text:
Search - Wayne's World 1 & 2 - The Complete Epic on DVD
Wayne's World 1 2 - The Complete Epic
Actors: Mike Myers, Dana Carvey, Rob Lowe, Tia Carrere, Brian Doyle-Murray
Directors: Penelope Spheeris, Stephen Surjik
Creators: Mike Myers, Barnaby Thompson, Dinah Minot, Hawk Koch, Bonnie Turner, Terry Turner
Sub-Genres: Comedy
Studio: Paramount
MPAA Rating: PG-13 (Parental Guidance Suggested)
Languages: English, French
We're sorry, our database doesn't have DVD description information for this item. Click here to check Amazon's database -- you can return to this page by closing the new browser tab/window if you want to obtain the DVD from SwapaDVD.
Click here to submit a DVD description for approval.
Cheech and Chong's Up In Smoke
High-Larious Edition
Director: Lou Adler
New Line Platinum Series
Director: Adam Rifkin
Directors: Tim Burton, Mike Johnson
The Director's Cut
True Romance - Director's Cut
Two-Disc Special Edition
Director: Tony Scott
Director: Nigel Cole
Directors: Darrell Rooney, Lynne Southerland
The Sopranos The Complete First Season
Shanghai Noon
Directors: Nick Park, Peter Lord
Excellent! It had to be mine. Oh yes. It had to be mine.
viagrafalls | Denmark | 03/21/2004
"This is totally amazingly eccellent! A boxed set of both of the Wayne's World movies. What more could someone who enjoyed the movies wish for?Who doesn't know the story of Wayne Campbell (Mike Myers) and his trustworthy sidekick Garth Algar (Dana Carvey)? As hosts of their very own local tv show, they're highly popular with the youngsters and the girls (though neither of them has much experience on that topic). In the first movie, they're approached by Benjamin, a sleazy TV executive (Rob Lowe), who is intent on exploiting the show "Wayne's World" to make a quick buck. Wayne is forced to deal with various issues, including being fired from his own show, losing his girlfriend Cassandra (The gorgeous Kia Terrere), and losing his best friend Garth. Will he and his group of friends manage to take back their own show and land Cassandra a record deal at the same time?The second one is about Wayne being visited in a dream by Jim Morrison. Wayne is looking for a goal in his life, and Jim provides him with one: Wayne is to organise WayneStock, a rock festival. Again, Wayne has to deal with numerous issues to fight his way through.To me, the real charm of the movie is by the countless amounts of famous stars making an appearance in the movie. From Alice Cooper and Aerosmith to Rob Lowe and Christopher Walken, from Tia Carrere to Ed O'Neill, from Chris Farley to Kim Basinger, the movies are packed with celebrities who were all to keen to help Myers out with this project. Even though the movies will never be a fallback for countless one-liners like (for instance) the Naked Gun series, they still make up for great amusement and a hysterical laugh. Myers and Carvey manage to make sure the movie doesn't fall apart, though (in my opinion) Carvey is the real talent here. He's pure comedy genius, and sort of makes Myers look like the sidekick.The only dissappointment is the lack of extra's on the DVD. Come on. No one out there will think 'Widescreen, Dolby Digital, English subtitles, Interactive menus or Scene selection' are "special features" anymore. Those are standard. Interviews are nice, but the real appeal with DVDs as a medium are goodies like Behind-the-scenes and Deleted scenes. It would have been nice to get a bit more for the buck. Still, for the true fan? The combo is a nice buy."
Wayne's World IS party time
schmidtr@sas.upenn.edu | New Jersey | 07/30/2001
"Alright; so both of these movies rock. They take one of the funniest SNL skits starring two of the funniest comedy actors of their time, and make them into a full length movie. Unlike most other SNL lifts, like superstar, night at the roxbury, or any of the other trite and pointless comedies that have sprung from the now waning-SNL, Wayne's World is actually funny, and addictingly so. From the first few moments of the original movie, joke after joke plows the audience. Meyers and Carvey are genius in their roles as bumbling musicians trying to make it big while keeping it real; as Wayne and Garth, they flow through fame fortune, and "CAsssandra" (tia Carerra, in a knockout foxy role). The second film isnt quite as good as the first, but lets be honest, how many sequels are even comparable to the first (the lost world to jurassic park, TMNT 2 to TMNT (tho vanilla ice rocked), the ounces of horror flick sequels). It is still very entertaining, tho, so dont be dissuaded by the fact that its a sequel. Seriously, a definite investment for anyone who needs a good laugh, or a few good movie lines to memorize. And a must buy for any Meyers/Carvey fan (hey whatever did happen to Dana Carvey....he is so talented). This reviewers final word: definitely buy"
Ronald Bingham | 08/08/2001
"Two very funny movies. The DVD presentation is fantastic. A lot of effort here. The menu's look like a TV guide, you get glimpses of other DVD's (Ewww Solid Gold aerobics), each movie has a documentary with interviews (about 22 minutes each). The movie's themselves look great with anamorphic widescreen and DD5.1 sound. The director's commentary from Penelope Spheeris is entertaining and informative. The commentary by Stephen Serjuk is boring and meandering.A very worthwhile way to spend your money and enjoy a couple of hours of fun."
Wayne's World.. party time.. excellent.. times two!!
Ramsis Lion | Long Island, NY USA | 01/18/2006
"Based on a brilliant Saturday Night Live sketch, Wayne's World and Wayne's World 2 are both equally enjoyable films and great additions to anyones DVD libraries.
The Wayne's World movies both base around the lives of two young men who do their own local cable access show in the town of Aurora, IL. Wayne Cambell (Mike Myers) is the smart, charming, witty leader of the duo who is into hot women and rock music. While his partner Garth (Dana Carvey) idolizes Wayne and makes for the perfect teammate . He is a little slow but is good with computers, machines and has a very innocent mind.
The films follow the adventures that Wayne and Garth get into with their friends as they put on their TV show from Wayne's Parents basement, while they try to pick up chicks and attend rock concerts and eat their donuts at the local hang out.
The first Wanye's World movie was very successful and for good reason, its a very wity and humor filled film that set the stage perfectly and carried on in the tradition of the SNL sketches that made them such well known house hold names. In the first movie Wayne and Garth get noticed by Benjamin Kayne (Rob Lowe) who works for a big company that wants to put Wayne and Garth's TV show onto regular TV along with a sponcer and all the perks of working for a regular TV studio. Along the way Wayne meets the love of his life, Cassandra Wong (Tia Carrere) who is an up and coming rock singer who takes an instant liking to him. Ben has more in store then just letting them have a taste of the big time. He seems to have the hots for Cassandra as well and will do any thing it takes to break up the two. And he does a good job of doing just that. Wayne loses his TV show, Cassandra and his best friend all due to Ben. Of course everything works out for Wayne when all is said and done, he gets a contract for his now girlfriend Cassandra, made the bad guy look like a fool and the great thing about a movie is if you don't like how a movie ends, you can always re do it.
Most memorable moments in this film include a hillarious moment when Wayne, Garth and 3 friends are in a little car singing Queen's "Bohemian Rhapsody" while banging their heads as they drive along the road. Many laughs fill the movie like when the two stars would take the camera along with them for a private convo that only we the viewer were in on. Or talk about how they don't sell out to any sponcer while they are busy drinking Pepsi and wearing Reebok gear. It has a great ending that really ends things on an upbeat note. There isn't any slow parts the film. It starts at a humor filled beat and stays that way the whole way through never taking the world they are engulfed in seriously even realizing they are in a movie at times and letting us in on the jokes. Another great moment is when they get back stage passes to Alice Cooper's concert and Alice starts to tell them about the history of the name Milwaukee. Many great sight gags and cameos fill the film. It's short enough to watch many times and the jokes don't get stale as the fun ends at just the right time before it gets to be too much. This movie alone is reason enough to buy the set.
The second film "Wayne's World 2" picks up a year after the first film, Wayne and Cassandra are still together and Wayne and Garth have moved into their own loft across town still doing their public access show. Cassandra now has a manager Bobby Cahn (Christopher Walken) who like Ben in the first film takes an instant liking to her and wants Wayne removed from the situation by getting her to move out of Aurora to Hollywood. If that wasn't all enough for Wayne to deal with, an almost naked indian approaches Wayne in a dream one night and when Wayne follows through the desert he meet up with Jim Morrison, the dead lead singer of the Doors. Jim tells Wayne that he has to put on a concert and book all the biggest bands. That will give him meaning to his life. Wayne decides that is exactly what he has to do and with the help of various people that Jim tells him about and friends in Aurora he puts together a potentialy huge concert he calls "Waynestock". Garth meanwhile has his first experiences with a girl Honey Hornee' (Kim Basinger) who seems to want more then just a relationship from him.
The most memorable moments from this movie include Wayne meeting Cassandra's father and the two of them fight it out in a mock Kung Fu film situation, with dubbed english and all. One of the funniest uses of a Village People reference that I ever saw in a movie. And the film itself has many cameo's and big name stars like Chris Farley, Drew Barrymore, Rip Taylor (ok maybe not all are big stars) and Aerosmith. The film is almost a mirror image of the first as it carries a lot of the same jokes and gags but is different enough to come off as something totaly new and funny. Its a great follow up to a great movie and a worthy sequel. Sometimes sequels can lose something that the original had. This goes about things in the same exact way keeping a lot of the same themes we loved from the first intact and that's probably what people would want anyway as well it worked.
You definitely won't be sorry adding this box set to your collection. Both movies are funny, witty and enjoyable for people of all ages and will be a great blast from the not too distant past that you and any family member or friend can watch on the fly.
After awhile you too will start to chant: "Wayne's World.. party time.. excellent!! WOO WOO WOO!!! ""
Who Listens to Leonard Maltin Anyway?
mae | aus | 09/10/2001
"Denouncing Wayne's World like that. It's shameful. This is an hilarious film which is very rewatchable; Myers and Carvey are great playing out the two teenage 'rockin' dudes', and you just gotta love the metal soundtrack.It's not extremely deep and meaningful, but it is extremely funny, and the sequel holds up reasonably well against the first 'Wayne's World.'It's excellent."


text:
Het landskampioenschap hockey bij de dames in het seizoen 1960/61 werd beslist via de kampioenscompetitie met BDHC als winnaar.

Algemeen
Het Nederlandse hockey was opgesplitst in vier districten, waarvan ieder district een eigen eerste klasse competitie hield. De kampioenen van ieder district speelden vervolgens tegen elkaar een hele competitie voor de beslissing om het landskampioenschap. De districtskampioenen waren respectievelijk: BDHC (West), EMHC (Zuid), Groningen (Noord) en Union (Oost).

Eindstanden

Legenda

Zie ook
 Nederlands landskampioenschap hockey heren 1960/61

Hockey in 1960
Hockey in 1961
 1960/61

redpajama_set_name: RedPajamaWikipedia


text:
Arne Wilhelmsen (15 June 192911 April 2020) was a Norwegian billionaire businessman, the co-founder of Royal Caribbean Cruises.

Wilhelmsen was born in June 1929, and earned a bachelor's degree from Harvard University.

When he died, his net worth was estimated at US$1.5 billion.

Wilhelmsen was married, with three children and lived in Oslo, Norway. He died on 11 April 2020, in Palma de Mallorca, Spain. He was 90.

References

1929 births
2020 deaths
Businesspeople from Oslo in shipping
Harvard University alumni
Norwegian billionaires
Norwegian company founders


The Buddhist literature generally consists of the sayings of the Buddha and the works by subsequent scholars, which are termed as Sutra and Sastra respectively. These works pertaining to various schools are originally available mainly in three languages: Pali, Sanskrit and Apabhramsa. The Pali Canon is the canon of Theravadins for the Tripitaka of Theravadins is available in Pali. Following the terminology and norms of the Sanskrit grammarians, the Theravadins have also composed grammars of the Pali language.
The present work, submitted for the award of the Ph.D. degree in Pali from the University of Pune, is an attempt to study the technical terminology and the technique of the three Pali grammars from the comparative point of view and is an initial step in making a detailed comparison of the Pali grammatical treatises with their Sanskrit counter-parts. The work presents a brief historical sketch of the Pali grammatical tradition and introduces three Pali grammars viz. the Astadhyayi, the Katantra Vyakarana and the Candra Vyakarana. It studies in all 166 technical terms classified into eight sub-sections according to the different linguistic categories such as: the phonetic terminology, the terminology related to the morphophonemic changes, the morphological terminology, etc. Each term is explained according to its definition and usage. It is then compared with its Sanskrit counterpart in the Astadhyayi, the Katantra Vyakarana and the Candra Vyakarana. An attempt is also made to trace its origin and development in the Sanskrit tradition and to compare the overall technique and different technical devices used by the Pali and the Sanskrit grammarians. The study also records some observations drawn from the data collected for this purpose.
The present work reveals the fact that the Pali Atthakathas of Buddhaghosa, Buddhadatta and Dhammapala show the existence of a limited indigenous Pali grammatical terminology different from that of Sanskrit and that around 80% of the terms used by the Pali grammarians come from Sanskrit sources. While many of these are familiar from the standard grammar books (Astadhyayi, Katantra Vyakarana, Candra Vyakarana, and their respective commentaries), others are drawn from the Brahmanas, Yaska's Nirukta, the Pratisakhyas and the Siksa literature.
While there are several works studying the Tripitakas from various points of view, there are not many works doing a comparative study of the Pali and the Sanskrit grammars. Prof. Mahesh Deokar therefore deserves compliments for undertaking this type of study. The Institute intends to promote the study of Pali along with Tibetan and Sanskrit and is pleased to publish this work as a concrete step in that direction. We sincerely wish that the publication of this work will be welcomed by the readers and will motivate further study in this rather unexplored field.
The present work is not my sole achievement, but rather the culmination of the efforts of many people who have aided me in innumerable ways throughout my academic career. First and foremost, I must pay my humble respects to my guides, Prof. Dr. M.G. Dhadphale provided me with an overall perspective on the Pali language, gleaned from years of painstaking scholarship in the field. Prof. Bhate has been a personal and professional support from the earliest stages of my post-graduation and I have benefited from her expertise and insights in the field of Sanskrit grammar in general and the Paninian grammar in particular. I am thankful to the (Late) Dr. Mrs. Pushpa Kale, Dr. Shilpa Sumant and Mrs. Sunila Gondhalekar for kindly preparing the audiotapes of the Pali grammatical works, which was necessary due to my visual impairment. I acknowledge the help given by Prof. Dr. Thomas Oberlies of Gottingen in acquiring the research material unavailable in India. Dr. E. Kahrs of Cambridge has inspired and guided me during my study of this vast subject. In the initial stage, he helped me by making available the necessary material for the present work. He was also kind to write a foreword to this book. I am thankful to Dr. Kahrs and Dr. Margaret Cone, for carefully examining my work and making valuable suggestions. I would also like to express my indebtedness to all the eminent scholars whose books and translations I have availed myself of in my own research, especially K.C. Chatterjee, Eivind Kahrs, S.M. Katre, O.H. Pind, L. Sarup and L.N. Tiwari.
Last but not least, I must acknowledge the assistance received from my wife, Dr. Lata, who has been a great help to me in all the stages of this research; and also my parents, my brother and my in-laws who have helped me in many ways.
I am grateful to Prof. Geshe N. Samten, Director, Central Institute of Higher Tibetan Studies, Sarnath, Varanasi, for showing keen interest in my research and accepting this work for publication. I am thankful to the Publication Unit of the Institute for beautifully printing this work.
Dedicated to the study of their canonical literature, Theravada Buddhists produced a number of grammars of the Pali language. The Kaccayanavyakarana or Kaccayanappakarana, named after its author Kaccayana, was composed in Sri Lanka some time after Buddhaghosa, who clearly did not know of it, and before its earliest known commentary, the Mukhamattadipani, written in probably the eleventh century. The Kaccayana grammar triggered off a long tradition of commentaries, as well as a series of expanded, revised versions of it, such as the Rupasiddhi and the Balavatara.
A separate school of grammar emerged in Sri Lanka through the work of Moggallana or Moggallayana who composed his Moggallanavyakarana or Saddalakkhana during the reign of Parakkamabahu in Anuradhapura, that is to say, some time between 1153 and 1186. The colophon of the work says that it was composed after Parakkamabahu had purged the Sangha of all heretical monks, an event that can be dated to 1165.
As a third major work on Pali grammar we find the Saddaniti of the Burmese monk Aggavamsa who is said to have completed his monumental work in the kingdom of Pagan in the year 1154. There are claims that a copy of his work was taken to Sri Lanka a few years after its completion where it is said to have been received with enthusiastic admiration at the celebrated Mahavihara, and declared superior to any grammatical work written by Sinhalese scholars. However, no Pali commentary on it is its Burmese nissaya, a translation type of commentary paraphrasing the Pali text while adding information in Burmese.
Now, if a grammar becomes influential it will inevitably affect not only the composition of subsequent literature but also the way in which earlier literature is perceived. That so little work has been done on the Pali grammarians is therefore surprising when one considers how important some of these grammars are not only for determining the state of Pali language and scholarship in twelfth century Burma and Sri Lanka, but also for diagnosing the effect they may have had on the transmission and interpretation of the Pali canon, and on the composition of subsequent Pali literature. At the time of Aggavamsa and Moggallana the Atthakathas were written, but probably not all the Tikas and certainly not the later Tikas (the Navatikas) and the Anutikas.
It is accordingly likely that the Pali we encounter today is a function of the Pali of the twelfth century and that knowledge of the Burmese and Sinhalese philology of the time is indispensable if we are to arrive at a Pali of linguistic interest, to use a phrase coined by Helmer Smith, the editor of the Saddaniti. This also leads us to the crucial question of what sources influenced the Pali grammarians. The short answer to this is simple. Different though they may be in scope and in style, the Pali grammars are all heavily indebted to the glorious traditions of Sanskrit vyakarana, grammar and philosophy of language. The Kaccayana grammar is strongly influenced by the Paninian tradition and by the Katantra, a Buddhist Sanskrit grammar. Drawing upon earlier Pall grammars and the sources built upon by them, the Moggallanavyakarana is in addition heavily influenced by the Candravyakarana of the Buddhist grammarian Candragomin. Aggavamsa, in turn, incorporated most of the non-Vedic rules of Panini's Astadhyayi as well as all the Kaccayana rules and most of the material from the Kaccayanavutti, which would also incorporate the influence of the Katantra. Aggavamsa too knew of the Candravyakarana, but maybe more importantly he was clearly familiar with a tradition going back to the Kasikavrtti. It seems possible to assume that he also knew of one or both of its commentaries, the Nyasa and the Padamanjari. Moreover, he drew heavily on Bhartrhari's Vakyapadiya, probably through Helaraja's commentary. Aggavamsa also discusses varttikas met with in Patanjali's Mahabhasya, and makes use of different sections of that text for various purposes, possibly via access in some form to the commentary of Kaiyata, the Pradipa. Tracing such sources and influences, and determining the usage of technical terms and techniques is not straightforward, and there remains a lot of work to be done.
Now, the grammarians employ only the instrumental case in the domain of bhava, such as thiyate, bhuyate, etc., as in: 'surely a wandering monk should be well dressed, properly covered, suitably attired', etc. Therefore, on their view, in the expression tena ubbhaviyate it should only be constructed with the instrumental case. But on the view of the Jina [it should be constructed] only with the nominative as in so bhuyate. For in the Saccasamkhepappakarana by the teacher Dhammapala, in the text of the Niddesa by Dhammasenapati, and in the Dhajaggasutta by the Blessed One, a bhava-word has been stated with [a syntactic] expectancy for the nominative case.
Aggavamsa himself refers the example so bhuyate to the Saccasamkhepa, a text that belongs to a group of Abhidhamma manuals known in Burma as Let-than, the Little-finger Manuals. Its author, Dhammapala, is hard to identify and date, but it seems clear that he must be reasonably close to Aggavamsa in time. This makes it likely that the type of Pali employed by Dhammapala must be reasonably close to that used by Aggavamsa and it is therefore surprising that he quotes this puzzling example without reservation. Normally he takes his examples from canonical literature. The form bhuyate occurs at Saccasamkhepa 63d, and is in fact the only occurrence of the form bhuyate in this text. The verse, which seems to deal with rupa (cf. verse 40), ends: aggijadi pubbe va bhuyate '[rupa] that is produced by fire is already existing' (?). A passive form of the verbal root bhu, if that is what we are dealing with, is in any case hard to distinguish from an active one in meaning.
Few scholars today are better equipped to undertake and guide serious study of the Pali grammarians than Professor Mahesh Deokar, and that his work is published and hence made available to the scholarly community represents a landmark in Pali scholarship. Such a thorough study of the technical terms and techniques of both Pali and Sanskrit grammars takes the study of the Pali significantly forward and lays the foundations for other scholars to continue work in this field. It also bodes well for the future of Pali studies in India, now significantly enhanced by the establishment of a Department of Pith in the University of Pune, with Professor Deokar as its Chair.
In 1863, James Elwis wrote an introduction to Kaccayana's grammar, which marks the beginning of the modern study of the indigenous Pali philology. In 1871, E. Senart published a critical edition of the complete Kaccayana grammar. In this edition, the sutras were given in the Devanagari script whereas the commentary was in the Roman script. It included a French translation of the text and critical notes. This was an important work. However, it had its own limitations as a number of Pali texts including the important grammatical works and their commentaries were still unpublished.
In 1882, G. E. Fryer wrote an elaborate note on the Kaccayana (Kacc) in the Proceedings of the Asiatic Society of Bengal. In 1902, R. O. Franke wrote an outline of the history and the development of the indigenous Pali grammars entitled 'Geschichte und Kritik der einheimischen Pali-Grammatik und -Lexicographie'. This monograph though important had its own limitations because at that time Franke did not consider some important grammatical treatises, namely, the Mukhamattadipani (Mmd), the Kaccayananiddesa (Kacc-nidd), the Moggallinapanjika (Mogg-p) etc. His work was mainly based on the Kacc, the Kaccayanavutti (Kacc-Vu), the Rupasiddhi (Riip), the Moggallanavyakarana (MV), the Moggallanavutti (MVu), and fragments of the Saddaniti (Sadd). The limited textual basis of Franke's study sometimes made him draw conclusions, which are no longer valid. Since then, a number of important works on the Pali grammar have been published.
During 1928-1930, H. Smith published his monumental work 'Saddaniti La Grammaire Palie D' Aggavamsa' in three volumes. During 1949-1954, Smith supplemented his critical edition with two volumes of tables comprising a. lists of texts quoted (Index Locorum), b. suttas (Index Aphorismorum), c. verbal roots (Index Radicum), d. various elements of word formation (Index Formantium), e. the very useful conspectus terminorum (sannamalika) and metricorum, and f. an index to the whole work (Index Verborum). The last, i. e., the index was incomplete and was completed later by N. Simonsson in 1966.
In 1931, the grammar of Kaccayana was published in the Thai Script, bearing the title Kaccayanamulam Nama Pakaranam. It contains Suttas, Vutti and the Dhatupatha, with a translation of the Suttas in Thai, by Phravisuddhisombodi. In 1940, S. M. Katre published his study of the Pali Dhatupathas in the Bulletin of the Deccan College Post Graduate Research Institute, Pune. In the same year, Bhikshu Jagadish Kashyap wrote Pali-Mahavyakarana, a lucid explanation of the rules of the Pali grammar on the basis of the Moggallana Vyakarana. In 1957, L. Renou published an article comparing the Kaccayana Vyakarana with the Katantra Vyakarana. In 1962, Visuddhacara published a Burmese commentary on the Kaccayana Vyakarana entitled Kaccayana-Suttattha. In the same year, L. N. Tiwari and Birbal Sharma published Kaccayana Vyakarana with a Hindi translation. This book is extremely useful for the study of the Kacc, because of its scholarly annotations and appendices comparing the rules of the Kacc with that of the Katantra and the Astadhyayi. In 1967, A. K. Warder translated two short passages pertaining to metrical problems.' In 1971, Y. Ojihara, with a 'note preliminaire' by C. Calliat, compared a chapter of the Saddaniti (kibbidhanakappa, pariccheda 26) with 'donnees panineennes'. In 1977, a Thai scholar studied the finite verb system in the Kacc for his M. A. dissertation. In 1979, another Thai scholar Bunyamalik Tongpoon worked on the sandhi and the samasa of the Kacc, which was published by the Chulalongkom University, Bangkok. In 1988, Phramaha Somjai translated the Padarupasiddhi in Thai. In 1989, Chamnanrua Bamroong published a study of the primary derivatives in the Saddanitipakaranam. This was followed by a study of the secondary derivatives in the Rupasiddhi by Chaisuwan Prachok in 1990.
In 1991, Tin Lwin wrote an article giving a brief, general introduction on the Saddaniti, including its date and authorship. In 1992, E. Kahrs published a monograph on the Saddaniti's Karakakappa (A section dealing with syntax) 'Exploring the Saddaniti'. Here he makes a detailed analysis and comparison with other works on Sanskrit and Pali grammar and tries to trace its sources. Recently, from 1989 onwards, O. H. Pind has published some articles on the history and the development of the indigenous Pali philology. The first among them is 'Studies in the Pali Grammarians, I'. In this article, he studied the grammatical analysis found in Buddhaghosa's works and tried to find their sources. According to him, "whenever Buddhaghosa refers to grammar or grammarians in support of his analysis of a grammatical or sernantical problem in the Pali, he is referring to Paninian grammar' (Pind 1990:175). This was followed by another article 'Studies in the Pali Grammarians, 11.1' in the year 1990. In this article Pind deals with some more cases of Buddhaghosa's syntactic analysis found Samantapasadika and the Paramattha-jotika. In the same article, he also studies the grammatical analysis found in Mahanama's commentary on the Patisambhidamagga and Buddhadatta's commentary on the Buddhavamsa to show nature of the grammatical references that occur in the post-Buddhaghosa Pali Atthakathas reflect a wider variety of sources and influences than in the case of Buddhaghosa's grammatical comments (Pind 1990:177). In 1995, in an article entitled 'Pali Grammarians: The Methodology of the Pali Grammarians', Pind studies a couple of examples of the methodology of the Pali grammarians to show the tendency among Pali grammarians to refer to the canon or the atthakathas when discussing phonological, morphological, or syntactical problems of the Pali. Responding to H. Smith's claim that the indigenous Pali grammars of the 12th - 13th century A.D. are likely to have exerted a considerable influence on the contemporary Theravada scribes, Pind concludes saying that 'there is no proof that the grammatical literature has had any influence on Theravada scribes: in spite of major divergences, Pali literature is remarkably consistent, as shown by the many canonical quotations in the grammatical literature" (Pind 1995: 297). In another article 'Pali Grammar and Grammarians From Buddhaghosa to Vajirabuddhi', written in 1997 Pind takes the historical review of the development of indigenous Pali philology from Buddhaghosa up to Vajirabuddhi. All these articles arc very important as they shed considerable light on the development of the Pali grammatical tradition. In 1997, Phramaha Thiab Malai completed a doctoral dissertation entitled 'Kaccayana - Vyakarana: A Critical Study' submitted to the University of Pune providing an annotated translation of the Kacc.
1. The Pali Text of Kaccayana's Grammar, by F. Mason, The Karen Institute Press, Toungoo, 1870.
2. Moggallana-vyakarana (Sinhalese Script), by Devamitta Thera, The Lankabhinava Visruta Printing Press, Colombo, 1890.
3. Kaccayana's Pali Grammar, by S. C. Vidyabhusana, The Mahabodhi Society, Calcutta, 1901.
4. Kaccayana Vutti, (Sinhalese script) by the Ven'ble Dhammakirti Sri Dharmarama, Fedrick Perera Ahayasinha Appuhamy, Colombo, 1904.
5. Kaccayana-Vannana (Burmese Script), by Visodhakasamiti, Pyi-Gyi-Meit Sway Press, Rangoon, 1906.
6.The Mukhamattadipani, by Terunnanse, Weliwitiye siri Dhammaratana, H. C. Cottle, Government Printer, 2nd Edition, Colombo, 1910.
7. The Pali Dhatupatha and The Dhatumanjusa, by D. Anderson and H. Smith, Copenhagen, 1912.
8. Kaccayana, (Sinhalese Script) by Gunaratana Thera, Venerable M., M. U. Subseris Perera and B. L. Perera, Colombo, 1913.
9. Moggallana-vuttivivaranapancika (Burmese Script), by Aggadhammabhivamsa, Buddhasasanasamiti, Rangoon, 1916.
10. Moggallana-nvadi-vutti (Sinhalese Script), by Dharmananda Nayaka Sthavira Moggallana, Saccasamuccaya Press, Colombo, 1929.
11. Moggallana-pancika (Sinhalese Script), by Dharmananda, Nayaka Sthavira, Satya Samuccaya Press, Colombo, 1931.
12. Nyasa-Patha (Burmese Script), by Sayayan, The Thudhammavadi Press, Rangoon, 1933.
13. Moggallana-pancika-tika (Burmese Script), by Aggadhammabhivamsathera, Zabu Meit Swe Press, Rangoon, 1955.
14. Maharupasiddhi (Sinhalese Script), ed. by Kalukondayave Siripannasekharabhidhana Mahanayakathera, (With Maharupasiddhi tika by Buddhappiya), M. D. Gunasena Co. Ltd., Colombo, 1964.
15. Saddaniti-pakaranam (Suttamala), (Burmese Script), by Visodhakasamiti, Buddhasasanasamiti, Rangoon, 1964.
16. Padarupasiddhi-tika (Burmese Script), (in Pali), Ed. Visodhakasamiti, Buddhasasanasamiti Press, Rangoon, 1965.
17. Padasadhanatika (Burmese Script), by Aggadhammabhivamsa, Thanavati Press, Mandalay, 1966.
18. Payogasiddhi, by Nanaloka, Mahathera, Kodagoda, The Cultural Council of Sri Lanka, Colombo, 1974.
19. Kaccayanaveyyakaranam (Thai script), by Dhammananda Thero, Lampang, Thailand, 1978.
20. Saddaniti-pakaranam, 3 Vol.s (Thai Script), The Bhumibalo Bhikkhu Foundation, Bhumibalo Bhikkhu Foundation Press, Bangkok, 1978-80.
21. Padarupasiddhi, (Thai Script), Ed. Siri Petchai, Ministry of Education Religious Affair, Bangkok, 1984.
22. Padarupasiddhi Plea (Thai Script), Translation in Thai by Phramaha Somjai, Ministry of Education Religious Affair, Bangkok, 1988.
23. Kaccayana-Nyaso, by Bhikkhu Satyapala, Sham Printing Agency (Amara Printing Press), Delhi, 1991.
24. Padartipasiddhi Plea lea Adhibai (Thai Script), by Niruttisaddavidu gana, Usha Printing Press, Bangkok, 1992.
From the above description, it is quite evident that barring the researches of L. Renou and E. Kahrs, there is hardly any attempt to make a detailed comparison of the Pali grammatical treatises with their Sanskrit counterparts.
The present attempt to study the technical terminology and the technique of the Pali grammarians from the comparative point of view is an initial step in this direction. It is a part of a broader comparative study of the Pali and the Sanskrit grammatical treatises. The work is divided into three chapters. Chapter One presents a brief historical sketch of the Pali grammatical tradition and introduces three Pali grammars viz, the Kaccayanappakarana, the Saddaniti and the Moggallana Vyakarana along with the three Sanskrit grammars viz, the Astadhyayi (Ast), the Katantra Vyakarana (Kt) and the Candra Vyakarana (CV). Chapter two deals with the technical terminology used by the Pali grammarians. In all 166 technical terms are classified into eight sub-sections according to the different linguistic categories such as: the phonetic terminology, the terminology related to the morphophonemic changes, the morphological terminology, the terminology denoting the parts of speech, the terminology denoting syntactic relations, the terminology denoting complex formations, the terminology denoting various grammatical concepts and the miscellaneous terms. Each term is explained according to its definition and usage. It is then compared with its Sanskrit counterpart in the Ast, the Kt and the CV. An attempt is also made to trace its origin and development in the Sanskrit tradition. Chapter three compares the overall technique and different technical devices used by the Pali and the Sanskrit grammarians. Chapter four records some observations drawn from the data presented in the foregoing chapters. The present investigation has its own limitations as it is confined only to the study of the technical terminology and technique. Some observations made at this stage may not be conclusive for want of further investigation. However, I hope that the information, explanations, conclusions and errors of this work will motivate further study in this rather unexplored field.
The origin of the Pali philology can be traced back to the time of the Atthakathas (the Pali commentaries on the Tipitaka). The Pali Atthakathas of Buddhaghosa, Dhammapala and Buddhadatta contain occasional discussions on a syntactical problem, a particular construction or the derivation of a particular word or the like. It is possible to show that in substance these discussions presuppose the Paninian grammar. The main feature of this type of discussions is that they identify syntactical or other features of Pali with similar features of Sanskrit (Sakkatbhasa) described by P in his Ast. This in turn rules out the possibility of the existence of any pre-Buddhaghosa Pali grammars, as is believed by scholars like Franke and others. It is, however, surprising that many of these important observations made in the Atthakathas did not receive due recognition in the early grammatical literature. Later when the grammatical tradition developed, some of these analyses were absorbed in the treatises of Mogg and Agg, for instance, Buddhaghosa's analysis of the syntactical constraints on the tense of the verb when constructed with the sentence complements atthi nama, katham hi nama and yatra hi nama is incorporated by Mogg and Agg at MV 6.3 and Sadd 893 respectively. Similarly, Buddhaghosa's analysis at Vism 216, 4ff of the series of words ending in -ika occurring in a sentence svakkhato Bhagavata dhammo sanditthiko akaliko ehipassiko opanayiko paccattam veditabbo vinnuhi ti was also incorporated by Mogg and Agg at MVu 4.29 and Sadd 764 respectively. But there are still many interesting observations, which did not receive a place in these Pali grammars. These occasional grammatical discussions found in the Atthakathas mark the initial phase of the Pali philology.
The second phase is marked by the emergence of the indigenous Pali grammatical literature. It begins with the compilation of K's grammar (6th to 7th century A.D.). The subsequent grammarians tried to improve upon the Kacc by formulating new rules, or reformulating the rules embodied in the Kacc or the Kacc-Vu, so as to improve upon their grammatical description of many phonological, morphological and syntactical features. This was done on the basis of a comprehensive collection of examples from the canonical and the post-canonical literature. There are a number of post-Kaccayana treatises such as the Mahanir, the Cul-nir and its commentary the Manj, the Nir-pt, the Sangaha, the Mahasandhippakarana and the Culasandhi, which are no longer extant but are occasionally referred to in works such as Vajirabuddhi's Mmd, Buddhapiya's Rup, the MV, the Mogg-p, and the Sadd. It appears that these treatises though lost, had a great impact on the subsequent Pali grammarians. For instance, Patanjali's Manj, a text, which was written in the form of karikJs modeled after Bhartrhari's Vakya has influenced the description of the karaka system in the Rup and the Sadd.
This process of evolution reached its peak in the second half of the 12th century A.D. with the compositions of the MV of Mogg and the Sadd of Agg. What followed thereafter was a creation of a number of commentaries and sub-commentaries modeled on these three texts. The Kacc-nidd - no doubt the most important source of information on the grammatical literature in the 13th century A.D. - quotes as many as 24 grammatical treatises' in addition to the well- known works like the Mmd, the Rup, the Sadd and the MV. Out of these, the Atthavyakhyana of Culavajira and the Mukhamattasara of Gunasagara are also mentioned in the Gv. The latest in this series is the Vacakopadesa, which is composed in the first part of the 17th century A.D. We have provided a list of eighty-two known grammatical works in the appendices one to four.
1. It presents itself as a complete and an independent grammatical system having its own set of ancillary texts such as dhatupatha, ganapatha and nvadivrtti.
2. The Pali grammars follow the basic structure of the Sanskrit grammar and draw heavily upon them in the matter of technique, technical terminology, grammatical concepts and the manner of description. However, their merit lies in the fact that they are written in the light of the canonical and the post-canonical literature and there is a growing tendency of relating themselves with the existing usage.
3. Unlike the grammars of the Prakrit languages, these grammars deny the historical relation between Pali and Sanskrit and try to depict Pali as a language independent of Sanskrit. Note that the Prakrit grammars such as Vararuci's Prakrtaprakasa describe the Prakrit languages in the contcxt of Sanskrit with a view that they evolved out of Sanskrit. One obvious drawback of this denial is that the Pali grammarians failed to explain some grammatical phenomena, which were a result of that relation. For instance, they could not explain why the initial syllable of some verbal roots is duplicated when they are preceded by a vowel, e.g., niggaho, paggaho etc. The well-known reason for this phenomenon is that the underlying Sanskrit roots begin with a cluster viz. ni + grah and pra + grah.


text:
Q: How to use multiple dtd files in a single xul? In my firefox addon, I have a few !ENTITIYs that I want to put in a "global.dtd" file.  Then, in all of my .xul files, I want to access both that global.dtd as well as that .xul file's particular .dtd file.
Thus, for code1.xul, I would load code1.dtd and global.dtd.
Then, for code2.xul, I would load code2.dtd and global.dtd.
Thus, I could assure the same strings to be used in the global.dtd.
Can I do this?  How do I write the definition?
You can't put two doctypes.
<!DOCTYPE overlay SYSTEM "chrome://myaddon/locale/global.dtd">
<!DOCTYPE overlay SYSTEM "chrome://myaddon/locale/code1.dtd">

A: Use a parameter entity in any DTD that you want to use global.dtd in.
For example, you would add this to code1.dtd and code2.dtd:
<!ENTITY % global SYSTEM "global.dtd">
%global;

You'll have to adjust the SYSTEM identifier to point to the location of global.dtd.

A: You can also can import multiple DTDs in the same XUL file. It looks like this:
<!DOCTYPE some_name [
  <!ENTITY % firstDTD SYSTEM "chrome://extension/locale/first.dtd">
  %firstDTD;
  <!ENTITY % secondDTD SYSTEM "chrome://extension/locale/pref/second.dtd">
  %secondDTD;
]>

redpajama_set_name: RedPajamaStackExchange


Dr. Biesiekierski recently completed her PhD at Monash University. The focus of her study investigated the effects of gluten and other dietary carbohydrates as inducers of gastrointestinal symptoms in adults without celiac disease. She is a member of The Gastroenterological Society of Australia (GESA) and The Australian Institute of Food Science and Technology (Inc. (AIFST). She has recently been awarded the 2012 Science of Nutrition in Medicine & Healthcare Best Poster Presentation and the 2011 Nutrition Society of Australia Early Career Travel Award.
Title: Gluten causes gastrointestinal symptoms in subjects without celiac disease: A double-blind randomized placebo-controlled trial.


When Pengo was 11-years-old, The Beat Within, an arts program that publishes writing by incarcerated young people, came to the juvenile hall where he was locked up and "turned him on to this beautiful thing called writing." Pengo writes so clearly about how writing helps him deal with the situations he is in. He is also very clear that he needed help and encouragement to believe in himself as someone who writes.
For Pengo and others, literacy is about more than being able to spell and read "correctly." Literacy is about believing you have something to say and learning that people will listen.
I am a Library Assistant for the Oakland Public Library at the Elmhurst Branch in deep East Oakland. I have had the honor and privilege to volunteer with The Beat Within for 7 years, most recently as part of Oakland Public Library's community outreach programs. I help run weekly writing workshops at the Alameda County Juvenile Justice Center (the county's "juvenile hall") and then type, edit and respond to the writing for the biweekly magazine.
For the last two years, leading up to the annual deadline of the Oakland Youth Poet Laureate program, I have also facilitated Amherst Writers and Artist workshops and provided one-on-one support for about 20 incarcerated teens, partnering with Alameda County's Write to Read program.
Oakland Public Library is committed to making sure kids in the hall have the opportunity to participate in Oakland's Youth Poet Laureate program. This year, two youth applied. One of them, a 17-year-old named Ronnie, was introduced to poetry in my workshop and immediately fell in love with it. He then read a lot of poetry and worked really hard on his writing both inside and outside of the workshop. After three months of hard work Ronnie applied to the Laureate program and was named one of ten finalists, competing against many young people who had had much more experience and mentorship. Just before the final round of judging, he received his sentence. He was going to remain locked up for the coming year and had to drop out of the running. He was still proud and felt that the experience changed his life. Ronnie now sees himself as a writer -- a young man with something to say. And people listen.
Through Write to Read, the author Coe Booth came to speak at juvenile hall. Ronnie was invited to go with her and speak to other youth. He talked about getting involved with poetry and how it helped him. He talked about how there are resources at juvenile hall and why it's important to take advantage of them. He told the younger kids that if he knew at their age what he knew now, he would not be in jail.
Like Pengo, he discovered the beauty in writing.
I've learned a lot from the young people I work with at the hall, and this is one of the biggest lessons: Developing a love of writing and reading changes lives – regardless of whether you spell things correctly or learn perfect grammar. The path to literacy begins with the courage to write something down in the first place.
Oakland Public Library is committed to literacy programs that encourage incarcerated youth and adults to realize they have something to teach the world. We are honored to partner with The Beat Within, Write to Read, numerous adult re-entry programs, and – most of all – the students who teach us as much as we teach them.


The New Zealand-born conductor Gary Brain has died in Paris, aged 72.
Gary was a percussionist in Wales, Ulster and at the Royal Opera House, London. He became principal timpanist with the New Zealand Symphony Orchestra but on a flight to the US a suitcase fell from an overhead locker and crushed his wrist beyond repair. He retrained as a conductor, working with Rafael Kubelik and Lorin Maazel.
He won a Preis der Deutschen Schallplattenkritik for reviving th music of the Swiss-Polish composer Czeslaw Marek and went on to make quite a few recordings for Toccata Classics. Martin Anderson remembers him here.
So very sorry to hear this. He was a very respected musician and conductor. [I always had it in mind to send my edition of Antoine Reicha's 'Symphonie Concertante pour Deux Violoncelles etc Orchestre' to Gary as he was a specialist in Reicha's symphonies. He would have been the go to man for this]. I wish his close family and friends heartfelt sympathy, and all the musicians who worked closely with him during his career as a tympanist and conductor.
Thank you for the sensitive tribute to Gary. In my teens in the 1960s I went to as many concerts of the then New Zealand National Orchestra as I could ( it is now the NZ Symphony Orchestra ) so Gary was a familiar figure in the percussion section . He ran a programme in schools which, I understand , was greatly enjoyed and still remembered by those attending his sessions . News of his accident was shocking , especially because it was avoidable , and I am glad he developed his career as a conductor and had a happy personal life .


With recreational, educational and social programs and a unique and broad range of facilities, it's easy for everyone to find something to love. Memberships vary for Adult (30+), Young Adults (18-29), Youth (16-17) and Family, Single parent, Couple and Senior (singles and couples 65+).
With a summer membership or day pass, you'll have access to the J's Eskenazi Water Park, featuring a competition-sized pool, 300-foot-long lazy river and zero depth pool with interactive water features for infants and toddlers.
Purchase a summer membership and get no join fee, no blackout dates and member rates on great programs like summer camp. The summer season is Memorial Day through Labor Day. Please note that hours may be limited in August subject to lifeguard availability.
The J offers opportunities for people to visit our Eskenazi Water Park for the day. The Individual Day Pass is $15/day and Family Day Pass is $50 for up to 2 adults and 3 children. Passes are available for purchase at the membership desk only.
Buy By June 12 for the Best Deal on Family Fun!
BOGO Free! Purchase one Family Day Pass for $50, get the second one free. Limit 5.
5-Pack for $99. On Family Day Passes, regularly $250. Limit 1.
Access to Facilities including the fitness center, dance studio, Pilates studio, indoor cycling studio, indoor competition and therapy pools, indoor and outdoor tennis courts, gymnasiums, outdoor water park, & athletic fields.
Indoor and outdoor competition pools, Backer Therapy Pool and Eskenazi Water Park.
Adult Education offers a revolving variety of classes to enrich the heart, mind & soul.
Annual Member Pool Party is always a Big Splash. Music, ice cream, games and more FREE goodies. Members only.
Events – Fun outings for adults & the whole family. See a list of our upcoming events.
FREE Group Exercise Classes keep growing to offer Pilates Mat Classes, Indoor Cycling, Aqua Exercise, Les Mills BodyAttack™ & BodyPump™, Yoga and more. Check out our Group Exercise schedule.
Steam Rooms and Saunas in Adult locker rooms.
Advance Notice of new specials, classes, events and programs.
Year-Round Tennis Courts with indoor and outdoor courts available for rental.
$50 Referral credit for every New Paying Member you refer.
For new memberships, there is a join fee of $99 due at the time of joining.
If there is a lapse in membership, a re-join fee will be charged at $99. Membership is for a minimum of 12 months with the exception of a summer membership.
Memberships are renewed automatically each year unless the Membership Department has received written notice at least 30 days prior to the first day of the month of desired cancellation date. There is a $99 rejoin fee for any renewing member.
Key fobs with barcoded membership information are issued to all members 12 and older.
There are additional fees charged for individuals in households that extend beyond the category definition (such as a third adult in a family household). For nannies, beginning 1/1/2019, there will be an automatic $20 per month fee. The JCC offers fee adjustments for membership and select programs to those families and individuals demonstrating need. To request a fee adjustment, please download, complete in full and submit your form with requisite documentation to the membership department. Your adjustment request will be held in strict confidence.
Thank you for your interest in membership at the JCC. We offer need-based scholarships and financial aid to enable as many qualified individuals and families to take advantage of JCC membership and some youth-based programs as well as our wonderful facilities. The JCC takes into consideration individual circumstances and reviews each application independently.
The goal of the JCC scholarship program is to offer a procedure for awarding financial assistance that provides for a fair and equitable distribution of available funds while also providing for the confidentiality and dignity of the person applying for funds.
Complete the Request for Financial Aid Form (download form above) in its entirety.
Attach the financial information requested on the form. Applications which do not include this information will not be considered.
After completed applications are received, applicants will be contacted via email by the JCC within 3 weeks.
Completed applications may be mailed in, faxed or dropped off to the attention of the Scholarship Committee. Emailed requests should be sent to scholarships@JCCindy.org.
All financial aid requests and information are kept confidential.
Financial Aid is not retroactive.
For service agencies such as group homes or special programs within hospitals, etc., please contact Membership Services at membership@jccindy.org for additional information.
Corporate Memberships are available for businesses who enroll 5 or more employees to the JCC as new members. Click here for more information about corporate memberships.


Classic, sophisticated, clean styling with simple, strong lines for an unassuming, yet a very sharp look. So smart. So Swiss.
Multi-stage adjustable telescopic handle and a top, side and bottom handle for an easy, comfortable and convenient carrying.
Front and Quick Access Pocket facilitate stowage of your travel documents and personal belongings. Fully featured interior with ribbons, zipped mesh divider and multiple pockets for a city or weekend trip. Expandable main pocket provides additional storage space.


I guess the ever continuation of change and creativity. I also like the challenges that come with working with clients to achieve results we will both be happy with, through the design process.
I first started through just knowing the right person at the right time. I never really did an official apprenticeship, I was mainly self-taught.
Just over 3 years in a studio now.
I am attracted to the cubist movement, primitive tribal artworks and patterns and traditional tattoo.
Bold, traditional, cubist ideology with some tribal elements.
Where do I begin… There wouldn't be enough space here to fill it.
Something with my hands and involves creating.
Work hard, don't be lazy. - I guess that applies to everything, though!
All the cities I have visited around the world and all the friends I've made, both clients and fellow tattooers.


text:
Steven Wilson's Craig Blundell
Story by Will Romano
Photos by Carl Glover
During his rise to the top of today's prog scene, the ever-adaptable electroacoustic drummer handily dealt with every physical and technological challenge thrown at him. The only real roadblock, it turns out, came from within.
It's your big break. The announcer calls your name and you're expected on stage. You're paged and an impromptu search party tries to locate you, but you're nowhere to be found. Turns out you're partly hiding, partly struggling to answer the call, because you're nearly suffocating inside, psychologically paralyzed and nursing your frayed nerves.
Sounds like a nightmarish scenario, doesn't it? For the British drummer Craig Blundell, a well-traveled recording artist, educator, and clinician, it's reality. Or, rather, it used to be.
Blundell suffered from debilitating nerves—not uncommon among live performers—but through tough mental discipline, professional insight, and the power of positive thinking, he has overcome his personal obstacles. More to the point: Blundell hasn't so much steeled himself as learned to improvise and view each live setting as an opportunity. A concert gig not only allows for a free exchange of ideas among the musicians on stage, but offers a chance for the audience to be entertained and, dare we say, inspired and educated. "I have no problem going on record if it will help readers," Blundell says. "There's no problem getting nerves. If you have it under control, you can deal with it. Don't be afraid to seek help."
Today Blundell has jettisoned most of his fears, and has experienced banner years in 2015 and 2016. Last year he assumed the coveted drum chair in Steven Wilson's highly touted progressive rock/fusion solo band, a seat formerly held by the well-regarded Marco Minnemann, and he appeared on Wilson's 4 1/2 EP, released earlier this year. But Wilson's not the only one who has kept the drummer's phone ringing. Blundell has recorded and/or toured with Frost*, the progressive rock supergroup led by the British hitmaker and producer Jem Godfrey, as well as the neo-proggers Pendragon, guitar goddess Jennifer Batten, and Lonely Robot, the project spearheaded by musician and producer John Mitchell (It Bites, Frost*).
Beyond his abundant technique, Blundell has fully embraced technology. His blending of acoustic and electronic drums has put him at the forefront of a movement that undeniably represents the future of mainstream drumming. A regular Roland clinician, Blundell has done much to raise the game of amateur and pro drummers the world over. Meanwhile, on stage and in the studio, his creativity and industriousness have allowed him to provide endless sonic and rhythmic textures and sound-design options for top artists and producers.
Ironically, despite this immersive technology backdrop, MD's originally scheduled interview with Blundell was plagued and ultimately postponed due to technical glitches. When we eventually connected, we discussed a range of topics, some digital, some very much analog.
MD: Can you talk specifically about how you approached covering Marco Minnemann's parts in Steven Wilson's band? Did you chart them?
Craig: To be honest, the audition was one of the most embarrassing I've ever had. I set up my gear and played through "Hand Cannot Erase." I'd charted Marco's parts and learned them verbatim. After I finished, Steven came into the studio and said, "Now, tell me, is that you playing or is that Marco playing?" I said, "That's me playing the parts I'd heard." He said, "Right. Scrap all that. I don't want you to play that. Marco is Marco. Give me what you would do." I was like, Oh, man. I felt like I was thrown into the deep end, massively. I suffered with nerves anyway, but I played through it. Then Steven said, "Do you want to go to lunch?" I thought I'd blown it, but he said, "Right, okay, do you want the gig?" I canceled all my work for the next two months.
MD: How long did it take you to get up to speed on the Wilson gig?
Craig: I'd given myself three weeks to learn the material. Then I got a phone call to cover for Chad Wackerman on the Jennifer Batten tour, which finished the day before the Steven Wilson rehearsals, so I had about a day or so of playing the material beforehand. Then we did the rehearsals for two days, flew to Chile, and did the first show.
Steven records every show, and he'll go back to the hotel or bunk [in the tour bus] and listen to the recordings and speak with you the next day. He'll say, "You know, Craig, there's a few things here I want to speak with you about…." It was like, Ah, man. You feel like the naughty schoolboy who's been sent down to the office.
Gradually those chats became less and less frequent, and at the end of the tour he invited me to stay on for festival season, and now I'm his guy. Marco Minnemann is really busy doing Joe Satriani and Aristocrats, and Steven wanted somebody on a bit more of a permanent basis.
MD: How has the gig changed your playing?
Craig: My timekeeping changed irreversibly, because the whole gig is on a click. After we did the Royal Albert Hall for two nights [in September 2015], we had to learn about five hours of material. Steven was going through some old Storm Corrosion and Porcupine Tree songs, which are fairly brutal under the hands anyway, but on a click you can't waver. I've never practiced so much or hit so hard in my life.
Steven likes a certain vibe on stage, and Marco and Gavin [Harrison, Wilson's longtime bandmate in Porcupine Tree] are fairly heavy hitters. I'm really not. I'm predominately a jazz-fusion player, and I play with these little 7A sticks. But I've found myself hitting from over the shoulders, and that has changed my timekeeping. Because I'm playing harder, I found myself rushing. I've had to learn to rest behind the click. With adrenaline you're on [the click]. It's taken a while—every day is a learning day—but my timekeeping has improved massively.
MD: How much practice do you get on the road, and when and where do you do it?
Craig: Whether it was in the hotel or on the tour bus, I made a point on tour to take an hour a day to go through sections of the songs and work out alternate sticking patterns. There's a lot in there that can be changed, but I don't want to improvise on the spot, where it could go wrong. I don't want to let anybody down.
MD: You've recently worked with a couple of monster bassists in Nick Beggs from Steven's band and Nathan King from Frost*.
Craig: I'm very lucky to be working with Nathan. He plays bass in Level 42 and is amazing. And Nick has been like a big brother, on and off the stage. When I had any insecurities, he would sit down and talk to me. Nick's the king of rational thinking. He'd say, "You played this great. Stop overanalyzing and forget about it." He'd even record the bass parts with a click and offer commentary to go along with it. He would go that extra mile to make sure his buddy wasn't lost in the deep end. He's just an absolute mountain of wisdom. He's gigging every day of the year and is at the top of his game.
MD: What was it like recording the latest Frost* album, Falling Satellites?
Craig: The first time I played through any of the Frost* album was the day before I went into the studio. I was finishing the Steven tour, got into the studio, listened to the material, and thought, What have I done? I should have given it more ears. But having spent ten months or so with Steven, I felt a better musician. We did the drum tracks in two sessions in the studio. We got it all down. Best thing I've ever recorded, by far.
MD: How about the Lonely Robot album, Please Come Home?
Craig: I love John Mitchell—he's a dear friend—but everything is last minute. I actually kind of thrive on that now. But I got to the studio one Saturday morning, and I hadn't heard any of the songs. We wrote out all these time signatures on paper as well as words like loud and quiet and softer. John would hold up these pieces of paper as I was playing, cuing me every time something changed. We did the whole album in four hours. [laughs]
I just recorded a second album with them, and it was done the same way. I've had so many things in the last year that have been last minute that I'm kind of used to it now. The Wilson gig has helped; I'm fairly confident that I can go in and blast through it.
MD: You do a good amount of layering digital and acoustic drums. Can you talk about this?
Craig: I was really inspired by Bill Bruford and Earthworks in the mid-1980s, which sparked my fascination with electronics. I started my relationship with Roland in 2003, doing a few demonstrations. I'd been involved with launching the TD-30 V-Drums sound module as well. I love acoustic drums, and I'm an avid collector of them. But when John played me the Lonely Robot stuff, I told him that I had some great kits on the TD-30 that we could fire via MIDI to give the drum tracks more intensity. I could also layer some acoustic sounds and samples. John gave me carte blanche. Same with Frost*. Actually, same with Steven.
MD: What's your method for layering acoustics and electronics?
Craig: I've put triggers on all the drums, and I record the audio and MIDI [information] from the TD-30 brain, so if producers want to, in postproduction they can find a different kit to layer under the acoustic sound. They have the MIDI notes, so they can assign a tom [hit], for instance, to a slightly deeper drum. If used correctly, it's a game changer.
MD: You've suffered from pretty debilitating nerves in the past.
Craig: I've been playing for thirty-eight years. I've always been comfortable playing for family and friends. But in 2004 I was invited to play DrumFest in England. It was a great bill. Will Calhoun and Billy Cobham were on it. I remember when I was being introduced I was still sick with nerves. I knew something wasn't right from that day. I was the last one to set up, and David Garibaldi sat right in front of me. My hands had morphed into claws, because I couldn't play in front of one of my heroes. I actually don't remember the gig.
Then the phone started ringing and I got some gigs, which was good. But then I got this feeling of being sick again. I still get nervous. When most people get nervous it's from a fear of failing, which is down to preparation. My issue was how the audience perceives me. Will they all sit there with clipboards, thinking they can play something I played faster? The right answer is that the audience has come to this show to be inspired.
MD: So you went to a psychologist?
Craig: Absolutely. I was dreading taking the stage. I nearly gave up the Steven gig in the early days due to all the trolling. I had to get help. So I sat down with a guy for about six sessions and talked through all my fears. They were unjustified, which I'm thrilled about. He said that when I walk onto a clinic stage, I should do it with a smile on my face, because people are there to learn from me. I'm there to learn from them as well.
Now I no longer say to myself that people have come to see me fail, or that I'm Marco's replacement. I just think, As long as the boss is happy, and I'm happy, and my family is happy… I'm paying the bills and keeping a roof over our heads. And I'm still enjoying the work. And that's all that matters. It's all bigger-picture now.
Blundell's Setup
Drums: Mapex Saturn V kit in black satin burl
• Black Panther Velvetone and Cherry Bomb snares
• 8×8, 8×10, and 9×12 toms
• 12×14 and 14×16 floor toms
• 16×18 gong drum
• 20×22 bass drum
Heads: Aquarian Hi-Velocity snare batters, Force Ten coated tom batters and Classic Clear bottoms, and Super-Kick 2 bass drum batter
Electronics: Roland SPD-SX sampling pad and RT-30 triggers
Sticks: Vater Craig Blundell signature series
Cymbals: Paiste
• 14″ Signature Reflector Heavy Full hi-hats
• 22″ Twenty Custom Collection Metal ride
• 19″ 2002 Wild China
• 18″, 19″, 20″, and 22″ 2002 crashes
• 14″ PSTX Flanger Stack
• 10″ PSTX Swiss Hats
• 18″ or 20″ PSTX Medium Swiss crash
• 10″ 602 Modern Essentials splash
• 10″ Signature splash
• Prototype stack: 8″ Rude splash on top of an 8″ Rude Mini China
• 12″ Signature Flanger Bell
Accessories: Protection Racket AAA cases, SlapKlatz drum dampeners
Slipknot's Jay Weinberg
CATCHING UP WITH…Carl Allen
CATCHING UP WITH…Jimmie Fadden
Twenty One Pilots' Josh Dun
The History of the Drummer Boy
WHAT DO YOU KNOW ABOUT Joe Butler
SETTING SIGHTS: Raphael Mura
BASICS – Fundamental Fills
STRICTLY TECHNIQUE – Nine Over Two
Jazz Drummer's Workshop – Rhythmic Conversions
ROCK 'N' JAZZ CLINIC – Groove Construction
CONCEPTS – Organize Your Gear
Product Close-Up – ddrum Reflex Rally Sport Drumset
Product Close-Up – Sabian HH Vanguard Series Cymbals
Product Close-Up – Love Custom Drums
Portraits – Arturo Stable
Stella Mozgawa
by Adam Budofsky | Photos by Mia Kirby
Phillip Wilson — Beyond The Blues
by Chip Stern
Richard Spaven
by Terry Branam

redpajama_set_name: RedPajamaCommonCrawl


text:
by Arami 21.12.2020 21.12.2020 adobe
37 year old Charlie is a Batman obsessed working man with special needs. When he meets a childhood friend, now junkie resorting to thievery to maintain her addiction, he is spurred into action. Dressing like his idol, he attempts to help his friend break her association with her dealer. Nov 29, · PREVIEW: Batman: Creature of the Night #1 CBR spoke to both Busiek and Leon about the series, and the team opened up about their inspirations for placing a Batman story not just in the real world but in a period setting, what makes Batman stories work emotionally and why the traumatic Author: Kiel Phegley. Mar 06, · In teh real world, you'll probably go to prison if you start shooting criminals at random. But also in teh real world, power becomes corrupt, authority becomes ineffective, and when power and authority can no longer protect the citizens in represents, it's the citizens right and duty to protect Author: Kristine Kathryn Rusch.
Real worlds batman s
37 year old Charlie is a Batman obsessed working man with special needs. When he meets a childhood friend, now junkie resorting to thievery to maintain her addiction, he is spurred into action. Dressing like his idol, he attempts to help his friend break her association with her dealer. Batman Science: The Real-World Science Behind Batman's Gear (DC Super Heroes) Paperback – February 1, by Tammy Enz (Author), Agnieszka Biskup (Author) out of 5 stars 20 customer reviews. See all 7 formats and editions Hide other formats and editions. Price /5(20). Mar 06, · In teh real world, you'll probably go to prison if you start shooting criminals at random. But also in teh real world, power becomes corrupt, authority becomes ineffective, and when power and authority can no longer protect the citizens in represents, it's the citizens right and duty to protect Author: Kristine Kathryn Rusch. Batman's inexhaustible wealth gives him access to advanced technologies, and as a proficient scientist, he is able to use and modify these technologies to his advantage. In the stories, Batman is regarded as one of the world's greatest detectives, if not the world's greatest crime 9thousandfeet.comd by: Bob Kane, Bill Finger. This book reveals the real world connections behind Batman's high tech gear. If you love Batman, you will love this book that pairs full-color comic book style illustrations with colorful photographs to create a highly visual exploration of the science behind cool tech." - Science Books & Films. December 1, Nov 29, · PREVIEW: Batman: Creature of the Night #1 CBR spoke to both Busiek and Leon about the series, and the team opened up about their inspirations for placing a Batman story not just in the real world but in a period setting, what makes Batman stories work emotionally and why the traumatic Author: Kiel Phegley. "The Dynamic Duo!": A mentally handicapped young man who leads a very thorough fantasy life as "Batman" tries to help Clarissa, his childhood friend who acted as "Robin," get away from the evil influences of her drug dealing boyfriend. A mentally handicapped young man who leads a very . Read Realworlds: Batman Full comic online free and high quality. Unique reading type: All pages - just need to scroll to read next page. Batman conquers crime with brains, brawn, and a whole lot of high-tech gadgetry. Batman Science explores the surprising ways the Caped Crusader s gear and gadgets actually connect to reality. Accessible text, real-world photos, and Batman illustrations team up to reveal the real science and engineering behind Batman s fictional world."/5(24). Summary Needed This page is missing a well-written and detailed synopsis. If there is already a synopsis here, it might need to be modified or expanded.That's why in the real world, you can't expect a commissioner to work with or Within the comics, Batman is known for his martial arts prowess. But does any of his gear have a basis in reality? Or is it merely the stuff of fiction? Batman Science uncovers the real-world connections to Batman's tech—and. 20 Real Batman-Themed Locations Around The World (That Any True Batman is the alter ego of Bruce Wayne, billionaire philanthropist and. Exactly one month after being coming to the attention of the Federal authorities. A crazed vigilante is riding around an American city using. But here's the thing: being a superhero for real is actually illegal. . assert that the list is huge, a real-world list of people who knows Batman's identity would be . Batman is a superhero appearing in American comic books published by DC Comics. .. In the years following World War II, DC Comics "adopted a postwar editorial direction that increasingly .. The attraction between Batman and Catwoman, whose real name is Selina Kyle, is present in nearly every version and medium in. Things that put immense strain on people seem like they do nothing, and things that aren't really that big of a deal are overblown. Batman is a.
see the video Real worlds batman s
Batman vs. Joker Meets Parkour in Real Life, time: 6:23
Tags: Hoi3 ww1 mod crash, Gimp italiano gratis windows xp, Lacrimae rerum zizek skype, Syed furqan qadri firefox, Groove armada 6 mix soundcloud er, Meatballs 3ds max tutorial, 007 casino royale hd, tennis games for windows 7, zotac gtx 680 guru3d s, hart house 100 speed, beat maker for windows phone, life stories families in crisis online, lock arff instrumental s, video clip michael jackson heal the world, berlin mitte here she comes games
5 thoughts on "Real worlds batman s"
Grolkis says:
I can speak much on this question.
Fenrilkree says:
In my opinion, it is error.
Faelar says:
Bravo, excellent phrase and is duly
Kagazil says:
I apologise, but, in my opinion, you are not right. I can defend the position. Write to me in PM, we will discuss.
Vumi says:
I am sorry, that has interfered... This situation is familiar To me. I invite to discussion. Write here or in PM.


2016 was a record year at Autoclenz in terms of new business gains and customer retention, and after a busy first half of the year we are aiming to do it all again.
Autoclenz partners the best across all sectors of the motor industry inc. BCA, GEFCO, Avis, Motorpoint, Europcar, Mercedes-Benz Retail, Inchcape Retail and Pendragon to name a few.
The reasons clients choose Autoclenz is in the main due to our four pillars: compliance, account management, robust service delivery and innovation. However, it's not enough to deliver what you always have. We understand the challenges that face our clients and are constantly recommending solutions, adding value and delivering.
From our vast experience across the industry, we know what best practice looks like and how to implement this into your business. Outsourcing to specialists is the way forward, so you can focus on your core activities and have the best of both worlds.
So the question is what are you going to do to improve and enhance your customers' journey?
An easy solution is talk to Autoclenz and let us benchmark your current arrangements on valeting, cosmetic repairs, imaging and collection delivery.
Currently the norm is for each service vehicle to receive a Wash, Leather and Vacuum. Good enough, but to move it forward how about a couple of minor tweaks to improve customer perception?
I would suggest 3 things that can be added for less than £1.50 per car.
Dress the tyres as this gives the retail customer a 'wow' factor when their pride and joy has been cleaned and they can clearly see this when walking up to the vehicle.
Polish the windows as this is the first thing the customer looks through when they drive away.
A squirt of the 'New Car' essence to remind them of the day they collected their car.
How does the minimum living wage increase affect you?
April 2017 saw the national minimum living wage increase from £7.20 to £7.50 per hour. In your business, at this level, this could potentially affect receptionists, drivers, cleaners and certainly valeters. In the valeting sector this is a fundamental increase in the cost of doing business. Direct labour costs run around 80% and this increase represents a 4% increase in labour cost.
Autoclenz is all about the people, but more importantly the right people. Our operators are put through a gruelling industry leading compliance checking process to check their driving licenses, their ability to legally work in the UK and that they are who they say they are. There is a cost to this and more importantly there is a cost to adhering to the new minimum living wage of £7.50 per hour which supports engaging the right people.
Over 30% of operators we are asked to engage with when winning new contracts from competitors do not pass our compliance checking process for reasons such as having no driving license, no passport / paperwork or working on a student visa to name a few. This 'grey' labour promotes lower rates with no questions asked, but the risks that go with this option far outweigh any potential short term gains.
SMART Repair with vans pulling up onto your forecourt and spraying bumper scuffs etc with over spray covering your stock should be a thing of the past. Autoclenz has the solution, the Smartshop. The Smartshop bridges the gap between the van in the car park and vehicles that have to go off site to a bodyshop. As highlighted above there are quality issues and inconvenience with the van in the car park, and once a vehicle goes off site to a bodyshop you lose control of it for a number of days.
As the Smartshop is permanently on site it can handle all internal work at favourable rates and turnaround times, but more importantly you can sell these repairs over the Aftersales desk. Typically retail margin is 35%. This important profit stream can effectively fund your internal work and improve your customer satisfaction due to the convenience of your offering.
The onsite Smartshop is fully staffed and managed by Autoclenz, including all staffing for peaks and holiday / sickness cover. It is fully H&S compliant with in built extraction and effectively is plug and play. All you have to do is provide a flat area for it to be installed, a power supply and give Autoclenz all of your work at pre agreed rates. Autoclenz will invest in the facility and do the rest.
Autoclenz is proud to announce that we will be partnering with AutosOnShow to give our clients the best possible imaging solution in the marketplace.
By teaming up with AutosOnShow we can plug into their cutting edge technology to provide our clients with video, still images and auto backdrops on every stock vehicle. The process is simple but very effective. Autoclenz have trained operators in the Valet Bay so that once a valet is complete and QC'd the vehicle moves to imaging where a 60 second video and still images will be taken. This is then uploaded via iPad / iPhone technology and recognises the vehicle by number plate recognition, all in a matter of seconds. In fact the upload is often completed before the vehicle has left the Valet Bay and moved on site available for sale. Images can also have the backgrounds replaced automatically.
This solution delivers consistency of imaging, quality and speed of upload by making imaging part of the vehicle preparation process. It is also important to stress that video imaging versus still photography will significantly improve search engine results for your stock. Link this with the AutosOnShow stock imaging portal and you have complete control over your shop window.
Autoclenz makes a one off imaging charge per vehicle which is driven through our PVMS (Paperless Vehicle Management System) to give complete transparency.
In February, for the 3rd time, Autoclenz sponsored 'Best Used Car Performance' category at the AM Awards in Birmingham.
Autoclenz enjoyed the company of some of our valued customers including Europcar, Avis, Gefco and Sixt at the BVRLA 50th Anniversary Dinner held at Hilton Park Lane in March.
Automotive students at Burton and South Derbyshire College recently took part in a week long charity car valet, raising £122 for Brake, a road safety and victim support charity.
Before the event Autoclenz visited students at the College to deliver an enriching session on how to professionally valet a car, which in turn led to students delivering their own car check and valeting for cars owned by college staff.
Autoclenz Training Manager, Simon King, thoroughly enjoyed showing the class of 24 how to carry out a full valet from start to finish and says that the students were interested and engaged throughout the demonstration.
Peter Brochocki, Deputy Director of Curriculum for Automotive at BSDC said: "We would like to thank Autoclenz for giving students a masterclass in car valeting. The project is a great opportunity for students to gain valuable work experience, providing a high quality service and meeting customer expectations. It is also a good way for students to use their skills to raise money for Brake, which is an extremely worthwhile cause".
Jim Rolfe, Operations Manager at Autoclenz said: "We're pleased that the demonstration carried out was worthwhile to students and gave an insight into professional valeting. We are always trying to introduce sub contract professional valeting to a wider audience, so this was a great opportunity to help us attract younger people into the industry"
"I would just like to say what a pleasure it is to work with a company like Autoclenz. We never get any complaints off our customer only praise for how clean and spotless there vehicles are, which is a credit to Cyril.
Due to his commitment and the service that Autoclenz and Cyril provide I have never even considered dealing with another valeting company."
"I have had the pleasure in dealing with Autoclenz over the past 15 years and I have never been in need to ever consider another valeting company due to the strength of the relationship that the team have built up and commitment and attention to detail that I know they deliver on a daily basis. Dean has been a fantastic ambassador for this business and one that I will trust implicitly to get the job done to the exacting standards I demand.
There is a strong understanding in terms of what is required from them and also that the job of the sub-contracting valeting company is to manage itself. I am pleased to say that this happens. I also get regular feedback and if there is any need to speak to one of the team about anything then I know that it will be actioned as a priority. Autoclenz have a lot of experience in their chosen field of expertise."
Congratulations to all that have been presented with Trafalgar Awards during the first quarter of 2017.