text:
U.S. Seeks to Protect Forests to Save Wild Reindeer
The estimated 46 mountain caribou in the Selkirk Mountains, which bridge the U.S.-Canada border, are all that remain in the country
By Laura Zuckerman, Reuters on November 30, 2011
(Reuters) - The U.S. government proposed protecting old-growth forests in Idaho and Washington state on Tuesday to save the nation's dwindling population of mountain caribou, popularly known as wild reindeer.
Under the plan, roughly 375,000 acres of mostly U.S. Forest Service land in the Selkirk Mountains in northern Idaho and northeastern Washington would be designated as critical habitat for the reclusive caribou.
The estimated 46 mountain caribou in the Selkirks, which bridge the border between the United States and Canada, are all that remain in the country, said Susan Burch, branch chief in Idaho for the U.S. Fish and Wildlife Service.
It is unknown how many of the woodland mammals once inhabited the high country in Idaho, Washington and British Columbia, but their numbers had dwindled to just 30 when they were added to the federal endangered species list in 1984.
Unlike other types of caribou, some of which live in Alaska, the Selkirk band inhabit elevations above 4,000 feet and rely on old-growth forests for food and protection from predators, government scientists said.
The greatest threat to survival of the animal is fragmentation of its territory by logging, wildfires, road-building and recreation trails, according to the service.
Both male and female caribou have antlers and range in weight from 175 to 400 pounds. They seasonally migrate up and down mountains, climbing over packed snow in the winter to feed on lichens on century-old cedars and spruces.
Their reclusive habits and the remote country they inhabit are among reasons there are gaps in historical data, Burch said.
"By the time anyone realized something had died, there was nothing left to look at," she said.
The plan to earmark habitat, which would likely limit such activities as timber harvests, mining and development of recreational areas, is open for public comment until the end of January.
After years of litigation, environmentalists and the government struck a deal in 2009 that required the service to propose habitat protections for Selkirk caribou this month. The service is meant to make a final decision on the measure in a year.
It was not immediately clear if groups promoting access on public lands would object to the proposal. Officials with the BlueRibbon Coalition, a national nonprofit in Idaho that advocates for off-highway vehicle and other forms of motorized recreation, declined to comment when contacted on Tuesday.
Laura Zuckerman
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redpajama_set_name: RedPajamaCommonCrawl


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Interview with Stan Lynch - ca. 2000
Interviewer: Lee Flier
Interviewee: Stan Lynch
Notes: I found this when browsing an old capture of MusicPlayer.com from the Wayback Machine.
Stan Lynch: Drumming in the Music Biz
Insights on how to stay sane in a crazy business
Drummer, producer and songwriter Stan Lynch's career reads like a rock'n'roll fairy tale: from 1975 to 1994, as a founding member of Tom Petty and the Heartbreakers, Lynch toured around the world, enjoyed a string of hit records, and gained high acclaim as a drummer's drummer among his peers. Apart from the enduring work he crafted with the Heartbreakers, Lynch's stage and studio credits as a drummer also include the likes of Bob Dylan, Don Henley, Aretha Franklin, The Eurythmics, Roger McGuinn, Stevie Nicks, Del Shannon, T-Bone Burnett, and Warren Zevon.
During his tenure as a Heartbreaker, Lynch became intimately familiar with both the ups and the downs of working in a rock band. It was an exhilarating ride, but there were frequent creative and personal tensions between Petty and the outspoken drummer that eventually led to Lynch's departure from the band after 19 years. Despite those undercurrents or perhaps partly because of them, the partnership often served as a perfect vehicle for Lynch's talents. As a drummer, he's all about paradox and contrast: an irresistible blending of Charlie Watts' solid understatement with John Bonham's raw go-for-the-throat power, either of which might turn and rear its head within a single verse. His feel somehow combines the loose gallop of great classic rock'n'roll with the unrelenting tension of barely contained energy. Combine that with a finely honed sense of dynamics, a big signature tone featuring huge toms and in-your-face snare, and an uncanny attentiveness to every moment of a performance, and you may as well have custom designed the ideal rock drummer.
Since leaving the Heartbreakers, Lynch has gone on to become a successful producer and songwriter, performing those duties with Henley, the Mavericks, Ringo Starr, Matraca Berg, Toto and many others. He now resides in St. Augustine, Florida, not far from his and his former bandmates' home town of Gainesville. At 45, Stan Lynch appears to be comfortably making the transition from archetypal wild rock drummer to trusted elder statesman - all the while retaining the same enthusiasm that made him stand out as a drummer, showing a keen interest in helping young artists through the struggles of building a career. To that end, Stan opens up the treasure trove, eager to share his secrets for maintaining vitality and integrity in a business that can easily rob the unsuspecting of both.
In light of your experience of being in a band for so long, what advice would you give to band leaders to help the chemistry; what do you think is the best possible way to bring out everybody's creativity in a band situation?
The truth of the matter is the best bands, including the Beatles and the Stones and the Who, have a core of creative fire to them that needs to be nurtured before the other people need to be nurtured. If a band leader had any energy left over to encourage others, they could, and it's good to include people. But sometimes it's tough; it's not a democracy. Great rock'n'roll is not usually made by democracy - that's the truth. It's usually somebody that has the seed of an idea that he's gonna protect.
But usually, in all of those great bands, there's a lot of creative contribution by all of the musicians. It wouldn't sound the same if it wasn't Keith Moon playing the drums.
Oh absolutely, but at the same time, it's Pete Townshend protecting his idea. I imagine it's him saying, "You know, I'm only gonna put the best shit on my song...I don't want one of these to die; they're hard to come by."
It's funny, you know, working in a band is a chop; it's just another chop. And some bands that have been together for 10 minutes, it's 10 minutes too long, and some bands that have been together for 20 years are just right. Very few go forever, you know. I mean, somebody dies, or somebody hates it...to get a run, a creative run, is amazing, period. That's how I see it now. So I think a smart band leader has gotta be a good casting agent and a benevolent dictator.
If you, at 45 now, were to run into yourself at 20, what advice would you give to yourself?
Whew! I would say...you have a lot of energy, young man! [laughter] And the trick is to stay out of your own way, and to stay out of everybody else's way. You don't need to try so hard - boy, you wasted a lot of energy trying to be loved by everybody, and the bottom line is that wasn't what was important. What is important is your musical contribution, and to do your job. I wish somebody had told me that.
Because the problem is when you're young, it's make or break. You don't know you're gonna make it, you don't know you're gonna get over. So you spend so much energy worrying about it...if I knew at 20 that, hell, I was gonna be okay, and be sitting in front of the fire at 45...God, I could have saved myself so many gray hairs and brain blowouts, you know! And yelling and protesting.
And I also probably would have told myself, don't waste any moments in terms of those six months between tours, where Tom's writing, you should be writing too. You know, I probably squandered a lot of good time. I figured, "Well I'm off the road, my job's done, whoopeeee!" I could have been more applied as an artist earlier, you know, I could have made more of a statement for myself.
In what ways do you think that the business is easier, and in what ways do you think it's harder for artists starting out now than it was when you started?
Well it's easier because it's an accepted form of livelihood. In 1970 or 1969 when I told my father I was gonna become a professional musician, I may as well have told him I was gonna wear a tutu and dance with bears in the circus [laughs]. It was like, "Well that's...interesting Stan, what are you gonna do to support yourself?" It wasn't a valid thing, there was no business to back me up on that. Now, I have friends that are in their 20's and 30's, and they've already been to business school and they've been to music college and...you can actually select rock star and supermodel on your job application [laughter]. There's actually channels for this. We all know who the super managers are, we know who the good labels are. We didn't know any of these things! I just heard "record deal"! I didn't know that there were good and bad ways to make it. Now, people know you gotta own your own publishing - we didn't know!
So I think nowadays it's so much by rote, your first album can sell a million records, and it's no big deal - they'll still drop you [laughs]. So, in some ways it's harder for the same reasons it's easier, if that makes any sense. It's really nothing to have a record deal now, it doesn't mean anything. My cat could have a record deal!
There are so many records out there now that it's harder to stand out.
Yeah, right, it's like, everybody's super-talented and everybody's a genius and everybody's signed, and I don't care! [laughs] You know, but back in the day - here we go, Grandpa Shitpants speaks - in 1970, to have a record deal meant something, that was a discriminator: "Well I have a band..." "No wait, I have a band and we're signed!" "Oh! Paper, rock, scissors!"
Now, everybody has a CD. Which is great, I mean, that means you certainly don't have to compromise! All you need is a CD burner and $300 and you too can have your record on the Internet. But I don't know if you've jumped through enough hoops and had enough discipline to make a record worth listening to unless you are Jimi Hendrix.
So I think making it tougher to have a record deal and not letting everyone in the club, actually helped. If I ran a record label, probably one of the first things I'd do is drop half the roster. And I'd probably fire 90% of the A&R staff for hiring them. 'Cause I want to sign bands that are legitimately talented. Like...Everclear - Art Alexakis is talented! If I had a record label, I'd sign him. I get it. The guy's a fucking hardcore, he lives and eats it, he's destined to be who he is! Other guys, it looks like they went to business school to be rock stars.
What do you think are the biggest pitfalls on the road to success, and after you become successful?
The biggest pitfalls on the way to success: disillusionment and panic when you're so close. If you're actually really good, and they don't get it, you can actually believe that you're wrong and they're right. That'll kill you. Like, if Jimi Hendrix had quit when the first 3 guys rejected him...I'm just using Hendrix because he's such an icon to me.
And he's also one of the biggest displays of the pitfalls from beyond success: drug addiction, overindulgence, friends that aren't friends...the peripheral players that just kill you, they bleed you. So I'd say on the way to success: doubt. And on the far end of success: not having that doubt, taking yourself so seriously that you refuse to even believe that there's a chink in your armor and that you're real.
I think hunger makes the best sauce, and I think that fortune, money and all that shit that comes along with it can really....working too close to your comfort zone is not necessarily great art. So I think that a lot of people made their best work when they were hungry 'cause they had to.
How do you think you can keep that going?
Discipline. I think, like Michael Jordan always says, that the fundamentals are what make people great. And I interpret that in any way I can: that means spiritually, financially, they know the rudiments, they know their scales...they've done their homework! Those that have done their homework and that are honest and humble, you can't stop 'em!
What do you do if you've had a long run of success and then your music goes out of style with the public taste, your sales are flagging, and there is a lot of pressure from people to change. But if you changed you'd be compromising what you've been all about. What do you do in that situation?
I think the real question then would be: what are you in it for? If you're in it to make as much money as possible, that's a question you would really have to consider. If you're in it for the journey, if what you're making isn't selling, I don't know if that means that you are doing anything wrong; it just means that at this moment in time, your best work, the music that you most want to make, isn't being received by the widest possible audience. So - that's okay!
Now, if you're trying to tailor your work to the widest possible audience, then I don't know if you can reconcile those two things. You have to make an honest statement like "I'm trying to sell! And therefore if I'm gonna sell I have to play to the means. Therefore I should do a duet with N'Sync!" [laughter]
But it must be more difficult for the person who's been successful for a long time on their own terms, and then all of a sudden something fails.
Yeah, you don't sell records. Yeah, you tank.
It must be tougher to hang onto the premise of artistic integrity in that situation.
Well, conversely, it's a thrill to know that you've had some success. It's like a pro sports athlete. I mean, some guys bat .310 one year and then the next year they bat .145. It doesn't mean that they suck; it means that that particular season they were reading the pitches all wrong!
This is a great joke I heard somebody say to me: it was somebody who's very successful who was producing records for somebody who was lesser known...a record that was probably never gonna sell, but it was a cool record. And I said "Hey man, it must be fun working with so-and-so", and he goes, "Yeah, thank God I sold a shitload of records 'cause now I can hang around and make records till the money runs out!" So I think that sorta nailed it on the head, I heard that and I never forgot it. It's like, for me, "Thank God Tom sold a lot of records 'cause now I can enjoy making music!"
I'm not saying...I'm certainly not bulletproof. Hell, it certainly hurts when you spend a year and the record isn't noticed. But it's a wonderful thing to know that ...I'm on a journey now. I can't worry about that - it would be so pathetic!
Well, if your ego gets in the way and that's what's dominating your thinking...
That would be so sad! If you still have to prove something to others other than yourself. 'Cause I mean, an artistic life is a pretty bizarre life anyway, a lot of artists don't ever get paid till they're dead, they're not even noticed - and even then! So, you have to be prepared to live with that as a self-employed musician, you have to be prepared to suffer that. And I think to try to predict what a group of people will buy is sad and frightening [laughs]. That's that old story, by the time you figure that out, they're on to something else anyway. It'd be so frightening if your life really hung on that balance, on that fulcrum...like if I was actually sitting here going, "God, the demographic of people that buy records is, uhhh, 18 to 24! Now, what records should I produce that will sell to them?" How bizarre! What would I start doing, polling people in high school?
There are a lot of producers and labels that actually do that.
I'm sure they do! But they're in it for a different ride. My ride is like, I want to be around the best, coolest musicians that will have me! And I want to contribute whatever they'll let me contribute, and I want to learn what they'll let me learn. That is the fuckin' ride.
We talked about how you deal with the external circumstances changing, but what about internally? What do you do when you lose inspiration for a period of time? Is it better to take time off, or work through it until it comes back, or...?
Call a friend. Call somebody you respect. That's God's little way of telling you to collaborate. If you still wanna stay in the biz, if you're still feeling useful. Or, you know - go grow avocados for a year! It may be time to change channels. But most musicians have no hobbies. I mean, for me it's as pathetic as it sounds, and it's true: this is my social life, what I do for a living. I take care of my life, I can cook, I can do other things, but music is everything that it always was - it's still the biggest goddamn thing in my life.
So I think that if you're flat, if you've hit a point where you just don't know where the hell to turn, that's usually somebody's way of saying, "Man, you need a bro."
That's good advice for a lot of people now who have home studios and sit in them by themselves.
Yeah, you need a muse. It's like, Mick needs Keith. John needs Paul. You gotta find your crowd and then you gotta give it up to them a little too, you know; you can't force them to love you. Collaboration is a whole other thing, you have to let the collaboration happen, and that's a wonderful lesson to learn.
Most people collaborate, and sometimes I've been in collaborations where the person is basically just using me as a sounding board, and that's all that's required. But other times I've been in a room where you just strike an E chord and the guy starts singing. And you just let him go. You just have to be man enough to hear it, rather than keep trying to change it. Just go! That's when you've hit the real essence of collaboration, where you know you've found your partner.
So it helps you to get your own inspiration back to be able to really learn to listen to somebody else.
Yeah, because usually musicians don't listen, they just critique. You just say well, you coulda done, or you shoulda done, or would you...and what you're really saying is "Why didn't you do it my way?" [laughs] And it's really nice when you hear somebody in the room, even if you're not sure whether they're better than you or worse than you, but it's something you wouldn't do! It's great when you actually find somebody that doesn't hear music the way you do and you start to love them for it.
Otherwise it can become...it's just fetishism, it's just "This is my personal fantasy..."
...of what everyone will love. And they don't! It's inside your navel, man. How deep into your hole of shit do you need to go? [laughter] You know, mining the same belly button lint for the 10,000th time. But other people will drag things out of you and it's beautiful if you let it happen.
Rock drummers seem to be almost expected to be troublemakers, and early on you had that reputation. Yet, you've actually taken better care of yourself and remained healthier mentally and physically than many of your contemporaries.
For me it was always - I really wanted to live! I don't know, I can only speak from my own experience. I watched really depressing people get more depressed. And I watched really excited people get more excited, and it was just a big amplifier. And it reverberated for years, some people never got over it. All I know is that I have very selective memory about the whole experience, very positive.
So you never bought into the whole idea that rock'n'roll is just for rebellious kids?
No, it wasn't a personal rebellion for me...it was a joy and also a way for me to draw attention to myself [laughter], which was what I always wanted to do. Even in the second grade, it was like, the nice way of putting it on the report card: "He seems to be a leader!" In other words, he won't shut up! He makes a big noise wherever he goes. And drummers tend to be, the big loud rock drummers tend to be that way in personality. Keith Moon, his drums sound like he's pushing washing machines over the hill! So of course he's gonna stick his head up from behind the car with a court jester's hat on and missing teeth.
But I don't buy that whole thing...I think most musicians really want attention and they want to be heard, and it's great! I don't get the angst. The angst actually...what draws most people in drives me away. Like I know Fiona Apple makes great records, but I can't listen to it because there's so much angst! It hurts me to see somebody in that much pain, I really internalize it, it bothers me! And that's what it's supposed to do, so she did her job.
What do you do if you yourself manage to keep your head on straight but you're working closely with someone who can't?
I've had that experience, and it was really painful because I was so young I didn't really know what was happening. But you follow your gut on that one. If you know right from wrong, you speak up. You tell the person that you love, if you love them - or if you need them, maybe you have a symbiotic relationship where if they die, you die, career-wise - you tell them, "Look man, I know right from wrong, and this what you're doing is wrong. And if you need me to explain it to you any better than that, I will. But this is against everything I stand for, and I can't let you die in front of me."
If you're the kind of person who's an addict, or if you know somebody who's an addict, get help! Go to AA meetings, whatever it takes! It's not a weenie thing to do at all. Just don't let too much time go by before you do something or it could be too late. So...just pick a time. When somebody's on a bender you don't yell at 'em. First off, they won't remember, so you've wasted time. So you pick a really good time, when everybody's sober, when you've got everyone's attention, and usually you preface it with a lot of love and caring, or a desire to see a full life with them.
But one of you is gonna change, because you can't coexist in those two different universes. It's either the only thing wrong with that band is you're in it, or the only thing wrong with that band is that he's fucked up. Now which one is it? It's two immovable objects that hit each other at 100 miles an hour, what is gonna happen? It's inevitable that some shit is gonna fly. So that one, just take it on, don't sidestep that one.
I first met you around 1978, and the thing that's really struck me is that basically you've remained the same person all that time. A lot of people in this business seem to forget why they wanted to be there in the first place, their values really change a lot. And I wonder if you have any idea what the core values are that have helped you to stay sane, and also to grow as a person as you've gotten older and avoid becoming stagnant or bitter.
Well I have those days....stagnant and bitter, that would describe several weeks of the year. [laughter] That's a totally appropriate description of my career at times! I know there's a very depressive side of me that, if I let it, as high as I can get on something, I can go just as far down. Other cats, you never get to them one way or another, they never go high and they never go low. I have real hills and valleys; I know it's hard to get along with guys like me sometimes too. Unless there's other people that recognize it, that go, "Oh, he's in a cycle."
But it hasn't taken over your soul.
No, no. I mean I'd say that...joy and curiosity have overwhelmed stagnation and bitterness. I've been extremely curious about what's gonna happen if...? I've always been that guy, you know like the Roadrunner cartoon, like "What if I go ahead and blow this up, what'll happen?" So it's like, my life feels more cartoonish to me than dour and dark. My music life especially has always felt very cartoonish!
You haven't taken it too seriously.
Oh, no! And it hasn't taken me very seriously. So we're even! I'm not on Mount Rushmore and I don't think I should be! I'm not overly celebrated; I feel like I was given just the right amount of notoriety that I could handle. I'm very comfortable with it. I mean, there were days when I was bitter about it, I thought, "Oh, man, I should be Keith Moon!" And - no, I shouldn't!
So the core values are that I'm really comfortable with it, and I always was. It never felt that strange. A couple of the guys I worked with always thought when we were kids that rock stars were better than other people. And so when they became, quote, rock stars they thought they were better than other people. That was not a problem for me!
It was really my only ticket to ride, that was it. It wasn't that I was gonna be a professor or a model or a car driver or a brilliant architect. My shot out was that I was gonna be a rock drummer!
But a lot of people think the same thing and it doesn't happen for them.
Oh no, no. And that's why I smile, usually, 'cause I realize I was given the....the troll said you can pass! [laughter] I mean, I know that. Be it ever so humble, my past with Tom and the band, I never take it for granted. When I hear that old shit on the radio I can't believe that it's part of the musical vernacular, that it's been accepted for so long as real. It still blows my mind that that shit that I remember cutting like it was last week is still somehow...viewed as...REAL! [laughs] Like, to this day, 20-something years later. It's very incredible.
So it helps you to step back and maintain that perspective.
Oh yeah, that one never changed. I was very grateful. I remember when the other guys I was working with would say, "We're only making 300 a week!" And I'm going [excitedly], "We're making 300 a week!" So that was the perspective I had immediately. The other guys might have had a little more expectation, so there was more disappointment for them.
Man, we used to have a joke in the first band I was in, which was: lower your goals and succeed! And what it basically translated to was, "Fuckin' have some fun with this, wouldya?"
I mean, to me the most rock'n'roll thing you can do is not give a shit! You know? That is what I thought rock'n'roll was. To me, it was like, "Who gives a fuck? We're a rock band! Come and get it!" Like God, I couldn't believe it, we'd get off a bus and people would be screaming and yelling and I couldn't fucking believe it! Other guys in the band were going like [growling], "Nobody lets me sleep anymore. No, I don't sign autographs," that kind of shit. Huh? Christ, you're kidding! I couldn't get over it, I always was much more lighthearted about it - even in the darkest days of my drug frenzy, which lasted a full month [laughter]. It was still like....this is incredible, I don't want to die here, this is great! It was just, it was never that harsh to me!
But I don't know why other people really get burned by it, it really hurts them. Really hurts some guys. But then, I know guys it didn't hurt. Tom Petersson from Cheap Trick - didn't hurt him! Great guy! I sat and talked to him a year ago, and it was like my long lost brother. I'd be in a band with him tonight if he'd let me. He's like, cool looking, great bass playing, beautiful soul ...nothing burned him! Great attitude, he knows how funny this shit is, he knows it's all Spinal Tap.
But it's wonderful to be in a band, if I have to leave somebody with a thought: it's wonderful to be in a band, even if it's just for a short period of time. Don't even mourn it when it goes; don't cry about it, if it explodes, let it go, just go "What a great moment!" Better to have rocked and lost than never to have rocked at all [laughter]. That's all it was about for me. I just didn't know any better, I didn't know it turned into a corporate frenzy and we were being sponsored by Levi's! I thought we were going out there to draw blood! I didn't know; I was so unsophisticated. That was probably part of the charm was that I didn't know, and I think the very thing that used to be charming became a burden to [the Heartbreakers]. It became like, "Well that's pretty stupid that he's not acknowledging this." [laughs]
But I'll bet you're glad you stayed that way.
I think it's the only way...to thine own self be true [laughs]. The funny thing is, I really wanted to fit in so desperately, even up to the bitter end. I couldn't believe that I was the odd man out. I really tried to put on the school tie, man, I tried like hell for the last five years. I tried being late to rehearsals like everybody else...I tried to act disinterested...but it all backfired on me! No matter how hard I tried, they saw through me! Because my nature was to be there 20 minutes early with fuckin' bells on! [laughter]
But you know, no matter how much shit I give any of those guys or they can give me, there were some great lessons learned in how to grow up with people. They were very bright men. There was a time when they were so glib and articulate, it really was like being around the Marx Brothers or something. They were the best and brightest at the game for a minute there, and I was in very rarified air and extremely good company for a moment there. It was very high level, a lot of looks behind the eyes that said entire paragraphs, and they were all good. There were moments that I really treasure with those guys that can't be duplicated, you'll never get it again. But at the same time, that's why I sorta go back to my original assessment, some bands that last 10 minutes, it's 10 minutes too long. But the fact that these guys hung out with me for so fuckin' long is like - oh my God! God bless 'em! For puttin' up with that - God bless 'em!


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Cash 5 Ticket Worth $225K Sold In Harrisburg
Ticket Sold At Jonestown Road Business
Updated: 11:48 AM EST Feb 15, 2012
A Cash 5 ticket worth $225,000 was sold at a Harrisburg business.The ticket from the Feb. 14 drawing was sold at Gas USA in the 4600 block of Jonestown Road. The ticket correctly matched all five balls: 24-29-31-32-33.The store will receive a $500 bonus for selling the winning ticket.Lottery officials cannot confirm the identity of the winner until the prize is claimed and the ticket is validated. Cash 5 winners have one year from the drawing date to claim prizes.The lottery encourages the holder of the winning ticket to sign the back of it, call the lottery at 717-702-8146 and file a claim at lottery headquarters in Middletown, Dauphin County, or at any of lottery's seven area offices.Claims may be filed at headquarters from 8 a.m. to 4 p.m. Monday through Friday and from 8:30 a.m. to 4:30 p.m. at area offices.
HARRISBURG, Pa. —
A Cash 5 ticket worth $225,000 was sold at a Harrisburg business.
The ticket from the Feb. 14 drawing was sold at Gas USA in the 4600 block of Jonestown Road. The ticket correctly matched all five balls: 24-29-31-32-33.
The store will receive a $500 bonus for selling the winning ticket.
Lottery officials cannot confirm the identity of the winner until the prize is claimed and the ticket is validated. Cash 5 winners have one year from the drawing date to claim prizes.
The lottery encourages the holder of the winning ticket to sign the back of it, call the lottery at 717-702-8146 and file a claim at lottery headquarters in Middletown, Dauphin County, or at any of lottery's seven area offices.
Claims may be filed at headquarters from 8 a.m. to 4 p.m. Monday through Friday and from 8:30 a.m. to 4:30 p.m. at area offices.


Ennis's locker - The Vault Fallout Wiki - Everything you need to know about Fallout 76, Fallout 4, New Vegas and more!
Ennis's locker is a special container in Fallout: New Vegas add-on Dead Money.
William Ennis's locker is located in the upper levels of the Puesta del Sol switching station in a bank of lockers which have an automatic rifle leaning against them. It requires Lockpick (difficulty increases with your level) or Ennis's key to open.
This page was last edited on 8 November 2012, at 19:46.


Wanna know how to dress like your favorite K-pop stars? How about some tips behind Korea's beauty secrets? K-Style is here to show you how! Irene and Sarah show you the key fashion points of K-pop's Big 3 and show you how to dress like Girls' Generation, 2NE1 and more. Then, we show you the latest Korean beauty trends such as how to make your face smaller, how to whiten your complexion, and anti-aging remedies.


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Merry Christmas & a Happy New Year!
I`d like to wish all the Fairthorpe enthusiasts around the world a very Happy Christmas and all the best for the New Year. If you have a car that needs restoring or just a bit of tinkering to get it back on the road 2012 is `the year` to make it happen. Fairthorpes are appearing at events in increasing numbers so why not come and join in, i will be adding a list here shortly of all the main events Fairthorpes will be taking part in during 2012.
If you would like any advice or encouragement drop me a line and i will be pleased to help. I hope you have enjoyed the blog over the last twelve months, there will be plenty more next year, if there is something you would like to see on here to do with Fairthorpes let me know.............Martin
Posted by Martin Collins at 8:08 am No comments:
Pictures of the week, MKV Electron Minor.
This weeks car is the MKV Fairthorpe Electron Minor of Barry Stock which is fitted with a 1300 Spitfire engine. Barry won the furthest Travelled Fairthorpe to this years Gathering at Donington having driven from his home in Ammanford in Wales. The car was registered in 1971 and was previously owned by another club member Alan Lowes, as can be seen from the pictures the car is in very nice condition and unusually for an Electron Minor the MKV`s were built as a 2+2`s. The MKV is a rare beast, i have only seen pictures of 3 cars and probably only a handful were made.
Picture of the week...... American racing Fairthorpe.
This weeks pictures are of a Fairthorpe EM race car in America, they were taken a number of years ago and obviously the owner has a good sense of humour! The car was owned by Bill Clark, then a member of the Fairthorpe Sports Car Club, does anyone know of Bills current whereabouts and whether he still owns the Fairthorpe, his last known address was in Nashville Tennessee.
Electron Minor lost in France!
A while back on the blog i was asking if anyone knew where the MK1 Electron Minor 6037EV was now, the car is seen above alongside my car 789ERO 20 years ago. Following a dig through the Fairthorpe club archives i found the car on a membership form which had a date 10 years after i last saw the car. The guy was only a member for one year so i called the telephone number to enquire if he still owed it. The car was long gone, he had bought it in a dilapidated state having been left open to the elements for a number of years. The hardtop and wire wheels which had been on the car when we sold it were gone and all the trim was soggy and rotten. He had given the Fairthorpe a make over, removing the racing roll bar, respraying it a light blue and having it all re trimmed. The car was then sold to a guy in France but he had no contact information, as he had just bought the car to do up and sell on. The trail looked like it had gone cold but i mentioned the facts to a couple of club members and hey presto the picture below turned up in my inbox.
This car was pictured at the Le Mans Classic in 2008 but unfortunately the owner was not found. I think you will agree if you look at the boot lid and the position of the indicator lamps and Fairthorpe script badge that this is indeed John Ward`s old racecar 6037EV. Another pointer for me is the use of Hillman Imp bonnet hinges on the boot lid and doors, i fitted these as the old original hinges were shot, most people replacing the originals use Herald boot hinges. I am sure the current owner is blissfully unaware of the cars previous competition history, another car with plenty of stories to tell!
HSCC RoadSports Championship Fairthorpe eligibility
Following a recent conversation with Dave Randall the Historic Sports Car Club Road Sports Championship registrar there is some good news for people considering racing their Fairthorpes in that championship. Electron Minors will be accepted with 1147 and 1300cc Triumph engines and now also with 1200cc Ford pre crossflow engines. I dropped Dave an email with a scan of an original Fairthorpe brochure which listed the Ford 1500 GT engine as an option. Dave`s reply was `I would also be prepared to consider a 1500 Ford pre x flow engined car to run in Class C. Our basic rules haven't changed, and this isn't written in the regs, it is at the discretion of the registrar and on a by application basis, but I can assure you that any reasonable application will positively encouraged.` Climax powered Electrons are also eligible so hopefully we may see a Fairthorpe or two competing at some point in the future, they have a very competitive history in the Roadsports championship having won it outright plus winning the class championship a couple of times. For anyone wanting more information about the championship you can contact Dave Randall at the HSCC or take a look on their website http://www.hscc.org.uk/championships.html
Fairthorpe pictures of the week.
Picture of the week this week is of Gethin Jones in his first Electron Minor taken in the early sixties. Shown at an autotest in the Steel Company of Wales car park.
The second picture shows PBW 889 The photo was taken at the start of a Spanish Rally in 2003, Gethin owned this car as well.
789 ERO `tested` in the 70`s!
Whilst on the Fairthorpe Sports Car Club stand at the Classic Car show held at the NEC recently i met with Rob Finegan who is an old friend of Mick Moore. Mick owned my Fairthorpe 789 ERO from the late 60`s through to about 1987, he then sold it to the guy i bought it from in 1989. I have spoken to Mick on several occasions and asked him about photos taken when he was competing in `Little Nero` unfortunately although he has some he is unsure where they are. Rob has come up trumps though and kindly sent me a picture of Mick in 789 at Moor Lane car park, Bolton, 1976, in the Warburton sponsored Autotest. Of his time with the car Rob said `Mickey was pretty quick in those days, there was nothing really to touch him!` The car is now 53 years old and it has been owned for all but five or six by just three people, my Father Frank, myself and Mick.
Fairthorpe `The good old days`
I have been in contact recently with a couple of past Fairthorpe owners who have kindly sent me some pictures taken when Fairthorpes were the competition car of choice. They have given me permission to post them on here for posterity and i`m sure you will get as much enjoyment as i have from looking at them. The picture above was taken at what looks like a grass Autocross and was probably taken in 1959 as the Fairthorpe on the right looks like it might be registered 100 UMY which is Peter Butt`s EM. This car was supplied in light blue gel coat but Was painted crimson red at a very early stage of it`s life, it is still in it`s gel colour here. I think the centre Fairthorpe might be John Green`s car SBL 88 as there is a red hardtop in front of it which John had, his bonnet was later changed to a one off Lenham style as you can see in another picture in this post. The Fairthorpe on the left is an Atomota which may have been driven by Don, Torix or Noreen Bennett. The picture below was taken at Snetterton race track and shows Peter`s Electron Minor 100 UMY ( now in red )on the start line waiting for the flag to be dropped. Both these pictures were taken by former Fairthorpe owner Graham Butcher.
Graham has also sent a picture of himself competing in an Autotest in the mid sixties, Graham`s car was registered 9 AXU and was painted Black. The car was a regular at Autotests and Autocross events for several years before being sold on.
The final picture for todays post was sent by another former owner Ken Coad, his car was registered 100 HX and was generally acknowledged to have been one of the better finished Fairthorpes at that time. Ken`s car was also light blue and is on the left of this picture taken on Ealing Common, probably in 1960.
In the picture from left to right are Ken Coad, John Green who was then also the Fairthorpe works manager, Peter Butt, Gerald Golding and Eric Coad. As mentioned earlier John`s car was now sporting an Ashley style bonnet and was powerd by a Ford Anglia engine as opposed to the original Standard 10 engines in the other cars. Peter Butt still owns his car to this day and for the first thirty years it was campaigned in races, sprints, hillclimbs, Autocrosses and Autotests, i was given my first drive of a Fairthorpe at a Denham grass Autotest in Peter`s car and promptly won the class! There is also an interesting story attached to Ken`s car which i will write about shortly so watch this space!
Fairthorpe windscreen and frame wanted urgently.
Neils Abild is currently looking for a Fairthorpe windscreen frame and pillers, with or with out the screen itself. Neils is racing his car which was featured in an earlier article on this blog, at the moment he is running with an aero screen but for some events he has to have an original type screen and frame on the car. If you have one which you no longer need and are willing to sell please contact me at kartman.nascar24@btinternet.com and i will put you in contact.
Electron Minor wiring loom colour chart.
I have been asked by several owners recently about wiring colours for Electron Minors.
I`m sure many Fairthorpe owners are confronted by the usual birds nest of different coloured wires behind the dash board and under the engine bay! Most classic cars of that age have had the wiring added to or modified over the years so to give you a helping hand here is the original sheet supplied to Fairthorpe builders when they received their kit. This as can be seen from it`s title relates to kits supplied in 1960 but it should be pretty similar for most years. Please bear in mind that your car may have had something different done to it since it was originally put together, this is what it should have had when new.
Another Fairthorpe returns to the roads of Europe.
Henry Brentjens from Holland has owned his Fairthorpe Electron Minor mk1 since 1978, he bought it from a chap in Berkshire and did a lot of work to it before getting a Dutch MOT and licence plate. Henry drove the car over to the UK several times in the early eighties, but like many classic cars lack of time and money meant that the car subsequently sat unused for 15 years. Encouraged by some of his old friends in the Fairthorpe Sports Car Club Henry once again embarked on a rebuild that took him over a year to complete, now that he has it on the road again he is looking forward to putting some more miles on the car. How about another trip to the UK next year Henry, we`d love to see you at a club event with the car.
SOLD Fairthorpe EM1 for sale. SOLD
I have had a call from FSCC club member David Boucher who has decided to sell his MK1 Electron Minor which is Standard 10 based. The car has been restored to a rolling chassis stage with engine and gearbox done also. The bodyshell etc is all there but needs fitting and the restoration completing, this is comparatively a quick resto job as a lot of the graft and expense has been done. Much money has been spent on among other things a new set of Dampertech adjustable shock absorbers with springs ( cost £460 ), all new braking system and cylinders, ball joints, trunnions etc. The engine is a 948cc Standard 10/ Triumph with twin SU carbs and has had a new water pump and timing chain fitted. The car comes with a period Smiths heater, original Fairthorpe bonnet badge and a good hood. Dave tells me that the body work is not bad, the car has the electron style nose, the interior trim is all there but only good for patterns now and the original Fairthorpe `tin bucket seats` are there but rotten (i have a mold to make new fibreglass ones). There is no logbook with the car but he has the original chassis plate, number plates and an old tax disc. The car should be eligible for it`s original number and a log book from the DVLA by going through the Fairthorpe club once the car is nearing completion.
You can see pictures now on http://www.photobucket.com/
You can sign in using the word DGBOUCHER and use the word ELECTRON as the password (all upper case). The car is in Berkshire, Slough area and he is looking for £3000 which i think is not bad as a car needing full restoration sold at auction in the last couple of months for £2200 ( see an earlier post). He has asked for contact by email as he does shift work, he can be contacted on d.boucher789@btinternet.com
The car has now been sold to FSCC member David Martin, i will put a progress report on here as he gets near to getting the car back on the road.
Atomota survivor
I recently met with Brian Waters the owner of one of only two known complete Fairthorpe Atomotas, Brian has owned the car since the mid 80`s when he bought it from Fairthorpe. AVM Don Bennett had the car as a restoration project but realising he would not get round to the rebuild agreed to sell it to Brian, a princely sum of £100 was agreed and Brian still has the receipt. The Atomota came with it`s original log book which shows the original colour to be blue but this was later changed to Rolls Royce Sand, the colour it is in now.
The car needs a full restoration but is mostly complete and is fitted with a 948cc Standard 10 engine with twin Su carburetters, he also purchased a complete BSA engine as fitted to some Atomota`s from Fairthorpe at the same time. Brian intends to restore the car in due course, i`m sure many of you like me look forward to seeing the car on the road again. The other known complete car is in America but it has been fitted with a Subaru engine, i hope to post some information on that car at some point in the future. The remains of a third car are known but the bodyshell was sadly scrapped some years back and whilst the FSCC holds the molds to many of the Fairthorpe models the ones for the Atomota are sadly missing presumed disposed of in one of Fairthorpes factory moves.
Fairthorpe in print, October issue of Classic & Sportscar magazine.
This months Classic & Sports Car magazine has a piece about Brian Jacksons mk2 Electron Minor UNJ203, it is on page 38 in the section titled `Lost & found`. A couple of nice pictures are included along with some background history of the car.
2011 Fairthorpe Gathering report
Following several days of nervously watching the changing weather forecast Sunday dawned bright and dry with no rain forecast for the Donington area.....
Electrina
Brian Jackson`s mk2
Following last years excellent turnout of 13 cars I was hopeful that we might make 15 Fairthorpes at the event, but we had a couple withdraw the week before and two no shows on the day, due to a mechanical issue and persistent heavy rain on the South coast and no hood, the number on the day was nine cars plus a number of owners currently rebuilding their pride and joys. The only car present that was at last year's event in Essex and this year's event in Derby was mine! So we had eight `new cars` at the Gathering, this possibly being a by product of moving the event round the country each year to help owners in different areas attend........it would be nice to get them all together in one place though! From the nine cars only two had the same style of bonnet, showing how Fairthorpe had changed the look of the car as the years went by. Those present were treated as usual to a fine selection of my wife Sarah`s baking skills, the highlight of which was her infamous Fairythorpe cakes, which went so fast I didn`t even get one :-(
There was also a table selling F.S.C.C club regalia and various Fairthorpe spares to help those undergoing rebuilds. In the end the breakdown was three mk1 cars, which belonged to Richard Holden, David Kennedy and myself; four mk2 cars, owned by Terry Armson, Brian Jackson, Rob James and Adrian Mancha; and one mk 5 car, of which only a handful were made, this one belonging to Barry Stock.
Terry Armson`s mk2
Rob James`s mk2 and Richard Holden`s mk1
And finally to add a bit of spice my own Electrina, one of only two known complete survivors. Also present of interest was the nicely built Dare Ginetta G4 of Tony Thorpe. There was obviously plenty to talk about and everywhere you looked there were groups of people huddled under bonnets discussing their cars, Alan Green and Brian Townsend who are both part way through rebuilds were wandering amongst the Fairthorpes with a bracket from Brian's trying to identify the location of said bracket on the assembled cars (i`m told now that it holds the fuel pipe clear of the cylinder head on the 948cc engine). A welcome attendee was Chris Mole who has not one, but two Fairthorpes in bits, hopefully he was taking some inspiration from the event and will be commencing work in the near future, go on Chris you know you want to!
Adrian Mancha`s mk2 rebuild
The awards presentation took place at 2pm and we were privileged to have the F.S.C.C founder and president Barry Gibbs along to present them, Adrian Mancha`s car was built by Barry back in 1963. Furthest travelled to the event went to Barry Stock who had come all the way from Ammanford, South West Wales a total of 192 miles, many thanks Barry we were very impressed.
Barry Stock`s mk5
Special mention must also go to David Kennedy who had driven all the way from Morecombe, David came down directly on the motorway otherwise the result may have been different!
David Kennedy`s mk1
Those assembled voted for the Best Fairthorpe present and amongst all the nicely turned out cars Richard Holdens lovely green mk1 won the award, well done Richard.
Richard Holden`s mk1 winner of the Best Fairthorpe award
Many then took the opportunity to have a look round the excellent F1 collection in the museum only to emerge into torrential rain....those with hoods quickly put them up and others scrabbled for sheets or jumped in their cars and raced off, as the rain mostly stays off you once you are rolling. One by one the cars departed for the various parts of the country they had arrived from, many thanks to you all for the effort to bring your Fairthorpes to this the third Annual Gathering. Next years event is already in the planning and will be around the same time of the year, more details will be on the blog when date and venue are fixed.
Photo credit: Sarah Collins, Marian & Brian Townsend.
Here is the link to the Youtube movie from pictures and videos taken at the event..........
Fairthorpe Gathering 2011
An excellent day was had by all those who attended today's Fairthorpe Gathering, there were 9 Fairthorpes in attendance comprising 8 Electron Minors and 1 Electrina. The awards were picked up by Richard Holden (best Fairthorpe) and Barry Stock (furthest travelled in a Fairthorpe at 192 miles!) The awards were presented by the Fairthorpe S.C.C founder & President Barry Gibbs. A full report plus pictures and video will follow later this week, as a taster here are a couple of pictures to wet your appetite.
2011 Fairthorpe Gathering this Sunday
If you have read the previous post you will know that this years Gathering is this coming Sunday the 7th. As a little taster if you have not already watched it here is the link to the video from last years event.
http://www.youtube.com/watch?v=eTnSF6gPLcQ
We will be doing another video to put on Youtube this year so if you see a camera pointing in your direction smile! Hopefully the weather will be fine on the day, hope to see you there.
2011 Fairthorpe Gathering information
This years Fairthorpe Gathering is nearly here it is on 7th August at the Donington Park Museum, Castle Donington, Derby, DE74 2RP. The museum is close to J23a of the M1 and is accessed by the A453. Entry to the Fairthorpe Gathering is FREE and there will be refreshments and snacks provided free of charge to those attending, my wife Sarah will be baking some more of her delicious Fairythorpe cakes which went like Errr.........hot cakes last year! There will be trophies presented for the best Fairthorpe at the event (voted for by those attending) and also the furthest distance travelled to the event with a Fairthorpe.
We have negotiated a discount of £2 over the normal admission price to the Grand Prix Collection so admission to the museum will now be £6 for those attending the event.
`The Donington Grand Prix Museum houses the largest collection of McLaren and Williams racing cars in the world (outside of their respective factories), and the only complete collection of Vanwalls. A notable exhibit is Stirling Moss's Lotus in which he defeated the might of the Ferrari Works Team in the 1961 Monaco Grand Prix.`
More information on the museum can be found at http://www.donington-park.co.uk/pages/motorsport-museum.html there is also an excellent cafeteria on site if you want something more substantial to eat.
We will be arriving from 9.30am onwards and have a designated parking area to put the Fairthorpes, last years event had 13 cars in attendance, i am hoping for 15 this year. If you have a Fairthorpe or are just interested in them please come along and join in, the more the merrier. We have 13 cars attending so far although that will be dependant on the weather so i have fingers crossed for a dry day!
Electron Minor up for auction
I have been tipped off by Dave Malins the Tornado Registrar that there is a Fairthorpe Electron Minor mk1 up for auction tomorrow (20th July) at H&H Auctions. The EM was previously held by a museum and looks to be fairly complete and is fitted with a 948cc Standard 10 engine. If you are after a rebuild project this could go at the right price.
Here is a link to the auction page:- http://www.classic-auctions.com/Auctions/20-07-2011-ThePavilionGardens-1291/1960FairthorpeElectron-33449.aspx
The Electron Minor sold for £2200, hopefully the new owner will contact myself or the club so we can help with advice or parts for the rebuild.
Pictures of the week
This week i have a couple of interesting pictures for you to enjoy, the first of these was taken in Genova, Italy in the early 60`s. There was a Fairthorpe dealer appointed in the area and he had a new tail designed for his cars, one of which is shown in this picture. I am not aware of how many cars were built with these and have no knowledge of any of them surviving. If anyone in Italy reading this fancies a bit of detective work here is your opportunity, i think there are at least 2 Fairthorpes there with the conventional rear bodywork. Below is a scan of the front of the agents brochure.
The second picture was taken in February 1986 at the CCH Sprint at Brands Hatch, my Father Frank (pictured with the car) and i had rebuilt this EM1 with a Ford Escort axle with a limited slip diff, a 160bhp Race tuned Lotus Twin Cam and 5 speed gearbox and as you can imagine it was VERY impressive to drive. Unfortunately we arrived too late to practice due to the snow and a steep slope out of our workshop! So we were therefore a non starter, no harm in unloading it from the trailer and giving it a run round the paddock! A couple of months later we took it to Silverstone for the 8 Clubs race meeting again arriving late for practice (i see a pattern here!) but due to a friend being clerk of the course i did a couple of practice laps behind the pace car (thanks Ken ;¬)
I had a great dice during the race with someone in a hot 2.8i Capri, i`d out brake him and pull away through the corners and under acceleration but he would be on my tail again at the end of the straights. Alas it was over all too soon, after 3 laps the large oil warning light flicked on and a glance at the pressure gauge showed the needle rapidly descending towards zero so i switched the engine off and coasted to a halt on the grass on the exit of Copse corner. The cause was diagnosed as a broken cam bucket and with metal all round the inside of the engine an expensive rebuild was on the cards.............money we unfortunately didn`t have at the time, a familiar story for many would be racers. We had someone who was interested in the car so we resprayed it to their choice of colour which was British Racing Green and fitted it with a tuned 1600 Ford x-flow engine with twin 40 Weber carbs, still a potent machine but a bit more reliable for the road.
This weeks pictures were taken at the recent F.S.C.C meet up at the Classic car weekend at the Prescott Hillclimb. Some of you might recognise the registration number on the picture below as it was featured some months back on the blog but was then a bright Orange colour. Just to remind you WAY 327 is the trusty steed of Steve Colling who has owned her for many a year and has rebuilt her at least twice, once following a fire which virtually destroyed the car. Following several years in France which saw the car parked under a tree (not good for the paintwork) Steve decided it was time for a motor make over! Gone is the bright paint work and in it`s place is a tasteful dark Grey Metallic finish which turns it in to a Wolf in sheep's clothing as under the bonnet is a tuned 1600 Ford engine with high lift cam and Twin 40 Weber carbs. In a lightweight car like the Fairthorpe Steve has embarrassed many a hot hatch at the lights :¬)
The second car pictured belongs to Richard Holden who had a four hour drive from Leeds the day before to get to the event, he said it was well worth the trip. Richard`s car has a 1296cc Spitfire under the bonnet which he thinks has about 90BHP at the flywheel, the car was resprayed about 10 years ago but still looks great in it`s BRG finish. Both cars will hopefully be at the upcoming Silverstone Classic event on 23/24 July.
Fairthorpe in print, October issue of Classic & Sp...


This library provides a better API to work with processes on Unix-like systems using PHP.
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Version 1.6.0 or less of Arara\Process works on PHP 5.3.
Along with this document, there are many usage examples in the examples/ directory which may be used for reference.
Without this statement, there is no guarantee PHP will handle signals; this is very important for PCNTL to work properly. It has been required since version 4.3.0 of PHP, so this is not a request of the library but of the PHP language itself.
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Action::EVENT_FINISH : triggered after the execute() method has executed.
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You may want to run just a Linux command, for that reason there is Command action.
Command action is based on Callback action so you can also bind triggers for events.
Daemon action is based on Callback action thus you can also bind triggers for events.
The class Arara\Process\Child allows you to execute any action in the background.
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Tropical countries lie at the nexus of three pressing issues for global sustainability: agricultural production, climate change mitigation and biodiversity conservation. The forces that drive forest protection do not necessarily oppose those that drive forest clearance for development. This decoupling, enhanced by the stronger economic forces compared to conservation, is detrimental for the social-ecological sustainability of forested tropical landscapes. This paper presents an integrated, and spatially-explicit, Agent-Based Model that examines the future impacts of land-use change scenarios on the sustainability of the Wet Tropics region of tropical Queensland, Australia. In particular, the model integrates Bayesian Belief Networks, Geographical Information Systems, empirical data and expert knowledge, under a land-sharing/land-sparing analysis, to study the impact of different landscape configurations on trade-offs and synergies among biodiversity and two ecosystem services (sugarcane production and carbon sequestration). Contrary to most tropical regions, model simulations show that Business As Usual is helping to reconcile these contrasting goals in the forested landscape of the Wet Tropics. The paper analyses which combination of governance and socio-economic factors is causing these positive results. This is an outstanding achievement for a tropical region, considering that most tropical areas are characterized for having stronger economic-land clearing forces compared to conservation forces, which reduce important ecosystem services for human wellbeing and the health of ecosystems.
Hall, C., Macdiarmid, I. J., Matthews, R. B., Smith, P., Hubbard, S. F. & Dawson, T. P., 11 Apr 2019, (Accepted/In press) In : Food Security.
Kolosz, B. W., Athanasiadis, I. N., Cadisch, G., Dawson, T. P., Giupponi, C., Honzák, M., Martinez-Lopez, J., Marvuglia, A., Mojtahed, V., Ogutu, K. B. Z., Van Delden, H., Villa, F. & Balbi, S., 1 Oct 2018, In : Ecosystem Services. 33, Part A, p. 29-39 11 p.
Molotoks, A., Stehfest, E., Doelman, J., Albanito, F., Fitton, N., Dawson, T. P. & Smith, P., 29 Sep 2018, In : GLOBAL CHANGE BIOLOGY.
Francis, R. A. & Lorimer, J., Jun 2011, In : JOURNAL OF ENVIRONMENTAL MANAGEMENT. 92, 6, p. 1429 - 1437 9 p.
Harvey, G. L., Clifford, N. J. & Gurnell, A. M., Sep 2008, In : JOURNAL OF ENVIRONMENTAL MANAGEMENT. 88, 4, p. 638 - 650 13 p.


text:
Q: UML - objects represented in circles and squares, which is correct? Hi I run into these different types of reprsenting an object in uml diagrams and was wondering which is the correct one or the most used one?
The following pictures are examples of collaboration diagrams one on which the objects are circles (interfaces, controllers, ...) and the other squares?!
PS: it's not just collaboration diagrams but others types too.

A: The standard notation symbol for objects is a rectangle.
Yet UML is highly adjustable and main methods for that are stereotypes and profiles. Stereotypes can have icons to be used as a replacement for a standard UML notation symbols.
The circles based icons in the first picture are standard, widely recognized and accepted icons to represent stereotypes for ECB design pattern classes (Entity, Control, Boundary). Add the UML inherent actor's sticky figure notation and you have all the pieces.

redpajama_set_name: RedPajamaStackExchange


text:
Sergeant Gerard C Swift
Gerard Charles Swift was the son of William and Margaret Swift, of Battersea, London; husband of Emma Irene Swift, of Battersea, London, he enlisted in The Royal Ulster Rifles and volunteered for airborne forces.
Sergeant Swift successfully completed glider training and was posted to 1st (Airborne) Battalion, Royal Ulster Rifles and took part in Operation Varsity (Rhine Crossing).
Sgt Swift was killed in action on 24 March 1945, age 30, and was given a field burial at Hamminkeln, Germany, and was re-interred to Reichswald Forest War Cemetery, Germany on 23 April 1947.
If you are part of Sgt Swift's family and would like to complete this biography, you can apply to the curator to do so. To do this you will need to become a member of ParaData and select the 'friend or family member' option on the registration form.
If you would like to find out more about becoming a member please visit our registration page.
Members of ParaData can submit their material by clicking on the 'Add content to this article' button on the right.
By Rod Gibson
1st Battalion The Royal Ulster Rifles (Sergeant)
Rhine Crossing (Operation Varsity)
The 6th Airborne Division was tasked to seize the high ground of the Diersfort Wood, overlooking part of the Rhine to be crossed by the British 21st Army Group.


If ports are doorways to a country, then the history and origins of Buenos Aires are best understood in relation to its port. "The Port City", as the colonizers called it, allowed commerce into the region, so vast, that it once reached the lands of modern Perú.
On February 3, 1536, the conqueror Don Pedro de Mendoza arrived by land to the coast of Buenos Aires. His mission was to populate the lands of the De La Plata River, which were of great interest to the Spanish crown. Mendoza christened the city "Espíritu Santo" and named its port "Nuestra Señora del Buen Ayre". He was faced with food scarcities and hostilities from the indigenous people that stifled his progress. For these reasons, he decided to leave and return to Spain.
Nearly forty years later, Juan de Garay arrived on a second attempt: on the 29th of May 1580, he made the second founding. Garay and his crew began working to organize the city. They selected the highest ground as a defensive point against potential attacks. The acclaimed monument, "Palo de la Justicia", was built on what today is the Plaza de Mayo, and a fort was built. In addition, they organized the Cabildo, which was the highest administrative institution, and erected a church where the Metropolitan Cathedral now stands. The city was then named "Santísima Trinidad", and its port, "Santa María de los Buenos Aires".
It was not until the 18th century, with the creation of the viceroyalty, that Buenos Aires ceased to be a village. The first viceroy to start the transformation was Juan José de Vértiz. He was responsible for the installation of street lamps and cobblestones, and for creating the first printing press. The fort was used as the seat of the viceroy and was on the site of the current government offices. Another point of reference from this era is the church of San Ignacio, constructed by the Jesuits and one of the oldest buildings in the city.
The role of Buenos Aires as the main connecting port for goods between the new land and the rest of Europe was essential to its development. Tempted by the growing business of the port, the English tried to take control of the River Plate and invaded the city of Buenos Aires in 1806 and 1807. Both attempts encountered defeat.
In 1810, with King Fernando VII in prison and the Seville council in French hands, the town of Buenos Aires decided to rise up in the famous May Revolution. They revoked the viceroys title and on May 25, the First Government Council was formed with Cornelio Saavedra presiding. This was the first step for achieving the independence of the River Plate provinces, proclaimed on the 9th of July 1816. This date is still celebrated as the most important national holiday.
Buenos Aires had been born. In 1857 the first railroads appeared, in 1865, the streetcars, and in 1876, the first shipment of wheat left for Europe. The bonanza prompted the declaration of Buenos Aires as the country's capital (1880). The city's geographic limits were today's Plaza Once and the Riachuelo river.
The Romantic styles and latest Art-nouveau designs from the old continent began to appear in buildings such as the Children's Hospital and the "Escuela Normal de Maestras". The typical Buenos Aires tenement houses that sheltered the European immigrants began to contrast with the new palaces. Slowly, Buenos Aires had grown from a small port town into the city that developed to be a replica of Europe. The immigrants from Europe were responsible for feeding this growth. First arrived the Italians and the Spanish, the majority of whom were poor farmers. Afterwards came the Jews, Poles, Croats, Czechs, and Ukrainians among other nationalities.
In the beginning, the migratory policies were very liberal, but with time, the pretentious Argentine oligarchy decided to close its doors. They only desired the influx of northern Europeans, which led to the English arriving in numbers. They were bankers, office workers, engineers, and financial experts. They designed the railroad network and their architectural designs were stamped across train stations, and the docks in the port. During 1895 in Buenos Aires, out of every 100 inhabitants, 72 were foreigners.
Two main events characterized 20th century Argentina: the successive military coups led by the Armed Forces, and the birth of a native political movement known as Peronism.
The leader of this movement was Juan Domingo Perón, three times elected president. He rose to power in 1946 with the support of the lower classes and the labour unions. With him, the lower classes were able to participate in the political action. In addition, he redistributed the Nation's wealth, and the State took control of public services. Another feature of Perón's government was the growing publicity of his wife, Eva Duarte. From the offices of the Ministry of Labour, Evita personally sought aid for the poor through social welfare.
But the role of Evita was always controversial. "Los Descamisados" ("the shirtless ones"), as she called the poor, adored her to the extent of giving up their lives for her. The upper class, on the other hand, thought she was an opportunist blinded by power. In 1952, during her husband's second presidency, Evita fell victim to cancer. In 1955, the military overthrew Perón and he was banished to Madrid, Spain. After eighteen years in exile, Peronism returned to power in 1973. One year later upon the death of Perón, the presidency remained in hands of his new wife Isabel. The country was submerged in social violence, and the governments disarray ended in another coup d'état.
Among all of the centurys dictatorships in Argentina, that of 1976 was the worst. The military named Jorge Videla president and the supreme commander of the three Armed Forces devised a plan to combat the subversive elements of the population (the extreme Right and Left of the political spectrum). The military created a sort of terrorist state and used it to control and persecute political dissidents. They kidnapped, assassinated, robbed children, and left thirty thousand people missing. Even today, relatives still search for their loved-ones.
In 1982, they declared war against England for sovereignty of the Falkland Islands, in order to justify the continuation of their political plan. The war ended with the defeat of Argentine forces. This episode served to end the dictatorship and marked the return of democracy to Argentina. Human rights organizations started to demand information about the missing people, and political parties began their campaigns and designated presidential candidates. Five million people affiliated with the different parties, made clear their desire to participate in democratic elections showing up at the polls.
On December 10, 1983, Raúl Alfonsín assumed the presidency and was handed a nation in total turmoil. During his time in office, he prosecuted the military juntas. The verdict condemned the leaders, but the ratification of the laws of "Punto Final" and "Obediencia Debida" granted freedom for the lower-ranking officials. Afterwards came the pardons of President Carlos Menem. Today, the majority of the leaders that participated in the coup d'état of 1976 are free, but are still wanted on international charges. The Argentine courts continue to investigate them on charges of illegal appropriation of minors.


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Tom & Jerry: The Ultimate Game of Cat and Mouse - Nintendo NES
Publisher: Hi-Tech Expressions ? No-Intro: Tom & Jerry
Developer: Software Creations ? GoodName: Tom & Jerry
Year: 1991 TOSEC: Tom & Jerry - The Ultimate Game of Cat and Mouse!
Category: Action MAME: N/A
Game Manual: Download Game Music:
Box Back
Cartridge Top
A one player action game published by Hi-Tech Expressions in 1991, developed by Software Creations.
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