OH MY GOD, LOOK AT THAT GORGEOUS COVER – I CAN'T WAIT FOR 2020!
Rainbow Rowell is an amazing author and I really enjoyed her two previous books: Attachments is a delight and Eleanor & Park is amazing and also amazingly tense, because dear god, those kids!
Given my own love of fandom, I was particularly delighted to see her publish a book about fanfic writers, or at least a fanfic writer. And I did enjoy this book. The characters are delightful and the plot was interesting.
That said, there was just something off about the book and it took me a while to pin down exactly what. The main tension of the story is whether or not Cath (the main character) can deal with the real world or will focus herself exclusively on fandom. This is a real crisis for many college students. However, I found two main problems with the implementation of this plot, one with the timing of the plot arc and the other with the writing style interacting poorly with the tension of the story.
The writing style is almost fairy-tale like, with a focus on significant events and turning points without getting into much of the day-to-day activities of the characters. This is a writing style I often enjoy, but when the plot tension is about whether or not the main character is doing her regular day-to-day activities, then it becomes pretty important for those activities to be explicitly addressed. There's a real question of whether or not Cath is attending her classes, and she says she is, but we only ever see her in one of her classes. In addition, there's a major plot point about one thing that Cath doesn't do. But since so much of what she does do isn't described, there's no way to tell when she doesn't do something. That plot point comes out of nowhere when it's finally revealed.
The timing is also problematic. Like most stories, this one is structured with the climax at the end of the book and the end of the time period being described. It certainly makes sense to structure a story like that. But the kind of crisis that Cath is dealing with isn't one that waits until the end of the year. When I went to college, there were members of my cohort who struggled with online and fandom obsessions. I was only introduced to fandom in college, and started being active in it in my later years, after I had gotten the hang of college itself. From what I saw, though, with others, was that the crisis came early on. They made a choice in their first month of the semester, if they could balance fandom and real world or not. If they couldn't balance the two, and if they picked fandom, then they flunked out fast. The crisis point doesn't wait until the end of the year. At most, it might wait until the end of the first semester.
So, the end of the book focuses on this crisis of priorities, but I had actually judged the crisis point to have long passed, and I had to play catch-up a bit when the story referenced a turning point that I didn't even notice. It was a fun book about wonderful characters, but the timing and the tension of it weren't very well done. I still enjoyed it, but it's definitely no Eleanor & Park.
I just finished Rainbow Rowell's Attachments, which Kinsey has already reviewed, so I'm just adding on that I LOVED it, and everyone should go read that, too (right after Good Omens). It was seriously one of those books where I was disappointed that it actually ended because I would have been happy to keep reading it for months.
Anyway, this is not a post about Attachments, much as I loved it. In order to get some more Rainbow Rowell after finishing the book, I immediately went on twitter and followed her, and she is currently talking about a very interesting new event in the literary world: Amazon is buying the rights to tv shows in order to try to monetize the corresponding fanfic.
It is all very new and embryonic, so no one is quite sure how it is going to work, but just that it is certainly going to change things up and it will be quite interesting to see how. Rowell and her followers bring up some very interesting points about what it means to monetize a previously free art form and to normalize a fringe culture (particularly a female-dominated creative outlet into a male-dominated media field).
Rebecca has previously given a basic overview into the world of fanfic here, and wants to think over this new development before commenting (she concurs with Rowell's tweet, that she has many thoughts but few opinions yet on this news).
Discussing it with Rebecca, though, it occurred to me that this isn't quite as much a sudden new development as it is being reported. Rowell brings up that every author after Stan Lee that used the character Spiderman was in essence writing fan fiction. Sherlock Holmes works continue to be published long after Conan Doyle's death. Publishing houses have already started searching out popular fanfic authors for original works, and have even published fanfic pieces, just with changed names. So we keep moving forward at a fairly steady pace, I guess?
Back in October, I wrote a review of Rainbow Rowell's Attachements, mostly focusing on how sweet and charming I thought it was. Based on that, I assumed that I would like her new novel, Eleanor and Park, as well. I was not prepared for how much I LOVED this book. People, you have all got to go read Eleanor and Park.
It's a love story between two misfits (that's Eleanor and Park), and for once the misfits actually seem like they don't fit in. Eleanor is not a nerdy girl who takes her glasses off and then she's a model–she (and, in his own way, Park) are truly complicated people who struggle to blend in and relate.
The portrayal of high school life–with it's tentative and ever-shifting alliances–is as on-point as I've ever read.
The point of view alternates between Eleanor and Park, and both of their voices are so distinct and clear–it felt like I got to know two different people. I also love it when a book gives me an insight into teenage boys, and Park is a really stunning character.
It made me cry on an airplane, but also made me so happy that I am planning to buy my own copy so I can read it whenever I want.
My library classified this as YA and I wouldn't hesitate to recommend it to teens, but it's complex enough that I might consider it an adult book.
Kinsey's Three Word Review: Better than words.
I've mentioned Linda Holmes of NPR and the fabulous Pop Culture Happy Hour podcast here before–both the blog and the podcast are wonderful places to hear intelligent talk about movies, TV, music, other podcasts, and all sorts of other good pop culture-y things. I wouldn't have said that they talked about books that much, but I've gotten a couple of good recommendations from them lately. Gone Girl was something I was probably going to read anyway, and their recommendation just encouraged me, but I would never have found Attachments without Linda's recommendation on a recent episode, so I am passing it along.
Written by Rainbow Rowell (who has maybe the best author name ever), it's the story of a guy working in IT at a small-town newspaper during late 1999. His job is to read the employee emails that have been flagged as inappropriate content and issue warnings to the employees, but he finds himself so interested in the emails that two women at the paper are exchanging that he can't bear to stop them. In fact, he finds himself falling in love with one of them–but can anything ever come of a relationship with such a beginning?
Does that make the book sound creepy? It's not at all, it's sweet! The main character knows he's in a potentially creepy situation and spends a lot of the book trying to figure out how to make it less so. And the emails between the two women are fun, and give the book a very epistolary feeling. Plus, all the references to Y2K are sort of charmingly retro. Remember when were so worried about that? Remember when email was so new and fun? I would describe this book as light, but thoughtful–it's a sweet romance, but the lives of the people involved feel very real and important.


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PR: USFL Announces Game Assignments For Week 7
BIRMINGHAM, Ala., May 16, 2022 – The United States Football League (USFL) today announced the dates, start times (ET), location, and telecast schedule for its Week 7 games:
WEEK 7 (May 28-29 at Protective Stadium)
New Jersey Generals at Tampa Bay Bandits (Saturday, May 28 at 12:00 PM ET on USA)
New Orleans Breakers at Michigan Panthers (Saturday, May 28 at 9:00 PM ET on FS1)
Birmingham Stallions at Pittsburgh Maulers (Sunday, May 29 at 2:00 PM ET on FOX)
Philadelphia Stars at Houston Gamblers (Sunday, May 29 at 6:00 PM ET on Peacock)
All tickets will be "single day," which allows entry/re-entry to all USFL games played in Birmingham on any one date. Adult general admission tickets are $10, and each adult can receive up to three free single-day tickets for children. General admission, premium, and reserved tickets are now available for purchase at theUSFL.com.
Typically, the League will announce specific game assignments no later than the Monday two weeks prior (e.g., Week 8 is expected to be announced on Monday, May 23).
About the USFL
The United States Football League (USFL) is a new, independent football league that is not affiliated with the defunct 1980s league or its owners. The inaugural USFL season kicked off April 16 with eight teams split into two divisions: the Birmingham Stallions, Houston Gamblers, New Orleans Breakers, and Tampa Bay Bandits in the South Division; and the Michigan Panthers, Pittsburgh Maulers, New Jersey Generals, and Philadelphia Stars in the North Division. Each team will play a 10-game regular-season in Birmingham. Playoff semifinals begin in Canton on June 25 between the top two teams in each division and a championship game on July 3 between division winners. Each USFL team carries a 38-man active roster plus a seven-man practice squad. Players receive base compensation and are eligible for victory bonuses. NBC Sports and FOX Sports are the League's official media partners and will present all 43 regular- and postseason games on FOX, FS1, NBC, USA, or Peacock networks. Brian Woods is President of Football Operations, and former Dallas Cowboys standout and long-time NFL on FOX game analyst Daryl Johnston is Executive Vice President of Football Operations. Former NFL Vice President of Officiating and FOX Sports' NFL and college football rules analyst Mike Pereira is Head of Officiating, and FOX Sports' Edward Hartman is Executive Vice President of Business Operations. For more information, visit theUSFL.com and follow us on Twitter, Facebook, and Instagram.
The Memphis Showboats were extremely active this Wednesday, however, were able to bring back...
USFL Week 5 Power Rankings
Pittsburgh Earned First Win of Season, Stunned Houston 21-20 on Last-Second Touchdown

redpajama_set_name: RedPajamaCommonCrawl


The 21st century will see the continued integration of the best of complementary medicine into biomedical practice. It is timely. No longer a cottage industry, complementary medicine will continue to thrive. But whether it does so as a poor cousin to orthodox medicine who have subsumed what it can, or if it does so by standing strongly in offering expert advice in a primary health care context, time will tell.
In decades past, traditional users of complementary medicine were patients disillusioned with orthodox medical practices. Often they were attracted for political and philosophical reasons and sought to make a statement about the perceived unethical behaviours, vested interests and business and medical practices of pharmaceutical companies. Or they were attracted to natural and complementary medicine because of the philosophy, its gentleness, its capacity to do little harm and its efficacy. This is changing.
As complementary medicine becomes more effective, grounded, as graduates emerge with better social and biosciences, more and more patients and an increasing number of allopathic practitioners will seek to integrate the best that complimentary medicine has to offer. An integrative approach to personal and community health is the natural and logical result.
It's not everyone. Natural medicine embodies both techniques and ideas, both philosophy and the dispensing of medicine.
There is often confusion over the terms integrative, integrated, complementary and natural.
This site can assist you in finding information on integrative approaches, research on integrative, natural and complementary medicine and suggest clinicians and institutions to provide education or to provide health services.


Each type of beverage manufacturer is unique in their industry and faces their own set of challenges, whether in material acquisition, manufacturing and distribution, or food safety legislation. The Kernutt Stokes Beverage Industry team specializes in services to breweries, wineries, and other beverage industry manufacturers and understands the intricacies these businesses face each day. We work with our clients to develop and implement a strategic plan that meets their financial and operational needs while maintaining compliance. Our dedicated professionals fully understand the industry and can easily provide clients with a cost analysis of equipment, a financial statement analysis, tax saving ideas, or inventory costing. We also work with both small and large businesses to develop sustainable business practices and identify tax credits available for installation of efficient equipment. As members of the Oregon Brewers Guild, Cascade Brewers Society, Beverage Industry Networking Group, and Brewer's Association, our trusted advisors closely monitor industry news and keep our clients abreast of issues that affect their business.
To learn more about Kernutt Stokes' beverage industry services, contact Matthew Diment at mdiment@kernuttstokes.com or by calling 541.687.1170.


Sainsbury's Data and Analytics division is home to a team delivering industry-leading insight. We're a community of thinkers, doers and innovators. And we're driven by doing the right thing for customers and colleagues.
With around 1.2 billion customer transactions every year, data goes a very long way at Sainsbury's. And so does its influence. Because for every data-driven idea, innovation or improvement we make, our customers' lives become easier, better, healthier and greener.
As we work together to create the retail destination for choice you can explore new ways of working with data, to see just what's possible.


Your videos should be professional quality, but can be made on your own video recording devices.
Send your name, Local #, city/state, genre of music, and a short note (25-50 words) about your musical background to rconnors@bentley-hall.com with the video attached, or Dropbox or YouTube link.
By submitting your video to InternationalMusician.org, you give permission to InternationalMusician.org to post your video, name and likeness on InternationalMusician.org web site, YouTube, Social Media, and e-Newsletter platforms.
Videos submitted are subject to approval and acceptance by InternationalMusician.org. We reserve the right to reject any submissions.
We will email you when your video is posted, so you can let your friends and fans know.
Click here to check out the Video Page.


text:
in: Myths, Myths and Legends in GTA Vice City, Myth Locations
Island Bridge
Starfish Island
The Island Bridge is a minor mythical location in Grand Theft Auto: Vice City.
The Island Bridge are the two bridges that connect Starfish Island to the districts of Washington Beach and Little Havana. The bridges were initially closed due to hurricane threats but later opened during the game. The Island Bridge isn't a popular myth location, but the Megalodon Shark, as claimed by players, is often sighted under the western bridge that connects Starfish Island to the mainland. This myth surfaced when players shot videos that featured the shark under the bridge but the authenticity of these claims is vague. One of the Cement Shoe Men can also be found near the eastern bridge.
Links Bridge
The South Bridge
Myth Locations


text:
Dolomites - Day Trip from Seefeld by Car
Description: Dolomites
Duration: full day
The Dolomites - some of the most beautiful mountains in Europe - are only a short car drive from Seefeld down over the Brenner Pass. The route over the Europa bridge and down the toll motorway to the border with Italy is already described in the South Tyrol By Car page elsewhere on this site.
The straightforward motorway route in Austria and Italy is highly recommended as it takes the driver down into Italy extremely quickly from the Seefeld plateau.
The route described here heads down south of Brixen (Bressanone in Italian) to the motorway exit at Klausen, where there is an exceptionally impressive monastery on a rock promontory in the middle of the main valley.
Once through the toll gates there is a sign for the road into the Val Gardena (Grödnertal in German). This is a lovely valley which not only has the dual languages of Italian and German common in the rest of the South Tyrol, but also the rare Ladin language. It is one of the only remaining outposts in the Dolomites and parts of Switzerland.
The Val Gardena is known for its walking in the summer and the skiing in the winter. In fact, the first settlement in the valley, Ortisei (or St Ulrich) has lifts heading up both sides to mountain pastures. The gondola heading up to the south arrives at a famous plateau which has gorgeous views over the surrounding peaks and across to the mountains on the other side of the motorway - the Seiseralm.
This is a destination which could be visited on its own for its beauty, but for the purposes of this trip description we head further on up the valley to the villages of Santa Cristina (St. Christina) and Selva (Wolkenstein).
This valley is famous for its woodcarvers and all the villages along the way are filled with shops and showrooms for the local handicrafts. (Those who have visited Seefeld in the winter and seen the Snow Festival will also have seen the ice-carvings created for that event, which are all carved by woodcarving students from the South Tyrol.)
The road up to Selva is a winding road that is not particularly big but after Selva the road starts up the curves at the base of the Sella group, the spectacular mountains which have been visible at the end of this valley. As the road travels higher the scenery gets more and more awe-inspiring, with views to the Sassolungo above Selva and across to the Marmolada, the highest mountain in the Dolomites.
A lovely route is to head up to Plan and then left around to the Passo Gardena (Grödnerjoch) at 2121 metres. From here the road winds down to the pleasant town of Corvara before heading up and over another pass (the Passo Campolongo) and down to the tiny and very picturesque village of Arabba, which is another favourite Dolomite ski resort in the winter.
From here, if time permits, a diversion can be made down the valley to Malga Ciapela and the base of the Marmolada mountain, with the three cable cars providing spectacular views out over the range on a good day.
The ambitious might even want to make a stop at the famous old ski town of Cortina d'Ampezzo, but this would possibly necessitate an overnight stop or a very long day.
Most will prefer to head straight over the Passo Pordoi - with its lovely views of the Sassolungo across the valley and drop down to Canazei. From here the route heads into the Val di Fassa and eventually over the Passo Costalunga into the Val d'Ega and out to the motorway near the capital of the South Tyrol, Bolzano (or Bozen in German).
If time permits, a short stop can be made to admire the cathedral or the bustling centre of the city, or a visit can be made to the mortal remains of Ötzi, the man discovered in the ice high above Obergurgl and Vent, whose current resting place is in the Archaeological Museum in Bolzano.
Most however will prefer to head back up the motorway to Austria after a long day in the mountains and the spectacular scenery of the Dolomites. The journey is a straightforward one with a direct route through on the Italian and Austrian motorways past Innsbruck until the climb back up to the Seefeld plateau.
NB. As with other day trips by car in the South Tyrol, the journey can involve steep climbs and descents, hairpin bends and unprotected drops and should not be undertaken by anyone nervous about driving in the mountains.


Published on 24. April 2014. 4 Comments Tags: apache, debian, mysql.
Redmine is a web-based project management tool which could be used with the Backlog plugin for software development with Scrum.
On a Debian 7.0 system (currently at the date of this blog entry) Redmine version 1.4.4 is ready for install, while it is available in version 2.5.1 and 2.4.5 for download. Because of its less up-to-date packages, one can argue that Debian is very stable but outdated. Many years ago some manual apt-pinning or mixing with dotdeb packages had helped to get a more recent version. But since 2010 Debian has so called Backports, which brings newer versions!
Next install Ruby development package, git, g++ and the xslt-parser.
After a restart of Apache, the Redmine Backlogs plugin is activated.
Hello World! I am Andreas Peichert and develop and program software since 2000. Currently I work as an Software Engineer.
Excelent guide! I was able to install redmine 2.4 from wheezy backports without trouble using this.
Just a note: in the step to setup backlog plugin, some web parser seems to break a line of code stated here. Where it says "bundle install –without development test", it should be "bundle install –without development test". Note the dual minus.
I just use your procedure to complete a basic install of redmine.
I think there's one little mistake and one thing that can be better explain.
The procedure behind the link is wrong, in fact we have'nt to replace all the content by the one published there.
So if you want, i think you can improve your really good tutorial.
is in fact a web display trouble.


NPscripts.com • View topic - Wrong .zip file for Subscriber?
Wrong .zip file for Subscriber?
General discussion related to NPScripts.com.
Hi, I just discovered you and your scripts this evening and am very well pleased with how easy it was to set up and run Subscriber. The link says I downloaded v. 2.0, but the documentation and the admin screen both indicate that I have 1.0. In addition, I notice that 2.0 is supposed to support HTML e-mail, and the version I have apparently does not.
Is it possible that during your switchover to a new host, you uploaded (or linked to) the wrong (older) version of subscriber? If so, could you pretty please upload/link to the correct one?
Thanks, and congratulations on an AWESOME piece of software (which I am sure is even better in its later version)!
Wow... I feel pretty stupid.
Yes... indeed it was the wrong version. I have a nearly identical mirror of the site locally, but this was apparently one of the few areas where it differed. I've uploaded the new one.
Thanks a lot for pointing that out!!
Hooray! That was the ticket right there.
Now that I see 2.0, I'm happier than ever. Nice work!


text:
A group of Master Masons talk about topics of Masonic interest--each from their own unique perspective. You'll find a wide range of subjects including history, trivia, travel, book reviews, great quotes, and hopefully a little humor as well on topics of interest for Freemasons and those interested in the subject of Freemasonry.
Emeritus Contributors
How Do I Become A Freemason?
The 50 Year Member - Part Eleven: Quality Vs. Quantity
by Midnight Freemason Contributor
Bro. Bill Hosler, PM
"You should have been there." Pudge said "It was fantastic!" The old man smiled "I wish I could have been there but the wife has this thing about me being with her on our wedding anniversary." Pudge laughed "I totally get that but you really missed out." The old man sipped his drink "If it is that good I am sure you will go back again soon and then I will go with you."
The two men were sitting in the Club room of the 50 year members favorite drinking establishment. He had been coming here since he was a young man when his father first brought him there. It was a place of manly bonding with his father. Over the years the old man brought each of his sons on their twenty first birthday. He wanted the same experience with each of his sons that he had experienced with his father. He knew that his sons would go out with his friends later in the evening and have their first experience of trying that which was once forbidden to them but he wanted to bond with them and teach them that enjoying a quality beverage in an upscale establishment was just as fun as drinking in a loud watering hole, and maybe even more so!
Men had been visiting the club for over one hundred years. Although updated throughout the century the place still held its charm. The polished dark wood covered walls gleamed in the low light of the room, paintings of members from long ago watched over the room giving their approval that the current members still held their club in reverence. In the distance you can hear the clinking of billiard balls in the next room where several gentlemen were playing a friendly game.
As the old man and Pudge was sitting in their leather wing backed chairs discussing the previous evenings events a waiter dressed in formal attire approached "Excuse me gentlemen" The waiter said "Mister Johnson, your table is ready. Shall I carry your drinks to your table?" The old man nodded as the white gloved hand gently picked up their drinks and placed them on a highly polished silver tray he was carrying. "Please follow me Gentlemen" the waiter said as he led the duo to their table in the restaurant. As they walked though the building Pudge's eyes went wide with amazement as he walked though the ornate building.
"That corridor leads to the front desk of the hotel." The old man remarked as they walked through the lobby. "This place has a hotel?" Pudge exclaimed trying to contain his amazement. "Oh yeah and it is five star too. Lots of out of town members stay here when they are in town on business." Pudge was in awe "I can't believe a club would have a hotel!" The old man laughed "This place has everything. You have encountered the bar already. The club has a hotel, barber shop, billiards room, cigar lounge where members each have their own humidor for their cigars. They even have a cigar store. Anything a man could need."
The men arrived in the restaurant and directed to their table as they were seated in their plushly upholstered dining room chairs the waited placed their drinks on the freshly ironed table cloth on the table before them. "Would either of you care for another drink while you look at the menu? "I'll have another scotch on the rocks please." The old man said "Me too" replied Pudge as they picked up their menu's. "Wow! Look at this menu! Most of these things I have heard of but never actually tried!" The old man smiled "Pick whatever you want. It's on me"
Another formally dressed waiter approached and the men gave their order. "I just can't get over this place!" Pudge said "I bet it's expensive to be a member here." The old man nodded "I think it costs about $3000.00 to join now and annual dues around a grand after that. If you want quality you have to pay for it. The thing is, just because you can afford it doesn't mean you can become a member. There is quite a lengthy process and investigation. Not everyone that applies can join. It is very exclusive " Pudge placed his linen napkin in his lap and their drinks arrived at their table. "That makes sense but I imagine the qualifications have been loosened since it is so tough to get younger men to join things these days." The old man laughed "Just the opposite. Our membership numbers have never faltered. In fact we have more membership applications than we can process. "Pudge shook his head "That doesn't make sense to me. Our lodge has a nice building and some pretty good guys. We don't charge a fraction of that amount to be a member and we practically have to beg men to join us. Even if they do join lots of them don't come back. I don't get it."
The old man leaned back into his chair. "To be honest Pudge that is one of the reasons I invited you here today. I wanted to illustrate something to you. Masonry doesn't have to sell itself at bargain basement prices to be successful. If you give a man quality he will gladly pay for it. This club has been going for nearly one hundred and fifty years and shows no signs of slowing down. We have to find a way to raise the bar of the lodge. Give the men a reason to want to join and once we have them in the door make them want to stay!"
"When you came to the house the other night to tell me about Randy and his disappointment about our lodge, this club came to my mind. I don't know what Randy thought Freemasonry would be when he asked for a petition but I do know he wanted a quality experience for the investment of his time and his hard earned money. I feel if we look to a place like this we can start to be on the right track."
Pudge smiled "I would love to be part of something like this. Something like this club is what I imagined when I wanted to renovate the Social room. If we can make our lodge more like this I can see lots of the guys coming and hanging out."
The 50 year member smiles "I'm glad you like the place Brother. That is the other reason I brought you here today. I had a feeling you would like this place. I have never done this before, other than for my sons. But I would like to propose you for membership to this club. I know you are someone who would enjoy it and use the membership to it's fullest.
Pudge couldn't believe what he just heard! "John I am honored but there is no way I could afford the initiation fee. Let alone the yearly dues!" The old man laughed "I know that! No young man your age can afford it. But I was thinking I bought memberships for each of my sons when they turned twenty one and to be honest over the time I have known you, I have started think of you like one of my sons. All I ask is in a few years when you can find a young man you believe in and propose membership for him."
A tear started to run down Pudge's face as he wiped it away with a napkin "I don't know what to say" Pudge said in a weak voice." The 50 year member playfully punched Pudge's arm and laughed "Don't say anything son. Drink your scotch and decide what you want to eat. Once we are done here I will take you to the billiard room and beat you at a game of pool. Wait. I will school you at pool! I think that's how you kids say it." Both men laughed.
~BH
WB Bill Hosler was made a Master Mason in 2002 in Three Rivers Lodge #733 in Indiana. He served as Worshipful Master in 2007 and became a member of the internet committee for Indiana's Grand Lodge. Bill is currently a member of Roff Lodge No. 169 in Roff Oklahoma and Lebanon Lodge No. 837 in Frisco,Texas. Bill is also a member of the Valley of Fort Wayne Ancient Accepted Scottish Rite in Indiana. A typical active Freemason, Bill also served as the High Priest of Fort Wayne's Chapter of the York Rite No. 19 and was commander of of the Fort Wayne Commandery No. 4 of the Knight Templar. During all this he also served as the webmaster and magazine editor for the Mizpah Shrine in Fort Wayne Indiana.
Labels: Bill Hosler, club, Freemason, Freemasonry, gentlemen, masonic, the 50 year member series
Richard Ingham June 3, 2014 at 9:09 PM
Great article Brother Bill
An example of quality versus quantity that comes to my mind is automobiles. Consider an Aston Martin. Hand sewn Connolly seats, a hand assembled engine signed by the person who built it, a winning racing heritage, etc.
We need to give the members & candidates what they expect & deserve from our " Beloved Fraternity".
Bill Hosler, PM June 4, 2014 at 11:53 AM
I wholly agree Richard, People will admire that Ashton Martin and everyone will wish they could own it. You don't see that with an old Ford Pinto.
When men are knocking on our door they are searching for quality. If it isn't there they will continue their search.
Very enlightening article. I whole heartedly agree that we must make the experience and journey very worth while for both new and current members. The push for quantity has weakened are fraternity very much. The idea of making sure the prospect knows all he can and understands are fraternity before he receives a petition has picked up here in California within the last decade and by my experience has started to help make a good change in are lodges. Thanks for the enlightenment.
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RWB, Robert Johnson is the Managing Editor of the Midnight Freemasons blog. He is a Freemason out of the 2nd N.E. District of Illinois. He currently serves as the Secretary of Spes Novum Lodge No. 1183. He is a Past Master of Waukegan Lodge 78 and a Past District Deputy Grand Master for the 1st N.E. District of Illinois. Brother Johnson currently produces and hosts weekly Podcasts (internet radio programs) Whence Came You? & Masonic Radio Theatre which focus on topics relating to Freemasonry. He is also a co-host of The Masonic Roundtable, a Masonic talk show. He is a husband and father of four, works full time in the executive medical industry. He is the co-author of "It's Business Time - Adapting a Corporate Path for Freemasonry" and is currently working on a book of Masonic essays and one on Occult Anatomy to be released soon.
Todd E. Creason, 33° is the Founder of the Midnight Freemasons blog, and an award winning author of several books and novels, including the Famous American Freemasons series. Todd started the Midnight Freemason blog in 2006, and in 2012 he opened it up as a contributor blog The Midnight Freemasons (plural). Todd has written more than 1,000 pieces for the blog since it began. He is a Past Master of Homer Lodge No. 199 and Ogden Lodge No. 754 (IL) where he currently serves as Secretary. He is a Past Sovereign Master of the Eastern Illinois Council No. 356 Allied Masonic Degrees. He is a Fellow at the Missouri Lodge of Research (FMLR). He is a charter member of the a new Illinois Royal Arch Chapter, Admiration Chapter No. 282 and currently serves as EHP. You can contact him at: webmaster@toddcreason.org
WB Gregory J. Knott is a founding member and Senior Contributor of the Midnight Freemasons. He is a Past Master of St. Joseph Lodge No. 970 in St. Joseph (IL) and a plural member of Ogden Lodge No. 754 (IL), Homer Lodge No. 199 (IL) and Naval Lodge No. 4 in Washington, DC. He's a member of the Scottish Rite, the York Rite, Eastern Star and is the Charter Secretary of the Illini High Twelve Club No. 768 in Champaign-Urbana. He is also a member of ANSAR Shrine (IL) and the Eastern Illinois Council No. 356 Allied Masonic Degrees. Greg serves on the Board of Directors of The Masonic Society and is a member of the Scottish Rite Research Society and The Philathes Society. Greg is very involved in Boy Scouts—an Eagle Scout himself, he is a member of the National Association of Masonic Scouters. You can contact him at gknott63@gmail.com
Bro. Steve Harrison, 33° , is Past Master of Liberty Lodge #31, Liberty, Missouri. He is also a Fellow and Past Master of the Missouri Lodge of Research. Among his other Masonic memberships are the St. Joseph Missouri Valley of the Scottish Rite, Liberty York Rite bodies, and Moila Shrine. He is also a member and Past Dean of the DeMolay Legion of Honor. Brother Harrison is a regular contributor to the Midnight Freemasons blog as well as several other Masonic publications. Brother Steve was Editor of the Missouri Freemason magazine for a decade and is a regular contributor to the Whence Came You podcast. Born in Indiana, he has a Master's Degree from Indiana University and is retired from a 35 year career in information technology. Steve and his wife Carolyn reside in northwest Missouri. He is the author of dozens of magazine articles and three books: Freemasonry Crosses the Mississippi, Freemasons — Tales From the Craft and Freemasons at Oak Island.
WB Darin A. Lahners is the Worshipful Master of St. Joseph Lodge No.970 in St. Joseph and a plural member of Ogden Lodge No. 754 (IL), and Homer Lodge No. 199 (IL). He's a member of the Scottish Rite Valley of Danville, a charter member of the new Illinois Royal Arch Chapter, Admiration Chapter No. 282, and is the current Secretary of the Illini High Twelve Club No. 768 in Champaign – Urbana (IL). He is also a member of the Eastern Illinois Council No. 356 Allied Masonic Degrees. You can reach him by email at darin.lahners@gmail.com.
Brother Travis Simpkins is a freelance artist with clients throughout the United States and Europe. He currently works on projects for the Supreme Council, 33°, NMJ in Lexington, Massachusetts. He also serves as a portrait artist for the Grand Lodge of Massachusetts, Grand Lodge of New Jersey and other jurisdictions across North America. Bro. Simpkins is a member of Morning Star Lodge A.F. & A.M. in Worcester, Massachusetts. He is a 32° Mason in the Ancient Accepted Scottish Rite, NMJ- Valleys of Worcester and Boston. He is also a member of Eureka Royal Arch Chapter, Hiram Council of Royal & Select Master Masons and Worcester County Commandery No. 5, Knights Templar.
Robert Edward Jackson is a Past Master and Secretary of Montgomery Lodge located in Milford, MA. His Masonic lineage includes his Father (Robert Maitland), Grandfather (Maitland Garrecht), and Great Grandfather (Edward Henry Jackson), a founding member of Scarsdale Lodge #1094 in Scarsdale, NY. When not studying ritual, he's busy being a father to his three kids, a husband, Boy Scout Leader, and a network engineer to pay for it all. He can be reached at info@montgomerylodge.org
Brother Michael Arce is a member of Mt. Zion #311, Troy, New York. When not in Lodge, Bro. Arce is the Marketing Manager for Capital Cardiology Associates in Albany, New York. He enjoys meeting new Brothers and hearing how the Craft has enriched their lives. He can be reached at michael.arce@me.com
Brian L. Pettice, 33° is a Past Master of Anchor Lodge No. 980 and plural member of Olive Branch Lodge No. 38 in Danville, IL and an Honorary Member of a couple of others. He is also an active member of both the York and Scottish Rites. He cherishes the Brothers that have become Friends over the years and is thankful for the opportunities Freemasonry gives and has given him to examine and improve himself, to meet people he might not otherwise have had chance to meet, and to do things he might not otherwise have had chance to do. He is employed as an electrician at the University of Illinois and lives near Alvin, IL with his wife Janet and their son Aidan. He looks forward to sharing the joy the fraternity brings him with others. His email address is aasrmason@gmail.com.
Brother Erik Marks is a clinical social worker whose usual vocation has been in the field of human services in a wide range of settings since 1990. He was raised in 2017 by his biologically younger Brother and then Worshipful Master in Alpha Lodge in Framingham, MA. You may contact brother Marks by email: erik@StrongGrip.org
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Disclaimers and Copyright
Freemasonry is the oldest and the largest fraternal order in the world. It is a universal brotherhood of men dedicated to serving God, family, mankind and country. The focus of The Midnight Freemasons is primarily on subjects relating to Freemasons and Freemasonry.
However, any opinion expressed are those of the contributor alone, and are not meant to reflect in any way, shape, or form, implied or otherwise, the opinions or beliefs of the fraternity of Freemasonry as a whole.
All content, unless othewise attributed, is copyrighted © 2007-2018 by The Midnight Freemasons. All rights reserved. We encourage you to share our work, but due to previous abuses, we ask that if you reprint anything you find here, please send us a link so that we can be certain that the piece is posted in its entirity and that the authorship is properly attributed. You'll find our email address in our contact information.
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text:
Call for Papers: 'The Battle of Algiers at 50: Legacies in Film and Literature'
By Emmanuel-Pierre Guittet | on October 20, 2015 | 0 Comment
A one-day symposium on the legacies of Pontecorvo's famous film "The Battle of Algiers" to be held at the Interdisciplinary Centre of the Social Sciences (ICOSS), University of Sheffield in May 2016. Deadline for abstract: January 15, 2016.
'The Battle of Algiers at 50: Legacies in Film and Literature' is a one-day symposium organised by graduate students from the University of Leeds and Sheffield from the fields of Francophone studies and Geography. The symposium will offer a transdisciplinary platform for bringing together researchers at all stages in their careers who are interested in transcultural politics, literature and film, with the specific objective of considering the legacy and the futures of the anti-Colonial epic The Battle of Algiers 50 years since its release in 1966.
The formative effect that Gillo Pontecorvo's 1966 film The Battle of Algiers has had on cinema in North Africa cannot be underestimated. It has largely been celebrated as an accurate and balanced depiction of violence during the battle of Algiers, and by extension, the Algerian War for Independence (1954-62). However, The Battle of Algiers is a film that has led many afterlives which transcend national and cultural borders. Both celebrated as an anti-colonial epic and example of Algerian nationalist heroism, the film, conversely, has been held up as an example of French military expertise. The Criterion Collection's 2004 re-release of the film in the United States demonstrates the constantly shifting status of the film on the global stage, featuring commentary from contemporary directors such as Spike Lee, but also interviews with counterterrorist experts in 'The Battle of Algiers: A Case Study'.
This symposium is a unique opportunity to consider how these various legacies of The Battle of Algiers continue to inform understandings of Algerian history, but also influence perspectives on political violence and national identity throughout North Africa and beyond. What does it mean to consider the film as a 'case study' in terrorist and counterterrorist activities? How can we think about film as an alternative historical narrative of decolonization? In what ways has Pontecorvo's The Battle of Algiers influenced cinema and the arts in Algeria and beyond?
Confirmed Keynote
We are delighted to welcome Dr Jamal Bahmad from the University of Leeds as the symposium keynote speaker.
We welcome proposals for papers which explore the following areas:
The spectacle of political violence
Colonial legacies in film and literature
Memories of colonialism and anti-colonialism
Postcolonial and/or transcultural cinema(s)
'Accented' cinema
Transvergent filmmaking
Gender in revolution
Queer perspectives on the nation
Alternative histories in the arts
The screen as veil
Please send abstracts for papers (300 words) to Alex Hastie and Beatrice Ivey at batailledalger50@gmail.com by the 15th January. While the principal language of the symposium will be English, the organisers welcome contributions in French and Arabic.
© Saadi Yacef, as El-hadi Jaffar (second from left) and Brahim Haggiag (right) as Ali La Pointe in a scene from Gillo Pontecorvo's The Battle Of Algiers (1965)
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International
Tags: AlgeriacinemadecolonisationFilm
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Professor in International Relations at Saint-Louis University (Brussels, Belgium) and all-round fan of things Francophone
No Responses to "Call for Papers: 'The Battle of Algiers at 50: Legacies in Film and Literature'"


After he gets into the driver's seat, the second teen runs up to the dark blue Toyota sedan and gets into the passenger's seat. While backing out of the parking space, the car bucks — as. Barham Sa.
You will need to take out a UK insurance policy if you've bought a car in this country. If you're a visitor borrowing a friend's or relative's car while you're in the UK, you must be added as a named driver to their policy — but be aware that this is likely to increase the policyholder's car insurance premium. Car insurance costs for drivers with.
JOLIET, IL – A 32-year-old man named Jason Robert Daniels was arrested. as driving with a revoked license and operating wi.
Some insurance. a Texas man named Stephen Johnson. On a Friday evening in February 2017, the car in which Johnson was a passenger ran off the road and flipped into a creek. The driver died.
Before the probes into his sexual activities on the job, he was cited for running a red light in his police truck and crashin.
The best option for getting insurance on a rental car when you don't have a U.S. driver's license is to purchase the supplemental insurance that's offered at the rental counter. Many experts tell drivers to decline rental insurance, but that's only suggested if you have coverage in the U.S.
As I circle for parking in my sister's black, beat-up 2004 Jetta, I can see a cop car eye me as I come around. He asks for.
With a selection of temporary motor insurance alternatives laid out in front of you, including, policy details and cover levels you can select your preferred option and proceed to that independent website to commence cover. Our temporary car and van products have their own independent websites and are backed by different insurance.
In the short term, IndyCar will consider the signing of O. who risk being sidelined in 2019 1537517671 F1 Team Hard's Bush.
Often this means short-term bonds or cash. if you are a taxi driver you could buy shares in car-sharing companies). Identi.
Saga Car Insurance Frequently Asked Questions, Motor Vehicle Insurance Online. is an earned discount that is applied for every year that a driver has insurance on a car without making a claim. To add another driver or temporary driver please contact our Customer Service team on 0800 056 9173.
Er, taxi drivers. car was 95hp. It's fun and fizzy and handles well but I'd go for the 110hp lump for the extra 40Nm of to.
Named driver exclusion – An endorsement that provides that a policy does not cover accidents when a specifically named person is the driver. Named driver policy – An automobile insurance policy that doesn't provide coverage for an individual residing in a named insured 's household specifically unless the individual is named on the policy.
Rescuers reached the camp early Sunday and walked the couple to their car. They didn't require medical treatment. Abi Harm.
Many insurance companies consider drivers with no prior insurance high risk. A non-owner auto policy would prove you had financial responsibility as a driver without an owned vehicle. This means you will pay a lower rate on.
Temporary access can be given to visitors. LEGIC Connect allows the secure creation and instant deployment of virtual car keys, fleet access rights, e-charging credentials or the like on smart devi.


text:
Thayiya Madilalli is a 1981 Indian Kannada-language film, directed by B. Subba Rao and produced by A. L. Abbaiah Naidu. The film stars Ashok, Aarathi, Udaykumar and Balakrishna. The film has musical score by Chellapilla Satyam.
Aarathi and Ashok who played brother-sister for the second time in this movie (the first was Pavana Ganga) were a popular romantic pair of the time.

Cast

 Aarathi
 Ashok
 Varnashri
 Shankar Nag in Guest Appearance
 Udaykumar
 Balakrishna
 Leelavathi
 Tiger Prabhakar
 Shailashree
 Halam

Soundtrack
The music was composed by Satyam.

References

External links

1980s Kannada-language films
Films scored by Satyam (composer)
Films directed by B. A. Subba Rao

redpajama_set_name: RedPajamaWikipedia


Taking its name from an existing village, the new town of Milton Keynes was established in 1967 as part the government's attempt to reduce housing congestion in London.
It is distinguished from many other British towns and cities by its grid plan and modernist design. It has one of the most successful economies in the south-east with a number of multi-national and high-tech businesses within the borough.
An independent local museum, with a small transport collection.
McConnell Drive, Wolverton, Milton Keynes, MK12 5EL.


Some progress photos of the lower (DC) deck of the new permanent N Scale layout.
Version 2.14 of Engine Driver has just been released on the Google Play Store.
It includes a bunch of small changes from Steve Todd (the lead developer) and a few from me.
The latest version of my favourite Railway CAD program has been released. SCARM is used extensively at the club for the design of the club layouts.
The new version is a bug fix for the version which was released at the begining of the month.
Read on for the release notes on the new version (0.9.36) and the previous version (0.9.35).
The partly completed 3ft 6in (12mm) track on upper deck was power up on Saturday (I believe for the first time) and a pair of locos were given a run.


text:
Q: Composer package where to put client config? I have a composer package designed for use in other projects that has configurations, or rather default settings I'd like the end user to be able to adjust based on their intended use. The package itself can be configured to build things differently depending on the configurations passed to the package's builder class. I'd like there to be default settings, possibly in a settings.yml file (the medium is not a concern, *.conf, *.json, *.php), may be this should go within the package? But then I imagine if that were the case it would be hard for the end user to maintain as it would be overwritten during composer updates? Anyone know what the norm for storing composer vendor packages configs is?
$parameters = [
    'handlers' => [
        // various depending on client use
        '//widget' => 'LivingMarkup\Component\Widgets\{name}',
        '//img' => 'LivingMarkup\Component\Img',
        '//a' => 'LivingMarkup\Component\A',
        '//var' => 'LivingMarkup\Component\Variable',
        '//condition' => 'LivingMarkup\Component\Condition',
        '//redact' => 'LivingMarkup\Component\Redact'
    ],
    'hooks' => [
        'beforeLoad' => 'Executed before onLoad',
        'onLoad' => 'Loads object data',
        'afterLoad' => 'Executed after onLoad',
        'beforeRender' => 'Executed before onLoad',
        'onRender' => 'RETURN_CALL',
        'afterRender' => 'Executed after onRender',
    ]
];

Thank you.

A: After a bit more searching I found a post that addresses this exact question.
https://www.reddit.com/r/PHP/comments/3qqrmz/how_to_handle_config_files_and_default_settings/
To summarize, in case the above link stops working some day, here are some options:

*

*"Bolt CMS does uses a config.yml.dist, which is included with the source code. And the end user can create a config.yml file if one doesn't exist. The config.yml.dist file is part of the official project and acts as the example config file, and should not be modified."

*"Your own config.yml file can be tracked in your version control if you wish. Then you can put confidential or environment-specific information into config_local.yml and place that file's name in .gitignore."

*"Symfony I use the parameters.yml and config.yml to pass parameters to the objects in DIC."

*"Phpunit uses the phpunit.xml.dist file to setup tests."

*"Apigen uses .neon or .yaml config files."

*"Flysystem asks for config options to be passed directly in the constructor"

*"Cakephp has it's own configuration settings, and plugins come with instructions on the keys to add. This asset compress package uses an ini file"

*Opus is an option: https://github.com/imarc/opus

redpajama_set_name: RedPajamaStackExchange


text:
Le Newtsuit est un système de plongée atmosphérique, conçu et construit à l'origine par
Phil Nuytten.

Conception
Cette combinaison est utilisée pour des travaux au fond des océans, tels que la maintenance de puits de forage ou de pipelines, des opérations de sauvetage de sous-marins ou des opérations photographiques. Il est en service dans la plupart des marines du monde.

Sa structure en aluminium aux joints rotatifs sur les bras et les jambes donnent à celui qui porte cette combinaison une bonne mobilité. Ces joints fonctionnent à de hautes pressions. Lors de sa construction, cette combinaison était la seule à posséder cette capacité. L'opérateur peut se saisir d'objets ou utiliser des outils grâce aux pinces présentes au bout des bras. Cette combinaison est homologuée pour une pression de 300 mètres sous l'eau, mais a été testée pour 900.

La combinaison fonctionne de manière autonome, grâce à un système de propulsion qui peut y être installé, permettant une mobilité en eaux moyennes La Newtsuit navigue alors par un système de contrôle installé dans les pieds de la combinaison. Le pied gauche donne le contrôle vertical, le droit le contrôle latéral. D'autres équipements peuvent être rajoutés, tels qu'une double caméra vidéo, un sonar à affichage couleur et un moniteur système AMS  permettant de transmettre à la surface des informations telles que les quantités de CO2, HPO et O2% du lieu, la profondeur, la température et la pression interne à la combinaison.

La communication avec le point de départ se fait via un système d'échange voix et données numérique passant par l'eau ou par un cordon ombilical.

Spécifications
 Dimensions : 162 – 193 cm (5'4" – 6'4")
 Portée : 76 cm (30")
 Masse : 275 kg à 378 kg
 Masse dans l'eau : -2 à -4 kg ( - 4 to -8 lbs) en flying mode
 Coque : aluminium moulé A356
 Propulsion : deux packs de propulsion (constant, avec correction du tangage)
 Profondeur d'opération : 305 m (1000') (testé à 900 m)
 Énergie : deux moteurs électriques 400 Hz, alimentés depuis le navire de surface par un câble, 5 heures sur batterie de secours
 Équipements de survie : système de respiration en circuit fermé (autonomie de 48 heures) avec ventilation du CO2, et système de secours.

Équipement d'urgence
Dans le cas d'une urgence, la combinaison peut être équipée comme il suit :
 Coupe sangle
 Balise de localisation sous-marine 37.5 kHz
 Ballast largable
 stroboscope au Xénon
 Signal radio

Exosuit
La nouvelle génération de ce type de combinaison est un exosquelette nommé Exosuit, également conçu par Phil Nuytten.

Notes et références

Voir aussi

Liens externes
 Image and specifications of the Exosuit
 Images of other hard, atmospheric diving suit, including the WASP series

 Image of Canadian astronaut Julie Payette in Newtsuit
 Images

Plongée
Technologie maritime
Sous-marin
Type de bateaux
Sécurité maritime
Vocabulaire maritime


Trying to hire Writers? Here's All the pieces It's worthwhile to Know. It is quite distinct that you might hire a author. But the place do you start out?
Jogging a business in the electronic age demands an incredible volume of writing. There's your web site . Your weblog . Social media marketing posts. Product sales duplicate. Adverts. Visitor posts. The listing goes on.
Wanting to hire Writers? Here's Almost everything You must Know. It's really apparent which you may want to use a writer. But where do you launch?
Examine plagiarism (copyright) challenges which has been contributed around by your cybernation of the academic living.
Examine plagiarism (copyright) challenges which has been contributed around by your cybernation of the academic living. Before we receive into review the issues of plagiarism on educational lifestyle, we need to in the beginning make an effort to find out what we really suggest through the term 'Plagiarism'.


Anytime I look at you, I am who I wanna be.
Makes me want to think things through, makes me want to make a vow.
Anytime I look at you, I believe in what you see.
And to this day, I'll never know why you ever showed up to change my views.
But I can say for certain that I'm the person that you saw that day as true.
Now when I see you see me, I know we see more than others do.
Makes me want to make a name, makes me want to make it last.
Something in this simple song makes me want to bow my head.
Like we've known it all along, and it's all just as you said.


text:
JVC DLA-N7 4K D-ILA Projector Review
The best just got better!
by Steve Withers Feb 15, 2019 - Updated: Dec 2, 2020 @stephenwithers
Review Specs Discussion (571)
Home AV Review
4K UHD (Ultra HD)
Editor's Choice Award Winner
JVC DLA-N7B Projector (2019)
SRP: £8,499.00
What is the JVC DLA-N7?
Connections & Control
Out-of-the-Box Measurements
Calibrated Measurements
The JVC DLA-N7B is a native 4K (4096 x 2160) 3-chip D-ILA projector that supports 3D and High Dynamic Range (HDR10 and HLG). It forms part of JVC's new 4K line-up for 2019 which also includes the entry-level DLA-N5B (DLA-N5W if you want a white finish) and the high-end DLA-NX9B; with the latter also including 8K e-Shift and THX certification.
The N7B is the mid-range model and retails for £8,499, which puts it directly up against Sony's £7,999 VPL-VW570ES 4K SXRD projector. These new models are JVC's first 'affordable' native 4K projectors, not counting the ultra-high-end DLA-Z1 laser projector. They include a host of new features including Frame Adapt HDR (dynamic tone-mapping) and the recently added Theatre Optimiser. So is the N7 the best projector under ten grand? Let's find out.
Editor's Note: JVC has followed up last year's v3.10 firmware update with another major and free release. The v3.50 firmware updates the menu structure, adds additional settings and the new Theatre Optimiser feature. In this update of our original DLA-N7 review, we address this latest firmware release.
The JVC DLA-N7 looks similar to previous generations, with a centrally mounted lens and exhaust vents on either side. Perhaps due to the larger size of these vents, if you're standing just to the side of the projector, you can see into the housing where the fans, lens assembly and D-ILA chips are housed. However, there isn't any direct light spill, even in our pitch black home cinema.
The build quality and overall finish remain excellent, as does the quality of the all-glass lens. However, unlike the DLA-X7900, there's no motorised lens cover and, instead, you get a hard plastic cap that clips over the outside of the lens assembly. We don't use this lens cover because repeatedly putting it on and off is a hassle and might damage the outer edge of the lens.
The top front right of the projector houses an IR receiver for the remote, and above this are three indicator lights. At the rear is another IR receiver, air inlets with filters, a set of basic controls in case you misplace the remote, and the connections. The N7B is finished in matte black, hence the B suffix, although this is largely redundant because there isn't actually a white alternative.
The projector sits on four large adjustable feet, which allow you to level the projector if you plan on stand mounting, although you also have the option of ceiling mounting with a suitable bracket. Despite the similarities in terms of design with previous JVC projectors the N7 is much larger, measuring 500 x 234 x 495mm (WxHxD) and weighing 19.8kg.
The N7 looks like it means business, with a big and well-built chassis that promises superior performance
The JVC DLA-N7 has exactly the same set of connections as previous generations, with two HDMI 2.0b inputs that are HDCP 2.2 compatible and fully specified up to 18Gbps (4K/60, 4:4:4, Rec.2020 and HDR). There's also a LAN port for a network connection, an RS232 terminal for serial control and a 12V trigger. Finally, there's a USB port for firmware updates, and a connector for the optionally available 3D synchro emitter. The N7 uses a three-pin power cable, which is also attached at the rear.
The remote control has had a complete makeover, and we really like the new design. It's smaller and more ergonomic, with the buttons logically laid out. As a result, it's comfortable to hold and easy to use with one hand. JVC has sensibly moved the backlight button to the bottom, making it easier to locate. The backlight itself is highly effective, illuminating the writing on the buttons themselves and making them more readable in the dark.
The buttons are positioned around centrally located menu and navigation controls, with additional keys for power, source, info, input, lens control, and memory settings. There are also shortcut buttons for accessing key controls in the menus such as picture modes, colour profile, gamma settings, C.M.D., MPC, and the advanced menus.
There are two HDMI 2.0b inputs and a highly effective remote control with a backlight
The headline feature on the JVC DLA-N7 is obviously the fact that it uses three 0.69-inch native 4K D-ILA devices. As a result, the projector can produce an ultra high-definition native 4K resolution of 4096 x 2160. It also has a 17-element, 15-group 65mm diameter all-glass lens system that is designed to deliver pin-sharp 4K images.
The N7 supports High Dynamic Range (HDR), specifically HDR10 and Hybrid Log-Gamma (HLG) content, and JVC has added new features including Auto Tone Mapping and Frame Adapt HDR. The former automatically adjusts the settings based on the values of the metadata, such as Max CLL and Max FALL, so that HDR content can be tone mapped and projected at the optimum quality for various HDR images with different brightness levels. The latter analyses the video signal and dynamically adjusts the tone mapping on a scene-by-scene or frame-by-frame basis.
The N7 uses 10-bit panels (although it has processing at up to 18-bit equivalent), and has a claimed brightness of 1,900 lumens (using a 265 W ultra high-pressure mercury lamp). It also has a BT.2020 mode with a wide colour gamut that JVC claims can cover more than 100% of the DCI-P3 colour space. In addition, the N7 has a claimed contrast ratio of 80,000:1 and a claimed dynamic contrast ratio of 800,000:1.
The N7 includes JVC's Clear Motion Drive (C.M.D.) frame interpolation feature which supports 4K 60p (4:4:4) signals, along with Motion Enhance which is designed to optimise the driving of the D-ILA panels according to the motion of the image, thus reducing motion blur. There's also a Low Latency Mode, which suppresses display delay for a faster response when receiving signals from PCs and game consoles.
Other features include the Multiple Pixel Control (MPC) image processor, a six-axis colour management system, and an ISFccc (Certified Calibration Controls) mode. There's also an Auto-Calibration Function that uses exclusive JVC software and a third-party optical sensor to optimise the greyscale, gamma, colour space and colour tracking.
The N7 will automatically switch to the HDR mode when an HDR10 or HLG signal is detected, and the info page displays the MaxCLL and MaxFALL mastering data available for some HDR content. There are nine storable Installation Mode settings, which include Lens Control, Pixel Adjustment, Mask, Anamorphic on or off, Screen Adjust, Installation Style, Keystone, Pincushion, and Aspect.
Finally, the N7 supports active shutter 3D, which uses a wireless RF (radio frequency) transmission system for 3D viewing. However, you will need to buy JVC's separate PK-EM2 3D Synchro Emitter (which plugs into the back of the projector) and some PK-AG3 3D Glasses (or equivalent), in order to actually enjoy 3D content.
Review Update: The new v3.50 firmware fundamentally revises the menu structure and changes the layout of the Picture Adjust page. At the top is the Content Type which can be selected automatically using the Auto Picture Mode Select feature found on the Input Signal page. This allows you to select the default picture mode for SDR (2D), SDR (3D), HDR and HLG, with the projector automatically selecting the chosen picture mode when it detects the specific signal.
There's a new More Settings sub menu, where the Lamp Power, Aperture and basic controls like Contrast, Brightness, Colour, Tint and User Name Edit can be found. The Picture Adjust page also includes options for Colour Profile (which now automatically switches to the optimal setting based on the content's colour gamut information), Colour Temp., Gamma, HDR Processing (with HDR content), Theatre Optimiser (with HDR content), HDR Level (with HDR content), MPC Level and Motion Control (Low Latency, C.M.D., and Motion Enhance).
The Installation page looks the same, but the Screen Setting sub-menu has been changed. In this section you can not only select the Screen Adjust code for your specific screen, but also set the Screen Size (16:9 diagonal measurement) and Screen Gain. This information is used by the new Theatre Optimiser feature. You can add these settings for each Installation Mode, so for wider aspect ratios like 21:9 you need to calculate the diagonal measurement based on the width of the image and the corresponding 16:9 screen size. Since there is now more information related to each Installation Mode, including a degree of processing, it now takes about 30 seconds to switch from one Installation mode to another.
The N7 is native 4K and includes Frame Adapt HDR with dynamic tone mapping and a Theatre Optimiser
The JVC DLA-N7 includes a number of pictures modes, but the most accurate in terms of the industry standards is Natural. This mode is already set to a colour temperature of 6500K and a colour gamut of Rec.709. Then all you need to do is select the appropriate gamma and lamp brightness (low or high) for your room, and the manual or dynamic (Auto 1 or Auto 2) iris. The measurements below were taken after the lamp had been used for about 50 hours:
The N7 is delivers a very accurate image out-of-the-box. As the graph above shows, the 6500K colour temperature setting has a slight deficit of blue and a slight excess of red, giving a very minor push towards the latter. However, all the DeltaEs (errors) are below the visible threshold of three and most are below two. The 2.6 gamma setting tracks its target precisely, as do the 2.4 and 2.2 settings, if you prefer using one of those. So, overall, this is an excellent starting point, despite the absence of any THX modes (you'll only find those on the NX9).
The colour performance was equally as accurate, with overall DeltaEs (not shown on the graph above) all below three and most below two. The luminance measurements (also not shown on the graph above) were just as accurate, with all three primary colours and all three secondary colours hitting their targets. The graph above shows how all six colours track their targets at the 25, 50, 75, and 100% saturation points. As you can see, aside from cyan and green at 100%, they are all very close to those targets. You can also see the slight red-push to the colour of white, with the measurement not quite in the target square for D65 (the industry standard for video white).
The out-of-the-box greyscale and colour measurements were impressively accurate
The JVC DLA-N7 includes a two-point white balance control for calibrating the greyscale, a control for fine tuning the gamma characteristics, and a six-axis colour management control (CMS) for adjusting the colour performance. Using the already excellent Natural picture mode as a starting point, we were able to use these controls to improve the overall accuracy.
It didn't take long to fine tune the greyscale, and the gamma was still tracking 2.6 precisely. As a result, the overall errors were now all below two and most were below one. This is a reference level of greyscale and gamma accuracy.
Once we had tweaked the greyscale, the colour temperature of white was now hitting the industry standard of D65. All the colours were now in line with their saturation targets and, after some fine tuning, the overall errors were below one. In addition, all the colours were hitting their luminance targets precisely. So, overall, this is a reference colour performance that matches the equally impressive greyscale and gamma accuracy.
Review Update: The majority of the new features found in the v3.50 firmware are related to HDR, but before updating your N7 make sure you make a note of any calibration settings because these will be wiped during the firmware update.
However, any adjustments made previously using the JVC Projector Calibration Software will remain unchanged by the firmware update. Annoyingly though, the new v1.10 software now only works with the SpyderX (Elite/Pro) and X-rite i1 Pro2. So anyone with a Spyder5 (Elite/Pro) will no longer be able to use that meter with the v1.10 software.
There's a full set of calibration controls that can deliver reference levels of accuracy
The JVC DLA-N7 is a truly exceptional projector overall, but before I get into the SDR, HDR, and 3D performance, I'll just cover some more general observations.
First of all, the N7 is fairy slow to boot-up, taking 55 seconds to get to the D-ILA logo and a further 10 seconds to get to a blue screen. That's slightly slower than previous generations, although they weren't exactly fast either.
On the plus side, the HDMI handshaking is a bit quicker, although still slow compared to many other displays. However, the N7 had no trouble detecting any signal I sent to it such as 4096 x 2160 and 3840 x 2160 resolutions, along with SDR, HDR, and 3D content.
The fact that the D-ILA chips are 4096 x 2160 is worth mentioning because it means that with 3840 x 2160 content (which is what you'll actually be watching) you either need to use the lens controls to expand the image up to fill the screen or use the Zoom option in the Aspect section of the Installation Mode sub-menu.
This feature scales the image to fill the 4096 x 2160 panels, but if you do choose the Zoom function bear in mind that it's applying scaling and thus loses some fine detail due to the processing. This is obvious using test patterns but harder to spot with normal content. Having said that, we'd recommend expanding the image to the correct aspect ratio rather than using the Zoom option, thus ensuring the 4K image uses every single pixel precisely.
The new generation of JVC projectors allow you to create individual Installation Modes for different aspect ratios, which can be easily accessed via a dedicated button on the remote. These modes go far beyond just using the lens controls to save a specific aspect ratio, you can also customise the pixel adjustments, masking, anamorphic settings, screen adjustments, Installation Style, keystone and pincushion adjustments if necessary (although it's best to avoid the latter two because they also introduce processing that will affect the actual resolution).
The N7 is pleasingly quiet in operation, measuring at just 20dB in low lamp mode and 28dB in high lamp mode. Since this is a native 4K projector there's also no e-Shift device and thus no noise being caused by the device physically moving incredibly fast in front of the lens.
The N7 uses a 265W lamp and has a claimed brightness of 1,900 lumens, which is the same as our previous X7500 reference projector. The brightness appears comparable, but the contrast performance isn't as good as the earlier generation. The N7 has a claimed contrast performance of 80,000:1, while the X7500 has a claimed contrast ratio of 130,000:1. The best we measured the N7 at is about 70,000:1, which is fairly close to JVC's claimed numbers, but we immediately noticed that the contrast wasn't quite as good as the X7500.
Having said that, the N7 still has a better contrast performance than the 4K competition and the contrast ratios on the most recent generations of JVC e-Shift models have been amongst the best ever delivered by any projector. The move to a different panel was always going to affect the contrast, and at least JVC are honest in the specifications.
There's always the dynamic iris for those looking to boost the contrast, and we found this worked very well with no audible noise or obvious artefacts caused by the iris opening and closing. I didn't feel the need to use the dynamic iris with SDR content, but opening the iris out completely and using the Auto 2 setting did prove useful with HDR content.
Standard Dynamic Range (SDR)
Once we had set up the projector, selected and tweaked the Natural picture mode, and set the lamp and manual iris for our room and screen, the results were superb. The quality of the all-glass lens and the native 4K panel resulted in impressively details images, even from upscaled high definition sources. The recent Arrow Blu-ray of Waterworld looked stunning on the N7, with richly defined colours, deep blacks, excellent shadow detail, and plenty of fine detail. There's no denying that like previous JVC projectors, the N7 delivers a gorgeous film-like performance.
We deliberately watched parts of the Blu-ray version of Passengers, so we could compare the HDR performance later and, once again, the N7 delivered the goods. The image was highly detailed, the blacks and shadow detail were excellent, and the colours appeared natural. The motion handling was also very good, although it appeared to be identical to previous generations of JVC projectors in that regard: neither better nor worse. While it is true the previous X7500 has a slightly better contrast performance, overall we preferred the performance of the N7 with its gorgeous big screen images.
The N7 produces exceptional detail and image fidelity with SDR content
As with the SDR performance, the N7 really impresses when it comes to HDR content. We measured the wide colour gamut at 72% of Rec.2020 and 99% of the DCI-P3 colour space. The HDR colour temperature was very close to D65 (and can be tweaked using the calibration controls), while the HDR gamma uses ST.2084, both of which are correct for HDR10 content.
The problem with HDR when it comes to projection is that a projector can never hit the kind of peak brightness numbers that are possible with a TV. However if the tone mapping is applied correctly that shouldn't be an issue. For the N Series, JVC has included new HDR features not found on its previous projectors. These features are designed to produce a better HDR experience, and include Auto Tone Mapping and Frame Adapt HDR.
Auto Tone Mapping
The Auto Tone Mapping feature was included on the N Series from launch, and is designed to read the metadata on HDR content and then set the Picture Tone, Dark Level and Bright Level controls accordingly. There is also a sliding control for the Mapping Level, which adjusts the brightness depending on the size of screen you are using. The default setting is based on a 100" screen, so if your screen is smaller or larger, then you may need to adjust the mapping level accordingly.
This feature works reasonably well, but isn't always able to read the metadata on 4K discs (Disney, Fox and Paramount in particular), so with a film like Overlord the image is too dark by default and you need to use the Mapping Level to boost the brightness of the image. In these examples you can also manually set the tone mapping depending on whether the content is graded at 1,000 or 4,000 nits (assuming you know). JVC provides recommended settings for both peak brightness levels in the manual, but you may find some experimentation is necessary.
When the N7 is able to read the metadata the results are often impressive. We watched the Ultra HD Blu-ray of Passengers, which uses a 4K digital intermediate, and the increased level of detail was evident when compared to the Blu-ray. The blacks appeared deep, and there was excellent shadow detail, while the peak highlights were suitably bright. The colours were also superb, with the wider colour gamut delivering a more saturated but also more nuanced image.
We also watched the IMAX movie Journey to the South Pacific and the BBC's Planet Earth II, and in both cases the native 4K HDR sources were often stunning, with some amazing images. Since these documentaries use a 1.78:1 aspect ratio, we turned the Mapping Level back to zero, but needed to move it up when watching 2.35:1 content like Passengers or Ready Player One.
Frame Adapt HDR
Aside from not being able to read the metadata on some discs, there is another problem with this approach. When metadata is available the projector is set-up using static information, which means the settings apply to the entire film. Obviously the brightness of the image changes during the course of the film, with some scenes darker than others. As a result if the tone mapping is based on a single set of data, you might find some scenes are too dark or brighter scenes are clipping.
As part of the latest 3.10 firmware, JVC has added a new feature called Frame Adapt HDR. This feature analyses the incoming HDR video signal and dynamically adjusts the tone mapping accordingly. In addition the accuracy of the projector's gamma processing has also been improved, from 12-bit equivalent to 18-bit equivalent.
Frame Adapt HDR now appears as a picture mode option, and the projector will automatically default to it when it recognises HDR content. Under the Frame Adapt HDR mode you have a choice of four HDR Levels: Auto, Low, Medium and High. The Auto level is the default and the best choice, but if the HDR content is generally bright then you can use Low (also useful for small screens), while the Medium and High settings are good for average or dark screens (while the High level is also good for larger screens).
There's also a control for HDR Processing, and here you have a choice of Static, Frame by Frame and Scene by Scene. The names are fairly descriptive here: the Frame by Frame option changes the tone mapping on a frame-by-frame basis, and the Scene by Scene option does it on a scene-by-scene basis. The Static option essentially works the same as the Auto Tone Mapping feature. Frame by Frame is the default setting and seems the best choice.
Finally there's an option called Cinema Filter with a choice of Normal or Wide. If you select wide then the projector uses the wide colour gamut filter to deliver 100% of DCI-P3. This option is not available on the N5 because it doesn't have the wide colour game filter. Normal is the default setting, but we switched to Wide because even though the filter does reduce the light output slightly, we get the full benefit of DCI-P3.
This new Frame Adapt HDR feature is awesome, and we go as far as to say that it delivers the best projected HDR images we have seen to date. Rewatching Passengers and the HDR images look even better, and the same goes for Ready Player One, Journey to the South Pacific and Planet Earth II. The image simply looks better balanced, with deep blacks and plenty of detail in the shadows. At the same time the brighter scenes look perfectly rendered, without any clipping. A projector can never fully compete with a TV, but for projected HDR this is simply stunning.
However what's really impressive is how the N7 now handles more challenging material. First of all the lack of any static metadata is no longer a problem, but also the fact the projector is now analysing the signal on a frame-by-frame means that very dark or bright scenes are also handled properly. When we put Overlord back on after the firmware update, the image now looks fantastic, with the film's numerous night scenes reproduced correctly so that you can actually see what's happening without having to fiddle with settings in the menus.
The addition of Frame Adapt HDR is a real coup for JVC, showing that the manufacturer is still innovating when it comes to big screen projection. What's even better is the new firmware is free and will be included with new purchases, while existing owners can simply download and update their projectors.
Review Update: The main new feature included with the v3.50 firmware is JVC's Theatre Optimiser, which retains 18-bit gamma processing, and intelligently adjusts the tone-mapping based on the appropriate brightness for a specific installation and environment. To do this it uses the information set in the Screen Settings section of the Installation menu (Screen Adjust, Screen Size and Screen Gain), along with the throw distance and the hours on the lamp to fine tune the Frame Adapt HDR based on the brightness of the image. Always remember to press the set button after changing any of the Screen Setting info, this allows the Theatre Optimiser to process the data and perform the necessary calculations. The Theatre Optimiser has three settings Low, Mid and High, with Mid being the default setting.
If you don't want to use the Theatre Optimiser you can turn it off and just use the HDR Level instead. JVC has now expanded the number of brightness level settings in this feature from Auto, Low, Mid and High to Auto, -2, -1, 0, 1 and 2. The HDR Levels are not available when the Theatre Optimiser is set to on.
While the latest firmware release adds a number of new features, it's less of a game changer than the previous v3.10 update. That first major update added the Frame Adapt HDR which brought dynamic tone-mapping to a projector range (N5, N7 and NX9) for the first time. The result was a significant improvement in HDR tone mapping, and the best projected HDR images we had seen to date.
Theatre Optimiser is more subtle in its refinements, although we do feel it improves the dynamic tone-mapping by bringing out greater detail in the darker and brighter parts of the image. Of course this is based purely on memory, since we can't do a direct comparison between the v3.10 and v3.50 firmwares. Generally we use the mid or occasionally the high setting, but for the best results a bit of experimentation is required. Sadly, even with Frame Adapt HDR and Theatre Optimiser, HDR still isn't a simple set-up and forget option.
This isn't the fault of JVC or the projector, but rather the result of projection's inherent limitations when it comes to HDR. A projector isn't very bright, especially compared to a TV, and thus effective tone-mapping is essential. In order to optimise the tone-mapping, the projector needs as much information as possible. The frame-by-frame analysis of the incoming HDR signal and the added screen settings info all help, but the projector also reads the mastering information included in the static metadata on the disc – the more, the better.
Unfortunately some studios only include the minimum and maximum data, but not the average number. As a result the image can often look too dim, probably because the projector is using 4,000 or 10,000 nits as the peak number, but has no other metadata and in actual fact the average peak brightness is perhaps 600 or 700 nits. As a result Jaws looks superb on the mid setting, but appears slightly clipped with the high setting. Conversely A Few Good Men appears slightly dim in mid, but really pops beautifully with the high setting.
If you don't want to use the Theatre Optimiser and prefer the HDR Level instead, you now have five rather than three settings. According to JVC, the -2 setting equates to a tone map with 600 nits as the clip point, -1 uses 400 nits, 0 uses 300 nits, +1 uses 200 nits, and +2 uses 150 nits. The Auto mode is designed to automatically adjust the brightness to an appropriate level based on the mastering information (MaxCLL/FALL).
However we did notice that the Auto setting, which we primarily used with v3.10, now appears much darker with v3.50. As a result we generally found the +1 setting, or sometimes +2 setting, worked best. As with the Theatre Optimiser you will find that some experimentation is required depending on your screen, room and the disc you're watching. However, watching Bram Stoker's Dracula with an HDR Level of +1 looked superb, with wonderfully deep blacks, rich colours, plenty of detail in the copious shadows and some nice pop to the occasional highlights.
The N7 delivers the best HDR images we have seen to date from a projector
While 3D might be effectively dead when it comes to TVs, there's still plenty of support amongst projector manufacturers. As a result the N7 does support 3D, although you will need to buy the 3D Synch Emitter and some RF glasses separately.
The 3D images on the N7 are completely free of any crosstalk and incredibly detailed, while the projector is certainly bright enough. However there's no dedicated 3D picture mode, which means you essentially have to make one yourself. After creating a custom 3D mode we popped on Avatar, and found the images to be bright enough even in the low lamp mode. Switching to Ready Player One, the results are equally as impressive. Despite this being a fairly frenetic film, the N7 handled the fast-moving images with skill, retaining plenty of dimensionality.
There's no 3D preset, but once you've created your own the performance is excellent
Impressive 4K images
Awesome HDR performance
Reference level of image accuracy
Superb set of features
Excellent remote and menus
No motorised lens cover
No dedicated 3D picture mode
The JVC DLA-N7B is a superb native 4K projector, that delivers stunning SDR, HDR and 3D images. It's extremely well-made, has an effective remote control, fully-spec'd HDMI inputs and a comprehensive set of features. The image accuracy is impressive, while the brightness and black levels are both excellent, as is the overall contrast performance.
However what really impresses are the new HDR features, with Frame Adapt HDR dynamically adjusting the tone-mapping based on the incoming video signal, and the Theatre Optimiser intelligently adjusting the tone-mapping based on the appropriate brightness of your screen. The result is the best projected HDR we have seen to date.
This projector isn't small, nor is it cheap, but it's definitely worth it. Our only real complaints are a shoddy lens cover and lack of a dedicated 3D mode, but otherwise the N7 is hard to beat and the best in its class.
What are my alternatives?
The obvious alternative is the Sony VPL-VW590ES, which you can pick up for £6,999, or the Sony VPL-VW790ES, if you can afford £11,999. The Sonys are good 4K projectors, but we can't help feeling the company has failed to fully innovate due to a lack of competition. Sony was first to market with native 4K projectors, and it appears the company has been happy to coast on that monopoly for the last few years.
However the arrival of JVC's N Series changes all that, and these new projectors are better built, better specified and better performing. JVC may have taken longer to reach the market with native 4K projectors but it was worth the wait, and the company's policy of retaining the same models but offering annual free firmware updates definitely gives JVC the edge.
If you want native 4K but are on a tighter budget, then you could go for the JVC DLA-N5 at £6,499. You get all the same features, aside from a wide colour gamut filter, and although the N5 isn't quite as bright and the contrast ratio isn't quite as good, the chances are you won't notice the difference. Alternatively you could get the Sony VPL-VW270ES for £4,999, but you lose a lot of features with that model.
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