text:
Live Review: Little Brazil, Pro-Magnum; Little Dragon tonight…
Category: Reviews — Tags: Landon Hedges, Little Brazil, Little Dragon, Max Trax, Pro-Magnum — @ 1:03 pm June 4, 2018
Little Brazil at The Waiting Room, June 1, 2018.
What's the old saying — the biggest crowds come for album releases and farewell shows… and reunions, of course. Because Little Brazil plays so scarcely these days, Friday night's show at The Waiting Room notched two of those three. It felt sort of like a reunion while at the same time they were celebrating the release of their new record, Send the Wolves (2018, Max Trax). As a result, the crowd was more than respectable: my guestimate 150+.
I got there in time to see the tail end of Pro-Magnum's arena rock set. At least it felt like an arena rock show. I've seen these guys a ton of times at O'Leaver's, but to really feel the power and majesty of these metal animals you need a stage as big at TWR's, and a sound system to match.
Pro-Magnum at The Waiting Room, June 1, 2018.
Fronted by bassist Johnny Vredenburg with guitarists John Laughlin and Alex Kinner and legendary drummer Pat Oakes (congrats, Pat, you made "legendary" status) the band played what we used to call in the business "heavy metal," with Vredenburg screaming/croaking out the lead vocals in Midwest-satanic fashion. The guitar interplay was most impressive, and Oakes' throaty drumming, a keynote back in his days with Ladyfinger, is always a wonder to behold.
This really is a different band on a large stage, visually and sonically. I assume this crew was influenced by the great arena metal acts of yesteryear (Scorpions, Slayer, Iron Maiden, etc.) who never played anything but arenas. If Pro-Magnum sounds like this at TWR, how would they sound playing Baxter Arena?
Little Brazil hit the stage at around 11 with a massive storm about to bear down on the city. I watched the radar tentatively from my phone as Landon, DMax and crew tore into a set that included all my favorites from Send the Wolves — "You," "Making a Mess" and "Motorbike," which featured a guest vocal by Ladyfinger's Chris Machmuller, who also sang on the album track.
It was the usual great performance — these guys never fail to deliver. After the first few songs they played two yet-to-be-recorded songs, presumably off the next album, which will give the crowd something to look forward to, though there's a lot of meat to Send the Wolves, even a track that features Conor Oberst on vocals (DMax stood in for Conor on Friday night). It's Little Brazil's best effort to date and as good as anything Desparecidos put out in its waning years (though in no way political).
In their current roles as family-men, it's hard to imagine the band hitting the road touring the record, and as far as I know, there's no plans to do so. So the goal I guess is to sell out the short run of vinyl, move some digital downloads and get spins on Spotify (where it's also available). And then get back in the studio and do it all again. It's just like the old days when it was every band's goal to make enough money to write and record the next album. And there's nothing wrong with that.
Tonight, Swedish electronic band Little Dragon plays at The Slowdown. The quartet has collaborated with the likes of Gorillaz, TV on the Radio's Dave Sitek and SBTRKT. Kethro opens at 8 p.m. GA tix are $28.


Marston's, the pub retailer, has been accredited as a full member of the BFA for its pioneering retail agreement.
Under the agreement, introduced in 2009 in its tenanted and leased estate, Marston's is responsible for the retail offer, including the drink brands, food menus and retail standards. The franchisee will earn a percentage of revenue and be responsible for staff costs, while the other costs will fall on Marston's. The benefits to customers are said to include improved standards and consistent value for money offers.
The group plans to convert 600 of its tenanted pubs to the agreement by the end of 2013. Around 230 have been converted to date with encouraging results.
The average expenditure per conversion is around £50,000 and the minimum target return on the incremental capital expenditure is put at 20 per cent.
Ralph Findlay, Marston's chief executive, said that the agreement encouraged entrepreneurship among licensees, enabling them to manage successful businesses with the benefit of the company's support, economies of scale, and retailing experience.
"The number of applicants for the agreement is three times higher than those for a traditional tenancy with 30 per cent of the applicants coming from outside the industry," he added.


The Urbis Design Day saw a very unique application of PSP Viscom Sign SF. By suspending the walls from the ceiling and having open space below, the appearance of transparency is achieved. By doing this, the environment is opened up giving the dispays more depth and character. The focus is also put onto the Mini's as they are visible at all times below the PSP Viscom Sign SF.


Beat the bug! Villa Maria College would like to help you and your family stay healthy this coming flu season by announcing the 2018 Flu Immunization Program! We have partnered with Independent Nursing Care, LLC to provide flu vaccinations this Fall. All vaccinations will be administered by a registered nurse. With accepted insurance, this program is free. Without accepted insurance, this program is $30.


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Alexandr Ilyich Akhiezer (; Cherykaw Raion, 31 de outubro de 1911 — 4 de maio de 2000) foi um físico nuclear ucraniano.

Conhecido por suas contribuições científicas à eletrodinâmica quântica, três centenas de artigos científicos e onze livros nesta área.

Condecorações
1949 Academia de Ciências da Rússia
1998 Prêmio Pomeranchuk

Livros
Primeiro livro russo sobre reações nucleares (1945)
Quantum electrodynamics (1965)
General physics: Mechanical and Molecular Physics (1965). Com Lev Landau e Evgeny Lifshitz
Spin waves (1968). Com Viktor G. Baryakhtar e Sergei V. Peletminskii
Evolving physical picture of the world (1973 em russo; versão atualizada em inglês 1996)
Plasma electrodynamics (1975)
Physics of elementary particles (1979), Elementary Particles (1986) e Biography of elementary particles (1979). Com Mikhail P. Rekalo
From quanta of light to colour quarks (1993). Com Yu. P. Stepanovsky

Autores de livros de física
Físicos nucleares da Ucrânia
Judeus da Bielorrússia

redpajama_set_name: RedPajamaWikipedia


Explore a selection of limited production wines, paired with charcuterie and specialty cheeses, during a seated, 90-minute private tasting.
Our sparkling tasting is a festive way to taste through the first two vintages of our sparkling wines. Compare vintages in our Ribbon Ridge Blanc de Blancs and Estates Cuvée and taste the inaugural offering of our Brut Rosé. A selection of Pinot Noir will finish your tasting.
Our Dry Riesling tasting will focus on comparing our current release Single Vineyard Dry Rieslings against some of their older counterparts from previous years. Experience the difference that vintage can make.
Same as the Dry Tasting, but with our Medium Dry selections.
This tasting will compare our Dry and Medium Dry Rieslings from our three estate vineyard sites. Explore the impacts of site-specific soil types and climate on our six offerings of Single Vineyard Rieslings.
This tasting will explore the unique differences in the soil types and climates of our three estate vineyards and how those elements are expressed in our wines. Focusing mainly on our single vineyard Pinot Noirs, we may add in single vineyard bottlings of bubbles, Chardonnay, or Riesling to enhance the experience of how site and climate can have an impact across varietals.
Our Artist Series wines are arguably our most specific bottlings - showcasing single clones of Pinot Noir harvested from single blocks from our estate vineyards. Compare the differences between clonal selections and location.
Try six wines from across our portfolio of brands. Start with a taste of Pashey Sparkling, followed by a selection of Trisaetum Rieslings & Pinot Noirs, and finish with one of the Bordeaux-Style wines from 18401 Cellars.
This tasting will focus on six Pinot Noirs. Spanning the spectrum from our Willamette Valley to our Family Reserve, experience the differences of single vineyard vs. single clone vs. blends created from all three of our vineyard sites.
We can comfortably accommodate Private Tasting groups of 2-8.
Private Tastings require 48 hours advance notice. Cancellations require 24 hours advance notice.


Dusk is falling as a lively audience takes their seats in the greenhouse at the Jerwood Space. Some people hug - they haven't seen each other in a long time; others just shake hands - they are first-time visitors, hoping to make a connection. The event caters for all kinds of people, although all they have in common is that they're young cultural professionals looking for inspiration. Tonight's event is on 'Classical Music in the Media' and presents a panel discussion on the changing ways in which audiences consume classical music beyond the concert platform.
The concept of live concert screenings, like those the Royal Opera House, the National Theatre and New York's Metropolitan Opera are offering, is something the panel members find very interesting. Long is sure that live concerts are going to be the main source of income for music production companies: "Record sales might be doing badly, but live music is really alive in London", he says. "The social aspect of those evenings attracts younger audiences and makes people more willing to pay for their experience." Bridcut agrees, stating that "once audiences have encountered classical music in the more comfortable setting of a cinema, where the tickets are cheaper and food and drinks are allowed, they might be more likely to actually pay a visit to the Royal Opera House." When the chair mentions television broadcasts of concerts as another option for audience engagement, the panel members immediately shake their heads. Concert broadcasts on television (including via iPads) might give audiences the opportunity to click pause and make tea, but miss the important social aspect.
One of the audience members suggests that another reason for younger audiences to go to a live cinema screening rather than a performance at the Royal Opera House is that they do not feel welcomed by the traditional opera audience. At the Royal Opera House certain etiquettes are maintained – for instance, only being allowed to cough during intervals and not clapping during certain pauses – and that can put off audiences with less opera experience. To Pateman, this sounds rather familiar: "Classical music audiences work as a kind of club", he says, "you can join, but you need to obey the rules. It can be very off-putting." Long looks at it from another point of view, focusing on the fact that the classical music scene mainly depends on established audiences, including patrons and sponsors: "It is important that they are not scared off by a younger audience that does not behave according to traditional custom", he says.
When the group moves on to the Charles Dickens Pub only a few yards up the street, the speakers follow and soon everyone is engaged in intimate discussions. From pop-song writers to conductors to artist managers, the YPIA audience seems to have been inspired by the talk and ready to come up with new ways of promoting music to new audiences.


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{:title=>"Fans + Community", :url=>"https://www.starwars.com/news/category/fans-+-community"} {:title=>"Disney Parks", :url=>"https://www.starwars.com/news/category/disney-parks"}
Fans Celebrate the Saga on Star Wars Day at Sea
Dan Brooks
Meet fellow fans who cosplayed as rebels and Jedi, met famous droids, and shared in their love of Star Wars aboard the Disney Fantasy.
For his vacation on Disney Cruise Line, Matt Peczynski made sure to pack his Star Wars "I love you / I know" cufflinks. That might seem an odd choice for a Western Caribbean journey, but he had good reason: this cruise aboard the Disney Fantasy would be Star Wars-themed -- and Matt, a huge Star Wars fan, was getting married on the ship.
"I said, 'We're getting married on a Star Wars cruise, I want to do a little something,'" he told me. In fact, Matt and his new wife, Jody, picked this cruise specifically because it was Star Wars-centric.
I had the privilege of meeting Matt and Jody, hailing from Dearborn Heights, Michigan, and other Star Wars fans while on my own family vacation. They're just two of many fans who celebrated the saga in their own personal way on the cruise and during Star Wars Day at Sea, in which the ship is immersed in Star Wars for one whole day, from morning until fireworks-filled night. With the worldwide (and land-based) Star Wars Day arriving tomorrow on May the 4th, it seemed like a good time to tell their stories.
On Star Wars Day at Sea, Matt cosplayed as Anakin Skywalker, Jody as Princess Leia, and their friend Matt Abela, from Simpsonville, South Carolina, suited up as ill-fated rebel pilot Jek Porkins. Abela's fandom goes back to the early '80s, when he was just old enough to watch the movies. "Today has just been phenomenal," Abela said of Star Wars Day at Sea, particularly enjoying the camaraderie with other fans. "When you run into people that are on the ship that know who Porkins is, that is awesome."
"It's fun to see how it makes everyone come together," Jody added. One of the ways fans and family connected throughout the cruise was, appropriately, in movie theaters -- even if it meant breaking bedtime rules.
I spoke to Isaiah Dasen and his daughter Eva, from Spokane, Washington, just before a 10 p.m. screening of Star Wars: The Empire Strikes Back. "She's been demanding we go to the late showings," Isaiah said, clearly under some kind of Jedi mind trick from Eva. It was the first time Eva would be seeing Empire on the big screen, and while Isaiah loves Episode V, he doesn't count it as his favorite. "I actually really like Episodes I through III," he said. "And the new Solo movie, I thought, as a Star Wars fan, was fantastic."
"I love Solo," Eva added emphatically, just before the lights went down. While the screenings were impossible to resist, there was tons more to do on Star Wars Day at Sea, and I met even more fans throughout the ship.
Melanie Gerardi and her daughter Genae, from Colorado, dressed as Chewbacca and Anakin Skywalker, respectively, while Dad (sans beard) did his best George Lucas. "I used to work for Star Tours, and that brought me more into the fandom," Genae said. "I just think it's so great. The representation, the culture." A cosplayer with over 200 costumes, her detailed take on the Chosen One's Episode III appearance was most impressive. "My favorite character is Anakin Skywalker, clearly," she said with a laugh, and cited Star Wars: Return of the Jedi as her number one movie from the saga. (One of the reasons: "There's Ewoks.") While they were not Disney Cruise Line rookies -- this was the third cruise for Melanie, and number four for Genae -- it was their first time experiencing Star Wars Day at Sea. "Oh my gosh, this is awesome," she said. "I am so happy to be here."
Another mother-daughter team, Erin and Sophia Murray from Washington state, share a love of the saga -- one that has been passed down through the generations. "Well, my dad was into it," Erin, Sophia's mother, said. "We saw Return of the Jedi in the theater, and from then on, it was just…Star Wars!" While Erin cosplayed as Qi'ra and Sophia as Padmé Amidala, Erin secretly prefers the bad guys. "I wanted to be Krennic," she said of the Rogue One villain. "He's the best! He's just ruthless. I hate to say I'd be a bad person in Star Wars, but I probably would be." Disney Cruise Line veterans, they loved taking pictures with characters, and traded pins and other random goods with some roaming Jawas. "They didn't want our hotel card," Sophia said. "But I traded some soap, and they gave me a flip flop. They're picky."
For Todd and Megan Lagerberg and their children, from Oxnard, California, the immersion of Star Wars Day at Sea, from costumed characters to Star Wars-themed food, was a highlight. "It's been fantastic," Todd said. "It's the whole ship." As one of his first theatrical experiences was watching Return of the Jedi with his mother, seeing all the Star Wars films on the big screen with his five-year-old daughter was a big draw. "Having that chance to watch these movies and experience them in the theater is really fun," he said. Indeed, Todd has passed on what he has learned: He was particularly proud that his daughter performed well at Star Wars kids trivia on the cruise. "We have the Star Wars Little Golden Books that we read every night," he said. "They were like, 'Who does the Resistance battle?' She said, 'The First Order, of course!' I was really impressed." Todd and his family enjoyed Star Wars drawing classes, crafts, and Jedi training, and would "absolutely" recommend Disney Cruise Line and Star Wars Day at Sea. "It's been fun," he said. "Especially if you have little ones."
One of the biggest attractions during Star Wars Day at Sea is character meet-and-greets; I encountered the Varcoes, from Iowa, on the line to meet Chewbacca with my own family. "I didn't actually become a Star Wars fan probably until I was a teenager," said Nick, a.k.a. Dad of the clan, who discovered the films through cable TV marathons in the '90s. "I definitely became a huge fan, and it drew me into the books, and then subsequently, the movies, which I've passed on to my kids, as well." Indeed, the Force is strong with Nick's family, to paraphrase Luke Skywalker. On Star Wars Day at Sea, Nick sported Star Wars PJs, his wife Amy wore a Star Wars tank top, sons Evan and Wyatt dressed in their Halloween costumes (Chewbacca and Captain Rex, respectively), and Lucy donned an R2-D2 tee. Amy appreciated the fantasy of the experience, and how that inspired their children. "They're totally into it, and the kids are able to interact with all the characters walking around the ship, and they never break character," she says. "It's fun to watch the kids be as excited as Dad is, and I'm excited because they're excited." Nick loved experiencing the day with family and fellow fans.
"I've just loved seeing everybody in their shirts, I saw a BB-8 dress, I saw lots of people dressed up as Rey," Nick said. "Just seeing other people with the same interests as me has been awesome."
Much like the Force, Star Wars binds fans together -- when you can feel it at events like Star Wars Day at Sea, and on May the 4th this weekend, it's truly special.
Visit the official Disney Cruise Line site for more on Disney cruises and Star Wars Day at Sea.
Dan Brooks is Lucasfilm's senior content strategist of online, the editor of StarWars.com, and a writer. He loves Star Wars, ELO, and the New York Rangers, Jets, and Yankees. Follow him on Twitter @dan_brooks where he rants about all these things.
Site tags: #StarWarsBlog, #FanInterviews, #StarWarsDay
star wars day star wars day at sea
{:title=>"Fans + Community", :url=>"https://www.starwars.com/news/category/fans-+-community"}
Happy Holidays from StarWars.com
{:title=>"Fans + Community", :url=>"https://www.starwars.com/news/category/fans-+-community"} {:title=>"Recipes", :url=>"https://www.starwars.com/news/category/recipes"}
StarWars.com Fan Spotlight: As Blue Milk Mama, Jacquelyn Smith Bakes Up Delectable Desserts
{:title=>"Fans + Community", :url=>"https://www.starwars.com/news/category/fans-+-community"} {:title=>"Characters + Histories", :url=>"https://www.starwars.com/news/category/characters-+-histories"}
Bring Us "Pan Solo" and a Cookie
StarWars.com Fan Spotlight: Isabella Holguin's High Republic Cosplay Is For Light and Life
{:title=>"Fans + Community", :url=>"https://www.starwars.com/news/category/fans-+-community"} {:title=>"Collecting", :url=>"https://www.starwars.com/news/category/collecting"}
StarWars.com Fan Spotlight: Bill McBride's Most Impressive Darth Vader Collection
{:title=>"Fans + Community", :url=>"https://www.starwars.com/news/category/fans-+-community"} {:title=>"Interviews", :url=>"https://www.starwars.com/news/category/interviews"}
Jump to Lightspeed with Road Squadron
{:title=>"Star Wars Celebration", :url=>"https://www.starwars.com/news/category/star-wars-celebration"} {:title=>"Disney Parks", :url=>"https://www.starwars.com/news/category/disney-parks"}
SWCA 2022: 5 Creative Lessons Behind the Making of Star Tours
SWCA 2022: Boba Fett, Fennec Shand, and More Star Wars Characters Coming to Star Wars: Galaxy's Edge at Disneyland Park

redpajama_set_name: RedPajamaCommonCrawl


text:
package org.cc.module;

import hyweb.jo.JOProcObject;

/**
 * @author william
 */

public interface IJOMEvent {

    public void request(JOProcObject proc) throws Exception ;

    public void response(JOProcObject proc) throws Exception ;

}

redpajama_set_name: RedPajamaGithub


Morning Joe (Joe Scarborough) plays race card against factual NRA's ad outing Sen. Joe Manchin's (D-W.Va.) for his flip flopping gun stance.
They cannot make an argument against the ad, so they drop the race card. Unbelievable.
Is the NRA's new anti-Obama ad racist?
I thought Obewon was kind of a washed out grey. You know the color that stands for dull, bland, and generally nothingmess. Sort of like him, he says a great deal but really stands for nothing that can be definable as good. When you speak out with two polar opposite positions on many issues and float back and forth depending on what will get the best press and never admit there is a change, that is a drab colorless person. It appears there are no constant core values in the man. There is no morality that says a lie is wrong and instead, almost daily very few statements can be backed up with fact, that person is "grey" on the color spectrum. Oh, yeah, if you mix "black" and "white" you get grey in his case. Grey=absence of color.
- -I look at our CONSTITUTION as Vista-Vision wide screen Cinamascope color with Dolby sound, full of vitality and life. This is not the "living document" defined by Progressives that means the Constitution can have its meaning changed to embrace how they want the country to look. It is a lively document full of constant meaning, as a glowing beacon guiding our nation with its core values, understanding what it means by looking directly at the words of the Founders, not trying to reinterpret it to "fit our day."


I am a counter-culture feminist historian and digital humanist conducting multi-disciplinary research in transmedia platforms of scholarship, presentation, and pedagogy. I earned my M.A. in History from San Diego State University where I published the first born-digital interactive thesis; grunge feminism: performing gender paradox in queered plays of hypertextuality. Currently, I am continuing my work on grunge in the Communication doctoral program at the University of California San Diego.
As a lecturer in The Department of Classics and Humanities at SDSU I am exploring inverted approaches to teaching Honors and GE Courses utilizing transmedia, deformance, and mixed realities. I work out of the experimental and collaborative environment of the ITS Learning Research Studios, where students utilize state of the art technology to engage in visual analyzations and critique social constructions.
I am a member of The Society for American Music, The American Historical Association, The Fashion Group International®, The Popular Culture Association/The American Culture Association (PCA/ACA), HERA, and serve on the Fashion Advisory Board for San Diego Mesa Community College.


The final deadline for all submissions is March 7th, 2019.
The films shall be premieres in Italy. The application will be rejected if the film is available on the Internet, has been broadcasted, or has already been presented in an Italian film festival preceding the 2019 Lucca Film Festival and Europa Cinema.
The feature-length films, except for those which were never screened and distributed (in Italy and/or internationally), shall not date back to years prior to 2018.
Should your film be accepted in the 2019 Lucca Film Festival & Europa Cinema, you grant LFFEC the right the right to use an excerpt from any film submitted and accepted for exhibition at the Festival for promotional purposes.
All accepted films will be screened once during the festival, with the option of an encore screening for select films/shorts blocks. All scheduling is purely at the discretion of the LFFEC staff.
The entry fee for each film is 30€ (early bird) until January 15, 40€ until February 15 (regular) and 50€ until March 7 (extended).
Payments shall be made according to the methods of the portals mentioned above.
Once registered, the film can be withdrawn from the contest without any extra fee until March 20, 2019. After that date, the withdrawal of the film will still be possible, but only until March 27, 2019 at the latest.
In this case, an extra payment of 700€ will be charged as a refund for the work made by the Festival. For no reason requests received after March 27, 2019 will be accepted.
Student Jury Award for the Best Film.
The application implies the acceptance of the Rules and Regulations in all its parts, the authorisation of public screenings, for which the artist will not be entitled of any royalties and fees. The signatory, with this application, is committed to ensuring the veracity and accuracy of all the required information submitted.
By entering your film for consideration to the 2019 Lucca Film Festival and Europa Cinema, you authorize that your work is cleared for festival exhibition and accept full legal responsibility for the intellectual property therein.
The submitter and all filmmakers associated with the project shall indemnify and hold harmless the Lucca Film Festival and Europa Cinema, Associazione Vis(s)ta Nova and any representative or affiliates from and against any and all claims, liabilities, losses, damages, and expenses (including but not limited to attorney's fees, and costs of the court) which may be incurred by reason of any claim involving copyright, trademark, credits, publicity, screening, and loss of or damage to the entered screening videos.
For any information, please email featurecompetition@luccafilmfestival.it.


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THE REVOLUTIONARY:
Thomas Müntzer was born 1489 in the town of Stolberg in the Harz Mountains. Prior to moving to Leipzig to attend University in 1506 and subsequently to Frankfurt (Oder), he lived in Quedlinburg. Müntzer was ordained a Catholic priest in the diocese of Halberstadt and later served at the Church of St. Michael in Brunswick. Subsequently, he took up the office of prefect in a community of canonesses near Aschersleben. There, he founded a private school where the sons of well-to-do burgesses were instructed. In 1520, he went to Zwickau and from there to Prague, Jena, Erfurt, Weimar and Halle. Shortly before Easter of 1523, Müntzer was made pastor of St. John's Church in Allstedt. There he would marry Ottilie von Gersen from the House of Heygendorf, an escaped nun. During this period, Müntzer worked on reforming the Liturgy and aimed to make German the language of mass. At the same time, he was the leader of the "Allstedt League", a federation of armed peasants, miners and artisans.
Müntzer lost his post in Allstedt after delivering the so-called Sermon to the Princes ("Fürstenpredigt") to the Elector, Johann der Beständige (the Steadfast), and to his son Johann Frederick I. In it, he not only called upon the German princes to cease their resistance to the Reformation but was harshly critical of the social evils of the time. The people of Mühlhausen elected Müntzer to be pastor of the local church of St. Mary's. He joined the side of the peasants and emerged as one of the leading figures of the German Peasants' War in Thuringia. Initially, Müntzer had been a follower of Luther. His resistance was not just aimed at ecclesiastical authorities however; it was also against the secular order. It was this revolutionary endeavour which led Luther to distance himself from Müntzer when the Peasants' War broke out.
After the Battle of Frankenhausen, he was captured and brought to the fortification at Heldrungen, where Müntzer was tortured on the orders of Ernst II, Count of Mansfeld. Incarcerated in the Tower of Heldrungen, he composed a letter to the rebels, pleading with them to cease the fighting to prevent any further bloodshed. Thomas Müntzer was publicly decapitated near Mühlhausen on 27 May 1525, his body and head mounted on stakes as a warning to all.
Born around 1489 in Stolberg
Died on 27 May 1525 near Mühlhausen
Dedicated follower and admirer of Martin Luther


text:
Q: To paste cell range from Excel to Powerpoint I have this one presentation slides which already has its content. My goal now is to paste new things from Excel to the same slides, instead of adding new slides to the PowerPoint file. The language I'm using is VBA.
Here is my code:
Sub CreatePowerPoint()
'-------------------------------------------
'ADD A REFERENCE TO THE MICROSOFT POWERPOINT LIBRARY BY:
     '1. Go to Tools in the VBA menu
     '2. Click on Reference
     '3. Scroll down to Microsoft PowerPoint X.0 Object Library, check the box, and press Okay
'-------------------------------------------
'FIRST WE DECLARE THE VARIABLES WE WILL BE USING
    Dim newPowerPoint As PowerPoint.Application
    Dim activeSlide As PowerPoint.Slide
    'Dim tbl As ListObject
    Dim rng As Range, row As Long
    Dim sht As Worksheet
    row = 1
'-------------------------------------------
'LOOK FOR EXISTING INSTANCE
    On Error Resume Next
    Set newPowerPoint = GetObject(, "PowerPoint.Application")
    On Error GoTo 0
'-------------------------------------------
'LET'S CREATE A NEW POWERPOINT
    If newPowerPoint Is Nothing Then
        Set newPowerPoint = New PowerPoint.Application
    End If
'-------------------------------------------
'MAKE A PRESENTATION IN POWERPOINT
    If newPowerPoint.Presentations.Count = 0 Then
        newPowerPoint.Presentations.Add
    End If
'-------------------------------------------
'SHOW THE POWERPOINT
    newPowerPoint.Visible = True
'-------------------------------------------
'LOOP THROUGH EACH RANGE DATA SET IN THE EXCEL WORKBOOK AND PASTE THEM INTO THE POWERPOINT
    For Each sht In ThisWorkbook.Worksheets
         'For Each tbl In sht.ListObjects
         LastRow = ActiveSheet.Cells(Rows.Count, 1).End(xlUp).row
         Do Until row >= LastRow
            For I = row To LastRow
                If Cells(I, 1) = "|" Then
                    LastCol = ActiveSheet.Cells(row, Application.Columns.Count).End(xlToLeft).Column
                    Set rng = Range(Cells(row, 1), Cells(I - 1, LastCol))

'Note: xlUp, xlToLeft = Returns a Range object that represents the cell at the end of the region that contains the source range.
'Equivalent to pressing END+UP ARROW, END+DOWN ARROW, END+LEFT ARROW, or END+RIGHT ARROW. Read-only Range object.
'-------------------------------------------
'ADD A NEW SLIDE WHERE WE WILL PASTE THE TABLE
                    newPowerPoint.ActivePresentation.Slides.Add newPowerPoint.ActivePresentation.Slides.Count + 1, ppLayoutText
                    newPowerPoint.ActiveWindow.View.GotoSlide newPowerPoint.ActivePresentation.Slides.Count
                    Set activeSlide = newPowerPoint.ActivePresentation.Slides(newPowerPoint.ActivePresentation.Slides.Count)
'Note: ppLayoutText = the layout of the slide
'-------------------------------------------
'COPY THE TABLE AND PASTE IT INTO THE POWERPOINT AS DEFAULT (EDITABLE FORM IN PPT)
                    'tbl.Range.Copy
                    rng.Copy
                    activeSlide.Shapes.PasteSpecial(DataType:=ppPasteDefault).Select
'Note:ppPasteEnhancedMetafile/ppPasteOLEObject = if want to edit in Excel form
'-------------------------------------------
'ADJUST THE POSITIONING OF THE TABLE ON POWERPOINT SLIDE
                    With newPowerPoint.ActiveWindow.Selection.ShapeRange
                        .Left = 20
                        .Top = 125
                        .Width = 675
                    End With
                    activeSlide.Shapes(2).Width = 200
                    activeSlide.Shapes(2).Left = 505
                    row = I
                    Exit For
                End If
         'Next tbl
            Next I
            row = row + 1
        Loop

    Next sht
'-------------------------------------------
'CLEANUP
     Set activeSlide = Nothing
     Set newPowerPoint = Nothing
 End Sub

Instead of adding new slides, I would like to paste it inside an active PowerPoint slides which already has some content in it. May anyone assist me? Thanks in advance.

A: You have to explicitly reference the slide.  I would explicitly reference the presentation too.
the slides(1) is referencing slide number 1.
'COPY THE TABLE AND PASTE IT INTO THE POWERPOINT AS DEFAULT (EDITABLE FORM IN PPT)
                    'tbl.Range.Copy
                    rng.Copy
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Antique Art Nouveau 1902 silver necklace featuring Poseidon Greek God. Poseidon is the god of the sea and protector of seafarers in Greek mythology or Neptune in Roman mythology. The necklace depicts Poseidon standing in a giant shell with is three pronged trident staff surrounded by waves. Curiously Poseidon is the god of horses, it is said he created the first horse, on the necklace there is a horse within the waves.
This necklace was originally a button, we have taken the piece and transformed them into beautiful a beautiful pendant. The necklace has been hand converted in London by Tiffany our skilled in house silversmith.
The necklace has a number of hallmarks indicating the piece is set in sterling silver and dates back to 1902, hallmarked in London, England.
The earrings measure 2.6cm / 1" in diameter and the necklace measures 66cm / 26" in length.
The necklace are in excellent antique condition.


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Welcome to JONN.CO.UK, the UK's best website for all things TV, Gaming and Music.
A Christmas Carol - Interview with Andy Serkis (Ghost of Christmas Past)
Tell us about this version of A Christmas Carol…
"Charles Dickens' A Christmas Carol." When I think of those words I think of a fireside, holly, the ghosts, and a kind of warm, fuzzy, journey. It gets a little dark and scary but it's a happy ending. That is the expectation most people have of that story. Our version is a darker telling of this tale and is brilliantly written by Steven Knight. It really examines the character of Scrooge in a way that I don't think has ever been seen before.
It feels very contemporary, the emotions, the human nature, the selfishness, the greed and the way Scrooge operates. Its couched in a Victorian environment and so you have a real interesting tension between the way it looks and the way it feels.
The Spirit of Christmas Past, who I play, is very different. He's normally portrayed as this affable character who takes Scrooge back to an early part of his life where things were happy. But in this version, he's much more confrontational, he is going in there to examine Scrooge's soul, he's got a red-hot poker that he's trying to press against Scrooges conscience to get him to stop denying who he is.
Do you remember the first time you came across A Christmas Carol?
The very first time I came across A Christmas Carol was it being read to me when I was quite young, maybe about nine or ten. The character of Jacob Marley stood out to me, the man in chains, carrying all of his sins and searching for redemption, I remember being haunted by that image.
Tell us about Steven Knight's scripts…
Steven Knight is such an extraordinary writer, the worlds that he creates are so thorough. He has a real love and passion for Charles Dickens, and Dickens was a writer that also really delved into social inequality and different class structures. That combination and the way that Steven has extrapolated his story from Dickens' book is exceptional. That's what drew such an interesting cast, no one wants to make yet another version of A Christmas Carol, because there have been so many great versions, but this is so original. Steven really wanted to examine humanity in its rawest form and to take the expectation of the book, subvert it, and make it about the world that we live in, is really an extraordinary feat.
Can you tell us about the look of the show and the world that has been created?
There are so many ways that you can visually interpret this story. The production design, the costume design, the makeup and hair, and so on, everything was geared towards it being visually interesting and spectacular, and of course, period, but it doesn't draw attention to itself in a way that takes you out of the story. You take it for granted that these things are real, and that's a real skill to pull off. It all provided a backdrop that was a great canvas for examining Scrooge's psychological and emotional journey.
Do you have any standout memories from filming?
The night shoots that were filmed very early in the morning! My first scenes playing this character were all night shoots. So, at four/five o'clock in the morning when your mind is melting, and you're trying to remember dialogue and still trying to find the character, it's quite brutal! That was a real challenge but having Stephen Graham there to act with was just brilliant, and we helped each other, well I think he helped me more than I helped him!
And to work with Guy who was literally on set all the time, and to watch how he was operating, was great.
What do you hope audiences take from this version of A Christmas Carol?
I really truly think that audiences won't have seen anything quite like this. It is not particularly for young children, tonally it's more suited to a slightly older audience, I would say 12 years old and above, and with that comes the freedom of expression to take it into a much more honest and visceral analysis of what it is to be someone in this world who has enjoyed profit at the expense of other people's lives.
There's a very good reason why this story is repeatedly told. I mean, it's obviously a fantastic piece of literature, but it also speaks to every new generation in a different way. There are universal themes in this story, Christmas is a very special and significant time where we tend to reflect on our standing in the world. There is an expectation of this story to be a particular way and the universal themes are still there, they still carry through from Dickens' original writing, but this is such a fresh palette that Steven Knight is working with that it is definitely something new. It makes a book that was written over 150 years ago relevant in a very deft and intelligent way. You still have the same characters, but, for instance Bob Cratchit, who is the perennial slave of Scrooge, actually has a voice in this version, he almost stands up for himself to Scrooge. So, where we think we know the story and we think we know the relationship of the characters, it's just gently subverted.
Posted by JD at 16:00
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Exciting changes are coming to Spokane at the start of the new year. Columbia Medical Associates officially becomes Kaiser Permanente on January 1, 2019. All our patients in the area gain access to the high-quality, coordinated care and convenience we provide at our medical centers. And that's just the beginning.
Medical office moves. Four medical offices are moving to Kaiser Permanente medical centers, and all current Columbia Medical Associates' providers are moving with us. Doctors, nurses, and other specialists all work together at our medical centers. Patients can see their doctor and get lab services and X-rays — all in one visit. And Kaiser Permanente members can also pick up prescriptions.
Associated Family Physicians is moving to the Kaiser Permanente Veradale Medical Center, 14402 E. Sprague Ave., Spokane Valley (3.8 miles away).
Associated Family Physicians – Fairfield is moving to the Kaiser Permanente Veradale Medical Center, 14402 E. Sprague Ave., Spokane Valley (22.2 miles away).
Endocrinology Services is moving to the Kaiser Permanente Riverfront Medical Center, 322 W. North River Drive, Spokane (3.7 miles away).
Westview Family Medicine is moving to the Kaiser Permanente Lidgerwood Medical Center, 6002 N. Lidgerwood St., Spokane (2.8 miles away).
The medical offices will close on Saturday, December 29, and we'll begin serving patients at the new locations on Wednesday, January 2.
Consolidating medical offices that are very close to each other will help us serve our patients more efficiently in spacious and modern facilities and reduce duplication of services. Moving Endocrinology Services to Riverfront Medical Center supports our strategy to build on the specialty services already offered at our largest and most centralized medical center in the area — and we're also adding rheumatology services at the facility.
Health plan changes. Like all provider groups, each year we evaluate which health plans we will accept based on those that provide the most value and best experience for our patients. Established patients who are insured with one of our 2019 contracted health plans may continue to see their current CMA provider.
Patients will be notified of any plan changes prior to their open enrollment periods so they can make well-informed coverage decisions.
Payment changes. We will accept personal checks and Visa, Mastercard, Discover, and American Express bank cards. As part of our ongoing efforts to reduce non-medical overhead costs, we will no longer accept cash payments.
Online access to health records. Our electronic health records (EHR) system allows adult patients — both members and non-members — to view their own medical record, including health conditions, lab results, after-visit summaries, and more. In addition, a record of patients' care at Kaiser Permanente facilities will be accessible to outside providers who use the same EHR. Providers will also be able to review a patient's full CMA medical record if needed.
How are we communicating changes to patients?
CMA patients are receiving several mailings this fall to make sure there are no surprises as changes take place.
Letters were recently mailed to patients at CMA locations that provided an overview of the changes.
A postcard explaining the medical office moves is being mailed to patients at those facilities in mid-November. We'll also have a variety of reminders about the moves in the medical offices, including banners and appointment cards that direct patients to the location of their next visit.
A second self-mailer explaining changes that are taking place at the beginning of January will be mailed in December.


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The 2018-19 Distinguished Lettermen
By Douglas Pils '92
College students' busy schedules automatically come packed with classes, projects, tests and being on their own for the first time in their lives. That gets multiplied greatly for Texas A&M's student-athletes when practices, workouts and games get piled on the daily to-do list.
Those who excel in adding involvement in student groups, service projects and leadership roles in those areas are truly gifted at time management.
At the Building Champions Awards gala on April 15, Ilolo Izu from Houston Strake Jesuit and Maddy Stulce from Katy Seven Lakes, two members of the Aggies' track and field team, were honored for being such student-athletes with the Distinguished Letterman Award. It is the highest honor that can be presented to an A&M student-athlete because it recognizes their all-around performance in athletics, scholarship, leadership and service.
The fact that both came from coach Pat Henry's track and field team was not lost on either of them.
"It definitely shows what Coach Henry has instilled in us in the time since we started here," said Stulce, a graduate who recently competed in her fourth straight NCAA Championships in the javelin.
"It's a testimony to who we are as people and who we are as a team, especially since both of us are from the same team," added Izu, a senior who recently completed his college career at the NCAA Championships after helping the men's 4x400 relay qualify at the NCAA West Preliminary in late May.
Henry wasn't surprised at all to hear that two of his seniors had won the Athletics Department's highest award for student-athletes.
"They're good human beings," Henry said. "They're kind young people. They're always the ones that if I see an older person come into our building, they seem to be the ones showing them around. They take ownership and they're proud to be Aggies and they will be great Aggies of the future because of the things they are learning right now about what it means to be an Aggie."
What that meant to Izu and Stulce was being involved in as much as their schedules would allow.
Learning how to manage their time as underclassmen helped set the stage for them to rise up through their organizations and add more to their plate. It wasn't easy says Izu, who was involved with Maroon Coats on campus and volunteered with the Houston Food Bank and a camp for children with muscular dystrophy.
"I think for me it was very difficult to manage everything all at once, especially at the beginning of this semester after I had already been in my organization for a year," said Izu, who plans to graduate with his degree in allied health in December and then prepare to earn his physician's assistant degree where he wants to work in orthopedic surgery. "It's definitely taught me that there's more than just track and more than just school work. It's helped me put my focus in other areas where I can help others and meet new people."
Stulce, whose parents, Steven and Marcy, are both A&M grads, and her brother Kyle is coming next year to throw the shot for the Aggies, graduated for a second time in May. She obtained her master's in finance after receiving her undergraduate degree in supply chain management in 2018. Stulce spent this past school year as president of the Student-Athlete Advisory Committee and of her finance program. She had been president of the A&M Consulting Club in her final year as an undergrad.
While adding all of the extra work away from academics and athletics was daunting, both student-athletes said a big reason for doing so was to build their base of friends and colleagues as they prepare to enter the real world.
"They take ownership and they're proud to be Aggies and they will be great Aggies of the future because of the things they are learning right now about what it means to be an Aggie."
Pat Henry
"To the 12th Man Foundation donors, I want to sincerely thank you for your support. Just being able to come to A&M meant the world to me. I feel like you should really know how grateful we all are for everything you do for us, because it truly means the world."
Ilolo Izu '19
BECOME AN MVP LEVEL DONOR WITH A $750+ GIFT
Annual donations above and beyond those tied to season tickets are crucial to providing the resources necessary for distinguished student-athletes like Maddy Stulce and Ilolo Izuto be successful at Texas A&M. Contact Callie Boenigk at 979-260-2394 to increase your impact or click here to donate
"To the 12th Man Foundation donors, thank you so much for giving back to our university. Without your support, we wouldn't have all the resources that we have. It motivates me to fill those shoes one day, as big they are, and give back to the student-athletes here."
Maddy Stulce '18


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As winter sets in, snow gathers on the mountain tops and watery gullies start forming themselves into immense ice sculptures. It's a sight to behold across the region, but for many it means digging out the crampons, ice axes and winter ropes and planning their next adventure into the 'hills' ice climbing in Cairngorms. Climbing in the Cairngorms has been popular since the activity came into existence, but winter climbing in the Cairngorms National Park really took off during the 1950s. As more and more people venture out into the mountains every year, What's On decided to check out the sport, it's history, it's ever increasing popularity and the importance of respecting the landscape that plays home to one of the most exhilarating and interesting winter activities. Grab your gear and take a read!
Despite this flying start, the cliffs of the Cairngorms remained mostly unloved and unvisited by technical rock and ice climbers until the 1950s. However, in that decade a great explosion of creative climbing talent came pouring out of Aberdeenshire to begin the exploration of Cairngorm mountaineering in earnest. Legendary north-east climbers such as Bill Brooker, Ken Grassick, Graeme Nicol, Ronnie Sellars and Tom Patey formed a new generation untroubled by preconception of their elders. Instead the group recognised the excellent exploratory climbing to be had in their nearest major mountain range.
In 1958, these Aberdeen 'hard men' were braving the ferocious arctic conditions of deep winter to climb on the cliff, producing many challenging routes, including Sticil Face – one of the first Grade VI winter climbs. Yet what made these achievements all the more remarkable was that they were climbed with equipment (single straight-picked ice axes and nailed boots), which had scarcely changed since the dawn of climbing in the Victorian period! In fact these routes are significant undertakings today even with unimaginably more sophisticated gear and clothing. Yet despite such eventual changes in technology, one of the biggest impacts on the development of northern Cairngorm climbing was the development of transport in the area. In 1960 the Coire Cas ski road opened, allowing climbers to reach an altitude of 700m before having to don heavy rucksacks and climbing equipment. The access road did not take away from the remoteness or seriousness of the mountains, but it did make them considerably more accessible, promoting a gold rush of mountaineering exploration by climbers from all over the country.
The 1960's saw the further development of what is now Sport Scotland's flagship outdoor pursuits training centre at Glenmore Lodge near Aviemore. This provided another impetus to exploration in the remote heart of the Cairngorms. As today, the instructing staff provided a constantly refreshing reservoir of tough, experienced mountaineers with a hunger to climb hard even after working all day in the hills. Therefore, in the late '60s and early '70s not only did these guides establish over 30 new routes; they actively helped change the nature of climbing itself. In the late 1960s, staffer John Cunningham began independently developing a new way of climbing steep ice using ice daggers for direct traction, rather than the time-consuming method of cutting steps in the ice.
During the same period winter climbing also made a quantum leap in standards, thanks to the evolution of ice tools and a new approach to their use. Climbers such as Speyside resident Andy Nisbet pioneered the technique of torqueing ice axe picks and crampons into cracks in the snowed-up rock, enabling them to climb ever harder technical pitches and overhangs, albeit strenuously. It resulted in another revolution as to what constituted a winter climb and suddenly very steep, frost-hoared rock became 'fair game' to the technical maestros. So much so, that since then the area has attracted the biggest names and experts in climbing from all over the world who come here to push themselves, train and simply enjoy the region and everything it has to offer.
However, despite the history of climbing in the area; the pioneers that have lived, worked and basked in the area's beauty; and the important part the region has played in advancing the sport, it is worth, always, remembering the respect, understanding and expertise needed to explore these mountains.
It is fair to say that the wilderness climbing of the Cairngorms (whether in the winter or the summer months) remains very much the preserve of the dedicated expert. With the region still being home to so many enthusiasts and trained professionals, however, there is always the opportunity to 'make it yours' and explore the mountains in a safe way with some of the most knowledgeable guides in the world. Check out www.visitcairngorms.com for details and loads more information!


text:
Axiocteta babooni är en fjärilsart som beskrevs av Bethune-Baker 1906. Axiocteta babooni ingår i släktet Axiocteta och familjen nattflyn. Inga underarter finns listade i Catalogue of Life.

Källor

Nattflyn
babooni


Art is a powerful instrument and will be always highly important. Art observes and reflects our culture independently. It shares an open view on our period, the society, and of course it inspires! I started creating my own art to understand my being. For me, art is a process of understanding, reflecting, and learning about life in general, and the results, I try to share with my images.
Friederike Hantel is a freelancing illustrator, designer and animator. She currently lives and works in Hamburg, Germany.


text:
Cozieni – wieś w Rumunii, w okręgu Buzău, w gminie Costești. W 2011 roku liczyła 266 mieszkańców.

Przypisy

Wsie w okręgu Buzău


Norway's NRK channel wants viewers to literally watch snow melt next month, as it tracks the disappearance of the last patches of seasonal winter snow across the country in a week-long, 168-hour 'Slow TV' extravaganza.
The programme, Snøsmeltingen, or The Thaw, marks the latest outing for the channel's revolutionary Slow TV format, which it has made a speciality ever since it broadcast a seven-hour minute-by-minute broadcast from the front of a train travelling between Oslo and Bergen in 2009.
It has since made a 134-hour live broadcast of the Hurtigruten coastal ferry creeping up the fjords, an eight-hour broadcast of a fire gently consuming itself, and an attempt to beat the world's "sheep-to-sweater" knitting record.
For Snøsmeltingen, the channel will station teams at snow patches outside Oslo, Bergen, Trondheim and Tromsø, as well at the Filefjell Snow Research Station in Oppland County, where the gradual deterioration of the season's last snow will be scrutinised in minute detail using magnified cameras.
The programme marks the 100th anniversary of the death in 1914 of Karentius Haugård, the Norwegian mathematician and photographer who, led by an obsessive desire to find two identical snowflakes, documented and categorised more than 5,000 different ice crystal structures, effectively launching snow science as a discipline.
"You would think it would be boring television, but we have quite good ratings for these programmes, so obviously there's an audience for them," Jens Nordstrøm, the NRK journalist producing the programme told The Local. "Every Norwegian experiences 'tøvær' [the thaw season] each spring, but few take time to think about what it means."
As part of the snow week, the producers have teamed up with schools across the country to carry out a "national snow vigil", mapping the shrinking snow cover, while viewers are being encouraged to tweet or post to Instagram pictures of belongings that reappear which they thought had been lost forever -- such as tennis balls, shoes, and wallets.
Correspondents will report live from Nordmarka, north of Oslo, as skiers go out on progressively bad snow, interviewing them about their experiences as the snow disappears.
"I am thrilled that NRK are finally taking this issue seriously", said Christian Leonard Quale, a computer scientist who spent a year documenting the various Norwegian words for snow. "A lot of enthusiasts like myself would normally take a few weeks off work to travel around watching the snow melt, but now I'll be able to follow the whole thing, as it happens, from my office."
Quale said he was looking forward to tracking the progression of snow types during the week.
"I'd say the snow would go from being 'klabbsnø', which is the wet, sticky snow, via 'sørpe' (kind of a slushy consistency), and finally to 'slaps', when the snow is very wet, and really more water than snow," he said. He said he also hoped to see some 'påskeføre', a skiing term referring to "the condition of the ski-trails during Easter", at least at the beginning of the week.
The broadcast will also feature interviews with Norwegian celebrities about the role melting snow has had in their lives, and the effect it has had on their careers.
Crime author Jo Nesbø interviewed on how snow inspired him to write The Snowman, while former prime minister Jens Stoltenberg will speak of how he was inspired to get into politics thanks to the dripping noise of the melting snow from the roof outside of his window when he was ten.
It's midday in Norway and custom dictates that we now reveal our chicanery, skulduggery and general tomfoolery.
As many readers no doubt have guessed, the above article has very little basis in fact, although klabbsnø, sørpe and slaps are all very real.


Technology is enabling governments to limit the loss of life during big storms by encouraging people to work from home. This is great news for those who love work in their pj's, but how will this affect schools? During the recent Polar Vortex, a number of schools experimented with having an eLearning day. Here are some lessons we can learn from these experiments.
Books are still one of the best sources of professional development for teachers. In this post, I share the 6 books that are currently at the top of my Must-Read list. It includes some books on technology integration, some awesome maths books and one for new teachers that look very interesting.
Everything, from classroom rules to planning, to the first lesson that a new maths teacher wants to know to be prepared for their first year in the classroom. Bonus: Free templates for new maths teachers.
Wat is stand van wiskunde onderrig in Suid-Afrika? Op 28 Augustus 2018 het ek deelgeneem aan 'n gesprek oor wiskunde op RSG se program Ons en die Onderwys.
How can you earn CPTD points?
You can earn CPTD points in a variety of ways, all you need is to do a little planning. I discuss the types of activities and what you need to earn the necessary points.
Let me take you through the basics of Google Classroom, one day at a time. This free online course is ideal for new teachers and teachers who have already attended Google training but still feel lost.
Professional development: Monday, not someday.


Expand your child&s horizons with regional reading we have suggestions from booksellers across the U.S.
You and your child can visit every part of the country just by reading a book (much cheaper than filling up your gas tank!). We asked friendly booksellers in eight different states to recommend books that best express their region.
Bats are big in Austin. More than a million live under the Ann W. Richards Congress Avenue Bridge, which spans Lady Bird Lake in downtown Austin. The bats are the Mexican Freetail variety, and reappear each spring from their winter homes in Mexico.
An introductory book about bats, with lots of close-up photos, is Bats: Hunters of the Night by Elaine Landau. An older book with a similar title, Bats: Shadows in the Night by Diane Ackerman, covers more ground, and even includes a photo of the Mexican Freetail bats swarming around the Congress Avenue Bridge. You might be able to find a used copy online.
Not many of us will ever see the inside of a coal mine, but the experience will come alive for kids as they pore over photos from historic mines from the 1920s to the 1950s in Images of America: Van Lear by Danny K. Blevins. This small farming community transformed itself into a coal-producing giant, thanks to the insight of a local schoolmaster who saw the power in coal.
To venture into darkness of another type, try Tragedy at Devil's Hollow and other Kentucky Ghost Stories by Michael Paul Henson.
According to native Ojibwe Indian legend, the sand dunes of Michigan's Upper Peninsula are really a sleeping mother bear; two islands in the lake are her cubs. Tears of Mother Bear by Anne Margaret Lewis and The Legend of Sleeping Bear by Gijsbert van Frankenhuysen recount the tale. Frankenhuysen shines a light on his real life overseeing a wildlife sanctuary downstate in Adopted by an Owl, Saving Samantha (a fox), and Kelly of Hazel Ridge — perfect for early readers who love animals.
Actor and musician John Lithgow grew up in Ohio, and when he and illustrator C. F. Payne created their book The Remarkable Farkle McBride, Payne used Cincinnati's famous Music Hall, home of the Cincinnati Symphony Orchestra, as the model for his artwork. Someday, when your kids visit Music Hall, they'll marvel at the architecture and say, "Hey, this is where Remarkable Farkle conducted the orchestra."
Say Seattle and grown-ups think coffee, but your child may know little to nothing about the West Coast's Emerald City. Remedy this with Larry Gets Lost in Seattle by John Skewes with Robert Schwartz. It's the story of a sweet little dog who gets separated from his owner. Your kids can follow Larry as he rides the ferry, trots along the interurban trail, visits Pioneer Square, Pike Place Market, the Space Needle, the Seattle Art Museum, sees the houseboats on Lake Union, takes the underground tour, sees the Fremont Troll, and checks out Qwest Stadium (the Seahawks) and Safeco Field (the Mariners). All ages will chuckle over the fabulous illustrations.
Even in the 1960s, life in some parts of North Carolina remained quite primitive. Eight- to 12-year-old boys and girls can get a real sense of it by digging into Kerry Madden's Maggie Valley books, set in the real-life Maggie Valley in the Appalachian Mountains. Gentle's Holler, Louisiana's Song, and Jessie's Mountain are a trilogy, so there are lots of stories to go around. Olivia wants to be a songwriter like her dad, her sister Louisiana is an artist, and the newest book tells a story from mother Jessie's point of view. Madden's husband grew up in Asheville, North Carolina, and his grandmother lived in the house that is now the Spellbound Bookshop.
If your family's only taste of Mississippi comes from drinking Barq's root beer (invented in Biloxi more than 100 years ago), round out your picture of the Magnolia State with the 20 stories and legends in Mississippi Stories for Young People: A Look at the Past by Craig Skates. For instance, did you know that captured German and Italian soldiers were imprisoned here during World War II?
Nebraskans are used to tornado warnings on summer nights, and author Ivy Rickman, who grew up there, remembers heading for the cellar during storms. On June 3, 1980, warnings turned to reality as a great tornado raged through the town of Grand Island. Rickman's relatives lost their home that night, providing many of the chilling details for her novel Night of the Twisters. The story gives 5th and 6th graders a frightful sense of Mother Nature's fury.
On a lighter note, reciting the alphabet in C Is for Cornhuskers by Rajean Shepherd is the way to memorize all things Nebraskan — including the name of the football team.


text:
UK foreign secretary steps down in reshuffle
William Hague says he is stepping down from his role after four years as British PM announces major changes to cabinet.
Hague said he would continue to work as a special envoy on ending sexual violence [AP]
British Foreign Secretary William Hague has announced he is stepping down from his post and will not stand for election as a Member of Parliament in next year's general election in May.
"Tonight I am standing down as Foreign Secretary after four years to serve as Leader of the House of Commons," he announced on his official Twitter account on Tuesday.
"From May 2015, after such a long period in politics I want to embark on many other things I have always wanted to do.
"Renewal in politics is good, and holding office is not an end in itself. After 26 years as an MP time will be right for me to move on."
Prime Minister David Cameron, the leader of the Conservatives, the main party in the ruling coalition, has started carrying out what is expected to be a final reshuffle of top government jobs before the election.
Cameron's office said in a statement that the prime minister had accepted the resignation of seven ministers including Kenneth Clarke, a minister without portfolio and a veteran supporter of Britain's EU membership.
Hague, who was first elected to the House of Commons in 1989, said he would continue to work as a special envoy on ending sexual violence.
SOURCE: Al Jazeera and agencies


text:
Home/Books/'Supergods' is an erudite history, analysis of superhero comics with a misleading subtitle
'Supergods' is an erudite history, analysis of superhero comics with a misleading subtitle
The Pop Mythologist May 5, 2013	Books
Review of: Supergods: What Masked Vigilantes, Miraculous Mutants and a Sun God from Smallville Can Teach Us About Being Human.
For fans of comic culture in general and Morrison's penchant for psychedelic mysticism in particular, Supergods is a fitting addition to your book collection.
© Spiegel & Grau
Grant Morrison is among a small handful of fiction writers who have most inspired and informed the style of non-fiction writing that I do in my column Hero Worship. And of those fiction writers, he and Neil Gaiman are the two comic book writers who forever altered the way I looked at superheroes and comics. The themes that obsessively reappear in almost all of his major works – gods and myths, the occult, epic conspiracies and a Philip K. Dickian view of reality – were the very same obsessions of my young, impressionable mind when I first discovered him.
Needless to say, I was excited to be able to finally read his non-fiction opus, Supergods: What Masked Vigilantes, Miraculous Mutants and a Sun God from Smallville Can Teach Us About Being Human.
While, on the whole, it's a good read it wasn't quite what I had hoped or expected it would be. The subtitle, I feel, is somewhat misleading. I have my own views on what "masked vigilantes and miraculous mutants can teach us about being human" and so was eager to read Morrison's take on it, since he did, after all, help me to shape some of those views (albeit indirectly through his fiction).
But Supergods is really just part cultural history of superhero comics and part personal memoir. It isn't until the end, and only briefly, that Morrison discusses what I had hoped the majority of the book would be about: an examination of superheroes as mythical archetypes that illuminate profound spiritual lessons on life and living.
Having said that, it's an impressively incisive cultural history, albeit focusing more on how superhero comics and their creators, throughout history, have reflected the shifting social values, morals and concerns of their time than on a straightforward historiography of the business and industry of comic publishing. Though for those who prefer their history to be written in a clear, lucid style (and I'm one of them), Morrison's prose often gets a bit too baroque in a way that works better when he crosses over into the realm of memoir, especially when recounting his experiences with altered states of consciousness.
Another problem is the lack of images from the works that Morrison analyzes. He goes into such minute detail that it's truly hard to follow along unless you've got images from the comic he's referring to in front of you, especially if you've never read those comics. I had to constantly look up old and now-obscure titles on Google for images as I read which became tiresome.
Nevertheless, for fans of comic culture in general and Morrison's penchant for psychedelic mysticism in particular, Supergods is a fitting addition to your library. Just don't expect to become too enlightened about what superheroes can teach you about being human. For that, I humbly submit the writing of yours truly.[subscribe2]
Superheroes: The Best of Philosophy and Pop Culture
'Death Sentence' is a sexy, violent, intelligent superhero tale for grown-ups


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A comic book portrays a story through a series of sequential illustrations that incorporate short bits of text containing dialogue, sounds, or narratives. The story may be humorous, or it may present a world of adventure, mystery, or fantasy. Most comic books are printed on a regular basis and have one or more central characters who appear in each issue. A particular story may be told in a single issue, or it may continue from one issue to the next over a period of time. The artistic style of a comic book is often attributed to a single artist, although most comics are produced by a team of artists and writers working together.
The use of sequential illustrations to tell a story dates to prehistoric times when early humans painted series of images on rocks and cave walls. Egyptian hieroglyphics are another form of sequential illustrations that tell a story.
Hand-drawn illustrations appeared regularly in newspapers and magazines starting in the 1800s. Many of them used humorous or un-flattering portrayals of well-known people and were the origin of modern cartoons and comics.
The first newspaper comic strip in the United States was Richard Felton Outcault's "The Yellow Kid," which appeared in the Hearst New York American on February 16, 1896. It was published in the Sunday supplement to the paper and was quickly joined by other comic strips.
By the 1910s, the Sunday comics were so popular that newspapers would occasionally publish small books containing reprints of past strips, which they would distribute to promote the paper and gain new readers. Soon, other publishing companies were assembling comic strips from several papers and selling them to merchants to be given away as premiums. In 1934, Eastern Color Printing Company decided to sell these books directly to the public for 10 cents each. American News, which controlled distribution to newsstands throughout the country, initially refused to handle the books, so Eastern Color took them to chain stores and quickly sold 35,000 copies. Faced with this astounding success, American News reconsidered and ordered 250,000 copies of Famous Funnies No. I from Eastern Color. It went on sale in July 1934 and became the first regularly published comic book to be sold at a newsstand.
During the late 1930s, many of the now-famous superheroes made their first appearances in comic books, and comic book sales soared as good triumphed over evil. By the early 1950s, however, readers grew tired of superheroes, and some comic book publishers turned instead to lurid crime and horror stories with graphic illustrations. Some people felt this material was unsuitable for children, and the comic book industry came under public criticism and federal investigation in 1954. In response, many comic book publishers banded together and issued the Standards of Comics Code Authority, which defined appropriate material for comics.
Comic books enjoyed a resurgence of interest during the 1980s, when fresh new artists created a whole new cast of heroes and heroines. Today, comic books are as popular as ever, and the comic book industry is a million-dollar
Creating a comic book is a detailed process that includes drafting the plot, designing thumbnail sketches and then the original drawings, and finally adding color and lettering.
business that includes movies, television series, toys, costumes, and many other items.
During the preparation of a comic book, a variety of art materials may be used to create the original hand-drawn page masters and color guides. These materials include various sizes, weights, and finishes of paper, as well as several different drawing mediums including pencils, inks, markers, and paints. After the master pages have been scanned and colored on a computer, the computer uses the color guides as a reference to generate four pieces of plastic film that are used in the printing process.
The actual comic book itself is printed on a variety of papers using four colored inks—cyan (pronounced SIGH-ann, a shade of blue), magenta, yellow, and black. These four inks are printed in an interlocking pattern of tiny dots, which our eyes perceive as various colors. The printed comic pages are then bound together with staples or glue to form a comic book.
Because each new issue of a comic book requires new artwork, the design process is part of the manufacturing process. The exception is when a new comic title or series is first introduced. That design process involves the same creative and artistic abilities required to produce any new work of art and may include idea generation, preparation of sketches, and the development of a series of refinements before the final characters and themes emerge.
The final product of the initial design process may be a prototype comic book known as an "ashcan," a term that was first used in the 1930s when comic book publishers sought to protect new titles by copyrighting them. Rather than take the time to develop new characters or plots to go with the new title, a publisher simply took pages from a previous comic book and pasted the new title on the cover. Once the publisher was granted a copyright, the pasted-up prototype was often thrown in the ashcan—a metal container used to dispose of ashes from the stove or fireplace and commonly found in many households and businesses of that era.
The concept of the ashcan was given a more modern meaning in 1984 when one comic book creator produced a limited number of black and white prototype comics for his friends and staff. In more recent times, several publishers have released small runs of ashcans in a variety of sizes and colors as promotional items for the full-production versions.
The Manufacturing Process
Comic book publishers may be small, independent operations that produce a single comic book title on an irregular basis, or they may be large, well-established companies that produce several comic book titles every month. The manufacturing process varies depending on the size of the operation and the equipment available. Here is a typical sequence of operations that a medium-sized company would use to produce a comic book.
Charles Schuiz.
Charles Schuiz was born in Minneapolis, Minnesota, on November 26, 1922. After World War II, Schuiz freelanced for a Catholic magazine and taught in the correspondence school, renamed the Art Instruction Institute. His work appeared in the Saturday Evening Post, and eventually he created a cartoon entitled "Li'l Folks."
The United Feature Syndicate of New York proposed publication of Schuiz' "Li'l Folks," but it was renamed "Peanuts" by the company. In 1950 the cartoon made its debut in seven newspapers. Within a year the strip appeared in 35 papers, and by 1956 in over 100. In 1955 and 1964, Schuiz received the Reuben award from the National Cartoonists Society. By 1965 "Peanuts" appeared in over 2,300 newspapers and the classic cartoon "A Charlie Brown Christmas," produced by Bill Melendez and Lee Mendelson, won a Peabody and an Emmy award.
Schuiz also received the Yale Humor Award in 1956, and the School Bell and National Education Association awards in 1960; plus honorary degrees from Anderson College in 1963 and St. Mary's College of California in 1969. A "Charles M. Schuiz Award" honoring aspiring comic artists was created by the United Feature Syndicate in 1980. The year 1990 marked the 40th anniversary of "Peanuts" and the Smithsonian Institution featured an exhibit titled, "This Is Your Childhood, Charlie Brown…Children in American Culture, 1945-1970." By the late 1990s the syndicated strip ran in over 2,000 newspapers throughout the world. Schuiz died on February 12, 2000, the night before his last original "Peanuts" strip ran announcing his retirement.
1 Although most people think of a comic book as a series of pictures, it is the written plot that gives the story its direction. The writer and artist discuss the proposed story and exchange ideas. At this stage, they may use a number of formal or informal techniques for developing ideas. They may make notes on small index cards arranged on a table or they may outline the flow of the story on a display board. During the course of their discussion, they decide on the situations, locations, characters, and other details of the story. This helps define the overall plot from beginning to end.
2 Because most comics have a fixed number of pages, the writer and artist must then decide how to break up the story to fit each page. They discuss which scenes and dialogue are critical to keep the story flowing and how the characters and action should be depicted to have the greatest impact. Sometimes they follow general industry practices, which define such things as the optimal number of action scenes per page or the amount of dialogue per word balloon, but other times they rely on their own personal style.
3 Once the story has been refined, the writer creates a script. This includes general descriptions of the scenes and characters in the order they appear, the accompanying dialogue or descriptive text, and general instructions to the artist. The result is very much like a script written for a movie or play.
4 The artist reads the script and makes a rough sketch of each page, called a thumbnail. The thumbnail helps the artist decide how each scene should be depicted, and how the different scenes should be arranged on the page. Some artists sketch each scene on a small piece of adhesivebacked note paper and then move them around on a larger piece of paper to achieve the desired effect.
5 Using the thumbnail as a guide, the artist begins drawing each page in pencil. Some artists like to work on standard 8.5 x 11 in (22 x 28 cm) white paper and then photoenlarge the pencil drawings onto 11 x 17 in (28 x 43 cm) illustration boards before inking the final copies; others make their pencil drawings directly on the larger boards. The artist usually starts drawing the main elements of each scene with a hard pencil that makes very light lines. When all the main elements are in place, the artist considers the overall effect and makes any changes before proceeding.
6 The artist then darkens the main elements with a softer pencil and adds the backgrounds and other details. Areas for the dialogue balloons, sound effects, and narrative boxes are blocked out in blue pencil to distinguish them from the illustrations.
7 At this point, an editor may review the pencil drawings and make changes. Sometimes the editor may ask the artist to redraw a portion of a scene to correct an error or clarify an item. In other cases, the editor may have to shorten the dialogue or narrative to fit in the space left by the artist.
8 When the pencil drawings are complete, they are enlarged onto 11 x 17 in (28 x 43 cm) illustration boards if they were drawn on smaller paper. They are then sent to the inker. The inker's job is much more than just tracing over the pencilled lines of the artist with black ink. It involves the selection of line widths, adding shadows, visually separating the foreground from the background, and creating special effects like splatter or wash to give the illustrations texture. The inker uses a variety of pens and brushes to produce a finished black and white page. Many inkers have their own unique style that adds to the artist's original drawings.
9 The final step in the drawing process is adding the lettering for the dialogue, sound effects, and narratives that appear in the script. This can be done using hand lettering, adhesive labels, or computer-generated digital type. The letterer selects a typeface that not only conveys the actual words or sounds, but also conveys the action or emphasis of the scene with its size, style, and placement.
10 The finished pages, including the front and back covers, are sent to the colorists who add the colors and prepare the four-color separation films required for printing. The original artwork is first photocopied and then scanned into a computer. The photocopy is hand-colored using colored markers, pencils, and paints to become a guide when coloring the pages on the computer. The scanned copy becomes an electronic file that forms a digital outline of the page to be colored.
11 With the color guide as a reference, the colorist begins to add colors to the digital outlines of each page starting with the backgrounds and working forward. This is done using a custom software package that allows the colorist to trace the outline of any part of the image with the cursor, and then apply and blend colors to that area to match the color guide or to achieve a special effect. For many colors, the computer already has the information on file. For example, if one character always wears the same clothes, information about the colors of that character's boots, mask, or cape are stored in the computer to ensure they look the same from one issue of the comic book to another.
12 As the colorist selects and applies each color, the computer automatically assigns a code to it. This code is used to identify the four color components that make up that particular color—cyan, magenta, yellow, and black. When these four colors are printed in an interlocking pattern of tiny dots, our eyes perceive them as hundreds of different colors, even though there are really only four colors of ink on the page. The color variations depend on the concentration of each of the four color components. Thus a particular shade of red may have the code M80Y87, for example, which represents 80% magenta and 87% yellow.
13 When all the pages have been colored, a proof copy of the entire comic book is printed from the computer for final review and approval. The computer then prints a piece of plastic film for each of the four component colors on each page. Each piece of film has hundreds of thousands of tiny dots to represent the location and concentration of that color component across the page.
14 The individual pages are arranged so they will appear in the proper order when the comic book is assembled. Usually, two or more pages are printed on each side of a single sheet of paper. For example, page 2 might be printed on the left half of a sheet and page 23 would be printed on the right half. On the other side of the sheet, page 24 would be printed on the left and page I would be printed on the right. On the next sheet, pages 4 and 21 would be printed on one side, and 22 and 3 would be printed on the other. And so on. When the sheets of paper are stacked on top of each other and folded in the middle, the pages appear in the proper order. On some printing presses, as many as eight pages can be printed on each side of a large sheet, then cut and folded as required.
15 The plastic films for the four colors on each page are used to produce four aluminum printing plates. A bright light is projected through each film and onto the plate, which is coated with a chemical that is sensitive to light. Where there are dots on the film, they block the light and the chemical remains on the plate. Where there are no dots, the light passes through the film and burns away the chemical. This process is repeated for all of the pages that appear on each side of a single sheet (see Step 14).
16 The plate for the first color on the front side of the sheet is fastened around a circular drum in the printing press, and the plate for the back side is fastened around another drum below it. When the press is turned on, water flows over the rotating plates, while rollers with colored ink press against them. Where the chemical dots remain on the plates, the ink sticks; where the chemical has been burned away, the ink washes off and doesn't stick. The sheets of paper are fed between the rotating plates, and the front and back (top and bottom) sides are printed at the same time.
17 This process is repeated for each of the four colors. In some presses, a long roll of paper is fed between four sets of rollers, and all four colors are printed in a single pass through the press. The printed sheets or the roll of paper are then cut to the proper size, stacked, folded, and stapled or glued to form the finished comic book.
The future of comic books looks as dynamic as some of its superhero characters. Comic books offer a visual portal into a world of humor, action, and adventure that can stimulate a reader's imagination.
Alvarez, Tom. How to Create Action, Fantasy, and Adventure Comics. Cincinnati, OH: North Lights Books, 1996.
Allstetter, Rob. "Fire Drill." Wizard (September 1996): 48-51.
Grant, Paul J. "Brush Off." Wizard (August 1995): 52-54, 56.
Grant, Paul J. "Letter Perfect." Wizard (February 1996): 44-47.
Tiemey, Matt. "Separation Anxiety." Wizard (January 1996): 40-43.
White, Paul. "In the Can." Wizard (February 1994): 86-89.
Comic Art and Graffix Gallery. http://www.comic-art.com (September 18, 2000).
Comic Book Fonts. http://www.comicbook-fonts.com (September 30, 2000).
The Comic Page. http://www.dereksantos.com/comicpage (September 30, 2000).
International Museum of Cartoon Art. http://www.cartoon.org (September 18, 2000).
Words and Pictures Museum. http://www.wordsandpictures.org (September 18, 2000).
— Chris Cavette
what kind of pen do you use for the inking on the comic book?
Jun 1, 2010 @ 4:04 am
by saying that the artwork is then colored on the computer, does that imply that everything is vectorized or is it just digitally painted and in that case can't one just use magic markers?
Comic Book forum
Coir Corkscrew


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The ingredients on men's skin care products can't be the same as those in women's care products. Of course, it is not obviously logical for them to be different as our skins are almost the same. However, there are so many features in men's skins that are not common in women's skins hence the first core reason for the divergence. If you have been buying skin care products but you happen not to understand why there is a difference between men's body care products and women's, here is everything you need to understand.
Men's skins are way thicker and stronger than women's skin. That's true since men's testosterone is known to be up to 25% thicker than women's. Also, men's have more sebaceous glands meaning their skins generate more oil. Their follicles are as well bigger and larger in number. Based on this significant divergence in men's skins to women's, skin care products cannot be the same. Obviously, men's skin care products ought to be packaged with stronger and more powerful ingredients to guarantee results.
Men's skins are more robust when compared to women's. The robust nature of men's skins makes them able to withstand products that have hypothetically irritating active ingredients like Vitamin A. While all the products work almost the same and include almost the same active ingredients such as SPF and antioxidant, men's body care products include stronger and way better ingredients.
Women skins have higher chances of contacting hormone-related irregular pigmentation conditions such as melasma. That's why female skincare products are packed with more skin lightening ingredients as compared to those made for men. You wouldn't expect men's skin care products to have the same healing and lightening capabilities as women's products.
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Almost sixty years after a small segment from the main square in Kumanovo, which emerged during the early sixties of the past century on the site of the old bazaar Kumanovo returned famous "Four Poles."
Maybe not exactly on the place where they were placed somewhere in the second decade of the 19th century, but certainly in the immediate vicinity of the old place and this time, not in any practical function as it was in the past, but on a pedestal made of steel, a beautiful fountain surrounded by water, with light in various colors as a symbol of a time lapse, of which Kumanovo has seen a great deal.
Kumanovo's "Four Poles" were at the heart of the old bazaar in Kumanovo, on the corner before the Dishkoviot colonial store, at the entrance to the famous "Opanacharsko Alley." While behind them and to the left and right were small shops of the ramshackle bazaar and before them was the even more famous "Mound" where things the most essential things were happening in city.
Here, market days passed smoothly, and the people poured into the center of the city mostly through Nagorichkiot Alley. The Mound market had anything and everything … There were often athletic races, parades and various other sporting events organized at this area… But we go back to the Four Poles.
Specific data for exactly four poles is not registered in written sources that draw data for "cult" things in Kumanovo. But we can safely conclude that they are placed on the said place in the middle of the twenties of the past century, when the city officially received its electricity and illuminated its main streets and squares, as well as private homes of families, of course some could not afford it. Otherwise the then city streets were illuminated with kerosene or lanterns mounted on wooden poles along major urban streets. Records for this event have valid data.
The power plant and network with wooden poles (бандери) were finished in November 1926, on 14 November, when the system was in use in accordance with a decision of the then Ministry of Industry and Trade of the Kingdom of SCS, Belgrade.
Namely to fully meet the obligations under the contract signed with the Municipality, the concessionaire, among other things, had to put wooden poles (бандери) in Kumanovo along the main streets and at the Mound the wires were laid out to transfer the power as electric lights for illumination. Four Poles were placed before Opincharskiot Alley, which besides having the usual role, would hold a transformer at the top of the small platform. Why were there four, not one or two? To our knowledge, we mentioned the Four Poles left the edge of Mound somewhere in the fifties when they were replaced by a pole with neon lighting, and certainly in that period there was no need for the transformer that was installed on poles. Later in the beginning of the sixties, the remains were crumbling and the last piece of the preserved old bazaar occurred near Opincharskiot Alley and Green Market, and on that place NAMA Shopping Center was built. The previous pole with fluorescent lighting was lost, that was the last memory of our former four poles….
The Four Poles existed in Kumanovo for about thirty years but remained registered in the collective memory of the city despite spatial changes. The Mound was somehow a symbol of recognition of Kumanovo. Maybe in a mocking connotation but for a long time, Kumanovo was directly tied to "Tumba" (the Mound), and the Four Poles…
In modern times, after exactly 88 years from the first set and fifty years after their demolition, Kumanovo's "Four Poles" are again on the city square, but this time, as mentioned earlier, in a different image and with a completely different role…
– Dimitar Masevski


Description: Kite charts show graphically how the abundance of various species changes at different places along a line. The density of each species is measured in each of a series of survey areas (quadrants) taken at measured distances along a suitable line (transect) through usually changing habitat. Density can be measured either in units like individuals per square metre or as percentage coverage when counting individuals is impracticable. A typical kite chart might show the abundance of key marine species as you move from the splash zone to below low tide mark on a rocky shore. The data needed to construct the chart are the distance of each quadrant along the transect line and the density of each species of interest in each quadrant. These are entered into the Excel spreadsheet along with the title and axis labels and the kite chart appears automatically, ready for copying into another document.