Exhibitions come and go; they are what museums do. Collections are slowly built and stay; they are what museums are. "The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions" at the Metropolitan Museum of Art plays both sides of this dynamic. It catches a monumental institution at a moment of major change.
As the title implies, the show is a tribute to Mr. de Montebello, who is leaving the Met after being its director for more than 30 years. For the occasion, curators in 17 of the museum's departments have chosen objects in their fields of expertise from the permanent collection. These have been assembled and intermeshed under the coordinating eye of Helen C. Evans, curator of Byzantine art.
And there were many O.K.'s: some 84,000 in total. The 300 objects in the show represent a tiny fraction, and a madly eclectic one. Chinese scrolls, Greek vessels, Oceanic effigies and an 18th-century American pickle holder share the spotlight, with no object privileged as better — grander, rarer, prettier — than any other. This is a wonder-cabinet situation, an exercise in proprietorial pride, an unabashed, if surprisingly low-key, display of fabulousness.
It is also one of the more radical exhibitions of Mr. de Montebello's tenure. As director, his goal was to create a culturally inclusive museum, and he did. Yet within that museum, cultures were sorted out and confined within traditional, in many cases artificial, borders. In this show the borders are down: all cultures share a common space; they mingle, exchange ideas and vibes, and sometimes clash, as they do in real life.
Real life, or at least contemporary life, has never gained full admission to the Met in the de Montebello era. When culture wars raged outside in the 1980s and '90s, the museum barely acknowledged them. Mr. de Montebello declared himself elitist, and proud. Uplift, not political relevance, was art's proper sphere. The chill, bracing perspective of a "new" art history, which posits that art is ideologically manipulative and is as often as not an advertisement for top-down social power, has found scant response here.
There isn't much evidence of such cultural commentary in the show, either, except perhaps incidentally, in the way certain objects line up. When standing at the entrance to one gallery, it is possible to imagine that the American Indians in Delacroix's painting "The Natchez" are under fire, both from an ornate French flintlock gun mounted on the wall nearby and from Augustus Saint-Gaudens's gilded statue of Diana, who aims an arrow in their direction from halfway across the room.
What's most interesting about the show, politically, is the leveling process it represents. At the Met we are accustomed to seeing Greek art, seedbed of Western classicism, isolated from the rest of the museum in immaculate, light-flooded halls, a kind of sanitary zone. Here it's throw into the mix, and that changes our thinking about it.
Classicism begins to look like an impure, iffy proposition in an installation halfway through the show, where the marble head of a startled-looking Hellenistic goddess is sandwiched between Brancusi's neo-Cycladic "Bird in Space" (1923) and a Grecian evening gown designed, around 1965, by Madame Grès. Athena meets Modernist abstraction, and abstraction meets Ava Gardner.
Much of the work is just plain great no matter where you're coming from. Almost everything in the first room is, beginning with a scroll painting of a horse named Night-Shining White from Tang-dynasty China, its surface swarming with seals left by admirers since the eighth century.
The Met's oldest African piece is here: a twisting terra-cotta figure of a man, his back covered with boils or jewels — was he meant to record or ward off a plague? — from Djenné in Mali. From India comes a red sandstone Buddha, but also an Islamic inscription carved in relief, its letters as slender, upright and dense as bamboo shoots in a grove.
European painting was Mr. de Montebello's original field of expertise, and he has made some amazing catches. Vermeer's extraterrestrial "Study of a Young Woman" is one. It took up residence in the museum in 1979.
Another is a full-length self-portrait of Peter Paul Rubens with his second wife, Helena Fourment. It's a heartbreaker. The artist, then in his 60s — he wouldn't live much longer — gazes down tenderly and regretfully at his young wife, with her pearlescent skin and baby-fine hair, as they walk through the Garden of Love. The picture is said to be one of Mr. de Montebello's Met favorites. Mine too.
As marvelous as much of the work is, the show was not designed as a greatest-hits display. Its stated purpose was to give a sense of how Mr. de Montebello fleshed out the unbalanced collection he found when he began as director. In the early 1970s a small Chinese painting collection occupied a few cases lining the Great Hall balcony. In 1981 he inaugurated a majestic suite of galleries to hold what has grown to be the largest collection of classical Chinese painting outside of Asia.
Through the 1980s the museum's Indian and Southeast Asian collection languished on the same balcony, having no place else to go. One of its treasures, a standing bronze Shiva or deified king from 11th-century Cambodia, was stuck in a dark niche, sometimes lighted, sometimes not. In 1994 the museum carved out the equivalent of a whole new interior wing for this material. The Cambodian Shiva is in the show.
Sometimes a single object can fill a huge void. The virtual absence of significant Ethiopian art from the African collection was remedied in 1998 when the museum acquired a magnificent 14th-century Gospel, illuminated with figures dressed in robes of saturated yellows and reds.
The small but growing Korean holdings were put on the international map with the purchase at auction, for more than $1.5 million, of a gilt-bronze bodhisattva in 2003. A 17th-century Japanese koto the size of a compact car introduced a plangent East Asian note to the Met's musical-instruments orchestra. And there was Duccio di Buoninsegna's tiny, transporting "Madonna and Child." Mr. de Montebello broke the bank for it, and good for him. Much bigger money is spent on absolute nothings. The picture looks more precious by the day.
One could go on, and the exhibition does, with mini-shows along its route in the form of cases filled with very small things: Roman rings, Tiffany pins, Mesopotamian seals, Indonesian earrings, Egyptian amulets, daguerreotypes (Frederick Douglass, Tom Thumb), and teensy paintings, among them a remarkable 1828 watercolor-on-ivory called "Beauty Revealed" by Sarah Goodridge of Boston, depicting a pair of exposed breasts, her own.
The whole business ends with a nothing-but-the-finest flourish in a gallery of masterpiece drawings: Leonardo, Michelangelo, Titian, Raphael, Poussin and a smudgy, rare little two-sided scrap by the Netherlandish painter Gerard David that joined the all-star lineup just this year.
If late-20th-century names are scarce, that's probably just as well. Despite the presence in the show of first-rank paintings by Mark Rothko and Jasper Johns, contemporary art has not been the strength of a museum that has tended in the past three decades to favor huffy-puffy old master-ish types like Lucian Freud. One hopes that Mr. de Montebello's appointed successor, Thomas P. Campbell, a Met curator, will feel free to explore other paths.
It depicts the allegorical figure of Fame, tall and slender, surrounded by writers renowned for their praise of the past, all gathered together like expectant picnickers in a flowery field. A close look reveals that some of the flowers are in full bloom, others have gone to seed, some are still in bud: the cyclical story of art and life, institutions and collections. But while Fame and his friends seem to wait for a feast to arrive, ours is already here. Mr. de Montebello has been providing it, special delivery, for 30 years. Farewell, and hail.
"The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions" remains at the Metropolitan Museum of Art through Feb. 1; 1000 Fifth Avenue and 82nd Street, (212) 535-7710, metmuseum.org.


On-site test analyzes soil and recommends action needed such as adding nutrients, changing crop or raising soil pH.
Farmers who want to do a soil test almost always have to send off a sample to a laboratory. Now, however SoilCares introduces a mobile lab, driving literally a soil testing lab to the field. The SoilCares Mobile lab provides the farmers the option to analyze the soil of their field in a couple of hours. In conjunction with special analytic software an additional advice is provided to help the farmers to decide what is most appropriate to do for their growing crops.
The target group is open field farmers who want to have a soil test at low costs carried out when the mobile lab arrives in their neighborhood.
How does the Mobile lab work in practice? Via their contact person, farmers get a SoilCares manual 'how to sample soil' including a soil-bag and auger. The farmer will bring his soil sample to the mobile lab when it arrives in the village. In the mobile lab all testing equipment - different sensor technologies- are present. Soil information gathered with these sensors is sent to a central computer where it is analyzed and field/crop specific (fertilizer) recommendations are deduced.
The advice can be, either to add nutrients, raise the soil organic matter, increase the pH of the soil or to grow other crops.


"Bali is my life" - this is a powerful statement that reflects the fact that Bali is not just like any tourist destination but a beautiful island that is owned and lived by the Balinese who welcome visitors to enjoy the island.
Bali Hotels Association is a professional group of star rated hotels and resorts in Bali. Members include General Managers from more than 100 hotels and resorts in Bali that representing more than 15,000 hotel rooms and almost 30,000 employees in tourism sector.
Living in a Balinese community is ruled by the local philosophy called the "gotong royong" which means joined responsibility and mutual cooperation.
Bali Hotels Association has provided access to a wide range of resources as part of the Media Centre. These will keep you informed of events, activities, promotions and news in Bali's tourism sector.
Interested in working in Bali's exciting Hospitality industry? Check out positions listed by our member hotels.
Check out our our advertiser and supporters. Contact us to find out how you can list your business here.
All content on this site is the property BALI HOTELS ASSOCIATION & is protected under International copyright laws.
Jalan Raya Puputan 41 - Renon.


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Canon 6D Mark II vs Canon 7D Mark II
By Andy Aitch |
Last Updated: April 9, 2019
Would you know the differences between the Canon 6D Mark II vs. Canon 7D Mark II? Keep reading if not. My no-nonsense comparison guide goes head-to-head with these two favorite semi-Pro DSLRs.
The most noticeable difference at a glance is the sensor sizes. The Canon 6D MII sports a 26MP full frame sensor while the Canon 7D MII has a smaller 20MP APS-C sensor.
There are more features and functions with the EOS 6D Mark II. That doesn't mean it's the best option—for YOU. It just implies it has some extra bells and whistles that may or may not appeal to you.
It's an engaging read and one that's detailed yet easy to follow. I keep things simple by comparing the essential features, pros, and any cons under the following sections.
Canon 6D Mark II Digital-SLR
Best For Entry-level professionals Semi-professional level
Price See Price on Amazon See Price on Amazon
Max Sensor Resolution 26 megapixel (30% more pixels) 20 megapixel
Sensor Pixel Area 33.19µm2 (97% larger pixel area) 16.83µm2
Viewfinder Coverage 98% 100% (more accurate OVF)
Camera Weight 26.98 ounces (5.11 oz. lighter) 32.09 ounces
Built-in Flash None Yes
Headphone Port None Yes
Flash Sync Port None Yes
Storage Slot 1 2
Built-in WiFi Yes None
Bluetooth Yes None
NFC Connection Yes None
Battery Life 1200 shots (530 more frames per charge) 670 shots
Articulating Screen Yes None
Touchscreen Yes None
Max Shutter Speed 1/4000s 1/8000s (faster shutter speed)
Smartphone Remote Control Yes None
Support for UHS Memory Cards Yes (UHS-1) None
Here's what we cover in the review:
Shared Features
Camera Body Comparison
Why Consider the Canon 6D Mark II over the Canon 7D Mark II?
Shared Weaknesses
Canon 6D Mark II and Canon 7D Mark II Shared Features
I'm a big fan of the simple checklist when looking to change cameras. All you require is a list of things you need (must have) and those you want (would like). Don't worry too much about the details yet.
A rough list is enough to start. You can add to, delete from, or modify it as you read this review. This section starts with a warm-up and looks at the common features that unite these two Canons.
Both cameras have a top-mounted external flash shoe which is typical of modern DSLRs. On-camera flash is less harsh than built-in units. It also allows for much more creative lighting control.
Framing and control are easy and comfortable on the eyes with their optical viewfinders (OVF). Both the Canon 6D Mark II and 7D Mark II also have a convenient top LCD panel.
Top LCDs can prove invaluable while working with portable tripods (less backbreaking). They are comfortable to view and make it easy to change settings when shooting below waist level.
The rear LCDs of these cameras have high-resolution screens with 1.040k dots. That's where the LCD similarity ends. We'll look at which model has the best rear display later.
Photographers who shoot video are sure to welcome both camera's external microphone ports. Internal mics are okay if all you want is average sound. External mics, though, provide pro-quality audio recordings.
Outdoor photographers demand some form of weather sealing and both these Canons deliver. No one really knows how resistant they are to the elements, but it's better to have than not.
Shared Photography Modes
Both cameras share a few photographic modes as well. The RAW file support is standard at this level. RAW files have greater post-editing potential on your photo editing monitor and produce higher quality images than JPEGs.
Face Detection Focus is another shared feature, especially welcome among portrait photographers. Accurate facial focus can be tricky at the best of times, and this mode takes care of it.
The time-lapse recording of the 6D Mark II and 7D Mark II is another favorite mode. And AE (auto exposure) Bracketing (AEB) ensures the perfect shot in high-contrast scenes.
AEB works by automatically capturing several shots at different exposures. It's useful as it takes the guesswork out of awkward and fast changing light conditions.
The final shared advantage of these Canon DSLRs is the AF Micro Adjustment (AFM). Sometimes, for reasons not clear, the autofocus (AF) can be slightly out. AFM lets you fine-tune those small errors.
The size and weight of Digital-SLRs is often a buying consideration. There's not a huge size distinction between these models, but the weight difference is more significant.
Canon's 7D Mark II is the larger of the two cameras by 4%. It also has a heavier body that weighs around 19% more than the 6D Mark II. The total weight, though, should include the mounted 7D or 6D / 6D Mark II compatible lens.
The Canon 7D Mark II's sensor is smaller than the Canon 6D MK II, and that means lighter lens choices. This simple table shows the dimensions and weight for the bodies of each camera:
Canon 6D Mark II Width: 5.7" Height: 4.4" Depth: 3.0" Weight: 27 oz.
Canon 7D Mark II Width: 5.9" Height: 4.4" Depth: 3.1" Weight: 32.1 oz.
The front and top shapes, contours, and layout of controls are similar for both models. The head of the 7D Mark II extends out slightly more to allow for its built-in flash unit.
The rear of the cameras is where the most difference is. That's because 6D Mark II has an articulating LCD screen with a large door hinge on its left. That forces some of the rear controls to the right side.
Canon officially introduced the EOS 6D Mark II in June 2017 to replace the then popular EOS 6D. It looks like the 7D MK 2, but there are some distinct differences on closer inspection.
So, which is better? Well, the features and functions or each model mean different things to different people. These two sections look at the reasons you may want to consider one camera over the other.
There are common features that matter to most photographers, so let's look at those first. We'll never be happy with battery life, but the 6D Mark II is a clear winner in this department.
You can expect somewhere around 1200 shots on a single charge in ideal conditions. That equates to 530 more frames than the 7D Mark II's 670. Yes, you did read that right.
Camera weight is something else photographers look at. The heft is a significant issue for those who carry a DSLR around their neck for long periods. The Canon 6D Mk 2 body is 5.11 oz. (145g) lighter.
Another plus point goes to the 6D Mk II's ability to read and write data at ultra-high speed (UHS). It supports UHS-1 memory cards. The 7D Mark II has no support for UHS cards.
Videographers are sure to favor the in-camera movie digital image stabilization (IS). It does a decent job of correcting camera shake when shooting movies. Note that IS works better with wider lenses.
Not all stills photographers are fans of Canon's Movie digital IS (see reviewers section below).
More Advantages for the 6D Mark III
Modern photographers are big fans of articulating screens, and this puppy has one. Canon calls it a vari-angle LCD monitor, but it's the same thing. Being able to shoot at different angles is a huge plus.
Adjustable LCDs are also selfie-friendly—an in-demand feature nowadays. The rear LCD is also a touchscreen, so that's another significant advantage to the EOS 6D Mark II.
The 26MP sensor resolution is bigger than the 7D Mark II's 20MP with 30% more pixels. And the sensor pixel area is 97% larger at 33.19µm2 vs. 16.83µm2. The 6D Mark II excels in connectivity too.
It has built-in WiFi, Bluetooth, and NFC connection. NFC is a newer technology that stands for Near-field Communication. It allows two NFC compatible devices to share data at close range (4cm).
Smartphone remote control is a popular feature that the 7D MK 2 lacks. Firing the shutter remotely and controlling other camera settings from a distance can be invaluable.
OK, now onto the final advantages the EOD 6D Mark II has over the 7D Mark II. It has better overall high ISO performance (2862 vs. 1082), and a higher Max ISO by 150% (40.000 vs. 16.000).
This model also has a higher color depth and a higher dynamic range than the 7D MK II. The numbers are 24.4 vs. 22.4 and 11.9 vs. 11.8 respectively.
Canon's 6D Mark II has done well, so how does the 7D Mark II measure up? Well, there are fewer reasons to choose this camera. However, it's quality rather than quantity that changes minds.
This section looks at what the 7D Mark II has that the 6D Mark II lacks. I'll start by looking at the external features. The camera's popup flash is sure to please some of you.
No one denies the horrible harsh light of a built-in flash. The good thing is that it's hidden from view when not in use. It can also mean the difference between getting a shot or not, and that's the point.
Off-camera flash is possible thanks to the 7D Mark II's flash sync port. The extra storage slot (total 2) is another plus. Better video control is an option for videographers owing to the headphone port.
Cost savings are often a buying consideration in this category. Prices can change with promotions and from place to place. Even so, the 7D Mark II is at least $250 cheaper—at the time of writing.
Having 100% viewfinder coverage is another of the camera's more sought-after features. The 6D Mark II has 98% coverage. That's not bad, but it's still less accurate by 2%.
The AE Bracketing (AEB) range is one more valuable advantage. AEB takes several shots at different exposures. It ensures the camera captures at least one perfect shot in tricky light conditions.
Fast and Focused
Faster shutter speeds also go to the 7D MK 2 which boasts 1/8000s to the 6D MK 2's 1/4000s. A more advantageous benefit for action photographers is its insane continuous shooting mode.
Sports and action photographers must love the 7D Mark II's 10.0fps (frames per second). That's an impressive 3.5 fps faster than the 6D Mark II's 6.5fps, which is also fast.
This camera excels in the number of focus points and cross type focus points. There are 65 focus and cross-type focus points to the 6D MK 2's 45. That's 20 more focus points in both instances.
All cameras have strong and weak points regardless of their cost and appeal. The most common weakness of these cameras is no sensor-based image stabilization.
They also lack popular features like focus peaking, in-camera panoramas, and slow-motion video. These things are more akin to people's wishes than camera flaws, though.
All cameras have their critics, but a lot of views are subjective. The good thing about real user reviews is that they paint a bigger, more accurate picture. Let's start with the 6D Mark II.
Finding shared gripes of any significant weight is hard. It's a popular camera for those photographers breaking into a full-frame DSLR. The full-frame newbies have more praise than seasoned users.
They have good reason to be happy—it's an excellent choice that produces exceptional results. Those upgrading from other cameras—especially the 5D series—appreciate the lighter weight.
Everyone loves the articulating screen and most like the layout of the physical controls. The top mounted LCD gets a thumbs-up as does the user-friendliness of the camera.
The long battery life and connectivity options are other features welcomed by all. The camera has a lot going for it though it's not perfect for all photographers.
A few gripes come from videographers and YouTube vloggers who wish for better video support. Yes, a headphone port and 4K video would be helpful. But then this is primarily a DSLR and not a camcorder.
Others would like to have seen dual card slots at this level. It's a fair point, and no one ever complains about too much media storage. Still, an extra card slot is more of a desire than an actual design flaw.
Reviewers' Take on the Canon 7D Mark II
Canon introduced the EOS 7D Mark II to the world in September 2014. Back then it had a suggested retail price of around $1800. Today, this puppy is available for a lot less.
There are plenty of user reviews because the camera has been with us for a while now. The good news is that it's stood the test of time and enjoys plenty of favorable feedback.
You won't find many complaints about image quality, especially from those who are upgrading. Canon 7D MK 2 owners also share their delight in the low noise at higher ISOs.
The 10fps (frames per second) continuous shooting is a huge hit with action photographers. The 1/8000s shutter speed also gets a thumbs-up from some. Others think it's a sales gimmick.
The ergonomic design, 100% viewfinder, and overall value get quite a lot of mention. Reviewers also praise the environmental sealing, dual card storage slots, and the fast, reliable autofocus.
Some critics complain of the fast battery drain, and they make a good point. No WiFi is another grievance. And yes, the videographers among them protest about the missing 4K video.
There are lots of guides that pit the Canon 6D Mark II against its rivals. It's fair to say that in most cases it comes out on top in key areas. They include things like features, reliability, and value.
What sold me are the articulating touchscreen, connectivity options, and long battery life. I also like that fact that it's lighter, more modern, and has slightly better image quality.
The EOS 7D Mark II still fares well in areas of price, fast shooting, and extra flash lighting options. The 100% viewfinder, extra card storage slot, and audio monitoring are a few more.
About Andy Aitch
Andy Aitch is an expert in product research and review writing. He's passionate about delivering no-nonsense photography content to help people at all levels make better-informed buying decisions.
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redpajama_set_name: RedPajamaCommonCrawl


This Corsa drives just as well on the motorway as it does around town.. This vehicle is currently in stock at County Motor Works and can be purchased from Mazda Northampton Motors Specification includes Fingertip Audio Controls, Electric Windows, Air Conditioning, Alloy Wheels and more. Contact us for full specification and to arrange a test drive.


Get up to 50% off when you shop for your desired sale products at Fawnandforest.com.
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Get Fawn & Forest newest coupon alerts newest coupon alerts & our weekly top coupons newsletter. our weekly top coupons newsletter. Signing up today is for future emails on future deals that may warrant special attention. We will NEVER sell or release your email address without your approval.
Find hidden sales, special offers, exclusive deals and a lot more at Fawnandforest.com.


OSEE products is widely adopted by globule TV operators. one of very important application is OB-Van. Many reputed system integrator choose OSEE for their OB-Van, such as rack mount LCD monitor size from 4 inch to 20 inch, as well as GLUES and Multi-viewer.
Shotgun, stereo, lapel and headset microphones for broadcast .


text:
Våtsjön är en sjö i Karlskoga kommun i Värmland och ingår i . Sjön är  meter djup, har en yta på  kvadratkilometer och befinner sig  meter över havet. Vid provfiske har bland annat abborre, gärs, gädda och lake fångats i sjön.

Som fritidsområde
Det finns ett 40-tal sommarstugor utmed sjön. En del av dessa äldre fritidshus,  från 30- 40-talet, var byggda av plankor från Bofors kanonlådor. Några av dessa fritidshus finns fortfarande kvar.

Sportföreningen OK Djerf är alltsedan dess tillkomst på 30-talet fortfarande aktiv.  Djerfföreningen skapar runt området kring Våtsjön varje år många spår för längdskidåkning.

1968 drogs el fram till Djerfstugan såväl som till omkringliggande fritidshus. Innan dess hade Djerfstugan ett litet vindkraftverk där elen lagrades av NiFi-batterier. Dessa batterier var en gåva från Bofors.

http://www.okdjerf.se/

Våtsjön är en mycket populär sjö för långfärdsskridskoåkning.

https://www.youtube.com/watch?v=L9lXG3X7_Ww

Delavrinningsområde
Våtsjön ingår i det delavrinningsområde (657450-143459) som SMHI kallar för Utloppet av Våtsjön. Medelhöjden är  meter över havet och ytan är  kvadratkilometer. Räknas de 6 avrinningsområdena uppströms in blir den ackumulerade arean  kvadratkilometer. Valån (Kärmälven) som avvattnar avrinningsområdet har biflödesordning 3, vilket innebär att vattnet flödar genom totalt 3 vattendrag innan det når havet efter  kilometer. Avrinningsområdet består mestadels av skog (77 procent). Avrinningsområdet har  kvadratkilometer vattenytor vilket ger det en sjöprocent på  procent.

Fisk
Vid provfiske har följande fisk fångats i sjön:

 Abborre
 Gärs
 Gädda
 Lake
 Löja
 Mört
 Sik
 Siklöja

Se även
 Lista över insjöar i Karlskoga kommun

Källor

Externa länkar

Insjöar i Göta älvs avrinningsområde
Insjöar i Värmland
Insjöar i Karlskoga kommun
Insjöar i Sverige om minst två kvadratkilometer

redpajama_set_name: RedPajamaWikipedia


Q – What are the minimum weight and movement standards for the Amateur & RX divisions?
Please refer to Division Standards chart.
Please note these weights are examples of weights that may be used during a WOD. These are not examples of 1 rep max's. weights may increase if the workout is meant to escalate to failure.
Athletes can transfer their registration to another athlete, however, this must be done 21 days prior to the event. Please contact ugseries@gmail.com and let them know of any changes.
Transfers between events will not be permitted.


IT people creative? What's so creative about turning a computer off and on again or blocking social networking sites, forcing colleagues to actually do some work? Or so the small-minded may ask. Last week the DesignIT exhibition launched to celebrate the creativity of those working in IT.
At the opening of the exhibition at London's Gallery 27, the winner of DesignIT 2007 was revealed to be Said Dajani for his screensaver developed for The Alzheimer's Society. Said's "Memories are made of this" highlights the isolation felt by people suffering from dementia. He aimed for the screensaver to be used as a tool to provide a memory prompt to help people remember key facts of their lives.
Is there money at the top?


The only person to have worn all four New York City baseball uniforms (New York Giants, Brooklyn Dodgers, New York Yankees, New York Mets), Stengel's number 37 was aptly retired by both the Yankees and the Mets. He is most famous for managing the Yankees from 1949 to 1960, when he was involuntarily retired for being "too old" after losing a heartbreaking World Series to the Pirates. In classic Stengelese, he remarked, "I'll never make the mistake of being seventy again!"


PLEASE NOTE: Aggressive biters maybe able to tear the beads. Please regularly inspect beads for signs of wear and discard the product immediately if damage is found.
Designed for children ages 2+.
View The vibrating pillow for kids/teens!


WESTMINSTER, Calif. (AP) _ A fire department dispatcher talked a woman through a home delivery, then offered congratulations as the new mother awaited the arrival of paramedics.
Ella Youngblood, 38, of Westminster, and her infant son were resting comfortably at Fountain Valley Medical Center after the delivery Monday, said Huntington Beach Fire Deprtment dispatcher Nancy Fuhrmann on Tuesday.
Youngblood was driving on the freeway near home when she realized the baby was on its way. She rushed home and called Huntington Beach fire paramedics.
Steve Rothert, 41, an 18-year veteran dispatcher and the father of three children, talked Youngblood through the delivery of her second child. A tape recording preserved the exchange.
″The paramedics are on their way,″ Rothert said. ″When the contractions stop, just relax.
″It's a boy,″ Youngblood said.


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Barbara Hulanicka, z domu Sierakowska (1924–2012) – polska artystka plastyczka, projektantka tkanin artystycznych
 Barbara Hulanicki (ur. 1936) – projektantka mody, zdobyła sławę jako założycielka stylowego domu mody Biba


Rarely is a coach the most important addition to any football team on any level. But it's hard not to point to Gregg Williams as the Browns' most important addition this season.
The voluble and very much out there new defensive coordinator of the club will bring qualities to the Cleveland defense that have been missing for way, way, way too long: Nastiness and attitude.
If the players play with the same intensity Williams coaches, if they channel his in-your-face aggression, if they embody everything he stands for when it comes to playing the game of football, Browns fans are in for a treat this season.
Not since the days of Marty Schottenheimer more than a generation ago have Cleveland pro football fans been treated to the kind of defense that reflects the blue-collar ethos the city used to be famous for in the early days of the Dawg Pound.
The Browns under Schottenheimer, as a defensive coordinator and head coach, played smart, aggressive football. Mistakes were rare. Victories were plentiful. And the fans became spoiled with good reason.
In part two of our overview of the 2017 Browns, we take a look at the defense, at Gregg Williams' defense and what we can expect.
As we did with the offense, we start with the guys up front, the grunts who do not get nearly enough credit and set the table for those who labor behind them.
First of all, how much of a problem will the defense have shifting from a hybrid 3-4 scheme last season to what most likely will be a 4-2-5 look this season?
Not much at all because the Browns last season utilized college pass rushers as outside linebackers for the most part. Players like Emmanuel Ogbah and Nate Orchard now move back to defensive end, where they are more comfortable and productive.
And what makes them more effective there?
Ogbah and Orchard, along with returnees Carl Nassib, Cam Johnson and Xavier Cooper (who can also play tackle) and top draft choice Myles Garrett can concentrate on doing what they do best and that's attacking the quarterback, a trait Browns fans haven't been treated to in many seasons. Look for the Browns to significantly improve on their 26-sack season a year ago.
It's not all about sacking the quarterback. What about stopping the run, something they haven't been successful at for many seasons?
That's the good part. Switching to a four-man front enables Danny Shelton to be the player the club thought it drafted a couple of years ago. While he improved last season as a nose tackle, he is much better suited to play next to a fellow tackle, avoiding much of the double and triple teams he faced in his first two seasons.
When facing one-on-one blocking, Shelton has proved to be almost impossible to handle. He clearly will be the greatest beneficiary of Williams' defensive philosophy, improving his pass rush as well as stopping the run.
And who will play next to him?
That's the intriguing part. Right now, veteran Jamie Meder has the inside track. But rookies Larry Ogunjobi and Caleb Brantley, both extremely explosive off the ball and owning the nastiness Williams likes, should give Meder stiff competition in what could be the best battle in training camp.
What about Garrett? Where does he fit in?
In the starting lineup, of course. You don't sit the overall No. 1 draft pick. He is good enough to be a three-down player. His biggest problem will be adjusting to the speed and quickness of the National Football League after dominating on the college level.
Seems to be an awfully young defensive line with three rookies, a couple of pro sophomores and three third-year guys. How much of a concern will that be?
Not much. Better to work with a talented young group and let them develop. Anyway, chances are one or two of the youngsters might not make the cut unless Williams wants to have more than eight linemen at his disposal.
Okay, let us turn to the linebackers, a role that will be diminished somewhat by the Williams' scheme, which focuses on the pass rush and a mostly nickel look in the secondary. Who stands out there?
Right now, it appears as though Jamie Collins and Christian Kirksey have a lock on that role. Both are coming off solid seasons and there is no reason for Williams to do anything more than cheer them on. Both are aggressive, smart and have a nose for the football.
And with 10 linebackers in training camp, it will be interesting to see how many Williams keeps. The favorites appear to be returnees Tank Carder, Dominique Alexander and Joe Schobert.
That takes care of the front seven. What about the secondary, an area a lot of people point to as the weakest on the team?
And it's with good reason they do. The defensive backfield was absolutely hammered last season. It didn't help that the defensive line was unable to drop opposing quarterbacks, who merrily strafed almost at will. Converting third-and-longs became commonplace against the Browns to the tune of 45.1% of the time.
That secondary surrendered 261 yards a game, 36 touchdowns, three 400-yard games, five 300-yard games, picked off only 10 passes and allowed opposing quarterbacks to complete 64% of their passes. It was an offensive free for all in the Cleveland defensive backfield. And it is still the club's Achilles' heel.
Okay, let's break it down. There are whopping 19 defensive backs in camp (or will be when Jabrill Peppers signs his rookie contract). (Update: He did Sunday.) That's more than 20% of the roster. First, the cornerbacks.
There are a dozen of them. And none really stick out to the point where fans can rely on them. Brien Boddy-Calhoun and Jamar Taylor were minor surprises at the position last season, but both were prone to occasionally giving up big plays.
So where does Joe Haden fit into this picture? Now in his eighth season, this veteran is arguably on the downside of a career that began so promisingly. Nagged by injuries the last couple of seasons, Haden needs to be completely healthy in order to play the kind of aggressive defense demanded by Williams.
At one time regarded as one of the best press cornerbacks in the NFL, he needs to get back to that style, Williams should provide him with that opportunity. If he's healthy and works hard, he is young enough – he's only 28 – to once again become the corner Browns fans appreciated a few years ago.
The Browns signed Jason McCourty, an eight-year veteran, to bolster their cornerback roster. If he doesn't beat out Taylor or Boddy-Calhoun to play opposite Haden, he could man the slot in Williams' 4-2-5 look. Other possibilities are Marcus Burley, Trey Caldwell and Darius Hillary.
Seven of them: four strong, three free. The most intriguing, of course, is Peppers, who probably will begin the season as the strong safety, where his main duties would be run support and checking the tight end and running back out of the backfield.
It also wouldn't be surprising if Williams uses Peppers as a walkup linebacker in certain pass situations, much the same way the Pittsburgh Steelers used Troy Polamalu and Arizona Cardinals occasionally use Deone Bucannon, who splits his time between linebacker and safety. Returnees Derrick Kindred and Ibraheim Campbell provide veteran backup.
Free safety probably will wind up as a fight between Ed Reynolds II and Calvin Pryor III in a battle of Roman numerals with Pryor owning the edge. Reynolds started seven games for Cleveland last season after injuries racked the position. Pryor, obtained from the New York Jets for Demario Davis, has started 38 games in his three-year career.
And finally, can it be assumed head coach Hue Jackson will cede complete authority of the defense to Williams?
Guess here is he better. Any interference likely will cause more friction and inner turmoil than Jackson, who had enough of that last season at 1-15, is willing to take on. If the defense goes sour this season, don't blame Jackson, who has enough problems with the offense.
Tomorrow: Special teams, odds and ends and fill in the blank.


"I put off starting a business until I felt ready or prepared to do it, but the truth is, there really is no good time to take a risk."
She's got some serious girl power.
Here's how to break into this notoriously difficult industry.


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redpajama_set_name: RedPajamaStackExchange


Join us at the opening of this exhibition of art made by 16 to 18 year old youth who will work with Brock University Assistant Professor of Visual Art Amy Friend to create original works using their own family documents, based on the exhibition "Carry Forward". The youth will have deepened access to "Carry Forward", then conceptualize, plan, and execute their work at Marilyn I. Walker School of Fine and Performing Arts within a cross-cultural learning environment. Family documents will act as springboard for visual exploration of camera-less techniques, allowing the youth to bring the ideas of "Carry Forward" into their own lives and experience.
Art-Making With Family Photographs and Archives is a partnership between Rodman Hall Art Centre and the Marilyn I. Walker School of Fine and Performing Arts. The exhibition is presented in partnership with The City of St. Catharines Cultural Services.


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Home Holocaust History Lithuania Holocaust
|| Return to How Dark the Heavens || November 1944 to Allach Liberation on April 30, 1945 This material, copyright 1990 by Sidney Iwens, is excerpted from his...
Epilogue: How Dark The Heavens
|| Return to "How Dark the Heavens"Home Page ||This material, copyright 1990 by Sidney Iwens, is excerpted from hisprize-winning book "How Dark the Heavens"....
Part I: How Dark the Heavens — July 16-17, 1941
|| Return to How Dark the Heavens || How Dark the Heavens by Sidney Iwens July 16-17, 1941 This material, copyright 1990 by Sidney Iwens,...
Part I: How Dark the Heavens — June 22 to November, 1941
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Author's Biography: Sidney Iwens
|| Return to How Dark The Heavens || Meet the Author: Sidney Iwens Sidney Iwens was born in Lithuania. After emigrating to the United States in...
How Dark the Heavens: Preface
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What the Reviewers Say About How Dark The Heavens
Return to How Dark The Heavens "...he miraculously survived to tell this remarkable story." -- Booklist "This book is his unsentimental, clear, moving and aesthetically affecting...
A Day of Work at Dachau Camp 2
|| Return to "How Dark the Heavens" Home Page ||A Day of Work at Dachau Camp 2.	This material, copyright 1990 by Sidney...


Waterfall restaurant in Villa Escudero is located in San Pablo, Laguna province, Philippines.This resorts offers you a chance to dine in at the foot of a small waterfall.
Aside from the water fall restaurants you can enjoy the museums that is about the AERA Memorial Museum.
Philippine Experience show-is one the activities that you might interested to watch while you are in Villa Escudero resort to make your time worth and refresh your history about Philippines.This shows is only Friday-Saturday and Sundays and Holidays.For more information you have to check in their websites or call.


Over the past few weeks, I've found myself in a bunch of conversations in which the unspoken assumption was that the main goal of life is to maximize happiness. That's normal. When people plan for the future, they often talk about all the good times and good experiences they hope to have. We live in a culture awash in talk about happiness. In one three-month period last year, more than 1,000 books were released on Amazon on that subject.
But notice this phenomenon. When people remember the past, they don't only talk about happiness. It is often the ordeals that seem most significant. People shoot for happiness but feel formed through suffering.
But some people are clearly ennobled by it. Think of the way Franklin Roosevelt came back deeper and more empathetic after being struck with polio. Often, physical or social suffering can give people an outsider's perspective, an attuned awareness of what other outsiders are enduring.
Then, suffering gives people a more accurate sense of their own limitations, what they can control and cannot control. When people are thrust down into these deeper zones, they are forced to confront the fact they can't determine what goes on there. Try as they might, they just can't tell themselves to stop feeling pain, or to stop missing the one who has died or gone. And even when tranquillity begins to come back, or in those moments when grief eases, it is not clear where the relief comes from. The healing process, too, feels as though it's part of some natural or divine process beyond individual control.
People in this circumstance often have the sense that they are swept up in some larger providence. Abraham Lincoln suffered through the pain of conducting a civil war, and he came out of that with the Second Inaugural. He emerged with this sense that there were deep currents of agony and redemption sweeping not just through him but through the nation as a whole, and that he was just an instrument for transcendent tasks.
The right response to this sort of pain is not pleasure. It's holiness. I don't even mean that in a purely religious sense. It means seeing life as a moral drama, placing the hard experiences in a moral context and trying to redeem something bad by turning it into something sacred. Parents who've lost a child start foundations. Lincoln sacrificed himself for the Union. Prisoners in the concentration camp with psychologist Viktor Frankl rededicated themselves to living up to the hopes and expectations of their loved ones, even though those loved ones might themselves already be dead.
Recovering from suffering is not like recovering from a disease. Many people don't come out healed; they come out different. They crash through the logic of individual utility and behave paradoxically. Instead of recoiling from the sorts of loving commitments that almost always involve suffering, they throw themselves more deeply into them. Even while experiencing the worst and most lacerating consequences, some people double down on vulnerability. They hurl themselves deeper and gratefully into their art, loved ones and commitments.
The suffering involved in their tasks becomes a fearful gift and very different than that equal and other gift, happiness, conventionally defined.


This document was created in 2011, and provides an overview of the benefits of science festivals, presents brief case studies of five festivals, reviews initial festival evaluation findings, and provides an appendix of sample festival budgets and production timelines.
The resource below is a low-res version for web viewing. Contact us for a higher-res version formatted for double-sided printing.


Our range of electrical test equipment from machinery safety testers to phase rotation testers. The range also covers sophisticated power quality and energy monitoring products as well as clamp meters and simple voltage indicators.
Why is electrical testing equipment important?
Voltage indicators- Essential for all electricians, it is used to as a voltage detector present which keeps you safe. The voltage tester can be used for many applications and is a useful bit of electrical test equipment.
Non-contact Voltage and magnetic field indicators- An instrument for testing the presence of magnetic fields. By holding the tip of the instrument near the test area, it indicates a magnetic field. This tool responds to all kinds of magnetic fields, from alternating current to direct current and permanent magnets.
Cable tracers and fuse finders- detect cables and fuses through materials such as flooring an insulation they can be used for: tone tracing, continuity testing and to check for hub blinks and other purposes involving cabling and wiring.
Mains socket testers- Used for testing the electrical supply to mains sockets and shows you whether it has been wired correctly or if you need to redo the wiring to the socket.


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Submitted photo Singer/songwriter Jake Nelson will be the featured performer at the 2017 Stomp Out Suicide event. His song, "You're Not Alone" is about struggling with depression and mental illness.
Stomp Out Suicide musician connects with the cause
By Jason DeMoe
The Stomp Out Suicide 5k Walk/Run will be held this year in Goodview Park in Wyoming Aug. 19 beginning at 9 a.m. The event will feature a musician with a special connection to the cause.
"I wrote a song called 'You're Not Alone' that was inspired by a veteran buddy of mine who served in Iraq and Afghanistan," White Bear Lake singer-songwriter Jake Nelson said. "He was dealing with some serious post-traumatic stress disorder, and he tried to take his life. Luckily he is still with us today, but his struggles are what really prompted me to write the song."
Although he is a working musician trying to make a name for himself, when Nelson penned "You're Not Alone," his goal was simply to promote a message of hope to those struggling with depression and thoughts of suicide.
"This song is bigger than me and my career," he said. "I really just want to get it in the ears and in front of the eyes of those who need it."
Nelson never imagined just how close to home that message would hit.
"Another buddy of mine, Eric McLeod, was going through some tough times as he had just lost his job and he was in a custody battle for his kids and also had a car accident, and he took to social media and said he didn't want to be here anymore," Nelson said. "I didn't even have the song recorded yet and it was just an audio file on my phone, but I sent it to him anyway."
Thirty minutes after Nelson sent the song, he received a text from McLeod.
"He thanked me for saving his life," Nelson said. "He was ready to commit suicide that night and he wrote that the words in the song helped to change his mind."
Since that time, McLeod has himself become an advocate for mental health awareness and suicide prevention, and he stars in the music video for "You're Not Alone" (goo.gl/3QbZFj) along with several other of Nelson's friends and family.
"Everybody knows someone who goes through a difficult situation in life, and maybe it's even themselves," Nelson said. "Some people can recover quickly and get up and move on, but sometimes people take things differently."
Radio personality Paul Thomas, who is the emcee of the Stomp Out Suicide event, runs the Livin' Foundation, a 501c3 with a goal of raising awareness about mental health and depression.
Thomas and Nelson are friends through the music business, and Thomas was the one to recommend Nelson for the Aug. 19 Canvas Health-sponsored Stomp Out Suicide event.
"Paul talked to (marketing manager) Julia (Yach) from Canvas Health, and she actually came out to see me play a show in Shoreview," Nelson said. "She came up after the show and asked me if I would play at Stomp Out Suicide, and I was very happy to agree."
Canvas Health took over the organization of Stomp Out Suicide last year as the event grew beyond what the originators could handle. The event was founded in 2012 by Sean and Katie Haines in honor of their daughter Alissa, who was lost to suicide in Dec. 2011. In a letter posted to stompoutsuicide.org, the Haines explained the transition.
"What began as a small, all-volunteer group of passionate survivors with a dedicated base of community support has become a household name in the greater Wyoming area," the letter read. "Over the years, with support from the community, we have continued to grow. We've worked alongside numerous mental health advocates and organizations in hopes to create a comprehensive suicide prevention resource for those in need. We have no real training or experience in the field, just a strong passion for suicide awareness and prevention. That's why, after reaching our 5-year anniversary this month, we've decided that it's time to take the next step in our healing process as a family. It's time to let the professionals take the lead."
This year's Stomp Out Suicide event will feature the 5k walk/run, a balloon release in memory of those lost to suicide, and will also offer people the opportunity to bid on several silent auction items, including a 1938 Allis-Chalmers tractor. The tractor was restored and donated by Richard Collen in memory of his great-grandson Tim Hickerson, who died by suicide in 2015. The minimum bid for the 22HP tractor is $2,500. To place a bid on the tractor, contact Betsy Taylor of Canvas Health at btaylor@canvashealth.org or 651-275-4303.
"You're Not Alone" is featured on Jake Nelson's self titled debut album and can be purchased on iTunes, Amazon, Spotify, and Google Play as well as at jakenelsonmusic.com.
"My message to people struggling out there is to know that you are not the only person who is going through this," Nelson said. "There are people who don't even know you and that do genuinely care."
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with that said (sorry just saw the date of the last post) DarthGM's creation is inspiring. I am adapting it to my own group in Spring 2018, after I add some more material relating to my campaign. Which, thank you for cranking that out, it really helped solve a lot of problems.
I don't suspect FFG will create a Fallout RPG. It will likely go the way Games Workshop did, thanks to the Disney licensening deal. Competing IPs like that is problematic for FFG. It is easier to operate with their own universe IP, so expect Twilight Imperium. Modiphius will likely create a Fallout RPG, as their system is geared more towards it then Genesys imo.
My group has just ended their Rogue Trader with a "season finale" giving me time to rest from that heavy management system and the crazy adventures. We started Deathwatch 2 weeks ago, mainly getting characters built and a brief intro adventure, which will conclude this week. My question will likely seem like a "duh" question but I want to be sure I am on the right track. When constructing missions you have Primary, Secondary(s) and Tertiary(s), which helps determine renown rewards, threat levels and requisition. How do you brief the players? Meaning, do you brief them on all Primary, Secondary(s) and Tertiary(s) aspects of the mission or do you keep some of them "hidden" as they might discover/stumble upon them later in the mission? Example: Mission Alpha (1 Primary, 2 Secondary, 3 Tertiary). Watch Captain briefs the team on Primary, Secondary Missions. However, during the course of the mission, the team stumbles upon different avenues of investigation that may aid Primary/Secondary mission accomplishment.
Remember Rule 0. GM has final say on everything. Doesnt matter if the book and dice rolls say the Storm Shield is available, don't allow it. It's a simple lock on a door? Not if you say other wise, slap that -20 on there. Just don't abuse it. I agree with most being said here. Common man will be in awe of the Space Marines (likely PDF troopers as well), Imperial Guard/Navy will give all do respect and deference to them...however, commanding officers (especially of Lt. Col. and above might need extra persuasion to relinquish command. As far as interactions are possible, that is all on you as the GM. You can make the game heavy social interaction, investigative and problem solving as you want. That way when the battles do come they become these epic confrontations that the players enjoy and relish. From a psychology point of view, if done enough, this could lead to your players participating more in the non-combat areas as it leads to a reward of combat, etc. Lots of good advice on this thread, choose what best suits you.
By squad I meant, I assumed the whole squad was hit, not just (1) player. That's rough, but I get it now.
If I am understanding this correctly, when using hordes for combat the following happen: In Melee: If the entire squad is swarmed by 30 Cultists, each with 2 hand weapons, swift attack; the Horde will make 2 attacks on each of the 5 members squad. If the hordes hit any members of the squad, then the squad will take the damage of the weapon + 2d10 extra damage per hit? At Range: If the entire squad is shot at by 30 Cultists, each with autoguns; the Horde will make 1 attack on each of the 5 members squad. If the hordes hit any members of the squad, then the squad will take the damage of the weapon + 2d10 extra damage per hit? Sorry for the basic question. The Horde system is a bit confusing for me regarding attacks on the squad. Its either everyone is hit or one poor soul is hit. Thanks in advance for help and clarification.
Lure of the Expanse (Spoilers): What is the Light of Terra?
I am curious. If the crew were able to successfully salvage that ship, limp it back to port, wrangle ownership from Imperial Authorities, why would there be a loss of Profit Factor? Couldn't the players simply just make some difficult rolls with PF and acquire parts/labor, etc. to get the ship back into operational mode? The ship was already "operational", and the books walk you through repairing, refitting and time for ships. Perhaps I am missing something, or is this a GM prerogative to make such a prize unattainable? For my group, what should have been a one shot adventure (or 1/2) of one, turned into a 3 session adventure as the players seized control of the ship, countered the extra difficulties I implemented and "acquired" the ship. I havent set the ship type yet, or repair difficulties, etc., but I fail to see the issue of rewarding players something like this, what am I missing?
Fair enough. Regardless, I am still leaving it at it costs 1 (or 2) not matter what. If it is a typo, then it is a big one as it happens in several supplement books. I still intend to to find out what the designers were attempting to do there. It seems to me that there is a reason for the (+) sign being/not being there is all. Now it's a matter of curiosity.
Gotta say, that whole 1 or +1 is pretty confusing. Don't know if anyone at FFG will respond to email or posting but I will try. For now I am just going that it adds 1 and its a typo.
Thanks Mordechai. I was speaking towards character creation moment. I wanted to make sure that we did it correctly, even though we've been playing for 2 months. Is there any difference between the 1 or +1; or is that a typo of some sort?
You are correct about the Rak'Gol. I had it confused with the another creature (Necron Tomb Stalker or Squiggoth...not sure now), the Rak'Gol Reaver from Koronus Bestiary had body AP 9 and TB 10. Even then the players are dishing out barely enough damage to affect it. I really don't mind the players carrying what they have, even modifying with a personal touch. I just want to make sure we are all on the same page with how we are proceeding, its been 13 years since I ran an RPG, I want to make sure I am not coddling or hindering players. I will likely reduce the armor of the Rak'Gol (or TB) or similar creatures until such time I need to reset to previous levels.
Lets see if I can make some sense for you all with my question: when constructing a ship I was a bit confused on an issue. My players have 30 PF 60 SP (if I remember off hand). They want to buy a ship that has an SP of 55. Does that mean they can only afford up to five other components with the remaining +5 SP? The reason for my confusion is as I look through the components in the main RT book, some components have a SP +1 some just say SP 1, do those both cost SP 1 or are they different in some way?
Depends on how many they are attempting to acquire. That Extremely Rare is the start of determining the difficulty(+) Scale (12 - 24 squadron size) (+) Vehicle Acquisition Penalty (-10) = bonus/detriment % to Profit Factor Acquisition roll. No on starship penalty btw. Example: Single Bomber (Extremely Rare - 30) + Scale (Single + 30) + Vehicle Penalty (-10) = PF 50 - 10 = 40% chance of success. Squadron of Bombers (Extremely Rare - 30) + Scale (Minor + 10) + Vehicle Penalty (-10) = PF 50 - 30 = 20% chance of success. Of course if the Rogue Trader/Seneschal wants they can attempt to bargain/commerce test against the opposing side to get a bonus or negative to their roll of +2 for each degree of success or -2 per each degree of failure. Hope this helps.
Okay I am sure someone will read this and think "man how can you not figure that out?" I just need a little clarification before I start scaling up encounters for my players who have weapons with low penetration values (7-10). Scenario: Players face off against a Rak'Gol (armor 16 body, TB 10). Player A fires his Heavy Bolter on full auto, scoring 5 success. Rak'Gol fails to dodge. Which of the following happens: Question 1: would Player A roll all 5 sets of damage dice (1 for each success), add them together, subtract Rak'Gol Armor/TB, then I deduct remaining damage from total wounds? Question 2: or would Player A roll each damage dice separately, I subtract Rak'Gol Armor/TB, then deduct remaining damage from total wounds? If the answer is question 2, how are players suppose to fight off something that all but heavy weapons can harm (barely)? Right now the party seems to be sticking to melta gun, custom big shoota, hellpistol and grenade launcher. I realize it is up to me to determine the scale (which I can obviously reduce the Rak'Gol) but i want to make it challenging (and often stick to what the pre-made mission says) but not so challenging I am killing players at every turn. The group (6) players tend to concentrate on getting armor upgrades, weapon % upgrades, their characteristics are increasing greatly, but no extremely lethal weapons. I am not sure I am doing enough to convey to them that they have a plethora of options available to them. I am kind of stuck here on pushing the enemy level on these guys, I am not trying to kill them off but I don't want to throw stuff at them that is way out of their league which could end a session with most the party dead.


There is only 1 Dojo listed in Prestatyn. This page shows 20 Martial Arts Schools found within 12 Miles of Prestatyn. Based on the information available from these Dojos, Kick Boxing, Karate, Shukokai, Shito Ryu Karate, Jiu-Jitsu (Jujutsu/Jujitsu), Tae Kwon Do & Judo are the most offered Martial Arts in Prestatyn area. Most of these schools offer self defense classes for men, women and children near Prestatyn.
Chart based on information available from Martial Arts Schools in Prestatyn area.
Distance is shown approximately from the downtown area of Prestatyn. For a list of Martial Arts Schools near you, Search with your complete address. Click on a Dojo name to view details. Clicking on 'Map' next to a Dojo will show the school on the Map.
See Martial Arts Schools in places nearby Prestatyn: Dyserth, Rhyl, Saint Asaph, Rhuddlan & Denbigh.
Are you associated with a Martial Arts School, Club or Dojo in the Prestatyn area? Please make sure it is listed with dojos.co.uk.


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A Nobel Prize for Work that Matters in Our Everyday Lives
By Mark Thoma on October 16, 2012
A few comments on yesterday's Nobel Prize in Economics (no link — still stuck in editing at MoneyWatch link now active):
A Nobel Prize for Work that Matters in Our Everyday Lives: (MarketWatch) The Nobel Prize in Economics was awarded to Alvin Roth and Lloyd Shapley for their work on matching markets and mechanism design. What exactly do those terms mean, and why is their work important to people outside of economics?
In the textbook case when markets are perfectly competitive and prices are free to vary, the price-system produces an outcome that cannot be improved upon. But when substantial market failures are present, or when prices are restricted, missing, or otherwise prevented from responding to changes in market conditions, markets can break down.
In matching markets — any market where both sides care about who they are matched with — an important market failure is "jumping the gun." To illustrate this failure, consider the problem of matching graduate students to graduate programs. In an unconstrained market, a common strategy is to try to make offers to the best candidates earlier than competitors, and then give each candidates a short time until their offer expires. This forces the candidate to choose between taking the offer, or holding out for a better offer which may or may not come. In this situation, many applicants will end up taking offers they would have rejected if they had full information about the offers they'd receive in the future. The result is that some of the best candidates end up at less than the best schools, and the best schools end up with less than the best candidates. This is inefficient since there are applicants and programs that would prefer to be matched to each other, but aren't.
And that's not the end of the problems. Each competitor will have an incentive to make offers before anyone else to try to be the first to grab the best applicants, and this leads to offers being made earlier and earlier over time. For example, as Alex Tabarrok notes, "Prior to the currently used National Residency Matching Program,… hospitals were making offers to residents up to two years in advance!"
This "jumping the gun" behavior eventually causes the markets to break down, and in response participants usually agree to a centralized set of rules with penalties for non-compliance, or a centralized allocation system. At research universities, for example, by common agreement graduate students cannot be required to accept teaching or research assistant offers prior to April 15.
This can prevent the "jumping the gun" problem if the penalty for non-compliance is a sufficient deterrent, but unfortunately the resulting matches are not generally efficient — better matches are possible.
"Jumping the gun" is not the only reason matching markets can fail. For example, the problem of matching kidney donors to recipients could be guided by a price system, and that would produce an efficient outcome under the proper market conditions, but the buying and selling of organs is prohibited. One solution is a centralized allocation system that tries to match donors with patients, but once again this is not generally efficient.
Lloyd Shapley's work, the Gale-Shapley algorithm in particular, is important because it overcomes these and other problems in matching markets. The algorithm uses a series of offers and rejections (which reveal valuations even when prices are absent from markets) to find a stable, efficient set of pairings — there is no way to improve the outcome by changing the matches. In addition, the algorithm limits the ability of participants to manipulate the matching process in their favor.
Shapley's contribution was to provide the theoretical results. Alvin Roth recognized the importance of these results, and found ways to apply them to the real world. This is the "mechanism design" part of the process. In particular, Roth found ways to use the Gale-Shapely algorithm, suitably adjusted for the particulars of each application, for problems such as matching doctors and hospitals, matching organ donors with patients in need, and his work has also been used to match students to schools. Thus, in contrast to much of the work in economics, this work has had important impacts in the real world (and others have applied these results even more broadly, so this is only a small sample of the total impact of this work).
One final note. Economics is divided into two parts, macroeconomics and microeconomics. Macroeconomics is the study of entire economies, while microeconomics is the study of the individual decision making units within the economy.
Macroeconomic theory has come under considerable criticism lately, much of it deserved, and economics more generally has been tainted by the performance of macroeconomists and their theories prior to and during the crisis. Some aspects of the criticism apply to both macro and micro, e.g. the validity of the assumption that agents are rational, but for the most part this has not been fair to microeconomists.
As this award shows, microeconomists have made many useful contributions to the world, and they have also had success in other real world applications such as auction theory. Hopefully this award will help those outside the profession understand that the world of economics is more than macro, and highlight the important contributions from the microeconomics side of the profession that matter in our everyday lives.
This post was originally published at Economist's View and is reproduced here with permission.
Microeconomics, Nobel prize, RT Macroeconomy, RT Markets
A Nobel Prize for Work that Matters in Our Everyday Lives added by Mark Thoma on October 16, 2012
View all posts by Mark Thoma →


The 5th anniversary of the Nepal Death Fest (NDF) is going to be held on the 2nd and 3rd of March 2018 at the Reggae Bar in Thamel, Kathmandu. Dubbed the 'Biggest and Sickest of South Asia', the two day festival will consist of bands playing some Heavy Metal and celebrate the under-exposed genres like the Grind Core and Trash Metal.
Organized by Extreme Underground Metal Society Of Nepal (EUMSN) and Brutal Pokhara, the festival will continue its tradition of mixing international bands with local talents to entice the crowds into Headbangs and Mosh Pits.
The Festival has a good mix of foreign representation, with bands from the Czech Republic, Romania and the USA and Egypt along with bands from India, Bangladesh and China. This will be the first time the foreign bands will be performing in the festival, as the festival tries to give the crowd a different experience each year.
The festival will start at the Reggae Bar in Thamel from 1 PM. The tickets at the door will cost Rs 2000 for two days or Rs 1000 for a single day. However, limited number of tickets are available for those willing to invest early; with the two day entry costing Rs 1500 and the single entry costing Rs 800.
The festival attracts Nepalese as well as foreigners as they get to witness great bands from all over the globe at a very affordable price. The merchandise from all the bands will also be available for sale during the event.


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Friedrich von Haunstadt (mort probablement en 1225) est prince-évêque d'Eichstätt de 1223 à 1225.

Biographie
Friedrich provient d'une noblesse bavaroise, vraisemblablement ministérielle. Oberhaunstadt, l'éponyme, fait aujourd'hui partie de la ville indépendante d'Ingolstadt, en Bavière.

Friedrich von Haunstadt apparaît pour la première fois en 1206 comme chanoine d'Eichstätt. L'élection de Friedrich comme évêque a lieu le jour des funérailles de son prédécesseur, Hartwig von Grögling-Dollnstein. Il a l'appui du . Il est le candidat de la majorité, du roi Henri VII de Germanie et confirmé par l'archevêque de Mayence, Siegfried II von Eppstein. Mais les représentants du pape Honorius III ne reconnaissent pas l'élection. Friedrich meurt sans avoir reçu l'ordination épiscopale.

Notes et références

Bibliographie
 Alfred Wendehorst: Das Bistum Eichstätt. Band 1: Die Bischofsreihe bis 1535 (= Germania Sacra; Neue Folge 45). Berlin 2006. , p. 93-94.

Évêque d'Eichstätt
Évêque catholique du XIIIe siècle
Date de naissance non renseignée (XIIe siècle)
Date de décès non renseignée (XIIIe siècle)


Robbie H contributed to 9 out of a 44 Medal Haul for the Youth Performance squad at the TYR Super series meet hosted jointly by Millfield and Street&District swimming clubs. He earned a medal in each of his 9 events with PBS in 8 of them. A clean sweep of Golds in the Backstroke events places him 6th Nationally in 200m, 4th in 50m and 2nd in 100m Back. A further gold was earned in the 400IM, with 3 silvers in 200m, 800m and 50m Free, and bronzes in 100m and 400m Free.
Older team mate Ollie F worked the finishing touches with his British Champs preperations, matching Robbie's Golds, with a clean sweep in the Back-stroke events and 400IM too, adding a silver in the 200IM. In the same age group, the ever-improving Alex B earned a Gold in 50m Fly, and silver in 100m Back, whilst Louis C took the honours in 50m Breast followed by team mate Ben C who took the runner up spot. Jacob P in his only event took Gold in the 50m Fly.
Other males that made the podium saw Liam O taking silver in the 1500m Free. Ryan S earned Silver in the 400m Free & Bronze in the 800m Free. Miles W followed Ryan to earn Bronze in the 400m Free. David S earned bronze with a PB in the 50 Breast-stroke too.
The highest female medal earner was Jasmine M who took the winning spot in 100m, 50m Fly & 50m Free, the three events she will be racing at the British Champs. A season best was earned in the 100m Free to add a silver. In the same age group Teagan G, earned the top spot in the 200m Back. Aimie Q took Gold in the 200m Back along with silver in the 800m Free, and a pair of Bronze's in the 400m Free & 400IM. In the same age group Alex P earned Gold in the 800m Free and Lucy S Bronze in 1500m Free.
Izzy H, earned picked up two silvers in the 400IM and 100m Breast, followed up with two Bronzes in the 200m IM and 200m Breast. Abbie Q took silver in the 200m Breast, with Ella M hitting the podium twice earning silver in the 50m & bronze in the 100m Fly. Thea O'K earned double bronze in the 800m and 400m Free.
With the aim of being 1% either side of personal bests, the meet was a success for most, demonstrated by an impressive 53 Long Course personal best times. The squad's fitness level shone through, with challenges being met with pacing and skills.
Athletes can go away from the meet pleased but must address the competition strategies that lead to consistent performances through a whole weekend/compeition, with thought going into race preparation, nutrition and perhaps the biggest areas required for improvement is the recovery process after races and demonstrating winning mentality in the last 20m of an event. Coaches will have a chance to work on the importance of these elements over the Easter Camp in 2 weeks' time.
This Easter Camp will act as final preparation for Jasmine M, Jacob P, Oli F and Oli W who head to Glasgow to compete in the British Champs. For the rest of the squad the Portsmouth Easter Meet will act as an opportunity to further work on competition strategy, before they taper in to the Regional Championships.
A big well done to the swimmers and parents and a huge thank you to coaches Jan, Becky and Sam that supported the squad well during the meet.


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Dr Calvin Bowman
Dr Calvin Bowman is a distinguished composer and performer who has been a prominent figure in Melbourne and the wider Australian classical music scene for many years. A Fulbright scholar and Doctor of Musical Arts from Yale University, his major focus is the composition of art song, with his 'Touch the Air Softly' nominated for numerous awards. Calvin is also well known for his extraordinary seventeen hour marathon during the 2009 Melbourne International Festival when he performed the entire organ works of JS Bach in a single sitting, and for which he was nominated for a Helpmann award. Ted Davies spoke to Calvin Bowman on Reflections and you can hear their conversation by clicking on the arrow below. (This interview was first broadcast on Sunday 17 February 2019).
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text:
module KnifeOracleCloud
  VERSION = '2.0.0'
end

redpajama_set_name: RedPajamaGithub


text:
IFP ExclusiveForeign Policy
Iran slams UK envoy's contentious remarks: Study history!
Iran's foreign ministry spokesman slams UK Ambassador to Tehran Simon Shercliff for making controversial remarks about his compatriots' "negative" view of the Iranian nation while ignoring the monarchy's long history of oppression against the Iranians.
In comments at a recent meeting with members of the Tehran Chamber of Commerce, Shercliff raised eyebrows by saying that he respected Iran's negative perception of the British monarchy but the Britons had a similar view of the Iranians, too.
The UK diplomat, however, made no mention of his government's long list of brutal policies vis-à-vis the Iranian nation in modern history.
He was met with criticism at the meeting, with the participants attributing the troubled trade ties between the two countries to the UK's pursuit of a destructive Iran policy and prioritization of US sanctions against Iran.
The UK diplomat, however, blamed the Iranian side for the decrease in trade exchanges.
Reacting to the development, Foreign Ministry Spokesman Nasser Kanaani advised Shercliff to "study history" to get to know about what Britain had done to Iran throughout history.
"I advise the UK ambassador to study history in case he is uninformed about his government's long record of oppression against the Iranian nation, stop making baseless and unfounded claims, do his utmost instead to make up for the British government's wrong polices and unacceptable measures against the Iranian nation, and focus on efforts to advance bilateral ties based on the principles of mutual respect and interests," he said.
Britain owes its notoriety in Iran to its role in two coup d'états in 1921 and 1953.
The colonial monarchy is also to blame for a deadly famine in Iran during World War II, when it hoarded food supplies to feed its soldiers.
The UK also provided support to the ex-Iraqi regime's eight-year war on Iran in the 1980s.
Most recently, London has been serving as a promoter of draconian US sanctions targeting ordinary Iranians.
Iran-UK Relations
British ambassador returns to Tehran
Iran announces new sanctions on EU and Britain
Iran condemns EU, UK bans on real and legal persons, vows own sanctions
Iranian defense ministry denies executed MI6 spy was deputy defense chief
UK sanctions Iran's prosecutor general in response to MI6 spy execution
British ambassador to Tehran summoned to Iran Foreign Ministry
London condemns Tehran's execution of British-Iranian national convicted of spying
Iran executes ex-defense official convicted of espionage for Britain


Blackwater Manor, Tamnamore, Dungannon, Co. Tyrone – just off Junction 14!
Or viewing by appointment at any other time.
For a full brochure, mortgage advice or to arrange a private site visit please contact Stephen Henry on 02887726992.
*Subject to Status - Terms & Conditions apply.


Air-conditioned three bedroom holiday home that sleeps up to 6 guests, with 2 queen beds and two single beds, one bathroom and 1 toilet. ample parking, BBQ, tea and coffee facilities, books, DVDs, luxury guest soaps, cot and highchair (infants stay free), and fruit trees in the yard.
From the Esperance post office, follow Dempster street going north towards Norseman Road, then turn right into Goldfields road, number 17 will be on the left hand side.
If cancelled over 14 nights before arrival date no fee. Less than 14 nights 1 night's payment. Less than 48 hours – no refund. Please note the owner will request a $300 bond (on top of the total accommodation booking price) to be paid directly to them - they will send you the details.


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Q: QSqlTableModel working with filter I have a QSqlTableModel that has 3 columns that I want to filter. Sometimes I want to filter on one of the columns, sometimes on all 3 columns and then only on two.
I cannot show any code as i have not written any. I am thinking on using a string, which is plug on the model->setFilter() function, that depending on the button pressed adds or take out parts of this string to form the filter phrase. Is there something that I missed on the description of the QSqlTableModel that would do this more efficiently?


Looking for Lumber in Philippines? Find the list of best Lumber Products in Philippines on our business directory.
Total Lumber and Construction Supply opened in 1979, and remains to be one of the trusted suppliers in Danao City, and other neighboring towns in Cebu.


Australian actress, best known for playing Jeannie in Randall & Hopkirk (Deceased). In a 1970's spotlight directory she was listed "Height 5 feet 5 inches".
At 34:41 the guy on the left in the cap Nosher Powell was a boxer listed at 6 ft 4! More 6'2-3 I think. The guy on the right of Randall I think was around 6 ft 1 too. Olivia doesn't look much shorter than them in heels but it a bit nearer the camera! What do you reckon she looks?
I think Olivia looks very close to 6 ft in heels, a bit shorter than Pratt in shoes. You'd guess heels might be 3 inch range ones, over 4 would be rarer I think. A chance of 5 ft 9?
Editor Rob: there is a chance, I couldn't make out exactly her shoes in The Last Wave, she held up quite well with Richard Chamberlain in a few scenes.
At 7:36 you can see how I got a 5 ft 10 impression of her! Perhaps with Olivia it is the 2 inch rule downgrading her height rather than upgrading?
She does have a bit more hair on top than I thought in looking though, but 5 ft 9 range there certainly looks possible.
Rob, check out 7:16 and 22:16 Click Here I would be surprised if she was under 5 ft 9! Looks taller than 5'7.5 doesn't she? I see a good 6 inches on Annette!
Editor Rob: I would have said between 5-6 range was possibly, assuming similar heel size.
I haven't really looked at her with others beside that clip, so I don't know if the agency has knocked an inch off her listing...sometimes in the past they may well have done that.
Rob, can you find a listing in a directory for Olivia Hamnett? In one Randall episode I reckon she looked virtually the same height as Randall in heels, looked near 6 ft 1 in heels. I would guess 5 ft 10 range.
@Rory, it's not, but Peter Andre has that squasahed sort of nose too and has the same surname LOL. Half Italian certain possible, there's something Mediterranean about her, but not immediately obvious because her hair is dyed blonde!
Her real last name is Andreallo, so maybe half Italian?
Editor Rob: that sounds like a possibility!
Since when has having a squashed nose been a trait of Greek people lool ?
@Rob, I've seen the series many times but only recently it occurred to me in one episode. it might be the makeup though, seeing recent photos she looks blue eyed but her eyes look as dark as charcoal at times in the series and photographs, look at the side image here, she can look Greek there. The eyes, the squashed sort of nose and the surname and being Australian which is what made me wonder as Peter Andre is as Andre isn't a surname of English descent! Maybe she's French I don't know!
there's a lot of actresses from 60's, 70's era that today most people wouldn't know.
As the population grows and celebrity culture grows, globally you have to be a big star to be remembered. God knows what a site like this would be like in 60-70 years, how many of today's actors like your Ryan Reynolds, Julianne Moore or that kind of level would be remembered.
Rob would you guess she had some sort of Greek ancestry? There's something about the squashed nose look and eyes which have that Greek vibe, Peter Andre has that sort of look and is Greek Australian of course and has Andre as a surname!
Editor Rob: she doesn't jump out at me as having Greek heritage, although I don't pay quite as much attention to ancestry as heights.
Yes, 5'3 is the most really she could have been. Attractive, but face so heavily made up difficult to know what she looked like underneath! What was Sue saying about natural women of that era? Pratt is a guy who could look 5 ft 11 range a lot but when stood his best 6 ft I think. I saw that episode with Kieron Moore and Michael Gothard the other day and I think we're about right on Pratt at 6' and Moore at 6'1.5. But Gothard with Moore could look near an inch taller, he could look a gangly 189 with him, there's a chance on a little above 6'2 for him. Anton Rodgers I think looked similar to Pratt, he might have been maybe more 5'11.5 though, not easy to tell. I have the whole series on DVD, one of my favourites but I've not seen them all for a good 6 or 7 years. It's quintessential 60s really, the gaudy decor, the fashion (lots of lime greens and oranges), the cars, the music. Love it!
Could be as low as 5'2'' she was in at least 4 episodes of The Saint. looks like a foot shorter than Roger,she was Gorgeous.
Thanks Rob. Been watching her a lot of late. 5 ft 5 is absolutely hilarious. In heels maybe! Annette can look 5 ft 2 range a lot, quite petite. Looking again at her with Veronica Carlson about 3 inches yeah so 5'3 possible, but still a chance on 5'2.5. Maybe it's the 2 inch rule though. 5'3 is the most I would have thought.
Editor Rob: I watched an episode on youtube and she wasn't in it much but generally did look at most 5ft 3, Pratt's posture at times isn't great.


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PICK OF THE WEEK – "MANHATTAN"
(L-R) Ashley Zukerman as Charlie Isaacs and Rachel Brosnahan as Abby Isaacs in WGN America's "Manhattan," airing SUNDAYS at 10/9c. Photo credit: Greg Peters for WGN America.
Rachel Brosnahan as Abby Isaacs.
In "Manhattan," the new original series from WGN America, secrets creep into every aspect of the lives of the scientists recruited to the covert Manhattan Project, the 1940s mission to build the world's first atomic bomb.
The ensemble cast includes Rachel Brosnahan as Abby Isaacs, the wife of brilliant wunderkind Charlie Isaacs (played by Ashley Zukerman) and John Benjamin Hickey as Frank Winter, Daniel Stern as Glen Babbit and Olivia Williams as Liza Winter. Scientists and spouses are in a constant struggle between danger and deceit, truth and duty.
Costume Designer Alonzo Wilson puts subtle, telling details into his work for the drama series.
"In every show I do, every single costume has a narrative . . . an unspoken narrative," he said. "You have to give people something they don't even know they are getting."
Wilson's costumes illustrate the difficult social and emotional journey of Abby Isaacs, a wealthy, young Boston wife whose East Coast propriety is tested in isolated Los Alamos. Her attire slowly reveals how her life is changing.
In the premiere episode, Wilson selected a prim, collared shirt, cream cardigan and a box plaid skirt.
"When you see her, she walks up to a fence and the box plaid reflects the fences and the wall that they are going to be living behind," Wilson said.
To illustrate Abby's gradual transformation, Wilson created a series of dresses. He began with a dress in vibrant floral print; its colors a stark contrast with the landscape's monochrome sand.
Wilson copied the style of the dress and remade it in different faded prints.
"It's something that I felt showed her journey. She came there as this fresh woman with this idea that she'd be the wife of a famous scientist and she'll be able to do what she did back East–wear nice clothes and be social," he said. But the character slowly loses those ambitions.
"She's like a fading flower in the desert," Wilson said.
Abby is adapting, sometimes in uncomfortable ways. Elodie, a French woman who has a little more style and flair, befriends her and invites Abby for a night on the town, but finds her friend's wardrobe "fit for a grandmother."
"In the scene where they go out together, we had to build a dress that looked like it belonged to Elodie–something very risqué and something that Abby would never wear," Wilson said. He crafted a halter dress with a bold, floral bodice and black skirt.
"We made a coat so there's a reveal. When she takes off the coat, she looks basically naked. She is very exposed in this place. And it's the first time we see her let go," Wilson said.
"She's very aware that she's not covered up and she's uncomfortable," Wilson said.
That costume echoes a consistent theme of the show. In the carefully constructed isolation of the Manhattan Project, even the clothes hold secrets.
WGN America's "Manhattan" airs Sunday at 10 p.m. ET/9 p.m. CT.


Kirk DeWindt "The Bachelor" turned Elite SpartanKirk DeWindt is the real deal. He may have done his stint on reality TV on various episodes of The Bachelor but when it comes to athletic prowess, Kirk is ready to bring it. He has had some success early in Spartan Race events but this is the year he intends to show the world what he's capable of. Of course, I had to dig to satisfy my curiosity regarding the reality show experiences so regardless what may be your curiosity where Kirk DeWindt is concerned this is an unvarnished interview with "The Bachelor turned Spartan".


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Home Community Six New Books for May
Six New Books for May
Hour Detroit Staff
1. The Art of Cooking Morels, by Ruth Mossok Johnston (University of Michigan Press, $29.95). Foraging for morels is often the most romanticized and documented aspect of the treasured mushrooms, which appear in Michigan woodlands this time of year. But cooking with the honeycombed fungi can be just as adventurous. Johnston, a Franklin-based food writer, includes such dishes as morel- and scallion-filled Ebelskivers (traditional orb-like Danish pancakes), grilled and skewered morel-bison kafta, along with more routine fare. The book's illustrations, by the author's artist husband, David McCall Johnston, lend distinction and impart a hunger for the real thing.
2. Detroit: A Biography, by Scott Martelle (Chicago Review Press, $24.95). Detroit's well-documented woes, which continue to be the darling of roving international reporters in search of shock and awe, are the subject of this book. Writer Scott Martelle, a former Detroit News reporter, traces the roots of Detroit's decline through various eras and examines prospects for the city's future.
3. The Skeleton Box: A Starvation Lake Mystery, by Bryan Gruley (Touchstone, $25). In this, the third of Bryan Gruley's Starvation Lake books, the narrative continues to follow small-town newspaper editor Gus Carpenter as he runs down a story that intersects his private life. Writing of what he knows (Northern Michigan and newspapering), Gruley, a Michigan native and reporter at large for Bloomberg News, pulls in the reader much the same as a solid news story captures public attention. This old-school whodunit headlined by a humble protagonist keeps the reader turning pages well past lights out.
4. The Michigan Companion, edited by Arthur M. Woodford, foreword by Philip P. Mason, distinguished professor of history, Wayne State University (OmniData, $46). Alphabetically, this hefty guide blankets the state from Sid Abel to Zug Island. The 847-page tome takes an encyclopedic look, covering a vast array of topics: art, entertainment, festivals, food, geography, history, holidays, industry, institutions, media, music, people, philanthropy, religion, and sports. This reference book will answer household debates and spur inspiration for in-state travel. The more than 1,200 entries include a share of trivia. An example: Kalkaska Sand is the state's official soil. One of more than 500 soils in Michigan, Kalkaska Sand is found in the northern half of the Lower Peninsula. Of course, attempts at exhaustive coverage inevitably invite comments about missing entries. We wondered why Chelsea-based novelist Laura Kasischke was omitted among Michigan writers. We also noted that birthdates for TV news anchors were not listed (a bow to vanity?). That said, this is a Companion that all Michigan residents with any curiosity at all should keep at hand.
5. The Light Between, by Terry Blackhawk (Wayne State University Press, $15.95). In her sixth volume of poetry, Blackhawk exposes the wounds, recriminations, anger, and the stupefying sense of loss a divorce brings. In "Medea, Garland of Fire," the Detroit poet uses the myth of Jason and Medea as a springboard for her feelings, but she more compactly distills her emotions in "Belle Isle Solitary: New Year's Eve." Too much sadness and resentment could easily drag the book down, but Blackhawk takes solace in the salve of nature. In the end, it's a tonic, a triumph of the individual spirit, as she concludes in "Meditation in Green": "Beyond the margin of trees, clouds carry our names. Light on the high wire — brightening silence."
6. The Flying Firsts of Walter Hinton: From the 1919 Transatlantic Flight to the Arctic and the Amazon, by Benjamin J. Burns (McFarland & Co., $40). Ben Burns, a professor and director of journalism at Wayne State University and former executive editor of The Detroit News, based this slim book on 40 hours of personal interviews with Walter Hinton, an American adventurer. In May 1919, Hinton piloted the first plane to cross the Atlantic (eight years before Detroit-born aviator Charles Lindbergh completed the feat solo). Hinton's story, described as a lost chapter in the history of American flight, details his many aviation adventures in an era when airplanes began capturing the imagination of the public.
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