Anyone one here currently (or previously) living in one of the on-campus student apartments? How long were you on the waiting list before they found a place for you? My application was submitted in May for a move-in date on or around January 1st. I'm not sure if I'll have a place in time, since I'm #46 on the list and have some specific preferences. I'm just curious how it worked out for others.
Gallery is nice...but has a waiting list, spent a year there and liked it. I had a sub-par experience to say the least with Goldmark (getting issued a noise violation for a noise complaint that I called in against my neighbors is just one example of their managerial brilliance), but they own a good chunk of the apartments in ol' GFK. You might try looking on UNDerground to see if anyone is looking for someone to take over a lease.
Thanks for the replies. I have been looking on UNDerground and posted an ad, so I'm hoping I'll find something. If you guys hear of anyone needing a roommate in the Spring, let me know.
I got on the list early May and got an apartment assigned in Mid-August. You should get something. My name was also 60ish on the list about a month prior to an offer. I'm going to move off-campus come January, so if you are still looking then let me know. You can get a two bedroom for 600 a month around here, which is pretty cheap.
That sounds great. If I still don't have a place when the time comes, I'd be very interested. Which apt. building are you in and how many bedrooms is it? Thanks!


text:
Pete Rose to speak in Lancaster County
Pete Rose, Major League Baseball's all-time hits leader, will speak during an event in Lancaster County in November.
Rose will be the keynote speaker at a benefit at Spooky Nook Sports, 2913 Spooky Nook Road, in Manheim.
The Thanks for Giving Benefit Luncheon to raise money for the Janus School will be 11 a.m. to 2 p.m. Nov. 24, according to a news release.
Get information about tickets, tables and sponsorships for the event.
Rose, who played for the Cincinnati Reds and Philadelphia Phillies, is the MLB's all-time leader in hits, games played, at-bats, singles and outs. He has been named the league MVP and won three World Series rings.
He was banned from Major League Baseball for life because of allegations he gambled on games while he was a player and manager.

redpajama_set_name: RedPajamaCommonCrawl


D: In terms of electricity and water, we are independent. Food we have to buy when we are docked. Of course if there is an emergency (god forbid) we would be dependent on the coast guards for help. The sailing community is a very close-knit one. Even if we don't know each other we always help each other out. We have never been let down by the solar panels and wind turbine for our power supply. If we notice the battery is getting low then we turn the radio down or don't charge the laptop for that day. Of course to a certain extent, humans are social animals and we all help each other, but dependency, no.
M: I mean more in terms of having friends' flats to fall back on if a bad storm arrives, as a lot of travellers really seem dependent on others' couches or cars?
D: No, not in that way, wherever we go we take our home with us. Financially this trip has sustained itself. I teach Yoga and organise retreats in the countries we travel to. Pablo is an accountant and got a job here in Malta so that he can work from anywhere with an internet connection. I also write for a newspaper magazine (about travelling/ parenting/ Yoga etc) so we are lucky in that we both found jobs we can take with us. We only dipped into our savings once, when we had to do some maintenance on the boat and stay in a hotel for a while.
We are quite "abnormal" in the sailing community, as I am the main sailor and we share the childcare and "breadwinning" duties. In most sailing families we have come across, the father is the sailor, the mother the carer of the children and they live from savings or have an income that allows them to sail. We live on a budget somewhere inbetween the 20-something sailing-on-a-shoestring types, and the luxury yacht retirees.
M: You set sail with Gael 3 months old, as a mother I can't help thinking about sleep issues and how do you do washing? And what if one of the kids gets sick at sea? What do you do then?
I've had students who never managed a winter in Malta on the boat, they all moved into flats, however you and your young family somehow managed it.
D: They have never been sick.
D: No. Neither of them. Maybe it's because they don't go to places where there are groups of children and germs thrive? Maybe it's because they spend a lot of times outdoors? I don't know. But so far, touch wood, it's not a challenge we have had. Potty training of course, has been messy, but that is the same for everyone. Sometimes we get into dock and just want to be off the boat. But there's the safety manoeuvres to sort and then we find someone has pooped in the corner and everything takes a little longer.
M: That's not so different to me trying to leave the house, however.
D: The older one has always been a good sleeper, the little one has co-slept for a longer time, but is gradually moving to his own bed.
Washing involves using a manual washing machine. It holds small loads and we use natural soap nuts. It is quite a work out turning the crank to wash but I enjoy that about it.
We are always super conscious of the battery and water, checking how much is left after a shower for example.
One tap has sea water one has tank water, usually we wash everything with sea water then rinse it with fresh water. I don't think I'll ever forget that, even the kids, when we are in a restaurant they turn the tap on and turn it off right away. I sort of like that that habit is ingrained in us, to be so conscious of our consumption, but on the other hand it's nice to be at a friend's house and be able to have a longer shower than usual.
M: What has been the greatest challenge so far?
D: This is one of the most often asked questions. People expect the answer to be storms and big waves. For me it is is not the seas, but my marriage. When you are out at sea alone with your husband, flaws are magnified, things I wouldn't see so much on land. A lack of attention to detail in a flat, or an 'oh I'll fix it tomorrow' kind-of attitude wouldn't be a problem, however on a boat it could cost us our lives. In that sense, grudges or sulks can't last long. It's quite a lesson in surrendering the ego and being humble, you have to make up quickly and get the job done, take back your own needs and work together as a team. On one hand it brings you closer, depending on each other for survival, but when tensions arise, having no girlfriends to vent with has been the most challenging part of the experience for me.
Friends are the main thing I have missed from life on land. If we were to do this again, I would want to get a bigger boat and share with a family or two, so the kids could have friends to play with, and each person's weaknesses would be balanced out by the group. We have tried to combat isolation by sailing with other families we have met, changing our sailing plans so that we can meet up etc. Men tend to be more silent creatures, and as I get older I realise how therapeutic and cathartic a good chat with a female friend is for my soul.
M: How do you think you will adjust to life on land?
D: It will be hard, very hard. From friends we have noticed no one ever really settles and adjusts back to life on land. There always seems to be a sense of saving and planning to sail and travel again.
We are very aware of our energy consumption here. Even if we go to a restaurant, the boys are hyper aware of using only the minimal amount of water to wash their hands. We check the battery and the water tank regularly, so long luxurious showers are not something we do. We have limited internet connection, something like Skype really eats away at the data. When the connection is lost, this is the time we play cards or read a book, so I am grateful for those times. If we were in a home with limitless broadband, we may well both be staring into screens with our evenings. However, I am looking forward to not having to think that way on land, always conscious of how much energy we are using, and being able to linger a little longer in the shower. But it has been a benefit to teach the kids this way. Of course, they also understand about different cultures, languages and they have become very close being with each other most of the time. We haven't had babysitters or daycare, I've started to homeschool Noah, this has meant we are a very close-knit family.
M: Homeschooling? How's that going?
D: This is the second most asked question. It's a challenge. It's hard to suddenly get your child's attention as a 'teacher', but with our lifestyle it is working well, I don't know whether at some point, if we are more settled we may put them in a school.
M: What about tethering the kids on deck? Have there been hairy moments?
D: Each kids' boat has it's own protocol. Ours is that when above deck and at sea, both children must be tethered at all times. When in dock, no. They have both fallen in twice each (no danger, we were there straight away), but it has made them both more aware of the danger. They are very agile and have great balance, coming from boat life. We took the older one for swimming lessons through the winter, he always hated the hassle of getting there and getting in. A few days in summer at the beach and he picked it up straight away.
They only complained on the last crossing from Crete. It was four days and the first 24 hours were stormy, 40 knot winds (manageable if experienced sailor), but worst was the waves, average 3m and some up to six – meaning sails hung in the water, just imagine being in a washing machine… They were below deck watching DVDs, the laptop was sliding off the bed and Noah said "Mummy maybe we should think about getting a flat?", but I think mostly it makes them more tolerant and open-minded. They are more in tune with natural cycles of wake and sleep also. I always think if parents are happy and relaxed, patient and calm, the children are happy. (M: It was after this Dini discovered the crossing may've felt extra rough as she was pregnant).
M: From news reports it may seem the Mediterranean is full of people smugglers, have you come across any migrants or migrant boats whilst sailing the med?
D: So far, touch wood, nothing. Well, when we were sailing across from Sicily in the middle of the night we were woken with another boat shining its flashlight on us so strongly we were blinded by them. I called out to it on the radio but there was no response. We later assumed they were coastguards checking we weren't smugglers but odd they didn't respond. They stayed there for about 2 minutes but it felt like forever. It does say in the sailing handbook that when crossing the med to watch out for unlit boats at night. We have discussed what we would do if we came across a boat of immigrants.
What would you say to another family or individual contemplating this lifestyle? One of minimalism and travelling?
D: There are really very few who would truly enjoy it. People think that sailing is this idyllic and carefree lifestyle, but to a large extent you are restricted by weather and seasons. Of course, the effects of global warming are noticeable, but the big weather changes remain.
We've seen some amazing places, some that you can only get to by boat. We've had some amazing shared memories, watching dolphins swim along side the boat, sunset cuddles and conversations with the children inspired by the things we have seen.
However, you REALLY need to be happy with the basics. Living with nature sounds very romantic but maybe it means you are tied down to one place for longer than you expected, that you want to go to bed but need to do the safety manoeuvre again, move the boat maybe, there are no big wardrobes or long showers. Something always breaks with so many systems on the boat. You need to do all the checks and be on top of every little thing. We learn so much from it but have also had to learn to switch off and cope, otherwise we'd go crazy with constant anxiety.


$16.77 per hour is how much workers in Saskatoon need to earn just to afford the basics of life. But why would a business pay more than the legislated minimum wage?
The Better Good's owner Laura Neufeld recently told Upstream of her experience as a Living Wage employer, and why there are concretely positive reasons for businesses to pay workers what they need to live.
Upstream: What is The Better Good all about?
Laura Neufeld: We are a small, locally owned shop, and we've been in Saskatoon since 2009. The store focuses on environmentally and socially sustainable products — things that are organic, fair trade, made from recycled reusable material, local things and handmade things. We also do a lot of community events. We host free yoga every Sunday for four months of the year, and we do a yard and home tour showcasing environmentally friendly yards and gardens. Another way we are involved in the community is by giving 10% of our profits back to local charitable organizations.
U: How did you find out about the Living Wage concept?
LN: Facebook! That's the quick answer, I was scrolling through Facebook feeds and saw some article about living wage. So I read this article and it was specifically about Vancouver and calculating its living wage. It was a comprehensive description of what living wage was, it had some examples of businesses that had switched to paying a living wage, and discussed how it was calculated for the city of Vancouver. It also listed the living wage for different large cities across Canada, and there was nothing in the article listed for Saskatchewan.
U: How did you come up with your figure?
LN: We did an average of what we were seeing from across the provinces. We settled at 18 dollars, but instead of calculating what we thought was a living wage we looked at our accounting from the year before. We looked at the ratio of what we were making as owners compared to what we are paying out in salaries to our staff.
We looked at our accounts and said, "there is about 15,000 dollars here that we feel like we could take from our own personal income and disperse it among our staff", and that ended up being 25% more than they were making. To us, higher on the list of priorities was having a fair and equitable business model, and having our employees' hourly wage closer to a living wage.
U: What changes have you seen in your employees since the change to a living wage?
"They want to be creative, they want to have a role in the business and have more invested in it"
LN: It's been about a year since we converted their wages into a living wage. There is definitely a feeling of comradery or family, an environment of mutual respect and having them really invested in the business, so it's not just a position that they go to and punch numbers. I think that they really feel valued as they are compensated quite well for the work they are doing and so all of them have stayed on as staff. It definitely benefits staff retention, not having to put time to hiring and training.
U: Have the demands on you changed since you implemented living wage?
LN: Absolutely. The employees have picked some tasks — they have strengths like any work place. One person is a little better at social media and likes writing blog posts. That was missing before and didn't happen at all. They want to be creative, they want to have a role in the business and have more invested in it and we have definitely seen that. I also have enjoyed more free time this year because the team is working harder and getting more efficient, getting more done then they might have before.
U: Did you know what the needs of your employees were before giving them a living wage?
LN: I felt like I knew their needs because I know them, but we did ask them "what living wage means to you," and "what would you do with the added 25% income?". One woman is super excited about growing her own business. She wasn't able to do this before as she was a single mother and did not have an ideal day care situation.
Again, the other benefit is healthier staff, and not just in terms of their bodies, but also healthier in terms of paying for good child care that is close to their home. They are not late coming into work, because they didn't have to drive to a really cheap day care across town. It just means that they have a much comfortable life and they are happier. It's like their whole self is being cared for, and that impacts us for sure. Everyday living stress is absolutely going to impact the work environment and the business and how they relate to customers.
"If you can't afford to pay your employees a living wage are you really a viable business?"
U: Would it impact your business to be branded as a Living Wage employer?
LN: Absolutely, I think it is exciting! I know many of the businesses on Broadway and I don't think any one of them know that we are a living wage business, and that we have had positive change happen. We have not failed, and all that really has happened is that there are more people in our community that are better off now.
U: Is living wage viable for small businesses in Saskatoon?
LN: Yes, I can say that with confidence. There are varying sizes of businesses and I think that there are always chances to pay your employees what is required to live. Living wage should be a minimum really. I don't understand why you wouldn't want to pay the people that you work with what it costs to live.
I also think about the word viable, if you can't afford to pay your employees a living wage are you really a viable business? I always bring it back to personal and moral responsibility; it's uncomfortable for me to live in a way that is not fair to the people that I am around, but if I could have a role with my business to impact change, I absolutely want to be a part of that.
Learn more and get involved at Living Wage Saskatoon, where you can access the Business Case for a Living Wage in Saskatoon report, co-authored by Upstream's Charles Plante. Living Wage Saskatoon is a growing initiative, led by the Saskatoon Poverty Reduction Partnership.
This is amazing and such an innovative employer to embrace employees in this manner.


In this session we will take an in-depth look at the comprehensive 7-in-1 Groundsure Avista report. We will provide an overview of what is included in the report including the unique Avista Action Alert case management tool, as well as looking at the environmental risks covered within the report. Case studies will provide real life examples of how environmental issues can impact upon a transaction and how to investigate these issues further.


text:
Elysian Fields: Elysian Fields Calendar
(IM) Sliding Quick Login © 2009, Invision Modding
Sign In Register Help
→ Festivals & Celebrations
Playable Races
Skill System
About Elysia
Prize Shop
Month: January February March April May June July August September October November December Year: 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 2024 2025 2026 2027 2028 2029 2030 2031 2032 2033
Week beginning 2 October 2022
Theme: IP.Board Lo-Fi IP.Board --Moonlight --Into the Unknown --Anemoi Boreas --The Fae --Nyad's Dream ----Dragon Rider


text:
Fastly's security DNA: a look at our culture of safety, privacy, and trust
If you know Fastly, you know we've tackled some groundbreaking challenges — like caching dynamic content and safety in a high-performance serverless environment. And we're developers first above all else, so we focus on giving developers unrivaled power, control, and visibility. But what you may not know about us, is that we invest deeply in security.
The security products our customers rely on — like WAF, DDoS, and TLS — are the most visible aspects of our security story. But there are other areas that are just as, if not more, important. We believe developer and SecOps empowerment, community investment, building products that solve for innovative use cases, and a rich internal culture of trust and safety are all essential to earning the trusted role of security provider. And we've gone about it by building layers of safety and security into our platform, products, and experience — making it less visible in the process.
Today, we're giving these less visible security practices a spotlight. Developers can only build fast and fearlessly if they can build securely — and they need more from us than security products to do it.
One secure network, with visibility and control for all
Before I joined Fastly, I spent a decade working for security companies. Something that troubled me about the industry is that security, by its very nature, was an add-on — a never-ending stream of things to buy to secure networks, endpoints, and cloud infrastructure against increasingly unpredictable threats. Fastly turned this idea on its head. We know security works best for developers when it isn't an obstacle to shipping, so we made it a seamless part of the platform experience.
Our platform sits squarely between our customers' applications and their users' requests, which creates unrivaled opportunity for visibility and enforcement. We took full advantage of this privileged position to build in default mechanisms that give developers more control against threats. Full visibility and near real-time response capabilities — like logs that can stream to any SIEM, a single massively scalable network, and the ability to write custom rules and deploy them globally in seconds — are just part of our core delivery product. They're also powerful security tools, integrated by innovation not invoice.
Making trust and privacy everyone's job
Two of the least visible tenets of our security strategy are also two of the most powerful: how we approach data privacy and who we choose as customers. So much so that they've become ingrained into our culture and ethics. These critical elements of how we operate help us invite less risk and ultimately greater safety for our platform and our customers.
Data is at the heart of nearly every security conversation. But all too often in product development, data privacy is an afterthought considered by legal and security teams rather than an integrated collaboration between engineering, product owners, and privacy experts baked into the roadmap from the beginning. We approach data differently. We've never been in the business of exploiting our customers' or their end users' data, and our features were built to put our customers in control of their data. Real-time logging, for example, lets our customers capture the information they want, but on our end, we do not store those logs. Our data governance program is cross-functional and we ask essential questions about data before development begins
Another way we mitigate risk is by being good neighbors. We want good to thrive online, which means we don't knowingly work with customers and partners that promote violence or hate. Choosing to do business with companies and individuals that are trustworthy and have integrity means that when you're using Fastly, you're in good company.
Shrinking the attack surface
One of the most exciting ways we're making security more intrinsic to our platform is the unrivaled isolation model for Compute@Edge. While serverless providers solved a lot of operational headaches, they created a new tension between performance and security. And when they tried to address the performance issue by reusing environments, a new class of vulnerabilities was created. Compute@Edge takes a dramatically different approach. Rather than keeping long-running processes around, a fresh sandbox is spun up on every request to the platform, which automatically executes code for a limited period of time and rapidly destroys it. This significantly reduces the attack surface and makes it much harder for attackers to succeed.
Compute@Edge doesn't just present a new place to run serverless functions. Its inherent security opens up entirely new possibilities for the types of applications that can be built securely at the edge. We're already taking advantage of this safer foundation to build new solutions for network error logging, reading and writing the full HTTP stream, and more.
Building a more trustworthy internet
Perhaps one of the less expected drivers of security at Fastly is our company values. In order to build a platform that's as safe as it is powerful, we also have to build a more trustworthy internet — which means thinking beyond Fastly and working on the ecosystem as a whole. This effort is fueled by curiosity, passion, and deep collaboration. Here are a few of the cool ways it plays out:
We evolve our platform in conjunction with the web's evolving protocols and we're fortunate to have many of their key contributors working at Fastly. Our leaders collaborate with the industry to drive the increased security and innovation of core protocols like QUIC, HTTP/3, and TLS, making sure that we can bring these advances to the Fastly platform and take full advantage of the modern web.
WebAssembly programs offer stronger security guarantees than native code and can more effectively address side channel and buffer overflow attacks. This has huge implications for the future of web application security, so we're partnering with the Bytecode Alliance and investing in the Wasm ecosystem to drive new standards.
Building a trustworthy web means explicitly making space for organizations doing good. We are honored to support organizations like Abuse.ch, Let's Encrypt, and Quad9 who are doing exceptional work to power safer online experiences.
What's next for Fastly, the not-so-secret security company
As code continues to move out of data centers and apps become increasingly distributed, the edge will only become a more essential place to secure websites and applications. We hope that businesses reimagining their architectures and modernizing their applications will increasingly put their trust in Fastly not only because of our security products but because of the foundation of trust and safety on which they're built.
We'll continue to make security a built-in part of our platform, business, and culture. And we'll stay focused on creating sophisticated security tools that developers can be proud to consider an extension of their own core products — there's more to come on that soon. We hope that by sharing learnings and insight into our decision making along the way, we can make it a bit less invisible to you.
SVP Product and Marketing, Fastly
Dana Wolf is the SVP of Product and Marketing at Fastly. She is responsible for driving the product strategy and execution of Fastly's edge cloud platform, including its security and compliance offerings. She has 15+ years of experience in the security space, focusing on virtualization and cloud security, advanced security operations, hardware root of trust and governance, risk and compliance (GRC). Previously she was the Head of Product for the cloud security product lines at OpenDNS (acquired by Cisco). Prior to that, she held product and engineering leadership roles at both Rapid7 and RSA


text:
In Days When The Great Fire Up The Chimney Roared
February 6, 2011 By Marfy Goodspeed in E. T. Bush, Holcombe 1 Comment	Tags: architecture, early occupations
Fireplace Was the Center of Family Life and Activity;
Chimney Sweeps Common
by Egbert T. Bush, Stockton, NJ, March 20, 1930
Mr. Bush has good advice for those of us who enjoy a warm fire in winter. Note that the illustrations were not included with the original article.
"The great fire up the chimney roared." Indeed it did, and how could it be otherwise? There was so much of greatness around that fire that it could not help either being great or roaring with its own greatness and that of its surroundings. That fire was not built on the economic Indian plan: "Injun make little fire—go close by;" but rather according to the Indian's description of the uneconomic way of the paleface: "White man make big fire—go 'way off."
But it does not follow that all white people did "go 'way off" from the big fire on the hearth. The grandfather or other aged person whose life-work seemed to be done, often spent much time "in the chimney comer," contentedly smoking a corncob pipe while dreaming of the past. The children preferred to sit in front, fondling cat or doll as taste or sex might determine. Those who were able to work generally had plenty to do elsewhere during the day, and often until late in the evening.
The old-time fireplace was big almost beyond belief. It had to be, for in the early days it must furnish all of the heat for that room, and something for the entire house. Of course, in the more pretentious "mansion houses," there were other and smaller fireplaces for use on special occasions; but there must be one major hearth for the necessary work of the family, and that necessary family work about the fire was always a big requirement. Since size of the fireplace was the only known measure of capacity for meeting that requirement, the builders were very liberal in furnishing size. The fireplace often occupied most of one side of the room, perhaps leaving space for a convenient clout an each side.1 To estimate dimensions might look like exaggeration; but you are not likely to guess beyond the truth about those of the earlier days. As buildings were erected by and for succeeding generations, the fire place grew gradually less.
Fireplace at the 1744 Holcombe House, Delaware Twp., NJ
Lugpole Held Great Weight
Several feet above the hearth was the "lugpole"—a great iron bar securely masoned into the "jam" on each side, perhaps fifteen inches from the back of the chimney. This pole must be strong and well fastened, for it had to "lug" the weight of all the pots and kettles that, might be hung over the fire; and that probable weight was no trifling matter, as is well known to all who have ever seen the big washpot and the great kettles that were sometimes suspended there, filled with water for washing, lard to be tried out or whatever it might be. On the lugpole hung the trammels—broad irons with hooks at the top to fit over the pole and adjustable rods for raising and lowering the pots.
It is rather amusing now to see people trying to build a fire on the little patch of stone or brick that answers for a hearth in a house that feebly tries to "keep up the traditions of the past." What a mess they make of it! They get a little fire and a big smoke, but nothing at all satisfactory to those whose memories go back to the reality.
In olden days we made a fire that was a fire, building it on scientific principles without even thinking of science; now they make what can be called a fire only by courtesy, perhaps chattering glibly meanwhile about the science of it, and missing the essentials. In the olden way the first thing to think of was a big backlog—how big depending upon the capacity of the fireplace. Then between the andirons, set at a proper distance apart, were arranged the kindlings and light wood for starting a real blaze. On the andirons were laid larger and larger sticks, carefully graded and arranged with spaces for the easy passage of air and flame from below.
Fireplace at the John Prall Jr. House, Stockton, NJ
Making It Draw
It took considerable heat to start that great column of cold air up the chimney or, in local parlance, to "make the chimney draw." But the old-time builders of such fires were prepared for emergencies, and rarely had trouble about smoke or "pouty" fires. And the necessity for building fire anew was generally avoided by keeping enough through the night to give quick results in the morning, the trick of keeping fire having come down through former generations. But sometimes a mistake was made and the fire was "dead" in the morning.
We were told that in still earlier days a "dead fire" was something of a calamity. The common remedy was to send a member of the family to the nearest neighbors to "borrow fire," that is, to get live coals and carry them home as a starter. That was unhandy, but not very difficult. The coals were placed in a proper receptacle and covered with ashes or otherwise partially shielded from the air. Perhaps a deep-sided shovel, once used for that purpose, may still be found in some ancient household or some museum. When the neighbors were too remote, people had to depend upon flint and steel and punk for relief—dependence said to have been fraught with trouble and disappointment.
Friction matches, invented in 1829, were in quite common use in my boyhood. But how carefully they were used! There was no needless scratching of matches then; nobody used a half dozen when one could be made to do the work. Like everything else that cost money, matches must be used economically; and the man who would have endangered lives and property by throwing a "burnt" match or a cigar stump into a waste basket, would have been kicked out of the house, as he deserved to be.
A Common Expression
Though we were never seen to borrow fire; the stories of such errands, as told by our elders, were always interesting, and something still remained over from the practice. I recall one common expression that must have had its origin away back in the days of such borrowing. If a neighbor came to the house and seemed in a hurry to leave, declining to be seated or to have the usual neighborly chat, the remonstrance took this stereotyped form: "Don't be in a hurry, you didn't come for fire, did you?" The question, then so easily understood, would be rather perplexing if heard now. But that is only one of many hang-over expressions that have died out during the lifetime.
Even the thought of fire on the hearth brings up many things. A real joy it was to sit in its warmth and watch the live coals dropping from the burning sticks on the andirons to the glowing embers beneath. The boy or the man that cannot see strange and pleasing things in a fire like that, is sadly lacking in ability to find some of the finer things of life.
But the roaring of the fire was not always so pleasant. Sometimes the accumulated soot broke into flame and went roaring like a demon up the chimney and out at the top, threatening destruction as the sparks fell thick upon dry shingle. That was always an exciting time. Nobody could be at ease until finally assured that no sly spark had slipped into a crack to work destruction at leisure. This dreaded danger was partially forestalled by starting a chimney fire on some wet day. To do this, a bundle of lighted straw was struck up the chimney on a fork. The response was certain; but wet days, like other opportunities, do not always come in time.
Chimney Sweeps In Town
There was another method of cleaning big chimneys, perhaps a better one, certainly one that furnished a livelihood to a few sooty itinerants known as "chimney sweeps." These gentry usually went two together. So far as known they never organized a "Chimney Sweeps' Union;" yet their ranks never appeared to be crowded. They announced their arrival by a raucous ballyhoo—"Sweep-o! Sweep-o-o!" This was sometimes followed by:
"The chimney sweeps have come to town
To sweep your chimneys up and down."
Seventy years ago there was still current an amusing story concerning the arrival of two such sooty workers in Quakertown. As they went along the street loudly advertising the great event of their arrival, they halted by the little shop of the village shoemaker. One peeped through the window and saw the good old man laboriously sewing at an old shoe. Turning to his companion, the disgusted "sweep" said with a long-drawn sigh: "Ah-h! A man never knows what he may come to!"
Perfectly true in itself; but as a compassionate remark from a chimney sweep in reference to a shoemaker, it stirred up the wrath of the cobbler and the risibilities of all Quakertown. After that episode, when the boys felt like hearing their good old neighbor rave, it was necessary only to say: "Ah-h! A man never knows what he may come to!" Offended professional dignity did the rest.
Getting In the Back Log
I remember the broad and low old farmhouse that held the premium for having the biggest fireplace. It was occupied by a widow and her two sons. When the duty of replenishing the fireplace devolved upon the son Aaron, he rebelled against the laborious way of getting into the great backlog, and invented a better way of his own. Instead of lifting and straining at it, as he had been taught to do, he put a chain around it at one end and attached other chains sufficient to reach across the house and out at the back window. There he hitched a yoke of oxen, and soon landed the pesky log in front of the hearth. The rest was easy. The writer never witnessed this performance; but the story was common property and, since Aaron never was known to disown his invention, was accepted as established truth.
Heating by fire on the hearth was wasteful, of course, for more heat went out at the chimney-top than about the room. But wood was plentiful in those days and labor was cheap. And certain it is that no room ever needed other ventilation while a big fire was roaring up the chimney.
Ten Plate Stove
Ten-Plate Stove from Google Images
Along in the middle of the past century, a "ten-plate" stove sometimes stood in the center of the room to help distribute heat, and a great help was it in many ways. This form of stove is so rapidly becoming a thing of the past that, though only a few years ago we saw good ones despitefully junked, now people are beginning to bid up on them as antiques, and to pay due respect to their heating qualities.
The ten-plate stove would hardly do as a main dependence now, but it was a good thing in its day. It helped very much with the baking, especially for baking buckwheat cakes. The iron set on its top was quickly heated, for the fire made a fine circuit behind and above the oven, readily heating all parts of the stove. One of our neighbors dispensed with the extra iron, and poured her batter directly upon the top plate of the stove. For all that we knew that plate was as clean as any intervening iron, could be, but somehow the cakes did not seem so attractive. So much for departing from established ways, you see.2
It is a long, long way from some of those old things up to the new: from the feeble rays of the lone tallow-dip to the glare of a 100-candle power electric light; from a fire on the hearth, with the family gathered around, to modern methods of heating in which some families hardly ever see a fire; from the postboy to the telephone and the radio; from the stage coach to airplane. In short, the step from the ways of 1850 to the ways of 1930, is the longest ever taken in my four score years in human history.
The Oxford English Dictionary does not have a suitable definition for 'clout'. From the context it appears to mean a small bench or chair. ↩
The Holcombe fireplace, pictured above, sported a ten-plate stove set inside the hearth, no doubt an attempt to get more efficient heat from smaller logs. ↩
« Passing of Old Canal Feeder Matter For Regret» Interpreting Lenape
R. Campbell
I remember my Grandmother trying to keep her fire from going out either because the wind was blowing down the chimney or because it was raining, she'd get a rod to put in the opening of the fire place (as it wasn't that big) down the middle & get a newspaper to cover from end to end. Light her fire before she put the newspaper over the front of the fire & hope it didn't take too long to catch alight, we'd soon know when the fire had caught as the paper would burn & we'd have to push it into the fire place. Later on my Grandfather got a metal replacement for the newspaper with a handle on the front & it worked a treat. This was back in 1950's by the way, not as long ago as your article's items.


I was having a thought at why does E on 1st open string and E on the 2nd string, 5th fret have a different timbre or colour if you like? While them both being a single E in one octave while establishing a an interval they are not alike in colour.
I was also wondering whether a chord such as E with two open Es and two Es, one of which is on 5th string, 7th fret and the other on 2nd string 5th fret with G and B have basically only 4 notes instead of 6, because the upper two are one note and the lower two are one note.
The first harmonic is normally the loudest one, which we would tend to identify as the tone/note played. Then we have the next harmonic with double frequency, the third with three times the frequency, and so on. So the harmonics or overtones are integer multiple of the first tone.
The characteristics of the string will determine the strength of each harmonic, and the rate at which each harmonic will decay. The string tension, length, and thickness are probably the three most important factors, but the material type, and other things play a role too. The instrument body will also affect the strength of each harmonic and add some resonance. The harmonics are the reason you can hear a difference between a piano string, a guitar string, a bass string, and so on. They work on the same principles, but the combination of harmonics is what sets them apart. On a guitar the same principles will determine how a note will sound depending on where on the fretboard it is played.
Open strings will always sound different from fretted notes. Another reason is that the string gauges are different and that affects the timbre, too. There are many different places to play that exact same note on a guitar (many more than 6, including various harmonics!) and each will sound different.
In addition to the answers already given, the main reason (I would say) that the open (top) E string sounds different than the same tone fretted on the second string is that the acoustical end of the top open string is more rigidly held by the nut than the end of the second string, which is pressed down behind the fret by the finger. This makes the sound of the fretted note relatively more damped, and it will also decay faster.
Not the answer you're looking for? Browse other questions tagged guitar notation sound fretboard or ask your own question.
What do I need to learn before I can alternate tune my guitar?
Is it OK to play guitar with capo on 5th fret, since I have arthritis in thumb & finger joints?
Why do harmonics played on guitar sound lower as you move to higher frets while fretted notes sound higher?
Best name for a chord consisting of D - E - F?
Which strings do I pick when arpeggiating a G chord on guitar?


In the near future the star ship Leonora Chrstine is sent with a small crew to explore and potentially settle a nearby star. Accelerating ever closer to the speed of light, half way into their five year voyage an accident cripples the deceleration engines leaving them hopelessly accelerating ever closer towards the unattainable "tau zero" - The speed of light.
The story is told by alternating between crew dynamics and "info dumps" of the scientific basis for what is happening to the hapless, though entertaining, crew. The voyage is lead by an increasingly reclusive Telander, bearing the weight of the disaster on his shoulders while the actual day to day operation of the ship is taken over by the serious Ingrid Lindgren, Ship's First Officer, with policing by Charles Reymont, Ship's Constable, who is determined to maintain order in the midst of chaos. The crew keep themselves entertained by (a lot of) sleeping around, taking up various hobbies, performing scientific experiments, drinking and celebrating the increasingly irrelevant holidays.
A so-called "hard SF" book, "Tau Zero" is very well told and easy to read with just the right amount of detail to keep the reader interested but not so much to bore them. The interesting aspect of the book I found was the sexual politics of the crew, perhaps seen as moderately progressive when the book was written, it seems rather odd the amount of focus this has throughout the book. This said the actual pressure on the crew is touched on lightly despite the events unfolding around them with this being largely what you might expect (increasing seclusion, fights, drinking, etc) but only to a certain point, avoiding the more difficult subjects of the likely suicides and sabotage that would undoubtedly arise.
I have to admit I can't say any of the characters really engaged me despite the efforts of Anderson to do so. They all seemed one-dimensional. The focus here is on the incredible situation that arises and how they might get out of it which leads to a somewhat satisfactory conclusion (though, I am told, not necessarily in keeping with modern scientific thinking). Not a lot of "action", per se, just things that keep happening to them…at the end of the day the focus of the story is on a ship travelling through ship with a small crew on an impossible mission.
A "classic" of the genre? Perhaps or perhaps not. Regardless, "Tau Zero" certainly with some interesting ideas and will appeal to fans of the genre.


Company Overview - Shandong Homerun Tires Co., Ltd.
Our company is a professional manufacturer and exporter of high quality tires. We are specialized in the manufacture, development, production and sale of tires.
PROMOTIONAL ACTIVITY from April to June, with best price.
The technical index of products has reached the standards of our country, American Department of Transportation (DOT), ECE, GCC and INMETRO. Furthermore, our company has obtained ISO9001 Quality Management System Certification and China Compulsory Product CCC Certificate. Our company enjoys a high reputation among our current customers in Southeast Asia, Europe, South America and Africa.
By offering reliable products and professional services, we are devoting ourselves to cooperating with more overseas business partners.


text:
Liver transplantation from a living donor performed
A 16-year old girl with acute liver failure got a new lease of life after a city hospital conducted liver transplant from a live donor, who happened to be her uncle.
Steffy, who was critically ill, was diagnosed to have acute liver
failure and hepatic coma and the only option to save her life was an emergency liver transplant operation.
Though, her case was prioritized as emergency and organ sought from the Tamil Nadu Organ Society (TNOS), there was no liver available for the 48 hours, a release from PSG Hospital said here today.
As the condition of the patient was deteriorating, both her
father and uncle, in desperation came forward to donate part of their liver so that they could save her life and investigation found uncle's liver suitable for transplant.
Living related transplantation is done where first-degreerelatives can donate half of their liver to the patient, Dr. L Venkatkrishnan, Chief Gastroenterologist and Hepatologist,said in the release.
The hospital got approval from a committee to go ahead with thesurgery, and it was performed by the HPB and Liver Transplant surgeons Dr.Gursharan Singh, Dr. Joseph and Dr. Swaminathan along with the anesthesiology and critical care team Dr.Maninder Kaur and Dr.Prashanth, the release said.
The complex surgery lasted 14 hours where half the liver was
split, removed from the uncle and transplanted into the patient after removing her failed live.
The partial new liver is functioning well and her uncle's
remnant liver is also functioning and regenerating well. Steffy will be ready to go back to school in a month's time and accomplish her dreams" says Dr Singh, Head Of Department HPB and Liver Transplantation Surgery


text:
Meet Twiggy, Harry and Kai: three puppies abandoned in Forest of Dean find forever homes
The RSPCA have released Twiggy, Harry and Kai's uplifting Christmas story
Samuel PortDigital Journalist
Harry, Twiggy and Kai were abandoned in the Forest of Dean last Christmas (Image: RSPCA)
FIND OUT WHAT'S ON NEAR YOU WITH OUR NEWSLETTER
Three puppies who were abandoned at the end of last year in the Forest of Dean will be spending their first Christmas in their forever homes.
The dogs, two males and a female, were discovered by a member of the public last year, on Sunday December 30, in Mitcheldean after it is thought they were left at some point overnight.
The pups, found at Stenders Court - who were named Packham (now called Kai), Twiggy and Harry after the New Year's honours participants - were cared for by RSPCA Gonsal Farm Animal Centre.
RSPCA inspector Suzi Smith, who rescued them, said: "The puppies were just a couple of months old when they were abandoned in the forest overnight in very cold conditions.
"We never discovered the circumstances surrounding their abandonment unfortunately but these three pups were extremely lucky that they were spotted by someone when they were and then cared for by the RSPCA.
Man fined for cruelty to collapsed cow with excessive use of electrical goad
The 'shockingly bad' amount of dog poo in alleyway used by hundreds of school children
"It's unknown whether the puppies were bred as Christmas presents and dumped when they weren't sold in time but it really highlights the reality of getting a puppy over Christmas and how unfortunately unscrupulous breeders put profit over the health and safety of the puppies.
"After such a rough start in life, it's fantastic to see these dogs spending their first Christmas in their forever homes now."
Packham, who is now called Kai, was re-homed by Sue Roberts in Carrington, Greater Manchester, in January. He was just three months old when he went to his forever home and now at 10-months-old he has well and truly settled into life with Sue.
Kai (Image: RSPCA)
She said: "He's absolutely brilliant. He's always had bags of personality and loads of energy. I love walking so we are made for each other. As a collie cross he's very clever and picked up toilet training very quickly even in the snow!"
Sue added: "I thought about getting a dog long and hard. I've got two cats and wanted to get a rescue dog, I didn't want to go to a breeder but as I had cats, I knew I wanted a puppy and not a breed who would want to chase the cats - and that's how I found Kai.
"The cats try and ignore him but he loves them, his tail wags when he sees them and he always wants to play."
Sue, a foster carer, has cared for 10 children in the last 18 months, and added that Kai is also great with kids, he loves playing with his ball and going for walks with his best friend Max, the two-year-old German Shepherd who they met, along with owner Olivia, in the park.
This is Kai's first Christmas in his new home and a world away from where he was last year - cold and abandoned with his siblings.
Sue said: "This Christmas will involve a long dog walk and then he'll probably be waiting for the turkey to come out of the oven!"
Jennie Stevenson, from Cheshire, adopted Twiggy, the female puppy in February this year and she has well and truly settled into life with the family now.
Twiggy (Image: RSPCA)
Jennie said: "She's really confident and lovely, she's a very happy, soppy dog. I don't think her abandonment has affected her at all. She was quite socialised when we got her so I think she must have been in a home before she was abandoned, she could have been bred to be sold to the Christmas puppy market.
"We knew we wanted a rescue dog and knew we wanted a puppy. We were really lucky she came up, I'd been looking for about four weeks.
"The centre closed at 4.30pm and I phoned at 4pm to put a reserve on her. They reserved her the next morning for an hour and a half, the length of the journey it took to get there. The puppies were in demand, it was like trying to get Glastonbury tickets."
Are these the most festive pets in Gloucestershire?
Woman fined as council officers launch early morning pooper snooper patrols to catch irresponsible dog owners
Jennie who lives with her husband Jethro and children Edita, 10, Mortimer, eight, and Barney, four, as well as their two rescue cats Oscar and Austin, added: "Having a puppy was a lot more stressful than I realised. One of the first days we got her we were just settling down to watch a film and she pooed on the carpet. We slept downstairs with her for the first week or so to help her settle in too!"
Being a rescue pup, there was little information about where they had come from or what kind of dogs they were, so Jennie decided to DNA test Twiggy and was very surprised by the results.
She said: "She's so unusual looking and we never knew what kind of dog she was. People would always ask us what she was and curiosity got the better of us.
"I didn't believe it when we got the results, I thought there was a mistake, it said 50% Golden Retriever and Collie cross, she's not golden and she doesn't retrieve. I was shocked! She is a very friendly, family dog though like a typical Retriever and she does have traits of a Collie too."
This Christmas, Twiggy will be given plenty of treats and some presents to open as she loves playing with wrapping paper.
Harry was adopted by Susan Bradley, who lives near Horley in Surrey.
Harry (Image: RSPCA)
He started off as a very nervous puppy but is now incredibly confident thanks to Susan and her family who were able to continue the work building up his confidence.
Susan and her husband Nigel knew they wanted to adopt a rescue dog but as they already had six year old cat Jasper, they wanted a puppy who could be rehomed with a cat. They'd been looking for a while when they spotted the puppies online. Susan set off early in the morning to do the six hour drive to go and see the puppies and she fell in love with Harry straight away.
She added: "He's a lovely dog, he's like my shadow, he goes everywhere with me.
Couple banned from owning pets after underweight nine year old dog found with skin condition
Latest after dog rescued from Romania went missing from his new family's home in Cheltenham
"He's confident now but at first he was very nervous. He didn't like wearing a collar or walking through a door, he had to be carried through doors, and didn't like being near roads or cars. Now he's a very confident puppy.
"He's cheeky. If you turn your back on him he will pinch something and go down the garden with it, he especially likes to pinch socks or shoes. We have to pick up our shoes all the time or he will have them!"
This Christmas, Harry will be spoiled even more than he is every day.
His new owner added: "Everyone loves Harry. He's a spoiled puppy. Everyone who comes to see him will bring him treats and toys. We all love him so he has toys galore!"
New dog grooming salon to open in Cheltenham
Dog owners urged to keep pets under control after ten sheep killed in nine days
This winter, the RSPCA expects to take in more than 10,000 animals in need. To help them deliver vital supplies to thousands of abused, neglected and abandoned animals left out in the cold this Christmas, visit the RSPCA site and watch your virtual gift fill up our sleigh with a grateful wag from Sprout the dog.
Top Gloucestershire news stories today
M5 and traffic updates on Tuesday
Coronavirus updates on Tuesday
Aquajardin owner in tears
Cheltenham Festival day one LIVE
How to follow Gloucestershire Live
Sign up to our daily newsletter - To get the latest headlines direct to your email inbox every day, click here.
Follow Gloucestershire Live on Facebook - Like our Facebook page to get the latest news in your feed and join in the lively discussions in the comments. Click here to give it a like.
Follow us on Twitter - For breaking news and the latest stories, click here to follow Gloucestershire Live on Twitter.
Follow us on Instagram - On the Gloucestershire Live Instagram page we share gorgeous pictures of our stunning county - and if you tag us in your posts, we could repost your picture on our page. Our Instagram Stories are also full of the best things happening in the county. Click here to follow Gloucestershire Live on Instagram.
Download our app - it's completely free and you'll be the first to know about any breaking news. Search 'Gloucestershire Live' in your Apple App Store or Google Play Store.
M5 crash: Man, 59, in hospital with possible 'life-threatening injuries'
M5The carriageway between junction 13 for Stroud and 14 for Thornbury was closed for more than nine hours and has since reopened. Gloucestershire police are appealing for witnesses


Creepella is about to interview the famouse Hector Spector, who has come to Mysterious Valley with his Galloping Ghost Circus. But before she can, she has a mystery on her paws --- someone is playing tricks and making messes all over Cacklefur Castle! Can she put a stop to these ghastly gags?


text:
Metal Addicts
Home News AMON AMARTH Have Completed Work On New Album
AMON AMARTH Have Completed Work On New Album
Swedish death metallers AMON AMARTH have completed work on their new album at Sphere Studios in North Hollywood, California with producer Jay Ruston, who has previously worked with ANTHRAX, STEEL PANTHER, URIAH HEEP and STONE SOUR. The as-yet-untitled disc is tentatively due this spring via Metal Blade Records.
AMON AMARTH frontman Johan Hegg told Revolver magazine about the lyrical inspiration for the follow-up to 2016's "Jomsviking": "With the last record, I wrote a complete fucking movie script and we turned it into an album. This time around, I didn't have any of those ideas but we also didn't want to do a concept thing, either.
"'Jomsviking' turned out so well, so if you then start working on another concept album and try to top that, it would almost be impossible — unless you have a really great story lined up that you can do that with. But I didn't, so it didn't make sense. I was a bit lazy on this one — I waited for the music to be done so I could see where it would take me."
According to Hegg, the only lyrical idea he had before the music was done was a song called "Berserker At Stamford Bridge".
"A friend of mine told me about the story and said I should write lyrics about it, which I thought was a great idea because it's such an awesome story," he said. " Basically, it's at the end of the Viking era. The Vikings are in England, and they've been very successful in beating the English, because what the Vikings did better than the English is that they moved fast and they moved during the night. But at the Battle of Stamford Bridge, the English used the Vikings' tactics against them, so they caught the Vikings by surprise.
"The Vikings were too far away from their supply ships, so they had to retreat. The Vikings were about 3000 men, and the English were 15,000. So they retreated over Stamford Bridge, but in order to halt the English army, they sent one guy with an ax out on the bridge."
Asked if there are any other songs based on specific events, Hegg said: "Not specific events, though 'The Shield Wall' is based on a real Viking battle tactic — but it's also about sticking together in the face of adversity. Then there's more introverted stuff, as well — songs that kind of relate to my private life, and I got the ideas for those songs from my wife. I got a lot of ideas from other people on this album, actually. I like working in metaphors, though. Mikael Stanne from DARK TRANQUILLITY told me that when he writes lyrics, he keeps them intentionally vague so that people can interpret the lyrics in a way that benefits them most. I like that, and I realized it's something I've done as well."
Previous articleTHE AMITY AFFLICTION Singer Slams DONALD TRUMP Supporter Over Jersey
Next articleALICE COOPER On Overdubs On Alive Albums: 'There's No Such Thing As A Purely Live Album.'
http:////metaladdicts.com
Metal Addicts founder.
AMON AMARTH's JOHAN HEGG Tells Why He Loves SLAYER's 'Seasons In The Abyss'
AMON AMARTH Releases 'Fafner's Gold' Music Video
Ex-AMON AMARTH Drummer Accuses His Former Bandmates Of Backstabbing And 'Robbing' Him Of His 'Legacy'
Ex-AMON AMARTH Drummer FREDRIK ANDERSSON Slams His Former Bandmates As 'Greedy Backstabbers'
FREDRIK ANDERSSON On His Split With AMON AMARTH: 'It Seemed To Me Like They Were Ganging Up On Me'
Man Charged In Fatal Stabbing After AMON AMARTH And ARCH ENEMY Show
CARMINE APPICE Recalls How SHARON OSBOURNE Brutally Fired Him From OZZY's...
Reeder - January 16, 2021
ICED EARTH Dropped From CENTURY MEDIA After JON SCHAFFER's Involvement In...
ZAKK WYLDE Shares Opinion On SHARON OSBOURNE, Tells What OZZY Is...
Cat Singing DISTURBED's 'Down With The Sickness' Intro Goes Viral
ICED EARTH's JON SCHAFFER Makes First Court Appearance, To Remain In...
Here Lies Man – Ritual Divination Review
Poleto - January 20, 2021
When I say we receive all kinds of weird stuff here one may not believe me, but it's the frigging truth. And when I...
Zero Theorem – The Killing II Review
There's no way in denying that the name Zero Theorem is very attractive to a Metal, even more I guess if it is a...
Faithful Breath – Skol Review
It's funny how we have thoughts about bands and album we are to review. I don't if it's the experience or the zillion bands...
The Dead Daisies – Holy Ground Review
My dear child of the night, this 2021 is a very promising year from the albums I've heard so far. I know it's too...
Therion – Leviathan Review
The real deal is always the real deal. Therion with "Leviathan" prove that pioneers know it better. As a matter of fact, the band...
© Metal Addicts 2021. All rights reserved.


text:
require 'spec_helper'

describe TxtDB::SQL::Select do

  context 'Validations' do

  end

  context 'Features' do

  end

end

redpajama_set_name: RedPajamaGithub


Maintainers for japsand.x2go.org are x2go-dev@lists.x2go.org.
You might like to refer to the japsand.x2go.org package page, or to the source package src:japsand.x2go.org's bug page.
Reported by: Mike Gabriel <mike.gabriel@das-netzwerkteam.de>; Date: Wed, 4 May 2016 06:45:01 UTC; Severity: important; Done: Mike Gabriel <mike.gabriel@das-netzwerkteam.de>; Filed 2 years and 354 days ago; Modified 2 years and 260 days ago; Bug is archived. No further changes may be made.


Lorraine Kelly has been waking us up gently on ITV for decades with her 'Lorraine' show. She has such an easy, friendly style about her that has made her a national treasure as she talks to us all likes she knows us and experiences the same challenges we all do.
It is that exact empathy that has made her a key advocate and supporter of Help for Heroes since the beginning.
She has been involved with fundraising as well as the beneficiaries. This non-baker has baked cakes for our Bake for Heroes campaigns. She has helped promote our cycling events.
She is probably most comfortable having a chat with our Band of Sisters finding out about the problems they face supporting their wounded heroes. On a recent visit to Tedworth House she had lunch with some of them and her support means a lot to the people we help.
Lorraine also took the time to have some photos taken in our latest clothing collection. The shoot also included some of the Band of Sisters who were are involved with a new design project for Christmas! It was one of the hottest days of the summer but she was cool throughout trying on all our T-shirts and hoodies!


text:
HP, CCHC & CCHA >
Child Care Health Consultant
Sign up for ECELS Email Alert
Health Consultant Registration
A Child Care Health Consultant is a health professional who works with early education and school-age practitioners to recognize and promote the health and safety of children, families and their teachers.
Child Care Health Consultants should be licensed or certified health professionals with knowledge in pediatrics and developmentally appropriate health and safety practices for non-parental child care. Examples of health professionals who may have the necessary knowledge and skills to be a child care health consultant: nurses, nurse practitioners, pediatricians, family physicians, health educators, oral health professionals (dentists, dental hygienists,) nutritionists (dietitians,) and sanitarians. See the attachment for a pamphlet about how to choose and use a child care health consultant. Reviewed 3/2021.
Prepare Now for Flu
Reduce the risk of influenza (flu) in your early care and education program this year. See the flu article and resources.
AAP Periodicity Schedule Recommends Depression Screening at Well-Child Visits
AAP Periodicity Schedule Recommends Depression Screening at Well-Child Visits The American Academy of Pediatrics released its 2022 Bright Futures/AAP recommendations for preventive pediatric health care. It is also known as the Periodicity Schedule - the schedule of screenings and assessments recommended at each well-child visit from infancy through adolescence. The schedule now includes recommendations to screen for depression and suicide risk,…
2022 Keystone STARS Performance Standards Update
The 2022 Keystone STARS Standards take effect on July 1, 2022. See the Keystone STARS Manual and 2022 Keystone STARS Performance Standards for more information. Other resource documents such as: Resources to Support Achievement of Keystone STARS Performance Standards Establishing an Injury/Illness Monitoring Tracking System [Updated 04/21/2022] Crosswalk of 2022 Keystone STARS Performance Standards to Previous Version can be found here.…
STARS Standard LM 2.5 Supporting Children with Special Needs
Did you know…ECELS has valuable tools to help you meet the new STARS Standard LM 2.5 Program uses Caring for Our Children to establish policies and practices regarding care plans for children with special medical needs as well as medication administration. 1. Use Model Child Care Health Policies, 5th Ed. form-field version to adapt a policy for your program. See Section…
Motor vehicle crashes are a leading cause of death for children. The latest research from the National Highway Traffic Safety Administration (NHTSA) shows that 46% of car seats are misused. The best way to reduce crash fatalities among children is to always select a car seat, belt-positioning booster seat, or lap and shoulder seat belt based on the child's age…
Fact Sheets & Other Handouts, Forms, Health Capsules, Health Link Online newsletter, Media, Manuals, PowerPoint Presentations, Self-Learning Modules, Workshop Curricula
Self-Learning Modules, Webinars, Audio Conferences, and Workshops
Forms, Model Policies
National and State Organizations, Pennsylvania-specific Links


text:
Tag: Gregory Peck
SPELLBOUND: Deconstruction of a scene (Gregory Peck sees white)
While constructing the movie Spellbound Alfred Hitchcock was absolutely bursting with ideas. In this piece I would like to take a look at one sequence that is full of ideas, and also incorporates many of Hitchcock's favorite visual motifs in one sequence: montage, the long take, and the subjective point of view.
This sequence takes place at the house of Dr. Brulov. It lasts around 5 minutes and 3 seconds, with 22 pieces of film.
We begin with a fade-in from black. Gregory Peck's character wakes up at the foot of the bed, gets up, walks to the bathroom and turns on the light. This runs around 55 seconds with no cuts.
The first cut is a very nice reverse as Peck flicks on the light; from being outside the bathroom, in shadows, we are now inside the bathroom in bright light. Peck walks to the sink, in a dreamlike state, drinks water, looks and touches his face, sees shaving apparatus and begins to lather up to shave. This all takes about 53 seconds with no cut.
At this point, after two long takes that run about 108 seconds combined, the cutting increases dramatically. There will be 12 editorial cuts in the next 30 seconds. As the cutting shifts into high gear, the point of view changes as well. Hitchcock now employs his subjective POV. Our first subjective shot is a close-up of the white shaving cup.
Hitchcock then cuts to Peck hastily putting the cup down. Then we get a quick series of images and reaction shots, as Peak swivels his head around the room, overwhelmed by the bright white surfaces everywhere.
First he looks at the white sink.
Then he looks at the white chair to the left of the sink.
Next he whirls around and notices the white counter top, upon which even the jars are white.
And finally he turns to the white bathtub.
He walks out the bathroom door, and we cut again on a reverse. Peck is back in shadows, only now he is holding the razor blade in his hand.
At this point the cutting slows down, heightening the tension. Hitchcock returns to the subjective POV as Peck looks at the white bedspread, following it up to the sleeping face of Ingrid Bergman.
Peck slowly walks into the room, moving close to Ingrid Bergman, the threat of the knife still visible in his hand. Hitchcock cuts to a close-up of Bergman, highlighting her vulnerability. Will the sleepwalking Peck kill her?
Instead Peck walks out the door to the landing. Then Hitchcock employs a fantastic shot, in which Peck walks downstairs, razor in hand, and walks into a closeup on the razor. This lasts around 35 seconds without a cut.
Then begins the longest shot of the sequence, running around 75 seconds without an editorial cut. We start with a subjective POV shot of actor Michael Chevhok, as Dr. Brulov, at his desk. Chekhov walks up to Peck, the visible threat of the knife gleaming.
The camera turns to follow Chekhov as he walks into the kitchen and out of frame, although we can still hear him talking. He then walks back into frame. This entire time, the razor is prominently displayed.
The camera then turns to follow Chekhov back to the desk, returning to a subjective point of view without cutting. Chekhov has his back to the camera as he pours the milk (to disguise the fact that he is drugging it, as we will learn later). He then walks back and hands the glass to Peck. All of this happens with no editorial cutting.
Finally we cut to a reverse of Peck as he prepares to drink the milk.
The sequence ends with this very clever shot, a POV shot seen through the glass of milk! As the glass tips up, the frame turns to white. And as the sequence began on a fade-in from black, it ends on a fade-out to white. A fitting end, since white is the color that triggers Peck's episodes.
In a span of only five minutes, Hitchcock heightens the tension of the scene by employing several techniques. First of all in the cutting, which begins with long takes, then moves to a short montage of quick cutting as Peck reacts to all the white objects in the bathroom, and finally stretching out again to longer takes at the end. He also creates tension through the prominent placement of the razor in the frame. It is never used (or even held) in a threatening manner, but it feels menacing because of how it is shot, and lit. And finally tension is heightened through the use of clever subjective POV shots.
I will close with some comments Hitchcock made about this sequence in an article he penned in 1946:
Here is one way of making drama out of camera angles. In Spellbound you'll remember the scene where Gregory Peck comes down a curving flight of stairs with an open razor in his hand…Now, in that scene I hardly move the camera at all. It is placed facing the stairs and Gregory walks right into the camera — right into the audience. As he gets closer his face and shoulders fade from the lens until all you can see is the razor in his hand. Then the camera moves.
But there's no dialogue and really very little movement. The whole scene depends on suspense and the use of camera. We pan to the doctor and hold him while he talks to Gregory…The doctor moves off to give him a glass of milk –which, incidentally, he dopes — and the camera stays with Gregory. Back comes the doctor and hands him the glass of milk.
The camera moves to a back shot, so that the audience is behind his eyes as he drinks. You get the impression of the white liquid obscuring his sight as he tilts the glass. This is doubly effective because in the film white is the color which affects his mind.
The secret of good directing is to remember that you are telling a story visually. Your medium is that of sound and sight. The screen should tell this story as much as possible — not the dialogue.
Posted on May 20, 2018 Categories Deconstruction of a Scene, Hitchcock moviesTags Alfred Hitchcock, Gregory Peck, Ingrid Bergman, Michael Chekhov, razor, SpellboundLeave a comment on SPELLBOUND: Deconstruction of a scene (Gregory Peck sees white)
SPELLBOUND: (1945): "Will you love me just as much when I'm normal?"
SPELLBOUND – 1945 – Selznick International Pictures – ★★★1/2
Principal cast: Ingrid Bergman (Dr. Constance Petersen), Gregory Peck (Dr. Anthony Edwardes/John Ballantyne), Michael Chekov (Dr. Alexander Brulov), Leo G. Carroll (Dr. Murchison), Rhonda Fleming (Mary Carmichael), Normal Lloyd (Mr. Garmes).
Screenplay by Ben Hecht, Adaptation by Angus MacPhail from the novel The House of Dr. Edwardes by Francis Beeding.
Cinematography by George Barnes
Edited by Hal C. Kern
Music by Miklos Rozsa
Dream sequence designed by Salvador Dali
A film full of ideas: When Alfred Hitchcock began production on Spellbound, he was in the fifth year of his contract with David O. Selznick, and yet they had only made one movie together (Rebecca). Selznick had loaned Hitchcock out to other studios on film after film, to the benefit of both; Selznick made a tidy profit, while Hitchcock enjoyed a level of autonomy he would not otherwise have. Now Hitchcock was coming home to roost, and while he might not have been perfectly happy being under Selznick's thumb again, he brought a multitude of strong ideas to this film.
The plot is an interesting variation on Hitchcock's "wrong man" theme. In this case, a man shows up at a mental hospital calling himself Dr. Edwardes, the new head of the facility. Edwardes (Gregory Peck) has some peculiar personality traits. Seeing the color white (particular with a linear pattern) makes him turn away in revulsion. He also falls instantly in love with Dr. Constance Peterson (Ingrid Bergman). Eventually we learn that Peck is not Edwardes. So who is he, then? And where is the real Dr. Edwardes?
Peck goes on the run, chased by the police while unaware of his identity. He is helped in his quest by Ingrid Bergman, who tries to be Peck's therapist despite the fact that she is deeply in love with him. Over the course of the movie Peck discovers the truth of who he is, and the nature of his phobia. The real Dr. Edwardes is found dead (after all, it wouldn't be Hitchcock without at least one murder, would it?) and the culprit discovered. What makes this film so different from Hitchcock's other "man on the run" films is that the character's journey is as much psychological as physical. Let's take a look at some of Hitchcock's methods of visual narrative in this film.
Constance Petersen is presented as cold, sterile, virginal in her early scenes. She is clearly the intellectual superior of her male colleagues, who view her as just a pretty woman. It is no accident that in her first session, her patient (Rhonda Fleming) is a nymphomaniac, a polar opposite of Constance.
Constance begins to fall for "Dr. Edwardes" the moment she meets him, and after they spend an afternoon together she finds herself even more drawn to him. She comes back to the manor in a state of physical and emotional dishevelment. Hitchcock here employs one of his typical subjective POV shots, as Constance joins her (all male) colleagues for dinner.
Later the same evening, Constance and "Edwardes" kiss, and Hitchcock uses a clever visual motif of a series of opening doors.
Later "Edwardes" flees Green Manor when he is found to be an impostor, and Constance tracks him to a New York hotel. There is a funny scene here, where Constance first rebuffs a drunken man in the hotel lobby, then uses the hotel detective to help her find Edwardes. He calls himself an amateur psychologist, thinking he is impressing this pretty young woman with his acumen, not realizing that he is being played.
The next sequence of the film takes place at the home of Constance's mentor Dr. Brulov, a sort of stand-in for Freud, with a Germanic accent and European look. During the night Edwardes has a fugue episode ( look for a deconstruction of this scene as my next post). The following day, Brulov and Constance interpret Edwardes' dreams.
Hitchcock and Dali: Alfred Hitchcock wanted Salvador Dali to assist in designing the dream sequence for Spellbound and Selznick acquiesced. After some negotiations, a deal was struck. Dali initially created several paintings which he shared with Hitchcock and his creative team.
Two of Dali's original design paintings for the Spellbound dream sequence.
There is a persistent rumor that the sequence was originally planned to run twenty minutes in length. There is no evidence that it was ever intended to be that long, but it was initially going to be at least a couple minutes longer. One sequence that was filmed was cut entirely.
Art director James Basevi, Hitchcock and Dali.
Scenes from the gambling house sequence:
The parallel perspective lines on the floor continue on to the painted backdrop with the eye, which is center frame. Also note that the table and chair legs are women's legs.
The rooftop sequence, and conclusion:
Below are some scenes from the deleted sequence, which would have played between the gambling house and rooftop sequences.
Bergman and Dali on the set.
This sequence features an orchestra suspended from above, as well as several pianos. The pianos are smaller than normal, so little people were used as background dancers to aid with the perspective. Neither Hitchcock or Dali was happy with the result. Next, the scene would show Bergman turning into a statue. They filmed Ingrid Bergman breaking out of a statue-like shell, then planned to run the sequence in reverse to get the desired effect.
Dali and the Bergman "statue".
Ultimately, David Selznick was unhappy with the dream sequence, so not only was a sequence cut from it, but the resulting sequences were chopped into smaller segments, with Gregory Peck's narration bridging the gaps. It would be interesting to see the sequence play out as Dali originally intended it. Unfortunately the excised footage is believed to be gone.
Psychological resolution, story resolution: Gregory Peck's character has the breakthrough he has been seeking, with the help of Brulov and Constance. He remembers who he is (John Ballantyne) and he also remembers that he accidentally killed his brother when they were children, a guilt he has been suppressing for years.
A brilliantly layered shot. Children sledding in the snow can be seen out the window (a foreshadowing of the revelation to come).
A powerful subjective POV flashback of Ballantyne accidentally killing his brother.
Finally Ballantyne gets to the bottom of his revulsion of parallel lines on a white surface. (It has to do with skiing). Unfortunately, just as the film looks like it will end happily, Ballantyne is convicted of the murder of the real Dr. Edwardes. Just as Constance helped Ballantyne cure his psychological problems, she will now save the day again, playing detective and finding the real killer.
When Dr. Murchison is discovered as the killer, he trains his gun on Constance. Hitchcock wanted a subjective POV shot, but he wanted the gun and Ingrid Bergman to remain in focus. The only way to pull that off was to construct a giant hand holding a giant gun.
A very impressive (if anatomically improbable) visual.
Hitchcock was not quite out of tricks yet. At the sound of the gun flash, Hitchcock insisted on two frames of red colored film. Each negative had to be individually hand painted when they went out for distribution. The timing is such that Hitchcock felt most people would not even consciously register it, but he felt it would have an emotional impact.
Performance: Alfred Hitchcock expressed some displeasure with Gregory Peck's performance in the movie. I think Peck was just right for this part. There are elements to his character that could not have been pulled off by Cary Grant, for instance. Peck is solid and always believable. Ingrid Bergman was already a big star by this time, and she looks and plays the part. Exquisitely beautiful, but full of inner strength, she owns this role completely. Constance Petersen is one of the strongest female leads in all of Hitchcock's films, and nobody could have surpassed what Bergman does with the part. Michael Chekov, who is doing a variation on Freud as Dr. Brulov, very much deserved his Oscar nomination. Even the smaller roles are memorable, as Hitchcock favorites Norman Lloyd and Wallace Ford make the most of small roles. And Rhonda Fleming is unforgettable. Leo G. Carroll is another in the long line of suave, sophisticated Hitchcock villains.
Source material: Hitchcock's film is based on the 1928 novel The House of Dr. Edwardes, written by John Palmer and Hilary A. Saunders under the pseudonym Francis Beeding. The novel is dramatically different from the resulting film adaptation. In the novel, Constance Sedgwick is newly arrived at Chateau Landry, a mental asylum in the French mountains. The man calling himself Dr. Murchison, the man in charge of the asylum, is actually a homicidal maniac who has switched places with the real doctor and imprisoned him in a cell. The murderer, a man named Godstone, begins to exert a strong influence over the other patients, and the staff. Godstone is a devil worshipper, who has crosses tattooed on the soles of his feet. The book is pretty dark (including a couple of deaths), but retains a slightly comic tone at times. The plot is far too ridiculous to take seriously. I wonder if Poe's story "The Tale of Dr. Tarr and Professor Fether" provided some inspiration, for it shares some general details of both plot and tone. As long as one doesn't attempt to take it seriously, it is an enjoyable if insubstantial read.
Enter the theremin: Just as Hitchcock was full of visual ideas, he had plenty of thoughts about the music as well. Composer Miklos Rozsa used the theramin as part of the musical score at Hitchcock's request. The theramin (named after its inventor, Leon Theramin) is unique among musical instruments in that it is played without actually touching it. It emits electromagnetic waves, which are "played" by moving the hands around two metal rods. The theramin creates an ethereal sound that became popular in science fiction movies in the 50's, but Rozsa pioneered its use in cinema. Rozsa's score was rewarded with an Oscar win.
Below you can watch theramin virtuoso (and third-generation relative of inventor Leon Theramin) Lydia Kavina play part of Miklos Rozsa's Spellbound score.
Recurring players: Ingrid Bergman would later star in Notorious and Under Capricorn. Gregory Peck would also star in The Paradine Case. Hitchcock employed the services of Leo G. Carroll more than any other actor. He also appeared in Rebecca, Suspicion, The Paradine Case, Strangers on a Train, and North by Northwest. Norman Lloyd had appeared as Fry, the man who falls from the Statue of Liberty, in Saboteur. Steven Geray (Dr. Graff) would later play a hotel desk clerk in To Catch a Thief. Wallace Ford (man from Pittsburgh in hotel lobby) had played Detective Saunders in Shadow of a Doubt. Irving Bacon (railway gateman) played a similar role in Shadow of a Doubt. Constance Purdy (Dr. Brulov's housekeeper) had played the landlady to Joseph Cotten's Uncle Charlie in the opening scenes of Shadow of a Doubt. Clarence Straigh (secretary at police station) would later play a policeman in The Wrong Man.
Academy Awards: Miklos Rozsa won the Oscar for Best Musical Score for Spellbound. The movie was also nominated in five other categories: Best Picture (David O. Selznick), Best Director (Alfred Hitchcock), Best Supporting Actor (Michael Chekhov), Best Black and White Cinematography (George Barnes) and Best Special Effects (Jack Cosgrove).
Where's Hitch? Hitchcock's cameo comes at around 43:06. He can be seen exiting an elevator in the lobby of the Empire State Hotel.
What Hitch said: When Hitchcock spoke with Truffaut, he was fairly dismissive of the film. I wonder if this is in part because Truffaut says he finds the film a disappointment. Hitchcock says "Well, it's just another manhunt story wrapped up in pseudo-psychoanalysis…Since psychoanalysis was involved, there was a reluctance to fantasize; we tried to use a logical approach to the man's adventure."
He added "The whole thing's too complicated, and I found the explanations toward the end very confusing."
Definitive edition: The 2012 MGM/Fox blu ray is the best edition currently available. Picture and sound quality are good, not great. Included are a commentary track with film scholars Thomas Schatz and Charles Ramirez Berg (probably my least favorite commentary track on any Hitchcock release), a 21-minute documentary on the Dali dream sequence, a 20-minute documentary on psychoanalysis, a ten-minute interview segment with actress Rhonda Fleming, a Lux Radio Theater version starring Joseph Cotten and Alida Valli, a 15-minute audio interview with Peter Bogdanovich and Hitchcock, and the original theatrical trailer.
There is also a (now out of print) DVD version from Criterion, which features a strong, scholarly commentary by Marion Keane, an illustrated essay on the Dali dream sequence, an audio interview of Miklos Rozsa, a public radio piece on the theramin, hundreds of photos, the same Lux Radio Theater version that appears on the MGM/Fox blu ray, and the trailer.
Posted on May 14, 2018 Categories Hitchcock moviesTags Alfred Hitchcock, Ben Hecht, Gregory Peck, Ingrid Bergman, Leo G. Carroll, Miklos Rozsa, Norman Lloyd, Rhonda Fleming, Salvador Dali, Spellbound, The House of Dr. EdwardesLeave a comment on SPELLBOUND: (1945): "Will you love me just as much when I'm normal?"
THE PARADINE CASE (1947): "This was, indeed, no ordinary woman."
THE PARADINE CASE (1947) – Vanguard Films – ★★1/2
Principal cast: Gregory Peck (Anthony Keane), Ann Todd (Gay Keane), Alida Valli (Mrs. Paradine), Louis Jourdan (Andre Latour), Charles Laughton (Judge Horfield), Charles Coburn (Sir Simon Flaquer), Ethel Barrymore (Lady Horfield).
Screenplay by David O. Selznick, adapted by Alma Reville from the novel by Robert Hichens.
Cinematography by Lee Garmes
Music by Franz Waxman
A troubled ending: When Hitchcock entered into production on this movie in 1947, he knew it would be the last film on his contract with David O. Selznick. While Hitchcock was dedicated to the film, his mind was already on his next project, which he planned to make as an independent producer. The process of making The Paradine Case was in many ways a mirror of the Hitchcock/Selznick relationship. It began with much promise, and deteriorated over time. A controlling producer and disinterested director are not an ideal combination for great filmmaking.
The Story: The story of The Paradine Case is excellent. Alida Valli plays Mrs. Paradine, a woman accused of murdering her husband. Gregory Peck is Anthony Keane, the lawyer hired to defend her in court. Over time, Peck becomes infatuated with Mrs. Paradine, actually confessing to being in love with her at one point. As Keane develops an obsession with Mrs. Paradine, his work and his marriage begin to suffer. Keane's wife, played by Ann Todd, is well aware of his feelings for his client, and yet urges him on in trying the case. The situation is further complicated by the judge assigned to oversee the case. Judge Horfield, played to perfection by Charles Laughton, has a strong attraction to Mrs. Keane. He makes a pass at her, while her husband is standing just feet away, unaware. She rebuffs him. Will his anger at being turned away affect his judgment in the case at hand?
Charles Laughton making a move for Ann Todd.
As if that is not enough drama, there is another element added by Mr. Paradine's valet Andre Latour, played by Louis Jourdan. Anthony Keane wants to imply that Jourdan's character may be the real murderer, but Mrs. Paradine opposes this line of defense. Is it possible that she has feelings for the valet? Ultimately, Keane's monomania threatens to destroy his client's case, his career, and his marriage. He is able to salvage one of these three things.
The first half of the movie deals with the build-up to the trial, and Keane's growing fascination. The second (and far superior) portion of the film focuses on the trial.
Conflict on the set: Much like the character of Anthony Keane obsessing over his client, David O. Selznick obsessed over the movie, involving himself in every aspect of production. First of all in his casting choices, many of which Hitchcock was not happy with. Then, in his constant rewriting of the screenplay. He would watch the dailies every day, write new pages in the evening, and deliver them to the set in the morning. As a consequence, many days filming did not being until eleven or twelve. As Gregory Peck said of Selznick's rewritten pages, Hitchcock would "see those blue pages in the morning and he would just retreat to his bungalow…in all fairness to Hitch, the dialogue was invariably worse not better."
Then there was conflict over how the film was lit. Hitchcock wanted to create a movie that was rich in shadows, but Selznick was having none of it. Lee Garmes, the veteran cinematographer, was caught in a tug of war between Hitchcock and Selznick. Hitchcock would ask for more shadows, while Selznick wanted glamour shots, particularly for his newly-discovered star Alida Valli. He wanted close-ups and bright light on her face.
Selznick would dash off memos to his director, critical of the way the film was being shot. Selznick said:
There is no shading or attempt to photograph Jourdan interestingly as there was in the first few days, and if we're not careful this will be true of Valli…We can't go on photographing the walls and windows, making passport photos, without any modeling to the face, any lighting designed to give the woman interest and beauty and mystery, no study of her best angles and how to light and photograph them.
Describing Hitchcock's work as filming "passport photos" is a particularly biting comment, which must not have sat well with the director.
A typical Selznick "glamour shot" of Alida Valli.
Hitchcock also had some elaborate tracking shots planned, which Selznick ordered scrapped and shot conventionally. Finally, Selznick controlled the editing as well. Hitchcock turned in a nearly three-hour rough cut, from which Selznick trimmed almost an hour, including some of Hitchcock's more interesting shots. Selznick settled on a preview version of the movie, but would ultimately cut an additional ten minutes. It is uncertain whether a print of this preview version is still in existence, but it would certainly be interesting to see some of the footage that Selznick cut out.
The Hitchcock touch? Despite this film ultimately being more of a Selznick film than a Hitchcock film, there are still several nice Hitchcock touches throughout. There is a very well-filmed scene between Gregory Peck and Louis Jourdan. The conversation has a confrontational air. Peck sees Jourdan not only as his adversary in the trial, but also a sexual adversary in relation to Mrs. Paradine. As they sit and face each other across a table, a lamp is suspended above their heads, with decorative crystals hanging from it.
As the scene becomes more intense Hitchcock cuts to a close-up, and now we see only the crystals, suspended almost like a jagged row of teeth above the men's heads.
There is a scene in the courtroom which Hitchcock was particularly proud of, which involved Alida Valli sitting in the defense box while Louis Jourdan entered the courtroom and walked around the box, to the witness stand. It was done by shooting Jourdan first, walking through a 200-degree arc. Then Alida Valli was placed in front of a screen showing this footage, and sat on a stool that slowly turned. As Hitchcock said: "It was quite complicated, but it was very interesting to work that out."
A "complicated" Hitchcock shot. Alida Valli senses Louis Jourdan without ever looking at him.
Finally, there is a trademark Hitchcock overhead shot, following Gregory Peck as he slowly leaves the courtroom for the last time, in defeat.
Performance: Gregory Peck is a great actor, but Hitchcock may have been right when he stated that Peck was not a convincing English lawyer. Alida Valli plays Mrs. Paradine as cold and distant. That is how the character was written in the book, and yet she is also supposed to possess an almost immeasurable allure, affecting every man she comes in contact with. This allure is missing from Valli's performance, and the character of Mrs. Paradine suffers for it. Ann Todd, in the role of Mrs. Keane, also plays her part with a certain detachment. As Hitchcock said of her character: "She was too coldly written, I'm afraid." And Louis Jourdan, with his charm and good looks, was not exactly what this role called for. These are certainly all good actors, but they were at odds with the material at hand. The really good performances in this movie are found in the smaller roles. Charles Laughton is perfectly cast as the lecherous Judge Horfield, and Ethel Barrymore is also wonderful in the role of his wife. Charles Coburn is solid, as always, in the role of Sir Simon Flaquer, and Joan Tetzel is a revelation in the role of his daughter, Judy. She has more vibrancy than all the other women in the movie combined.
Source material: This film is based upon the 1933 novel by Robert Hichens. The basic premise of the novel is the same as the movie, and it's a good one. The novel is a decent read by today's standards, although the courtroom scenes at the end are the most gripping part of the book. There are several differences between the novel and film. In the novel, Mrs. Paradine is found guilty, but she never actually confesses. Not only that, but the reader is never definitively told that she killed her husband. It is implied, but not explicitly stated. Also Mr. Paradine's valet, called William Marsh in the book, does not commit suicide. At the end of the novel we find out in an aside that Keane has retired from the bar, and that Judge Horfield was shot, and has also retired. We are led to believe, through a fairly subtle clue, that Keane shot Horifield. Lady Horfield is also a more significant character in the novel.
Hitchcock themes: One of Alfred Hitchcock's most pervasive themes is that of guilt, both real and perceived. Everyone in this movie is carrying some level of guilt, except perhaps the lecherous Judge Horfield, who feels no guilt for his actions. Mrs. Paradine doesn't express any guilt for her husband's death, but perhaps feels bad for the way Andre Latour is treated. Keane feels guilty because he is emotionally unfaithful to his wife. His wife feels guilty because she cannot stand back and let him try the case. Latour feels guilty because of his indiscretions with Mrs. Paradine.
There is an interesting comparison to be made between this film and Vertigo. Both films feature a man falling in love with an idealized version of a woman, a woman that does not really exist. And in both cases, the man in question blindly pursues this idealized woman to a tragic ending.
Academy Awards: Ethel Barrymore received an Oscar nomination for Best Supporting Actress, for her brief but memorable role as Lady Horfield. She did not win. Some may be surprised that a role comprising only three minutes of screen time could be nominated for an Oscar. The print of this movie that was shown to the Academy for voting consideration was longer than the final theatrical cut, and included some more scenes of Barrymore's character.
Recurring players: Gregory Peck had earlier starred in Spellbound. Charles Laughton had appeared in Jamaica Inn. The stalwart character actor Leo G. Carroll appeared in more Hitchcock films than any other actor. In addition to this film, he was in Rebecca, Suspicion, Spellbound, Strangers on a Train, and North by Northwest. Patrick Aherne (police sergeant) would later have a small role in the 1956 version of The Man Who Knew Too Much. Leonard Carey (courtroom stenographer) also had bit parts in Rebecca, Suspicion and Strangers on a Train. Elspeth Dudgeon had appeared in Foreign Correspondent. Lumsden Hare (courtroom attendant) had appeared in Rebecca and Suspicion. Phyllis Morris (Mrs. Carr) had a bit part in The 39 Steps. The great character actor John Williams has an uncredited role as Barrister Collins, Gregory Peck's assistant. He is seen in several scenes, but has no dialogue. He would have plenty of dialogue in Dial M For Murder and To Catch a Thief.
Joan Tetzel and Charles Coburn provide two of the best performances in the movie.
Where's Hitch? Alfred Hitchcock shows up just after the 38:00 mark, exiting the train station, and carrying what appears to be a cello case.
What Hitch said: Generally speaking, when Hitchcock considered one of his own films to be weak, he had little to say about it. But he actually had quite a lot to say about this movie, while recognizing its flaws:
Let's go over some of the more apparent flaws of that picture. First of all, I don't think that Gregory Peck can properly represent an English lawyer. I would have brought in Laurence Olivier…But the worst flaw in the casting was assigning Louis Jourdan to play the groom. After all, the story of The Paradine Case is about the degradation of a gentleman who becomes enamored of his client, a woman who is not only a murderess, but also a nymphomaniac. And that degradation reaches its climactic point when he's forced to confront the heroine with one of her lovers, who is a groom…Unfortunately, Selznick had already signed up Alida Valli – he thought she was going to be another Bergman – and he also had Louis Jourdan under contract, so I had to use them, and this miscasting was very detrimental to the story. Aside from that, I myself was never too clear as to how the murder was committed, because it was complicated by people crossing from one room to another, up and down a corridor.
Definitive edition: Kino Lorber released a blu-ray edition in 2017, as part of their Studio Classics series. The print is good, not great. As a matter of fact it has a very grainy appearance in places, but it is still better than it has ever looked on a home video release. The blu-ray includes a commentary track by Bill Krohn and Stephen Rebello; two audio interviews featuring Hitchcock, one with Francois Truffaut and one with Peter Bogdanovich; a Lux Radio Theater radio adaptation starring Joseph Cotten; a brief interview with two of Gregory Peck's children; theatrical trailer; and a restoration comparison.
Posted on September 2, 2017 Categories Hitchcock moviesTags Alfred Hitchcock, Alida Valli, Ann Todd, Charles Coburn, Charles Laughton, Ethel Barrymore, Gregory Peck, Leo G. Carroll, Louis Jourdan, Robert Hichens, The Paradine CaseLeave a comment on THE PARADINE CASE (1947): "This was, indeed, no ordinary woman."