text:
A film on the life and work of Laurie Baker
"Uncommon Sense: The Life and Architecture of Laurie Baker" pays homage to one of India's most notable architects
By Avantika Shankar
Photography by Lauriebaker.net
British-born Laurie Baker is remembered as one of India's leading architects, particularly renowned for his efforts in cost-effective, sustainable housing. Following his extensive travels across China, the Himalayas and India, he eventually settled down in Kerala in 1969 for the remainder of his career. One can almost see his journey across the world reflected in his work: with a keen intuition and sense of respect for local craft traditions, Baker was one of a rare breed of architects who was comfortable conversing in varying, and sometimes opposing, design languages.
While Baker's work is well-known, the personal story that led up to his lauded design style is not, and Vineet Radhakrishnan, Baker's grandson, is set to shed new light on the man behind the architecture. "Uncommon Sense: The Life and Architecture of Laurie Baker" is Radhakrishnan's tribute, in a sense, to the work of his grandfather, but is also a poignant reflection on architecture and design practices that are increasingly, imperatively relevant to the world today.
It was the news of a few of Baker's houses being torn down to make way for housing complexes that served as the immediate incentive for Radhakrishnan to start making the film. Although he had been thinking about it for a long while, it was the realization that there might soon be too few of his grandfather's buildings left standing, that compelled him to get the ball rolling in 2012.
Laurie Baker designed the Abu Abraham residence. Photo Courtesy: Vineet Radhakrishnan.
The process of putting the film together, given Baker's reticence to document his own work, involved a lot of archiving, and was followed by three years of extensive travels and conversations with peers, clients, friends and family. From the beginning, Radhakrishnan saw the buildings as being among the primary characters of the film, and knew they needed to be treated with the same regard for detail and complexity. He shot the buildings himself, and knitted together his personal stories of his grandfather with the details he learned along the way; painstakingly he crafted a film that brought together vast and varying layers of a long and fulfilled life.
"Many people who are interested in Laurie Baker interestingly have no connection to architecture. They are drawn to his own interesting personal life story", says Radhakrishan, of Baker's appeal to the modern audience. Indeed, Laurie Baker's life constituted far more than just architecture: he was an objector during the world war, choosing instead to work along with the Society of Friends as a medic in war zones; he was a strident activist in the fight against leprosy at a time when the disease was fatal and gravely misunderstood; he was a Britisher--and a Gandhian at that--living and working with the local craftsmen of India at a time when the voice of Quit India was at its loudest. In short, he was a pioneer who carved his way through a panoply of social impositions, paving the way for one of the most politically relevant cross-cultural exchanges of the architectural world.
Laurie Baker designed the Library Tower at CSDS, Trivandrum. Photo Courtesy: Vineet Radhakrishnan
"[He] created [his own unique] circumstances by putting himself in situations to expose himself to real people, real needs, and real problems… by ruthlessly questioning everything and eliminating everything which had no utility… he created something unique and meaningful. I believe all creative people can find value in the above ideas," Radhakrishnan says.
A lot of modern architecture in urban India is plagued by Western-facing aspirations—and therefore, a dismissal of local traditions, material and climactic conditions. Contemporary urban landscapes are as far from Baker's ideal of green, "walk-to-work cities" as one could imagine; but the crises of overpopulation and drastically long commutes are making more and more city-dwellers yearn for respite. Housing complexes boasting sprawling greenery are cropping up on the outskirts of most major cities across the country, and many new constructions boast supposedly "eco-friendly" features—the more ostentatious the better. Many architects, who only know Baker by his work, may attempt to replicate his designs on the basis of the materials he used or his particular aesthetic (exposed brick, jalis, arches and filler slabs, to name a few) and this is where Radhakrishnan feels their focus may be too superficial.
"What is important in my opinion is not these superficialities but to understand the underlying building philosophy - the respect for nature, being careful and using only the resources one requires… devising methods to use local alternative materials whatever the region one is building in and integrating local traditional building practices and techniques."
Although Radhakrishnan's relationship with Baker is understandably personal, as a cinematographer he has attempted to remain as neutral as possible. "The archival footage in the film is largely informal and personal and gives people an opportunity to "meet" him", he says, adding that so much can be gained from a person's story on the mere merit of watching them, gaining a sense of their body language, their dress and how they engage with others. "He also had an infectious enthusiasm and a way of making the most complex things seem so simple. He also only took his work seriously but never himself."
It is evident that the life and work of Laurie Baker has a wealth of inspiration and insight for a modern audience—architects and creative professionals alike. A man of conviction, he has certainly set a worthy precedent for the architecture of the future. "One thing though I will point out, as someone who has seen him from very close," offers Radhakrishanan, "was that his architecture was an extension of who he was and he never once wavered from his beliefs, right till then end."
The India premiere of Uncommon Sense: The Life and Architecture of Laurie Baker will take place at the India Habitat Centre on February 4, 2017. The film was also screened on January 29 at the Kochi-Muziris Biennale.
TopicsCraftDRESSIndiaLandscapesPIONEERSocialUrban


Is about how to make triming automation line hope this will help . Please Don't bather about language if you don't understand just follow the steps.
Last edited by wavetuner on Sat Jan 14, 2017 7:23 am, edited 6 times in total.
I did it and it works perfectly! (using the video instructions).
One thing to notice, remember to close the logical editor beacuse if you have it open it doesn´t apply the preset, only selects it.
you should tell us more about your other macros!
Yes totally u r right .
Thank u The last one works perfectly.
Another useful one, y tried paste at origin instead of paste so it doesn't use the position of the cursor.
Pablo1980 wrote: Another useful one, y tried paste at origin instead of paste so it doesn't use the position of the cursor.
I think you're idea is better. But if you have seen the video it doesn't use the position of cursor .i will try that and see which will be more effective .
Thanks for posting these! I wonder if there's a way to make the Move Clip Up and Down work with the selection (arrow) tool as well, so you can select full events easily and move them that way?
In_Stereo wrote: Thanks for posting these! I wonder if there's a way to make the Move Clip Up and Down work with the selection (arrow) tool as well, so you can select full events easily and move them that way?
EMMM. I tried that one at the first but it mostly will use cursor position which i don't want . Mabey you see that it is usful with cutting also .
It is clear in video that using this macro you can replace the clip you want . In some cases maybe you want to correct some portion and you will go back to midi track and just you will render taht without opening new track .
sadly i say that i have to stop writing in this topic .it seems that it is not your interest.
This is great! With the arrow tool it doesn't work with objects that are split, though, on any part of the split except the very last split section (for example: split a cue into two and it will only work on the last-most clip of the two). I'm going to see if I can find a way to fix that, and will post it if I do. Thanks again!
Yes, I understand -- it works great moving the clip up and down. Sorry, I should have been more clear: When you're using the arrow tool and you have a track that has a bunch of different events on it, it only works when you have the very last event selected, for some reason - it does not work on any other events on that track except for the last one. It has nothing to do with splitting the event, I just meant that this happens when you have more than one event on a track and you're using the arrow tool to select the events to move up or down. I can't figure out why it happens! I'm trying to solve it but I can't so far. If you have any ideas, please share!
Now i get what you meant . I tried that but the thing that I noticed is to keep (use up/down navigation for selecting track only ) in this case i find that it was working very well. Thanx for you feed back it was really nice and helpful.
I will check it out on monday, it seems useful!
One thing that I would like to point out is that you don't really need a macro for the object selection method. There are two specific commands for the up and down clip placement. You can find them both in "key commands" under "Nudge" menu which are: "Up" and "down" commands.
Although these are already implemented, it shows that you can go far beyond Cubase capabilities with those powerful and creative tools.
wavetuner wrote: Yes totally u r right .
I can't find the attached picture and I would really like to do the trim macro without the project logical editor.


An indictment or complaint for violation of this section alleging that, in any proceedings before or ancillary to any court or grand jury proceedings relating to an indictment or complaint for the commission of a violent crime, as defined in section 121 of chapter 140 , the defendant under oath has knowingly made 2 or more declarations, which are inconsistent to the degree that 1 of them is necessarily false, need not specify which declaration is false if: (1) each declaration was material to the point in question and (2) each declaration was made within the period of the statue 1 of limitations for the offense charged under this section. In any prosecution under this section, the falsity of a declaration set forth in the indictment or complaint shall be established sufficient for conviction by proof that the defendant, while under oath, made irreconcilably contradictory declarations material to the point in question. If, in the same continuous court or grand jury proceeding in which a declaration is made, the person making the declaration admits to such declaration to be false, such admission shall bar prosecution under this section if, at the time the admission is made, the declaration has not substantially affected the proceeding, or it has not become manifest that such falsity has been or will be exposed. It shall be a defense to an indictment or complaint made pursuant to this section that the defendant, at the time he made each declaration, believed each such declaration to be true or its falsity was the result of a good faith mistake or error.
1 So in original; probably should read "statute".


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It's Sunday afternoon in Haiti and I just dropped off at the airport a NCCTK church team to return home. We've had a full week including ministering to pastors, visiting some of our Starfish Ministries' schools and churches, conducting a two day lay leadership conference in Tricotte, and doing projects at our newly remodeled orphanage in Tricotte.
This morning we worshipped with our brothers and sisters in Pastor Diogene's Port au Prince church. We enjoyed great music, a challenge from God's Word, and I especially loved seeing many of my Haitian friends. It was a great week!


St Michael badge medal is made of polished 14kt white gold. Weighs 3.41 grams. Please note: weight is approximate, actual weight may vary. One of the archangels, St. Michael is the popular patron saint of policemen and radiologists.
Looks better than the picture did.
I looked everywhere for a high quality St. Micheal medal until I found this one.


Pinon Mesa is a trail threading through a picturesque terrain of badlands, hoodoos and tent rocks. Lots of sand and silt and the arroyo crossings tend to be sand traps and there are numerous short steep climbs that have to be walked up and slid down.
Parking is available off the west side of Hwy 171 about 0.7 miles north of the lighted intersection of Hwy 171 and Pinon Hills Blvd. The sign on the gate says no motorcycles or ATVs but they are frequent users. Be sure to fasten the gate behind you as you cross private land onto BLM land. The area can be confusing because the designated mountain bike trail has been overlaid by a web of oil field roads, motorcycle and ATV tracks.


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text:
The role of GVWR and GCWR in Specifying Work Trucks
January 16, 2018 • by Bob Raybuck
A truck's chassis manufacturer determines a vehicle's gross vehicle weight rating (GVWR). The GVW is the total weight of a truck and its payload. Photo courtesy of Ford
Often, GVWR and gross vehicle weight (GVW) are thought to be the same, but they are not. A truck's GVWR is the maximum weight rating established by the chassis manufacturer. GVW is the total weight of the truck and payload at a point in time.
There's a common misconception that a truck's GVWR is determined by adding gross axle weight ratings (GAWRs) together for all axles. Although this was a common way of calculating GVWR many years ago, it's no longer an accurate method. The chassis manufacturer task of establishing a vehicle GVWR is much more difficult today due to advancement of safety system standards and how vehicles meet these requirements. This is why many trucks have a GVWR much lower than the combined axle ratings. It is not uncommon for a truck with a GVWR of 19,500 pounds to have a front axle rated at 7,500 pounds and a rear axle rated at 14,700 pounds. Safety standards that apply to braking, vehicle stability, and chassis manufacturer internal standards for durability, dynamic stability and handling can restrict GVWR even though the sum of the axle ratings exceeds 22,000 pounds. In this instance, the OEM set the GVWR at 19,500 pounds based on test results and vehicle dynamic performance to ensure a safe, reliable truck.
A specific vehicle's GCWR is based on parameters established by chassis manufacturers. The manufacturer makes an assessment in accordance with SAE International test protocols, determining maximum GCWR. Additionally, the OEM runs stringent tests based on internal requirements which may include testing total GCWR braking capability using only the towing vehicle chassis braking system. As noted in the previous article, GCWR is the total weight of the truck pulling the trailer and the trailer itself. The truck chassis dictates proper GCWR for safe operation of the combination truck and trailer.
When end users and fleets are looking to either purchase or specify the proper chassis for their needs, different driver qualifications and regulations are part of the process. A key driver qualification is the commercial driver's license rule, better known as CDL. Many fleets prefer to specify their chassis in a way that allows drivers without a CDL license to operate their vehicles. Federal CDL requirements help clarify what's considered a non-CDL truck and how GVWR comes into play. Each individual state may have more stringent CDL licensing requirements. However, every state must follow federal requirements as a baseline. One element in federal CDL operator requirements is a vehicle's GVWR. The federal requirement specifies that, when a vehicle has a GVWR of 26,000 pounds or less, the operator does not need a CDL license. However, this does not mean the truck GVW can be loaded above the GVWR of 26,000 pounds and operated by a non-CDL driver. Federal requirements state the GVW must, in addition, be 26,000 pounds or less. CDL requirements become more confusing when the vehicle is towing a trailer.
There are three key aspects to consider when assessing CDL operator requirements for commercial work trucks involved in towing a trailer: truck GVWR, trailer GVWR and GCWR of the truck-trailer combination. Trailer GVWR is most critical to determining when a CDL is required. When a trailer has a GVWR of 10,001 pounds or more and the combined GCWR of the truck and trailer is 26,001 pounds or more, a CDL is required by the operator. For example, if a trailer has a GVWR of 11,500 pounds and is towed by a truck with a GVWR of 15,000 pounds, resulting in a GCWR of 26,500 pounds, then the operator must have a CDL.
In contrast, when the trailer in the truck-trailer combination has a GVWR of 10,000 pounds or less, the CDL requirements allow for a greater GCWR for both the truck and trailer without requiring a CDL license. For example, a truck with a GVWR of 26,000 pounds or less can tow a trailer with a GVWR of 10,000 pounds or less and not require the operator to have a CDL under federal requirements. However, CDL requirements mandate that the truck and trailer GVW not exceed 26,000 pounds and 10,000 pounds, respectively. In short, the truck and trailer cannot be overloaded.
When determining the truck and trailer combination(s) that end customers or fleets want, it's important to understand which combination(s) will require a CDL or know how to specify and load trucks and trailers properly to remain within CDL weight limitations. There's a common perception that a truck's original GVWR can be changed to avoid CDL requirements. Even though there are provisions in the vehicle certification rules that allow the company finishing the new incomplete vehicle (final-stage manufacturer) to determine the vehicle's final GVWR, the final-stage manufacturer is typically reluctant to make changes to the original GVWR without guidance from the incomplete vehicle manufacturer.
Many incomplete medium-duty vehicle manufacturers include GVWR information as part of the Vehicle Identification Number (VIN) coding in the vehicle description section (4–8) and, therefore, will not change an incomplete vehicle's GVWR after it is manufactured as the VIN would need to be updated. Many incomplete vehicle OEMs will provide guidance about changing GVWR for a VIN-specific new incomplete chassis through their dealer network; however, they make the final-stage manufacturer the responsible party. Many times, altering GVWR requires changing key components (such as tires, suspensions or even axles). If a company claims it can change GVWR, consider asking about the organization's approach to testing, engineering analysis and certification documentation to ensure ongoing compliance.
As a company or fleet, you're placing your employees in these vehicles. It is very important to company well-being and employee safety to make sure the trucks you purchase are designed for their intended purposes and GVWR and GCWR are specified properly for safe, efficient operation.
Bob Rayburn is director of technical services for NTEA, the Association for the Work Truck Industry. NTEA offers fleet managers access to publications and reference materials on current regulations, safety standards and other technical issues at ntea.com.
Read more about NTEA CDL Work Trucks Gross Vehicle Weight Safety
Geotab Adds Drivewyze PreClear to its Marketplace
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FMCSA Prepping to Study Causes of Fatal Truck Crashes
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Crane Industry Services Announces New Certification
The Leading Safety Works certification program is designed for construction and utilities managers.
Study Ranks Most Dangerous States to Drive
Some of the most dangerous states to drive included New Mexico, South Carolina, Arizona, Louisiana, and Texas.
Daimler Trucks Creates Compliance Role
Daimler Trucks North America LLC announced that Sean Waters has been promoted to the newly-created role of vice president of product compliance and regulatory affairs.
How GPS Tracking Solutions Improve Construction Fleet Safety
Do you face safety challenges with your construction vehicles and assets? Find out the strategies to overcome this challenge with a GPS tracking solution.
Kenworth, Peterbilt Trucks Recalled for Rear Axle Output Shafts
Paccar is recalling certain 2020 model-year Kenworth T800, T880, and W990 and Peterbilt 348, 367, 389, 520, and 567 vehicles.
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Fleet drivers said they experience most vehicle accidents when their parked assets are hit by non-fleet vehicles, an incident that is often the product of distracted driving but may also be a fabricated event by the drivers.
FMCSA Doubles Random Drug-Testing Percentage for 2020
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More than 800 pedestrians were killed trying to cross a freeway in 2018, which represents a significant increase from a decade earlier, according to new research from the Insurance Institute for Highway Safety.

redpajama_set_name: RedPajamaCommonCrawl


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Become a great barista that will do everything he can to please his clients with great drinks. Create your own drinks using vodka, whisky, tequila, etc. It won't be easy though, since you have to know what drinks go well together. The best course of action would be to try everything for yourself and to test test your ideas.
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Over the last week, Romney has attended five public events and at least a dozen fundraisers.
I'm still enjoying Charles Dharapak's Romney Press Pool Instagram odyssey as an extension of his newswire coverage of the candidate for AP.Reading the CBS story, what Charles does in pictures mirrors Peggy Noonan's gripes about how much time Romney spends chasing money rather than votes.
Although all Dharapak can give us at these private houses are snippets, mostly driveways (like this shot I tweeted the other day) or garages and such, I'm sure he's enjoying the challenge. In the case of the Shangrala entrance to this house in Hillsborough that Romney was referring to in the first snippet above, Dharapak (with the sign, ribbons and security bods, makes the most of it.
I also like the mass production quality Charles captures in these donor photos cranked out and available on a collection table at the same event.
Finally, punch-drunk on party pictures, I almost thought this scene from a fundraiser at the Beverly Hills Hotel (we are in the spiritual heart of Hollywood) was a parody of the movie, Patton.


text:
https://media.blubrry.com/qlp/quantumleappodcast.com/wp-content/uploads/2022/02/John-DAquino.mp3
This interview has a Spoiler Level of "Mirror Image"
Veteran actor and master teacher John D'Aquino (Cory in the House, Shake it Up, CSI, Hannah Montana, Seinfeld) starred in six TV series and recurred and guest starred on dozens of other popular shows. His love for performing is surpassed only by his love for teaching, a love inspired by his mentor, teacher and friend, Charles Nelson Riley, who instilled in his students a passion for helping actors create dynamic performances by reaching deep into the human spirit.
John teaches weekly classes as well as private audition coaching and videotaping sessions in his studio in Burbank. He offers career consultations to actors and their families who want to create a blueprint for success, using accountability and goal setting as a framework for success. He holds local seminars, workshops and summer camps in Burbank, and travels the country teaching his proven acting and audition techniques and sharing his passion for acting with young students and their parents.
Find out more information about Mr. D'Aquino here… http://johndaquino.net
Scott Bakula and John D'Aquino in Season 2 Episode 8 of Quantum Leap "Jimmy"
-142Days -12Hours -22Minutes -53Seconds


Hi! Today I am going to be talking about why swearing is a bad idea. Some people might think that it makes them seem cool, or grown-up, but swearing is sin! Especially if you are using it to put the Lord's name in vain or insult His Creation, cursing is not okay!
Let's take a look at James 3.
James 3:1-2 means that many Christians back down from becoming spiritual leaders and teachers because their sin will be judged more harshly and their faults examined more closely. But we shouldn't let the fear of being judged keep us from having a good relationship with God and being able to spread the Good News! We are all humans, which means we are imperfect. When Jesus died for us, He set us free. That doesn't mean that we are free to sin, though–it means that we are free from sin.
James 3:3-6 means that the tongue can stir up trouble if it is not guided carefully. Being mean, critical, and/or bossy can lead to lost friendships, and saying something mean can ruin entire relationships. Arguments, bringing up old rivalries, trash talking, are also variations of swearing.
James 3:7-8 means that no matter how hard we try, mean things might still slip out. It portrays the tongue as a villain, a monstrous beast waiting for just the right moment to pounce and ruin everything.
Now that we've looked at James 3, let's talk about hands-down, four-letter word, #@%! cursing*, and look at whether or not it matches up with Christianity.
Judging by these two definitions, do you think that profanity matches up with Christianity? Not at all! Remember the teachings of James 3, and watch what you say!
*These symbols are not meant to represent any actual swear words.
I really do not like it when people swear or say what OMG means. They should say oh my gosh, or oh my goodness instead. Thank you for posting this, especially because so many people I know say "whatever" when someone asks them to stop swearing.
As you can see by this post, I definitely agree! Swearing + NOT OK!!


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September 3, 2018 AviationCleveland National Air Races, FAI, Fédération Aéronautique Internationale, Gee Bee Supersportster R-1, Granville Brothers Aircraft Company, James Harold Doolittle, Jimmy Doolittle, NR2100, Pratt & Whitney Wasp D, Pratt & Whitney Wasp T3D1, s/n R-1, Thompson Products Company, Thompson Trophy, Thompson Trophy Race, U.S. Smith Engineering Co., World Record for Speed Over a 3 Kilometer CourseBryan Swopes
James H. Doolittle with his Gee Bee R-1, NR2100, at the Cleveland National Air Races, 1932. (NASM)
The Thompson Trophy
3 September 1932: At the Cleveland National Air Races, James H. ("Jimmy") Doolittle won the Thompson Trophy Race with his Granville Brothers Aircraft Company Gee Bee Supersportster R-1, NR2100.
He also set a Fédération Aéronautique Internationale (FAI) World Speed for Record Over a 3 Kilometer Course, averaging 473.82 kilometers per hour (294.42 miles per hour). ¹
The highest speed attained by Doolittle during his four passes over the 3-kilometer course was 497.352 kilometers per hour (309.040 miles per hour).
Jimmy Doolittle crosses the finish line at Cleveland, 1932.
The Gee Bee was a purpose-built racing airplane. It was a very small airplane, with short wings and small control surfaces. It had gained a reputation as being very dangerous. A number of famous racers of the time were killed when they lost control of the Gee Bee. However, Doolittle had a different opinion: "She is the sweetest ship I've ever flown. She is perfect in every respect and the motor is just as good as it was a week ago. It never missed a beat and has lots of stuff in it yet. I think this proves that the Granville brothers up in Springfield build the very best speed ships in America today."
Granville Brothers Gee Bee Supersportster R-1 NR2100.
The Gee Bee Supersportster R-1 was a single-seat, single engine, low-wing monoplane with fixed conventional landing gear. The airplane had been designed for a load factor of 12. It was 17 feet, 8 inches (5.385 meters) long with a wingspan of 25 feet, 0 inches (7.620 meters), and height of 8 feet, 2 inches (2.489 meters). The fuselage had a maximum diameter 5 feet, 1 inch (1.549 meters). The wings were wire-braced. The angle of incidence was 2.5° and 4.5° dihedral. Their aspect ratio was 6:1, and the wing area was 75 square feet (7.968 square meters).
The R-1 had an empty weight of 1,840 pounds (834.6 kilograms), gross weight of 2,415 pounds (1,095.4 kilograms), and maximum takeoff weight of 3,075 pounds (1,394.8 kilograms).
The Gee Bee R-1 was powered by an air-cooled, supercharged, 1,343.80-cubic-inch-displacement (22.021 liter) Pratt & Whitney Wasp T3D1 nine-cylinder direct -drive radial engine. It was rated at 730 horsepower at 2,300 r.p.m. at Sea Level. The engine turned a two-bladed U.S. Smith Engineering Co. adjustable-pitch propeller with a diameter of 8 feet, 0 inches (2.438 meters). The engine was enclosed in a NACA cowling. The T3D1 was 3 feet, 6.63 inches (1.083 meters) long, 4 feet, 3.44 inches (1.307 meters) in diameter, and weighed 763 pounds (346 kilograms).
Granville Brothers Supersportser R-1, NR2100. (NASM)
The Gee Bee R-1 had a cruise speed was 260 miles per hour (418.4 kilometers per hour), and its maximum speed was more than 309 miles per hour (497 kilometers per hour). The stall speed was rather high at 90 miles per hour (144.8 kilometers per hour), as a result of optimizing the airplane for high speed. The air racer could climb at 6,100 feet per minute (31 meters per second). It had a range of 630 miles (1,014 kilometers) at full throttle. ²
Gee Bee Supersportster R-1 NR2100, #11, was later re-engined with a Pratt & Whitney Hornet. It was destroyed when it crashed on takeoff after refueling at Indianapolis, Indiana, 1 July 1933. The pilot, Russell Boardman, was killed.
Jimmy Doolittle hops out of the Bee Bee R-1. (San Diego Air and Space Museum)
Jimmy Doolittle was one of America's foremost pioneering aviators. He set many records, won air races, tested and developed new flying equipment and techniques. He was a highly-educated military officer, having earned his Bachelor of Arts from the University of California Berkeley School of Mines, and M.S and D.Sc. degrees in Aeronautical Engineering from the Massachusetts Institute of Technology.
During World War II Colonel Doolittle planned and led the famous Halsey-Doolittle Raid against Japan, 18 April 1942, for which he was awarded the Medal of Honor.
As a brigadier general, Doolittle commanded the Twelfth Air Force in North Africa. Promoted to major general, he was given command of the Fifteenth Air Force in the Mediterranean Theater. From 1943 until 1945, Lieutenant General Doolittle commanded Eighth Air Force. He was preparing his command to move against Japan, equipped with Boeing B-29 Superfortress bombers, when World War II came to an end.
After the war, Lieutenant General Doolittle was placed on the inactive list. On 4 April 1985, by Act of Congress, James H. Doolittle was promoted to General, United States Air Force.
General James Harold Doolittle is the only person to be awarded both the Medal of Honor and the Medal of Freedom. He died 27 September 1993 at the age of 96 years. He was buried at the Arlington National Cemetery, Arlington, Virginia.
Lieutenant General James H. Doolittle, U.S. Army Air Force (U.S. Army Photo C-2102)
¹ FAI Record File Number 8751
² All Gee Bee Supersportster R-1 specifications from Zantford D. Granville, writing in Aero Digest Magazine, July 1933. See http://goldenageofaviation.org/geebeer2.html
← 2 September 1977 3 September 1954 →
3 thoughts on "3 September 1932"
mr Lynn Brown says:
may want to include this in next Sept 4th posts: Bristol Brabazon first flight was today in 1949. https://en.wikipedia.org/wiki/Bristol_Brabazon
Bryan Swopes says:
Thank you, Mr. Brown. The Brabazon was an extraordinary airplane.
Your welcome and love the site. I check it daily. Keep up the good work!


Call us fools, but we walked into One Bread expecting to find... well, bread. We were only disappointed for a moment though, as instead of loaves, buns and rolls, we were looking at a counter full of pastry.
Here it really is a case of what you see, what you get as their long glass counter exhibits a trove of goodies straight from the oven. One Bread almost exclusively serves croissants and does a pretty good job at it too, with a large selection covering both sweet and savoury. Vanilla Cream, Almond Cracker, Mango, Mo Tea, Chocolate, Original (Plain) and Ham and Cheese all freshly baked and available to take away or enjoy in as you so please. Sticking with the tried and tested favourites, we got the Chocolate (16RMB) and the Ham and Cheese Croissants (16RMB). Both were great, although the savoury choice was the narrow winner for us, the melted stringy cheese and the light, crispy pastry a real delight.
The single alternative to their croissants is the Raisin Roll (16RMB). Slightly crispy on the outside yet a little doughy in the middle and seasoned well, this was another of our favourites. It paired perfectly with their Iced Americano (22/24RMB) on a warm afternoon as we sat at the window and watched the foot traffic pass by. Cappuccinos (28/34RMB) and Lattes (28/34RMB) are available too in hot and cold forms. If you are not a coffee drinker, complimentary self-serve lemon water is available.
One Bread is located in Wulin Road, and if you're lucky enough to live or work nearby, you'd be mad not to put down the baozi and pick up a pastry to enjoy on your way to work. Alternatively, when hanging downtown gets a bit much for you, duck into One Bread for an hour and compose yourself while enjoying a reasonably priced treat and a beverage.
Smoking not permitted, on street parking.


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I open the envelope to look inside. A teal-colored box wrapped in transparent plastic peers back up at me. My knife's edge slits open the plastic so that I can pull the surface away.
I hear the crinkle of the paper as I crumple and cast it aside to reveal the gloss surface of the laminated cardboard box as wide as my hands.
It is a beautiful box cover decorated by Persian glyph patterns of abstract petals from half seen flowers. Behind the title is a woman, eyes closed with a smile of repose upon her lips.
A silken tongue sticks out from under the cover of the box tempting me to pull open its lid and look inside.
I pull the tongue, pause and then open ribboned hinge of my gift.
First the sight of a 126-page booklet of mat paper, the size and shape of the box that contains it. Before skipping to the introduction to my gift, I dislodge what appears to be a deck of square rounded corner cards, also laminated, all teal-green on one side. On the other side of each card there are two types of image; one of text, verse from the work of Rumi and the other an image accompanied by a word Courage, Perspective, Service, Union, Transformation.
Are these virtues? Is this a booklet and cards of divination? I knew the name Rumi to be that of the Sufi mystic and poet, the whirling, twirling dervishes I had once witnessed in a ceremony. But what was this?
Shoshin (初心) is a word from Zen Buddhism means "beginner's mind." It refers to having an attitude of openness, eagerness, and lack of preconceptions when studying a subject, even when studying at an advanced level, just as a beginner would. It is this Shoshin that grants courage to my ignorance. To see with unfettered eyes.
I know nothing of Rumi apart from his name, that he was a Sufi mystic and the image of a bearded 13th-Century Persian mystic; a teacher and a poet revered by the multitudes of devotees who know his work better than me. I am as wary of Rumi as I am of Jesus because of his devotees. His name is owned by too many followers. Too many adamant interpreters coil like clouds of dust around his reputation. I do not want to breathe in the dust, I want to know the body that gave and still gives rise to the dust.
And it is the name Ari Honarvar that takes my ignorance in hand to explore the contents of this box, this Rumi's Gift that has passed from his hands to hers and now to mine.
I first met Ari at a reading in a church some years ago. I had at the time determined to embark on a new direction in my own poetry. To begin to read aloud in public and invade the public space with my words. So I was on a quest to learn, to take in the performances of spoken word artists in order to see what there was to hear. Ari was one of a line of poets, many earnest, most sincere and each trying hard to reach out to their audience to my ears.
But when Ari began to read, something changed for me. I experienced what I can only describe as lateral vertigo. I was pulled from my perspective, from my distance to a sharpened focus on this poet. I was pulled out from my remote looking for clues. Out of my cynical spectator's gaze into her voice and her gestures. Ari was not performing, she was reciting the facts of her life. She was pulling me to the streets of Tehran with the Iraqi bombs falling around her. She showed me her mother running out into the street, shaking her fist at the sky and reciting at the top of her lungs a poem by Rumi.
Ari took me into her frightened childhood with her words. Into her confusion and her terror at the thundering menace of war. She showed me the streets that once were her childhood safety, now rendered deathly traps of billowing dust and falling rubble. And her mother with her human fist raised in defiance uttering the words of a poet at the sky. This was my vertigo come stark relief. Baghdad, Tehran, Beirut were all political, geographical abstracts to me. The names uttered by news journalists, talking heads in boxes and occasionally by people I might meet who told me where they were from and then studied my face and my eyes to see if I had any real recognition of what that actually meant.
We Americans think that but for bad luck, the rest of the world would wish to be American. It is past this blindness that the rest of world searches our American faces.
I trusted this Rumi's Gift because I trusted its author who had shown me a previous truth with her words and her Farsi gestures. I knew that this was reliable, local knowledge as remote as we both were now from its origin. And as intimate 800 years ago.
Rumi himself was a refugee. A boy his scholarly father had taken 2,000 miles west to Turkey to escape the greed-driven hoards of Genghis Khan.
Ari Honarvar's Rumi's Gift is not a book. It is a deck of cards with a map in the form of a booklet. The leap to Tarot-like divination is an easy mistake to make. But whereas Tarot and Tarot reading convey hermeneutic meanings, a reflection back on reality; Ari's cards of her versions of Rumi's verses are a direct pointing at the meaning within experience itself. The titles on the cards indicate not the "experience of life" but the experiences within life that all point towards that nameless center of being. The Being in this world as part of this world.
Ari offers a suggested arrangement for the cards, a hierarchy of purpose. As well as guided meditation through the cards as well exercises in poetic expression. But the truth is in the reading of the cards themselves, in the engagement with the symbols that point to a tangible, to the mystical (not the spiritual) world we occupy. Although a distinction is often superfluous to meaning for the sake of clarity the difference between the spiritual and the mystical is that the spiritual is an inner journey and the mystical, an outer one into the world we are a part of. In this way, Ari Honarvar's Rumi's Gift has some relationship to the casting of the I-Ching in real time.
Wisdom: I asked the moon, Show me the pearl of Wisdom. The moon gestured towards the sea: go ahead and dive in deep!
Service: Love has set fire to my past and freed the bird of truth. I was a happy pearl but the storm of love shattered me Now I am the ocean water making thousands of pearls.
The Source: I have seen both words And call them one. My place is the placeless. a race of the traceless. I am not the body. I am not the mind I am the source of life itself.
Words more often than not mere representations of experience we wish to rate or convey, but they are not the experiences in themselves and that is too often the error we all make with language. The map is not the territory and the language is not the experience. However, sign, symbol, and poetry can indicate the truth of that experience better than an account or a story. It is the poetic that circumvents the representation of experience and instead points directly at the experience itself.
So what is this mystical experience that you can "get" with Rumi's Gift? It depends entirely on who you are and what direction you look when following the pointers. There can be no dogma to the mystical because the point is in the moment that you are in and the angle of the light that you are seeing at that moment in time, in the timeless.
In this way Rumi's Gift is not divination or a reading of experience, it is instead a direct pointing at the source of one's own truer nature. A direct pointing at what is too often camouflaged by insecurities, doubts, and despair; the building blocks of illusion.
Now I see the world through your eyes.
Tell me, tell me my secrets.
the heartbeat of the unknown.
I screamed: take my light!
This interaction with Rumi's verses in the form of dynamic cards is really the most effective way of understanding the meanings of his words. Rather than static verse laid out in a linear sequence of page after page, Ari's cards give wings to Rumi's fragments so that they dart in and out of our focus, pointing away from Concept towards Wisdom. Our interaction is the shuffling of the contents, the arrangement of the focus of our awareness towards the constant that is ever changing. That which connects us to the truer nature of our self.
Be it in her prescriptions for using the beautifully rendered cards in her deck as meditations or her invocation to write poetry as a means of finding clarity in one's life, the voice is firm but supportive and always hinting at the loving devotion by which both Ari Honarvar and Rumi see the world.
This is also a deeply feminine work although not gender specific; rather Ari Honarvar adopts a maternal tone of nurturing birth. Each card in this collection, be it text or image, is marked on the other side by the Farsi spelling of Hu, one of the many Sufi names for g/d. But the nuance in the cryptogram is that of pregnancy in the sense that each one of us, male and female is pregnant with the Hu inside of us. The potential of our own path towards connection to the divine.
But the other feminine nuance has to do with the author Ari Honarvar's voice itself. Women are accustomed to hearing the male voice internalized when reading the works of men. And many women writers have either adopted a mimicry of the male voice or adjust to a gender neutrality that does not discern the male ear. Not in this instance. Although Ari is channeling the mystical sensibility of Rumi, a male poet; her interpretation is unmistakably feminine and strongly maternal. In this sense, man or woman we are all our mothers' child and if I understand Rumi correctly it is by this sense of the maternal that we are all, each of us cradled by a mother's love.
I would highly recommend this dynamic collection of verse as a respite from a world that too often seems to point away from us rather than towards us.
I return the cards carefully to their plastic band and place them back in the box. I lower the booklet on top of them and then close the lid.
I am a peace with my gift.
Rumi's Gift by Ari Honarvar.
Published by Sciffer Publishing Ltd.


text:
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text:
The Social Power of Music
In Music Reviews
Smithsonian Folkways Records
I remember a radio station that used the tag line, "music of your life." The station was an easy-listening station that played what we called, "dentist office music. " As a kid, we made fun of the easy listening music. But you know, all of the stations up and down the radio dial were (and are) the music of someone's life. Even if you're not a music fan, music informs everything all aspects of our lives. From the chanting along to "Rock and Roll part 2" at football games, singing hymns at church, standing (or kneeling) for the national anthem or doing the electric slide, music is everywhere. We sing when were happy, we sing when we're mad, and we sing just for the hell of it. Smithsonian Folkways Records have put together this ambitious four CD compilation that explores the many ways music functions in our lives.
The Social Power of Music looks at how music binds us together in different ways. Culling tunes from Folkways Records extensive achieves along with tunes from other ephemeral independent labels, the collection is a journey across decades and visits many communities. The first three discs primarily focus on the American experience. The first disc is called "Songs of Struggle". The songs on this disc are a cross section of social movements from the 20th Century. Broadly speaking, these are protest songs. The second disc is called "Sacred Sounds" and brings together songs of worship and praise. Disc three is called "Social Songs and Gatherings". These are the songs that bring people together in joy and sorrow, from the dance hall to the graveside. The fourth disc, "Global Movements" focuses on songs of protest and liberation from around the world.
The labor organizer, Joe Hill is credited with saying that "a pamphlet, not matter how good is never read more than once, but a song is learned by heart and repeated over and over." The Songs Of Struggle collection has some of those songs that have been repeated over and over. Some are clearly tied to a specific cause; others have become part of the American vernacular. Most of us learned "This Land Is Your Land" in grade school music class as a simple to sing patriotic tune. When you hear Woody Guthrie singing all the verses, you clearly hear the song is really about inequality. Pete Seeger's "If I Had A Hammer" and Bob Dylan's "Blowing in the Wind" have similarly become a part of our shared experience while having roots as protest songs.
Some the tunes are joyous expressions of protest. Bobbie McGee's rendition of "Union Maid" makes you want to sing along and take pride in being a union member. Country Joe McDonald's "I Feel Like I'm Fixin' To Die", pokes fun at the absurdities of war while still making the point that young people are dying. Other tunes are solemn like Paul Robeson's rendition of the memorial to martyred labor organizer "Joe Hill".
Several of the songs resonate with the current headlines. "Estoy De Colores (Made of Colors)" performed by Baldemar Velasquez and "Deportees (Plane Wreck at Los Gatos)" sung by Sammy Walker speak to the experience of undocumented workers. With the increased marginalization of the "other," it's worth listening to "We Are the Children" to learn from the internment of Asian Americans. "Reclaim the Night", a call to end sexual harassment, was written decades before #metoo, but is unfortunately still timely. Barbara Dane and the Chambers Brothers sang "It Isn't Nice" about civil disobedience during the civil rights era. "It isn't nice to block the doorways, it isn't nice to go to jail. There are nicer ways to do it, but the nice ways failed. " Those sentiments could easily apply to the Black Lives Matter protests. Times have changed but we're still fighting many of the same battles.
"Sacred Sounds" address the myriad ways communities address the mysteries of the spiritual life. The songs collected on the "Sacred Sounds" disc are expressions of faith from the many different communities that make up the American. To most listeners, the songs from the Christian tradition will be most familiar. Barbara Dane and the Chambers Brothers sing "Come By Here" (which most of us learned around a camp fire as "Kumbaya"). "Amazing Grace", "Peace in the Valley", "Old Rugged Cross" and "Will the Circle Be Unbroken" are familiar Christian spirituals. The Shape Note Singers of Stewart's Chapel and The Old Harp Singers of Eastern Tennessee sound different from other Christian groups represented here. They preserve the old musical tradition known as shape note singing. The hymnals used shapes to designate musical notes.
Of course, Christianity isn't the only spiritual tradition in the United States. The oldest spiritual practices on the continent belong to the First Nations peoples. The Chippewa people are represented by the drums and chanting of the "Many Eagle Set Sun Dance Song". The song is part of a four to eight day ceremony held in late spring/early summer by Plains Indians. Salvador Begay sings "Night Chant" (an excerpt from the Nightway ceremony) which is the Navajo's most sacred ceremony, a nine day event held in the late fall or early winter.
"Sacred Sounds" also features Cantor Abraham Brun singing "Kol Nidre", which is sung near the beginning of Jewish holiday of Yom Kippur. The Passover celebration is held in people's homes and "Dayeinu" (performed here by Alan Mills and Raasche) is one of the songs sung in remembrance of the flight from Egypt. Also included are Hai Phat performing Buddhist chants and prayers, and Ahmad Al Alawi performs the Islamic "Call to Prayer". While the "Call to Prayer" is common to all Islamic sects (with some variation), the "Zikr" excerpted here is a Sufi song. The Sufi are often called the mystics of Islam.
Disc three is dedicated to "Social Songs and Gatherings". This disc focuses on how music plays a role in our day-to-day, secular life. Songs mark special occasions such as birth, marraige and death. Music also brings us together to celebrate just being alive. The disc kicks off with Clifton Chenier and His Red Hot Louisiana Band pumping out a rousing zydeco dance tune called "Party Down at the Blue Angel". The tunes on this disc are almost all party songs of one kind or another. Chicago bluesman, John Littlejohn gives us a rocking rendition of "Shake Your Moneymaker". The Goose Island Ramblers roll out the polka standard "In Heaven There is No Beer". Flaco Jimenez's "Beer Drinking Polka", is a good example of cross-cultural appreciation. Many German and Czechs settled in Texas and the Southwest. Their music influences were picked up by Mexican American and reimagined as the norteno. Also represented are Irish folk tunes, Square Dance tunes, Western Swing and funk.
"Social Songs" is not only about good times and dancing. "Mary Mack" is an example of a children's game song. John Henry Mealing and group demonstrate the call and response of a railroad work song on "Rooster Call". The Pembina Chippewa Singers share some pow-wow music. The Golden Gate Gypsy Orchestra play Eastern European wedding music with "The Broken Hoop Song". The Liberty Brass Band lead a New Orleans jazz funeral cortege to the cemetery with a mournful funeral march. Coming back from the cemetery, they'd play something more upbeat to celebrate life. Those after funeral songs would sound something like the Mardi Gras tunes played by The Rebirth Jazz Band.
The music on the first three discs represents the richness of the American experience. The music on the fourth disc, "Global Movements" are specific to struggles for social justice in other locales. The struggle for human rights, political representation and decent living conditions are universal. Listening to the songs of people from Angola, Italy, Thailand and Palestine remind us that their hopes and dreams the same as our own.
"A Desalambrar (Tear Down the Fences)" was originally composed by Uruguayan performer Daniel Vigietti, but its call for access to land as means of ending economic injustice has made it universal. The Dominican band Expresion Joven performed the version on this collection. "Hasret (Longing)" performed by Turkish singer and actress, Melike Demirag is about the hardships of being a refugee in a foreign land. "Hidup di Bui (Life in Jail)" takes the Indonesian government to task for the horrible conditions in the Tangerang Prison. Lebanese singer Marcel Khalife wrote music for a poem by Palestinian Mahmud Darwish. Darwish's poem expresses the feelings of displacement and marginalization of a Palestinian living in Israel and being forced to carry a passport in his native land.
There are two songs on "Global Movements" that I think resonate as cautionary tales in these times. "Bella Ciao (Goodbye Beautiful)" is probably the best-recognized antifascist song ever. Originally sung by Italian partisans fighting against Mussolini during World War II, it continues to be used in protest of authoritarian governments. "Why Need We Cry?" Is a song from the Lodz Ghetto in Poland declaring that the Jewish people will preserver and eventually emerge from the oppression of Nazism. These songs are an important reminder that good people need to stand up to evil, even if it's hard, even if it's not popular.
Smithsonian Folkways has assembled a fantastic resource in The Social Power of Music. The compilation includes a 119-page book with essays on the theme of each disc and a lot more information on each of the songs included. It's a wonderful resource that helps explore the topics in greater detail. The entire package is a deep dive into the important roles music plays in our lives. As such, this compilation a very welcome resource for the scholarly types and just a fun journey for the less wonky listener.
www.folkways.si.edu
Bob Pomeroy
Abraham Brun
Ahmad Al Alawi
Allan Mills
Baldemar Velasquez
Barbara Dane
Bobbie McGee
Chambers Brothers
Clifton Chenier
Country Joe McDonald
Daniel Vigietti
Expresion Joven
Golden Gate Gypsy Orchestra
Goose Island Ramblers
Hal Phat
John Henry Mealing
John Littlejohn
Liberty Brass Band
Marcel Khalife
metoo!
Old Harp Singers
Raasche
Salvador Begay
Sammy Walker
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The heat that audibly pours from Peaking Lights' second album doesn't necessarily conjure images of the group's base in the northern US state of Wisconsin, or indeed Berlin where it was mastered. However, 936's delightfully shambolic bedroom-recording feel – all tape machines and analogue delays - doesn't rely on location to find its feet. Complete with audible quality reduction and tape hiss from bouncing down takes on 4-track machines, the album sounds like every psychedelic-dub jam band think they sound like - until they listen back to recordings of their stoned noodlings and are compelled to enrol in law school while simultaneously placing their entire Jah Wobble collection on Ebay.
While its ethos is firmly rooted in dub, 936's template is widely sourced. Opener 'Synthy' builds keyboard lines on top of keyboard lines, a simple tap of electro snare tying together a psychedelic space jazz feel that sits happily between darker Sun Ra moments and lost interludes from Steve Miller Band's mid-70s output.
'All The Sun That Shines' has been popular with the tastemaker blogs, and for good reason. A rumbling 7-minute dub colossus complete with sparkling Hammond and spaghetti western guitar riffs, the track's foundation is its deceptively mesmeric rhythm. Never has an intermittent one-note bassline been so effective in driving a groove, at least since Fred Thomas understated his way through James Brown's timeless classic 'Mind Power'.
Peaking Lights comprises members Aaron Coyes and vocalist Indra Dunis of Bay Area bands Rah Dunes and Numbers, a husband and wife team with an eclectic musical history. Although their sentiment and manifesto remain the same, the couple have matured and defined their sound since debut Imaginary Falcons, that release being a ragtag collection of haunted compositions and musical porridge. 936 finds a natural home on leftfield imprint Not Not Fun Records alongside such comfortable bedfellows as Pocahaunted's Make it Real and Ducktails' self-titled debut.
'Birds of Paradise Dub Version' features a vocal constructed from a creative use of vowel sounds, reminiscent in delivery of the late Trish Keenan, while all the time a lurching beat tries to restrain a bass attempting a daring escape from the speakers - one of the many consistent features that ties this set together nicely. 'Key Sparrow' is a jaunty slice of lo-fi indie, as close to orthodox songwriting as 936 manages, before it's back to the window-rattling with the menacing 'Tiger Eyes (Laid Back)'.
Although heavily reliant upon it, the album's low-end prominence is occasionally a little too much. While obviously taking pointers from King Tubby's meandering basslines, those of Peaking Lights tend to assert themselves in the mix at the expense of everything else, and the album would become unlistenable on a system of any real power. But then this album was made from - and should be listened to with - a lo-fi perspective, neither background nor partymusic. Closer 'Summertime', along with 'Key Sparrow', hints at a pleasant deviation from the intensity of their neighbouring tracks that could have been explored had Coyes and Dunis wished to supply an accessible insight into their musical world. But then that was never the point of Peaking Lights, and 936's main strength lies in its ruthless and often triumphant adherence to theme and concept.


For those who didn't see, another best-selling author jumped ship from the Big Six.
She talks in depth about the sales she made on more than 25 different books that sold throughout the country and the world, as well as how little money she actually earned. Can you say 2.4 percent in some cases?
Yeah, if you're thinking about getting published — or even writing with the thought of getting published — then you need to read her post. It's here.
Here's how Joe Konrath sums up her story: " The way she's been treated by Harlequin is disgusting.
"Even worse, it isn't just Ann being treated this way. Harlequin has been screwing romance writers for decades. Some of the most prolific authors on the planet write for Harlequin, and they're forced to be prolific because the only way to make a living is to pump out multiple books as fast as they can.
P.S. Want to read a fast-moving, shoot-'em-up novel? Then go buy "Little Man, and the Dixon County War." It's gone as high as below 21,000 on the Amazon paid Kindle list — no small accomplishment — and the reviews say it rocks. Don't have a Kindle? Read it from your computer, laptop, ipad, phone, or other device. Click here for free download.


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Апу́ка () — село в Олюторському районі Камчатського краю, Росія. До 1 липня 2007 року перебувало у складі Корякського автономного округу Камчатської області.

Село розташоване на східному березі Олюторської затоки Берингового моря, у гирлі річки Апука. З півночі та північного заходу до села підходять невисокі гори (до 500 м).

Населення

Посилання
 Алука. Общие сведения

Села Камчатського краю
Населені пункти Олюторського району

redpajama_set_name: RedPajamaWikipedia


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Mining minster Zwane joins Zuma and van Rooyen bid to block state capture report
Staff Writer31 October 2016
Mineral resources minister, Mosebenzi Zwane has joined president Jacob Zuma and co-operative governance minister Des van Rooyen in launching an urgent application to block the Public Protector's report into state capture from being published.
According to a statement from the department of mineral resources, a letter from the Public Protector shows that he has been implicated in the matter, leaving him no choice but to get involved.
Zwane said that he was not afforded an opportunity to answer allegations levelled against him (contained in the letter he received from the Public Protector).
He also raised concerns that the report was hastily prepared without due regard to his constitutional rights.
The application comes the same day as co-operative governance minister Des van Rooyen's second application for the same reasons.
Van Rooyen withdrew his initial application for an interdict, after he was assured that he was not implicated in the report. However, weekend reports broke news that implicated the minister in event core the report, which 'spooked' him into applying for an interdict yet again.
Both Zwane and van Rooyen's applications follow the exact same move from the president, who is also an implicated person in the matter.
It has been alleged that the Gupta family has used its personal relationship with president Jacob Zuma to manipulate government appointments and unduly benefit from government contracts.
These allegations include 'placing' van Rooyen and Gupta-aligned advisors in the National Treasury after former finance minister Nhlanhla Nene was unexpectedly fired in December 2015 – as well as getting help from Zwane in securing the purchase of Optimum coal mines earlier this year.
More on state capture
Van Rooyen makes second attempt to block state capture report
Four-day finance minister Des van Rooyen visited Guptas frequently just before his appointment: report
Is this why Des van Rooyen is so desperate to block the state capture report?
These are the state capture questions Des van Rooyen couldn't answer
Virgin founder Branson launches new business in South Africa Next article
South Africa's crazy visa rule has cost R7.5 billion in lost revenue: DA Previous article


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Q: Comparing sample variances of the same population If s1 is the variance of a small sample, and s2 is the variance of a larger sample from the same population. Is s1 an unbiased estimator for s2?
I am thinking since a sample variance is an unbiased estimator of the population variance, then s1 and s2 are both unbiased estimators for sigma^2, so s1 and s2 should also be unbiased estimators for each other.
But all the observations in a sample are part of the population, yet the observations between samples doesn't necessarily include each other. Does this make their variances biased?

redpajama_set_name: RedPajamaStackExchange


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Prototypes and other stuff
You will find here unfinished projects, prototypes, and test projects. Please note that for RPG Maker games, RTPs are not provided!
Le livre dont vous êtes le Héros
This prototype is based on the Choose your own Adventure books in French. The basic functions of the books have been reproduced and are working. Only the content needs to be added, and I was just too lazy to do it.
You can download the prototype (in French) for RPG Maker XP >here<
Catch the butterfly
Catch the butterfly is a mini-game made on RPG Maker XP in which you must catch as many butterflies as you can within a certain amount of time. This as my first ever made custom game and the graphics are therefore quite simplistic. You can choose to hunt in 4 different environments.
Escape is, once again, a mini-game made on RPG Maker XP. You are locked within a room, and you need to find a way out by resolving a series of puzzles. This was one of my first projects on RMXP before I gave up on it for RM2k3.
Tower was planned as a Dungeon RPG made for kids, in which a caterpillar braves the dangers of the Great Tree in order to become a butterfly. This prototype uses a fake 3D perspective to mimic Doom or Wolfenstein first person view. Most of the engine is actually coded, but I gave up when it came to create more content. Still, battle system and exploration, as well as a craft and inn system, are working perfectly.
You can download the prototype (in English) for RPG Maker 2003 >here<
The Holy Whale
The Holy Whale is a semi-randomized rogue-like game made in RPG Maker 2003, in which you play as The King to defeat the Evil by reaching to your god, the Holy Whale. For this purpose, you must collect the scales scattered in the Labyrinth. The particularity of this game is that the King is only allowed to move by chess-like movements (king, knight, fool, and tower), which introduces interesting puzzles ideas. The game is currently being remade in Game Maker Studio 2 and the RM2k3 prototype will be downloadable when it releases.
Squashy
Squashy is a breaking bricks game made on Pico8. Pico8 is a fantasy console that uses a limited color palette, and javascript as a language. You'll need pico8 to play the game!
You can download the prototype for Pico8 >here<
- Par Pez_Amaury - Last modified 12/12/2016 - Prototypes - Games - Tools - Reviews -


In January, many feel obligated to reflect on the year recently concluded while offering aspirations for the year to come. Call them goals or resolutions, these public declarations are intended to convey an organization's priorities for the new year. Acquiescing to that practice, we are today affirming our overarching goal/mission for 2019.
Spoiler Alert: We are going to continue what we have done since our inception in 2006; namely, empowering people through entrepreneurship. Whereas programs and activities have and will continue to evolve, we remain committed to helping people realize their full entrepreneurial potential. You can see a summary of how we have done that here.
Last year concluded with us happily exhausted from addressing, educating, helping and funding hundreds of people from the mountains to the shores. We wrapped up 2018 with our inaugural Ice House Facilitator training – the first cohort of 50 facilitators that are now working to offer this powerful program in their communities. And we can't wait to certify the next cohort of facilitators this March while supporting the program deployment in a variety of ways across North Carolina. Be on the lookout for an announcement on January 15th with a specific date, time and application link.
This remains our big, hairy audacious goal, for 2019 and beyond, to empower at least 100,000 people with an entrepreneurial mindset. As I said last year, and will say many more times to come, an entrepreneurial mindset is our greatest natural resource and best investment for a future of peace and economic prosperity.
As NC IDEA expands its mission to more actively serve those that are underrepresented and underserved, we are partnering with Localstake NC to test the appetite for investment crowdfunding in North Carolina by offering an Investment Crowdfunding Grant for the first time in Spring 2019 to companies ready to expand their businesses via investment crowdfunding on Localstake NC.
Applications for the Investment Crowdfunding Grant are open now through January 28th at 5pm EST.
Want to learn more and apply?
During the month of January, NC IDEA FOUNDATION will be traveling throughout the state visiting some of our partners to provide an overview of NC IDEA FOUNDATION programming, specifically focusing on our three Spring 2019 grant opportunities that support ambitious, growth-oriented companies: NC IDEA MICRO ($10,000); NC IDEA SEED ($50,000) and an Investment Crowdfunding Grant ($5,000) through a partnership with Localstake NC.
Each session will kick-off with an NC IDEA team member giving a brief walk through of the various grants and programs offered by the Foundation and how they may benefit you and your company. The remainder of the session will be interactive; sharing tips and best practices for writing a competitive grant application, covering the anatomy of the application with specifics on what the reviewers are looking for in each section. Eligibility requirements for NC IDEA MICRO, NC IDEA SEED, and the Investment Crowdfunding Grant will also be covered to provide you with a greater understanding of each opportunity and which one may be most appropriate and beneficial for you and your company.
Sign-up for an upcoming session below.
**Applications for the Investment Crowdfunding Grant are currently open through January 28, 2019 at 5pm EST. NC IDEA MICRO and NC IDEA SEED grant applications open February 18, 2019 and close March 4, 2019 at 5pm EST. For more information or to sign up for Virtual Office Hours, click here.
January 22 – StartCharlotte LIVE!


Exit at exit 32 Commercial Blvd. Follow east until NE 6th Ave then turn right. Follow 6th Ave until NE 42nd Court then make another right. You will see us on your left side.
Take US 1 until Oakland Park Blvd then head west until NE 6th Ave. Follow NE 6th until NE 42nd Ct then turn left. You will see us on the left side.


Why in the world do we turn our clocks forward in the Spring and back again in the Fall? Share with your students the rationale and history of the Daylight Saving Time concept from Benjamin Franklin through World War I and World War II and finally as a signed law in 1966. Students will be interested in the section on Worldwide Daylight Saving which highlights the different opinions and needs from Moscow to the tropical countries. A list of countries that observe daylight saving time is provided as well as extensive credits for information given.


Personalised card & Gift wrap available.
Save €10 when you purchase the CoziDry gift set which will keep your baby's chest dribble dry.
Our patent protected lightweight moisture-proof liner works a treat when baby is drooling excessively whilst teething. Positing or leaky bottles can also add to the problem.
Keep your baby comfy in our softer than soft 100% eucalpytus based tencel which is smoother than cotton, temperature regulating, breatheable and moisture-proof.
These items are really handy if you're out and about and cant change your baby that easily. When you have baby number 2, 3, 4 or more you will know all about it! Less changes, less laundry, make this gift a really practical solution.
CoziDry garments are made of the finest materials with a robust practical use, which makes it a really clever gift for new arrivals too.
- Bound Back Neck opening - Non-irritating.
- Adjustable neck opening on bibs.
- Environmentally friendly washing preferred at 30 degrees.
- Do not iron backing fabric.


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This unique, custom designed stone-front home offers an expansive floorplan with a formal dining, living & great rooms. The elegant turned staircase and soaring 2-story foyer are bound to impress as you step into the 18' x 10' entry. With 2 gas cooktops set on a large center island. A full wet-bar a home office, comfortable den and convenient half bath complete this 2,500 sq. ft first floor! Upstairs, the master suite is immense. The 32'x14' master bedroom offers 3 double closets, a 34'x18' front roof-deck patio. Three additional bedrooms, a spacious hall bath with double sink, and access to the 63' long rear roof-deck patio. Property was built prior to 1978 and lead based paint may potentially exist. This property may qualify for Seller Financing (Vendee).
Listing courtesy of Re/Max Connection-Medford.


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Partnerships That Make a Difference: Smart Communities Initiative
View all the posts from September 8, 2015 Education & Society
The Smart Communities Initiative is founded upon the idea that universities and communities should work together to improve the health and vitality of their areas.
Science Alliance Seeks Joint Directed Research and Development Proposals
View all the posts from September 8, 2015 Campus News
The Science Alliance is seeking proposals from faculty members for Joint Directed Research and Development program funding.
Friday's Science Forum to Look at New Vision for Trees on Campus
View all the posts from September 8, 2015 Environment
Sharon Jean-Philippe, an assistant professor of urban forestry, and Sam Adams, UT campus arborist, will present "A New Vision for Trees on the University of Tennessee Campus" at the semester's first Science Forum at noon on Friday.
Bob Trigiano Named UTIA Institute Professor
The Institute of Agriculture has named Bob Trigiano the Institute Professor of 2015. The title is given annually to faculty members who demonstrate high achievement in teaching, research, and service. Trigiano is a professor in the university's entomology andplant pathology department.
Institute of Agriculture Presents Top Faculty and Staff Awards for 2015
The Institute of Agriculture recently honored some of its top faculty, staff, researchers, and outreach experts with a number of prestigious awards. More than thirty people were recognized with a variety of honors—many gifts sponsored by past faculty, alumni, and friends of the Institute.
Baker Center Announces 2015 Fall Lectures and Public Events
View all the posts from September 8, 2015 Law & Politics
The Howard H. Baker Jr. Center for Public Policy has released its schedule of events for this fall.
Department Heads Forum Series Launches September 24
The Office of the Provost is launching Department Heads Forum, a new series of workshops and discussions for both recently appointed and the long-standing department heads.
Practice is Key to Effective Emergency Response
Effective campus response to an emergency depends on being prepared. Just like playing a musical instrument or sport, prior knowledge and practice make a difference in performance. Drills are important to ensure effective response in high-stress situations.
Pregame Showcase Explores Language of Music September 12
View all the posts from September 8, 2015 Arts & Design
Music Professor Wesley Baldwin will discuss the human need to interact with music during the first Pregame Showcase on Saturday, September 12.


This is my work for week 27 of the #TidyTuesday project.
A funny dataset for this week's TidyTuesday: how many babies are born on Friday 13th compared to other days?
The original article and data are offered by fivethirtyeight (here is their GitHub profile, where all the raw data can be found).
All code and data can be found in my dedicated GitHub repository MyTidyTuesday.
A funny dataset for this week's TidyTuesday: how many babies are born on Friday 13th compared to other days? The original article and data are offered by fivethirtyeight (here is their GitHub profile, where all the raw data can be found).
We will first load the data into R.
Let's check for missing values and other issues.
Everything seems to be in order. Let's add another column, date, to obtain the proper date from the year, month and date_of_month features.
I will create a set of colors that I'll use during this analysis.
Now we can have a quick look at the distribution of births over the years.
The number of births each year seems to be quite constant, with a small increase in 2006-2008. Let's plot the same distribution over months this time.
It looks like most births are occurring in September; this is quite interesting, and my guess is that this may due to couples being able to "spend more time together" during Christmas holidays, if you know what I mean… Lastly, let's view the distribution of births over days of a month.
And there it is! Each 13th day the number of births is a bit lower than the other days; the same is true for the 31st, but this may be due to months having only 30 days. Let's explore a bit more by plotting the same per-day distribution splitted by month.
Although this is quite an ugly plot, we can see that usually every 13th of each month few babies are born. The same occurs with national holydays, and this is obvious from the drop in the number of births around Christmas, or on the 4th of July, or during the last few days of November for Thanksgiving.
But we haven't still explored the number of births occurring on Friday 13th. Let's first see how birth are distributed over days of the week.
We can see a strong dicrease in the number of newborns during the weekends, and this is quite expected. Now let's gather all these information and actually check if Friday 13th is really a no-no for delivering babies.
From what we see, there is no actual decrease in the number of births on Friday 13th, but rather on the 13th of each month, regardless of the day of the week.


Beautyqueenuk | A UK Beauty and Lifestyle Blog: Erborian Matte or Rouge for lips?
Erborian Matte or Rouge for lips?
Whether you like your matte lip, your shiny lip or something in between, one thing I know for certain is I don't like a sticky or tacky glosses and I don't like anything which makes my lip feel as though you have been dipped into cement.
Erborian is one of my favourite brands and one I have enjoyed discovering over the last 18 months or so, whenever there is a new product I get a little excited because with Erborian you get a mixture of Korean and French loveliness all rolled into one. Lip products are something Erborian do a lot of products in, but is the one area I hadn't really got to know until recently.
It is said in Korea, the world capital of sophisticated beauty rituals, the skin is not the only part of the face where care is considered essential; the lips are considered to be a real asset of beauty and seduction, and they are also the object of meticulous attention through nourishing, soothing rituals.
Rouge for Lips and Matte for Lips are the latest releases from Erborian and they are two nourishing balms that tint and embellish the lips. What Erborian have done with these two products is develop a hybrid which is a cross between makeup and skincare. Both balms are delicately scented and they give you the chance to play with both colour and texture whilst caring for your lips, so depending on your choice of finish there is a choice of balm.
My favourite product of the two is Matte for Lips a product which promised velvet lips with a matte finish for a healthy glow effect. I really like the ultra smooth texture which has a really soft finish. As it is applied, the balm glides across and envelopes the lips that leave them feeling nourished and hydrated.
Enriched with nourishing Camellia oil, known for its antioxidant properties which helps to sooth, prevent sign of ageing and dehydration plus Beeswax which helps to nourish and prevent dehydration.
The second product, Rouge for Lips is definitely where makeup meets skincare and coats your lips with an ultra-intense shade of red and it is much more pigmented than I had expected it to be, but it is a delight to use.
Again, as with Matte for Lips, it is enriched with Cameillia Oil and Beeswax for its antioxidant and nourishing properties which prevent dehydration and nourish the skin but there is also the inclusion of Shea Butter which really helps nourish your lips.
Both of these products can be applied using a lip brush or your finger and both can be used with other products. If you are a fan of a red lip, then using Rouge for Lips as a base can really intensify the red lipstick shade and then you can apply Matte for Lips over the top. Equally you can use either product alone or with absolutely any other lip product that you have, depending on the look you are trying to achieve. Each one of these products retails for £18 here on the Erborian website.
I bet these are so nourishing. I love that they give a pop of colour too.
Love it!! do you have any swatches??
I don't wear red lippies a lot but these sound really lovely!


Learn how Spike creates powerful films that spark social change. Get access to video lessons and exclusive class materials.
Spike Lee didn't just direct his award-winning 1986 feature debut, She's Gotta Have It. He was also the writer, star, truck driver, location scout, electrician, and caterer, because that's what it took to get his film made. In his first-ever online directing class, the visionary behind Do the Right Thing, Malcolm X, and 25th Hour lets you in on his uncompromising approach to filmmaking. Learn about writing, self-producing, working with actors, and making movies that break barriers.
Spike Lee opens the doors of his Brooklyn office to teach filmmaking through scripts and storyboards from some of his greatest films.
Meet your new instructor, writer/director/producer/professor—Spike Lee. Spike explains what he hopes you'll gain from his class: the tools of film grammar—or visual storytelling—and the DIY spirit to make your own original, independent films.
Breaking down the director's choices in one of his favorite films, Elia Kazan's On the Waterfront, Spike demonstrates how cinema can be a powerful tool for speaking the truth.
Learn Spike's tips for creating realistic budgets and shooting schedules (and sticking to them), working on location, and how to make your crew feel appreciated.
"The wrong actors, the wrong roles could turn out the wrong movie." Spike shares his tips for successful casting and his experiences casting some of his most infamous roles.
Learn what to look for in a director of photography, including how to "audition" a DP and how to create a plan of action, once you've found the right collaborator.
Analyzing opening title sequences from Mo' Better Blues, 25th Hour, and BlacKkKlansman, Spike teaches the art of establishing tone in the first few minutes of your film.
Spike discusses the filmmaker's responsibility to bring diversity to the film industry—both on screen and behind the scenes.


You've spent much of your time crafting and selling your products and services. Now it's time to capture imagery that connects with your customer. Let's face it: planning and executing a photoshoot is no simple task. That's why we're here! Whether you need to find your oh-my-gosh-that's-my-vibe brand style, build a large library for social or focus on photos that convert into sales, we can accomplish your goal together (and have fun while doing it).


text:
Citizen's Electric Light Company station has nearly recovered from the fire
[Trade Journal]
Publication: Electrical World
vol. 9, no. 19, p. 220-221, col. 3,1
NEW ENGLAND NOTES.
BRANCH OFFICE OF THE ELECTRICAL WORLD
BOSTON, May 2, 1887.
The Citizen's Electric Light Company, of East Boston, whose station on Condor street was destroyed by fire on the morning of March 4, to which reference has previously been made in these columns, has nearly recovered from the damage than inflicted. The new station, which is of brick, 40 x 50 feet, is about ready for the slate roof, and the engine foundations are now in position. The company expects to occupy the new station in about three weeks, and will then have an excellently appointed establishment, with a first class new plant of 185 lights, American system. The experience of this company is proof that a company with small capital, the best of modern apparatus and conservative management, can command success, even in the thinly settled suburbs of a large city, proverbially the most unfavorable situation tor a lighting business.
W. I. B.
Keywords: Citizen's Electric Light Company
Researcher notes: It is possible that insulators embossed C.E.L. Co. could have been made for the Citizen's Electric Light Company.
Supplemental information:
Researcher: Bob Stahr
Date completed: July 15, 2009 by: Bob Stahr;


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China and the Unofficial Truth
By Evan Osnos
China has become a place of parallel truths: the official truth and the unofficial truth. In the official version, the National People's Congress and Political Consultative Conference are conducting their annual meeting this week, with great fanfare in Beijing, where President Hu Jintao and other state leaders are debating proposals to reduce inequality and shaking hands with delegates wearing traditional garb.
In the unofficial version, Chinese citizens are busy dissecting and taunting the meeting on social media. While Premier Wen Jiabao was pledging that the government would "quickly" reverse the widening gap between rich and poor—last year he said it would do so "gradually"—Chinese Web users were scrutinizing photos of delegates arriving for the meeting, and posting photos of their nine-hundred dollar Hermès belts and Birkin and Celine and Louis Vuitton purses that retail for car prices. As Danwei points out, an image that has been making the rounds with particular relish shows the C.E.O. of China Power International Development Ltd, Li Xiaolin, in a salmon-colored suit from Emilio Pucci's spring-summer 2012 collection—price: nearly two thousand dollars. Web user Cairangduoji paired her photo with the image of dirt-covered barefoot kids in the countryside and the comment: "That amount could help two hundred children wear warm clothes, and avoid the chilly attacks of winter." And it appended a quote from Li, of the salmon suit, who purportedly once said, "I think we should open a morality file on all citizens to control everyone and give them a 'sense of shame.'" (This is no ordinary delegate: Li Xiaolin happens to be the daughter of former Premier Li Peng, who oversaw the crackdown at Tiananmen Square.)
Another message making the rounds uses an official high-res photo of the gathering to zoom in on delegates who were captured fast asleep or typing on their smart phones. (h/t ChinaSmack.) A separate message provides instructions on how to be a good delegate: "After you eat, remember to go to the Great Hall to clap! Raise your hands! Clap! Raise your hands! Clap! Raise your hands!" And yet another message going around involves high political stakes: a property developer and conference delegate named Zhang Mingyu was using Weibo to send out calls for help, saying that Chongqing police had raided his Beijing apartment and were planning to detain him for earlier announcing (online, of course) that he planned to tweet juicy new information about a politics/corruption/mafia/police story in the big city of Chongqing. Got that straight?
A week from today, a new registration law will go into effect that requires people on Weibo to use their real names. One of the great questions these days is how much this will inhibit the kind of skepticism and truth-squadding that has bloomed on Chinese social media over the past two years. The executives behind Weibo warn that readership will sink, which makes sense. But I also suspect that the real-name requirement will prove to be only a speed bump. (A good discussion on that by Tea Leaf Nation.) People aren't making these comments with the illusion that they are anonymous. If authorities want to find anyone on the Chinese Web, they can do it easily under Chinese law. Ask Shi Tao (when he gets out of jail). Rather, they use it, and bear the risks, because they have something to say—and even if Weibo is hobbled by the new rules, people will find other channels for this conversation. The unofficial truth, I suspect, will endure.
Photograph by Liao Pan/Color China Photo/AP Images.
Evan Osnos is a staff writer at The New Yorker and the author of "Joe Biden: The Life, the Run, and What Matters Now."
More:ChinaWeibo