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Aeroplane Dance: Whose Story?
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Screening the Past > Aeroplane Dance: Whose Story?
Maryrose Casey and John Bradley
In the early 1990s, Trevor Graham with the Yanyuwa people at Borraloola created a film called Aeroplane Dance (1994) (known by Yanyuwa speakers as Ka-Wayawayama). It begins with the line that this is "the story of one American Bomber who created a legend" – amplified by the first end credit stating that it is based upon the official report of Staff Sergeant Grady Gaston US Air Force May 1943. [1] Websites selling the film describe it as dramatising the struggle of a group of Americans "to survive in an unfamiliar land they considered hostile and desolate". [2] Reviews that acknowledge the Yanyuwa part of the story frame it as an "exemplary work showing how the modern world has encroached on ancient ways, changing them forever" and as "a film-story of an event, a people, and a culture in transition". [3] The latter quote may exemplify the intentions of the film's director and scriptwriter. But the project was a Yanyuwa initiative to document one of their performance genres. In the gap between the community's desires and the outcome, the final product reveals the embedded narratives that can inform and shape cross-cultural collaboration.
In general, the framing of Indigenous performance offers a clear example of Emmanuel Levinas' notion of the "violence of categories". [4] In the early decades of settlement, Aboriginal performance was seen purely as noise or an entertainment practice. [5] These were performances that European colonists did not seek to understand; as William Westgarth stated in his Australia Felix (1848), "the exact meaning of their famous corrobboree [sic] or native dance, beyond mere exercise and pastime, has not yet been properly ascertained". [6] With the rise of Social Darwinism in the 19th Century, Aboriginal performance was recategorised as ritual and therefore as a prototypical form of theatre. [7] Within this conceptual framework (as seen in, for instance, the work of Emile Durkheim), Aboriginal performance can only be recognised as ritual or ceremony; in this view, "rituals and 'dramatic performances' embed and reproduce the cultural system in collective and individual actions". [8] Everything else is categorised as oral history or as in some way contaminated and inauthentic. In order for an Aboriginal performance to be authentic within this system of categories, it must be either ceremony or oral history.
Traces of this framing continue to dominate the reception of Indigenous performance. Such a preconception determined and limited the creation of Aeroplane Dance. Our interrogation of the competing discourses that shape any cultural production is from a cross-disciplinary position that brings together two researchers, one from performance studies (Casey) and one from anthropology (Bradley), the latter having observed Yanyuwa performances for thirty years and who worked on Aeroplane Dance as an interpreter and art designer.
The Yanyuwa and Film
The Yanyuwa are Salt Water people, li-Anthawirriyarra, a people whose spiritual and cultural heritage comes from the sea. Originally largely from the Sir Edward Pellew Islands in the Gulf of Carpentaria, Northern Territory, they are now settled around the Borroloola region. The Yanyuwa offer an extraordinary example of a people who have recognised and utilised the value of modern technology for their campaigns for land rights and cultural maintenance. Over the last thirty years, members of the Yanyuwa communities have been actively engaged in making a number of films that have engaged with debates, educated urban audiences about their claims and issues, and created a dynamic keeping place for cultural knowledge. The films made for non-Yanyuwa audiences have extensive narratives in Yanyuwa, with subtitles. Others made for the community are totally in Yanyuwa. The films include Two Laws (1981) (Kanymarda Yuwa), Journey East (1989) (Buwarrala Akarriya) and Aeroplane Dance. Recently Yanyuwa elders have collaborated with Bradley on a project to animate some of their Law as taught in important stories and songlines, Wirdiwalangu Mayanku kulu Anthawirryarra / The Law that Comes from the Land, Islands and the Sea (2009) and The Dreamings of Saltwater Country (2010).
Aeroplane Dance was a community initiative to celebrate and document a historical performance practice for entertainment and offer non-Yanyuwa audiences a bridge to a richer understanding of their culture. Highly developed performance traditions and practices are a central and important element within and across Aboriginal and Torres Straits Islander cultures and life. [9] These practices have been an important forum of expression for a vast range of activities, from teaching to settling legal disputes. Historically, performance events of song, dance, mime and story can be divided into events associated with ceremonies that are sacred and private; and events associated with entertainment and social negotiations that are public. These performances can be based on the adventures of ancestral beings; magic and power; totemic songs; hunting; dramatic songs and epics; fighting songs; topical events and everyday life. Within Aboriginal cultures, there is no clear division between the sacred and ordinary stories. Rather, sacredness is a matter of degree.
Within this continuum of connection to the sacred, Indigenous performance can be divided into three major types: ceremony, public performances based on Dreaming stories, and performances based on topical issues for entertainment. These latter performances for entertainment, although they include performances that can be understood as acting as a form of oral history, are all often put under the general heading of oral history. This category effectively erases many performances for entertainment. The Aeroplane Dance is an instance of what in Yanyuwa is called walaba, an important genre of performance for entertainment. An earlier dance from the Yanyuwa, within the same historical practice as the Aeroplane Dance, is the Nanny Goat Song. This piece which includes song, dance and mime was based on the first exposure to goats and catching goats. There is a level on which this is part of the history of colonial encounter; however, to erase the intended place of these performances as entertainment and label them simply as oral history not only negates their social and artistic role/meaning, but sets up irrelevant terms for judgement.
Amongst the Yanyuwa, performance texts for entertainment are usually self-compositions that are made by men and women. There are genres of these performances that are not related to Dreamings or connected to the spiritual beyond the general Law. These song compositions are sometimes created with an associated dance, or sometimes a dance is created later to go with them. The compositions can range from very short (four or five lines) to a song series with multiple dances associated. They are composed in everyday language but the practice is to use words sparsely as evocative poetry. The stories often offer a keyhole view into social events, runaway lovers, broken hearts, celebration of country, celebration of hunting prowess – anything that goes wrong that can be turned into a story for entertainment or, as it is known in Yanyuwa, nguyulnguyul, and in Yanyuwa Aboriginal English, 'fun'. [10]
History of the Dance
Performances based on topical or historical events that are created for entertainment were performed for intra- and inter- community gatherings and for cross cultural performances. [11] The performances include the alternating of a number of elements within the framework of the performance; these elements include story telling through narrative, poetry, dance, mime, song, music and visual art. Historically operating within a paradigm of practice in many ways like European theatre practices, historically, there were performers, musicians, dancers and actors, writers, choreographers, people responsible for body design or costume, props and set; and a manager responsible for organising the performance and rehearsal practices. There was a shared aesthetic scale. There were (and are) high expectations about the quality of the performances. Everyone can sing, dance, paint, and tell stories but the audience expects these arts to be performed well and historically an unsuccessful performance has a number of consequences including public criticism and a loss of social and political prestige.
Performances occur in defined and carefully chosen areas. Performance grounds were often marked out and landscaped, with a flattened performance space, off-stage areas that were hidden by trees or other physical features, and often built up areas for the audience. The physical environment, including the light and shadows created by the moon and the huge campfires, are used as part of and to enhance the performance. Trees and objects are used as props and sets. These practices all directly parallel western theatre practices both classical and contemporary. The performance space is equivalent to classical Greek amphitheatres and twentieth and twenty-first century practices of using found spaces and site specific venues. The copy right practices are again both different and equivalent. Topical and historical performances are created and owned by individuals who teach and direct others in the required elements of the performance, song, dance and story.
These performances were toured and traded between communities. Examples that have been documented since European settlement include many new corroborees created around the interactions between the communities and observations of the settlers. The Nunggubuyu people of Numbulwar in southern eastern Arnhem Land have a performance based in song, story and dance that tells of early encounters with Macassan traders, an Indonesian people from the island of Sulawesi. The Macassans had trading arrangements with the Indigenous people of the northern coasts of Australia from about 400 years before European settlement in 1788, which continued until it was outlawed in the early twentieth century. The performance called the Jama Jama (Red Flag Dance) was created after some members of the Nunggubuyu people went travelling with the Macassans in their boats. On their return, they created performances based on their adventures. [12]
The Aeroplane Dance is related to this type of performance. The performance text was created during WWII. The war had a major impact on Indigenous communities. Sections of the north were bombed, killing civilians, and large areas were used for military bases and airstrips. Both the mainland and islands were attacked. The members of the Tiwi community on Melville Island captured the first Japanese prisoner of war on Australian soil. Aboriginal and Torres Strait Island people joined the military, and local communities were part of the land defences; they had varied contact with Australian, Japanese, and Americans military and planes. A range of performances for entertainment were created about planes and events from these experiences.
On 1 December 1942, a US bomber called Little Eva was returning to base after a raid over New Guinea. The plane hit a tropical storm and crashed at Moonlight Creek in the Southeast corner of the Gulf of Carpentaria. There was a massive aerial search and the Yanyuwa people participated in the ground search for Little Eva and her crew. Most of the crew survived the crash but left the plane. Two walked east to Burketown and raised the alarm. Another four walked to the coast travelling 300 miles to the west. The Yanyuwa were called on to find the plane, which they did quickly. Twenty weeks later, long after the searches had ceased, they found the lone survivor. In the stories told about the event, elders still shake their heads about the crew's foolishness in walking away from the wreck of the plane.
Aboriginal performance texts, such as the Aeroplane Dance, are usually labelled dance or song according to the interests of the academics who document or categorise them. These performances are not what is understood when someone speaks of European dance. They are performances based on dance, word, song and mime. In the case of the Aeroplane Dance, puppetry is also included. It is a series of songs, dances and mime, created by Frank Karrijiji, that enact a narrative composed at the time of the searches. [13] The dance originally extended over a week and was performed whenever people wished. Songs and dances present the plane airborne and finally crashing; they then describe the Yanyuwa experience and response to the aerial search, the ground search and war.
Karrijiji's creation of the performance included a number of props such as headdresses representing bi-planes and steering wheels representing pilots. The central feature of the performance mise en scène is a life-size 'plane' on an axis of east and west because in the song the plane's nose faces west and tail east. This plane consists of two sets of intersecting walls. Two walls run east-west as the body of the plane, these intersect with another two walls going north-south which are the wings. Each wall is about one and a half to two metres tall, made of rails between forked sticks then hung thickly with boughs cut from gum trees. The result is two intersecting passages of boughed walls, so as you walk into the plane, you walk in through its nose, along a corridor of bushy walls, to the middle where there are another two corridors going off north and south as the wing.
In the first moments of the performance all the male dancers go inside the bough shade. They hang a blanket up on the front, marking the front of the plane. Then they start to sing. After they start, the singers and musicians made up of men and women seated about ten metres away also start to sing. Inside the plane, the men start making a noise in unison like an engine representing the plane flying; then they shake the plane as if it were flying in a storm. The first people who dance out are the senior men who own the dance, or those in the lineage who are related to the senior men. The blanket is lifted and the men dance out, singly or in pairs from the central body of the plane. Then those in the wings exit dancing. Those in the wings are any other male who has been recruited to dance, so there might be a mixture of children, adolescents and old men. They all dance out in long lines and meet in the middle, continuing to dance as a group.
There are a series of sequences of mime, dance and puppetry, as the dancers re-enact the aerial search for Little Eva and the airmen, as well as the ground searches. In one sequence, the performers have bi-plane headdresses representing tiger moths and leaves tied around their knees, representing the tops of trees. Accompanying the dance are verses about the planes. In another sequence there is a verse that refers to the planes dipping their wings, and being told to stop searching. The performance at this point includes a mime sequence where the performers, representing the ground searchers, all wave their hats to the planes. In the latter verse all the dancers congregate on the dance ground, carrying hats and they dance with hats waving in the air. Then there are solo dances of the best dancers, the senior dancers with steering wheel props. Historically, this type of dance for entertainment would last until two or three in the morning.
Karrijiji began creating the dance when he was part of the ground search. In the verses he talks about walking. He talks about travelling, about being in clan country that is associated with him. He talks about talking to one of his near relatives about walking. The verses also engage with the bigger picture of the war and why they are walking. There are verses about planes travelling at night and planes fighting in the north – probably the bombing of Darwin. There are verses about planes arriving home safely. It is a fictional narrative about planes, the war and its presence in the lives of the Yanyuwa. There is nothing in the narrative about the lost Americans. Before Sergeant Grady Gaston, the sole survivor of the westbound group was found, the dance was created and shared with others at a large gathering for ceremony that brought together Yanyuwa, Garrwa and Marra peoples. The dance was so well received that Karrijiji gave authority for the dance to be performed within and by all the communities present.
A Problematic Project
The dance was performed as part of the repertoire of performances for entertainment for decades after WWII. By the 1980s, when many of the original owners of the dance had died, it had not been performed for many years. Bradley was present in the early 1980s when some of the songs were performed one evening. After this impromptu performance, interest in dance was revived. In 1988, the dance was performed and filmed as part of a training program for adolescents between the ages of 15 and 18, to learn how to use still and video cameras. The only difference in the performance was a minor change in the body decorations. As in the original version, the bodies of the dancers were outlined first in white ochre, then in red ochre, but the further outline in white feathers was changed. Nowadays as part of protection of the birds, cottonwool is used instead of feathers in body decorations calling for small white feathers. An invited audience of Indigenous and non-Indigenous people from the area were invited to the final performance; it was a great success. There were many men and women, Yanyuwa and Garrwa and white Australians, who were alive when the events being celebrated in the dance occurred. The white Australians in the audience were particularly enthusiastic because the dance focused on common history.
The Yanyuwa people, including the surviving owners of the dance, recognised the value of this exchange and sought to make a film of the dance that would reach a wider audience than the community DVD. They submitted a proposal to Film Australia. The end result of this process was that Trevor Graham agreed to produce and direct a film of the dance. After this collaboration, Graham developed an impressive record of documentary films that have contributed to cross cultural understanding. These include major documentary productions with Indigenous Australian people and communities. As a multi-award winning writer director his credits include Mabo – Life of an Island Man (1997), Mabo – The Native Title Revolution CD-Rom (2001) and Lonely Boy Richard (2003).
The last senior male owner of the Aeroplane Dance was still alive when the film was first in the planning process. He died just before the crew arrived. On his death bed, he asked that the community bring the dance out into the open and perform it, not to hedge it with the restrictions of death. At his wish, the community went ahead with the project. The terms of this collaboration were different from previous endeavours. The process was led by the white filmmaker, with some consultation with the community. Once Graham was on board he brought in Jan Wositzky as scriptwriter. Graham has explained (at the U-matic to YouTube Conference) that he envisaged the story in the style of a B grade American war movie. As part of this approach, in pre-production they located and contacted Gaston in Alabama, inviting him to participate. There were elders still living who had been part of his rescue; they were interested in his participation. When Gaston decided not to be take part, the filmmakers considered cancelling the production. The community was not interested in that. Graham then decided to focus on a dramatised re-enactment of the American airmen who went west.
As Graham's interest was in the Americans' story and the dance did not deal with that aspect. So he asked the family, who could claim kin connection and therefore some ownership of the dance, to compose some extra songs about the Americans. They refused. Karrijiji created the performance and they would not support that type of reinscription. The review that styled Aeroplane Dance as "a film-story of an event, a people and a culture in transition" indicates the evident focus of Graham's project. But the event that the filmmaker chose to focus on is at best tangential to the dance itself. His focus is on the dramatised re-enactment of the four American crewmen who travelled west. This is shot in black and white and extended with stock footage of World War II planes. Most of the interviews with Indigenous elders are about the search for the lost crewmen. The verses used from the dance could be understood as referring to this dramatic focus. The preparations for the dance are interspersed with discussion of loss of language and change and the airmen's story. This is then followed by a few brief glimpses of the dance and the same verses as used earlier, like a teaser that goes nowhere. The dance is simply, for the most part, not there – appearing largely as a few seconds here and there, most effectively as double exposures within the storm sequences. The dramatised re-enactment of the Americans is amplified with repeated images of maps of the area marking the journey and location of the airmen. The main focus on contemporary Yanyuwa life, apart from the struggle with cultural maintenance, is the repeated comparison Yanyuwa knowledge of available food and the Americans' ignorance of it.
Filming dance performance has often proved difficult. The style of dancing in Aeroplane Dance is called malambi in Yanyuwa, which means to spread one's arms out wide and hit the earth hard with one's feet. It is a stomping style of dance; not particularly vigorous, but within that sameness there are unique characteristics. There is often a very fierce type of dancing as used in the sequences with the steering wheels. It is not a simple style, even if it looks simple. It has great subtlety. Though experts make it look easy, it is actually hard to dance, requiring great physical/rhythmical control and strength from the head down to the pelvis. Amongst the Yanyuwa, such stomping is standard in male fun dances (women have a few more styles). In the Aeroplane Dance, the style is primarily based on outstretched arms combined with a double step. In an interview where Graham was questioned about the lack of the dance, he acknowledged the lack of preparation for filming it. They had planned to film, using one camera, the dance in situ on the last night of its performance. This was, at least in part, because the cost of filming the dramatised scenes limited the resources available for engaging with the dance. [14] This approach to the dance is logical if the focus of the film is an oral history about American airmen.
The crash and search marked a moment in time that contributed to the inspiration for the composing of the piece. Graham is not alone in framing the Aeroplane Dance as an oral history about the American plane crash. Around the same time that the film was made the words of the songs that are part of the performance were published under the title Little Eva at Moonlight Creek (1994). [15] We would suggest that the licence to retitle the work, like the request that the family write verses to make the work fit the conception that Aeroplane Dance was about the lost Americans, are part of the same confusion or slippage between the dance for entertainment and the oral histories. The Aeroplane Dance, on the other hand is a creative response to a different event, a very large event, that was having impact on the Yanyuwa and other Aboriginal and Islander peoples in the north of Australia at the time – WWII. Because of this slippage, Aeroplane Dance becomes an example of reading the Australian experience of WWII through the refracted gaze of American culture. The Aeroplane Dance as created by Karrijiji contributes a creative artist's perspective to the hidden history of both Indigenous and non-Indigenous Australians' experience of the war.
Conclusion: Listening, Seeing and Understanding
Aboriginal and Torres Strait Islander public performances for entertainment have largely been ignored within scholarship. [16] There has been growing recognition over the past decade of the gaps in knowledge resulting from the almost exclusive focus on rituals – especially those that are secret and sacred and associated with ceremony, within writings on Indigenous performance traditions. [17] An outcome of this shift in focus is that researchers in anthropology and musicology (and even more recently within performance studies) who are examining Aboriginal and Torres Strait Islander dance and music "have begun to explore an increasingly disparate range of performance genres put on display for the public gaze". [18] However, the focus is generally on contemporary practices of song or dance rather than being focused on the overall event of the performance or the history of such events. [19] The main contribution to an examination of these performances has been within Aboriginal history through examination of specific examples in isolation. [20]
There is a level at which all performance in all cultures are documents of social history. However, this is not the same as being an oral history. In order to have effective cross-cultural exchange there needs to be a level of active listening, seeing and understanding. For Anne Marshall, the challenge is to find ways to take into account the different ontologies/epistemologies and their resulting "implicit knowledge contained in different performance expressions and understandings of the world". [21] The protocols for Indigenous control and cultural respect have created a new and presumably improved context for collaborations with filmmakers. However, this is only part of the process of engaging with and countering pre-existing narratives that are treated as truths about Aboriginal culture.
[1] See Peter Gurge, "Ka-Wayawayaama / Aeroplane Dance – A film by Trevor Graham", http://www.peterguerge.de/peterguerge.htm?/aeroplanedance/aeroplanedance.htm (accessed 20/9/2010).
[2] For examples see "Aeroplane Dance", http://icarusfilms.com/new99/aeroplan.html (accessed 12/10/2010); http://therai.org.uk/fs/film-sales/aeroplane-dance/ (accessed 12/10/2010).
[3] Gurge, "Ka-Wayawayaama".
[4] Emmanuel Levinas, "Transcending Words: Concerning Word-erasing," Yale French Studies, vol. 81 (1992): p.148.
[5] For example see David Collins, An Account of the English Colony in New South Wales, Vol 2, (London: T. Cadell and W. Davies, 1802), p.543.
[6] William Westgarth, Australia Felix, or A Historical and Descriptive Account of the Settlement of Port Phillip, New South Wales: Including Full Particulars of the Manners and Customs of the Aboriginal Natives (Edinburgh: Oliver & Boyd, 1848), p.78.
[7] For further discussion of this see Maryrose Casey, "Theatre or Corroboree, What's in a Name? Framing Indigenous Australian Nineteenth Century Commercial Performance Practices" in Creating White Australia, eds. Jane Carey and Claire McLisky, (Sydney: University of Sydney, 2009), pp.117-132.
[8] Jeffrey Alexander, & Jason L. Mast, "Introduction", in Social Performance Symbolic Action, Cultural Pragmatics, and Ritual, eds. Jeffrey C. Alexander Bernhard Giesen & Jason L. Mast, (Cambridge: Cambridge: 2006), p.8.
[9] See Casey passim.
[10] Nguyulnguyul, which is glossed in the article as fun, also carries more complex meanings and resonances, especially in relation to composition and performance that speak to the achievements within the creative endeavour. The word denotes the achievement of ideals, the performer and the composer creating something that draws people to want to hear and participate in it. The term can be associated with ideals of excellence in creative endeavour at all levels. Thus a person who creates performances that are nguyulnguyul is also described as being ngirriki, which is glossed as 'tricky', but a thicker description would carry the weight of a person who transcends normal accomplishments. Aeroplane Dance is described as nguyulnguyul and Frank Karrijiji is often described as ngirriki.
[11] See Casey, passim.
[12] See Yilila Jama Jama Red Flag (Yilila, 2005); also see www.redflagdancers.com.au
[13] The information about the dance is drawn from John Bradley's notes and observations over a thirty year period; Ron Rickett Murrundu, personal interview with John Bradley, Borroloola, 1988; and Jean Kirton, recorded statement, Doomadgee Mission 1967.
[14] Gurge, "Ka-Wayawayaama".
[15] Martin Duwell and RMW Dixon eds, Little Eva at Moonlight Creek and Other Aboriginal Song Poems (St. Lucia, Qld.: University of Queensland Press, 1994).
[16] Casey, passim.
[17] For examples see: Franca Tamisari, "Writing Close to Dance: Expression in Yolgnu Performance", in Aesthetics and Experience in Music performance, eds. Elizabeth MacKinlay, Denis Collins and Samantha Owens, (Newcastle, UK: Cambridge Scholars Press, 2005), pp.165-190.
[18] Fiona McGowan and Karl Neuenfeldt, eds, Landscapes of Indigenous Performance, (Canberra: Aboriginal Studies Press, 2005).
[19] For examples see: Martin Nakata and Karl Neuenfeldt, "From 'Navajo' to 'Taba Naba', Landscapes of Indigenous Performance, eds. Fiona Magowan & Karl Neuenfeldt (Canberra: ASP, 2005), 12-28; Peter Toner, "Home Among the Gum Trees", Landscapes of Indigenous Performance, eds Fiona Magowan & Karl Neuenfeldt (Canberra: ASP, 2005), pp.29-45.
[20] For example Barry McDonald, "Evidence of Four New England Corroboree Songs Indicating Aboriginal Responses to European Invasion", Aboriginal History 20 (1996): pp.176-94.
[21] Anne Marshall, Ngapartji-ngapartji: Ecologies of Performance in Central Australia: Comparative Studies in the Ecologies of Aboriginal-Australian and European-Australian Performances, PhD Thesis, University of Western Sydney, 2001, pp.92-93.
Maryrose Casey
Maryrose Casey is a senior lecturer at Monash University in the Centre for Theatre and Performance. She has published widely in journals and anthologies on Indigenous Australian theatre and performance focusing on aspects of cross-cultural communication. Her publications include: Creating Frames: Contemporary Indigenous Theatre (University of Queensland Press, 2004); The Doll's Revolution (Australian Scholarly Publishing, 2005) with Rachel Fensham and Denise Varney; Transnational Whiteness Matters (Rowman Littlefield, 2008) co-edited with Aileen Moreton-Robinson and Fiona Nicoll.
Associate Professor John Bradley is Director of the Centre for Indigenous Studies at Monash University. He is presently rewriting the Yanyuwa encyclopaedic dictionary, a work that has spanned 30 years. He has played key roles in Indigenous filmmaking at Borroloola. His work as a linguist has been documented in The Language Man (ABC-TV, 2008), and he has an ongoing involvement in the Yanyuwa animation project.View all posts by Maryrose Casey and John Bradley →


Of course, that is true, but some have gone quite close and reported their experiences. It is not outside the scope of science to talk about what happens after death. After all, what remains after death can be discussed.


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By: Aisha I. Jefferson on October 20, 2014 in American Horror Story: Freak Show, Black Entertainment, black-ish, Boardwalk Empire, Can't Stop Watching, General, Gotham, How To Get Away with Murder, Jimmy Kimmel Live!, Scandal, Sleepy Hollow, Survivor's Remorse, The Good Wife, The Walking Dead, Watch What Happens Live
Plus, "Survivor's Remorse," "Boardwalk Empire" and other hit shows worth checking out this week. There's also what's hot (Missy Elliot's weight loss) and not (Shamil Tarpischev's ignorant comments).
A blog about health, food, beauty, fitness, fashion, parenting and travel focused on how we, as individuals and as a society live our lives.
Covering the latest news, opinions and analysis across the world of sports.
Movie Blog
A blog about movie news, movie stars, movie premieres and the business of the big screen.

redpajama_set_name: RedPajamaCommonCrawl


text:
package ua.com.fielden.platform.entity;

import static java.lang.String.format;
import static java.util.Optional.ofNullable;

import com.google.inject.Inject;

import ua.com.fielden.platform.companion.IPersistentEntityDeleter;
import ua.com.fielden.platform.dao.CommonEntityDao;
import ua.com.fielden.platform.dao.exceptions.EntityCompanionException;
import ua.com.fielden.platform.entity.annotation.EntityType;
import ua.com.fielden.platform.entity.query.IFilter;

/**
 * DAO implementation for companion object {@link EntityDeleteActionCo}.
 *
 * @author TG Team
 *
 */
@EntityType(EntityDeleteAction.class)
public class EntityDeleteActionDao extends CommonEntityDao<EntityDeleteAction> implements EntityDeleteActionCo {

    @Inject
    public EntityDeleteActionDao(final IFilter filter) {
        super(filter);
    }

    @Override
    public EntityDeleteAction save(final EntityDeleteAction entity) {
        if (!entity.getSelectedEntityIds().isEmpty()) {
            final IPersistentEntityDeleter<?> deleter = ofNullable(co(entity.getEntityType()))
                    .filter(co -> co instanceof IPersistentEntityDeleter).map(co -> (IPersistentEntityDeleter<?>) co)
                    .orElseThrow(() -> new EntityCompanionException(format("Companion for entity type [%s] does not support deletion inherently.", entity.getEntityType().getSimpleName())));
            deleter.batchDelete(entity.getSelectedEntityIds());
        } else {
            throw new EntityCompanionException("Please select at least one entity to delete.");
        }
        return entity;
    }

}

redpajama_set_name: RedPajamaGithub


Reports are coming in that Black Lightning may be moving over to The CW rather than FOX. If picked up, that would mark FIVE DC superhero shows from Greg Berlanti on the network lineup. On the bright side, it sounds like if it does go to The CW that we will get a pilot actually shooting.
Is this a good thing? Or is five shows too much? What do you all think?


Let your themed scavenger hunt take you into the great outdoors.
Are you looking for a new kind of team building event that doesn't require you to be indoors? It's time for you to discover the magic of the Themed Scavenger Hunt!
Imagine your team on a mission – stopping at interesting destinations in the city or suburbs to complete team challenges, collect unique items, and take fun and creative photographs along the way. Even better, you've given your mission a theme (craft beer, foodie, architecture, etc.), to make it way more exciting for your group.
As if that's not enough, the weather outside is amazing – and your themed scavenger hunt just happens to require the outdoors. Darn.
So…what kind of themes can you do for a scavenger hunt? Here are a few ideas to inspire your own event.
You know how Chicago just happens to be the best restaurant city in the country? Well, you just happen to live here, so why not hit up some of this town's hot spots with your team? All it takes is a little planning, and you'll be on your way to one of the best events your team has ever experienced.
It's not just the food that makes us a great city; it's the incredible craft beer scene that's been brewing here. What better way to get a sampling of all these talented brewers than on a scavenger hunt? We'll take you through the city or suburbs on a mission that's as delicious as it is different.
Chicago is good at many things, but one of its biggest strengths is its architecture. Whether you're looking for a unique way to show remote workers your city, or you just want to spend as much time outside as possible, choosing Chicago's architecture for your themed scavenger hunt is probably the best decision you'll make all year.
If you've never been on a scavenger hunt with a tablet, it's time to start. Use the tablet to map your destinations, check items off a list, and capture photos of your group. You can get really crafty and use it to answer trivia questions, or plot your own course using GPS. The eHunt changes everything you've ever known about scavenger hunts!
For more information, visit our Scavenger Hunts page or contact us online.


text:
Q: Set a tag on slots/hotbars I want to know if you can do so that all the slots in the players inventory gets a specifc tag. etc if something is in slot 8 it will get a name. Or if something is in the hotbar 2 it will kill the player.

A: No.
That's not possible in Vanilla Minecraft. And I also highly doubt that there is a mod that does it.
You should instead ask about the thing you really want to do with that tag. It's much more likely that you'll get an answer to that.

redpajama_set_name: RedPajamaStackExchange


2102 - 2110 Main ST, Winnipeg Area Code is 204 and Time Zone is Central (GMT -06:00).
The first letter of an FSA code denotes a particular "postal district", and the last three characters denote a Winnipeg (MB) local delivery unit (LDU). An LDU denotes a specific Winnipeg single address, like 2102 to 2110 Main ST street block or range of Main ST addresses, which can correspond to an entire small town, a significant part of a medium-sized town, a single side of a city block in larger cities, a single large building or a portion of a very large one, a single (large) institution such as a university or a hospital, or a business that receives large volumes of mail on a regular basis in Manitoba.
The postal code from addresses 2102 to 2110, applies to residential houses, business, buildings, and every property with Even numeration in this range. Average elevation for this area is 230 meters.
Next one, is the 2102 - 2110 Main ST, Winnipeg Google Street View. This view is created by the Google Team for Main ST in Winnipeg, Manitoba - Manitoba, CA.
What is the postal code for 2102 Main ST, Winnipeg - Manitoba?


1. The pushback phase. During this period, CISOs resist cloud computing, claiming that workloads won't be adequately protected in the public cloud. This behavior may still occur for late-comers or very conservative firms, but the cloud computing ship has definitely sailed at most large enterprises. In other words, CISOs aren't given an out clause, rather they must figure out how to secure cloud-based workloads whether they like it or not.


text:
Paris 2024 President Estanguet visits Saint-Denis sports facilities
By Michael Houston
The President of the Paris 2024 Olympics and Paralympics Organising Committee, Tony Estanguet, has made a visit to the Saint-Denis neighbourhood of the French capital as both parties agreed that the "co-construction" of the Games was important to its success.
During his visit to the area's sports facilities, Estanguet spoke in a media conference about the need for the organisers to adapt to the city for the Olympics.
"We are trying to see how the Games adapt to the challenges of the territory," he said, according to online publication actuSeine-St-Denis.
The media conference came after a tour of the city's sports facilities, including in Saint-Denis.
Saint-Denis Mayor Mathieu Hanotin insisted that the work done in the region would focus on not impacting the communities around it as much as they could.
"We want to do the maximum to limit the impacts," he said.
"The projects are not easy at the moment, but they will bring positive things for the city."
Projects in the area include the Saint-Denis Pleyel interchange railway station and the Marville Aquatics Centre.
En prévision du CM exceptionnel de ce soir dédié aux JOP, le pdt de @Paris2024, @TonyEstanguet, est en visite avec @MathieuHanotin et l'élu aux JOP @S_ElKhalfaoui sur notre territoire, notamment dans les équipements sportifs qui seront rénovés d'ici les Jeux.
? Yann MAMBERT pic.twitter.com/NdlJ0k0afb
— Ville de Saint-Denis (@VilleSaintDenis) May 11, 2021
The Municipal Council is also looking for projects "which will allow the sports movement to forge partnerships with other forces of the associative movement, schools and public services of the territory."
The "Impacts 2024" projects will be supported by the Paris 2024 endowment fund.
Part of the Municipal Council, Anne-Clair Mialot, said its objectives were to mobilise employment, develop sports practices and mobilise the "spirit of the Olympic Games."
The opposition to the Olympics have said that nothing is "concrete" in these reports.
"What we hold in our hands remains an intention list," said city councillor Jaklin Pavilla.
Former Mayor of Saint-Denis Laurent Russier said "there is still a long way to go."
The OJ Vigilance Committee, who oppose the construction of the A86 interchange, continued to show opposition to the Games and the building of venues in Saint-Denis, citing "environmental, social and democratic problems."
April 2021: Paris 2024 signs Cisco as third official partner of Olympics and Paralympics
April 2021: Paris 2024 examining ticketing models for Olympic and Paralympic Games
March 2021: Paris 2024 President Estanguet says Seine in the frame as Opening Ceremony sites are discussed
March 2021: Drut criticises Paris 2024 President and chief executive for delivering progress reports in English
February 2021: Paris 2024 support fifth Olympic and Paralympic week with digital content
Michael Houston Reporter
Follow @mick_demarco
Michael Houston is a reporter at insidethegames.biz. He has worked at several major events, including the cycling at the Glasgow 2014 Commonwealth Games. He also has experience working for the World Curling Federation and British Athletics.
Follow @mick_demarco on Twitter
Paris 2024 Tony Estanguet Saint-Denis Olympics


text:
Jon Bon Jovi >
Jon Bon Jovi never doubted Bon Jovi's future
By Clive King on 13 October 2016
Follow Jon Bon Jovi
Jon Bon Jovi has never had any doubt there would be a comeback album for his namesake band Bon Jovi.
Jon Bon Jovi has never had any doubt there would be a comeback album.
The 54-year-old rock musician ahs admitted he knew Bon Jovi would release more songs, despite leaving fans waiting for three years to unveil their latest LP 'This House Is Not For Sale'.
Speaking exclusively to BANG Showbiz, Jon - who is joined by Tico Torres and David Bryan in the 'Bad Medicine' group - said: ''Fortunately I've been blessed to be prolific enough that I can spit burning bridges out in a couple of weeks and then we made this record.''
Although the group's guitarist Richie Sambora decided to opt out of the 'Because We Can' tour in April 2013, which he put done to ''personal issues'', the band's lead singer has revealed he doesn't hold any ''ill will'' towards the former band member.
He explained: ''Sure. It is sad for everybody but to continue to have to reiterate being in a rock band is not a life sentence. One day he chose to take a different path and there is no ill will. There was never a fight, it was never money. There was never any of that stuff. He just didn't show up for work.''
'This House Is Not For Sale' is set to be release on October 21.
Jon Bon Jovi happy with career rollercoaster
Jon Bon Jovi has 'evolved' into new lyrics
Jon Bon Jovi reveals why he quit acting: 'I have a day job!'
Jon Bon Jovi shares his secret to a lasting marriage
Jon Bon Jovi finds pandemic-hit New York City 'surreal'
Jon Bon Jovi: I'm happy being the 'poster boy' for married rock stars
Jon Bon Jovi makes a surprise appearance at a Florida kindergarten
Jon Bon Jovi Pulls Out Of Pittsburgh Gig Because Of Cold
Watch Jon Bon Jovi Join A Wedding Band On-Stage To Sing 'Livin' On A Prayer'
Jon Bon Jovi Invites Cancer Patient Out For Dinner In Surprise Meet And Greet
Jon Bon Jovi Pays Tribute To Tragic Teen
Bon Jovi Splits From Record Label After 32 Years
Jon Bon Jovi Finds New Venue For Vancouver Show
New Year's Eve Movie Review
The team that made the thin-but-enjoyable Valentine's Day in 2010 reunites for another massively overextended...
New Year's Eve Trailer
On New Year's Eve, there is no better place to be than New York. All...
U-571 Movie Review
It's finally time to reassess the submarine movie to see if it's outlived its useful...
Pay It Forward Movie Review
The very idea behind Pay It Forward -- that when someone does an enormous good...
Cry_wolf Movie Review
AOL Instant Messenger has denied me the following screennames on the basis that someone else...


text:
'use strict';

// Declare app level module which depends on views, and components
var quizApp = angular.module('quizApp', [
  'ngRoute',
  'phonecatAnimations',
  'quizControllers'
]);

quizApp.config(['$routeProvider',
  function($routeProvider) {
    $routeProvider.
        when('/view1', {
          templateUrl: 'partials/view1.html',
          controller: 'QuizCtrl'

        }).
        when('/view2', {
          templateUrl: 'partials/view2.html',
          controller: 'QuizCtrl2'
        }).
        when('/etusivu', {
            templateUrl: 'partials/etusivu.html',
            controller: 'QuizCtrl'
        }).
        otherwise({
          redirectTo: '/etusivu'
        });
  }]);


text:
Home»Archives»World»Iraq
Iraq Hopeful as It Takes Back Ramadi From ISIS
By Jeanette Smith on January 4, 2016 Headlines, Iraq, ISIS, World
In Ramadi, Iraq, calm was beginning to move throughout the city, and residents were hopeful that they were almost free from the terrors of ISIS. After so much war, however, the city is filled with land mines and other explosives. Brigadier General Ahmed al-Belawi reported that technicians are disabling and removing improvised explosive devices (IEDs) from all […]
Islamic State Leader Abu Bakr al-Baghdadi Could Be Alive and Hiding in Syria
By Shepherd Mutsvara on October 14, 2015 Headlines, Iraq, ISIS, Syria, World
The Islamic State (IS) leader, Abu Bakr al-Baghdadi, whose convoy was reportedly hit by airstrikes near the Syrian border with Iraq on Oct. 11, 2015, could be alive and hiding in Syria. Emerging news reports suggest that the reclusive leader of the terrorist group was not part of the entourage that took a hit from […]
Car Bombings Kill 19, Injure 52 in Baghdad
By Alex Lemieux on July 21, 2015 Breaking News!, Iraq, World
Late on Tuesday evening, two car bombs were set off in separate areas of Baghdad, Iraq, killing at least 19 people and wounding scores more, according to local police spokesman. The areas in which the car bombs struck were predominately Shiite areas of the city. The Shiite people in Iraq and surrounding areas have been […]


text:
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Michelle West
Vote for SF Site's Readers' Choice Awards for 2008
Traditionally, the arrival of the new year is a time to look ahead, and make plans for the future. But it's also a time to look back and reflect on the year we've just completed. And at the SF Site, it's traditional to review the past year's worth of reading and to vote on what you considered to be the best of it. This is your chance to have your say. The same rules apply as in previous SF Site Readers' Choice Awards: if you read it, you liked it, and you want to vote for it, go nuts. If you've forgotten what you chose in previous years, you can find them all linked at Best Read of the Year including The Name of the Wind by Patrick Rothfuss which was the top choice last year.
Steampunk edited by Ann and Jeff VanderMeer
reviewed by Paul Graham Raven
"What is steampunk?" asks the jacket blurb header, and it's a reasonable question that has kept plenty of fans and pundits busy since the style's recent renaissance. Like any other genre definition, it's going to be contentious (has anyone actually settled on a satisfactory definition of science fiction itself yet?); personal taste is always going to come into play when deciding what is canon and what is not. While plainly setting out to answer the question from the informed perspective of the editors, this anthology is also a trifle schizoid in that it's not entirely clear who they're trying to answer the question for.
The Best of Michael Swanwick by Michael Swanwick
reviewed by Greg L. Johnson
By its title, one could intepret this to be a collection of bright spots out of three decades of writing. But the worth of these stories has already been judged. Out of the twenty-one stories in the collection, there's a Theodore Sturgeon Award winner, a World Fantasy Award winner, and five, count 'em, five, Hugo Award winners. The Best of Michael Swanwick is, on its own terms, a pretty convincing argument that when it come to short fiction, the best of Michael Swanwick is synonymous with the best in the field.
Agent to the Stars by John Scalzi
reviewed by Michael M Jones
The good news: There's intelligent life out there, and they've come to Earth to meet us. They're friendly, and eager to get to know us. The bad news: They resemble gelatinous cubes, and communicate amongst themselves by means of odor. In short, they're ugly and smelly. And they've familiarized themselves with our popular culture, and let's face it, the "good" aliens never look like ambulatory Jell-O or smell like wet dog farts in summer.
The Ant King and Other Stories by Benjamin Rosenbaum
reviewed by Paul Kincaid
Surrealism is a literary mode that looks like an easy option, but if it is done well, it is far from easy. The most obvious characteristic of surrealism is the absurdist leap from one moment to the next as if it forms a perfectly coherent connection. Yet this does not mean that you can simply throw in any weird idea at any time and hope to get away with it. Because at the end of the day the story has got to convince us that it really is coherent or we won't recognise it as a way of subverting our notions of the real, but simply think it is stupid. The line between using the absurd and looking silly is very fine indeed.
Star Trek TNG: Mere Mortals by David Mack
As the Borg continue their relentless, unstoppable assault upon the Alpha Quadrant, the Federation and its allies examine every possible solution in the hopes of preventing an otherwise-inevitable extinction. Entire worlds are dying, and the clock is ticking, while Starfleet's finest ships desperately pursue various avenue. The U.S.S. Enterprise, as usual, is at the forefront of the action, with Captain Picard determined to hold the line against the invading Borg.
The Ghost in Love by Jonathan Carroll
an audiobook review by Nicki Gerlach
Ben Gould is a young man who falls and hits his head on the ice, and is supposed to die, but doesn't. Ben's ghost -- who is supposed to help Ben transition into the afterlife, and clean up any of his unfinished business -- is therefore somewhat stranded, and the Angel of Death isn't being particularly helpful; he tells the ghost just to hang out until they can figure out the "glitch" that resulted in Ben's non-death.
Star Wars: Millennium Falcon by James Luceno
an audiobook review by Sarah Trowbridge
In the Star Wars universe, there is no vessel more famous and revered than the Millennium Falcon. Yet how much do we really know about the circumstances that led to her pivotal role in the greatest conflict in the history of that long-ago, far-away galaxy? In Star Wars: Millennium Falcon, that story is finally told.
A Princess of Mars by Edgar Rice Burroughs
an audiobook review by Ivy Reisner
Edgar Rice Burroughs wrote his first novel, A Princess of Mars, in 1911, publishing it in All-Story magazine as a serialized novel between February and July of 1912. This was 14 years before Hugo Gernsback founded the first science fiction magazine, Amazing Stories, and coined the term "scientificion," which was later changed to "science fiction." Science fiction, as a recognized publishing genre, was not established while Burroughs was writing his earlier novels.
Academ's Fury by Jim Butcher
an audiobook review by Gil T. Wilson
Picking up two years after the events in the book, Furies of Calderon, our hero, Tavi,�lacks the ability�to control the furies, making him a "freak" in Alera. Studying to become a cursor, or messenger, for the First Lord (Emperor) of Alera, Tavi learns the job�also requires�becoming a spy and a warrior.� As his studies�near their end, a new danger comes to the capitol of Alera, where the First Lord resides and where the home of the academy Tavi is attending is located.
Flood by Stephen Baxter
reviewed by Jonathan McCalmont
The book spans 32 years in the lives of a group of people initially thrown together as hostages in a near-future Spain that has collapsed into sectarian civil war. When the group emerge from their basement, they find a world experiencing dramatic rises in ocean levels. Before long, members of the group are witnessing the flooding of London and the shattering of New York's glass skyscrapers by a hurricane that fills the air with broken glass, instantly rending apart all those unlucky enough to be caught outside.
Wanderlust by Ann Aguirre
Following a series of dramatic events which started with the destruction of a passenger ship and ended with the downfall of the corrupt Farwan Corporation, grimspace jumper Sirantha Jax is out of a job, broke, and infamous. When the interplanetary government known as the Conglomerate offers Jax the opportunity to lead a diplomatic mission to the planet Ithiss-Tor, she's smart enough to recognize it for the type of request that it is.
Incandescence by Greg Egan
reviewed by Rich Horton
Greg Egan's first novel in several years is as dizzying a piece of speculation as we have come to expect from him. But, like several of his novels, it doesn't fully connect at a human level, and for that matter the speculation -- dizzying as it is, and quite fascinating -- isn't as thematically profound as in his best stories. Though that's not quite fair...
The Mammoth Book of Best New Horror Volume 19 edited by Stephen Jones
reviewed by Mario Guslandi
Enhanced by the usual list of genre books and movies from the previous season, news, obituaries and addresses of interest to horror fans, here's the annual collection of the allegedly best horror stories published during the year. For the nineteenth volume in The Mammoth Book of Best New Horror series, editor Stephen Jones has assembled twenty-six stories penned by a number of distinguished genre writers.
Couch by Benjamin Parzybok
reviewed by John Enzinas
There is a set of stories best described as "guy stories," a category that contains such notable tales as Easy Rider, City Slickers and Deliverance. In such a story a group of young males decide to set them selves to some inconsequential task. The journey is filled with adversity, strife, joy and tragedy as the men struggle to finish their quest. In the end the characters discover who they really are. This is one of these stories.
Kaleidotrope, Issue 5, October 2008
This issue features a wide selection of stories -- generally quite a few short-shorts but this issue has a larger proportion of longer stories. There was less nonfiction this time but there is the quite amusing horoscope column and the contributors' bios. Add quite a few poems, and lots of artwork, and this remains a varied and interesting publication.
a column by Rick Klaw and Mark London Williams
As Mark London Williams so elegantly announced last time, the Nexus Graphica brain trust have compiled our very own top ten graphic novel or comics-related publications lists of 2008. Mark began this shindig, so it falls to Rick Klaw to introduce the final five selections. Even with the economy crashing down around them, publishers produced enough excellent books for each of them to create diverse lists. Outside of their three identical selections, Mark and Rick managed to generate unique groups of astounding quality.
compiled by Neil Walsh
Happy new year, and welcome to the new and forthcoming books of 2009! Some of the highlights this time are the latest from Peter F. Hamilton, Ian McDonald, Kelley Armstrong, John Meaney, Catherynne M. Valente, James Morrow, plus revisited classics from Ray Bradbury, Michael Moorcock, and plenty more.
Babylon 5.1
TV reviews by Rick Norwood
Rick has some conclusions on how the first half went now that we measure out our television in half seasons. He also gives us a list of what SF is on TV in January and a hint of what February has to offer.
Son of Man by Robert Silverberg
reviewed by Matthew Hughes
This is the story of Clay, a man of our time who is inexplicably thrust far, far, far into Earth's future, to an era when not only is our civilization forgotten, but our whole species is no longer even a memory. Humankind has moved on, several times, creating new species. Clay travels across a dreamlike landscape in company with a handful of the Skimmers who are one variant of the latter-day "sons of men" where he meets other iterations of the human meme, like a pink sphere inside a shining cube of a cage and the regressed and grotty Goat-men; he becomes other kinds of human: he is himself a Skimmer for a while, as a female as well as a male; he becomes a squid-like Breather and then spends a timeless period as an Awaiter, a sapient carrot stuck in the earth, and more.
If you find any errors, typos or other stuff worth mentioning, please send it to editor@sfsite.com.
Copyright © 1996-2014 SF Site All Rights Reserved Worldwide


text:
Ferdinand Fritz (* 17. März 1877 in Stuttgart; † nach 1950) war ein deutscher Politiker (LDP(D)). Er war Landtagsabgeordneter in Sachsen-Anhalt.

Leben
Fritz studierte nach dem Abitur erfolgreich Literatur, Kunstgeschichte, Volkswirtschaft und Politik. Zur Zeit der Weimarer Republik gehörte er der Deutschen Demokratischen Partei an und war als Journalist sowie als Verlagsdirektor tätig; diese Stellung verlor er nach der  Machtergreifung der Nationalsozialisten. 1945 initiierte er in Weißenfels die Gründung der LDP und gehörte dem der Landesleitung an. 1946 wurde er bei der Landtagswahl in der Provinz Sachsen  in den Landtag gewählt. Parallel dazu gehörte er der Stadtverordnetenversammlung von Weißenfels an; außerdem wurde er 1947 zum stellvertretenden Bürgermeister der Stadt gewählt. Am 1. April 1950 legte er sein Landtagsmandat nieder.

Literatur

Landtagsabgeordneter (Sachsen-Anhalt 1946–1952)
DDP-Mitglied
LDPD-Mitglied
Deutscher
Geboren 1877
Gestorben im 20. Jahrhundert
Kommunalpolitiker (Sachsen-Anhalt)
Mann

redpajama_set_name: RedPajamaWikipedia


text:
SCAdians Crash Archeon's Viking Week
Posted by aethgazette in Arts & Sciences, Camping, Costuming, Fiber Arts
living history, museum, reenactment, tablet weaving, Viking
By Elska a Fjarfelli, OL
Archeon is an open-air living history museum in the Netherlands that hosts a yearly Viking reenactment event, supplementing with re-enactors for additional staff.
I've had my eye on this Dutch Viking Week for a few years now, and finally this was the year we could combine a visit to family with a visit to the reenacting event. My sister has attended and vended at this weekend for many years — apparently, she'd waited until we emigrated to the United States before doing the cool stuff. Or perhaps this interest in our early history is from a more recent mindset.
Neither Hrolfr nor I recall any of these events when we still lived there; it wasn't until we moved to Florida that we encountered our first medieval faire. (And boy, did we like it!) Upon checking, I learned that Archeon is only 25 years old, and since we emigrated 20 years ago I believe the Viking Weekend and similar events really are from after our time.
Arial shot from Archeon, showing the scale of the open-air museum. We were camped in between the two white & red Roman buildings out back.
According to the Archeon website:
"Archeon facilitates the meeting between a diverse audience and the history of the Netherlands in an informative and interactive way. The aim is of providing a nice, fun and above all instructive experience in an as authentic as possible (pre-) historical environment. Archeon manages and presents authentic reconstructions of 43 buildings, several monuments and tools based on archaeological excavations from the Mesolithic (6,000 BC) to the Middle Ages (1,350 AD), to ensure the material and intangible heritage of the Netherlands now and in the future. Expansion of existing knowledge is guaranteed through research and experimental archeology. (pre) Historically dressed Archeo-tolks translate the past into the present in an interactive way, with the primary goals of education and historical fun."
Hrolfr talking with a Bronze Age interpreter weaving on a warp-weighted loom. She lamented the fact that at her point in time broken diamond twill had not been invented yet, so she was stuck creating plain weave. Each interpreter wore a tunic made of hand-spun hand-woven fabric in natural brown wool, which looked awesome.
Each year, the Viking Week is set up smack in the middle of all these exhibits, infiltrating most of the open spaces of the Early Iron Age, the Roman Era, and the Middle Ages.
During the Viking Week, the regular living history interpreters are present and accounted for, as well as a dozen or so groups of Viking households. The Vikings are expected to adhere to the living history mission of Archeon, and each Viking re-enactor is expected to add, in some way or another, to the overall experience of the paying guest. Because, lest we forget, this is a museum, not an event and its aim is for happy guests, not happy re-enactors. No matter how much fun it is to dress up and talk Viking, it is done so in a job situation and everyone is on the job from 10 am to 5 pm.
Obviously, since we were flying in, we had to bring in our garb by plane and chose not to bring our best outfits as I was worried they would get damaged or lost. My sister had asked permission for us to be part of her business, explaining the situation, and we had been given some leeway regarding clothes, especially shoes.
We were given a 12-page document on what a re-enactor can and can not do to ensure an immersive experience for the guests.
Vikings invading a 1350's medieval town.
I asked my sister beforehand how period-correct the outfits needed to be. Good enough for Ice Dragon? Or enough to pass at Pennsic? Guess I should not have worried so much.
For instance, starting re-enactors may wear wood clogs at their first (but only their first) event. After that, they are expected to buy historically accurate shoes. But many of the shoes worn by experienced re-enactors were not actually period-correct; they were fantasy Ren-Faire shoes, in natural leather! Fabric seam treatments and minor embroidery was fine although not used nearly as often as in a SCAdian context. And as long as it looked like a tunic or an apron dress, it was fine. What I did notice was that the fabrics used were much nicer than I am used to and there was a LOT of diamond twill… what was up with that?
A sea of diamond twill, it was really hard to contain myself…
Turns out most of the participants get their fabric from the same vendor, who was at Archeon as well. My sister and I went to visit him as it was my goal to bring back a suitcase of fabric this trip. Unfortunately, his fabrics averaged €25 per meter. We had a nice chat, answered many questions about the American SCA, and shared some resources.
What I found noteworthy was that this vendor, who heavily influences the look of the Viking re-enactors he encounters and had much to say about how period-correct his inventory was, based his information on a bibliography barely worthy of Fleur-level research. His customers took him at his word, and were not enticed or even expected to do their own research.
This is something I found across the board with this type of living history re-enactment: the re-enactors would look to the people in charge for what to do and what to use. Research was not encouraged — I mean, anyone could research whatever they wanted, but if it did not adhere to the accepted view (the 12-page book) then it could not be displayed at events. The result of this was that most of the re-enactors looked very similar to each other, and that a number of outfits were based on outdated research. The abundance of solid diamond twill fabric available and the enthusiastic recommendation of the vendor had resulted in an over-abundance of the population walking around in this, in-period but quite scarce fabric type. Nearly all of the diamond twill was two-tone to boot — and the re-enactors could clearly afford to buy it. Apparently, European re-enacting is for the well-to-do.
A German family selling beads and stuff – a way to engage his kids during the "long, boring week" and help them earn Star Wars Lego. At one point, the father did this professionally; now, it is more of a keep-the-kids-busy endeavor.
Curiously, it was the vendors who played with researching objects and techniques. Some vendors, like the fabric vendor, are professionals who travel the circuit. Others would play a merchant for the weekend (maybe that's how they afforded the garb). This undoubtedly comes from the request that re-enactors have a role to play during the week and many choose the role of merchant. This request is part of the jurying process: the more you have to bring to the event, the more likely you are invited to participate and invited to return.
There were also those demonstrating skills and doing chores; I loved the teenager showing off his dozen built-from-scratch pitch-glued wood arrows, his father whittling small wood saga figures, and camp mates cooking lunch for their Households. During opening hours, visitors could and would ask anything and everything from any person in garb, and each Viking and otherwise was expected to engage positively and deliver some sort of historical spiel pertaining their chore, craft, or wares. The wares for sale were of an odd dichotomy — partially geared towards fellow re-enactors and often of high quality and historical replication, and partially towards tourists.
Viking carving demo.
Something I found a bit disappointing was that there was not much mingling between the groups and households. It seemed like the re-enactors came to the event to play with their household, instead of coming as a household to play at the event. I can see how less out-going personalities would easily get lost without a household, if they would even get into the event.
There was not much socialization even during the communal breakfasts. I had hopes for the communal Saturday dinner (not a feast, it was catered) but instead of the "mandatory" socialization after-dinner can become, the organizers hosted a trivia contest. This was fun in its own way, but by the time it was over I was ready for bed. Of course, me being me, I did get to know some people as it turned out the wife of the fabric vendor did early medieval Baltic, which I surprised her with by recognizing, and the two of use had a great time talking costume after that. Hrolfr had a similar experience — he struck a chord with another lady and the two of them had some great talks about weaving during the weekend.
Hrolfr doing his tablet weaving demo and chatting about weaving. He hooked the warp between the A-frame and his belt, which worked very well.
When I brought up this almost-surly attitude to my sister, she admitted that she was considering starting her own household for the company although she did not find the attitude all that unusual. Since most of the re-enactors were from all over the place, mostly Eastern Europe with some Belgians and Germans mixed in, I could not really lay blame to my Dutch culture. English was not even the common language between many households; often, it was German.
And then it dawned on me: I had gotten used to how easily Americans associate! I am Americanizing. It only took 20 years.
Simon freezing in the Roman Bath, with potted olive trees and some random Vikings in the background.
When asked, the single thing our 10-year-old liked the most was the playground. And let me tell you, the Dutch know how to do playgrounds. It was made of wood, it was huge, it was tall, and had many daring opportunities. I took a look and thought, that does not look safe at all… but then tried to channel my Dutch mom and walked away. He had the best time of his life and had ample playing opportunities with kids speaking many languages, some wearing garb, many not. But since I never thought of taking a picture of the playground while at an open-air museum, I asked him what his second favorite was. And those were the Roman Baths. Where he was allowed to swim, after hours and without a lifeguard. He loved the ambiance, and the responsibility. Only wished it was a little warmer…
The Baltic outfit. That shawl alone was to die for… She commissioned the shawl from an experienced weaver who took three months of weaving eight hours a day to make it. Each wire circlet and tube is woven in one by one.
Did we like the event? Absolutely! And it also made me appreciate the uniqueness of what makes the SCA so valuable. Not only is it much more inclusive — to the less well-off, to the less social — it also actively encourages independent study of the Middle Ages, often resulting in academic-level experimental archaeology.
Vice versa, the SCA could take some pointers from re-enacting and aspire to raise the bar at least a little bit. This visit showed me that there definitely are cultural and social differences between Americans and Europeans, let alone between period-specific re-enactors and the SCA. The Viking period-correct (-ish) camps, populated by Vikings — sans eye glasses, cell phones, and sneakers — doing Viking-y things was quite the immersive experience. It makes some adjustments very much worth it and I am totally ready for more.
What's up next? How about two weeks as a Viking interpreter at Birka, Sweden… one can dream, right?
After-hours sharing of stories around the fire with family (with Roman graffiti in the background).
To read more of Elska's writing, see her blog here.


Students will also be provided with a link to download all the slides used in the Keynote in PDF format. This will simplify note taking for some students.
Late comers are always welcome and stay as long as your schedule permits. Please don't feel obligated to stay the whole two hours. We know your Saturday hours are valuable.
A food or beverage purchase is not required. Please consider purchasing a beverage. They serve coffee, tea, Coke products and various juices. They are providing table service and will have a large room to cleanup after we leave.
Do You Want to Continue the Learning After the Class and Get All Your Questions Answered?
Join fellow students and FCCP photographers for an enjoyable lunch at O'Keefe's Family Restaurant. O'Keefe's is where many of the locals gather. It's definelty a local's place and the prices reflect it. No purchase is required to join the discussion at O'Keefe's following our Beginning Macro Photography Class.
What FCCP Members are saying about our FREE classes.


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Police expect arrests soon in Saturday shooting
Teens involved in two instances of shots fired
Diane Turbyfill
dturbyfill@shelbystar.com
Investigators believe two juveniles are responsible for a shooting in a Shelby grocery store parking lot Saturday night.
No arrests have been made yet, but police believe two local teens are to blame, according to Capt. Steve Seate with the Shelby Police Department.
Officers think an argument that began at the Cleveland County Fair spilled over to the parking lot of Food Lion at 122 S. Post Road around 11 p.m. The root of the argument is still under investigation.
Shots were fired during the scuffle, and three people suffered non-life-threatening injuries, one of whom was a juvenile, Seate said.
All three were taken to Carolinas HealthCare System Cleveland and later released.
Some of those involved were local and others from South Carolina, according to Seate.
Saturday marked the second time in four days where young people were involved when guns were fired in Cleveland County.
Wednesday night, two teens and a 22 year old were arguing on the campus of Gardner-Webb University when shots rang out.
No one was injured, but the campus was put on lock down until three arrests were made.
In the wake of two close calls locally, and the devastating mass shooting in Las Vegas Sunday night, police urge people go make smart choices.
In regards to juveniles with weapons, Seate says he encourages young people to consider the consequences of their actions.
"You can end up in prison, and you can end someone's life," he said. "Poor choices can lead to life-altering consequences."
Diane Turbyfill can be reached at 704-669-3334 and Twitter.com/ShelbyStarDiane.


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Mefisto - Mefisto
Originally formed in 1984 in Stockholm, Mefisto were forerunners of the early Swedish death metal scene. Following hot on the heels of Bathory, Mefisto influenced a whole generation of extreme Scandinavian metal bands. Mefisto released two cassette only demo tapes; "Megalomania" in May 1986, and "The Puzzle" in November 1986. However, after these two releases, Mefisto disbanded in 1987. The band has since gained cult status all over the world, being acknowledged as one of the main originators of the Swedish, (especially the Stockholm) death metal scene. After being shrouded in mystery for over 12 years in 1999 the two demo tapes were released again, now for the first time on CD as a compilation under the title "The Truth". The demand for the demo tapes has always been there, so in 2015 the demos was once again released as a CD and for the first time on vinyl entitled "The Megalomania Puzzle".Now in 2017, 30 years after the demise, Mefisto are back with a brand new album, this will at last place Mefisto at the heart of the scene that they helped to create. Underground and uncompromising, expect an album consisting of dark atmospheric brutality. Back to the roots of true Death Metal.
Limited QTY of the Vinyl in LILAC and in RED! Nice embossed Gatefold Cover on the vinyl.


by Amy Gorecki, OCT and Eve Dufour, M.Ed.
"Resilience (from the Latin resilire: "to bounce back") refers to the capacity to return to good mental health after challenging and difficult situations. Some researchers define it as the return to normal (or better than normal) functioning after exposure to a high-risk experience (such as abuse, trauma or the death of a parent) or environment (such as poverty, systemic discrimination or a "bad neighbourhood"). Resilience allows individuals to manage difficult episodes or chronic challenges in their lives." (Hurlington, 2010).
It is particularly important for youth with learning disabilities (LDs) to develop resilience to help them deal with the many challenges they encounter, often setting them apart from their peers and family members. Youth with LDs with great resilience are more likely to succeed, as they have the ability to bounce back when confronted with challenges or adversity.
Help your child succeed outside of the classroom to build their confidence. Encourage them to participate in activities they enjoy and are good at (e.g. sports, arts, cooking, etc.).
Encourage your child to set and achieve realistic goals based on their strengths. Setting achievable challenges can be quite motivational!
Involve your child and allow them to see you advocating for their learning needs so they can learn to self-advocate as they mature.
Use mistakes as learning opportunities. Everyone makes mistakes and rather than feeling ashamed, ask your child what they can learn from their mistakes and what they can do differently next time (The Integra Resource Centre, 2004).
Help your child manage stress (Tough, 2012). Identify stressors in your child's life, and more importantly, identify how they can return to a state of calm (e.g. drawing, exercising, singing, etc.) (Shanker, 2016).
Help your child develop positive relationships with others. Having friends, a positive role model, and a supportive family can help children become more independent.
Stay positive – focusing on the positive is extremely important and teaching children to develop a positive perspective, even when things are tough, can help them deal with difficult situations in a more productive manner.
Hurlington, K. (2010). Bolstering resilience in students: Teachers as protective factors. What Works? Research into Practice. Toronto: Ontario Ministry of Education.
Shanker, S. (2016). Self-Reg: How to Help Your Child (And You) Break the Stress Cycle and Successfully Engage With Life. Penguin Canada.
Tough, P. (2012). How Children Succeed: Grit, Curiosity, and the Hidden Power of Character. Houghton Mifflin Harcourt.


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Bishop-elect Pedregosa ordination, installation set
Bishop-elect Noel Pedregosa of Malaybalay. DIOCESE OF MALAYBALAY
By CBCP News
Monsignor Noel Pedregosa, who was appointed by Pope Francis to serve as the new bishop of Malaybalay, will officially assume his new role on September 14.
Bishop-elect Pedregosa, 56, will be ordained and installed as bishop in a Mass at 9:00 a.m. at the San Isidro Labrador Cathedral.
The schedule was announced Friday during the last day of the bishops' 122nd online plenary assembly.
Pedregosa is currently the Rector of the cathedral. He has also been serving as the administrator of the diocese, which has been vacant since August 2020.
His appointment as bishop was announced by the Vatican on June 29.
The celebration will take place in accord with social distancing rules that are in place in Malaybalay due to the Covid-19 pandemic.
The event will be livestreamed on the Facebook page of the diocese and the cathedral.
Pedregosa will be the fifth bishop Malaybalay, succeeding Archbishop Jose Cabantan of Cagayan de Oro.
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2 & 7 Queen's Gardens are located in a Victorian terrace, with shared gardens to the front, and private gardens and car parking to the rear. Queen's Gardens is parallel to Queen's Road and next to Queen's Cross, which is the heart of the west end of Aberdeen.The Business Centre is close to Union Street (Aberdeen's main shopping street) and the A90 (Anderson Drive), so Aberdeen Airport may be reached within 20 minutes. There is also a variety of shops, banks, hotels, and restaurants nearby.
Queen's Gardens exclusively occupies four townhouses each with four-storeys, comprising a mix of fully furnished private offices (ranging in size from 1 to 12 desks), reception, boardroom, meeting room, business lounge, kitchens and shower facilities. The private gardens have outdoor furniture, a smoking shelter and a secure bike rack.
Free private car parking is provided on site for clients and visitors. Reserved spaces and secure garages may also be available.


Fill out a Gas Service Request on our site, or give us a call and we will get the process started for you. Want to reach us by phone? Contact Us here.
If your location is able to be served we will submit your paperwork to construction for field verification.
Your packet will include the application for membership as well as all other necessary paperwork to complete the application process. Also included are a summary of all service line regulations and certified service line installers. Have more questions? Check out our Frequently Asked Questions.
Once your membership packet has been completed and returned with your payment, and you have notified us that your service line has been installed, the next step is to call in to schedule your tap & tie in. To find a certified contractor in your area, click here.
Following Tap & Tie In, call in to the office to schedule a turn on, during your scheduled turn on, someone must be present in the residence to light an appliance; we do not enter the home. Once complete you will be ready to enjoy the benefits of natural gas.


Earlier this month, I was asked by my friends at WoolOvers to talk a bit about what life is like on my farm. You can find my interview here.
I was also given three items to style myself. Find some of those looks below!


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Literature: Reviews of Frankenstein
Critical reviews and public responses to works of art were as important in Mary Godwin Shelley's time as they are now. Frankenstein, written and published anonymously in 1818, received thorough critical coverage.
The following are excerpts of reviews of the original version of Frankenstein published in prominent British literary magazines.
Blackwood's Edinburgh Magazine (20 March/1 April 1818), written by Walter Scott:
It is no slight merit in our eyes, that the tale, though wild in incident, is written in plain and forcible English, without exhibiting that mixture of hyperbolical Germanisms with which tales of wonder are usually told, as if it were necessary that the language should be as extravagant as the fiction. The ideas of the author are always clearly as well as forcibly expressed; and his descriptions of landscape have in them the choice requisites of truth, freshness, precision, and beauty.
The self-education of the monster, considering the slender opportunities of acquiring knowledge that he possessed, we have already noticed as improbable and overstrained.
...We should also be disposed...to question whether the monster, how tall, agile, and strong however, could have perpetrated so much mischief undiscovered, or passed through so many countries without being secured, either on account of his crimes, or for the benefit of some such speculator as Mr. Polito, who would have been happy to have added to his museum so curious a specimen of natural history.
Upon the whole, the work impresses us with a high idea of the author's original genius and happy power of expression. We shall be delighted to hear that he has aspired to the paullo majorica; and, in the meantime, congratulate our readers upon a novel which excites new reflections and untried sources of emotion. If Gray's definition of Paradise, to lie on a couch, namely, and read new novels, come anything near truth, no small praise is due to him, who, like the author of Frankenstein, has enlarged the sphere of that fascinating enjoyment.
The Quarterly Review, (January 1818):
It cannot be denied that this is nonsense—but it is nonsense decked out with circumstances and clothed in language highly terrific: it is, indeed,
'...a tale
Told by an idiot, full of sound and fury,
Signifying nothing—'
but still there is something tremendous in the unmeaning hollowness of its sound, and the vague obscurity of its images.
But when we have thus admitted that Frankenstein has passages which appall the mind and make the flesh creep, we have given it all the praise (if praise it can be called) which we dare to bestow. Our taste and our judgement alike revolt at this kind of writing, and the greater the ability with which it may be executed the worse it is—it inculcates no lesson of conduct, manners, or morality; it cannot mend, and will not even amuse its readers, unless their taste have been deplorably vitiated—it fatigues the feelings without interesting the understanding; it gratuitously harasses the sensations.
The author has powers, both of conception and language, which employed in a happier direction might, perhaps, (we speak dubiously,) give him a name among these whose writings amuse or amend their fellow-creatures; but we take the liberty of assuring him, and hope that he may be in a temper to listen to us, that the style which he has adopted in the present publication merely tends to defeat his own purpose, if he really had any other object in view than that of leaving the wearied reader, after a struggle between laughter and loathing, in doubt whether the head or the heart of the author be the most diseased.
The Belle Assemblée, or Bell's Court andFashionable Magazine (March 1818):
This is a very bold fiction; and, did not the author, in a short Preface, make a kind of apology, we should almost pronounce it to be impious. We hope, however, the writer had the moral in view which we are desirous of drawing from it, that the presumptive works of man must be frightful, vile, and horrible; ending only in discomfort and misery to himself.
But will all our readers understand this? Should not an author, who has a moral end in view, point out rather that application which may be more generally understood? We recommend, however, to our fair readers, who may peruse a work which, from its originality, excellence of language, and peculiar interest, is likely to be very popular, to draw from it that meaning which we have cited above...
This work, which we repeat, has, as well as originality, extreme interest to recommend it, and an easy, yet energetic style, is inscribed to Mr. Godwin; who, however he once embraced novel systems, is, we are credibly informed, happily converted to what he once styled ancient prejudices.
The Edinburgh Magazine and Literary Miscellany: A New Series of "The Scots Magazine" (March 1818):
Here is one of the productions of the modern school in its highest style of caricature and exaggeration. It is formed on the Godwinian manner, and has all the faults, but many likewise of the beauties of that model. In dark and gloomy views of nature and of man, bordering too closely on impiety,—in the most outrageous improbability,—in sacrificing every thing to effect,—it even goes beyond its great prototype; but in return, it possesses a similar power of fascination, something of the same mastery in harsh and savage delineations of passion, relieved in like manner by the gentler features of domestic and simple feelings.
There never was a wilder story imagined, yet, like most of the fictions of this age, it has an air of reality attached to it, by being connected with the favorite projects and passions of the times. The real events of the world* have, in our day, too, been of so wondrous and gigantic a kind,—the shiftings of the scenes in our stupendous drama have been so rapid and various, that Shakespeare himself, in his wildest flights, has been completely distanced by the eccentricities of actual existence...
Our appetite, we say, for every sort of wonder and vehement interest, has in this way become so desperately inflamed, that especially as the world around us has again settled into its old dull state of happiness and legitimacy, we can be satisfied with nothing in fiction that is not highly colored and exaggerated; we even like a story the better that it is disjointed and irregular, and our greatest inventors, accordingly, have been obliged to accommodate themselves to the taste of the age, more, we believe, than their own judgment can, at all times, have approved of...
We hope yet to have more productions, both from this author and his great model, Mr Godwin; but they would make a great improvement in their writings, if they would rather study the established order of nature as it appears, both in the world of matter and of mind, than continue to revolt our feelings by hazardous innovations in either of these departments.
The British Critic (April 1818):
...We are in doubt to what class we shall refer writings of this extravagant character; that they bear marks of considerable power, it is impossible to deny; but this power is so abused and perverted, that we should almost prefer imbecility; however much, of late years, we have been wearied and ennuied by the languid whispers of gentle sentimentality, they at least had the comfortable property of provoking no uneasy slumber; but we must protest against the waking dreams of horror excited by the unnatural stimulants of this later school; and we feel ourselves as much harassed, after rising from the perusal of these three spirit-wearing volumes, as if we had been over-dosed with laudanum, or hag-ridden by the night-mare.
We need scarcely say, that these volumes have neither principle, object, nor moral; the horror which abounds in them is too grotesque and bizarre ever to approach near the sublime, and when we did not hurry over the pages in disgust, we sometimes paused to laugh outright; and yet we suspect, that the diseased and wandering imagination, which has stepped out of all legitimate bounds, to frame these disjointed combinations and unnatural adventures, might be disciplined into something better...
The writer of it is, we understand, a female; this is an aggravation of that which is the prevailing fault of the novel; but if our authoress can forget the gentleness of her sex, it is no reason why we should; and we shall therefore dismiss the novel without further comment.
The Literary Panorama and National Register (1 June 1818):
This novel is a feeble imitation of one that was very popular in its day,—the St. Leon of Mr. Godwin. It exhibits many characteristics of the school whence it proceeds; and occasionally puts forth indications of talent; but we have been very much disappointed in the perusal of it, from our expectations having been raised too high beforehand by injudicious praises; and it exhibits a strong tendency towards materialism.
The main idea on which the story of Frankenstein rests, undoubtedly affords scope for the display of imagination and fancy, as well as knowledge of the human heart; and the anonymous author has not wholly neglected the opportunities which it presented to him: but the work seems to have been written in great haste, and on a very crude and ill-digested plan; and the detail is, in consequence, frequently filled with the most gross and obvious inconsistencies...
He does not pretend that he could endow it with faculties as well as life: and yet when it is about a year old we find it reading Werter, and Plutarch and Volney! The whole detail of the development of the creature's mind and faculties is full of these monstrous inconsistencies. After the creature leaves Frankenstein, on the night of its birth, it wanders for sometime in the woods, and then takes up its residence in a kind of shed adjoining to a cottage, where it remains for many months without the knowledge of the inhabitants; and learns to talk and read through a chink in the wall!
We have heard that this work is written by Mr. Shelley; but should be disposed to attribute it to even a less experienced writer than he is. In fact we have some idea that it is the production of a daughter of a celebrated living novelist.
*French Revolution, Industrial Revolution
Norton Critical Edition
Posted by Shannon
Labels: Frankenstein, Literature, Romanticism


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Ayuso-Mateos, Miret, Caballero, Olaya, Haro, Kowal, and Chatterji. "Multi-country evaluation of affective experience: validation of an abbreviated version of the day reconstruction method in seven countries." PloS one 8, no. 4 (2013): e61534.