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«Иисус Христос — суперзвезда» () — кинофильм канадского режиссёра Нормана Джуисона, вышедший на экраны в 1973 году. Лента также является его единственной сценарной работой. Снят по одноимённому мюзиклу.

Сюжет

Киноверсия легендарной рок-оперы композитора Эндрю Ллойда Уэббера на стихи Тима Райса, сделанная в форме спектакля, разыгранного современными актерами на фоне живописных ближневосточных пейзажей. Помимо великолепной музыки и вокала, фильм интересен необычной трактовкой темы Христа, которая представляет собой альтернативу ортодоксальному христианству.

Фильм в целом получился иллюстративным, предлагающим в дополнение к великолепной музыке цветные картинки из жизни Христа, снятые на натуре в Израиле. Но привлекают аттракционные моменты, введенные Джуисоном в ткань повествования (мотив фильма в фильме, когда на студийном автобусе в пустыню приезжают актеры, чтобы разыграть этот спектакль про Христа; неожиданные кадры с танками вместо фаланг римских легионеров). Кроме того, оригинальна трактовка образа Иуды, роль которого исполняет чернокожий актёр Карл Андерсон.

Производство
Основным местом съёмок стал Авдат, архитектурный заповедник в пустыне Негев на месте древнего набатейского города в южном Израиле.

Идея производства фильма возникла у Нормана Джуисона после прослушивания концептуального альбома с рок-оперой Эндрю Ллойда Уэббера и Тима Райса «Иисус Христос — суперзвезда», который ему передал Барри Деннен. Альбом произвёл на Джуисона огромное впечатление: он писал как был «любопытно тронут» и «наполнен захватывающими визуальными образами», когда впервые услышал запись. Также он был поражён способностью этой оперы воплотить так много смыслов без разговорных строк. Впервые Джуисон публично озвучил заинтересованность в режиссуре фильма, основанного на этом альбоме, в интервью на нью-йоркской премьере его фильма «Скрипач на крыше»: «Я представляю его как захватывающий инновационный фильм, повторяющий идею рок-оперы — только музыка и тексты, никаких диалогов».

Так как права на экранизацию мюзикла принадлежали MCA Records, Джуисон связался с президентом компании Лью Вассерманом, чтобы обсудить своё видение будущей картины. И, несмотря на то, что на роль режиссёра рассматривались и другие кандидатуры, именно идеи Джуисона и послужной список его предыдущих фильмов, повлияли на решение Universal. После встречи всех заинтересованных лиц — Джуисона, одного из авторов мюзикла Эндрю Ллойда Уэббера и исполнительного директора Universal Pictures Неда Танена, кинопроект был окончательно согласован. Уэббера особенно впечатлил опыт Джуисона со «Скрипачом на крыше», как удачной адаптацией мюзикла на религиозную тему.

К работе над сценарием приступил ещё один автор мюзикла Тим Райс. В его черновике будущий фильм представал эпическим, в стиле картины 1959 года «Бен-Гур». Резюмируя свою работу, он подчеркивал, чтобы «массивный визуальный эффект сопровождал какую песню».  Однако его концепция проигрывала идее Джуисона и была отвергнута.

Джуисон представил свой сценарий, написанный совместно с Мелвином Брэггом, который хорошо зарекомендовал себя как телевизионный автор. Их проект представлял собой пастиш, сочетающий библейские и современные элементы культуры, особенно с театральным групповым обрамлением. Брэгг говорил о своём участии в проекте, как «своего рода случайности», подписав контракт только после того, как коллега спросил: «Вы хотели бы попробовать?» Брэгг вспоминал,  что «все хорошие моменты были тем, над чем [я] работал», хотя он действительно подал Джуисону идею о том как эффектнее использовать в кадре массовые сцены.  Брэгг и Джуисон писали сценарий во время просмотра локаций для съёмок в пустынях Израиля, прослушивая альбом на магнитофоне.

В ролях

В сохранившихся рукописных записях Джуисона, которые он набрасывал в отеле Беверли-Хиллз, на главную роль в фильме он рассматривал Мика Джаггера, Джона Леннона, Пола Маккартни, Барри Гибба, Роберта Планта и Иэна Гиллана. Гиллан, исполнивший партию Иисуса на концептуальном альбоме, отклонил предложение Джуисона, потому что думал, что больше порадует поклонников, гастролируя с Deep Purple. Также на главную роль продюсеры рассматривали Микки Доленца (из The Monkees) и Дэвида Кэссиди. В 1971 году по приглашению агента Теда Нили Джуисон поехал из Палм-Спрингс в Лос-Анджелес, чтобы увидеть актёра на сцене в музыкальной адаптации рок-оперы 1969 года Tommy (1969) группы The Who. Но Нили не появился на сцене в ту ночь, когда приехал Джуисон. Они встретились на следующее утро, когда Нили в джинсовом костюме Levi's в накладных усах и бороде приехал в мотель к Джуисону, чтобы извиниться за свое отсутствие на представлении из-за болезни. После 20-минутной встречи, без прослушивания, Джуисон говорит своему партнёру по постановке Пэту Палмеру: «У меня есть предчувствие, что я нашёл нашего Иисуса».

«Иисус Христос Суперзвезда» стал дебютом в кинематографе для всех актёров, кроме Деннена и Джоша Мостела. Актёрский состав фильма состоял в основном из артистов одноимённой бродвейской постановки, с Тедом Нили и Карлом Андерсоном в главных ролях Иисуса и Иуды соответственно. Нили постоянно играл репортёра и прокажённого в бродвейской версии, и был основным дублёром на роль Иисуса. Андерсон также был дублёром роли Иуды, и даже заменял Бена Верина во время его болезни в бродвейской постановке и в Лос-Анджелесе. Также как и Деннен, Ивонн Эллиман (Мария Магдалина) и Боб Бингэм (Каиафа) повторили свои бродвейские роли в фильме (к тому же, Эллиман, как и Деннен, исполняли свои партии в концептуальном альбоме).

Отвечая на запрос пресс-службы Святого Престола о том, почему Джуисон выбрал чернокожего актёра на роль Иуды, режиссёр ответил, что Андерсон «проходил прослушивание вместе со многими другими кандидатами в Лондоне, и, как это часто бывает, фильм сам подсказал нам, что делать. Прослушивание было настолько успешным, что у меня не было никаких сомнений в том, что Андерсон был самым талантливым актёром, сыгравшим эту роль».

Съёмки
Съемки фильма проходили в более чем 20 местах в четырёх израильских локациях: Иерусалиме, Мёртвом море, Беэр-Шеве и Назарете; а наиболее используемой локацией стала крепость Иродион.  Бюджет был установлен на уровне чуть менее 3,5 миллионов долларов, частично поддержанный израильским правительством; в дополнение к скидке на импорт иностранной валюты (23,5%), некоторые высокопоставленные чиновники, которые пытались открыть израильский киноцентр, финансировали проект. В свою очередь, Джуисон написал статью для Variety, рекламирующую израильские районы для съёмок. Как он писал, «в стране и среди её людей есть дух, который захватывает вас, и если вы проведёте там какое-то время, вы никогда не будете прежними». Эллиман, Нили и Андерсон получили по 16 500 долларов за свои роли (108 624 доллара в 2022 году), в то время как Джуисону заплатили сниженный гонорар в размере 15 000 долларов (98 749 долларов в 2022 году) в обмен на 10% от мировой прибыли фильма.

Съёмки начались 18 августа 1972 года в пещерах Бейт-Губрин (ныне Национальный парк Бейт-Гуврин-Мареша), после того, как местность была очищена от фекалий птиц и летучих мышей. Джуисон выбрал это место, которое использовал для сцен «What's the Buzz?», «Strange Thing Mystifying» и «Everything's Alright», чтобы представить Иисуса и его апостолов похожими на подпольное движение рок-артистов. На роль апостолов он выбрал малоизвестных рок-музыкантов и только двое из них имели предыдущий опыт работы в кино. Затем производство переместилось на Западный берег реки Иордан, который был оккупирован Израилем после Шестидневной войны. Хореограф Роберт Исков вспоминал: «Арабы с пулемётами подошли к холму, указывая на нас. Они были из соседней деревни, там была какая-то заварушка, которая не имела ничего общего с фактической войной». Для большинства сцен Исков определял место съёмок в первый же день своей работы, а танцы и операторская работа были импровизацией в зависимости от местоположения. «Песня царя Ирода» и «Суперзвезда» были единственными сценами, локации для съёмок которых были запланированы до начала производства.  Заброшенный набатейский город Авдат использовался для сцен с римскими священниками.

Большинство актёров, которые были светскими хиппи, во время съёмок мюзикла погрузились в религиозную атмосферу. Во время перерывов они громко играли мухыку из альбома, ставшего основой мюзикла, читали Евангелие Иисуса Христа эпохи Водолея (1908) и проводили волейбольные матчи между командами Иуды и Иисуса. 46-летний Джуисон вне съёмок редко общался с актёрами. Тед Нили вспоминал, что во время съёмок распятия актёры чувствовали себя так, как будто они прошли тот же путь, что и Христос, и рыдали во время его речи на кресте.

Изменения
Фильм претерпел некоторые изменения, внесённые в сценарий, что, как и в случае сценического шоу, вызвало некоторые споры. Так, были изменены некоторые тексты песен специально для фильма. Реприза «Everything's Alright», исполненная перед «I Don't Know How to Love Him» Марией Иисусу, была сокращена, осталась только заключительная лирика «Закрой глаза, закрой глаза и расслабься, ни о чём не думай сегодня вечером», в то время как предыдущий текст был опущен, в том числе «И я думаю, что я буду хорошо спать сегодня вечером» Иисуса. В сцене, где группа нищих и прокажённых подавляет Иисуса, «Исцели себя!» было изменено на «Оставьте меня в покое!», а в «Смерти Иуды» строка Каиафы «То, что вы сделали, будет спасением Израиля» была изменена на «То, что вы сделали, будет спасением всех».

Текст песни «Trial Before Pilate» также содержит некоторые заметные изменения и дополнения. Строка Иисуса «Где-то может быть Царство для Меня, если бы Я только знал» заменена на «если бы ты только знал». Киноверсия также добавила Пилату больше строк (впервые использованных в оригинальной бродвейской постановке), в которых он обращается к толпе с презрением, когда они взывают к имени Цезаря: «Что это за новое/Уважение к Цезарю?/До сих пор этого заметно не хватало!/Кто этот Иисус? Почему он другой?/Вы, евреи, производите мессий мешками!» и «Вот человек/Вот твой разбитый царь/Вы лицемеры!/Вы ненавидите нас больше, чем его!» Эти строки Пилата с тех пор присутствовали в каждой постановке шоу.

Саундтрек к фильму содержит две песни, которых нет в оригинальном концептуальном альбоме. «Тогда мы решаемся», в которой ярче отражены беды и страхи Анны и Каиафы относительно Иисуса, является оригинальной композицией, созданной специально для фильма. В саундтреке также присутствует «Could We Start Again Please?», которая была добавлена в бродвейское шоу и в сценические постановки. Большинство других изменений не были поддержаны в более поздних постановках и записях, хотя большинство постановок, как правило, сохраняют расширенную версию «Trial Before Pilate».

Реакция
Хотя 1972–1973 годы были периодом снижения интереса к религии во всём мире, именно в этот период появились фильмы, наполненные религиозными темами: «Иисус Христос Суперзвезда», «Godspell», «Евангельская дорога: История Иисуса», «Брат Солнце, сестра Луна», «Сиддхартха», «Дворец Гризера», «Марджо» и «Изгоняющий дьявола». Дэвид У. Померой в статье для Theology Today объяснил эту тенденцию тем, что студии извлекают выгоду из контркультурных духовных движений, таких как движение Иисуса. В 1970-х годах фильмы об Иисусе также стали более яркими в таких работах, как «Иисус Христос — суперзвезда», «Godspell» и «Житие Брайана по Монти Пайтону» (1979). Gospel Road, Jesus Christ Superstar и Godspell, в частности, отклонились от драматического стиля Сесила Б. Демилля, типичного для более ранних основных религиозных фильмов.

«Иисус Христос Суперзвезда» собрал 24,5 миллиона долларов (эквивалентно 161,3 миллиона долларов в 2022 году) в прокате и заработал 10,8 миллиона долларов (71,1 миллиона долларов в 2022 году) в 1973 году при предполагаемом производственном бюджете в 3,5 миллиона долларов.  Это был самый кассовый мюзикл в Соединенных Штатах и Канаде за год.

На Rotten Tomatoes рейтинг одобрения фильма составляет 52% на основе 25 рецензий, со средним рейтингом 5,93/10. Консенсус критиков сайта гласит: «У Иисуса Христа — Суперзвезды невероятный пыл, не дающий впасть в святотатство, но слабый кастинг и монотонность тормозят грув этого мюзикла». На Metacritic фильм имеет средний балл 64 из 100 на основе 7 отзывов критиков, что указывает на «в целом благоприятные отзывы».

Роджер Эберт дал фильму три звезды из четырёх, назвав его «ярким и порой захватывающим пересказом» исходного материала. Он похвалил его как улучшенную версию «коммерческого шлака» исходного материала, «будучи лёгким, а не напыщенным» и «обращённым вовне, а не нарциссическим». Он аплодировал изображению Иисуса как «человеческого, сильного, но достижимого», чего до этого добивались только в «Евангелии от Матфея» (1964) и «Последнем искушении Христа» (1988).

Говард Томпсон из The New York Times, наоборот, писал: «Бродвей и Израиль встречаются лицом к лицу и катастрофически в киноверсии рок-оперы «Иисус Христос Суперзвезда», поставленной в библейском стиле. Блеск популярной моды, музыкальное безумие и неоновые трубки этого откровенного сценического богатства, заключающей в себе Величайшую Историю, теперь болезненно увеличены, обнажены и, в конечном итоге, залатаны под голубым, величественным израильским небом, как будто по естественному решению». Артур Д. Мерфи из Variety писал, что фильм «парадоксальным образом одновременно очень хорош и очень разочаровывает. Абстрактная концепция фильма ... переходит от элегантной простоты через вынужденную метафору к откровенной синтетичности в драматическом воздействии».  Джин Сискел из Chicago Tribune дал фильму две с половиной звезды из четырёх и назвал музыку «более чем прекрасной», но обнаружил, что персонаж Иисуса «настолько запутанный, настолько бесформенный, что фильм не может преуспеть каким-либо значимым образом». Сискел также согласился с обвинениями в антисемитизме в адрес фильма. Чарльз Чамплин из Los Angeles Times писал: «Недостатки относительны, издержки замечательного стремления к совершенству, и многие сильные сцены, визуально и драматично, в «Суперзвезде» оказывают поразительное влияние: хаос храма, прокажённые, эпизоды самого распятия». Гэри Арнольд из The Washington Post назвал фильм «произведением китча», которое «ничего не делает для христианства, кроме как коммерциализирует его».

Реакция религиозных групп
Джуисон смог показать фильм папе Павлу VI. Тед Нили позже вспоминал, что папе «открыто понравилось увиденное. Он произнёс: «Мистер Джуисон, я не только ценю ваш прекрасный фильм о рок-опере, я верю, что он привлечёт больше людей во всём мире к христианству, чем когда-либо прежде». А песня Марии Магдалины «I Don't Know How to Love Him» для папы Римского «имела вдохновенную красоту». Тем не менее, фильм, как и мюзикл, подвергся критике со стороны некоторых религиозных групп. Как сообщалось в статье New York Times, «когда сценическая постановка открылась в октябре 1971 года, она была раскритикована не только некоторыми евреями как антисемитская, но и некоторыми католиками и протестантами как кощунственная в изображении Иисуса как молодого человека, который может даже интересоваться сексом». За несколько дней до выхода киноверсии Национальный консультативный совет по связям с еврейской общиной описал её как «коварную работу», которая даже «хуже, чем сценическая пьеса» в драматизации «старой лжи о коллективной ответственности евреев за смерть Иисуса», и заявил, что она возродит «религиозные источники антисемитизма». В ответ Джуисон утверждал, что фильм «никогда не должен был быть подлинным или глубоким богословским произведением».

Тим Райс отметил, что Иисус в глазах Иуды выглядел простым человеком. Некоторые христиане сочли это замечание, а также тот факт, что мюзикл не показывал воскресение, кощунственным. Хотя фактическое воскрешение не было показано на экране, заключительная сцена фильма тонко намекает на воскрешение (хотя, согласно комментарию Джуисона к выпуску DVD, сцена не была запланирована таким образом). Пуристы Библии указали на небольшое количество отклонений от библейского текста в качестве дополнительных недостатков, к примеру, когда сам Пилат видит сон вместо своей жены. А католики утверждают, что фраза «для всех, кого это заботит, этот хлеб может быть моим телом» слишком протестантская в богословии, хотя Иисус говорит в следующих строках: «Это Моя кровь, которую вы пьете. Это мое тело, которое вы едите».

Награды и номинации

Награды

Номинации

Кроме того, фильм был отмечен Американским институтом киноискусства, и был номинирован на попадание в список «100 лучших песен из американских фильмов за 100 лет» (за композицию «I Don't Know How to Love Him») и «100 самых вдохновляющих американских фильмов за 100 лет» по версии Американского института киноискусства в 2004 и 2006 годах соответственно.

В книге 1980 года «Удостоенные "Золотой индюшки"» Майкла и Гарри Медведа, где представлены неудовлетворительные по качеству фильмы, а также режиссёры и актёры, которые принимали участие в их создании, Нили получил «награду» за «Худшую мужскую роль Иисуса Христа». Тед Нили продолжал исполнять роль Иисуса во время гастролей рок-мюзикла по США.

Спустя годы фильм всё ещё оставался популярным, выиграв в 2012 году конкурс на портале Huffington Post как «Лучший фильм об Иисусе».

Саундтрек
Саундтрек к фильму был выпущен на виниле лейблом MCA Records в 1973 году. Он был переиздан на CD в 1993 и в 1998 году к 25-летию фильма.

Примечания

Ссылки

Музыкальные фильмы США
Иисус Христос в искусстве
Фильмы об Иисусе Христе
Фильмы Нормана Джуисона
Фильмы, основанные на музыкальных альбомах
Фильмы США 1973 года
Фильмы на английском языке


So it is Halloween and we were thinking about what scary scenarios we could present you this issue and then it hit us… what can be scarier than driving on roundabouts in Fuerteventura? The office has been inundated with messages from concerned drivers about how their worst nightmare is not understanding how roundabouts should be used and I'm sure all of us at one time or another has expressed the same concerns given the way some drivers on the island approach the "art" of tackling a roundabout.
You may be shocked (or not) to discover that 80% of road users in Spain do NOT know how to correctly circulate on a roundabout so lets put that matter to rest and discuss how to properly enter and exit a roundabout without potentially causing a pile up!
Even though there are a number of different types of roundabout, the basic same rules apply for every one of them, i.e., a) on every roundabout, drivers must give priority to those who are already circulating on it, b) if the roundabout has more than one lane, the most adequate one must be chosen dependent on the exit you will later take, c) once you enter a roundabout, vehicles that are already occupying a lane will always have preference over those that need to change lane and to exit a roundabout, d) the vehicle must ALWAYS be situated in the exterior lane.
Drivers approaching a roundabout do not have right of way over those who are already circulating so drivers must wait until a space opens up to allow them to enter the roundabout in a safe manner.
There are no specific laws about what lane to drive in if more than one is available, however, there are definitely laws about how to safely exit the roundabout and that is that if the vehicle is positioned in an interior lane and wishes to exit, the driver must indicate his wish to enter the next lane over until he reaches the most exterior lane. Once in the most exterior lane, the driver must indicate again in order to exit. The mistake that many drivers make is to exit the roundabout from one of the interior lanes. This is a grave error and a completely illegal maneuver because it means that the path of other vehicles circulating in the outer lanes will be cut off.
The flow of traffic on a roundabout must be continuous. This means they do not allow for vehicles to stop or reverse for example whilst they are still on them. That is why the above point is so important because if as a driver, you miss your exit because you did not position your vehicle in the most outer lane beforehand, you cannot stop the rest of the traffic by dangerously cutting across other lanes, rather, you must continue on the roundabout and go around again and correctly position yourself in the outer lane before reaching your desired exit.
Indicators are key as it allows other road users to see what you intend to do before carrying out the maneuver and since many of the roundabouts on the island are actually too small to cater for more than one lane, it becomes essential to let those around us know where we are going at all times.
Special Case One: Large vehicles sometimes have a hard time driving on narrow roads and small roundabouts so sometimes it is necessary for drivers of such vehicles to take other measures. For example, a lorry driver may have to open up towards the left and/or invade the neighbouring lane in order to enter a roundabout to avoid driving over the pavement or embankment. In these cases, the driver must first respect the priority the vehicles that are already situated in that lane before proceeding with the maneuver.
Special Case Two: We are all very well aware of the number of cyclists on the island, resident and tourist so we must pay special heed to this scenario. A group of cyclists takes priority over motor vehicles if when circulating as a group, the leader enters the roundabout as it means that the group as a whole must be allowed to enter, in effect, the group must be viewed as a sole vehicle beginning the with the lead cyclist and ending with the last in the group, so another vehicle on the roundabout cannot force the group to break up. The same applies when the group wishes to exit the roundabout.
Now, I learnt to drive in the Canaries and I will never forget my driving instructor telling me textually, that nobody here seems to know how to use a roundabout so the safest option is to drive in the outer lane so that if anybody hits you, it will always be their fault. Hopefully this explanation will have cleared up any doubts any of you may have had about this subject and you will no longer live in fear of the dreaded Fuerteventura roundabouts.


text:
Q: Does Google Cloud change the server' ssh keys automatically? I'm a new Google Cloud user. Today I've realized I can't connect any of my servers with this error message:
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
@    WARNING: REMOTE HOST IDENTIFICATION HAS CHANGED!     @
@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@
IT IS POSSIBLE THAT SOMEONE IS DOING SOMETHING NASTY!
Someone could be eavesdropping on you right now (man-in-the-middle attack)!
It is also possible that a host key has just been changed.
The fingerprint for the ECDSA key sent by the remote host is
SHA256:******.
Please contact your system administrator.
Add correct host key in /home/roberto/.ssh/known_hosts to get rid of this message.
Offending ECDSA key in /home/roberto/.ssh/known_hosts:9
  remove with:
  ssh-keygen -f "/home/roberto/.ssh/known_hosts" -R 10.10.10.10
ECDSA host key for 10.10.10.10 has changed and you have requested strict checking.
Host key verification failed.

Does Google automatically update/change the ssh keys of their servers?

A: Yes actually, Google Does change your hostkey in some cases.
For example, hostkey will change during host maintenance migrations if that is enabled.
The key will change if any changes are made requiring recreating the instance are needed:  something as dumb as setting a scope, adding a service account, or even the lovely setting a description on an instance will force a replacement of a VM and the host key will change.

A: Any time you SSH to your GCE VM using Google Cloud Console a new SSH key will be generated that will be expired after a few minutes. However, the WARNING message you have received can be because of a different reason.
Check out this post for a similar question.
Running ssh-keygen -f "/home/roberto/.ssh/known_hosts" -R 10.10.10.10 command should resolve your issue.

A: Remove catched key on local machine:
ssh-keygen -R 10.10.10.10

It might not work so as second step you can do as instructed by the error here:
Add correct host key in /home/roberto/.ssh/known_hosts to get rid of this message.
Offending ECDSA key in /home/roberto/.ssh/known_hosts:9
  remove with:
  ssh-keygen -f "/home/roberto/.ssh/known_hosts" -R 10.10.10.10

Check that the host is not in /home/roberto/.ssh/known_hosts and if still there remove the host from the list manually.
If nothing of this works then you should know the following:
Google does NOT change your keys for servers automatically.
You could run with -vvv and post the output.

redpajama_set_name: RedPajamaStackExchange


text:
Premiere: Sebastian Choe's The Prince of Love
INTERVIEW BY WHITNEY MALLETT
Sebastian Choe's The Prince of Love chronicles the mundane day-to-day of the punk kids he grew up with in Seattle. The real-life couple at the film's heart Jeff and Erica spend their days drinking, smoking, playing music in basements, and hooking up in ice caves in Washington State. The couple fights about their future and Jeff butts heads with authority figures. The film begins with Jeff's step dad kicking him out because of a house party he had. And over the course of the movie, we're reminded of Jeff's impending court date from a noise complaint he got due to that party.
Choe captures the beauty of the Pacific Northwest as well as a certain post-high school angst. Just like Jeff and Erica are not quite teens but not quite grownups, the film is not exactly fiction or documentary. The flatness of the melodramatic acting in certain scenes is unsettlingly juxtaposed with the unfakable intimacy of others. Choe posits the film is somewhere between surveillance and performance. Throughout, conventions and expectations are pandered to and then turned inside out. A few times, Jeff breaks the fourth wall. At one point, he's walking along the train tracks in a leather jacket with a guitar case in hand, talking to Choe behind the camera, "I wish you had done this film with preppy high school kids, dressed them up, and have them walk down the train tracks. Made some edgy teen flick." Choe answers without missing a beat, "That's what I did."
Choe and I caught up to talk about the film in New York, where he's studying at Columbia. Considering the project's preoccupation with liminality, no wonder we ended up talking about Britney Spears whose song "I'm Not a Girl, Not Yet a Woman" is maybe our generation's best anthem for in-between angst.
So for this film you're returning back to Seattle where you grew up, filming the kids you used to hang out with. Does spending time away give you a different perspective?
Maybe. In some context, this film The Prince of Love, is kind of a sequel to this film I did right out of high school called Skinship which also featured Jeff. It was kind of similar themes of looking at a very specific kind of lifestyle that was very precise for us—a mix between urban living and suburban living kind of. For that movie I was thinking of the image of getting stoned in a bedroom with a iPod Nano and listening to some boring indie rock and then going out for a show in Seattle sometime later that night.
Definitely going back to Seattle, I didn't feel any different, I just wanted to capture this specific moment before it was gone. It's kinda gone now because Jeff moved out of the house he grew up in and that was a very special space for these films. His folks just moved out to California and he's in his own space in Seattle now. So that phase is gone.
It seems like it's not just about this space between urban and suburban but also this moment of being not quite a teenager but not quite a adult either.
Especially in Seattle there's this big contingency in their 20s and early 30s—people who just tour all year or work in coffee shops. It's very hard to distinguish when the transition to adult happens because the lifestyle now is pretty much the same as when they were in high school doing shows, smoking cigarettes, and talking cool.
Then one day they're 30.
Yeah, not to say it's a dark thing it's just very real. I felt like it was really important to include Jeff's dad in the move. I think he was the only character in the movie to not play himself. His dad is the very first character who is kicking him out of the house. It's Jeff's real dad but in the movie he plays his step dad. We were into the cliche of the stepdad and the son rebelling. We kind of had everyone in the movie play a exaggerated version of themselves.
You just mentioned you were playing with cliches a lot. What was your thinking?
It was a fetishisation of punk and independent short films where people are just smoking cigarettes and going to shows—talking about gentrification and stuff which is pretty annoying but also real. I was being aware of that whilst also acknowledging that you're playing into a truth.
I like the montage scenes. They were so cliche and melodramatic.
Something I've been really interesting in for a long time is when a film starts to feel cliche or extra-staged rather than like a documentary. The moment in a serious scene when the actor breaks out of character and accidentally looks at the camera is always a really big moment for me. Or bloopers in movies always felt more real to me more than the actual movie. I guess because it is. And especially because I've been working more in documentary lately. This is my first narrative in a while.
In documentary, there's always this weird authenticity. You have to navigate with people and put them in weird spots when documentary companies that are expecting something. There's always weird power dynamics whenever cameras are introduced. Especially when you don't acknowledge who's holding the camera or the conditions of filming. It's supposed to be objective which is so weird to me.
Yeah it's like when documentary crews really want or prize the shot of someone crying on camera.
It's a strange line between what is exploitation and what is observation in that kind of scenario, which I feel like we kind of tried to address in how we made The Prince of Love. From the beginning I said to Jeff and Erica I wanted it to be a collaborative process and we would write it together. A lot of it was improvised.
How much of it is really what's going on in their relationship?
Some of it was maybe irresponsible on my part of how real some of the sequences were. The whole scene with him having a court case over of a noise complaint that was real and they were together at the time of filming. Then there's those scenes where they are fighting. I mean they aren't actors. So when something so sincere like that fight happens there's a uncomfortable blend between what's acting and what's not because to deliver something that's authentic you're going to tap into something that's actually about you and your relationship.
I liked the use of montage, especially how you used very Emo music in these scenes.
The music is all slowed-down pop songs. The first one is "Together" by Avril Lavigne and the second one is "Brightest Morning Star" by Britney Spears off the new Britney Spears record, and then the last one is "Stolen" by Dashboard Confessionals when they're at the beach.
I found that after the fact that I chose those songs, their lyrics started informing the plot. They become these intense and emotional. It's kind of like that scene in Spring Breakers where they are dancing to the song "Everytime" by Britney Spears. I guess I was thinking about Harmoney Korine a bit when I was making this film. I was thinking about how to turn something mundane or commonplace into something beautiful. Like when fraternity parties become a high-art object, when that moment of recognition happens. I'm really interested in pinpointing that moment.
And Britney Spears captures a certain something. What do you think she represents especially when her song is circulating in a movie like Spring Breakers?
I could talk for a longtime about Britney Spears. I guess there's a tapping into nostalgia or cultural context that people immediately relate to. I think it's this repeating thing that I really love of the young women, unsure of what her fears are, subverting these things and playing into these cultural stereotypes. At the end of it just a really pure triumphantness that comes with her music that people still really relate to that makers her prescient sill really pervasive. I don't know it's a really deep thing to decode. I just made my profile photo on Facebook had a gif of Britney Spears morphing into a icon of Jesus Christ. It's this really uncanny thing but it's almost hard to articulate.
Why did you choose the camera you chose to use? It feels fitting because it's very "punk."
I'd been using DSLRs a lot and it's really tedious to get the sound. I needed to use something that was all-in-one. I needed to be able to just whip it out. And it had nearly infinite battery life and a built-in light.
And it was really cool working with 800mm tape because there was already a lyricism when you translate the tape because it's already on a real. So some cuts already feel so perfect. It feels more authentic because you didn't have your hands all over the editing. It's also really nice using a camera like that because you can pass it off to someone else. In some scenes, I passed it off to Erica or my other friend and you didn't have to worry about the shutter speed. It just recordeds. It's really democratizing.
So when you say you were filming 800mm tape, what kind of camera was it?
It was the same kind of camera my home videos were shot off – it was a Sony Handycam.
Do you like the punk culture has more of a history or legacy in Seattle than other places?
Whenever I read writing about my friends bands and stuff in Seattle there's always this talk of the precedence of grunge and how punk never died there or something, but I think it's completely changed, in a really positive and amazing way. It's still very much alive but it's more that punk is a platform or a space for people to operate in a humble way, asking big interesting questions through their art. I feel like it's really alive right now. The punks in this movie aren't the punks of yesteryear. People are still living in this bohemian world but it's been tooled to fit their new lifestyles. They're on social media. They're making jokes about instagram. But there's still a strong community in Seattle really rooted in music.
I wanted to ask about the end. [SPOILER ALERT: Jeff dies…and then comes back to life to break the fourth wall and wink at the camera.] What were you going for?
I was going along with the whole thing being playful and not taking yourself too seriously. I like these moments of breaking character, of asking, "did you get the shot?" There's also the cliche of death. I wanted to remind people too that this isn't found footage because so much of the shots up until the end are very long takes without very many cuts. There's something really funny about reveals, where if you pull it off in a sincere way that's not too annoying, it can be powerful.
Watching it again, I knew that this whole thing could come off so hip and ironic. I knew it could maybe come off that way it could come off in a way other than this really sincere thing of me trying to be as honest as possible about this lifestyle. But, I kind of just took the risk.
Let's Talk #2
Atelier Wonder SS16
Kate Howells' Exit Strategies
Nena Madalena's Joy Transmissions
Tamara Faith Berger talks to Whitney Mallett
Paolina Russo
Jessica Baldanza on Dr. Death: the Renaissance Man

redpajama_set_name: RedPajamaCommonCrawl


Bedbugs or bed bugs in Albany GA are insects of the family Cimex Lectularius. This term usually refers to insect species that feed on the blood of human beings. Insects in this family actually survive exclusively on the blood of warm-blooded creatures, specifically. The name for the 'bedbug' is derived from the fact that the insect would rather survive in beds or other areas where people rest, because in that space, it has plenty of food. Bedbugs tend mainly to be active at night where they can feed on the humans that they draw blood from.
Bedbugs normally bite people at night, whenever they pierce the skin and draw blood from their hosts, much like a tick would, other than the fact that the bed bug releases where the tick continues to feast and does not release from the skin. The bedbug is engorged in approximately 3-10 minutes, yet the person even rarely knows they are being attacked, more often because the people are asleep. Normally, bed bugs do not take up residence on human beings like lice do, so one does not normally have to worry about carrying them around on them. Once they are engorged, they release from their human host and digest their food elsewhere. Symptoms from a bed bug bite vary, but most have localized swelling in the area of the bite mark. Some people have no reaction at all, and in others skin reactions can be delayed. Allergic symptoms can also come to bear. Bed bugs are indiscriminate as to where they bit their victims. Where fleas would bite around the ankles, bed bugs will bite you most anywhere. Some people don't notice they have been bitten, as the welts and marks often resemble mosquito bites, and are mistaken for those. For these reasons, infestations can go a long time before being noticed, but eventually it grows worse and the bed bugs infest the home completely. Bed Bugs normally appear after travel, occupying luggage or bedding, or after a used bed is purchased. Bed bugs also are suspected if a person wakes up with itchy bites that previously were not present prior to sleep. At the same time, it is important to recognize that not all insect bites or skin reactions are due to bedbugs. Confirmation or a bed bug infestation often requires finding and identifying the creatures in the home, which is best done by a professional company like Cobra Extermination Company which does bed bug extermination in Albany GA.
Do you live in or near Albany and need to have Bed Bugs Removed?
If you need to have bed bugs removed from your home, then call Cobra Pest Control as we are bed bug exterminators in Albany GA and the surrounding communities.


The already talent-loaded Cooper Young neighborhood will now receive an enormous boost in artistic genius. K. Brandon Bell Creative and Sarah Rossi Photography have taken up residence at 852 S. Cooper. From their new biz home they have already collaborated on a website and branding project you may have heard about already, Relevant Roasters.
Their resumes are pretty impressive: The last four years they have produced and created the virtual sets for the Tony Awards, and they photographed the Broadway sets for each nomination. Memphis animator, Dan Baker, joined their team to help them shape the images and reconstruct them to have complete control of all the components for the show. The ways in which they developed the atmosphere for the ceremony made it appear as if the actors performed in front of the physical set. This artistry earned them an Emmy Award and an Art Directors Guild Award.
Bell moved to Memphis in 2011 from New York City. At his core he is a graphic designer, but his work has ventured from designing print and logos to videography, animation, and website design. Within the previous year he has put his talents to work for many notable companies including: ESPN, Goldman Sachs, TED, and Live Area Labs. He has also applied his skills with extraordinary Memphis organizations such as: Stax, Memphis Music Hall of Fame, along with assorted video production companies in the city.
Rossi is a long way from her birthplace in Corsica, Southern France. She has also worked in New York City as a photographer for Craig Paulson Photography. With the marketing images she took for the Addy Awards and her work with the advertising for Folks Folly and Humphrey's Prime Cut Shoppe, she has changed her focal market quite drastically from the usual wedding pictures with Craig Paulson and portraits.
To learn more about Sarah Rossi Photography go here.
And to see what Brandon Bell is all about go here.


Barneys New York is a true fashionista's dream destination and right now the Fall Designer Sale is where it's at. You can save up to 40 percent on the fall trends and staples you've been coveting. There are still a lot of deals you can walk away with, like a pair of Manolo Blahnik pumps, the coveted Isabel Marant line, accessories from Proenza Schouler, and the 3.1 Phillip Lim Pashli. Don't linger too long; this sale is the next big thing!


text:
import { moduleFor, test } from 'ember-qunit';

moduleFor('route:social-login', 'Unit | Route | social login', {
  // Specify the other units that are required for this test.
  // needs: ['controller:foo']
});

test('it exists', function(assert) {
  let route = this.subject();
  assert.ok(route);
});

redpajama_set_name: RedPajamaGithub


Which Is Better, Being Lawful Or Being Faithful?
As we begin this week's study we'll be looking at the first half of Galatians chapter three. In it the apostle Paul continues to take the church at Galatia to task because of certain heretical teachings that were going on at the time. Newly converted Gentile Christians were intermingling with newly converted Jews who embraced Christ as the Jewish messiah. Evidently the non-Jews were being instructed by unnamed Jewish converts to practice and live their new faith while also adopting the Jewish customs of their new brethren in Christ Jesus. Paul continues with his blistering criticism of this practice as we begin at verse one.
Here we see Paul summing up his point in one sentence when he wrote, "Did you receive the Spirit by observing the law, or by believing what you heard?" Since the observation of the Law of Moses – the first five books of the Old Testament – was fulfilled by the supreme sacrifice of Jesus Christ, Paul is simply stating that to continue observing the Old Law and its customs is both pointless and unnecessary. The crucifixion, death and resurrection of Christ is the embodiment of the new law, replacing the old. After spending all the time converting them and teaching them and founding a church, Paul is clearly exasperated with the church at Galatia because they had strayed from what he taught them was the Spiritual foundation of that church, none other than Jesus himself. It is not possible to obtain salvation through Christ by our good works alone, although it is good that we all do so whenever and wherever we can. We can do so only two ways according to Scripture; the first is by maintaining a totally committed faith in Christ and his Salvation, and the second is by grace that God bestows upon us through his Son. Grace is defined as unmerited favor, the spiritual equivalent of a free pass. Even though none of us deserves it due to our sins, grace is given to us freely as a token of God's love for us when we accept Jesus as your Lord and Savior. So if you ever need evidence that God really does love you, just think about His grace as you bask in its warm light. If you are already a believer, just focus on that in your mind. And if you aren't yet a believer, now would be a good time to become one. Simply ask Jesus to come and live inside your heart, and to stay there forever.
The other thing the apostle Paul explains (or more likely reiterated) to the church at Galatia is the concept of unity between Jew and Gentile when he wrote, "Understand, then, that those who believe are children of Abraham. The Scripture foresaw that God would justify the Gentiles by faith"… Paul is clearly citing this as another reason to put away the traditions of old and replacing them with the then-new concept of Jesus Christ as the Jewish and Gentile messiah and as the Son of God. If any of you read my studies on the book of Romans, Paul touched on that same topic when he wrote, "For you did not receive a spirit that makes you a slave again to fear, but you received the spirit of Son-ship. And by him we cry, 'Abba, Father'. The Spirit himself testifies with our spirit that we are God's children. Now if we are children, then we are heirs – heirs with God and co-heirs with Christ …" (Romans 8: 15-17) So you see, Paul was literally telling the Galatian congregation that they were already adopted into the family of God, and that there was nothing extra or special that they needed to do to join the family. Moreover, since our adoption into God's eternal family is through Jesus Christ, whose lineage can be traced all the way back to God, that makes us all Jewish by adoption just as it says in Romans. I don't know about you, but I find the prospect of being an adopted Jew quite appealing. If that is the genealogy of my Lord and Savior, then that is good enough for me. Let's continue now and conclude today's study beginning at verse ten.
The apostle Paul repeatedly quotes the Old Testament – or more accurately the Law of Moses, which was still very much the religious tradition of that time in that part of the world – in order to finish making his point. Paul's literacy was the exception rather than the rule in those days, and he uses his educational level to his advantage right here. Clearly, Paul writes, " … no one is justified before God by the Law, because 'the righteous will live by faith'…". This is the crux of the matter, which is that no one can enter into God's kingdom – or the third heaven, as Paul called it – based on their good deeds and legalistic achievements. The only way to salvation is through our uncompromising and undiluted faith in the saving power of the blood of Christ. There is no other way by which any of us may enter heaven, and there are no exceptions allowed based on the teachings of Christ. If anyone tries to tell you any different, get away from those people and those churches because they are teaching a false doctrine, and they will be held accountable. But it is the truth, Jesus said, that will make you free, and anyone who is free in Him is truly and irrevocably free. And that's the best news of all.
When I closed out 1st Thessalonians chapter four last week, you no doubt recall my interpretation that we are to be living each day of our lives as if it will be our last. I cannot overemphasize this important truth, nor is it possible to diminish its importance. God is watching everything we do and listening to everything we say, and for a man like myself being in a position of Christian leadership, I am held to a higher standard by the Lord, because what applies to church members applies to me twice as much. Plus, as our Lord's return for his Church continues to get ever closer, I fervently hope that others will follow my example and be continually readying themselves for His coming. And this, my dear readers, is a goal worth attaining at any time. It is at this point that the apostle Paul takes up where he left off, starting at the beginning of chapter five.
Paul paints a vivid picture of the coming of the Lord. Of course, one might ask if this is pertaining to the rapture of the church, or to the Lord's triumphant return three and a half years later (see the Book of Daniel chapter 12, etc). If you are one of those who has studied the rapture, the tribulation and the signs that we are living in the end times (never mind what you may have seen on TV or at the movies), then it is essential that we understand what Paul meant here. When he wrote, "the day of the Lord will come like a thief in the night", I believe this warning was meant primarily for the Church. Be ready, watch and pray that we receive purification from the Holy Spirit, so that as members of the Bride of Christ we may be found "without spot or blemish".
"While people are saying 'Peace and Safety', destruction will come on them suddenly…". According to prophecy, before the Antichrist can come to power, World War 3 will have to occur first (also known as the Gog-Magog war of Ezekiel 39 and 39). There will also have been a series of natural disasters that will have occurred by this point in time (I don't have time to explain that part in detail, so please bear with me). People will be clamoring globally to be free to live in peace, and to be safe from natural disasters; "… and they will not escape" can be translated into modern English as saying, "Total destruction will overpower them without warning, and they won't stand a chance". Nobody knows exactly what this means since all those other events have not yet occurred, and speculation would be counterproductive. All I can tell you is that the Antichrist will be in power for a total of seven years, and that one of his first acts will be to negotiate the peace treaty that ends World War 3. All the countries involved will adhere to this peace agreement for three and a half years. At that point the Antichrist will do something that breaks that same peace deal while elevating himself to something supposedly equivalent to God, as if there were such a thing. It is at this point that the persecution of Christians will greatly increase, and this will be happening in the US as well. This will be the "acid test" for all of those who identify themselves as being Christians. Either we take the mark of the beast and worship the Antichrist as god here on earth, or we refuse and continue to worship Jesus as the Son of God in heaven. Those who do worship Jesus will find themselves being martyred by the forces of the Antichrist. A time is coming when our Christianity will cost us our life. What will you choose? To quote the prophet Jeremiah, "As for me and my household, we will serve the Lord". Since the Lord died on the cross for my sins, I would not have any problem returning the favor, knowing that like himself, he will raise me from the dead to eternal life. We should all be willing to do the same.
"But you, brothers, are not in darkness so that this day should surprise you like a thief. You are sons of the light and sons of the day. We do not belong to the night or to the darkness. So then, let us not be like others, who are asleep, but let us be alert and self-controlled." Remember who we are in Christ! We are the adopted sons and daughters of the Most High God through the shed blood of Jesus Christ. We were bought at a very steep price, one that no man would be willing to pay. We were adopted as sons and daughters of Jesus our Kinsman Redeemer, making all of us Jewish by adoption (see Romans 8: 15-17 or Galatians 4: 4-7, among others). We don't belong to the night and we never did, we were born for the day and for the light from our very conception. "Let's be alert and self-controlled", Paul wrote. You won't be ready to meet the Lord at the rapture if you're in bed sleeping off a hangover, or after playing video games all night long. As I have said before, it's time for us all to get our priorities straight. Jesus first, worship him first and always give him top priority in your daily living and you'll find yourself living with an internal peace that was neither present nor possible before. I'm speaking from experience, and if God can do this for me then he can do so for you too. But we must ask Him first. Sitting around waiting for God to give any of us a hand-out will accomplish nothing, unless one considers wasting time an accomplishment. I most definitely don't!
" God did not appoint us to suffer wrath but to receive salvation from our Lord Jesus Christ. He died for us so that, whether we are awake or asleep, we may live together with him. Therefore encourage one another and build each other up…". I will sum this up in one sentence – we're not here to be on the receiving end of the tribulation that Jesus spoke about, but rather we will be protected from it if only we remain faithful to his Word. "If you love me", Jesus said, "keep my commandments". Jesus died so that we may have eternal life with him in heaven, a new dwelling place that we have not yet seen. Obeying His commandments is the second prerequisite, believing that he is the Son of God is the first. Having written that, let's conclude our study starting at verse twelve.
Respect the value of hard work, Paul is saying, and especially those who do so. Dirty hands and sweat can turn an otherwise boring day into a really fun one. This is especially true of the younger men and women who are still able-bodied enough to do so (unfortunately, that is no longer the case with me). Hard physical work is dignified provided that it is done constructively. "Warn those who are idle, encourage the timid, help the weak, be patient with everyone." Build each other up, don't tear each other down! Make the idle people either get off their butts and get to work or move on and stop standing in the way. It is written in the law of Moses, "If a man will not work he shall not eat". Yet by the same token we are commanded to "be patient with everyone". Give the slower people a chance to catch up. Better yet, why not donate your time and tutor a few to help them along? Now that would be in keeping with the Holy Spirit of Christ!
" …always try to be kind to each other and to everyone else." Sometimes I think the secular world understands this better than modern churches do today. Immediately after recent natural disasters here in America, there were armies on volunteers that descended on these devastated areas and helped clean up, doing whatever needed to be done. What surprised me was when I found out that up to half of these volunteers don't bother going to church. Yet they understood the command and answered the calling that God obviously put on them. "Do not put out the Spirit's fire; do not treat prophecies with contempt. Test everything. Hold on to the good. Avoid every kind of evil." Let the Holy Spirit always be in control of everyone, every life, in every situation and in all circumstances. Check out everything you see, hear or read to determine its value, or the lack thereof. Put problem people completely out of your life if that's what it takes to get free from negative influences and all forms of evil. Hold on to the good and simply let everything else go. Such timeless wisdom!
"May your whole spirit, soul and body be kept blameless at the coming of our Lord Jesus Christ. The one who calls you is faithful and he will do it." Paul closes out by replaying that theme of being found holy and blameless before the Lord, with the understanding that this is only possible through the indwelling of the Holy Spirit. No one can do this by themselves, but only through complete reliance on the Holy Spirit can such a noble goal as this be achieved. The key is in the last sentence, "The one who calls you is faithful and he will do it." Total reliance on Christ will enable him to cause us to be holy, pure and blameless in the sight of God. Instead of being self-reliant as we are in most situations, we are to step aside and let Christ do the work, not for us but through us as we become willing conduits for his unequaled Spiritual power. That is the ultimate meaning of unity through Christ. Shalom!


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Guvernorát Zarká (arabsky محافظة الزرقاء) je třetí největší guvernorát v Jordánsku podle počtu obyvatel. Hlavním a zároveň největším městem guvernorátu je Zarká. Nachází se 25 km východně od jordánského hlavního města Ammánu. Druhým největším městem v guvernorátu je Rusajfa.

Nachází se zde největší vojenské a letecké základny Jordánských ozbrojených sil.

Obyvatelstvo
Podle sčítání lidu z roku 2004 žilo v guvernorátu Zarká 764 650 obyvatel, z čehož žilo 94,5 % ve městech a 5,5 % na venkově. Jordánští občané tvořili 97 % obyvatelstva. Poměr žen a mužů byl 46 % ku 54 %.

Hospodářství

Vzhledem k blízkosti měst se v guvernorátu nachází největší počet továren v Jordánsku.

Ve městě Azrak se nachází největší letecká základna.

Galerie

Reference

Externí odkazy

Provincie v Jordánsku

redpajama_set_name: RedPajamaWikipedia


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King Family Bursary Winners
The GBLT is thrilled to announce this year's winners of the King Family Bursary. With over fifty wonderful original applications our judges had a very difficult time making the final decision, but we're confident that this year's winners will be more than up to the challenge of creating unique and meaningful works that will help us all appreciate and understand Georgian Bay. Congratulations to Kendall Flower and Jillian McDonald!
We'd like to sincerely thank all applicants and wish them well in their work. It was very inspiring to see so many creative and passionate responses to Georgian Bay and we feel extremely lucky to have so many talented individuals working on and interested in the Bay. A big thank you to our judges, Ed Bartram, Andrea Curtis, and Peter Koetsier, as well as our volunteer Sarah Matthews for helping to organize the whole process.
Look for Kendall and Jillian's projects to be presented in the summer of 2016.
Kendall Flower
Kendall Flower is an accredited landscape architect with professional expertise in the areas of ecological restoration, design for natural tourism and recreation, sustainable sites and low impact development technologies, and community engagement. As the final component of her Masters of Planning degree with the University of Guelph, Kendall's project will explore, evaluate, and propose alternative models to the relationships between policy, governance, and conservation in the Georgian Bay Littoral Biosphere Reserve. She will produce an accessible report to help all concerned gain a better understanding of the issues and opportunities in this area.
"It's a wonderful honour to be a recipient of the King Family Bursary. My upbringing on Georgian Bay has deeply affected the ways in which I think, approach, and valuate the world around me. Georgian Bay has brought an incredible amount of enjoyment to my life; influencing my choices in professional direction, academic focus and recreational interests. I hope that this project will mark the beginning of my contributing back to the bioregion, toward its long term conservation and management."
-Kendall Flower
Jillian McDonald
Jillian McDonald is a Canadian artist whose work focuses on the supernatural and the capacity of nature itself to contain an "otherworldliness". Jillian has exhibited throughout Canada and the United States as well as in Germany, Spain, and England, and has received numerous grants and awards, including the Glenfiddich Canadian Art Prize. Her work was featured in a 2013 radio documentary by Paul Kennedy on CBC's IDEAS. Jillian will produce a multi-screen video portrait of the Bay entitled Spirit Lake. She will spend time in the region exploring legends and oral histories and gathering video footage to create a work that is haunted with the Bay's spirits of land and sea, nature's remarkable and unexplainable forces.
"Georgian Bay is made extraordinary by its snaking granite rock formations carved by glaciers, a sprinkling of lighthouses, endless islands, its bio-reserve, windblown whispering pines, and the various flora and fauna of the eastern and northern shores. The opportunity to work in the iconic Canadian landscapes of Georgian Bay … is an opportunity of a lifetime."
-Jillian McDonald


...is crafting these precious, tiny little hats for preemies!
My best friend Emily is a Respiratory Therapist and works in the NICU where up to 70 tiny babies a day are fighting for life. Little hats like these help them maintain their body heat and keep them snuggly warm.
It's easy to adjust the size of the hat too, depending on the baby you're making it for.
I wonder what little ones Em will pass these on to? I don't know who they are, but I've prayed for them.
There are so many hospitals in need of donations like these sweet little hats. You can use scraps of yarn from other projects, and they whip up in minutes. If you know how to crochet and are looking for a simple way to bless others, give this little pattern a try!
Also, Jon's girlfriend Megan passed on the awesome website ravelry.com which is where this pattern came from. I've quickly fallen in love. You can share your own pattern, browse through others, and post pictures of your completed projects. It's a crochet/knitter's heaven!


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Pierre-Selim
Discover France off the beaten track by train
Posted by Stephanie Brandhuber
What these French destinations lack in visitors, they more than make up for in cultural and natural beauty.
France is the most visited country in the world, but it has plenty of unsung beauty spots that often get overlooked. For a more responsible holiday that forgoes the crowds, try taking a train to one of these less touristy areas of France. From fields of flamingos to volcanic vistas, UNESCO World Heritage sites to cultural festivals, it's worth adventuring onto routes less taken when it comes to planning a holiday to France by train.
Arles and the Camargue
Just 20 mins from Nîmes by train, Arles' sun-baked houses, shady squares and Roman ruins inspired many of Van Gogh's greatest works of art when he lived there in 1888. Among the city's highlights are the Roman Amphitheatre, Place de la République and Musée Réattu. Arles is also a gateway to the Camargue Natural Park, a sprawling area of rugged wetlands populated by flamingos and wild white horses. Do as the traditional gardians (cowboys) do and explore the rice paddies and salt pans on horseback, or take one of many walking trails that fan out across the marshes. For one of the best spots to see the Camargue's famous flamingos, walk along the dyke between the Étangs du Fangassier and Galabert. The towns of Saintes-Maries-de-la-Mer and Aigues-Mortes are also Camargue highlights.
Capital of the Auvergne region and one of France's oldest cities, Clermont-Ferrand is known for its Gothic architecture, lively student population and superb collection of museums. Visit the Cathédrale Notre-Dame-de-l'Assomption for its black lava stonework and Gothic twin spires, UNESCO-listed Basilique Notre-Dame-du-Port and bustling Place de Jaude. Clermont-Ferrand is also gateway to the Chaîne des Puys, a 40km range of dormant volcanoes with the Puy de Dôme its highest point at 1465m. Recently awarded UNESCO World Heritage Status, the Chaîne des Puys is just a few kilometres outside the city and easily reached by bus, bike, shuttle (bought locally) or by foot for keen hikers. Clermont Ferrand is just 2 hrs 27 mins from Lyon.
Grand Site des Deux Caps
The closest point to Britain on the French coast, the Grand Site des Deux Caps is a walking lover's paradise and the perfect place to discover France off the beaten path. Made up of two capes, Cap Blanc-Nez and Cap Gris-Nez, this nature reserve is a blend of cliffs, dunes and verdant hillsides overlooking the North Sea. Walk along the beach or venture onto one of the many hiking trails that criss-cross along the coast and into the wider Caps et Marais d'Opale Regional Nature Park. For the best views, climb up to the top of Cap Blanc-Nez from where you can look out onto the sea and on clear days, spot the coast of England. You can reach The Deux Caps by bicycle from Calais, just 10km away. You can travel easily from London to Calais by Eurostar, which you can read more about in our Eurostar blog.
Nestled between the mountains and the Med, Menton is the last stop before reaching the Italian border along France's Cote d'Azur. Not as glitzy or glam as its neighbouring Cannes, Monte Carlo and St Tropez, it has much calmer streets, fewer tourists and magnificent Belle Epoque architecture. The town is particularly known for its sweet lemons, so plan to visit Menton in February and March for the Fête du Citron, an annual celebration of its singular citrus.
With its narrow cobbled streets, half-timbered houses and Odet River cutting through it, Quimper, in the south-west of Brittany, is small enough to retain a village feel but large enough to be the maestro of Breton arts and culture. Just 2 hrs 19 mins from Nantes, visit Quimper in July for its annual Festival de Cornouaille, a celebration of Breton identity, or in August for its Semaines Musicales festival of classical music. No matter when you visit Quimper, you can explore its museums, cornucopia of creperies and medieval old town with a deliciously named central square, Place au Beurre (Butter Square). Quimper is also just 20 mins by train to Chateaulin, a gateway to the Armorique National Park, known for its hiking trails, marshes, moors, granite tors and some of Europe's most sandy beaches. Off the beaten path travel at its best.
Just 15 mins from Montpellier by train, Sète is on the Etang du Thau saltwater lagoon in the south of France. Known as the Little Venice of the Languedoc, the city is laced with myriad canals, including the famous Canal du Midi and the Canal du Rhône. These canal routes make Sète the perfect place to cycle to as part of a larger cycling holiday in France, as well as sandy beaches, superb seafood restaurants and the Corniche walking trail. Don't miss visiting Sète in August to see traditional water jousting during the annual six-day Festival de Saint-Louis.
You might also enjoy reading our blog on the top 10 cities in France to visit by train.
Image credits top to bottom: Côte d'Azure architecture iStock ©Olezzo, Flamingos in the Camargue Flickr Commons (cropped) ©Gina.D, Cap Blanc Nez Flickr Commons ©Maurice, Menton istock ©Milena Pigdanowicz-Fidera, Canal in Sète iStock ©nullplus
The best train station restaurants
We love trains and we love to eat, so we've gone in search of Europe's finest train station restaurants. Please note that this article was originally written by Kate Andrews, founder of Loco2, which went on to be rebranded as Rail Europe. It has been tweaked by our editor to give up to date links in the body of the text. Bon appetit.
Steve McCurry's epic train photography
Inspiring images from Steve McCurry's journeys on the Indian railways
Ahoy there. How to travel by cargo ship
This article was written by Kate Andrews, co-founder of Loco2 which was rebranded to Rail Europe in November 2019.


Haskell, OK, population 1,991, is located in Oklahoma's Muskogee county, about 29.2 miles from Tulsa and 106.4 miles from Oklahoma City.
Through the 90's Haskell's population has declined by about 18%. It is estimated that in the first 5 years of the past decade the population of Haskell has grown by about 1%. Since 2005 Haskell's population has grown by about 1%.
Haskell's property crime levels tend to be much lower than Oklahoma's average level. The same data shows violent crime levels in Haskell tend to be much lower than Oklahoma's average level.


Wirral-born entrepreneur Thea Green, founder of Nails Inc, was among young women honoured at the Women of the Future Awards in London last night.
Thea founded the cosmetics group at the age of 24 and ten years later, the business has a turnover of £11.5m and employs more than 450 people nationwide.
Crowning her with the "Entrepreneurial Woman of the Future Award," the judges commented that Thea "epitomised the word entrepreneur" due to her creativity, ingenuity and ambition.
Brought up in Hoylake, Thea learnt about business from both her father, who was a company director of Littlewoods, the retail group, and her mother, who owned a snooker hall.
After leaving school at 18, she did a degree in public relations and journalism at the London College of Fashion.
On Friday afternoons she would help sort out clothes for the fashion desk at the Daily Mail newspaper and then Tatler magazine.
On graduating, she was offered a job with Tatler as fashion co-oordinator, and gradually worked her way up to fashion editor at the age of 24.
The awards - in association with Shell and hosted by Real Business – champion young women aged 35 and under who are making an impact in their chosen field, and have for the last five years celebrated the rising stars of business, the arts, science, technology and the media.
Thea's award was presented by Deputy Prime Minister Nick Clegg, who said: "I am delighted to have the opportunity to pay tribute to the enormous contribution women make to our society, not least to our economy.
"It is absolutely right that we recognise these individuals for their talent and their phenomenal achievements.
Other winners honoured at the awards include 16-year-old London schoolgirl Tabitha Manzuangani who won the Young Star Award for her pioneering scientific research and charitable work.
Successful playwright Bola Agbaje, best known for her award winning play Gone Too Far, and Gemma Tuley - who left Gordan Ramsey's Claridge's to become the head chef at top London restaurant Manson - also received accolades.


According to the time on the microwave, for the third straight night in a row now, I was awakened at 2:46 am, unable to fall back asleep. Since you're probably not wondering what I did with that newly found QT, I'm not all that inclined to want to tell you. I will say a few things about the parallels: For starters, on the third morning, when the clock read 2:46 am, i came to find out later that it wasn't really 2:46 afterall. The clock read 2:46 because I had made microwave popcorn the night prior and had punched in five minutes, knowing in advance that it takes two minutes 15 seconds mas o menos to properly make this particular brand. So apparently I decided it was done after two minutes fourteen seconds. Capice? Pretty gnarly co inky dink I know. Now whether or not that counts in your book as three-in-a row, you still can't take anything away from the first two identical 2:46 a.m. wake-ups. I'm still blown to bits by it all. The only thing I could put my finger on was the full moon was once again in full affect. And when I say put my finger on it, I really mean put my finger on it. Like break off a piece of Swiss cheese coming in my room putting my finger on it. Te lo Juro! I had a Major Tom moment. Planet earth WAS blue and there wasn't anything I could do except put the final polish on my version of Bennie and The Jets. And so that is what I did.


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Boniface Ambani insists he is still a contestant for AFC Leopards chairman's post
Kiplagat Sang
Mount Kenya United v Leopards
Ambani has protested the decision by the Election Management Group to axe his name from the list of contestants
AFC Leopards legend Boniface Ambani has insisted he is still a contestant for the club's chairmanship despite being missing from the list released by the elections body.
Ambani said he is in the process of appealing against Election Management Group's decision to leave his name out.
Dr Shikanda Daniel Akala, Namai Ronald Mukoya, and Waliubah Ben Musundi are the three candidates who have been approved to vie for the chairman's post.
"Some people have corrupted their way into the list and that is very wrong. I am not going to mention names here but how that list was made raises a lot of questions which we have done but no one is listening and ready to answer our questions," Ambani told Goal.
"I am going to follow the process and see that I am on the list. I have seen the list and still wondering because no one from the elections body has reached out to me and at least give an explanation as to why my name was axed.
"If there reasons that might have informed their decision to delist me, let them come and explain them to me and to my satisfaction."
"I am going to follow all legal avenues to make sure that I am a contestant in the June elections.
"I have started the appeal process already and by the end of the day, I hope everything should have been settled. We have a constitution that has to be followed and the laws are there to guide us. Let us follow the law because one's suggestions cannot supplant the constitution."
Imbenzi Oliver Napali, Choge Maurice Chichi will square it out for the club's treasurer position at the elections slated for June 23. General secretary Oscar Igaida is set to retain the seat as there is no one cleared to challenge him.


Where is Axis Deer in America?
Axis Deer is situated in the region Arizona in America!
Here you will find the location of Axis Deer on a map.
All places in the world called Axis Deer.
Where is Axis Deer on the map?
Where is Axis Deer relative to other places?
Top 10 cities in Arizona and distance from Axis Deer.
Top 10 cities in America and distance from Axis Deer.


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The Judicial Committee of the Privy Council and the Caribbean Court of Justice
Navigating Independence and Changing Political Environments
Harold A. Young
Countries that have a domestic final appellate court have established a judicial institution over which they have control as part of the policymaking governing structure and how they view other existing and emerging extraterritorial courts will be influenced by their perception of the court and the role it will play when the policies of the governing coalition are challenged. This book analyzes that phenomenon in terms of the broader construction and understanding of the state in the era of international law, legal tribunals, and globalization. By zooming in on the Judicial Committee of the Privy Council (JCPC), an ancient colonial court, Harold Young examines how the Caribbean Community, specifically, the 15 former British colonies comprising the Caribbean Basin are navigating their changing political environments and transitioning to its own extraterritorial court, the Caribbean Court of Justice. Using historical reviews, descriptive analyses, and statistical methodologies Young finds that the choice to retain the JCPC at independence is influenced by the colonial experience, the length of colonial rule, and how deeply embedded the JCPC is on the governing structures of the new state.
Pages: 160 • Trim: 6 x 9
978-1-4985-8694-8 • Hardback • July 2020 • $100.00 • (£77.00)
978-1-4985-8696-2 • Paperback • December 2021 • $39.99 • (£31.00)
978-1-4985-8695-5 • eBook • July 2020 • $38.00 • (£29.00)
Subjects: Law / International, Law / Courts, Political Science / Colonialism & Post-Colonialism, Political Science / World / Caribbean & Latin American
Harold A. Young is assistant professor at Austin Peay State University.
Chapter 1: The Judicial Committee of the Privy Council (JCPC)
Chapter 2: The JCPC and the Governing Coalition
Chapter 3: The Commonwealth Caribbean
Chapter 4: The Rise of the Caribbean Court Of Justice
Chapter 5: Summary and the Future Extraterritorial Courts
As a member of the English Bar with long experience of appearing before the Judicial Committee of the Privy Council, and some recent experience before the Caribbean Court of Justice, I have read Harold Young's book with great interest. He has provided a detailed and provocative analysis of the history and jurisdiction of the Commonwealth's final appellate Court, and much food for thought as to the progress of second tier appeals, now and in the future. I strongly recommend this work to my fellow professionals, who will find in it much that is new, and all of it considered with a fresh and independent approach.
— James Guthrie, Queen's Counsel (QC)
Understanding across many areas of interest and inquiry is the significant contribution this book makes. The historical and the modern considerations that inform the decision to accede or not to an extraterritorial apex court are incisively examined without engaging in advocacy. It is a valuable contribution to a very topical concern.
— Hon. Justice Denys Barrow
Dr. Young provides a timely examination of the operation of the Caribbean Court of Justice, the Caribbean community's judicial institution. He highlights the impact of the court's decisions on Caribbean integration and indeed, the evolution of a Caribbean identity. Meticulously researched and well-written, this book is destined to become a staple on the shelves of historians, lawyers, researchers, and others interested in the development of Caribbean jurisprudence.
— Kathy A.M. Gonzales, Creighton University
Thoroughly researched and unsparing in detail, this book provides deep, valuable, and relevant insight into the efficacy, independence, and politics of extra-territorial courts, specifically, the Judicial Committee of the Privy Council and the Caribbean Court of Justice. It is essential reading for students, academics, lawyers, and judges across the British Commonwealth and should be read by policymakers in those Caribbean Community member states still struggling to decide which should be their final appellate court.
— Justice Godfrey Phillip Smith
Young provides a unique analytical assessment of how an important political question impacts the highest courts. Bold, provocative and engaging scholarship. A valuable contribution to jurisprudence.
— Eamon H. Courtenay, Senior Partner, Courtenay Coye LLP
Dr. Young's book offers a novel and compelling assessment of how nation states make the choice to join or not extraterritorial courts. Examining former British colonies, this work argues that newly formed nation states confront the choice at independence of whether to retain the JCPC as the nation's highest court, or establish a separate national high court. Underlying this decision, as well as those at later junctures, Dr. Young theorizes, is the desire of each country to have a high court likely to support the policy goals of its leaders. Not only does this book offers important insights into the ever-changing composition of the JCPC, but it also offers a comprehensive theoretical framework for understanding how, when and why countries do or do not join supranational institutions. In an ever globalizing world, these are questions that will continue to confront nation states, and Dr. Young's work offers guidance as to how to understand their answers.
— Amy Steigerwalt, Georgia State University


text:
Islamiyat Mcqs for PPSC, FFPS, NTS
Who was the first female Shaheed (martyr) of Islam
A. Hazrat Sumayyah Bint Khubbat(RA)
B. Hazrat Nafeesa (RA)
C. Hazrat Ummay Aimen (RA)
D. None of these
The Battle of Karbala took place on which Hijri?
A. 61 AH
B. 65 AH
C. 68 AH
D. 69 AH
Who was known to be the first martyr of Karbala.?
A. Sakinah bint Hussain
B. The tribe of Bani Asad
C. Hurr ibn Yazid
D. None
Act of adultery in Islam is punishable with ________ lashes according to shariah?
D. 100
The meaning of Muharram is?
A. Dry Land
B. To Respect
C. Forbidden
D. To pray
______________ applied the dots in the Holy Quran?
A. Hujaj Bin Yousuf
B. Hazrat Umar
C. Hazrat Usman
D. Abdul Malik Marwan
Zaboor is revealed in ___________ language
A. Hebrew
B. Siriac
C. Arabic
D. Farsi
First Muslim interpreter of Quran in English is _____________?
A. Abdul Kalam Azad
B. Anwar Saddat
C. Shah Waliullah
D. Abdul Hakeem
____________ Translated Holy Quraan in Punjabi?
A. Shah Waliullah
B. Bahauddin Zakkaria
C. Moen uddin Chishti
D. Hafiz Lakhvi
____________ first translated the Holy Quran into Sindhi?
A. Aakhund Azzizullah
B. Abdullah Shah Ghazi
C. Bulley Shah
D. Bahauddin Zakkaria
How many angels are mentioned in The Holy Quran?
A. Four
B. Five
C. Six
D. Seven


text:
Terry Pratchett's Daughter Says Discworld Is Over
Responding to questions on Twitter, Rhianna Pratchett officially announced that she will not write or authorize any more Discworld novels, making The Shepard's Crown arriving this fall the final novel.
I can't say I blame her. I really can't imagine more Discworld without Sir Terry. Part of me thinks this is what he would have wanted. As much as I would have loved more Discworld books that were teased over the years (especially Moist and taxes!), as a huge fan of the series I'd much rather see it end then be dragged out with other authors trying their hands at it. I know sometimes that works pretty well, such as Brandon Sanderson finishing the Wheel of Time books, but most of the time it's just a disaster.
Rhianna Pratchett also confirmed that her father's longtime assistant, Rob Wilkins, will also not author any additional works in the universe. She said there was a chance she'd work on spin offs, TV adaptations, etc but the books are officially over.
"The books are sacred to Dad." she said. "I will be involved with spin-offs, adaptations and tie-ins, but that's it. Discworld is his legacy. I shall make my own."
The final Discworld novel, The Shepard's Crown, is about Tiffany Aching and will be released on August 27th in the UK and September 1st in the US.
Now, if you'll excuse me, I'll just be over here clutching Night Watch to my chest and sobbing. I will never stop missing Terry Pratchett.
Recent from Eldritch
Anyone use probiotics?
Coming to you live from Hoth! It's your snowy open thread!
Seeking advice about a stupid job situation


text:
Q: Send related image to Django Rest Framework Hello everyone reading this post. I got such issue.
So, first of all I have such models layout
class Profile(models.Model):
user = models.OneToOneField(User, on_delete=models.CASCADE, related_name='profile')
description = models.TextField(max_length=4000, null=True)
liked_profiles = models.ManyToManyField('self', related_name='likes')
disliked_profiles = models.ManyToManyField('self', related_name='dislikes')

class Image(models.Model):
profile = models.ForeignKey(Profile, on_delete=models.CASCADE, related_name='images', max_length=6)
path = models.ImageField(upload_to='profile_images')

So, I want to create a drf endpoint that will receive some kind of image, create it, and link to the profile model. But I really not sure how to implement this(I want to make it with django viewsets).
The main goal is not to provide another viewset class (like ImageViewSet), but to make it part of ProfileViewSet. So now I have such viewset (contains a method to update the description)
class ProfileViewSet(viewsets.ModelViewSet):
queryset = Profile.objects.all()
permission_classes = (IsAuthenticated, )

@action(detail=True, methods=['PUT'])
def set_description(self, request, pk=None):
    profile = self.get_object()
    serializer = DescriptionSerializer(data=request.data)
    if serializer.is_valid():
        profile.description = request.data['description']
        profile.save()
    else:
        return Response(serializer.errors,
                        status=status.HTTP_400_BAD_REQUEST)

I want to add something like "add_image" method to it.
How can I implement it and is it actually possible(otherwise you can help me to implement it with another viewset)?
I will be extremely grateful for your help

A: You can do sth similar to your set_description:
@action(
    detail=True,
    methods=["post"],
    serializer_class=ImageSerializer, # write your custom serializer, override save() method and save images from self.context["request"].FILES.items()
)
def create_image(self, request, pk=None):
    instance = self.get_object()
    serializer = self.get_serializer(instance, data=self.request.data)
    serializer.is_valid(raise_exception=True)
    serializer.save()
    return Response(serializer.data)


text:
Q: How to check if an Element with a certain Classname is visible? I'd like to check if there is any Element with the Classname settingsBox is visible.
I created this function, but it doesn't work:
function noOptionsOpen(){
    $(".settingsBox").each(function (){
        if ($(this).is(":visible")) return false;
    })
    return true;
}

I guess, the inner Function returns fals if ther is anything visible with that classname, but after jumping out of it, it still always return true, right? I just don't know how i can fix that?

A: The issue is because you cannot return from the noOptionsOpen() function within the anonymous handler function in each(). One way around this would be to define a variable and update it within the loop, before returning it:
function noOptionsOpen() {
  let optionsOpen = true;
  $(".settingsBox").each(function() {
    if ($(this).is(":visible"))
      optionsOpen = false;
  })
  return optionsOpen;
}

A much better was would be to use :visible in a single selector and checking the length property. This almost makes the function redundant, but depends on your use case:
function noOptionsOpen() {
  return $(".settingsBox:visible").length === 0;
}

// As above in ES6:
let noOptionsOpen = () => $(".settingsBox:visible").length === 0;

A: that ?

const
  isHidden = el => (window.getComputedStyle(el).getPropertyValue('visibility')==='hidden')
, noOptionsOpen = classN => [...document.querySelectorAll(`.${classN}`)].some(isHidden)
;

console.log( 'some elements are not visible ? -> ', noOptionsOpen('settingsBox') )
#parent >div:nth-of-type(3) {
  visibility: hidden;
}

aa

bb

cc

dd

ee


An Intriguing Phenomenon and a Fatima Connection?
On July 13, 1917, Our Lady predicted to the three seers of Fatima that there would be an unknown light that would illumine the sky. This sign, she further said, was to indicate that God was about to punish the world for its crimes.
Eighty years ago this year, on the night of January 25, 1938, Sr. Lucia (then Sr. Dores with the Dorothean Sisters) watched as the night sky over Europe was lit up with what was called by professionals and others an "aurora borealis." She believed this event to fulfill Our Lady's prophecy and to herald the coming of what we call today World War II.
In my research on Fatima over the years, I have discovered that there has been some debate about this event. Sr. Lucia herself, I once read, indicated that the phenomenon from 1938 was not normal and that if people were to investigate, they would discover this to be so. The debate had never been fully satisfied to the best of my knowledge/recollection and so it remains an open discussion among the scientific community (both physical scientists as well as some theologians and historians).
Today, however, I have learned of a new celestial phenomenon that offers some perspective to the debate, especially by way of re-thinking solar phenomena and our understanding of them.
For some years now, photographers have documented and reported on a different type of celestial phenomenon that is similar to an aurora borealis, but is not quite the same. This phenomenon, known as "STEVE" (Strong Thermal Emissions Velocity Enhancement) is being studied by the scientific community. The particulars of the phenomenon I leave for the readers to research.
For my part, I would like to bring a greater awareness of the STEVE phenomenon in relation to Fatima.
God is a God of many wonders and His creation is vast. The human mind is finite and is set on a path of constant wonder, awe and exploration. We seem to discover something new every day. The discovery and continuing study of the STEVE phenomenon is a strong indicator that we must always be open to the wonders God has established in His creation.
As the above relates to Fatima, Sr. Lucia had some notable opposition to her interpretation of the 1938 phenomenon. As we see in STEVE, there is more to God's creation than we know. This fact should give us pause as we consider and evaluate the 1938 phenomenon.


AND NOW, this 19th day of March 2018, upon consideration of Defendant's pro se Motion to Dismiss the Indictment [Doc. No. 77], and the response thereto, it is hereby ORDERED that the Motion [Doc. No. 77] is DENIED.
 It is alleged that on three separate occasions in April of 2015, Defendant Jerome Walker sold crack cocaine to a confidential informant working with the Philadelphia Police Department's Narcotics Field Unit. The Indictment charges Defendant with: distribution of cocaine base ("crack") in violation of 21 U.S.C. § 841(a) (Counts 1-3); possession with intent to distribute crack and cocaine in violation of 21 U.S.C. § 841(a) (Counts 4-5); possession of a firearm in furtherance of a drug trafficking crime in violation of 18 U.S.C. § 924(c) (Count 6); and being a felon in possession of a firearm in violation of 18 U.S.C. § 922(g)(1) (Count 7).
Defendant has filed a motion to dismiss the Indictment pursuant to Federal Rules of Criminal Procedure 12(b)(2) and 12(b)(3). Under Rule 12(b)(2), Defendant alleges that the Court lacks jurisdiction, and under Rule 12(b)(3) he alleges that the Indictment is defective.
Rule 12(b)(2) allows a defendant to move to dismiss an indictment for lack of jurisdiction. Fed. R. Crim. P. 12(b)(2). Section 3231 of Title 18 of the United States Code states, however, that "[t]he district courts of the United States shall have original jurisdiction, exclusive of the courts of the States, of all offenses against the laws of the United States." 18 U.S.C. § 3231. Here, the Indictment against Defendant alleges that he violated laws of the United States, over which this Court has jurisdiction. See United States v. Spencer, 398 Fed.Appx. 845, 848 n.4 (3d Cir. 2010) ("[The defendant's] other arguments also lack merit. He contends that the district court lacks subject matter jurisdiction over criminal matters but 18 U.S.C. § 3231 properly confers such jurisdiction."). It is irrelevant that Defendant could have been prosecuted under Pennsylvania law in state court. Defendant's argument is without merit.
Rule 12(b)(3) establishes that a defendant may raise by pretrial motion the defense of a defect in the indictment, such as "failure to state an offense." Fed. R. Crim. P. 12(b)(3)(B)(v). An indictment must contain only a "plain, concise, and definite written statement of the essential facts constituting the offense charged." Fed. R. Crim. P. 7(c)(1). An indictment is sufficient so long as it: "(1) contains the elements of the offense intended to be charged, (2) sufficiently apprises the defendant of what he must be prepared to meet, and (3) allows the defendant to show with accuracy to what extent he may plead a former acquittal or conviction in the event of a subsequent prosecution." United States v. Kemp, 500 F.3d 257, 280 (3d Cir. 2007) (internal citation omitted). Further, "no greater specificity than the statutory language is required so long as there is sufficient factual orientation to permit the defendant to prepare his defense and to invoke double jeopardy in the event of a subsequent prosecution." Id. (citing United States v. Rankin, 870 F.2d 109, 112 (3d Cir. 1989)). In this case, each count of the Indictment meets this standard, alleging what crimes were committed and when, and Defendant's motion to dismiss will be denied on this basis.


The small city of Kenner made national news the other day by refusing to allow Nike to be a part of booster clubs who participate in the city. I will go over the memos sent by Mayor Zahn and the implications that go far behond Colin Kaepernick.
Hurricane Florence is bearing down on the East Coast and Hurricane Trump is trying his best to cause problems for people during and after the storm. Remember, Water is very wet.
And if we are able to, I will be talking to Lee Dugas, yet another candidate in the LA01 race for Congress against Steve Scalise. Lee has been on the program before and I will be happy to have her on if she has time.
Those issues and more this Wednesday at 8pm Central on Liberal Dan Radio: Talk From The Left, That's Right.
Yesterday was one of the most damning days of the Trump Presidency. Multiple convictions on multiple counts of people who were very close in Trump's inner circle. Where does the country go from here?
Those topics and more on Liberal Dan Radio: Talk From The Left, That's Right.
Donald Trump picked his nominee to replace Justice Kennedy. What does the future hold? Could Trump have more tricks up his sleeves with this pick? What are my concerns?
I will also go into more of what I missed out on for last week's show.
Those topics and more this week on Liberal Dan Radio: Talk From The Left, That's Right.
Donald Trump will be reshaping the courts for decades to come and the Democrats cannot solve this problem by their own. No legislative solution exists where the Democrats can, by themselves, prevent an extreme right wing shift to the courts.
Here on Liberal Dan Radio and in other places, people tried to warn you. The Supreme Court was the most important issue facing this country in the 2016 elections. However, people were fooled into thinking other things were more important.
In this episode I will review the changes to this country that have taken place already since the last broadcast and talk about where we go from here.
So listen live on Wednesday, July 4th at 8 pm Central on Liberal Dan Radio: Talk From The Left, That's Right.
I will also be discussing the case of the Nurse in Utah who refused to draw blood when ordered to by police.
Those stories, Hypocrite of the Week, and more tonight on Liberal Dan Radio, Talk From The Left, That's Right.
Remember, you can support the show and/or buy advertising on the Liberal Dan Radio GoFundMe page.
Thanks to Ross Bugden – Music on YouTube I was able to make my show intro with royalty free/copyright free music.
On this week's Liberal Dan Radio, Talk From The Left, That's right.
I will review a few things from last weeks show that got messed up because of the faulty audio issues that I was having.
I will then go into a discussion about how Donald Trump's policies have been shown to be even more dangerous because of Hurricane Harvey.
I will also discuss some hypocrisy that goes in because of Conservatives and their "small government" agenda.
Those topics, Hypocrite of the Week, Words of Redneck Wisdom, Tweet of the Week, Headlines, and your calls this week at 8pm central on Liberal Dan Radio: Talk From The Left, that's right.
Please support the show by contributing to the Liberal Dan Radio GoFundMe.
Thanks to Ross Bugden – Music on YouTube is where I got my show intro here.
Racism is alive and well in this Trump Presidency. I explore that for a little bit and then open up the conversation to anything that you might want to talk about.
Other issues that might get discussed include the Alabama primary for their open Senate Seat, creative resignations, and more.
I will also have another full lineup of bits including Hypocrite of the Week, Tweet of the Week, Headlines, and Words of Redneck Wisdom.
So tune in Wednesday at 8pm Central for Liberal Dan Radio: Talk from the left, that's right.
And remember you can support the show by making a contrabution or buying advertising on the Liberal Dan Radio GoFundMe.
And if you are listening after the live broadcast you can leave your comments on the show thread at LiberalDan.com.
Liberal Dan Radio: 8/16/2017 – What did I miss?
#LiberalDanRadio returns triumphently to discuss the last 8+ months and especially the recent happenings under the Trump Administration and Charlottesville.
Donald Trump is acting like a mad man pounding his shoe on the podium in front of the whole world. Will he actually lead us to nuclear war? His words seem to make some people think that he is itching for it.
Riots in Charlottesville, Va lead to the death of one protester and a large debate. Especially on if it is ok to #PunchANazi.
In my neck of the woods, New Orleans flooded for no good reason and many bad ones. I will discuss that a little if there is time.
Those stories, plus the return of words of redneck wisdom and maybe more, Wednesday at 8pm Central on Liberal Dan Radio: Talk From The Left, That's Right.
Thanks to Ross Bugden – Music on YouTube, I have new show intro music. Check that video out here.


Fresh footage gives us our first glance at the Homeworld Remastered project, which I thought was dead but turns out to have been lurking in a nebula waiting for PAX Australia to start. Homeworld Remastered is an attempt to rerelease Relic's brilliant space RTS games for modern audiences. It should be with us in a matter of months, hopefully by February.
When THQ folded its various properties were shed, like life capsules fleeing a collapsing mothership. Homeworld ended up in the hands of Gearbox, who don't know anything about making space strategy games, but do know how to add depth of field and some nice lighting to a thing. See the results here.
Or, if you'd rather not sit through the video, here are the stills shown during the presentation. They're marred a bit by video compression, but they give us a good look at the new depth of field effects, high-res textures and dynamic lighting. It helps that Homeworld and Homeworld 2 looked absolutely stunning in their original state.
If you want to buy the original you have to seek out a physical box with a disk inside. Hopefully Homeworld Remastered will get a digital release, though a physical collector's edition is the only thing available to pre-order right now. Hopefully the code will be similar enough to the original game, and still able to support excellent mods like Homeworld 2 Complex.


text:
Q: Multiple versions of Python on OS X Leopard I currently have multiple versions of Python installed on my Mac, the one that came with it, a version I downloaded recently from python.org, an older version used to run Zope locally and another version that Appengine is using. It's kind of a mess. Any recommendations of using one version of python to rule them all? How would I go about deleted older versions and linking all of my apps to a single install. Any Mac specific gotchas I should know about? Is this a dumb idea?

A: Ian Bicking's virtualenv allows me to have isolated Pythons for each application I build, and lets me decide whether or not to include the global site-packages in the isolated Python environment.
I haven't tried it with Zope, but I'm guessing that the following should work nicely:

*

*Using your Zope's Python, make a new virtualenv, either with or without --no-site-packages

*Drop your Zope into the virtualenv

*Activate the environment with $VENV/bin/activate

*Install any needed site-packages

*Run your Zope using the Python now at $VENV/bin/python

This has worked brilliantly for managing Django projects with various versions of Python, Django, and add-ons.
This article seems to go into more detail on the specifics of Grok and Virtualenv, but the generalities should apply to Zope as welll.

A: There's nothing inherently wrong with having multiple versions of Python around. Sometimes it's a necessity when using applications with version dependencies. Probably the biggest issue is dealing with site-package dependencies which may vary from app to app.  Tools like virtualenv can help there.  One thing you should not do is attempt to remove the Apple-supplied Python in /System/Library/Frameworks and linked to from /usr/bin/python.  (Note the recent discussion of multiple versions here.)

A: +1 for virtualenv.
Even if you don't need different Python versions, it's still good to keep your development dependencies seperate from your system Python.
I'm not sure what OS you are using, but I find these instructions very useful for getting python development environments running on OSX.

A: The approach I prefer which should work on every UNIX-like operating system:
Create for each application which need an specific python version an user account. Install in each user count the corresponding python version with an user-local prefix (like ~/build/python) and add ~/build/bin/ to the PATH environment variable of the user. Install/use your python applications in their correct user.
The advantage of this approach is the perfect isolation between the individual python installations and relatively convenient selection of the correct python environment (just su to the appropriate user). Also the operating system remains untouched.