmatic advertising's unique selling point has always been data-driven targeting, efficient impressions and results, reaching only the engaged audience a brand desires, and being adaptable, optimizable, and measurable in real-time. Programmatic advertising has proven to be an effective way to capture new customers on a variety of unique channels, in addition to remarketing current customers. This hasn't changed in the time of COVID-19. Programmatic is measurable, testable, and quick to activate. In a time when brands are looking for real-time measurement, programmatic advertising is a great fit for continuing to message the brand to qualified audiences.
brand communicationsCOVID crisisdigital audio buyingOTTprogrammatic advertising


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MV Caedmon was an Isle of Wight 'C' class ro-ro vehicle and passenger ferry. She operated for ten years on the Portsmouth to Fishbourne route before transferring to Wightlink's route from Lymington to Yarmouth. After 37 years of service, she was broken up in 2010.

History
MV Caedmon was built in 1973 for Sealink by Robb Caledon Shipbuilders Ltd in Dundee, Scotland. The ship was named 'Caedmon' after the Anglo-Saxon poet Cædmon.

Caedmon served on the Portsmouth to Fishbourne route for the first ten years of her life. For several weeks in 1979, she operated as a single-ended vessel after her prow was washed away during a storm.

When the Saint-class ships were put into service in 1983, Caedmon joined her sister ships,  and , on the Lymington - Yarmouth route. All three passed to Wightlink after the privatisation of Sealink in 1984.

In 2008–09, on the introduction of three new Wight class ferries on the Lymington to Yarmouth route, the three 'C' class ships were withdrawn from service. They were sold for scrapping and initially laid up at Marchwood,, before being towed to Esbjerg, in Denmark. Cenred, Caedmon and then Cenwulf were dismantled at Smedegaarden in May 2010.

Layout

The car deck had a ramp fore and aft, allowing full ro-ro operation. The under car deck passenger accommodation cabins on all three boats, was not used for the last 20 years.

Twin 6-cylinder turbocharged Mirrlees Blackstone engines mounted at 45 degrees across each engine room drove Voith Schneider cycloidal propellers.

Unlike the earlier pioneer C-class ship Cuthred, the main engines were not additionally loaded by a generator, so larger Voith Schneider units were fitted and there was considerably more propulsive power.

Electrical supply was provided by two 6-cylinder Dorman/ English Electric gensets.

Fuel consumption was approximately  per hour.

Footnotes

External links

 Wightlink Website - Wightlink.co.uk
 Image gallery prior to breaking

Ferries of England
Ferry transport on the Isle of Wight
1973 ships

redpajama_set_name: RedPajamaWikipedia


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Robert Underdunk Terwilliger Jr.,noto come Telespalla Bob (in inglese Sideshow Bob), è l'antagonista secondario della serie animata I Simpson, caratterizzato dalla pettinatura che ricorda la chioma delle palme. In originale viene doppiato dall'attore Kelsey Grammer.

Assieme a Mr. Burns è il cattivo più ricorrente della serie, rivestendo il ruolo di arcinemico di Bart Simpson. Spesso dimostra di essere una persona incredibilmente colta, poliglotta, amante del teatro, dell'opera lirica e dotata di grande gusto estetico. Bob è estremamente pieno di sé e questa sua caratteristica fa sì che i suoi piani vadano sempre a monte.

Biografia

Giovinezza
Dell'infanzia di Telespalla Bob si sa ben poco. Il padre, Robert Terwilliger Sr., è un dottore, mentre la madre, Donna Judith Underdunk, è una famosa attrice shakespeariana.

Ha un fratello minore di nome Cecil il cui sogno era di diventare la nuova Telespalla di Krusty il Clown. Bob, che lo accompagnò al provino, rimase involontariamente coinvolto in un lancio di torte e la sua goffaggine e l'assurda capigliatura lo fecero assumere al posto di suo fratello che per questo gli serbò odio.

La vita da Telespalla
Dalla collaborazione con Krusty, Bob ha ottenuto in primo luogo il nome di Telespalla. Per tutti gli anni trascorsi con Krusty, Bob non ha fatto altro che essere lo zimbello del programma, i cui compiti principali erano essere sparato da un cannone o suonare uno zufolo. Celando il suo odio per Krusty, Bob alla fine cerca di incastrarlo per una rapina al Jet Market. Una volta incolpato il clown, Bob trasforma lo show in un acculturato programma di approfondimento per ragazzi. Il suo piano, però, viene sventato da Bart Simpson, aiutato da sua sorella Lisa. Questo fatto fa nascere l'odio tra i due.

Il matrimonio con Selma Bouvier
Una volta arrestato, Bob trascorre la vita facendo ribollire l'odio per Krusty e per Bart. Ma dal programma di corrispondenza con detenuti qualcuno gli scrive: Selma Bouvier, sorella di Marge Simpson, mossa dalla solitudine. Accantonando allora la vendetta, l'ex Telespalla diviene un prigioniero modello e, una volta scontata la pena, inizia a frequentare Selma, fino a chiederle di sposarla.
Il matrimonio, però, altro non è che parte di un complicato piano per uccidere Selma ed ereditarne il piccolo patrimonio. Ma, ancora una volta, il piccolo Bart Simpson sconvolge i piani di Telespalla Bob e riesce a impedire l'omicidio. Bob è nuovamente arrestato e condannato per tentato omicidio, giurando vendetta e di portarla a termine una volta che i Democratici torneranno al potere e rimetteranno in libertà per le strade lui e tutti i suoi amici criminali.

Bob e Bart

Dopo il secondo arresto, Bob evade o viene rilasciato più volte e durante le sue uscite il suo principale obiettivo sarà vendicarsi di Bart. Tuttavia, non sono quelli gli unici moventi di Bob.

Dopo un periodo di detenzione, egli riesce a ottenere la libertà vigilata a causa dell'imperizia della polizia locale. Accantonando tutti i suoi progetti, si dedica alla vendetta contro Bart, al quale mandava lettere minatorie scritte col sangue quando era ancora in carcere. Dopo le prime minacce di Bob, ai Simpson viene data una nuova identità, quella della famiglia Thompson e vengono trasferiti al Lago Orrore. Telespalla Bob li trova e riesce a mettere Bart alle strette. Ma, ingannandolo, il ragazzino riesce a consegnarlo nuovamente alla polizia.

Tornato in carcere, Telespalla Bob, con l'appoggio del Partito Repubblicano e di una potente radio, riesce a essere liberato sotto libertà vigilata. In seguito, si candida a sindaco di Springfield per i repubblicani contro Joe Quimby. Grazie a un broglio elettorale, Bob viene eletto con il 100% dei voti e utilizza la sua influenza per rovinare i Simpson: umilia Bart rimandandolo all'asilo e tenta di far demolire casa Simpson, costruendo al suo posto un'autostrada sopraelevata. Bart e Lisa, però, con l'aiuto di Smithers, riescono a farlo confessare. Egli viene arrestato per la quarta volta.

In seguito, Bob riesce a eludere la sicurezza e a evadere. Egli, disgustato dall'infimo livello dei programmi TV, decide di rubare un ordigno nucleare e di lanciare un ultimatum a Springfield: tutte le trasmissioni dovranno essere interrotte per sempre o la città sarà distrutta. Springfield è nel panico, ma il sindaco decide che bisogna accontentare Bob. Krusty, non essendo d'accordo, raggiunge una casupola nel deserto, da dove riesce a trasmettere 24 ore su 24. Intanto, ancora una volta, Lisa e Bart sventano i piani di Bob (anche perché la sua bomba è inutilizzabile, datata 1959, e senza combustibile nucleare). Bob, allora, ruba l'aereo dei fratelli Wright e rapisce Bart. La sua intenzione è quella di schiantarsi contro la casupola da dove trasmette Krusty. Tuttavia, fallisce nuovamente e viene arrestato.

Il nuovo incontro con Cecil
Dopo l'ennesima incarcerazione, Bob si ravvede completamente e convince il reverendo Timothy Lovejoy a mettere una buona parola per farlo uscire. Lovejoy lo fa, ma ricontatta anche il fratello di Bob, Cecil, che gli offre un lavoro nel cantiere per una nuova diga che dirige. I rapporti tra i due sono molto tesi e non esitano a lanciarsi frecciate. Tuttavia, il lavoro, almeno apparentemente, procede bene. Bart, però, non è convinto della sincerità di Telespalla Bob, e, insieme a Lisa, lo segue e cerca di indagare sulle sue mosse. Alla fine, i due scoprono delle truffe nella costruzione della diga, ma Bob è innocente: Cecil, per vendicarsi del fratello, lo aveva accolto solo per avere un capro espiatorio per i suoi reati fraudolenti. Cecil rinchiude suo fratello e i due Simpson nella diga, dopodiché ne predispone l'esplosione. I tre riescono a fuggire e mettono K.O. Cecil. La polizia, però, per via della nomea di Bob, arresta anche lui senza motivo.

La vendetta contro Krusty

In seguito, torna a bollire l'antico odio di Bob per Krusty, il quale annuncia di aver cancellato tutti i suoi vecchi show. Il clown annuncia anche il suo ritiro dalle scene. Bob riesce velocemente a ottenere la libertà vigilata (ancora una volta) e diventa annunciatore nella scuola di Bart. Il suo piano è una doppia vendetta: ipnotizzare Bart per fargli indossare una cintura esplosiva e mandarlo contro Krusty come un kamikaze. Dopo numerose sedute, Bob riesce nel suo intento, asservendo completamente Bart al suo volere. Durante lo show di addio per Krusty, Bob ordina a Bart di compiere la sua missione suicida. Poco prima dell'esplosione, però, Krusty fa pubblicamente le sue scuse a Bob. Questo crea ripensamenti nel criminale, che sventa l'omicidio da lui stesso progettato. Così il clown e la sua Telespalla si riconciliano. Bob viene arrestato per l'ennesima volta e processato con l'accusa di tentato omicidio.

Dopo il settimo arresto, Bob rimane in prigione finché non viene fatto uscire dalla polizia e ingaggiato da Homer come consulente per scoprire chi è l'assassino che sta cercando di ucciderlo. Bob è tenuto sotto controllo dai Simpson tramite un ordigno, attaccato alla sua caviglia, che emette una scarica elettrica. Durante il suo breve soggiorno fuori dal carcere, Bob raccoglie indizi, individua il killer e salva Homer da una trappola mortale. Dopo un inseguimento, Bob riesce a consegnare l'assassino (che si rivela essere Frank Grimes Jr.) alla polizia. La sera prima del ritorno in carcere, Bob si impadronisce del telecomando della cavigliera e tenta di uccidere Bart. Pur avendolo alla sua mercé, Bob decide di lasciarlo vivere, perché tra i due nemici giurati si è creato un complicato rapporto di odio-amore. Infine, fugge.

La fuga in Italia e la nuova famiglia

Stanco dei continui fallimenti nel tentativo di uccidere Bart, Bob decide di prendersi un periodo di riposo andando a vivere in Italia. Raggiunge una piccola cittadina toscana chiamata Salsiccia, dove riesce a diventare amico degli abitanti (con i suoi piedi grossi schiacciava l'uva per il vino con grande abilità), che, alla fine, lo eleggono sindaco. Telespalla Bob vuole lasciarsi alle spalle la sua carriera criminale e nell'episodio lo si vede addirittura sposato con una donna italiana, Francesca, e con un figlio, Gino, ovviamente quasi identico al padre sia per carattere che per i capelli. La sua nuova vita viene rovinata quando giungono in città i Simpson: nonostante la buona accoglienza che gli riserva e il desiderio di dimenticare i passati rancori, Lisa Simpson si ubriaca e involontariamente gli strappa la camicia, rivelando sotto di essa la divisa del carcere. Bob è costretto a lasciare la città giurando eterna vendetta verso i Simpson e a lui si aggiungono anche la moglie e il figlio, intenzionati a vendicare l'onore della famiglia (un tipico stereotipo dei mafiosi italiani).

La finta morte
Dopo la fuga dei Simpson dall'Italia, Bob torna a Springfield con la moglie e il figlio per uccidere definitivamente la famiglia del suo nemico giurato; dopo averli attirati in una trappola, viene sconfitto e arrestato a causa di un imprevisto, e al processo cerca di convincere la giuria, grazie alla testimonianza del padre, di essersi ormai trasformato in una vittima, e tenta di far ricadere tutta la colpa su Bart, accusato di perseguitarlo senza sosta. A un certo punto del processo, Bob estrae una fiala di nitroglicerina, ma Bart, temendo che voglia far esplodere l'aula, prontamente gliela sottrae, ed è a questo punto che interviene la madre, rivelando che la nitroglicerina serviva al criminale per curare un difetto cardiaco che lo affliggeva sin dall'adolescenza; Bob cade a terra morto, e Bart viene accusato di omicidio. Al funerale di Telespalla Bob sono presenti tutti i conoscenti di Bob, la famiglia (incluso il fratello Cecil), la vedova Francesca e il figlio, i compagni clown, Krusty, il compagno di cella Serpente e perfino un'anziana donna toscana già presente ne Il Bob italiano: Marge cerca di convincere Bart a essere triste e magari a chiedere scusa a Bob prima della cremazione, e il ragazzo, in un primo momento decisamente contrario, decide di andare all'agenzia di pompe funebri a chiedere scusa al cadavere di Bob, pronto per essere cremato; improvvisamente, però, Bob si alza dalla bara, vi scaraventa Bart e la spinge nel forno crematorio, ma, grazie a un'intuizione di Lisa, i Simpson arrivano giusto in tempo per salvare Bart e far arrestare il criminale e la sua famiglia, complice: si scopre, infatti, che la morte di Bob era stata una farsa organizzata dal criminale, con l'ausilio di tutta la sua famiglia, per uccidere definitivamente Bart. Nel finale si vede Bob, completamente impazzito, in carcere, insieme alla sua famiglia, che sogna di uccidere a coltellate i Simpson saltando fuori da una torta gigante per celebrare il suo decimo piano malvagio.

Il trapianto facciale
I Simpson hanno un nuovo vicino di nome Walt Warren, che è uscito poco tempo prima di prigione, poiché ha commesso reati minori; nonostante sembri una persona calma e tranquilla, Bart è terrorizzato dalla sua voce che è identica a quella di Telespalla Bob. Marge, per rassicurare il figlio, lo porta nel carcere di Springfield dove si trova Telespalla Bob, recluso nella cella di isolamento, che scrive sulle pareti "Bart Simpson morirà". Rassicurato dal fatto che Bob è ancora in galera, Bart accetta di andare a vedere una partita di baseball con il suo vicino; nel frattempo, Telespalla Bob evade dal carcere e si dirige verso la casa dei Simpson ma, una volta immobilizzato da Homer, egli ammette di essere Walt Warren, spiegando che Telespalla Bob, sapendo che Walt sarebbe stato liberato nel giro di poco tempo, ha eseguito un'operazione chirurgica per scambiare i loro volti, così da poter uccidere Bart. Una volta che anche Bob confessa a Bart lo scambio delle facce, porta quest'ultimo ai cinque angoli (parodia del Monumento dei Quattro Angoli realmente esistente) per creare il delitto perfetto. Poco prima di compiere il delitto, però, arriva la polizia di Springfield, che conosceva l'esatta posizione di Bob poiché Bart, ancora diffidente nei confronti del vicino, aveva chiesto di controllare i movimenti di Walt Warren.

La carriera scientifica
Bob, nuovamente in libertà vigilata, viene assunto dall'azienda "Monsarno" (parodia della Monsanto) come cavia da laboratorio. Facendo rapidamente carriera, diventa lo scienziato a capo della ricerca sui prodotti OGM. Viene affiancato a Lisa per una ricerca, scoprendo una passione comune per Walt Whitman. Tuttavia, durante una gita a un museo, si viene a sapere che Bob ha modificato il suo DNA, diventando un superumano a tutti gli effetti, e ha intenzione di unire il DNA di grandi geni del passato al suo, al fine di superare in saggezza persino Whitman e diventare il dittatore del mondo. Tuttavia Bart, credendo che Bob volesse uccidere la sorella, inizia a infastidirlo, ottenendo come risultato la furia omicida di Bob. Fermato dai genitori di Bart, capisce la follia del suo piano e tenta di suicidarsi gettandosi in acqua, dimenticandosi di essersi impiantato geneticamente le branchie.

Altre apparizioni
Telespalla Bob ha ricoperto molte volte ruoli secondari all'interno di molti episodi o ha fatto semplicemente dei cameo. Alcuni esempi risalgono a due episodi della ventiseiesima stagione: il primo è "Depressioni di un clown", in cui afferma di essere dispiaciuto per la morte del padre di Krusty durante una festa di consolazione, mentre il secondo è "Incendiato e Confuso" dove incontra verso il termine dell'episodio Jack Lassen, un ex professore violento e psicopatico della Scuola elementare di Springfield, licenziato per colpa di Bart e assunto come guardia carceraria. Insieme, i due decidono di progettare un piano per vendicarsi del ragazzo, ma Bob, dopo aver sentito da Lassen che sarà lui a compiere il colpo di grazia, sceglie di non accettare l'accordo.

Bob appare, inoltre, nella prima storia de La paura fa novanta XXVI della ventisettesima stagione (il primo special di Halloween in cui appare), in cui riesce finalmente, dopo anni di fallimenti, a uccidere Bart, anche se la morte di quest'ultimo durerà solo per la puntata in questione.

Personaggio

Creazione

La prima apparizione di Telespalla Bob avviene nell'ottavo episodio della prima stagione, La testa parlante. In questa breve apparizione, Bob ha un aspetto molto semplice rispetto a quello che assumerà nel proseguimento della serie e una personalità meno marcata. Il design originale di Bob compare per la prima volta nell'episodio Krusty va al fresco. In questo episodio, Brad Bird migliorò anche il carattere di Bob, rendendolo più elegante e raffinato, in modo che il personaggio potesse adattarsi alla vocalità del suo doppiatore, Kelsey Grammer. Dopo i miglioramenti apportati al personaggio, gli animatori tentarono di ridisegnare il personaggio nell'episodio La testa parlante, ma non vi riuscirono per mancanza di tempo.

Nella prima metà dell'episodio Krusty va al fresco, Bob ha un tono di voce diverso per nascondere il suo lato malvagio. Quando Bob viene scoperto un criminale, la sua voce cambia tono e diventa più raffinata e colta. Ciò è servito per sorprendere lo spettatore. Durante la realizzazione della puntata Krusty va al fresco, gli autori avevano pensato a James Earl Jones come doppiatore di Bob, ma alla fine la scelta ricadde su Kelsey Grammer. Per la voce di Bob, Grammer si è ispirato a quella del regista Ellis Rabb, con cui aveva lavorato in precedenza.

Il nome completo di Telespalla Bob è Robert Underdunk Terwilliger. Il suo cognome è stato rivelato nell'episodio Il vedovo nero, mentre il suo secondo nome in Telespalla Bob Roberts. Il nome "Terwilliger" deriva secondo alcuni da quello del Dr. Terwilliker dal film The 5,000 Fingers of Dr. T., secondo altri da quello del sergente Terwilliger e della signora Onderdonk nell'episodio pilota della serie Hunter;

Sviluppo del personaggio
Dalla terza stagione in poi, gli sceneggiatori hanno paragonato la lotta tra Bob e Bart a quella di Wile Coyote e Beep Beep, famosi personaggi delle serie a cartoni animati Looney Tunes e Merrie Melodies. Il produttore esecutivo dei Simpson, Al Jean, ha paragonato Bob a Wile Coyote in quanto entrambi sono molto intelligenti, ma falliscono sempre nel loro obiettivo. Inoltre, sempre a partire dalla terza stagione, gli autori sviluppano ancora di più la personalità del personaggio. Decisero anche che, in ogni episodio in cui era presente Bob, dovevano essere riassunte tutte le azioni malvagie del personaggio. Tale regola venne abbandonata a partire dall'episodio Fratelli coltelli. Un'altra regola stabiliva che, al termine di ogni episodio, Bob doveva tornare in carcere. Anche questa regola venne infranta, precisamente negli episodi Il grande schifoso detective e Il Bob italiano.

Note

Voci correlate
 I Simpson

Altri progetti

Collegamenti esterni

Personaggi de I Simpson
Criminali immaginari
Clown immaginari
Attori immaginari
Sindaci immaginari


Malaria remains a major cause of mortality in the world, especially in Africa. The disease is caused by Plasmodium parasites, which are transmitted by mosquitoes. In the first hours following infection, parasites injected by the mosquito migrate from the skin to the liver, where they initially multiply before infecting red blood cells.
Until now, the mechanisms of parasite entry into liver cells remained poorly understood. Using cell culture systems, the team of Olivier Silvie, researcher at Inserm (Centre d'Immunologie et des Maladies Infectieuses) showed that the main species causing malaria in humans, Plasmodium falciparum and Plasmodium vivax, use distinct pathways to infect liver cells.
By employing a genetic approach in a rodent malaria model, the researchers identified a key parasite protein that determines which entry route is used. This work, performed by teams of Inserm and Universities of Paris, Strasbourg and Oxford-Mahidol, reveals new aspects of the host-parasite interactions.
The results open new perspectives for the development of antimalarial strategies aimed at blocking the early stages of infection.
1Sorbonne Universités, UPMC Univ Paris 06, INSERM, CNRS, Centre d'Immunologie et des Maladies Infectieuses, U1135, ERL8255, F-75013, Paris, France.
2Shoklo Malaria Research Unit, Mahidol-Oxford Tropical Medicine Research Unit, Faculty of Tropical Medicine, Mahidol University, Mae Sot, Thailand.
3Centre for Tropical Medicine and Global Health, Nuffield Department of Medicine Research building, University of Oxford Old Road campus, Oxford, United Kingdom.
4INSERM, U1110, Institut de Recherche sur les Maladies Virales et Hépatiques, F-67000, Strasbourg, France; Université de Strasbourg, F-67000, Strasbourg, France.
5Sorbonne Universités, UPMC Univ Paris 06, INSERM, Institute of Cardiometabolism and Nutrition, UMR_S 1166, F-75013, Paris, France.
6INSERM, U935, F-94807, Villejuif, France.
7Université Paris Sud, Institut André Lwoff, F-94807, Villejuif, France.
8Assistance Publique Hôpitaux de Paris, Centre Hospitalo-Universitaire Pitié- Salpêtrière, F-75013 Paris, France.
9Institut Hospitalo-Universitaire, Pôle Hépato-digestif, Hopitaux Universitaires de Strasbourg, F-67000 Strasbourg, France.


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z-news.link News of the World
Home / sports / Premier League: "Shakhtar" and "Dynamo" attacking opponents, 8 of clubs don't score
Premier League: "Shakhtar" and "Dynamo" attacking opponents, 8 of clubs don't score
13.03.2019	sports 44 Views
Summing up the results of the 21st round of the championship of Ukraine on football.
The same tour was one of the worst in the season in terms of performance. Suffice it to note that of the 12 clubs, only four (Shakhtar, Dynamo, "Alexandria" and "Olympic") managed to leave the pitch with goals. If not for the extravaganza two giants, a performance indicator in the round would be close to zero.
In the context of the struggle for the top 6 21st the tour was successful for "Dawn" – team Yuri Vernidub after zero draws in the match against Lviv staked
fourth row. Mariupol and Vorskla are guaranteed to make it into the top 6, if in the final round of the first part of the season will beat Karpaty and Arsenal, respectively.
See also: NHL. The second round of the playoffs. "Columbus" and "San Jose" took the series
All results of Matchday 21:
Alexandria – Marseille 1:1
Goals: Kovalets, 70 – Dieye, 88
Dynamo – Arsenal-Kyiv 4:0
Goals: Garmash, 28, 39, Sickly, 37, Tsygankov, 45+1
Shakhtar— Karpaty 5:0
Goals: Kovalenko, 6, 64, Matvienko, 35, Maicon, 44, Tyson, 79
FC Lviv – Zorya 0:0
Vorskla – Desna 0:0
Mariupol – Chernomorets 0:0
Top 5 scorers:
See also: NHL: the hard-fought win, "St. Louis" and "Toronto"
15 – Junior Moraes (Shakhtar Donetsk)
11 – Marian Swede (The Carpathians)
10 – Marlos (Shakhtar Donetsk)
10 – Victor Tsygankov (Dynamo)
7 – Yevhen BANADA (Alexandria)
Top 5 assistants:
9 – Taison (Shakhtar Donetsk)
8 – Ismaily (Shakhtar Donetsk)
7 – Junior Moraes (Shakhtar Donetsk)
6 – Vitaliy Balashov (Marseille)
5 – Andriy Tsurikov (Alexandria)
In the final round of the first part of the season from 16 to 18 March will be played the following matches: "Chernomorets" – "Alexandria", "dawn" – "Shakhtar", "Desna" – "Lviv" Karpaty "Mariupol", "Olimpik" – "the Dynamo" and "Arsenal" – "Vorskla".
© 2019, z-news.link. All rights reserved.
Tags attacking clubs dynamo league opponents premier shakhtar
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Eåmtis (Suruhåna)
Integrated system of curing
Ancient CHamoru Medicine Making
Because of the biological nature of our bodies, people get sick, and people die. Illness and death are a part of life. However, people are not just physical beings—our complex cultures separate us from other living organisms. As people, we try to make sense of natural phenomena like illness and death in terms that we can understand. We rely on culture to tell us what is death, why people get sick, and how to deal with other health-related issues. Our culture also tells us what are the appropriate responses and treatments to heal our bodies or to make us feel better.
In anthropology, the term ethnomedicine refers to the beliefs, knowledge and practices of a culture group that relate to health. Researchers who study ethnomedicine examine how different cultures understand the notion of health and the causes of illness. They also look at the different treatments or cures for physical, and even mental, ailments used by the health practitioners of a particular culture group.
Regarding health, many cultures traditionally believe that a healthy individual is one whose body is in balance or in equilibrium (for example, a balance between hot and cold, or wet and dry properties) and that illness occurs when something upsets that balance. Sometimes, the cause may be seen as supernatural—a curse or punishment by some angry god or spirit. Some groups have full-time specialists for examining or treating health-related issues, while other groups may rely on individuals who treat others on a part-time basis. Often, a variety of plants are gathered and processed to produce medicines. Also, a spiritual component of treatment, which may include special ceremonies or chanting, may be utilized. All of these comprise the ethnomedicine of a particular group, and so the medical practices and beliefs utilized by them are rooted in the culture of that group.
Much of what we know of traditional CHamoru medical practices is from accounts by early European explorers and missionaries. The ancient CHamorus had specialists known as makåna that treated illnesses, but who also dealt with other matters between earth and the spiritual realm. These individuals were trained in the use of medicinal plants and had techniques for healing or easing pain. There were also kakåhna, who could manipulate spirits for malevolent or evil purposes. Although the introduction of Catholicism and Spanish colonization effectively eradicated the makåna and kakåhna of the ancient CHamoru culture, amazingly, the knowledge and practice of traditional healing survived, maintained today by modern CHamoru practitioners known as suruhåna. It is conceivable, therefore, that by looking at present day suruhana/-u we can learn something about the training and skill used by traditional healers of ancient times.
Guello yan Guella, kao siña mañuli' yu' tinanum-mu ya yanggen måtto hao gi tano'-hu chule' ha' hafa malago'-mu?"
Ancestors, I respectfully ask permission to gather some of your plants and if you should come to my place, please take whatever you need.
[The medicine person (suruhåna) would quietly make this request as he/she entered the jungle to gather herbal medicines for a sick person].
Use of natural medicines was an important part of life in pre-contact Guam. Early researchers have also written striking observations about how the use of herbal medicine has persisted through hundreds of years even with many and different contacts with the outside world. CHamorus depended on the traditional healers to help with their ailments. In fact, traditional medicine and healing continues as an established knowledge and a cultural practice in Guam and throughout the Micronesian Region.
Overall, CHamorus were a robust people who enjoyed good health. Archeological and ethnohistoric records discuss certain endemic diseases such as yaws, arthritis and anemia which some CHamorus suffered from as well as other chronic health problems as a result of famine and dental disease.
Illustrated by Raph Unpingco
Ancestral worship is one aspect of early Austronesian cultures that is commonly practiced throughout the Pacific. In late prehistoric times, CHamorus practiced ancestral worship of carefully curated skulls of their deceased relatives (mananiti). Ancestral skulls were kept in a high place in their house and were respectfully acknowledged with a bow. There appeared to be no other symbols, objects or facilities associated with CHamoru traditional beliefs of the spirit world.
Traditional healers in most cultures, sometimes called shaman (makåhna), in addition to sorcerers (kakåhna), medicine men and herbalists (suruhåna), ministered to the ills of their society and the well-being of the inhabitants.
Ancient CHamorus called upon the makåhna and kakåhna who were believed to possess the powers to cause or cure illness by calling upon the mananiti ( sing. aniti ) spirits of the ancestors. They implored upon supernatural powers to heal illnesses, but also to foresee future events, bring rain, allow good fishing, and take away problems.
With the implementation of Christianity and the breakdown of CHamoru traditions, the makåhna/kakåhna who once played important roles in the lives of the CHamorus lost considerable influence. The people were instructed in the Catholic faith, their children were baptized and they were led to believe that some of their traditional practices, such as ancestral worship, were no longer good practices. Although the makahna/kakahna did not survive in CHamoru culture, the most intact survival of pre-contact CHamoru is the herb doctor or suruhåno/suruhåna.
When the ancient CHamoru did become sick, their ailments could be cured with the use of herbal medicines (åmot) prepared by themselves or traditional medicine healers called siruanu/suruhånos (male) and suruhånas (female). These terms derive from the Spanish word cirujano which means surgeon or doctor. Freycinet (in Russell 1998) stated that traditional healers were called eamtis and most were women.
Suruhånu administers medicine. Photo from Herman Crisostomo's Guam Paradise Island
By looking at modern suruhano and suruhana, we can get a glimpse of how individuals train to become traditional healers. Not everyone could become a suruhåna and in many cases, the gift of being a suruhåna was passed through the family line from generation to generation. The chosen one, at a very young age, was an apprentice to his mother, father or other extended family member who held the knowledge of medicine-making. In some cases, a person who was not related but who had a strong interest in medicine making learned from one of the village traditional healers.
The suruhåna's "classroom" for their apprentices was the natural environment, while the home was the "hospital." At a young age, an apprentice foraged the jungle with the suruhåna gathering herbal plants that were needed. From many lessons, the apprentice learned the names of the plants, the places (or medicinal landscapes) where they were abundant, when they could be picked, and the types of illnesses that they would heal. At a later stage, with enough experience, the apprentice would be sent to gather some of the herbal plants alone. The suruhåna kept the most essential medicinal herbs as secret knowledge until it was an appropriate time to pass that knowledge on to the new suruhåna. The apprentice learned by observing, working along with the suruhåna, practicing under guidance, and then finally practicing alone. Suruhåna also taught their apprentices respect for the spirit of the taotaomo'na (literally, "people before us") who they believed guided success in their healing practices.
Every village had at least three recognized suruhånas who were specialists in areas similar to doctors of the present times. For example, some suruhånas were skilled in medicine for babies and women while others specialized in healing taotaomo'na illnesses or ailments such as the common ailments of cold, muscle aches, and skin problems. These traditional healers were herb doctors, chiropractors and masseurs all wrapped into one.
Suruhånu processing medicinal plants. Photo from Herman Crisostomo's Guam Paradise Island
According to anthropological research of CHamoru traditional healers an integrated system of curing that is practiced today is probably similar to the system used in pre-contact times. This integrated system included four facets: 1) use of medicinal plants, 2) massage, 3) application of body lotion (pålai) and/or 4) dietary advice (madieta). Each facet had a separate methodology and all were considered essential in the system of curing.
(1) Use of medicinal plants
Studies of the kinds of plants used by CHamoru healers include plants for treating fevers, colds, headaches, blood circulation, skin diseases, baby illnesses, women and taotaomo'na illnesses among many other ailments. These plants, still found in the jungles of the Mariana Islands, are the same plants that have been used and passed down through oral traditions.
In addition, early researchers have written about the use of prayers, chants, and beliefs in the supernatural at all stages of the healing process. Respect for nature and the spirits is of the land is demonstrated through the healers' chants and other actions, such as requesting entry into the jungle before gathering or using medicinal plants and tools and for guidance in healing a sick person.
The suruhåna used a system for gathering plants. Having met the sick person and learning the reason for their visit to his home, the suruhåna would determine the illness and subsequently plan when and where he would go to gather medicinal plants. If necessary, he might travel long distances or spend an entire day searching for plants that only grew on the coastal, inland, or mountainous areas of Guam. For example, suruhåno Emilio Ayuyu describes how he typically begins gathering plants in the early morning hours and ends at 3 pm, or before sunset. Plant gathering stops at this time out of respect because this is the time when the taotaomona are most active.
Once gathered, each plant was cleaned, washed and left to dry in preparation for medicine making, which could occur within a few hours or the following day. For medicine preparation, specific parts of the plants were pounded and then boiled, and then either drunk by the patient, or applied using medicinal tools. Herbs were applied externally to the injured parts, but the sick person also drank the juice mixed with powdered ginger, which was commonly mixed with all herbal medicines.
Tools that may have been used in medicine preparation have been found, some of these dating to the Latte Phase of Marianas Prehistory. These include stone and shell adzes, stone mortars (lusong) and dishes, pestles (lommok) and pounders of stone, fishhooks of shell and bone, spear points and many other items of stone, bone and shell. Stone mortars and pestles are the most recognized ancient tools for the preparation of medicine. Evidence of other artifacts found in Latte sites such as pottery vases and the presence of fire would have also been used in the preparation of medicine.
(2) Massage
Although there is no historical account that describes the use of massage by ancient CHamoru healers, it is considered an important component of the modern suruhåna's healing techniques. The suruhåna would massage a person with vigorous pounding (matantan) or a lighter touch (malasa) to dislodge air bubbles and blood clots that are formed inside the body. It was believed that hot swelling (pukpuk maipe) caused by air bubbles and blood clots occur naturally or were a result of spirits, such as taotaomo'na. Concentrated massage would be applied to areas of strong pain and swelling.
(3) Application of body lotion (pålai)
Suruhåna also believed that ailments such as Pukpuk maipe (hot swelling) or even mental illness (atmariao) could be caused by the taotaomo'na spirit. The CHamorus believe any disrespect to the land, sea, sky and other spiritual places can anger the taotaomo'na. These kinds of ailments required application of body lotions (pålai) such as coconut oil (lañan niyok), lime, ilangilang (a fragrant flower) and other lotions that were massaged onto the body to promote healing.
(4) Dietary advice (madieta)
Finally, the patient would receive dietary advice. The suruhåna would give advice about the types of foods to eat and herbs to drink for better health.
Passing on traditions. Photo provided by Guahan Magazine, David Castro.
Ancient CHamoru healing knowledge and practices are still being used today, in spite of all the disasters, wars and attempts to disrupt the cultural activities of the CHamoru people. These practices have been maintained and passed through oral traditions by the CHamoru population.
Today's generation of CHamorus throughout the Mariana Islands have kept the traditional knowledge of medicine making alive through a renewed interest and sharing with CHamoru families and interested people of the Marianas. Interviews with surhånos and surhånas throughout the Marianas has led to a compilation of medicinal knowledge in books, videotapes, compact discs and websites for future generations. A contemporary group of community-recognized suruhånos and suruhånas have led training sessions and conferences on traditional medicine and practices. Present day suruhånas practice traditional herbal medicine making and healing alongside medical doctors and continue to fill a niche in Guam's sources of health care services.
"It is somewhat ironic that what kept the native healing practices going in the past was the protection that it received from the indigenous population…" (Directory of Tradtional Healers).
Protecting native traditional knowledge and practices now means sharing the information with the world.
By Marilyn C. Salas, PhD
Research for this entry was conducted in part by University of Guam ED 265: Culture and Education Undergraduate Students: Thilda Chamness, Melissa Tayama, Naomi Uy, Georgina Cruz, Faith San Nicolas, Rema Faith Olaguera, and Michael Argenal, under the direction of professor Marilyn C. Salas, PhD.
CHamoru Health – Archeological studies reveal that, aside from diseases and chronic health problems, the ancient CHamorus also suffered traumatic injuries, like broken bones, many of which eventually healed. Men were in overall better health than women because of the kinds of hard labor women performed.
Makåna and Kakåhna – In anthropology, a shaman is an individual who is a part-time specialist involved in healing. A sorcerer is an individual who communicates with the supernatural in the belief that spirits can act on their behalf for the purpose of good or evil. Although these terms, in addition to "medicine men" and "herbalists" are sometimes used interchangeably, CHamorus did distinguish between their healers, known as makåna, and their sorcerers, or kakåhna, who manipulated spirits to do evil. The term suruhåna is believed to derive from the Spanish word cirujano and is the practitioner that emerged after Spanish colonization; in addition, a suruhåna may use a combination of traditional knowledge with Christian beliefs and practices.
Suruhånu/a – Unlike Spanish, CHamoru does not categorize nouns as either masculine or feminine. Because suruhåna is derived from the Spanish word cirujana, it is then assigned a gender, and made plural by adding an "-s."
Borja, Manuel F. and Jose S. Roppul. Lepblo pot Suruhåna/Suruhåno Siha yan Åmot Siha gi I Commonwealth i Sankattan na Islan Marianas (Directory of Traditional Healers and Medicinal Plants in the Commonwealth of the Northern Mariana Islands). Saipan, CNMI: Inetnon Åmot/Ammwelil Safeyal Faluwasch, 2009.
Cunningham, Lawrence J. Ancient Chamorro Society. Honolulu: The Bess Press, 1992.
McMakin, Patrick D. "The Suruhanos: Traditional Curers on the Island of Guam," Micronesica Vol. 14, no. 1 (1978): 12-67.
Reinman, Fred. An Archaeological Survey and Preliminary Test Excavations on the Island of Guam, Mariana Islands, 1965-1966. Mangilao, Guam: University of Guam Richard F. Taitano Micronesian Area Research Center, 1977.
Russell, Scott. Tiempon I Manmofo'na: Ancient Chamorro Culture and History of the Northern Mariana Islands. Micronesian Archaeological Survey Report 32. Saipan, CNMI: CNMI Division of Historic Preservation, 1998.
Safford, William E. The Useful Plants of the Island of Guam by William Edwin Safford. A Facsimile Reprint of Original Book Published in 1905. Agana Heights, Guam: Guamology Publishing, 2009.
Thompson, Laura M. Guam and Its People: With a Village Journal by Jesus C. Barcinas. 3rd ed. Princeton, NJ: Princeton University Press, 1947.
Workman, A.M.P., Cruz-Ortiz, L., & Kaminga-Quinata, D. "The Use of Traditional Medicine & Healers on Guam: Suruhånas, Suruhånos yan i Che'cho niha." In Science of Pacific Island Peoples: Fuana, Flora, Food and Medicine. Vol. 3. Edited by John Morrison, Paul Geraghty and Linda Crowl. Suva: Institute of Pacific Studies, University of the South Pacific, 1994.


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April 13, 2018 6:53PM ET
Wild Horses: How 'The Rider' Became the Breakout Movie of 2018
How a Chinese filmmaker and a real-life ex-rodeo star turned a modern-day Western into the American-indie story of the year
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Inside 'The Rider': How a Chinese filmmaker and a real-life ex-rodeo star turned a modern-day Western into the American-indie story of the year.
There's an epic magic-hour shot in Chloé Zhao's The Rider that's so gorgeous, every great Hollywood Western director might want to hang up their spurs. Real-life saddle bronc rider Brady Jandreau, a daredevil 20-year-old with a busted head, hand and hip, mounts a horse that could kill him. At his last rodeo, a stallion stomped on his skull. Jandreau barely survived, but his doctor's orders to never ride again are just a slower kind of death here on South Dakota's Lakota-Sioux Pine Ridge Reservation. But there he goes, galloping past the sunset. You can imagine John Ford beaming somewhere.
Based loosely on the story of Jandreau's own true story of going from a rodeo up-and-comer to an injured cowboy without a cause (and a need for catharsis), The Rider follows this modern-day wrangler as he struggles to put his life back together. We watch his daily routines, his attempts to fit into "normal" society, his late-night hangouts with his friends and his frustrations at having to figure out his second act. (One scene, in which the character breaks a horse, features Jandreau actually taming the animal in real time.) It's an incredible, indelible reimagining of the mythology of the American West – yet the Chinese filmmaker admits that while she's now directed two Westerns, she'd maybe watched a grand total of three before picking up a camera. If her sophomore film proves nothing else, however, it's that these images and feelings we think of as pure prairie Americana are universal. She has no sentimental baggage about the genre – a freedom that gives The Rider some of its unusual gait.
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"I didn't grow up with that kind of archetype," says Zhao on the phone from her current home in Ojai, California. So when she ended up in the heartland and first met a teenage Brady Jandreau several years ago, the result wasn't: Here's the second coming of John Wayne. He was just another young trainer, albeit one with an uncanny gift for empathy. "It wasn't, '[The] Marlboro Man! Macho!'" laughs Zhao. "If he can manipulate the emotions of a horse," she recalls thinking, "maybe he can manipulate an audience. Maybe he can act." Zhao saw him as a new breed of movie star: a stoic, sinewy guy who radiated authentic frontier masculinity and a palpable sense of presence. And though teeming Beijing is over 700 times the population of Pine Ridge, she unexpectedly saw herself in him. She understood what it was like to grow up with a sense that people have it better somewhere else.
Growing up in Northern China, Zhao would overhear her father cry while listening to ballads about going home to Mongolia – a distant cousin to our home-on-the-range ballads of yore. But as a self-described "wild child" in Nineties Beijing, she had no access to classic films or any kind of indie or arthouse cinema. The first movie she ever saw, she says, was True Lies – one of the very first American action blockbusters imported into China. After she was blocked from joining the Youth Communist Party for low grades – "I just wanted to get discount movie tickets!" – she left China to study political science in London. Then Zhao moved to New York and began to take film classes. After sampling three megalopolises, she flew to South Dakota on a whim, checked into a motel and introduced herself as a director developing a movie about the kids of the reservation.
"If I was going to tell them I was making a documentary, I think it might have been a little bit harder to get people onboard," admits Zhao. Paradoxically, the locals were more honest when they could pretend their facts were fiction. "There's a healing process in art, to ask these young people to play out some of their intimate personal struggles … sometimes [it's] even more true than if you just point and shoot." Her first film, the semi-fictional drama Songs My Brother Taught Me, took her to Cannes and Sundance. Still, South Dakota kept pulling her back. "It's my cinematic universe!" laughs Zhao, complete with recurring characters, though at first, she wasn't sure of what the second story was that she was meant to tell. She just knew that kid who could tame stallions would be her next hero.
Meanwhile, as the director was bopping across continents, Brady Jandreau's life in South Dakota was stable. His dad, Tim, plopped him on a saddle when he was 15 months old – and the kid pretty much never got off. He rode sheep in his diapers, and full-grown horses solo by three and a half. He met his best friend, Lane Scott, when they were toddlers; as they grew up, they straddled bulls and saddle broncs. Lane was the star. "He was a badass," says Jandreau. Both figured they'd turn pro and bet their futures on eight seconds astride a bucking bronco; Lane's injury in a car accident sidelined that particular dream. But Brady kept going for the brass ring. "You could be heading home with a gold buckle and a pile of money – or you could be going home with a broken leg," he says. "I would truly risk my life to keep doing what I love."
Then on April Fools Day, 2016, a bucking rodeo bronc cleaved a three-inch, knuckle-deep gash in Jandreau's skull. Manure and sand ground into his brain. Jandreau went into a seizure, then a coma. He woke up and ripped the tubes out of his body ("I was trying to go home") and was forced back into unconsciousness. When he woke up the second time, he looked around for his girlfriend, Terri, and proposed.
That's where Zhao found her start for The Rider, with the "crazy-ass dreams" a horse cloaked in shadows that her collaborator had in the hospital. The stapled scar on his head is real. Tim Jandreau plays his screen father; that's Brady teen sister playing the character's sibling with Aspergers syndrome, who points to his bandage and hums, "This is a head. It's called 'skull.'" The young man visits in the hospital – that's the actual Lane. Above all, there's no kidding about his doctor's orders to quit riding or else. For six months, as the plates in his head fused, Jandreau wasn't even supposed to jog. Instead, he was on a horse in two weeks.
"After my head injury, I was, like, bipolar, an emotional wreck," he admits. Still, Zhao prodded him to concentrate on, and control his feelings. Jandreau may have been struggling. But at least his character, named Brady Blackburn, knew when he was supposed to cry. He told Zhao his saddest childhood memories, both of them about foals he bottle-fed before they died, until the tough cowboy began to sob on camera. "That was a version of coping for me," Jandreau says. "I had to find a whole new way to harness my emotions. I don't think you're very strong unless you've cried a few tears. You've never really lived."
Thanks to its lead's stripped-down, close-to-the-bone performance, The Rider makes you feel as if you're a fly on the wall of this character's heartbreaks, setbacks and small victories. (Zhao's hunch paid off: He has an amazing screen presence, though the young man isn't actively pursuing any more acting gigs.) And thanks to the movie, the now-22-year-old Jandreau can claim to have done a lot of living in the two years and some change since his accident. He married Terri (who has a small, compelling cameo in the film), walked La Croisette in France, traveled around the United States promoting the film and started his own breeding business, Jandreau Performance Horses. He also had a daughter, Tawnee Bay, who swayed on a stuffed pony when she was 10 days old.
Plus he taught Zhao to ride, too. "On Pine Ridge, there's a joke that I'm the Lakota girl with the weird last name," she laughs, a Chinese girl in braids constantly being mistaken for Native American until she opened her mouth. She made him an actor; he made her a cowgirl, even if after only an hour of guarding cattle, she was ready to slide off the saddle. And she's not done with the frontier yet: Zhao's third movie is going to be a historical piece about a black sheriff in Creek and Cherokee territory, now present-day Oklahoma. "We tend to generalize nowadays, everything is so black and white when it's very complicated," she says. "But once upon a time, this was a place [where] these people from different backgrounds tried to build a nation together." And she's just the person to bring that American story full circle.
In This Article: Sundance Film Festival


It is Saturday and I am certain it is forty degrees outside. We have started to open the boxes with solar lamps and they seem to work and be in good condition. This morning, Yngve o I started to put the first lamps out in the sun to charge.
Because they are in better condition than we expected, we have decided that we will check them at the time of sale. That will be easier than checking all of them now.
Yapeco had just arrived from Matadi and now we are waiting to Tutondele, the other solar lamps seller, to show up with the rest of the lamps. The car and the driver is already here. Good!
We are also waiting for someone to help us with the fan in our bedroom. It worked fine yesterday. In the middle of the night I shut if off, and after that, it wouldn't start again. Annoying. Until our fan is mended, Albert who works on Nzo Binati, has lent us another fan. We are very grateful for this.
Tutondele came, and he had sold substantially more lamps than he had reported. Great!
Together with Yapeco and the driver Augustin, we had lunch at the restaurant near where we live.
The wind started blowing heavily when we were at the restaurant, a rainstorm came and it suddenly became easier to breathe. We managed to aviod the rain, it held up when we walked back. When we came home, Albert had rescued the box with the four lamps that we had left outside in the sunshine.
Yapeco had an errand in town and promised to buy bananas to us. I put bananas on my sandwiches, instead of marmalade.
But last night we ate something even better: Sally's crisp bread with caviar.
Tonight, Yapeco and Yngve are planning for the next week. If we can arrange the meetings that we want to take place here in Kinshasa, we hope to leave the capital Wednesday afternoon. We will then sell as many of the solar lamps as we can in the Luozi area. The lamps would fill a greater need there than here, in the capital. In Luozi, they have also done much advertising on the radio for our lamps.
Skönt att lamporna fungerar och att ni inte behöver plocka upp alla för att ladda. Jag är inte överraskad av det ni skriver. Det är vad jag trott.
Det är rätt att lamporna behövs bäst i Maniangaområdet.


Previous edition: New York: Portfolio/Penguin, 2014.
This is not a crazy, idealized notion. Today, in many successful organizations,great leaders are creating environments in which people naturally work together to do remarkable things. In Leaders Eat Last, Simon Sinek, internationally bestselling author of Start With Why, investigates these great leaders from Marine Corps Officers, who don't just sacrifice their place at the table but often their own comfort and even their lives for those in their care, to the heads of big business and government - each putting aside their own interests to protect their teams.


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Anthropogenic noise affects song structure in red-winged blackbirds (Agelaius phoeniceus)
Wilson, David R. and Hanna, Dalal E. L. and Blouin-Demers, Gabriel and Mennill, Daniel J. (2011) Anthropogenic noise affects song structure in red-winged blackbirds (Agelaius phoeniceus). Journal of Experimental Biology, 214 (21). pp. 3549-3556. ISSN 0022-0949
[English] PDF (The version available in this research repository is a postprint. It has the same peer-reviewed content as the published version, but lacks publisher layout and branding.) - Accepted Version
Official URL: http://dx.doi.org/10.1242/jeb.060194
Anthropogenic noise can mask animal signals that are crucial for communicating information about food, predators and mating opportunities. In response to noise masking, signallers can potentially improve acoustic signal transmission by adjusting the timing, frequency or amplitude of their signals. These changes can be a short-term modification in response to transient noise or a long-term modification in response to chronic noise. An animal's ability to adapt to anthropogenic noise can be crucial to its success. In this study, we evaluated the effects of anthropogenic noise on the structure of red-winged blackbird song. First, we manipulated the presence of anthropogenic noise by experimentally broadcasting either silence or low-frequency white noise to subjects inhabiting quiet marshes located away from roadsides. Subjects exhibited increased signal tonality when temporarily exposed to low-frequency white noise, suggesting that red-winged blackbirds can alter their signals rapidly in response to sudden noise. Second, we compared songs produced in quiet marshes located away from roadsides with songs produced during quiet periods at roadside marshes that are normally noisy. This allowed us to test whether birds that are exposed to chronic anthropogenic noise exhibit altered song structure during temporarily quiet periods. Subjects residing in roadside marshes that are normally polluted with anthropogenic noise sang songs with increased tonality during quiet periods. Overall, our results show that anthropogenic noise influences the structure of birdsong. These effects should be considered in conservation and wildlife management.
http://research.library.mun.ca/id/eprint/9784
anthropogenic noise, behavioural plasticity, birdsong, communication, conservation, red-winged blackbird, song structure
Department(s):
Humanities and Social Sciences, Faculty of > Psychology
Science, Faculty of > Psychology
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Hertfordshire home: A pretty converted power station near Ware
PUBLISHED: 12:29 16 July 2019 | UPDATED: 12:29 16 July 2019
Words: Pat Bramley. Photos: The Modern House
The old barns have been converted into a showpiece kitchen and dining room (photo: The Modern House)
The Modern House
With a baby imminent, a couple with a vision took on a former power station near Ware and set about realising its potential as a family home
The Electric House - how's that for the first line of an address? Twelve years ago, when Darren Bender spotted it listed on an estate agency website it wasn't the prospect of living in a converted power station which fired his imagination, so much as discovering the property had a cinema room. Darren and his wife Celia Taylor are in the film business. Cinema rooms are fairly common in the upper tier of the property market today, back then they were a rarity.
At the time Celia was a freelance producer for independent production companies and broadcasters. She and Darren met when she hired him as director for a car programme. Since then her career has soared into the BAFTA orbit. She's now MD of a film company with Question Time election specials on its list of credits.
The hunt for a property in Hertfordshire followed the sale of their farmhouse in Norfolk. 'We were looking for a very similar type of house, somewhere commutable because my wife works in London and close to an airport for flights to Spain to see Celia's mother who was living there at the time,' Darren explains. 'Anything similar in Hertforshire to our farmhouse in Norfolk was double our money, so we started to look for something we could do up.'
The building housed a steam engine which generated electricity for the manor house (photo: The Modern House)
At the time Celia was heavily pregnant with their first child. 'By this point she was saying, "Just get me a house!".'
The urgency of the situation helped Darren persuade his wife to view Electric House in the 200-acre grounds of Hanbury Manor. At the beginning of the last century the building housed the steam engine that pumped water from a well to supply electricity to the family who lived in the manor house in the village of Thundridge near Ware.
The old power station is one of a group of buildings in Poles Lane that previously belonged to the manor. Like Electric House they have been sold off and converted by new owners into a cluster of character properties. The manor house is now a Marriott hotel and country club. The facilities, including golf course, swimming pool and gym are open for locals to use through a membership scheme.
When Darren and Celia viewed Electric House his only disappointment was the absence of the promised home cinema.
Full height glazed doors separate the hall from the main living space (photo: The Modern House)
'The so-called cinema room was a semi-derelict barn leading into another semi-derelict barn,' he remembers. 'They were attached to the main house but weren't habitable.'
The previous owner, a sculptor, had embarked on converting the barns but there was still a lot of untapped potential. The artist was using them as a workshop to store wood and tools to create life size sculptures to display in the double height room he used as a gallery in the main house.
Despite the absence of the cinema, Darren and Celia were sufficiently intrigued. A look around was enough to convince them it was the project they'd been hoping for.
The 30-ft main living space has many features of the building's original purpose (photo: The Modern House)
'There were no windows on the outer walls of the barns,' Darren says. 'They weren't capitalising on the fabulous views over the countryside. That was what sparked our imagination.
'On the downside, it would be a very big project which could take years. We'd never done anything like it before. Our main concern was that buying the house would take all our resources and there wouldn't be any money left to fund the work it needed to realise the potential.'
What swung it for them was the imminent arrival of the baby.They moved in and immediately set about finding an architect. 'We saw several,' Darren remembers. 'All of them wanted a great deal of money to design and manage the scheme. We'd already seen a set of plans drawn up by a previous couple who'd shown an interest in the house. Their design looked great from the outside but we knew from living here for six months that the interior layout wasn't practical. When you're drawing up plans for a house you need to do it from the inside out.'
The light-filled dining room. The former barn was opened up to give views over the surrounding countryside (photo: The Modern House)
The solution for the couple was to hire a draughtsman. 'We told him our ideas and he did the drawings. It worked brilliantly and saved us a lot of money. By hiring a draughtsman who lived and worked locally, we thought he'd know what the local planners were likely to accept and what they wouldn't and that's what happened.'
The old barns have been converted into a showpiece kitchen and dining room with long windows along one side giving mesmerising views of the surrounding valley and woodland.
The 30ft main sitting room, a couple of steps up from the dining room, has many of the industrial features which have been preserved to protect the historical integrity of the building.
A valve sticking out of a wall in the sitting room was part of the original steam engine. The well it drew from has become a particular attraction since the new owners fitted a glass lid and a 20 metre rope light to illuminate just how deep it is.
Rich blue adds a sense of intimacy to one of the bedrooms (photo: The Modern House)
'Guests quickly hop off when I switch on the light,' Darren laughs. He found the light on eBay. It had previously been used for a mobile disco.
Making the most of the architecture and with a sense of fun, visitors can also swing across the room on the end of a rope suspended from a spindle in the ceiling beams. The couple's two children use it as a short cut to their favourite spot in front of the wood burning fire.
The home is full of reminders of its past. High up on one of the walls of the kitchen is a tank that stored water for a pair of steam-powered fire engines. Following a fire at the manor, two Merryweather vehicles were housed in the barn where the kitchen now is.
Elsewhere on the ground floor is a family room, a study and a further sitting room used as a playroom by daughter Roxy and son Beau when they were younger.
Modern country style with painted wood and traditional suite in the family bathroom (photo: The Modern House)
Between the ground floor and first floor is 'a secret room'. Behind what looks like the entrance to a cupboard in the night cloakroom half way up the stairs is a vast storage area.
'It would originally have been built into the roof to make better use of the space in the high-ceilinged rooms downstairs,' Darren explains.
At the top of the stairs is a galleried landing with two bedrooms at each end and a further flight of stairs to the second floor master suite with dressing room and shower room.
During the children's formative years Darren worked as a film producer and director based at home. His most recent production for TV is a dark love story called Ferryman. 'It's the first one I've written, produced and directed.'
Pinks and blues create a charming feel in this bedroom (photo: The Modern House)
Having spent four years bringing it to the screen as a freelance producer, he's keen to work for a mainstream film company again. It's partly for this reason and to be closer to the senior school of their choice for their son that they're planning to move the family including their two dogs closer to Letchworth. The Electric House is for sale for £1.35m through the London office of The Modern House.


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