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Carl Olof Larsson, född 28 maj 1853 i Gamla Stan i Stockholm, död 22 januari 1919 i Falun i Dalarna, var en svensk konstnär. Larsson är en av de mest berömda svenska konstnärerna och kanske den mest folkkäre. Han räknas som en av Sveriges mest betydelsefulla akvarellmålare. Han är känd för sina akvareller av idylliskt familjeliv.

Larsson var make till konstnären Karin Larsson.

Biografi

Uppväxt

Carl Larsson kom ur enkla förhållanden och föddes vid Prästgatan 78 i Gamla stan. Under hans uppväxttid bodde föräldrarna på Ladugårdslandet, i början vid Grevgatan och efteråt vid Grev Magnigatan. När han var tretton år anmodade hans lärare honom att söka som elev vid Konstakademien. Carl Larsson studerade vid Konstakademien 1869–1876. För att förtjäna sitt levebröd var han tvungen att samtidigt arbeta för sitt uppehälle. Han försörjde sig som bland annat retuschör hos en fotograf.

Illustratör

Åren 1872–1876 var han ofta medarbetare som grafiker för skämttidningen Kasper. 1876 tillerkändes Carl Larsson medalj för sin målning Sten Sture d.ä. befriar danska drottningen Kristina ur Vadstena kloster. Han illustrerade bland annat H.C. Andersens sagor (1875–1876), Topelius Fältskärns berättelser (1883–1884), Anna Maria Lenngrens dikter (1884). Även efter sina första framgångar kom han att ibland arbeta som illustratör, bland annat till Elias Sehlstedts dikter (1893) och Viktor Rydbergs Singoalla (1894). "Innan han for till Paris 1877 måste han ha något att leva av och då gjorde han illustrationer till Asbjörnsens och Moes norska folksagor, och han fick ett par tior för varje teckning som blev klar. Beställning hade han fått av förläggaren Hjalmar Linnström, men dennes förlag gick i konkurs, så någon bok blev det inte. På konkursauktionen ropade Albert Bonnier in illustrationerna och så hamnade de i hans förlagsarkiv."

Albert Bonnier ropade in översättning, manuskript och illustrationsstockar på konkursauktionen, och sedan hände ingenting mer. Carl Larsson hade, såsom ovan nämnts, tidigare illustrerat bland annat H.C. Andersens sagor. Asbjörnsens och Moes folksagor passade Carl Larssons fantasi. Larsson lärde känna Asbjörnsen och Moes sagor genom den upplaga som kom på svenska 1868–1875. Men först 1927, flera år efter Larssons död, kom boken "Folksagor" av Asbjörnsen och Moe med illustrationer av Carl Larsson ut. Carl Larsson hade också fått i uppdrag att illustrera fyra samlingar "Sagor", författade av Richard Gustafsson och som gavs ut 1874–1882. Richard Gustafsson hade 1869 grundat skämttidningen Kasper och han var dess redaktör fram till 1910. En av de kända medarbetarna i tidningen Kasper var, som ovan nämnts, Carl Larsson som var en av illustratörerna vid tidningen.

Carl Larsson flyttade till Paris 1877. Under sin tid där levde han i fattigdom. Efter att desillusionerad återvänt till Stockholm och i två år ha livnärt sig på illustrationsuppdrag, reste han igen till Paris 1880 och började måla. I ett brev hade konstprofessorn Fredrik Wilhelm Scholander i mars 1881 givit honom rådet att lägga all excentricitet åt sidan och "Måla en studie, helt enfaldig, så att du måste blygas över densammas brist på originalitet, under det du dock tycker att den ser ut som ett stycke verklighet". Detta uppdrag gav Larssons uppehåll i Paris mål och betydelse. Den lilla målarbyn Grez-sur-Loing, i närheten av Fontainebleau söder om Paris, blev hans hemvist under Paristiden. Han utvecklade här sin egen stil, och akvarellen blev hans specialitet.

Grez-sur-Loing och giftermål

Grez-sur-Loing var en liten idyll där en målare lätt kunde hitta motiv: trädgårdar, unga fruktträd, blomsterprakt och köksväxter, stränder med terrasser och spaljéer, gamla lusthus och bryggor, en flod med små vattenfall, gubbar i träskor och flickor i solsken med mera. Det nordfranska milda ljuset tillägnade sig Larsson lätt, behandlingens elegans och lätthet kom av sig själv och därtill en personlig touch som snart uppmärksammades av franska iakttagare. Larsson gifte sig 1883 med konstnären Karin Bergöö och den växande familjen blev snart ett givet motiv för intima porträtt, däribland "Bruden" (1883), "Ateljéidyll" och "Lilla Suzanne" (1885). De första Grez-akvarellerna, bland annat med akvarellerna "Oktober" och "November" (båda Göteborgs Konstmuseum), som han skickade in till konstsalongen 1883 gav honom tredje pris.

I Sverige vistades han 1885–1888 och målade stämningar från södra Stockholm, friluftsstudier, vår i glittrande solsken med blommande fruktträd och unga ljusklädda flickor och vinter med nyfallen snö. 1886 accepterade han uppdraget som chef för Göteborgs museums konstskola, en tjänst han kom att inneha till 1891. Han hade vid den tiden bakom sig en frodig verksamhet som illustratör, akvarellist och målare i olja. Men denna verksamhet var fortfarande splittrad och saknade en fast hållpunkt. Han hade tidigt haft klart för sig att det var monumentalkonsten han ville sträva till. Det är ingen tillfällighet att det konstverk som väckt hans beundran då han var en fattig pojke i Stockholm var Sankt Görans-gruppen i Storkyrkan, den väldiga träskulpturen från medeltiden och att hans älsklingsbok var en mytologi från 1700-talet, fylld med kopparstick, gudar och gudinnor i barockställningar med fladdrande, pompösa draperier. Det pittoreska hade för honom en oemotståndlig dragningskraft.

Dekorationer

Följaktligen accepterade han ivrigt erbjudandet att dekorera trappan i Fürstenbergs hem. Som ämnen för tre av rummets väggar föreslog han att behandla tre epoker inom nyare tidens konst: renässans, rokoko och modernism. Denna uppgift kunde endast genomföras i Paris, alltså återvände han dit på våren 1888 och till världsutställningen året därpå var triptyken, Rokoko-Renässans-Nutida konst, så pass fullbordad att den kunde delta i den svenska avdelningen. De tre stora målningarna var infattade i ett originellt vitt ramverk med infällda figurer och blomstermotiv i relief. Mittbilden, Renässansen framställer konstens gudinna som vaknat ur en sekellång sömn och som hyllas där hon sitter på en antik sarkofag. Rokokon personifieras av en herdinna som vilar i en snäcka dragen av en delfin och smeker en kavaljer vars händer bundits med blomsterslingor. Den tredje bilden karaktäriserar den moderna konsten: skulpturkonsten representeras av en kvinnostaty som fattar skulptören om handleden, målarkonsten representeras av Carl Larsson själv som idkar friluftsmålning och arkitekturen av Eiffeltornet. Larsson var dock oerfaren vad gäller dekoration och triptyken blev främst en ansats och kritiken ansåg att ämnena borde ha behandlats på ett värdigare och kärnfullare sätt.

Vid återkomsten till Göteborg fick han som uppgift att dekorera trapphuset i en flickskola. Lokalen var modern, banal och intetsägande men Larsson livade upp den genom att fylla alla väggar med kompositioner över ämnet den svenska kvinnan under olika tider. Där återfanns bland annat vikingatidens moder som står med sina barn framför en runsten, medeltiden representeras av den heliga Birgitta och stormaktstiden av en adelsfröken som syr på en blågul fana och samtidigt söker på jordgloben det land dit hennes älskade dragit ut i krig. 1800-talet representeras av Fredrika Bremer vid skrivbordet och serien avslutas med en grupp botaniserande skolflickor. Målningarna utfördes direkt på muren och fullbordades på hösten 1890. Larssons sinne för fantasi och känslosamhet fick här fritt utspel.

1891 flyttade Carl Larsson från Göteborg och slog sig åter ned i Stockholm.

Under 1890-talets första år samarbetade Carl Snoilsky och Carl Larsson för att ge ut ett praktverk med ett urval av Elias Sehlstedts Sånger och Visor.

Uppdrag för Nationalmuseum

Frågan om utsmyckningen av det nybyggda Nationalmuseums hall hade diskuterats sedan 1883. Den kommitté som bildats för att besluta i frågan hade tagit tre år på sig för att bestämma vilka motiv som skulle pryda de åtta väggfälten. 1888 utlystes en tävlan där Larsson skickade in tre skisser för den ena sidoväggen på bottenvåningen: Karl XII i Bender tittar på Tessins ritningar till Stockholms slott, Linné inför Lovisa Ulrika i Drottningholms park och Sergel i sin ateljé modellerande Gustav III:s staty. Kommittén antog inget förslag utan utlöste en ny tävling 1891. Även i denna tävling medverkade Larsson och han skickade in förslag på hur alla åtta väggfält skulle se ut. Nedre trapphusets väggar ägnade han åt svensk konst och svenskt konstliv under 1600- och 1700-talen. Han påminde i sina sex motiv om Ehrenstrahl, som han framställer målande ett ryttarporträtt av Karl XI, om bygget av Stockholms slott (Nikodemus Tessin och Hårleman), om upphovet till Konstakademien (Taravals ritskola), om importen till Sverige av fransk rokoko (Carl Gustaf Tessin visar för Lovisa Ulrika sina förvärv i Paris), om antikens pånyttfödelse (Gustav III hälsar de i Rom inköpta konstverken välkomna till Sverige) och om svensk nyklassicism (Sergel arbetande på Psykegruppen). För trapphallens övre våning upptog han Gustav Vasas intåg i Stockholm 1523 och Gustav II Adolf som landstiger i Tyskland. Larsson vann tävlingens första pris. Inom kommittén rådde dock fortfarande delade meningar och hela frågan blev liggande i två år. Först 1894 antogs av Kungl. Maj:t Larssons program, under följande år utförde han utkast på kartonger till sina kompositioner för bottenvåningen och sommaren 1896 utförde han de sex målningarna al fresco.

Hos kommittén var det dock endast tre av de tolv ledamöterna som godkände Larssons målningar och bedömningen bland övriga varierade mellan underkännande och anmärkningar på detaljer som borde göras om. När Larsson hävdade att kommittén redan godkänt hans förslag, blev resultatet att kommittén förklarade sig "antaga" freskerna; ordet "godkänna" ville man undvika. Frågan om utförandet av Gustav Vasas intåg i Stockholm sköts på framtiden.

Sundborn och familjeliv i måleriet

Larsson blev dock populär som familjelivets och hemmets målare. Redan i Grez hade han målat sina närmaste. På Lilla Hyttnäs i Sundborns socken bodde två fastrar till Karin. Då Carl Larsson besökte trakten med sin svärfar hade denne erbjudit honom att få köpa en gård i trakten; Larsson hade avslagit erbjudandet med en formulering om att nog endast en gård som Lilla Hyttnäs skulle passa en konstnär. Sedan den ena systern avlidit och den andra då inte längre ville bo kvar kom familjen Larsson att få gården i present. Under många år fungerade den som sommarbostad medan den grundligt byggdes om. 1901 lämnade familjen Larsson Stockholm för att slå sig ned varaktig på Lilla Hyttnäs. Gården i Dalarna kom att erbjuda familjen i denna miljö en aldrig sinande motivrikedom. Under arbetet med freskerna hade Larsson utvecklat ett förenklat uttryckssätt, klar linjebyggnad och lätta färger. Detta uttryckssätt är konsekvent genomfört i den serie bilder från Sundborn som han började utföra på lediga stunder 1894; teckningar i tusch med noggrant redogörande för alla detaljer och enkelt kolorerade. Serien "Ett hem i Dalarne, 20 lavyrer med fyra färger" visades på Stockholms-utställningen 1897, utgavs i något utvidgat skick i färgtryck 1899 som Ett hem och förvärvades följande år av Nationalmuseum. Denna bildserie, som senare följdes av tre andra sundbornsalbum, gjorde Larsson känd och omtyckt även långt utom Sveriges gränser.

Fresker och väggmålningar

Efter de sex freskerna på Nationalmuseum följde hans bidrag till dekorering av det nya operahuset i Stockholm. Han målade i olja en plafond och sex lunettbilder för publikfoajén. Plafonden med allegoriska figurer. Ryktet flygande, putti lekande med en svensk flagga, i lunetterna fantasier över Folkvisan, Kämpasången, Karusellen. Målningarna som gjordes i olja var dock inte beräknade för salens normala belysning och har inte kommit till sin rätta där.

Därefter följde en fresk i läroverket Norra Latin där Larsson valde ämnet skolungdomens korum vid en vapenövning. I den realistiska kompositionen lade han in keruber som tumlar runt kring den svenska flaggan och över en i väggytan inskjutande dörr placerade han en vitskrudad ung flicka inom en krans av vårblommor. För latinläroverket i Göteborg målade han "Ute blåser sommarvind" där barn är på väg till skolan för att klä skolsalen med blommor och grönt inför examen.

Nationalmuseums väggmålningskommitté hade lyckats samla sig och bad Larsson att måla Gustav Vasas intåg i Stockholm. Larsson hade nu gjort en ny skiss av samma motiv, med förenklad komposition, antalet figurer minskat och med karaktär av monumentalteckning i brokiga färger. Kommittén hade beställt utförandet i al fresco men Larsson bad att istället få måla motivet i olja och sedan kommittén godkänt detta kunde oljemålningen sättas upp i trapphallen 1907. Vad gäller det återstående väggfältet utförde Larsson 1911 en skiss där han skildrade en konungs offerdöd för sitt folk. Förslaget togs till en början knappast på allvar av väggmålningskommittén och en hetsig strid utbröt, inte främst på grund av motivet utan på grund av Larssons önskan att målningen, Midvinterblot, skulle placeras i trapphuset mittemot Gustaf Vasa-målningen. Till slut blev Larssons förslag refuserat. Men Midvinterblot skulle ändå komma att hamna där Larsson önskade.

Carl Larsson var även verksam som etsare och porträttmålare. Av hans porträtt märks särskilt två porträtt av Oscar Levertin (1906) och ett porträtt av August Strindberg (Nationalmuseum).

År 1919 avled Carl Larsson, 65 år gammal.

Arvet efter Carl Larsson

Efter Karins bortgång 1928 bestämde barnen (Suzanne, Pontus, Lisbeth, Brita och Kersti) att bevara hemmet i Sundborn som det sett ut under föräldrarnas livstid. De bildade 1946 en släktförening med syfte att förvalta Carl Larsson-gården i fortsättningen och låta den vara öppen för visningar för allmänheten.

1997 placerades slutligen den stora målningen Midvinterblot där Larsson hade tänkt att den skulle hängas. Efter en Larsson-utställning på Nationalmuseum och där 300 000 besökare sett målningen på Larssons utvalda plats, hade allmänna opinionen svängt. Under de pågående reparationsarbetena vid Nationalmuseum är Midvinterblot tillfälligtsvis nedtaget från sin plats.

Carl Larsson är representerad på ett flertal museer, bland annat Uffizierna i Florens, Alte Nationalgalerie i Berlin, Statens Museum for Kunst i Köpenhamn, Musée du Luxembourg i Paris, Göteborgs konstmuseum, Nationalmuseum, Prins Eugens Waldemarsudde, Kalmar konstmuseum,
Nordiska museet,
Thielska galleriet, Norrköpings konstmuseum, Bonniers porträttsamling, Metropolitan Museum och Malmö konstmuseum,.

Carl Larssons väg i Södra Ängby, Stockholm, är uppkallad efter Carl Larsson.

Verklista

Kända målningar
 1883 - I köksträdgården
 1883 - Gubben och nyplanteringen
 1884 - Lilla Suzanne
 1885 - Interiör från Fürstenbergska galleriet
 1886 - Friluftsmålaren
 1888-1889 - Rokoko-Renässans-Nutida konst
 1890-1891 - Svenska kvinnan genom seklen
1902 - Ute blåser sommarvind
 1905 - Potatisplockning
 1907 - Nu är det jul igen
 1908 - Selma Lagerlöf
 1891-1908 - Gustaf Wasas intåg i Stockholm Midsommarafton 1523
 1910-1915 - Midvinterblot

Bibliografi över originalupplagor
 De mina : gammalt krafs. Stockholm: Bonnier. 1895. - Ny utgåva under titeln De mina och annat gammalt krafs (1919), utökad med ett antal bildplanscher och tillhörande texter.
 Ett hem : 24 målningar. Stockholm: Bonnier. 1899.
 Larssons : ett album, bestående af 32 målningar, med text och teckningar, allt af Carl Larsson själf. Stockholm: Bonnier. 1902.
 Spadarfvet : Mitt lilla landtbruk  : 24 målningar med text och teckningar. Stockholm: Bonnier. 1906.
 Svenska kvinnan genom seklen : 10 bilder med text och teckningar  : efter målningar i Nya elementarläroverket i Göteborg. Stockholm: Idun. 1907.
 Carl Larsson : 60 reproduktioner i tontryck efter fotografier af originalen. Små konstböcker. Lund: Gleerup. 1910.
 Åt solsidan : en bok om boningsrum, om barn, om dig, om blommor, om allt  : taflor och prat. Stockholm: Bonnier. 1910.
 Andras barn : 32 målningar med text. Stockholm: Bonnier. 1913.
 Jag. Stockholm. 1931.

Se även
 Carl Larssongården
 Bergööska huset
 Sundborn

Kommentarer

Källhänvisningar

Noter

Tryckta källor

Vidare läsning

Svalin Gunnarsson, Elisabeth (2017) I min trädgård vill jag vara Karin. En praktisk trädgårdsberättelse från Sundborn. Bonner Fakta.

Externa länkar

 Carl och Karin Larssons släktförenings sida om Carl Larsson

Jugendkonstnärer
Svenska serieskapare
Hedersledamöter vid Västmanlands-Dala nation
Svenska målare under 1800-talet
Svenska målare under 1900-talet
Konstnärer från Stockholm
Representerade vid Göteborgs konstmuseum
Representerade vid Nationalmuseum
Representerade vid Statens Museum for Kunst
Födda 1853
Avlidna 1919
Män
Representerade vid Bonnierska Porträttsamlingen
Representerade vid Norrköpings konstmuseum
Representerade vid Metropolitan Museum of Art
Representerade vid Prins Eugens Waldemarsudde
Representerade vid Thielska galleriet

redpajama_set_name: RedPajamaWikipedia


'Will Manticora feature on your list', I was asked a little while back in reference to my 'Still to Come in 2018' mini-series. The question was posed by a loyal follower, whose taste in music more-or-less echoes mine. Manticora was a name familiar with me, but I'd never really explored their music in any detail, beyond a cursory dabble with a song or two here and there. So, having been prompted to do so, I thought now might be the most opportune time to delve into the world of Manticora to see if I'd missed a trick.
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Firstly, at over 69 minutes in length, 'To Kill To Live To Kill' is way too long. It is certainly generous for a band to release a record with such a huge amount of music to offer. However, the material here just isn't consistently strong enough to justify the length. Many of the songs stretch into the six or seven-minute arena but they'd be stronger and more effective tracks if they were truncated a touch.
That said, as a concept album, perhaps the Danes felt that they needed something epic in length to go along with the horror story that was penned by vocalist Lars F. Larsen. Apparently, 'To Kill To Live To Kill' is the first of a double concept album no less.
Stylistically, there's a lot going on within the music itself. There are plenty of power/speed metal references, thanks to the general pace and tempo of the songs. The tracks for the most part rip along at a hefty speed, led by some ferocious drumming and sharp, incisive riffing courtesy of Kristian H Larsen and Stefan Johansson. You also get plenty of swift exuberant lead guitar solos and more than a vague hint of neo-classical endeavour thrown in for good measure.
And yet, for all that, what surprised me in a good way as I listened, was the overt heaviness of the material and the extremity. Thrash metal clearly plays an important part in the band's overall sound too, with frequent nods in the direction of the likes of Darkane and Into Eternity especially when in all-out frenetic attack mode, as demonstrated within tracks like 'Echoes of a Silent Scream'.
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'To Kill To Live To Kill' is certainly full-blooded stuff, with much to commend within it. So why am I so reluctant to give it the 'two thumbs up' treatment?
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The final element that detracts from the final product is in the vocal department. Lars F Larsen doesn't have a bad voice but it is not a delivery that I warm to, however much I listen to this music. When he takes his foot off the pedal and tones things down a touch, he has a much more enjoyable tone. And I rather like some of his more unusual phrasings too. However, when he is belting out the lyrics with full gusto, Larsen just sounds strained and forced, as if he is liable to snap his vocal chords. And on top of that, I'm not convinced that his voice actually fits with the music around him.


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text:
Daniel W. B. Lomas
Search for other papers by Daniel W. B. Lomas in
Defending the realm
Labour ministers, vetting and subversion
in Intelligence, security and the Attlee governments, 1945–51
Chapter Six focuses on the Government response to Communism at home. Shaped by their wartime experiences of intelligence and security, it argues that the popular perception that Ministers were suspicious of the intelligence services, particularly the Security Service, is unfounded, based largely upon Labour folklore. In fact, rather than viewing MI5 with distain, even alarm, Ministers in the new government were aware of the need for an internal security body; any changes in the security apparatus were the result of the recommendations made by Sir Findlater Stewart, whose report of November 1945 is examined here for the first time. The chapter also looks at the development of Whitehall security procedures using the minutes and memoranda of the Committee on Subversive Activities (GEN 183). It argues that, as in the field of British policy towards Russia, domestic countermeasures measures against Communists in the civil service were hidden until the spring of 1948 after attempts at Anglo-Soviet rapprochement finally broke down. Despite the introduction and later expansion of vetting, Ministers sought to balance anti-Communist measures alongside the need for freedom of speech and liberty. Nowhere is this clearer than in discussions for domestic anti-Communist propaganda. While the Labour Party and other organisations had participated in the distribution of such material, IRD had no specific mandate to conduct its activities at home. However, after the outbreak of hostilities in Korea, Ministers authorised a domestic campaign aimed at influential sections of the British public, with the study looking at the early development of this campaign, revealing IRD's domestic activities in education, industry and the armed forces.
Intelligence, security and the Attlee governments, 1945–51
An uneasy relationship?
Labour Party; Intelligence; Security; Cold War; Attlee
Chapter 1: Wartime apprenticeship
Chapter 2: Lacking intelligence?
Chapter 3: The Cold War heats up
Chapter 4: Britain's secret Cold War offensive
Chapter 5: The special relationship?
Chapter 6: Defending the realm
Chapter 7: Empire, Commonwealth and security
Building a peace economy?
Liberal peacebuilding and the development-security industry
Jenny H. Peterson
This book critically examines the range of policies and programmes that attempt to manage economic activity that contributes to political violence. Beginning with an overview of over a dozen policies aimed at transforming these activities into economic relationships which support peace, not war, the book then offers a sustained critique of the reasons for limited success in this policy field. The inability of the range of international actors involved in this policy area, the Development-Security Industry (DSI), to bring about more peaceful political-economic relationships is shown to be a result of liberal biases, resulting conceptual lenses and operational tendencies within this industry. A detailed case study of responses to organised crime in Kosovo offers an in-depth exploration of these problems, but also highlights opportunities for policy innovation. This book offers a new framework for understanding both the problem of economic activity that accompanies and sometimes facilitates violence and programmes aimed at managing these forms of economic activity. Summaries of key arguments and frameworks, found within each chapter, provide accessible templates for both students and aid practitioners seeking to understand war economies and policy reactions in a range of other contexts. It also offers insight into how to alter and improve policy responses in other cases. As such, the book is accessible to a range of readers, including students interested in peace, conflict and international development as well as policy makers and practitioners seeking new ways of understanding war economies and improving responses to them.
Human rights and the borders of suffering
The promotion of human rights in international politics
M. Anne Brown
This book argues for greater openness in the ways we approach human rights and international rights promotion, and in so doing brings some new understanding to old debates. Starting with the realities of abuse rather than the liberal architecture of rights, it casts human rights as a language for probing the political dimensions of suffering. Seen in this context, the predominant Western models of right generate a substantial but also problematic and not always emancipatory array of practices. These models are far from answering the questions about the nature of political community that are raised by the systemic infliction of suffering. Rather than a simple message from 'us' to 'them', then, rights promotion is a long and difficult conversation about the relationship between political organisations and suffering. Three case studies are explored: the Tiananmen Square massacre, East Timor's violent modern history and the circumstances of indigenous Australians. The purpose of these discussions is not to elaborate on a new theory of rights, but to work towards rights practices that are more responsive to the spectrum of injury that we inflict and endure.

redpajama_set_name: RedPajamaCommonCrawl


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Florida School Shooting
Parkland school shooting survivor David Hogg calls for spring break boycott of Florida
By Paula McMahon
While on lockdown during the school shooting, Stoneman Douglas High School students pleaded for change regarding gun control.
One of the Parkland school shooting survivors is calling on tourists to boycott the State of Florida for spring break as a way to get legislators' attention focused on gun control.
"Let's make a deal DO NOT come to Florida for spring break unless gun legislation is passed," David Hogg, a Marjory Stoneman Douglas High School student who is a leader in the #neveragain movement, posted on Twitter on Saturday.
Hogg said he hoped his tweet would make state politicians listen if the "billion-dollar tourism industry in Florida" makes gun control measures a priority.
"If the legislators aren't going to listen to us, like they didn't listen to us in Tallahassee the other day, maybe they'll listen to the tourism industry," Hogg told the South Florida Sun Sentinel in a phone interview.
Hogg is one of the most recognizable faces in the movement. The TV production student recorded updates and interviewed fellow students on video while they hid in a tiny darkened classroom during the mass shooting.
The National Rifle Association and the gun industry are facing a growing backlash in the aftermath of the Feb. 14 mass shooting that left 17 people dead and several more injured.
Former student, Nikolas Cruz, 19, is jailed on 17 counts of murder. State prosecutors have not yet filed formal charges but, if convicted, he would face life in prison or the death penalty.
The latest companies to end their ties with the NRA were Delta and United Airlines, the first and third largest U.S.-based airline companies by revenue, respectively.
Both Delta and United said Saturday they will no longer offer discounted fares to NRA members to attend their annual meetings, and both have asked the gun rights group to remove any references to their companies from the NRA website.
A growing number of large companies have announced they are cutting or reducing ties with the NRA. Rental car company Hertz will no longer offer a discount program to NRA members and First National Bank of Omaha said it will not renew a co-branded credit card it has with the NRA.
Material from the Associated Press was used in this report.


The Asbury Park Sun website, a sister site of Asbury Overheard, reported today that the vintage guitar and amplifier stolen in Asbury Park from area musician Kenny "Stringbean" Sorensen has been recovered in Ocean Township.
Still missing is Sorensen's van which was also stolen and contained the equipment. Also not recovered are harmonicas and various cords.
But if was the recovered 1958 Gretsch hollowbody guitar and the Ampeg amplifier that were most important to Sorensen.
The pleas on Facebook to keep an eye out for the stolen equipment, including a post on Asbury Overheard that's been shared over 1,600 times, had musicians and others in the area on notice.
That led to an owner of a store in Ocean Township, Swap for Cash, to realize he had just bought the guitar and amplifier from someone he thought was a good-faither seller. George Scandalis, who once sold vintage guitars in Red Bank and has many friends in the local music community, notified Ocean Township police and the equipment was returned to Stringbean.
Scandalis and his musician friends had seen the shared Facebook posts about Sorensen's stolen equipment, which included a detailed description of what was missing.
Click here to read the full Asbury Park Sun story.
« Sorensen guitar and gear stolen — along with van powered by cooking oil	» Garden State Film Festival may skip Asbury for A.C.


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The Portland Harbor Superfund Site includes a portion of the Willamette River in Portland, Ore.
Photographer: Dan Levine/AFP/Getty Images
Feuds Among EPA, Companies Delay Cleanup of Contaminated Harbor
By Sylvia Carignan
EPA denied request for changes to remedy
Harbor on Wheeler's priority list
A tug of war over one of the country's most toxic sites is pitting the EPA against a handful of companies paying for cleanup.
The companies have sought to reduce the scale and cost of the cleanup at Portland Harbor, a key international shipping port in Oregon, claiming hardship due to the coronavirus pandemic. But the Environmental Protection Agency earlier this month denied their request.
Both sides claim the other is unnecessarily slowing the cleanup process at the harbor. It has been a Superfund site for two decades, and has spent about three years on EPA Administrator Andrew Wheeler's priority list. But cleanup has yet to begin.
About 100 companies are potentially liable for remediation at the site. Some, including General Electric Co., Shell Oil Co., Arkema Inc., and Bayer Crop Science Inc., signed agreements with the EPA in March to start designing restoration of sections of the harbor.
But the lengthy negotiation period for a handful of other companies means some contamination has yet to be addressed.
Members of Oregon's congressional delegation have long been itching for the work to start.
"Every year the Portland Harbor goes without cleanup action, our region loses opportunities in the form of tax revenue, jobs, and property value, impeding economic opportunities for this important 11-mile stretch of industrial waterfront land within the City of Portland," the seven lawmakers said in an October 2017 letter to the EPA.
Future Indicator?
Complications in Portland Harbor's cleanup could be an indicator of the future of the 40-year-old Superfund program, said Carolyn McIntosh, partner at Squire Patton Boggs LLP in Denver, Colo.
"The larger, more complex sites now tend to be the ones that still remain within the program," she said. "These issues are not going to get easier as EPA moves forward, trying to remediate them."
One complication is local involvement.
As the current administration pushes for faster cleanup, tribal and local government representatives have been cut out of the conversation with EPA and the potentially responsible parties, said Laura Shira, environmental engineer at Yakama Nation Fisheries, a program of the Confederated Tribes and Bands of the Yakama Nation.
"We were a member at the table," she said. "That's all—or for the most part—been cut out."
They're On the List
The EPA's National Priorities List includes Portland Harbor and other sites, such as the Gowanus Canal in New York and San Jacinto River Waste Pits in Houston, that are the most contaminated in the country. The EPA oversees the cleanup process, including investigating the contamination, choosing a remedy, and ensuring that remedy protects human health and the environment.
The agency is "encouraged by the progress made so far" with Portland Harbor's cleanup, an agency spokesperson said May 11.
But a handful of companies working on the site have been "banging the drum" to scale back the EPA's cleanup plan for some time, said Channing Martin, chair of the environment and natural resources group at Williams Mullen in Richmond, Va.
Portland Harbor has been on the administrator's priority list for about three years, since Scott Pruitt headed the agency. Wheeler's goal for the site—which doesn't have a deadline or time frame—is to move quickly toward a settlement and get started on cleanup.
Coronavirus Blamed
Schnitzer Steel Industries Inc. and Evraz Inc., two companies working on cleanup at the harbor, said that because of the coronavirus pandemic, they would need more time to sign off on a remediation design agreement with the EPA. Both companies also petitioned the agency for changes to the site remediation plan, which would reduce the cost and time needed for cleanup.
The EPA in a March 26 enforcement order denied the extension, and on May 4, also denied the companies' request for changes.
The companies didn't show they need to significantly alter the site's cleanup plan, wrote Chris Hladick, EPA's Region 10 administrator, who oversees the Pacific Northwest. Wheeler asked Hladick to respond on his behalf, according to the letter.
Schnitzer Steel "will continue to seek ways to positively impact the Portland Harbor site-wide cleanup and reduce the remedy's cost burden on Oregon's economy and its severe, detrimental impacts to the river that will be caused by dredging," a spokeswoman said in a statement. Evraz declined to comment.
Gunderson LLC and Vigor Industrial LLC were also part of the petition, sent to Wheeler in March, to change the cleanup plan at Portland Harbor. Neither responded to requests for comment.
A Century of Shipping
Portland's century-long history of shipping and industrial and commercial activity left a toxic soup behind, contaminating the Willamette River's water and sediment with pesticides, petroleum, and other chemicals. The EPA designated a 10-mile stretch of the Willamette River the Portland Harbor Superfund site in 2000.
Cleanup costs could be up to $3 billion, Schnitzer Steel and others claim, while the EPA's estimate is about $1 billion.
The latest scuffle is part of several years of disagreements among the EPA and some of the companies, including over how much the site has already improved. The companies also want to dredge less contaminated sediment from the Willamette River.
Shira, from the Yakama Nation Fisheries, said she is relieved the EPA opted for enforcement orders. But she has "serious concerns" about how the cleanup has progressed since 2017.
The Yakama Nation has pushed for the harbor's cleanup since at least 1998, when it lobbied for the site to receive Superfund status.
Possible Judicial Review
The administrator's priority list was created as part of larger Superfund reform efforts, which Pruitt started in 2017 and Wheeler has continued. About 20 sites out of more than 1,300 around the country are part of the priority list, though the number has fluctuated.
The companies that signed the petition at Portland Harbor argued the chosen remedy for the site was "arbitrary and capricious." That wording presents a specific standard for a court to determine whether an agency's decision is valid.
If a court agrees the EPA's chosen remedy is "arbitrary and capricious," that remedy could be reversed, said Michael Blumenthal, attorney at McGlinchey Stafford PLLC in Cleveland.
But, "winning an arbitrary and capricious standard argument against EPA is extremely difficult," McIntosh, from Squire Patton Boggs, said.
The administrator's focus on the site and push for progress makes it even harder, Williams Mullen's Martin said.
"That is a tough thing to do when it's on the administrator's list and the administrator wants to get something done," he said.
To contact the reporter on this story: Sylvia Carignan in Washington at scarignan@bloombergenvironment.com
To contact the editors responsible for this story: Gregory Henderson at ghenderson@bloombergindustry.com; Cheryl Saenz at csaenz@bloombergtax.com; Chuck McCutcheon at cmccutcheon@bloombergenvironment.com; Anna Yukhananov at ayukhananov@bloombergenvironment.com
Learn more about a Bloomberg Law subscription
Sylvia Carignan
Start Designing Oregon Superfund Cleanup, EPA Tells Companies
EPA Offers Companies Quicker Path to Superfund Cleanup
Oil Giants Eye Novel Portland Harbor Superfund Cleanup Incentive
Williams Mullen
McGlinchey Stafford
Superfund sites
coastal zones
Evraz PLC
Arkema SA
General Electric Co
Royal Dutch Shell PLC


If I was going to be stranded on a desert island, and could take only one candy, Rocky Road would be my choice. I know that Rocky Road can mean different things to different people, depending on where you live, but for me it's white chunks of soft and spongy marshmallows together with crunchy nuts, all covered in a rich dark chocolate.
When I make Rocky Road I like to temper the chocolate and use homemade marshmallows. I know these two steps mean a little more work, but if you want an amazingly good Rocky Road, it's definitely worth it. So what is tempered chocolate and why do we need it for our Rocky Road? I will try to explain, not so much the science of it, but the process of making it. First, when you buy good dark chocolate have you noticed that it is nice and shiny, dry to the touch, with a hard and brittle surface which "snaps" when you break it? This is what is called "tempered" chocolate and, unfortunately, once chocolate is melted it loses these characteristics. While it is still great tasting, and you can use this melted chocolate for making Rocky Road, it won't have that lovely shine and brittle dry texture. Instead, if stored at room temperature, it will look dull and, with time, gray streaks will appear (called bloom), and its' texture will be a slightly soft with an almost greasy feeling. So that is why once the chocolate has melted it needs to brought back to its tempered state, before adding the marshmallows and peanuts.
To make this Rocky Road we are going to do what is called a quick two step "seed" temper. It's really not hard to do but you'll need a chocolate thermometer as a regular candy thermometer does not have a low enough temperature reading. Step One is to melt 3/4 pound (340 grams) of a good quality, semi sweet or bittersweet chocolate, and once the chocolate has melted and has reached a temperature of between 115 - 119 degrees F (46 - 48 degrees C) it's ready for the next step. Step Two is to cool the chocolate down to a temperature of between 89 - 91 degrees F (31 - 33 degrees C). This is done by gradually stirring into the melted chocolate the remaining 1/4 pound (115 grams) of finely chopped chocolate (this is called "seeding" because you are adding "seeds", or chopped chocolate, to the melted chocolate), using a rubber spatula or wooden spoon. Check the temperature often as you don't want the temperature to fall below the target temperature (and you may find you won't use all the finely chopped chocolate, or conversely, you may find you need to add extra chocolate). Finally, all that is left is to quickly fold in (because the tempered chocolate will not stay this temperature for long) the marshmallows and peanuts and spread onto a baking sheet.
Rocky Road: Have ready a lightly buttered or a parchment paper-lined baking sheet.
In a heatproof bowl, placed over a saucepan of simmering water, melt 3/4 pound (340 grams) of the chocolate that has been coarsely chopped.
Once melted, remove from the heat and check to see that the temperature of the chocolate is between 115-119 degrees F (46-48 degrees C). Once at that temperature, gradually add the remaining 1/4 pound (115 grams) of finely chopped chocolate, stirring with a rubber spatula or wooden spoon, until a chocolate thermometer inserted about a 1/2 inch (1 cm) into the chocolate registers 90 degrees F (32 degrees C). (You may not use all the chocolate.) Then quickly (as the chocolate sets very fast) stir the marshmallows and peanuts into the tempered chocolate and stir just until they are completely coated with chocolate. Immediately spread the rocky road onto the baking sheet. Let the Rocky Road sit at room temperature (or place in the refrigerator) until firm and then cut into pieces.
Rocky Road can be stored, in an airtight container, at room temperature for about a week or it can be stored in the refrigerator for about two weeks.
Makes about 1 1/2 pounds (675 grams) Rocky Road. Preparation time 1 hour.
Note: You can make this recipe for Rocky Road without tempering the chocolate. Simply melt the full 1 pound (450 grams) of semi sweet chocolate in a heatproof bowl placed over a saucepan of simmering water. Once melted, remove from heat and fold in the marshmallows and peanuts. Spread on a parchment lined baking sheet and place in the refrigerator until set. Cut into pieces and store the Rocky Road in the refrigerator for up to a week.


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The channel to join must start with a # (as per normal irc rules...)
 Sending the complete object will stringify the whole msg object before sending.

redpajama_set_name: RedPajamaGithub


Zayat Stables, which campaigned 2015 Triple Crown winner and Horse of the Year American Pharoah and won Eclipse Awards as outstanding owner and breeder of the year, has engaged an investment banker to raise up to $300 million to expand its bloodstock holdings and launch a new veterinary services company in North America.
Piper Jaffray, founded in 1895 and headquartered in Minneapolis, Minn., has prepared a four-page "investment opportunity" brochure detailing Zayat Stables' past accomplishments and future plans for the capital it intends to raise.
Launched in 2005 by New Jersey businessman Ahmed Zayat, Zayat Stables has "pioneered a disruptive business model that has created the #1 brand in the horse racing business," the brochure states.
The document features some of the stables successes, including American Pharoah, which it lists as having a "sale value" of $35 million as a stallion and estimated market value of $100 million. Other stallions listed are Pioneerof the Nile ($6 million sale value/estimated market value of $43 million); Zensational ($11.5 million sale value/$6 million estimated market value); Eskendereya ($10 million sale value/$9.5 million estimated market value); Bodemeister ($13.3 million sale value/$15 million estimated market value) and Paynter ($9.5 million sale value/$10 million estimated market value).
Piper Jaffray has been engaged to raise $75 million to $100 million for "initial use" (to be divided equally for acquisition of racing/breeding assets and vet services assets) and a total of $200 million to $300 million for "near term use." It projects year five revenue of $554 million and EBITDA of $240 million and says Zayat Stables earned $10 million in EBITDA in 2015 on $24 million in revenue.
Zayat Stables, which has twice been North America's leading money-winning Thoroughbred owner and among the top 10 in six of the last nine years, reorganized under Chapter 11 bankruptcy in 2010, agreeing to pay off its creditors in full over a four-year period.


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Feeding Homeless Veterans
When our service men and women return from the front line, too many fall through the cracks. In spite of the promises made for their service, veterans face the uncertainty of unemployment, while waiting for critical medical and mental health services that are difficult to come by. Too often, these selfless veterans are left homeless and hungry, as they live unseen in shelters and on our streets.
Veterans in the U.S. Population
The difficulties veterans face when returning to civilian life leave them a vulnerable subsection of society. Vets are overrepresented as a group when it comes to the epidemic of homelessness in the United States – nearly 12,000 veterans are homeless today.
Veterans per Population of Homeless Adults
Veterans per U.S. Population
Working Nationally to Feed Homeless Veterans
GreaterGood.org has partnered with charities across the nation to combat a variety of issues facing our veterans today. We identify and fund groups who are doing the most good to address our veterans' fundamental needs. A foremost issue is always hunger, so we work with organizations that host community food pantries, and those delivering door to door, to make sure our deserving veterans have easy access to food.
One prominent partner, Feed Our Vets, has provided nutritious meals to more than 20,000 veterans and their families since 2008 – that's roughly 445,000 pounds of food distributed!
Tracy is one veteran benefitting from these programs. A Kansas resident who served in the US Army Reserves and separated as a Staff Sargent E-6, Tracy served in Operation Desert Storm/Desert Shield. She was awarded the National Defense Service Medal, among other citations, but even a decorated veteran like Tracy is not exempt from hunger.
When Tracy found GreaterGood.org partner Feed Our Vets, she was in crisis, going hungry while waiting for service connect benefits to come through. No longer able to feed her beloved dog, she'd been forced to make the difficult decision to give him away for his own well-being. Although she receives benefits from the government through the Supplemental Nutrition Assistance Program (SNAP), these benefits total a mere $16 in Food Stamps per month. That's nothing to live on.
Feed Our Vets provided Tracy with emergency food assistance, which kept her from having to choose between paying for rent and utilities and being able to eat. With the relief Feed Our Vets provided, Tracy was able to catch up on her bills, stabilize her situation, and even bring her loyal animal companion back into her loving home.
A note from Tracy thanking Navy Veteran and Feed Our Vets Founder, Rich Synek.
Buy Goods that Do Good
GreaterGood.org fundraises so our partner organizations can keep doing their important work, but we also have partners critical to the other side of our operations, who generously step out to raise funds on our behalf.
Military Mom Fashion offers jewelry, apparel, shoes, handbags, and more in their online store, and donates a portion of each sale to GreaterGood.org to be allocated to our partner organizations that provide meals to veterans in need. To date, they have donated over 19,000 meals to homeless veterans.
GreaterGood.com hosts sites for a variety of causes, including veterans issues. Purchases made on the site donate a percentage of the proceeds to the designated cause, and daily clicks offer a free and easy way to donate directly to GreaterGood.org, where we use the funds to distribute out in grants to our partners. With your help, we can do more good for more of our veterans in need.
Through platforms such as Military Mom Fashion and our own The Veterans Site on GreaterGood.com, your purchases can make a difference for the underserved veterans community.


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Beer in Review: A Year in Beer
Small-batch experimentation pushes Brewery 4 Two 4 to innovate
Written by Joe Boomgaard
Steph Harding
Tucked away in a nondescript strip mall in Holland's Beechwood neighborhood, Brewery 4 Two 4 takes experimentation to the max.
That's somewhat out of necessity, since the brewery produces its beer on a tiny half-barrel system at its 321 Douglas Ave. taproom.
But for owners David and Erin Miller, the opportunity to experiment in small batches — and fill 19 taps — hit at the heart of what they loved about the craft brewing industry.
"With a really small system we can't do a lot of anything, but we can do a lot of different things — we do so many different batches," said David Miller, noting how the small batch sizes allow the brewery to rotate different ingredients to see what people like best.
Brewery 4 Two 4's small production runs also provide motivation for area drinkers who suffer from FOMO, or the "fear of missing out," to make regular stops into the taproom because the tap list changes so frequently.
The tap list typically runs the gamut of blondes, IPAs, Belgians, saisons, stouts, fruit beers and underappreciated styles like the ESB. Brewery 4 Two 4, which opened June 30 last year, also serves ciders and hopes to add wines in the near future.
"People always ask, 'What's your niche? What are you guys trying to do?' It's something for everybody," Miller said. "We like to think that if you can't find something on our boards that you want to drink, you probably just don't really like alcohol."
Some of the most popular beers have been Brewery 4 Two 4's hazy New England IPAs like Juice Weasel and Problematic Reasoning, as well as its "Breakfast" series of imperial coffee stouts, which include Breakfast in Istanbul (hazelnut), Breakfast in Maui (coconut) and Breakfast in Mexico (spiced with nutmeg, vanilla beans, cocoa nibs and pasilla peppers). Another beer in heavy rotation is the aptly named Crazy Putin, a Russian imperial stout brewed with lactose.
In the spirit of making something for everyone, Brewery 4 Two 4 also offers a solid take on the American light lager, Let's Play 2, which clocks in at 5.2 percent ABV. While it's intended for the people who ask for "the closest thing you have to Miller Lite," Let's Play 2 also serves as a solid session beer.
"It's light, it's easy, it's crushable. If I'm hanging out here and I'm drinking 9-percent (ABV) stouts, I'm not going to be super functional, but I can have two or three of these during the day and everything is cool," Miller said.
The brewery's simple space features what Miller describes as a "coffee house feel" that fits the company's understated nature. There's no loud music or live bands — just a chill atmosphere for patrons or a place for family and friends to kick back and talk.
Brewery 4 Two 4 — named for the last three numbers of its ZIP code — will also package any of its beers in 16-ounce cans for the ultimate take-home mixed pack.
As the company continues on its quest for experimentation — Miller mentioned an upcoming gin barrel-aged saison and bourbon barrel-aged version of Crazy Putin — it aims to keep trying new twists and innovate on its small system.
"If we go more than two weeks and don't brew a new recipe, that's pretty rare," he said. "We definitely have limitations due to our size, but that's the one big advantage due to our size that we can try different stuff. We try to take advantage of that as much as we can.
"There's not many advantages to brewing on a half-barrel system, but one of them is that you can do whatever the hell you want."
Juice Weasel: Brewery 4 Two 4's take on the NEIPA craze does it as well, if not better than some of the more hyped Michigan breweries. (The double NEIPA Problematic Reasoning even would compare favorably to national standouts.)
Cryo-Belgian IPA: A soft mouthfeel typical of the style, which features a balanced hit of citrus from the cryo-mosaic hops and hints of bubblegum befitting a Belgian. Definitely unique.
Very Berry Pie: A fruit beer that succeeds in the mixture of sweet/tart flavors without being cloying. It's very jammy because they use "a ridiculous amount" of real berries — no extract allowed!
Let's Play 2: A solid "drinking beer" with the crispness of a light lager that also features enough maltiness and grain notes to keep it interesting.
More in this category: « YELLOW BEER? Michigan brewers go back to basics — with a modern twist	Beer of the Minute Continues its Run »


I've finally got round to doing something I've been aiming to do for ages: set up an author newsletter.
The idea is you sign up (or not, as is your choice) and I send an occasional newsletter about my travel writing and anything else related to that.
It's a more or less direct replacement for my author Facebook page, which I have been becoming increasingly frustrated with. It's nothing to do with the page itself, but more to do with Facebook generally. There are plenty reasons to dislike Facebook, such as the fact that they own everything, such as photos, that you upload, and they track everything you do and say in order to send you ever more tiresomely targeted waves of adverts.
But also, friending someone or liking a page is no guarantee that you will see all of their content. Much is hidden, and the "reach" of posts on a page is always well below the number of likes. To beat this, you are encouraged to buy adverts from Facebook to push your page to the people who had liked it anyway.
The important thing to remember with Facebook is that you are not its customer – you are its product.
The advantage of email newsletters, however, is that they – hopefully – directly reach everyone who has made a conscious decision to sign up to the information. And having researched the power of newsletters for authors, I'm willing to give it a go. Sign up to the newsletter here or at the top of the side bar on the right.
As with my Facebook page previously, my newsletter will get all my writing news first. I will also be putting in a few bits and bobs of writing that won't appear on this website, meaning there is hopefully an incentive to sign up.
I won't write via the mailing list very often. Just a few times a year, I would guess. And I also won't really write about much more than my travel writing. So relax, you'll be spared the imposition of my occasional political rants appearing in your inbox.
If you would like to sign up, my first mailout will be coming in the new year some time. If you don't, then don't worry. I will still love you. Ish.
Sunday 28 December 2014 in Writing.


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text:
Carriera

Club
Ha giocato nella prima divisione gallese.

Nazionale
Tra il 2006 ed il 2008 ha rappresentato per 7 volte la nazionale gallese.

Palmarès

Giocatore

Competizioni nazionali

TNS: 1999-2000, 2004-2005, 2005-2006

TNS: 2004-2005

TNS: 2005-2006, 2009-2010

Collegamenti esterni

Calciatori gallesi
Calciatori della Nazionale gallese


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This entry was posted on August 17, 2015 by quietsolopursuits. It was filed under Birds, Flowers, Hiking, Nature, Photography, Photography tips and was tagged with Birds, Flowers, Hiking, Nature, Nature photography, Photography, Photos.
I think just seeing the cranes dancing would make the trip worthwhile, but with sunrises like that thrown in, who could ask for a better way to start the day?
Odd that the fog comes after sunrise. Here it's just the opposite and the sun burns the fog off. I like the foggy tree and the sunrise with geese. Beautiful colors!
Thank you Allen! Yes, seeing a crane dance is one of those magical moments nature provides us. It was very odd for the fog to form after sunrise, but with the cold waters of Lake Michigan just a few miles away upwind, one is never surprised by odd weather. You'd have to see it to believe it, but it can be totally sunny a mile from the lake, but the lake itself be socked in with fog, even with a stiff wind, or vice versa.
Wonderful shots of the cranes flying even if you didn't get the whole flock. I hope you can find instructions for editing the videos (youtube tutorial?) as I would like to see more of them.
Thank you Tom! Seeing and hearing a dozen or more birds with 6 foot wing spans taking flight is an impressive sight, so I will attempt to learn the video editing software.
I loved the shots of the cranes and also the video. There's nothing like video to get the complete picture so I hope you can find an editing tool. I use Windows Movie Maker but that's no use to you with your Mac. I really liked all the sunrise shots very much and that phoebe… what a cute little bird!
Thank you very much Clare! Yes, I need to play with videos more, and find subjects that are more cooperative. The sounds that the cranes normally make is worth the effort of learning a new skill.
Have you done the 1.4 with the 150-500? I have always played with the idea of getting a 1.4 but seem to find other things instead to play with. It was fun seeing your post and what you tried.
Thanks for the comment! Yes, I tried the 1.4 with the 150-500, but mostly on a 60D body, which will not auto-focus with that combo. The results were very good up to about 40 feet, then image quality dropped off dramatically, but that may be due to my efforts at manually focusing. I did try the 1.4 and 150-500 on the 7D , which will auto-focus, up to a point, but the results weren't that good. I should note that I also have the older 150-500, not the newer version that Sigma released in the past year or so.
me too … older version. Thanks.
These are all utterly wonderful. Even the ones you weren't entirely happy with!
Thank you Gunta! I think that you're being too kind, the photos were interesting, but hardly wonderful.
Well, I like them. Does that count? I love the cranes. You are so fortunate to catch these marvelous birds. The sunrises are fantastic. I simply love seeing your landscape (and sunrise) shots improving so much. Remember that I'm noting the improvements you're making from back when I first started following you and that has been truly wonderful to watch!
Well, thank you again. I know that my skills continue to improve, and I also know that I am fortunate to be so close to so many species of wildlife that few people have the chance to see. Now, I have to take the next step(s) and learn to capture what it is about the landscapes, sunrises, and critters that I love, and with better image quality.
Such splendid shots of the cranes, I enjoyed the video too. Loved your sunrise shots, you do such a good job.
Thank you very much Susan! I keep plugging away, sooner or later, I may actually live up to your kind words.
Thank you very much Jane! I wasn't familiar with brolgas, I looked them up online, and the look very close to our sandhill cranes, and their behavior sounds like almost a complete match. I hope that you are able to travel someday, there's so much to see in this world!
Another beautiful set of photos, Jerry. Sunrises are always a favorite. Killdeer we have here. Sometimes they consider nesting in our gravel driveway. I love the action photos you caught of one in flight.
Thank you Lavinia! Funny story about the killdeer in flight, I shot those to see if it was really a different species of bird, rather than a killdeer. I liked the photos so much that I posted them.
I'm enjoying riding along on your photographic adventure. Love the shots of the Sandhill Cranes!
Thank you very much Bob! I'm thinking of going to Bosque del Apache someday to shoot the huge flocks of cranes and geese that winter there.
I like your photos of cranes. I didn't know they take off so fast…silly me.
Eastern phoebe seems to be a timid little bird.
Thank you Cornel! The cranes move surprisingly fast for as large as they are. The phoebes are retiring birds, unless you're a predator near their nest or young, then they turn into little demons willing to attack hawks, cats, or anything else that threatens.
Those cranes are amazing! They look huge! Like, how can they even get airborne?! And the scenics are quite lovely, too. Good luck with iMovie–it just takes a little time and you will get the hang of it! Have fun!
I found out that iMovie will load and play videos shot with my Canon 60D, but will not edit the movies, darn.
Wait, why not? If it loads into the software, that seems very weird. And you have a new system, I know. Maybe there's a conversion setting? It would be worth it to dig around a bit on the Help menu on your Mac to see. Or to call Canon and ask what format the files are in (if it doesn't tell you in the instruction manual) and see if they're compatible. I've worked in a number of different editing suites and am just getting used to iMovie myself (plus, they're always changing it!) so I'm not totally expert but I would think if you can play the clips, you should be able to work with them. Good luck!!! And thanks for sharing those magnificent cranes!
Thanks for the help! I did go to the help menu in iMovie, and the first thing that I noticed was a link to a list of compatible cameras, and only a few of the newest Canon model bodies are listed, not the 60D that I have. Canon has a habit of writing their software in such a way that the images and apparently movies it produces, only work with their own proprietary software. It took Adobe almost 6 months to release an update to Lightroom that would allow people using the new 7D Mk II to load the images that camera produced into lightroom, or any of the other photo editing software that Adobe writes, as an example of what I'm trying to say. Maybe I should load the Canon software on my iMac, and see if that will work.
Aieee, what a pain! My old film cameras were Canon & I loved them but haven't tried their digital line at all. Having to deal with these kinds of issues is very off-putting, I must say. Good luck!!!
Thanks again. Maybe I should just learn to shoot good videos that don't need editing, it would be easier.
great captures, loved seeing all the sandhill cranes!
Thank you Donna! We don't get the huge numbers of birds that other parts of the country get, but we do alright for a midwestern state.


The finishing area at Folkcraft Instruments - Woodburn, Indiana.
The temperatures elevated a bit today as I ran errands and the gennie, working in parking lots to print out postage for orders and update social media, all the while, managing data between my laptop and external drive to keep the Macbook Pro from painting itself into a storage corner.
I don't want to get into a new Macbook if I don't have to. Like my father, I'll use a thing until it ceases to be a thing, then get something new to replace it. Though the new Macbooks come with better internal storage and (always) faster memory cards, the price tag is three times that which I paid for my current mid-2015 model. Screw that. First adopters often have deeper pockets than I.
There was a brief moment, okay, maybe a good long period, of frustration as I couldn't get my printer to see the personal hotspot. The usual trick of deleting the offending printer and then having it automatically be seen by the laptop didn't work, which prompted another downloading of the drivers for the Epson WF-2750. When it finally did "see" the network, it then asked for some cyan ink, which I installed, and it thought about that for a while before finally allowing me to print out postage.
My mobile workstation inside Imua's coach.
I began staging bits of footage to encode for Dulcimerica episode 400 with intentions to stake out a claim on some WiFi, get it edited and uploaded before heading off to Cincinnati.
After finishing everything, I drove over to Woodburn to pick up some books from Folkcraft Instruments, visit with The Ash Family and catch dinner with Richard.
Timing was good and I was able to see Ellen and Jim, Richard's parents, before we set out. It's been ten years since I first met these folks when Richard bought Folkcraft from David Marks and contacted me about becoming an endorsing artist. Since I was already playing Folkcraft mountain dulcimers from my brief time working for them at Walt Disney World in 1994, this was a no-brainer deal and it's been a wonderful partnership, as well as friendship, that brings me to central Indiana quite often. Jae was born in Fort Wayne and she jokes that I visit it more than she does.
The two-year anniversary of Steve Ash's passing was earlier this month and Richard is steadily coming back from the immense shock and challenge of losing his younger brother, boosting production at the shop, gaining new ground in quality design and planning for the return of The Indiana Dulcimer Festival in 2019. With the 50th anniversary of Folkcraft in full swing this year, his thoughts are with improving the production process, fine-tuning development and expanding the current line of instruments.
These days, his thoughts are also with Aly, his newlywed wife and a longtime friend as well. They actually met at the 1st Annual Key West Dulcimer Fest that I organized some years back and anyone who knows these two are delighted that they've found each other and are now happily wed. Aly wasn't there tonight, but her cookies were, so she was definitely there in sweet spirit.
It's been intriguing to watch how things have evolved over the past decade and I feel very privileged to have seen it close-up and in action. My head would explode if tasked with running a company like Folkcraft Instruments. The sheer amount of minutia involved makes my daily routine seem like playing checkers at the park on a hot Saturday afternoon.
Camped in my normal spot, in front of the roll-up doors in the Folkcraft parking lot, I plugged in and set to work on a day of editing and getting Dulcimerica ready to go. I love these days when there is no definitive schedule, no agenda except for what's on the to-do list. There are plenty of options and I'm considering them all, but none of them need to be concrete until Imua's wheels are turning and I'm southbound.


Thanks dear people of PonyDanceCycle! You can read the original article here.
Cancerboy, the latest album by German producer Till Rohmann a.k.a. Glitterbug is an outstanding concept album, not only because of the sounds you hear, but also because of what lies beneath. It's the story of Till himself. Starting off with oppressive hospital scenes on Backwards/To Guess, the album slowly builds up then unwinds again and takes us on an emotional journey on the fine line between hope and fear and power and powerlessness. Yet there's a translucent lightness to it that runs through the entire record with us, at times calm and self-assured, at times almost out of breath. Cancerboy reinforces the outstanding position that Glitterbug has taken in the German music landscape with his compositions of deep timeless electronic sounds – without having to be forceful.
This entry was posted on Saturday, May 19th, 2012 at 3:41 pm and is filed under Press / Reviews.	You can follow any responses to this entry through the RSS 2.0 feed. Responses are currently closed, but you can trackback from your own site.


CSIO Recruitment 2019 - CSIO invites applications for recruitment of 47 JRF, SRF, PA Level-III, PA Level-II, PA Level-I Posts. Form through Official Website www.narfbr.org. The applicants are requested to Download Application Form through Official Website www.csio.res.in. Interested candidates are requested to peruse the advertisement regarding the process of Examinations and Interview, Eligibility Criteria, Application Fee, How to Apply, Pattern of Examination, Syllabus, Question Paper, Admit Date, Exam Date, Result Date etc,. Refer thoroughly before applying.


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Podostroma war eine Gattung von Schlauchpilzen aus der Familie der Krustenkugelpilzverwandten. Sie wurde 1892 vom finnischen Mykologen Petter Adolf Karsten erstmals beschrieben. Die Gattung umfasst 11 Arten, die zusammengenommen ein großes Verbreitungsgebiet haben.

Merkmale
Podostroma-Arten haben ein Stroma, das einen deutlichen Stiel ausbildet. Dieser ist aufrecht, keulenförmig fleischig und mit hellen Farben. In das Stroma eingebettet sind die eigentlichen Fruchtkörper, die Perithecien. Das Stroma ist wie bei allen Krustenkugelpilzverwandten gleich aufgebaut mit apikalen Periphysen, die sich bei Reife auflösen. Schläuche und Sporen sind nicht unterscheidbar von denen der Gattung Hypocrea/Trichoderma. Die Schläuche sind zylindrisch mit einer leicht verdickten Spitze, die eine dunkle Pore besitzt. Die Sporen sind durchscheinend, stachelig und zweizellig. Beide Hälften jeder Spore brechen bald auseinander, so dass sich in jedem Schlauch scheinbar 16 statt acht Sporen befinden.

Ökologie
Podostroma-Arten leben auf einer Vielzahl von Habitaten, sowohl auf dem Boden als auch auf Pflanzen bzw. deren Früchten.

Taxonomie
Die Gattung wurde 1892 von Petter Adolf Karsten mit der Typus-Art Podostroma leucopus beschrieben. Die MycoBank unterschied noch folgende Synonyme:
 Hypocrea subgen. Podocrea Sacc. (1883)
 Podocrea (Sacc.) Lindau (1897)
Es wurde recht früh erkannt, dass sich Podostroma-Arten außer dem gestielten Stroma kaum von Hypocrea-Arten unterscheiden lassen. Nach mehreren Untersuchungen wurden daher die Arten in die Gattung Hypocrea integriert. Allerdings bilden die Hypocrea-Arten die Hauptfruchtformen der Gattung Trichoderma. Aufgrund von Änderungen im Nomenklatur-Code wurde der Gattungsname Trichoderma als Nomen conservandum vorgeschlagen, der gegenüber der teleomorphen Gattung Hypocrea zu bewahren ist. Daher sind nun alle ehemaligen Podostroma-Arten in die Gattung Trichoderma integriert, auch wenn vorher keine Nebenfruchtform bekannt war.

Systematik
Folgende Arten sind beschrieben:
 Podostroma africanum
 Podostroma alutaceum
 Podostroma brevipes
 Podostroma cordyceps
 Podostroma cornu-damae
 Podostroma daisenense
 Podostroma eperuae
 Podostroma giganteum
 Podostroma grossum
 Podostroma solmsii
 Podostroma zeylanicum

Einzelnachweise

Weblinks

Hypocreomycetidae (Unterklasse)
Hypocreomycetidae
Alternatives Taxon (Pilz)


'Full Marks' is available in paperback and a variety of eReader formats. Copy this link into your internet browser for links to buy the book: http://nealjames.webs.com/fullmarks.htm Dennis Marks thought he had seen it all. That was before Solomon Goldblum crossed his path – after that, things were never the same again. The trauma which the old Jew had inflicted upon him had brought about a near psychological collapse. That the DCI had been able to conceal the fragility of his mental state from the shrink whom the Met had forced him to see had been down to his sheer determination. Now, all of that effort was about to be challenged by one of the most daunting figures at New Scotland Yard – Superintendent Eric Staines. The Independent Police Complaints Commission were about to take Marks' life apart, professionally and personally, and Staines, as one of its fiercest inquisitors, was not a man inclined to show mercy. A month was all that the DCI had to prove his innocence of a range of charges dating back to his days as a detective sergeant. A career spent putting away the dregs of London's criminal world was to hang in the balance, and he was, he believed, for the first time... alone.


text:
Home / Chevrolet News, Pricing and Reviews
By Patrick Rall G+ May 14 2014 - 12:15pm
Indy Champ: Chevrolet Camaro Z/28 Shatters Preconceptions of American Muscle
IndyCar Champ Dario Franchitti will rely on a new Chevrolet Camaro Z/28 to lead the field of the 2014 Indianapolis 500 in 11 days and having spent some practice time in the official pace car ahead of the big race – the 4-time series champ and 3-time Indy 500 winner claims that the new Camaro Z/28 shatters preconceived notions about American muscle cars.
Dario Franchitti is one of the most successful drivers in the history of IndyCar racing while also being a lover of all things motoring so we would expect that the retired champ may have an opinion on the Chevrolet Camaro Z/28 which will serve as the Official Pace Car for the 2014 Indy 500. Dario has not only driven some of the world's best handling race cars while competing in the IndyCar series, but he has also had the opportunity to drive a great many classic road cars from the biggest names in global performance. Unfortunately, the cars that Dario Franchitti has based his career around are known for their pinpoint handling while American muscle cars are typically looked down up in the European performance circles due to their tendency to flourish in a straight line and struggle through the turns.
While American automakers have come up with an impressive collection of sports cars that could handle with the best that the world has to offer such as the Dodge Viper and the Chevrolet Corvette ZR1 – those cars are a far cry from muscle cars like the Chevrolet Camaro and the Ford Mustang. Perhaps unfairly, American performance is more closely acquainted with the muscle car segment and for the most part, cars like the Camaro have typically not handled well relative to many other sports cars from around the world. However, with the constant push for vehicles to compete better on a global level, General Motors designed the new Chevrolet Camaro Z/28 to be the most track capable Camaro of all time while very likely also staking its claim as the best handling muscle car ever.
According to Dario Franchitti, those efforts have paid off as the IndyCar champ claims that the Chevrolet Camaro Z/28 shatters preconceived notions that American muscle cars are quick while being very unrefined. In speaking with the New York Daily News, Franchitti said that his practice time in the Camaro Z/28 around the Brickyard left him "absolutely shocked". He did point out that he was able to feel the rumble of the 36 inch strip of bricks that still mark the start of a lap while driving the Camaro Z/28, but he was never able to feel the bricks through the chassis of his race cars in the past decade. Based on that, it sounds like Franchitti didn't like how much of the road that he could feel – but he was still very impressed with how the new Z/28 gripped the track at high speeds. That is high praise from a man who knows what he is talking about when it comes to grip.
General Motors wanted the Chevrolet Camaro Z/28 to be the new standard for muscle car handling and according to what Dario Franchitti said after his practice laps, the automaker has succeeded in building a true American muscle car that packs the proper punch of a muscle car while also being able to handle like no Camaro, Mustang or Challenger from the past.
Source: NYDailyNews.com
Chevrolet News, Pricing and Reviews
Chevrolet Is Ramping Up Development Of The Corvette E Ray, What We Could See In This Game Changing Vette
Countdown is on to Experience the 2023 Chevrolet Corvette Z06
General Motors Makes Finding the Perfect Used Chevrolet Silverado Easier
2022 Chevrolet Trailblazer AWD Activ: Small SUV With Big Horizons
Chevrolet Claims Silverado RST EV Sold Out In 12 Minutes
Chevrolet Previews Equinox EV, Signals Mainstream Push
Chevrolet to Debut 2024 Silverado EV at $39,000 in Early 2023
Chevrolet to Restart Corvette Production After Tornado Damage
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text:
Yu-Gi-Oh! 5D's, Vol. 2
Book #2 of Yu-Gi-Oh! 5D's
By Masahiro Hikokubo
Illustrated by Masashi Sato
Duelists, start your engines!
In New Domino City, the hottest game in town is the Turbo Duel, fought from blazingly fast motorcycles called Duel Runners. On the outskirts of New Domino City, in a district known as Satellite, a new Turbo Duel hero emerges—Yusei Fudo! On his custom-built Duel Runner, Yusei takes on all challengers, fighting for his friends and the future of Satellite!
Yusei enters the D1 Grand Prix, hoping for a chance to duel Jack Atlas. There are new rivals and new duels to fight and the competition will be fierce. Can Yusei battle his way to the top, or is he destined to crash and burn?
Card included with the first printing only.
Masahiro Hikokubo
Masashi Sato
Publisher: VIZ Media LLC (February 7, 2012)
Comics & Graphic Novels > Graphic Novels > Manga > Science Fiction
Comics & Graphic Novels > Graphic Novels > Manga > Media Tie-In
Book Cover Image (jpg): Yu-Gi-Oh! 5D's, Vol. 2
More books from this author: Masahiro Hikokubo
More books from this illustrator: Masashi Sato
More books in this series: Yu-Gi-Oh! 5D's