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The importance of early melanoma detection
One of CPN's first COVID-19 patients gives back
Threaded with care
Potawatomi artisan Peggy Hancock Kinder's artistic outlets span all forms of needlework from hand-tied shawls, hand-stitched ribbon work, aprons and other regalia to beaded applique earrings and beaded fan handles. In her youth, Kinder honed her skills by spending quality time studying under her aunt, mother and other relatives. Today, the Bourassa descendant continues the family tradition.
"Some people can read books, and the world could fall down around them and they don't know it; that's how I am when I do beadwork," she said.
Peggy Kinder balances her job as a legal administrative
assistant and her love for crafting to create jewelry,
regalia and more. (Photo provided)
For her creations, Kinder utilizes Nishnabé imagery and themes from traditional garments held in museum archives as well as contemporary, natural elements.
"I went up to the archives in Washington (D.C.). … It was incredible, just being able to look and touch things that were made by ancestors," she said. "I just couldn't stop thinking about who the person was who made this and all the knowledge that this piece has that we don't know."
She explained that beaded designs often included traditional medicinal recipes and information, and Kinder takes her role seriously in keeping Potawatomi needlework traditions alive for generations to come.
"It would be great to know all about the reasons certain florals were chosen … what their purposes were to the beader," she said. "I ask people up north what I can, and they can give me the information they can. It's all very interesting; you never stop learning — never ever."
Floral and woodland-inspired imagery are mainstays in her work, continuing the Potawatomi tradition of incorporating nature's beauty into art.
"I love to do berries, like chokecherries and blueberries and juniper, but the strawberry and strawberry blossom are probably my favorites," Kinder said.
Foraging connections
Kinder appreciates those who have taken the time to impart their knowledge, helping improve her craft.
"It means so much," she said. "I feel that I am an extension of my aunt's work, and especially when I do hand-stitched ribbon work.
"It connects me to my aunt and my grandmother. Not many people do it anymore."
Throughout the years, Kinder has noticed fewer individuals showing interest in hand-stitched ribbon work. This further inspires her efforts.
She utilizes every chance to share her skills with others to reciprocate the gift of knowledge.
Kinder's earrings utilize a modern, chic approach to highlight traditional Potawatomi imagery. (Photo provided)
"It means a lot to teach these classes because the women that attend, and sometimes men, are so amazed by the process, and it's a process that our relatives did," she said. "It just feels so good to show them and to see somebody get excited about it.
"Hand-stitched ribbon work is a dying art, and anything I can do to prevent that from happening means the world to me."
For many, ribbon work can appear difficult and intricate, but Kinder enjoys uncovering its simplicity.
"I love the process — the creative process, and the colors. It's really very cool," she said.
Kinder encourages beginners to learn the "old-style" first.
"I always tell (my students), 'I'm going to teach you this way first because this is how it was done,' before we move on to the sewing machine and Wonder-Under. I want them to have the experience of connecting with our ancestors," she said.
Kinder usually does not fill in the background of her applique beadwork. Her approach utilizes the negative space fabric, leather or other mediums to make each design shine. For most pieces, she uses black ultra-suede or black velveteen as the base.
"And that's a very woodland thing to do, although I know that filling in the background with white is also very Potawatomi," she explained.
Though versed in several beading methods, Kinder prefers single-needle applique and peyote stitch.
"I feel like I can hold onto the tension better and kind of manipulate things a little bit more with a single needle than double," she said.
She keeps ideas new and fresh by evolving her designs to meet customer requests.
"I would say I go in phases," Kinder said. "There was a period of time where I worked on ribbonwork all the time: skirts and men's dance aprons and trailers. But now I love doing beadwork, and I am in that phase right now. I am blessed that I get a lot of orders for my beadwork."
Potawatomi Gifts inside the Citizen Potawatomi Nation's Cultural Heritage Center has a limited number of Kinder's beaded Nishnabé-inspired earrings in stock. Shop in store or online today at potawatomigifts.com.
Minisa Crumbo poses for a photo at a Woody Crumbo art recreation unveiling event at Bacone College, Tuesday, Dec. 4, 2018.
Kansas art museum screens Citizen Potawatomi Nation member's historical documentary


text:
import numpy as np
import matplotlib.pyplot as plt
from sklearn import svm

#define constants

n_l= 100 #number of labeled positives
n_p = 500 #number of positive points
n_n = 1000 # number of negative points

#define Gaussians mean and covariance matrices

mean1 = [0,0]
mean2 = [4,3]

cov1 = [[1, 0.5], [0.5, 1]]
cov2 = [[1, -0.5], [-0.5, 1]]

#random generated data
positive = np.transpose(np.random.multivariate_normal(mean1,cov1,n_p).T)
negative = np.transpose(np.random.multivariate_normal(mean2,cov2,n_n).T)

data = np.vstack((positive,negative))
label = [1]*n_l + (n_p+n_n-n_l)*[0]

# run classification
clf = svm.SVC(kernel='poly')
clf.fit(data, label)

#xy grid of points to be evaluated with classifier
xx, yy = np.meshgrid(np.linspace(-10, 10, 200),  np.linspace(-10, 10, 200))

#calculate "distances" to hyperplane
Z = clf.decision_function(np.c_[xx.ravel(), yy.ravel()])
Z = Z.reshape(xx.shape)

#plot
plt.imshow(Z, interpolation='nearest',
           extent=(xx.min(), xx.max(), yy.min(), yy.max()), aspect='auto',
           origin='lower', cmap=plt.cm.PuOr_r)
contours = plt.contour(xx, yy, Z, levels=[-0.5, 0, 0.5], linewidths=2,
                       linetypes='--')

plt.scatter(data[:, 0], data[:, 1], s=30, c=label, cmap=plt.cm.Paired)

plt.clabel(contours, inline=1, fontsize=10)

plt.xticks(())
plt.yticks(())
plt.axis([-10, 10, -10, 10])
plt.show()

redpajama_set_name: RedPajamaGithub


Found the right size envelope that another major supplier could not get . Met Expectations? Met Expectation Usage? Mailing checks Recommended: Yes, I would recommend this product.
The envelopes look to be just he right size...I have trouble finding envelopes with the window at least 1/2" from the bottom edge and these are! These will work great and at a very good price also. Met Expectations? Met Expectation Usage? Payroll checks Recommended: Yes, I would recommend this product.
Very pleased with this product. The envelopes are flexible but sturdy. The adhesive is powerful, which is good for safety, but a bit of drawback when you need to reopen an envelope you've just sealed. You won't be able to re-use it, which is always preferred when you're a non-profit. Otherwise, fantastic. Our graphics looked really good. Met Expectations? Met Expectation Usage? Primary Mailing envelop Recommended: Yes, I would recommend this product.


Clairaudience is a type of psychic hearing. It literally means "clear hearing", and is the ability to hear beyond what is considered to be the normal range. Clairaudients can hear those in spirit, and they can hear them both internally and externally. Sometimes you'll know what you just heard was in your head, or inside you. Others, it seems for all the world that it was outside you, or somewhere in your environment. Clairaudience is one of many psychic gifts, and like many other gifts, many of those who possess this power are completely unaware that they possess it.
Have you ever experienced hearing people talking when no one is around? Maybe you hear several voices, very low, but you just know that you DEFINITELY heard one of the voices say your name clearly. This is a strong indicator that you're clairaudient. A clairaudient hears things that other people don't. This can manifest itself in the form of something subtle, like music, or something more obvious and dramatic, like hearing someone calling your name.
Intuitive people are often very sensitive, both physically and emotionally. Because a person with clairaudience has a heightened sens of hearing, sometimes too much noise, or use of the gift can leave them feeling overstimulated. Loud noises or gatherings may be unbearable to a clairaudient. Too much noise or not enough quiet time can leave you feeling tired, ungrounded, irritable, and may result in a headache, or other undesirable symptoms. Because of this, a clairaudient needs quiet, alone time each day. Noise-cancelling headphones and meditation are life-savers!
This doesn't necessarily mean that you speak to yourself out loud. These conversations with yourself happen primarily in your own head. This is because you spend a lot of time tapped in to the spirit world, the universe, your guides, etc. You're most likely subconsciously aware of when you're tapped in, conversing not with yourself, but with the spirit world or your guides. So, if you notice that you're doing this frequently, you're most likely receiving guidance without even knowing it.
Inspired ideas and creativity come to clairaudients a lot more when they're enjoying quiet time alone. This is because when they're quiet and focused, they're more in-tune with the Divine, and they're more likely to receive some brilliantly inspired ideas. This phenomenon also occurs because when you're relaxed, you're more happy, calm and more connected to yourself. Sometimes your thoughts will come through while you're relaxing in the bath or shower. It's helpful to buy some bath crayons for this reason.
Lots of clairaudients remember having imaginary friends. They talked to their friends happily, though no one else could see them. In fact, you may not have seen the imaginary friend in question, either. Sometimes our imaginary friends aren't imaginary, but something that we don't understand yet. In the case of a clairaudient, these friends could be deceased loved ones, other spirits, or spirit guides, and can be spoken to both internally and externally.
This seems pretty universal to all people, not just clairaudients. Often, musicians speak about music coming from the soul. So, if that's the case, doesn't it make sense that a clairaudient can tap into that and get some comfort from it? If you're ever feeling ungrounded or out of sorts, turn some music on and tune out. It's very likely that you'll feel better soon. If you're clairaudient, it's also possible that you're able to write or play music, hearing it in your head before you write it down or play it. However, if you see images in your head along with the music, you may be both clairvoyant and clairaudient.
Clairaudients have a natural knack for giving good advice and building people up. You've probably found yourself giving advice to nearly everyone in your life. People even call you just to vent because you're able to give them some calming words and calm them down. This all happens so often that you might have even considered charging for it. People come to you this way because your advice is most likely being channeled from the Divine, without you even knowing it.
When there's no medical cause for you to experience these noises, it can probably be attributed to your clairaudience. It can come in the form of ringing, buzzing, high-pitched noises, or popping. Usually, when this happens, it's because a spirit or something somewhere around you has the volume turned up so loud that it sort of creates feedback. It could also be that something is trying to catch your attention.
You've probably heard that there are different types of learning, such as hands-on, visual, and auditory. Clairaudients have a tendency to learn better through hearing. So, instead of reading a book, find an audiobook version and listen to it instead. You also may benefit more from lectures than reading.
This doesn't mean that you think animals are actually speaking to you. It's more like picking up information from being around animals. This can come in the form of just knowing something, hearing words or thoughts, or getting flashes of images.
When you ask the universe for a sign, wait patiently, and then finally receive one, because you're clairaudient, it will most likely be something that you can hear. You can get signs in nearly any noise. Lots of clairaudients report that they get signs from speech and music.
Previous Are You Becoming a Psychic?


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Interview: Allen Toussaint
Filed Under Allen Toussaint, Devo, Dr. John, Glen Campbell, Labelle, Lee Dorsey, Paul McCartney, Preservation Hall Jazz Band, The Band, The Meters
Allen Toussaint has left an incredible mark on music over the years. As a songwriter, he has penned classics like "Working in the Coalmine", "Southern Nights", and "Fortune Teller". As a producer, he has brought his magic touch to noted recordings by the likes of Dr. John ("Right Place, Wrong Time", "Such a Night"), The Meters ("Cissy Strut", the Fire on the Bayou album), and Labelle ("Lady Marmalade"). He has also recorded several acclaimed solo albums, done horn arrangements for The Band and Paul Simon, and has worked with Paul McCartney, Elvis Costello, Lee Dorsey, and many, many more. His honors include being inducted into the Rock and Roll Hall of Fame and receiving the 2012 National Medal of the Arts.
This interview was for Toussaint's 11/25/14 concert with fellow New Orleans legends The Preservation Hall Jazz Band at the Lobero Theatre in Santa Barbara. It was done by phone on 11/11/14. (Glade Bilby II photo)
Jeff Moehlis: What can we look forward to at the upcoming show?
Allen Toussaint: I'm with the Preservation Hall Jazz Band, which is a delightful place to be. They come out and play about 20-25 minutes first, without me, then they call me and I join them and they accompany me on some of my songs for about 20-25 minutes. Then they leave the stage and I'm out there solo to play a while myself, then I call them back out and we finish the show off. It's very comfortable, and I hope quite entertaining. It's been going very well.
JM: Can you tell me about your intersections with the Preservation Hall Jazz Band, going back over the years?
AT: Well, I haven't played with them a lot, but I have been with them before. We were in New York together several years ago, but not as long of a stint as this time. It was quite nice to be with them then.
Also, I've even written a song inspired by them, because I was so taken by them when we performed together before. They inspired me to write a song about them, and I do that song each night with them accompanying me. I love this band. It consists of great musicians and they play that music so very well. And they're quite united – they're all in the very same boat.
JM: I've been listening to music that you were involved with for a long time. I'm particularly a big fan of the couple of albums you produced for Dr. John back in the '70's. How far back do you and Dr. John go, and what brought you together for those albums?
AT: We go back as far as when we were 15 and 16 years old. We played in the studio on recordings – he was always the guitar player, and I was the pianist whenever we were together. He was a wonderful guitarist then, and he still is. Of course, even then he played the piano, but never when I was around, because I was always there to play the piano. Whenever I was around with him when we were youngsters he played the guitar. That's how far back we go.
From time to time, over the years, we'd come together. Then, when it was time for the Right Place, Wrong Time album, Jerry Wexler put us together. I thought that was so fitting and proper, because we're from the same part of New Orleans. It was so fitting and proper that I would produce him on Right Place, Wrong Time. And Desitively Bonnaroo, which was the second album we did, which I like even better than the first. But the first one outsold the second one so I have to go with the winner.
JM: Dr. John has been a bit secretive about what the phrase Desitively Bonnaroo means. Are you willing to let us in on that?
AT: I do know what it means to us in our locale, but I insist on letting him be the source of information on such a metaphor. He's the master of those things, as a discipline of Professor Longhair like myself. He's always the authoritative source of information for such.
JM: Of course those albums with Dr. John included contributions from The Meters, and you produced a string of classic albums with them. Can you tell me a little bit about working with The Meters?
AT: Working with The Meters was wonderful. For one thing, they're very percussive and full of syncopation. They certainly found magic early on. It all revolved around Art Neville. Art Neville is a magic organizer. Whenever he puts a group together, it's magic instantly. And when he put The Meters together, again it was no shortage of pure magic. It was always a pleasure to be with The Meters. When I began to use them as a rhythm section, of course they brought that magic to the rhythm section as well. And on their own, to produce The Meters, it wasn't as much hands-on for every step of the way, as it was for most artists. With The Meters, you can open the door, let them in, and close the door, and just figure it'll go well. They were always very prepared, good writing, good playing, and cohesive.
JM: You must've been incredibly busy during the '70's. Around the same time you produced the song "Lady Marmalade". How did that song come together?
AT: I did three albums with Labelle – two with the three ladies and one with just Patti, the first one being the one that "Lady Marmalade" came together on. That was actually written by Kenny Nolan and Bob Crewe. That's the original song. Of course it's sounds a bit different than what we did, because it was in New Orleans and I put on my own touch. When they came down to record, they had one song that they wanted me to hear the demo of, that they liked and if I thought that was great they wanted to do that one as well. That being done in New Orleans was perfect. It doesn't get any better than that, from what it had to say and what it represented. That's how that came together. It was so right to do, even when we were rehearsing the earliest steps of it, it sounded so much like, "Yes, this is what should be done." We got right to it of course.
It was a pleasure to have Labelle into the studio because they brought such theater into the laid-back city of New Orleans. It was more magic. Of course, [most of] The Meters were on that recording as well.
JM: A little bit before that, you did horn arrangements for The Band. I'm particularly curious about the Rock of Ages album, the live one. I understand that there's a story behind that involving lost luggage. Can you tell about what happened there?
AT: Oh yes, that's an accurate story. They sent the tracks to me in New Orleans, of course before horns, for me to do the arrangements. And I did all the arrangements in New Orleans, and when I was through and arrived in Manhattan I had one more leg of the trip to get up to Bearsville, around Woodstock. Someone picked up the wrong bag in the airport, and that was the bag with my arrangements. Whatever bag they left was exactly like the one they picked up, so it was an extremely honest mistake.
When I got to Woodstock and opened the bag, I saw all these strange clothes and strange things that had nothing to do with my music, so I had to get to work right away and start writing from scratch. And it was the right thing to do, because I felt so inspired to be writing the music that goes with that area while in that area. They gave me a cottage out in the trees, no other houses around. A cottage full of windows and I put on a pair of pajamas and spent a couple of days writing these arrangements, and had a wonderful time.
Of course there were some challenging times as well, because my ear got infected for some reason, and I was having a real problem with that. Robbie Robertson and the guys called a doctor who was dressed like Li'l Abner and brought some very interesting medicine to put on my ear, and the next day I was just about perfect. But I had a wonderful time doing it, and it was the right thing to happen. I'm so glad that my bag was stolen, because the final arrangements were done where and what they should have been.
JM: Did the old arrangements ever find their way back to you?
AT: No they didn't. But I sure would like them to someday find their way back, but I'm sure they won't. It may have been important to me, it may have been trash to someone else, a whole lot of something that meant nothing to them. It meant as much to them as their dirty clothes meant to me.
JM: Your songs have been covered by so many artists over the years. Do you have a favorite cover version of one of your songs?
AT: I definitely liked Herb Alpert when he covered "Whipped Cream", when it was the theme song on The Dating Game, the early version. I really like their treatment of that. And very much Dobie Gray's version of "Performance". I thought that was really fine. And Robert Plant and Ms. Krauss, the version they did of "Fortune Teller", they put it in another mode altogether, produced by T-Bone Burnett. I thought that was very fine.
But I must say I dearly, truly enjoy every version of any song of mine I've ever heard reproduced. Sometimes they'll do it just like the original, which I think is really sharp. And when they take it to another dimension, I feel very good about that. Most of all, because they spent enough time with a song of mine, to live with it and learn it and make it a part of their lives, it's quite gratifying.
JM: What do you think of Devo's version of "Working in the Coalmine"?
AT: I thought that was just fantastic. W-O-W – wow! That's what I thought about that. Of course it was used in the movie Heavy Metal, which was pretty interesting as well. And I definitely liked the Grateful Dead version of "Get Out Of My Life, Woman".
JM: I remember hearing Glen Campbell's version of "Southern Nights" on AM radio way back when. I know that's an important song to you. How do you feel about that? Do you think he captured the spirit of that song?
AT: Oh, I love what Glen Campbell did. That happened by way of Jim Webb. Jim Webb heard my version and he told Glen Campbell and his producer that they should consider lifting the tempo and recording that song, and they probably would have a winner. I'm so glad that happened, and I love what Glen Campbell did, because I never thought about it as being mainstream tempo, of the kind you would pat your foot on or dance. But Glen Campbell took it to the world. I'm so glad, because I considered it sharing a story, as if I was just telling a story, and he brought it to the entertainment world beyond just telling the story. This is music that you can pat your foot or dance to, or enjoy it on an upside. So I love what happened there.
JM: You've worked with an incredible collection of artists over the years. Are there any that particularly stand out to you, that you're excited to have gotten to work with?
AT: Spending my days with Lee Dorsey – we had a wonderful time, because we spent so much time out of the studio together as well as in the studio. We used to go out to clubs in the evening, and also we rode motorcycles together in a pack of about thirty of us. We drove Cadillacs together, sometimes we'd race them together. We spent a lot of time together. And Lee Dorsey was such a high-spirited guy. I wrote more for him and Aaron Neville during the early days than anyone else.
But again, the most different thing was when Patti Labelle, Sarah Dash, and Nona Hendryx walked into the studio and brought that element. That was a jolt in the spirit, because, again, New Orleans being so laid back and funky. And then suddenly a theater curtain opened, and Patti Labelle walked in with a camisole on, and I just said, "Oh, yes! Who could go wrong here?" That was quite impressive.
And I must say Paul McCartney, when he came to the studio with his group Wings. This was when Linda was alive, and all. That was monumental, of course, because after all, it was Paul McCartney of The Beatles. He knew how to go toward the magic, and he knew when he got there. He didn't pass it. He stopped there, and then there was the next thing. A superb producer.
And it has been quite a luxury to work with Elvis Costello after Katrina. The album we did together and the touring we did. Elvis is so full of marvelous information and heart and soul, and respect for the music, more than anyone else I know.
JM: What advice would you give to an aspiring songwriter or musician?
AT: I would say associate yourself with good things, meaning surround yourself with good people if you can. And pay close attention to winners, as opposed to checking out losers. "Losers" sounds like a bad word, but I just mean it in the context of what we're speaking about. You can learn a lot from winners. You have to practice everything to get good at what you do. So winners practice winning, and losers practice whatever it takes to lose, and they get good at it. So I would say, associate yourself with winners.
And be about your art and skill, and have a great feel for it and pick something that you truly love and have a passion for it, and go after it. I think those are important elements.
And of course there's no substitute for practice, practice, practice. Not only on your instrument, but practice the way you want to be. I've never thought about being a star myself, but if one wants to be a star, practice whatever they think it takes to be a star.
But first, associate yourself with good people, good environment, good surroundings. And have a positive attitude about everything, and be forgiving at every step of the way of anything that doesn't go exactly your way.
Lastly, I think it would be great to read a lot. The more you read, little phrases come into your life that wouldn't have been there before. The whole story may not mean as much as some of the little phrases that come with it.
JM: You mentioned Hurricane Katrina, and we're almost coming up on the tenth anniversary of that happening. How are things in New Orleans these days?
AT: Things are wonderful in New Orleans these days, after Katrina. Katrina was very disruptive in many ways. I know it was tragic, as the first impression. But the lasting impression is a blessing. Many wonderful things happened, and we had to step up to the plate for things we hadn't paid attention to before. Katrina caused us to have to attend to matters that we had been been complacent about before. So those were some of the elements.
And then the reconstruction of physical areas as well as spiritual areas. It's a wonderful time, because we're flexing new muscles. I always say that because that's the first thing that comes to mind. In everytime we do there's surprises, and I found out how much better we can do than just to be complacent and live with the status quo. And we are about all of those things now.
JM: Where are speaking to me from?
AT: I'm in Birmingham, Alabama, and I'm on my way west.
JM: Thank you for speaking to me, and for all the wonderful music over the years.
AT: Thank you. It's quite a journey and I'm enjoying every step of the way.
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redpajama_set_name: RedPajamaCommonCrawl


We heard you, and we get it. Storing the spare propellers in a single cavity in a case for the small birds works fine, but for those larger investments, the propellers need a much better protective solution. So, we have designed individual propeller inserts behind the lid foam for the ultimate protection. Each propeller is now secured behind the lid and snugly fit into their own precision cut foam cavity. Now, there is room for a set and a spare in our featured cases. Available on our DJI Inspire Landing Mode (ready to fly) Case and our DJI InspireTravel Mode. Also, available and coming soon on our Latest Q500 Case and other cases in the queue and on their way!
This particular insert shown is for the Inspire, and the quick answer is that you'll need to check in the Inspire . We have heard that if you attach our low profile backpack system to the factory DJI Inspire Case, you can get it on most planes as a carry-on. But, we have not tried this ourselves, and not sure the factory case falls within the carry-on specifications for all airlines. However, our Hard Case Travel Mode and Hard Case Landing mode are way beyond the carry-on limitations. The protective cases are designed to store and transport the Inspire, batteries, tablets, and all accessories. The Q500 and Inspire are just way too big to expect to be able to take them as carry-ons in a protective enclosure. We do have some cases for the smaller craft (like the Phantom) that can be used as carry-ons on some airlines.
Would we be able to carry this case on the airplane as carry-on luggage?


This "Picchio" (Woodpecker) table lamp was designed by Mauro Martini and made in Italy by Fratelli Martini. The light beam can be adjusted according to the position of the unique counterweight stem. This adjustable lamp was created in 1976 and is made of lacquered metal.


We could begin 2018 by glancing back over 2017—so we shall.
The "big" news in Gulf of Mexico Fisheries is that Federal regulations governing many offshore species are still confused, muddled, and a bit ridiculous. Red snappers are so numerous that they are literally eating some other species—such as triggerfish—into unnaturally low population levels.
Those charter boat captains who remain in business report that it has become difficult to fish for species such as king mackerel in many spots because the baits are taken instead by red snappers. Of course, this would not be a bad thing, except that snapper limits are very much less than generous, and the season in which keeping them is allowed is more often closed than open.
Compounding this problem is that snappers do not function well as a "catch-and-release" sport species. This means that when keeping snappers is prohibited, releasing them to die when they are caught as by product of seeking other species, is NOT an effective method of fishery management.
Federal regulations may be building towards addressing this problem, however. The original three-day red snapper "season" in waters of the Gulf under federal control was a step toward not having undersized snapper that were unlikely to survive being released.
I have been in this game long enough to remember the summer that federal fisheries gurus decided an 18-minimum length for snappers would reduce the recreational catch. It did that fairly well, as an 18-inch snapper is a pretty good fish, and smaller snappers are much more likely to be caught. However, that was also the summer the surface of the Gulf was littered with dead snappers under 18 inches that had been released by fishermen.
It seems there is no real way to only target snappers of a certain size—or above a certain size. Dead snappers are removed from the fishery just as completely whether they go home with a fisherman to feed his family or get eaten by "flipper" after they are released.
The only way to completely protect red snappers is to prohibit ANY fishing in waters where they might be found. (Yes, they will even hit a trolled lure at times!) NOAA fisheries seems to be working on this, by enacting ever tighter seasons and bag limits on other species, which in practice, removes the incentive to fish offshore at all.
In my humble opinion, at the heart of the problem is that NOAA Fisheries/NMFS still has no real catch data on recreational red snapper catches. Dockside "intercepts" are expensive and of limited actual value, and telephone surveys are next to useless.
Instead, they cling to "estimates", which are barely more than guesses. Somehow, these estimates always show that recreational fishermen vastly over-catch their quota, year after year.
We in the fishing community fought this same battle with king mackerel several years ago. When the quota for a species is "estimated" to have been reached, the fishery might be closed early More commonly, since the data is never presented until after the fact, the recreational quota for the following year will be reduced to "pay back" the excess fish deemed to have been caught.
They have also been prone to play games with the size of fish taken, claiming that the average snapper caught has greatly increased in size and weight, thus filling the quota—which is measured in pounds, not numbers of fish—sooner.
What the facts, as taken from observations of fishermen on the water and verified by some of the most respected fisheries "experts," actually show is that there may well be more red snappers in the Gulf right now than at any time in recorded history.
Some credit for this has to be given to the extreme regulations. However, recreational fishermen should share some of the credit for suffering through those regulations, and for the most part obeying them.
I have no way of knowing whether high ranking employees of NOAA Fisheries/NMFS have seen their annual compensation increase due to the "success" of the red snapper management program. I do know that recreational fishermen have not been rewarded for their part in that success.
The fisheries programs of the various Gulf States have been much more realistic and successful than those of the federal government. I completely support the move to turn all red snapper management over to the states, instead of blackmailing them by reducing Federal quotas to "punish" state waters fishermen for obeying the laws set by their states for red snappers in state waters. Snappers are not a highly migratory species, and what lives in state water, normally stays in state waters.
Species: Trout, reds, flounder and various pan fish can all be taken in the right spot, at the right time.
Bait: Both live and dead bait can be effective, also lures. Work lures slowly, and be patient with natural baits. Fish all of them slowly.
Best Time: Tides and currents are general "weaker", but perhaps even more important to success than in warmer months.


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Insider's guide to Oscars dressing
Forget Fashion Week,the greatest catwalk show on Earth doesn't get bigger than the Oscars
With the spotlight as much on who wore what as who won what it's Patty Fox, the Academy Awards Fashion Co-ordinator who is on hand to help the award nominees prepare for their big red carpet moment. We caught up with Patty to talk about the months of preparation that goes into an Oscars outfit, and to discover some of her favourite Oscar dress moments.
Although obviously busiest in the weeks between nominees being announced and the awards ceremony itself, Patty is always looking for ideas, whether it's at fashion week seeing the new collections, or looking to uncover new designers that haven't before been featured on the red carpet, as well as working with the established big name designers. But when the nominees are announced is when Patty's work really starts.
So what's the most important consideration when dressing someone for the Oscars? "It's all about their personal style". Patty explains "It's critical to understand who you're helping and what their personal style is and to remember that these people are not models and have hang-up like the rest of us". Yes, there are things even Hollywood's biggest stars don't like about themselves - only they're being scrutinised by the world's media. Patty remembers one female star who was quoted as saying "she spent more time preparing what she was going to wear to the Oscars than she did on her wedding gowns" (note the plural!)
So, how does Patty go about marrying a designer and a star? "Everything happens on a one on one basis. I will select a designer who I think will be right and I'll make an introduction and the same with jewellery." Of course many of the biggest names have ongoing relationships with designers and will work directly with them, but there are plenty of nominees who are not famous actors or actresses with designer-filled wardrobes.
The designers work with their clients on deciding on a dress which is followed by weeks of fittings and adjustments, but despite all the planning, fitting and tweaking that goes into your typical red carpet ensemble things can still change at the last minute. Gwyneth Paltrow famously wore a bubble gum pink taffeta Ralph Lauren gown when she picked up her Oscar for best actress in 1999, but she was actually meant to be wearing something else. However, the dress was sent to Gwyneth just the day before the awards, she loved it and it fit perfectly. Of course all the jewellery then had to be changed to match too.
And although the accessories are fitted around the chosen dress it's not always the way. Elizabeth Taylor apparently always started with jewellery first, and then built the rest of her look around that.
The vintage effect:
While most stars look perfect in tailor made masterpieces, some brave a unique vintage gown which, although risky, can prove more memorable. "There's usually a key dress or two every year that's vintage and on the best dressed list. I like to see that because it shows that someone has taken more time with their look. It not as easy to find the exact right vintage piece that fits the person and fits the personal style."
'It started when Demi Moore had a beautiful light lavender gown from a great vintage store here in 1992. Then Winnona Ryder did that well too in 1994, in a flapper style dress with a beaded fringe."
Trends on the red carpet:
1996 was a year where a lot of people were into platinum and silver, but it didn't matter that the same colour kept coming up as you could see different personal styles. Gwyneth Paltrow made her first step on the first carpet wearing a Calvin Klein slip dress and what looked like no under-garments whatsoever! Her hair was great and I'm sure she had makeup on but it was kind of a barefoot on the beach look. And then there were three other actresses that had a totally different look but all had the platinum gowns."
Event dressing know-how:
Before she headed back to her pre-Oscars preparation, Patty had one tip to share with Cosmo: "Stay true to your individual style, your personal style, whatever the event. And take the time to discover what that style is because everybody is different. That's what's going to make you turn heads on the red carpet. And if you're going to a big event, don't make it the first time you wear those shoes, or the first time you have the gown on - do a test run!"
The 80th Annual Academy Awards are live on Sunday 24th February from 12.30am on Sky Movies Premiere. The Oscars Red Carpet: live will be shown from 11pm on Sky One and The Oscars Highlights Show is on Sky One on Monday 25th February from 10pm.
For all the latest catwalk trends visit www.handbag.com
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Seven Things We Learned at 'Bad Feminist' Author Roxane Gay's Talk in DC
She's writing a new television show, Indiana broke her, and she has *feelings* about The Bachelorette.
Written by Julie Strupp
| Published on June 22, 2017
Photo by Eva Blue
At All Souls Unitarian Church in Columbia Heights Monday night, fans lined up around the block to see the author Roxane Gay discuss her latest book, Hunger, with WAMU's editorial director, Alicia Montgomery. Here are the highlights from her candid discussion:
1. She's writing a television show!
Gay divulged she's writing a television pilot called "Grown Women" for Amazon, adapted from her own work. It's still in the early stages, and being produced by musician Common's company in Los Angeles.
2. She says "of course" she's watching The Bachelorette, which has its first black female lead.
Gay said while she's excited there's a black Bachelorette, she thinks it will be even more groundbreaking once there's a black man cast as the Bachelor.
"It's always weird when you're the first black anything, that you have to be so f*cking exceptional," Gay said. "Rachel is an attorney, she's gorgeous, she's charming, she's intelligent, she's funny–and THESE are the men?"
3. She had a stillbirth–and doctors blamed her for it.
"I'm going to ask you the question that I'm really scared to ask you," Montgomery began, "You wrote, 'We suffered a loss, and it undid me. I needed to blame someone, or something, so I blamed myself. I blamed my body for being broken. My doctor did not dissuade me from doing this, which was its own kind of hell.' This is the language that a lot of women use to describe losing a baby. Is that what happened to you?"
Gay confirmed that she did indeed lost a pregnancy at 29 weeks while she was living in Michigan's Upper Peninsula, and doctors initially blamed the stillbirth on her for being overweight (that wasn't the cause.)
"We were really excited to have this child," Gay said. "[After the stillbirth] I blamed myself and I thought: Well, here it is. All those years of overeating and making your body into a fortress, finally you get your Happily Ever After and now it's time for comeuppance."
4. She would pay "any amount" of money to find a doctor that doesn't stigmatize her for her weight.
Gay says the combination of her race, gender, and weight make doctor visits hellish, and she avoids it unless she absolutely must go. Studies show that doctors take women's and black people's pain less seriously, and give obese patients worse care. She says even being famous hasn't helped.
"It's really frustrating that doctors take an oath first to do no harm, then that they're supposed to treat people–and they don't treat fat people. I could go to the doctor for a sore throat and the first thing they'll write on my chart is 'morbidly obese,' Gay said. "I would pay ANY amount of money at this point in my life to have a regular physician that I could go to for medical care. I would travel anywhere in the world to do this. The fact that I haven't been able to throw money at this problem lets you know how bad it is."
5. Interviewers keep asking her to "describe her body" to them (and she hates it).
Gay's book details the stigma fat people deal with moving through the world–and journalists are very uncomfortable talking to her about it.
"I knew what [the interviewer] wanted. She wanted me to break into some self-loathing recitation about how I'm this horrible gargantuan monster–which is not how I see myself," Gay said, describing a recent interview. "She did this all in NPR voice. It got cut from the interview, but you can't cut me! I'm going to tell that story every single time."
Despite book tour challenges, Gay found writing Hunger to be healing.
"People say all kinds of nonsense about my body, and write all kinds of nonsense about my body, so to be able to take control of that narrative has been fantastic," she said.
6. She said she loved growing up in the Midwest, but Indiana "broke" her
"I'm from the Midwest, I was born in Omaha, Nebraska," said Gay. "I don't hate the Midwest, but honestly, I'm really burnt out. Indiana broke me. It wasn't Illinois, it wasn't Michigan, it wasn't Nebraska–it was Indiana. The Klan presence is just really strong there, and the Confederacy is alive. So it just got harder and harder and harder to want to be a token black girl in a place where I didn't feel safe leaving my house."
Gay said her neighbors are nice, but when they say "crazy shit" she doesn't hesitate to tell them "You are saying some crazy shit."
"For so many of us in the Midwest who are people of color, we tend to smile and grit our teeth through it. I can't tell you how many times I've smiled my way through racism simply because they mean well," Gay said. "But they don't mean well, and they don't even know they don't mean well."
7. Gay loves Beyoncé's "Hold Up" so much she reenacted it with a broomstick and trash bags.
Gay says she never considered writing about her traumatic experiences then refusing interviews about it a la Beyoncé and her album Lemonade, because "I'm not Beyoncé." The song that spoke to her the most while writing was Hold Up.
"It was the first video where I started to reenact it. I would just wear a trash bag and pretend it was a dress and wave a broom stick–I live alone most of the time," Gay cracked. "I thought if Beyoncé can go back with Jay-Z, I can go back and finish this book."
This event was put on by the DC Public Library as part of their Signature Speaker Series.
More: Alicia MontgomeryBooksRoxane Gay
Julie Strupp
Julie Strupp is an editorial fellow. Before Washingtonian, she did francophone video, radio, and photography projects addressing gender-based violence in Togo, West Africa with Peace Corps. She worked at the Wisconsin Center for Investigative Journalism and AllAfrica and has contributed to Mic, Center for Public Integrity, DCist, and more. Now a proud Petworth-dweller, she's also a University of Wisconsin-Madison graduate who loves judo, biking, art, and keeping the powerful accountable.
These Were the DC Public Library's Most Popular Books in 2020
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The New York Times 100 Notable Books List Just Came Out and DC Got a Lot of Love


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Heroes of Doctor Who: Kamelion
Posted bytimewarrior1 November 19, 2020 Posted inAce Sophie Aldred, Articles, Dalek, Doctor Who, Tardis, The Time Warriors, UncategorizedTags:anthony ainley, kamelion, peter davison, planet of fire, the king's demons
Owen once again looks at the characters from the history of Doctor Who who have helped form the character. All these characters – some you'll recall, some you won't – were vital to the series that we all love so well. This week… Kamelion.
Kamelion was one of those ideas that seemed brilliant at the time but turned out to be something of a disaster.
First seen in the King's Demons, Kamelion was used a puppet of the Master to stop the signing of the Magna Carter to change history. Kamelion seemed to be linked mentally to the Master who took great delight in showing the fifth Doctor Kamelion's shape shifting powers which included turning into the Doctor himself. To break this connection, the Doctor enters a battle of wills for control over the sentient machine. The Doctor wins, bundling Kamelion aboard the Tardis where he immediately shows self awareness and puts Tegan firmly in her place. His link with the Master seems to have been permanently broken. The Master, played by Anthony Ainley, had found Kamelion on the Xerephan homeworld and used it as a means to escape. This was a planet the Doctor had banished the Master to in a previous adventure, Time Flight, which ended Peter Davison's debut season.
Kamelion could change appearance and look like anyone in the universe.
Then producer, John Nathan Turner, saw the potential of adding such a companion to the show but, in reality, Kamelion was little more than a mannequin that could do little more than turn its head and blink lights. Such a character could have opened great story possibilities and would have come in very handy recently on the banks of Lake Silencio when time decreed the Time Lord must die. But for some reason, Kamelion was doomed to off screen appearances.
Instead of having him become a person that could be more mobile, Kamelion stayed aboard the Tardis but was ignored story wise, bar a brief deleted scene in the Awakening with Turlough that was released on the story's DVD release. And one question of continuity that fans have pointed out is in the story Frontios and Kamelion's whereabouts. In that story, the Tardis is destroyed, seemingly in a meteor storm, but in fact has been ripped apart and displaced under the surface of the planet. Fans quite rightly asked where Kamelion was when the Tardis was left like that but answers as always were strangely mute from the mouths of the production office.
When Peter Davison decided to leave the show, Mark Strickson and Jane Fielding were to follow, and the decision was made that Kamelion needed to go too.
In Planet of Fire by Peter Grimwade, not only was Turlough written out and Peri introduced, but the fifth Doctor had to destroy Kamelion at his own hand to stop the Master's plans.
The renegade Time Lord had linked into Kamelion's mind, causing him to steer the Tardis to a volcano world where people from Turlough's homeworld where banished as political prisoners. The Master had accidentally shrunk himself and needed the healing blue flames of the planet's natural gases to cure himself.
Kamelion became an unwilling slave as he was forced to carry out the Master's bidding by turning the religious zealot inhabitants against the Doctor as he became the Master to secure his will and death of the Doctor. Peri became his helpless prisoner before the conflict between being loyal to the Doctor and carrying out the Master's plans allows her to escape. She is pursued across the planet surface by the robot which is constantly shifting between appearances as his mind falls apart. It seemed that the Master had somehow been able to re-establish his mind control over Kamelion. It is this conflict that finally allows the Doctor to stop his enemy when Kamelion sacrifices himself, his mind ripped apart by the pressure. In a heart breaking scene, Kamelion is lost, his mind shattered by the conflicting loyalties. He lies helpless begging for the Doctor to kill him and the Time Lord can only offer a few words as he destroys his companion. This sees the first time the Doctor has willingly terminated the life of a companion.
The robot was voiced by Gerald Flood, a veteran of television, but the whole experiment was far from successful. Kamelion could have been an asset to the show in ways K9 could never have been but again sloppy writing and bad back stage decisions saw Kamelion side-lined.
He would appear once more as a hallucination as the fifth Doctor regenerates showing the guilt the Time Lord has over his actions. And, like many companions, he reappeared in novels, the missing adventure range book the Crystal Buchephalus being the best example, written by Craig Hinton.
In a series that sees so many human and alien companions, it was a refreshing change to have a robotic one, but budgetary and logic restrictions often work against such characters. But in this case, lack of imagination on behalf of the Doctor Who production team made this concept a failure.
But while he has been rarely mentioned, Kamelion deserves our recognition. After all, if a human companion had sacrificed themselves in this way, they would have been heroes. Just because he was a robot, Kamelion deserves no less.
Doctor Who The Candle
Time Warriors interview Deep Space 9's villain Damar, Casey Biggs


"We arrived in Paris first, only changing two wheels," went a telegram sent from the French capital in August 1907 by Prince Scipione Borghese, who won the Peking to Paris race at the wheel of a Pirelli-equipped Itala with a huge advantage over his rivals. For that time, on those roads, it was an exceptional result achieved after 16,000 gruelling kilometres that punished drivers, cars and tires. It was also an adventure that brought the public's attention to the performance and safety of a product that would soon become recognised by the famous Pirelli logo that is now a well-known sight all over the world.
@racersedgeMS • @james_vance • @sincarsuk • @teamLTD_ • @WCRacing • @CTMPOfficial • TORONTO, ON – Canadian driver James Vance has joined the Racers Edge Motorsports team in the Pirelli World Challenge series for GTS Rounds 7 & 8 at Canadian Tire Motorsports Park, behind the wheel of the No 45 SIN R1 GT4.
Parente Scores First Career Pirelli World Challenge Win on the Streets of Long Beach.
@WCRacing • @pirellisport •@ToyotaGPLB • LONG BEACH, Calif. (April 17, 2016)-- Alvaro Parente won Sunday's Pirelli World Challenge Round 5 race at the Replay XD Grand Prix of Long Beach presented by Cadillac, part of the 42nd Toyota Grand Prix of Long Beach weekend. Martin Fuentes won in GTA.
@Pirelli •@Bathurst12Hour •Milan, February 8, 2016 – Pirelli has claimed the 'Grand Slam' at the Bathurst 12 Hours in Australia: pole position, fastest race lap, and race victory.
New York, April 1, 2015 – For the second year in a row, Pirelli has scored highest in the Performance Sport segment in the J.D. Power 2015 Original Equipment Tire Customer Satisfaction StudySM. Pirelli achieved an index score of 693 for the Performance Sport segment in the study, which analyzes consumer satisfaction with original equipment (OE) tires.
Montreal February 18th 2015 – Pirelli Canada is excited to launch the new Pirelli® Confidence Plan to consumers in Canada.
@Pirelli_Media • @Pirelli • @pirellisport • Milan, IT – The 2015 Pirelli Calendar was presented today to the press, guests and collectors from around the world at Pirelli HangarBicocca, the Pirelli contemporary art space in Milan. Milan was chosen as the venue with the aim of showing an iconic object with the "Made in Italy" label in the city that in 2015 is to be the flagship of Italy in the world when it hosts the Expo Milano 2015 international exhibition.
MILAN, ITALY – The toughest compound in Pirelli's new 2013 range of tires makes its debut in Malaysia, complete with a brand new color. The P Zero Orange hard has been nominated for Sepang together with the P Zero White medium, which was already seen in Australia.


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Hunter paradox
28 February 2007 WineChris Shanahan
As far north and as coastal as it is, the lower Hunter Valley ought to be too warm, too wet, too humid — and with Sydney so close — too expensive to make wine. But it's done so for 170 years and is today probably more varied and more innovative than at any time in its history.
The first grapes were probably planted there in the late 1820's and vines were certainly part of the agricultural mix by the early 1830s, with six growers listed in a report of 1832, according to James Halliday in The Wines and History of the Hunter (McGraw-Hill, 1979).
The name of one of those growers, George Wyndham, lives on today in the Wyndham Estate brand, owned by the French controlled Pernod Ricard Pacific.
And readers of my vintage might recall 'Dalwood, a now defunct Penfolds Hunter Valley wine brand (named for George Wyndham's property) and 'Kirkton' as a once popular Lindemans label named for a Hunter property acquired in 1825 by vine pioneer James Busby.
But that's the old days, before the Hunter boasted even one resort or golf club. Despite many setbacks, its winemaking survived and grew through the nineteenth and twentieth centuries and prospered into the twenty-first.
Today, according to one wine industry database, the Hunter has about 160 winemakers with the greatest concentration in the lower Hunter near Cessnock rather than in the upper Hunter in the vicinity of Denman.
Despite the significant quantity of grapes grown in the upper Hunter, it's the lower Hunter that produces the region's two great and idiosyncratic specialties: semillon and shiraz – styles revered by Australian and foreign connoisseurs but with little popular currency beyond the Sydney market.
but the lower Hunter's proximity to Sydney and Newcastle provides a big flow of tourists happy to explore a range of wine offerings that goes well beyond the two traditional specialities.
It's a mix of big, small, old and new from the large McWilliams Mount Pleasant to tiny Chateau Pato to glamorous Tempus Two to seventies' boom star Brokenwood to family oldies like Drayton's and Tyrrell's.
In this varied landscape, semillon, shiraz, chardonnay and verdelho lead the charge. But if you seek Little's Winery at Broke you'll find former Canberran, Suzanne Little, and husband Ian, making delicious, aromatic Gewurztraminer.
Just down the road, Robin Tedder's Glenguin blends the exotic tannat with shiraz while Andrew Margan puts a friendly drink-now face on the traditional shiraz and semillon but also makes a delightful red from the Italian variety, barbera.
Quite a few wineries, including Reece and Garth Eather's Meerea Park now produce that wonderful white, viognier and pinot gris is on the radar.
The latter generally fares better in cooler climates, so it's not surprising that Tempus Two looks to Victoria's King Valley for this variety. And makes a very good wine from it.
Nearby, in the Lusby family's tiny Tintilla vineyard, the Italian variety sangiovese grows beside the time-proven specialties. It's promising. But will it still be there in 100 years? Could be!
And innovation need not be limited to introducing new varieties. The greatest wines emerging from the Hunter, in my opinion, remain the traditional regional specialties, semillon and shiraz. And these are being polished to a new gloss by both new and old makers, notably McWilliams and, perhaps a nose in front, Tyrrell's.
Like most complex wine areas, the best way to understand the Hunter is through its wines. And there's no better way than to hop in the car, go there and wander amongst the vines for a few day.
Lovedale Semillon and the emergence of a Hunter specialty
Hunting the Hunter wine region innovations
Idiosyncratic or idiotic? — Hunter semillon
← Wine review — Holm Oak, Wyndham Estate & Coriole St Arnou's draft plan of action →


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Paintings of France
We've got a French two-for-one special going on today.
We're combining French language and art for a fantastic, in-context learning experience.
And there's perhaps no content more interesting than art for a lover of Paris, France and French!
Words used to describe landscapes (paysages), colors and techniques will help you sound like the biggest art history buff around when discussing French art with your friends.
You don't need to visit Paris to discover these works of art, but once you've uncovered the keys to studying them—and speaking about them!—you just may want to plan a trip and see some of these works of art (œuvres d'art) for yourself!
The Louvre museum boasts two great galleries of large format French paintings, one devoted to Neoclassicism (néoclassicisme) and the other to Romanticism (romantisme). La Liberté guidant le peuple (1830), or Liberty Leading the People, can be found in the latter wing. The famed painting by Eugène Delacroix is interesting for two separate reasons.
The first has to do with French culture and history. The painting was created to commemorate the July Rebellion of 1830. Painted in the same year, it's an important and intriguing testament to this rebellion which dethroned Charles X after the monarchy had been reinstated in France following the fall of Napoleon's Empire. The painting represents an important and tumultuous part of French history, displaying several key figures, including, of course, Liberty—also the French figure of Marianne—in the center.
But that's not the only reason that the painting is so important. It's also a key to understanding romantisme in the French art tradition. Romantisme was characterized by a freedom (liberté) of color, so it's important to study the effect of color in this painting.
Given the subject matter, it's not surprising that the key colors of the painting are the blue, white and red (bleu, blanc, rouge) of the tricolor flag. Not only does Liberty carry the flag (porte le drapeau) displaying these colors, but they can also be found in the clothing of the man kneeling before her. This was included in the painting in case censors (la censure) forced the flag in the top portion of the painting to be cut out.
But color isn't the only important element of this painting. The structure and symbolism (symbolisme) are important to study as well. Liberty is depicted as a goddess, but also as Marianne, a woman of the people, even wearing the Phrygian cap that had become a symbol of the first French Revolution in 1989. Corpses (cadavres) form her pedestal and allow her to enter into the world of the viewer.
Key Phrases for Discussing La Liberté guidant le peuple
J'adore le travail de couleur de Delacroix. — I love the way that Delacroix works with color.
Le saviez-vous ? Victor Hugo s'est inspiré du gamin dans l'œuvre pour créer le personnage de Gavroche des Misérables. — Did you know? Victor Hugo was inspired by the child in the work to create the character of Gavroche in "Les Misérables."
The mural painting of the Consulate of France in Washington DC
Painting The Essence Of France - an art experience ...
Brent Jensen Oil Painting Demonstration of "Autumn in France"
Oil Paintings of Venice Italy
In the second decade of the 15th cent. Italy Fine Art - primarily Florence - took the lead and affected Europe profoundly…
Paintings of the Renaissance period
We all know what the Renaissance was, correct? Michelangelo, Leonardo, Raphael and company created some fabulous paintings…
Workshop for kids ideas
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Painting Workshops


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Varekai est un spectacle créé par le Cirque du Soleil, sa première représentation était en 2002 à Montréal. Varekai signifie « peu importe le lieu » en romani, et le spectacle est un hommage à l'esprit nomade. L'histoire de Varekai s'inspire du mythe grec d'Icare, elle débute lorsqu'un jeune homme tombe du ciel, parachuté dans une forêt magique et mystérieuse.

Concepteurs

 Guy Laliberté - Guide
 Dominic Champagne - Créateur et directeur
 Andrew Watson - Directeur de la création
 Stéphane Roy - Décorateur
 Eiko Ishioka - Costume

Numéros

 Vol d'Icare (Le)
 Solo sur béquilles
 Danse georgienne
 Balançoires russes
 Surface glissante
 Numéros clownesques
 Cerceau aérien
 Équilibre sur cannes
 Météores d'eau
 Ampoule
 Trapèze triple
 Jonglerie
 Jeux icariens
 Courroies aériennes

Musiciens

 Chef d'orchestre, claviers - Conrad Askland
 Basse - Mikey Hachey
 Batterie - Paul James Bannerman (www.pauljbannerman.com)
 Percussions - Damion Corideo
 Violon - David Piché
 Instruments à vent - Jose Manuel Pizarro Carmona
 Chanteur, chanteuses - Jamieson Lindenburg et Isabelle Corradi

Liens externes
 Site officiel
 Flickr : Cirque du soleil, Varekai

Spectacle du Cirque du Soleil
Forêt dans la fiction

redpajama_set_name: RedPajamaWikipedia


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Speech of Syrian President Bashar Al-Assad before Parliament on June 3, 2012
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The English transcript of the interview of Syrian President Bashar Al-Assad with the Wall Street Journal on January 31, 2011. The translation is by Syria's state-news agency, SANA. WSJ: We had a lot...
Interview of Bashar Al-Assad with Hurriyet and Bild in 2010
The English transcript of the interview of Syrian President Bashar Al-Assad with Hurriyet and Bild in 2010. The translation is by Syria's state-news agency, SANA. His Excellency President Bashar Al-...


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Filmmaking - Production
Playing the Long Game: Producers on Sustaining a Career in Independent Film
When legendary producer and studio executive Robert Evans penned his autobiography — later adapted into a documentary — he picked a telling title: The Kid Stays in the Picture. You would think that after producing films like Chinatown and Urban Cowboy, Evans could happily rest on his laurels, but his book's title, with its defiant use of the present tense, speaks to the ambitions and anxieties affecting every filmmaker with producer DNA. These, of course, are issues of continuing relevance and professional durability — or, to use the independent film parlance of the moment, sustainability. Contrary to the imagination of […]
By Scott Macaulay on Oct 20, 2016Filmmaking
How I Shot My Feature Film, Tormenting the Hen, in Six Days
Filmmaker Theodore Collatos appeared recently on the site when he and Christopher Jason Bell interviewed each other about their latest pictures. He's now at work on a new feature, Tormenting the Hen, produced with Matt Grady from Factory 25, Ben Umstead (Slamdance programmer, Screen Anarchy) and George Manatos (editor on Come Down Molly). He's also in the midst of an Indiegogo campaign to support its co-production. Below, he reveals how — and why — he shot his new movie in six days (and how you might be able to do the same). Read on, and please consider supporting his campaign. […]
By Theodore Collatos on Oct 12, 2016Filmmaking
Mechanical Dreams Uses VR to Amplify Diverse Voices
As Hollywood is rightfully called out on its underemployment of women, virtual reality companies like Mechanical Dreams Virtual Reality (MDVR) are actively courting underrepresented voices. The Seattle-based virtual reality content company housed by the University of Washington and the start-up incubator CoMotion is producing six innovative 360 films, five of them directed by women. The company's first production, Tracy Rector's Ch'aak' S'aagi (Eagle Bone), one of the first VR pieces ever by a Native American filmmaker, was recently selected as one of five VR projects to screen at TIFF as part of its inaugural POP VR section at the festival. MDVR is currently raising money on […]
By Paula Bernstein on Oct 11, 2016Director Interviews
Makeup Artist Makes Herself into Actor Steve Buscemi
We've shown you how lighting can change a face, and now we'll show you how a makeup artist can turn a woman into… Steve Buscemi? Over at the Huffington Post, makeup artist Katelyn Galloway impressively transforms herself into the well known independent actor in just under four sped-up minutes. Watch the transformation below and then learn more about makeup artists in our article, "Secrets of Glam Squad: Inside the World of Film Hair and Makeup Artists."
By Scott Macaulay on Sep 14, 2016Filmmaking
In Defense of Street Photography in an iPhone Age
Last Halloween (my birthday, as it happens), I loaded up my Bolex to shoot some 16mm black-and-white images of a children's costume parade in my Brooklyn neighborhood. I was thinking of Helen Levitt's 1948 masterpiece, In the Street. Levitt (and her co-cinematographers James Agee and Janis Loeb) used a small camera to surreptitiously record images (mostly of children) in Spanish Harlem. The film is a poetic time capsule — observational vignettes that become more than the sum of their parts. The Bolex looks pretty big these days compared to digital cameras, so I wasn't hiding anything from anybody. As I […]
By Mark Street on Aug 16, 2016Directing
Fix It in Production: A 1st A.D. Tells You What Mistakes to Avoid when Shooting an Independent Film
I've been writing, shooting and producing short films, about twenty of them, since 1999. I've also DP'd several shorts and a zombie feature. I enjoy assisting other filmmakers in North Carolina, where I live, and I've worked as AD over the last five years on both short- and long-form projects. The projects I've ADed have had budgets ranging from the tiny to the small, all well under $100,000. More about my work at Turnip Films. This article describes what I've learned as AD about how to run a shoot. Everyone I've worked with did their best and turned out some […]
By Jim McQuaid on Jul 11, 2016Filmmaking
Get MōVI Level Shots From Your GoPro With This Stabilizer from Polaroid
Polaroid sent over their handheld 3-axis stabilizer for GoPro for a hands on review. In the video below I do a run through of the device along with taking it out for a spin with some test footage. At $180 it's one of the least expensive gimbals for GoPro, and the shots are impressively smooth. Controlling the camera takes a little getting used to. It works with the HERO 3/3+/4. You can use it with or without an LCD BacPac (it includes a spacer when using it without). I caved and bought the screen because it was getting hard to operate holding a phone […]
By Joey Daoud on Jun 29, 2016Cinematography
"Dear Crew": A Doc Filmmaker Prepares Her Crew for 10 Weeks of RV Living
Filmmaker Emily MacKenzie is currently on Kickstarter with her documentary Scar Story, about Paulette Leaphart, who survived breast cancer following a double mastectomy, and who will be raising awareness by walking topless from Biloxi, MS to Washington, D.C. MacKenzie, producer Sasha Solodukhina and their crew will be traveling along with her, and they are now in the final nine days of their campaign to raise production funds. Below, MacKenzie shares a letter she has written to her crew — and partly to herself — about the challenges that lie ahead. Consider donating here at Kickstarter. To my crew – I […]
By Emily MacKenzie on Apr 25, 2016Filmmaking
New OSX App Hedge Manages File Transfers
Released this week, Hedge is an OS X app for streamlining the process of importing camera footage and making backups. Hedge will transfer multiple disks at the same time and verify each copy. Paul Matthijs Lombert came up with the idea for Hedge, and is CEO of the developer, The Sync Factory. He answered the following questions via email. Filmmaker: Where did the idea for Hedge come from? Matthijs Lombert: I've been an acoustician and mastering engineer for over ten years. I originally came up with the idea for Hedge when working on a Dutch multicam documentary. I designed the audio […]
By Michael Murie on Mar 23, 2016Post-Production
Atomos Announces 7" HDR Field Monitor/Recorders that can Display Log Footage
Atomos has announced the Atomos Flame series of field monitor/recorders. These new units feature 7" 1920x 1080 resolution screens with 1,500 nits of brightness — four times the brightness of their existing screen. Atomos claims it's the world's brightest and widest dynamic range panel in a field monitor. But what is HDR footage? Atomos CEO and co-founder Jeromy Young explains that if you have a camera that shoots in a Log format, and that will output that over SDI or HDMI, you already have an HDR camera. The problem is that it can be difficult to see what that Log image is […]
By Michael Murie on Mar 22, 2016Cinematography
All These Wonderful Things
American Society of Cinematography
Coffee and Celluloid
David Lowery
Self Reliant Film
Silent Bob Speaks
@arincrumley
@AVAETC
@Edward_Burns
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@laurelnakadate
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@Miranda_July
@remixeverything
@rodriguez
@TerenceNance
@Ti_West


Lounges and greeting spaces at The Maplewood are built with one thing in mind: your comfort. Greet Maplewood staff in our lobby, or simply relax as your companions join your visit. Spend time with your loved one in comfort and tranquility in one of our many lounges. Enjoy a concert in our community room. Catch your favorite TV show or answer your e-mail after enjoying a meal.
Enjoy a park-like setting with shady trees, lush green lawns, sculpted shrubbery and gorgeous flowers. Spend an afternoon relaxing in our beautiful outdoor courtyard or take a stroll around our pond. With floor-to-ceiling windows in our sitting rooms, there are plenty of opportunities to enjoy nature's peaceful atmosphere year round.


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Trudeau: 'Australian Colleagues' Warned on China's Aecon Bid
Canada Prime Minister Justin Trudeau says "Australian colleagues" told his government about the challenges of allowing the Chinese to buy engineering companies before it made the decision to last week reject a bid by a unit of China Communications Construction Co. to purchase Toronto-based Aecon Group Inc.
Canada cited national security concerns as its reason for blocking the C$1.2 billion ($921 million) deal with CCCI. Speaking Tuesday in a wide-ranging interview with Bloomberg, Trudeau said Canada was trying to balance Chinese investment and Canadian sovereignty and said again that Canadian national security agencies recommended nixing the deal.
Trudeau revealed, however, that Canada spoke with unidentified Australians about Chinese acquisitions of engineering firms — likely a reference to the recent Chinese purchase of Australia's John Holland Pty. Ltd., a case analysts have cited as comparable to the Aecon bid.
"Having spoken with some Australian colleagues about the challenges that they faced with similar purchases by the Chinese of engineering firms, certainly highlighted to us the potential for challenges with this one," Trudeau said in Toronto.
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He didn't specify if the Australians that Canadian officials spoke to were government officials. Australian Foreign Minister Julie Bishop declined to answer a question on whether officials from her government briefed Trudeau on the issue, saying in an email that "Canada is a sovereign country and questions of foreign investment are a matter for Canada."
The move by Canada was the latest by Western nations including Australia who are citing national security concerns to halt planned investment from Chinese companies. It also comes amid an increasingly fraught relationship between Australia and its biggest trading partner, China, that's led to media reports of a diplomatic freeze imposed by Beijing. In addition, Trudeau is looking to strike a deal with the U.S. and Mexico to update the North American Free Trade Agreement. U.S. President Donald Trump has rejected several Chinese takeovers.
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text:
"""Train a model."""

import argparse
import os
import time
import re

import numpy as np

import caffe
import tensorflow as tf

from tensorflow.core.framework import graph_pb2
from tensorflow.core.protobuf import meta_graph_pb2

import hdrnet.hdrnet_ops as hops

transfer = {
  "conv1/weights:0": "inference/coefficients/splat/conv1/weights:0",
  "conv1/biases:0": "inference/coefficients/splat/conv1/biases:0",
  "conv2/weights:0": "inference/coefficients/splat/conv2/weights:0",
  "conv2/biases:0": "inference/coefficients/splat/conv2/BatchNorm/beta:0",
  "conv3/weights:0": "inference/coefficients/splat/conv3/weights:0",
  "conv3/biases:0": "inference/coefficients/splat/conv3/BatchNorm/beta:0",
  "conv4/weights:0": "inference/coefficients/splat/conv4/weights:0",
  "conv4/biases:0": "inference/coefficients/splat/conv4/BatchNorm/beta:0",

  "global_conv1/weights:0": "inference/coefficients/global/conv1/weights:0",
  "global_conv1/biases:0": "inference/coefficients/global/conv1/BatchNorm/beta:0",
  "global_conv2/weights:0": "inference/coefficients/global/conv2/weights:0",
  "global_conv2/biases:0": "inference/coefficients/global/conv2/BatchNorm/beta:0",
  "global_fc1/weights:0": "inference/coefficients/global/fc1/weights:0",
  "global_fc1/biases:0": "inference/coefficients/global/fc1/BatchNorm/beta:0",
  "global_fc2/weights:0": "inference/coefficients/global/fc2/weights:0",
  "global_fc2/biases:0": "inference/coefficients/global/fc2/BatchNorm/beta:0",
  "global_fc3/weights:0": "inference/coefficients/global/fc3/weights:0",

  "grid_conv1/weights:0": "inference/coefficients/local/conv1/weights:0",
  "grid_conv1/biases:0": "inference/coefficients/local/conv1/BatchNorm/beta:0",

  "grid_conv2/weights:0": "inference/coefficients/local/conv2/weights:0",

  "post_fusion_conv/weights:0": "inference/coefficients/prediction/conv1/weights:0",
  "post_fusion_conv/biases:0": "inference/coefficients/prediction/conv1/biases:0",
  "guide/guide/ccm:0": "inference/guide/ccm:0",
  "guide/guide/ccm_bias:0": "inference/guide/ccm_bias:0",
  "guide/shifts:0": "inference/guide/shifts:0",
  "guide/slopes:0": "inference/guide/slopes:0",
  "guide/channel_mixing/weights:0": "inference/guide/channel_mixing/weights:0",
  "guide/channel_mixing/biases:0": "inference/guide/channel_mixing/biases:0",
}

transfer_sum = {
  "grid_conv2/biases:0": "inference/coefficients/global/fc3/biases:0",
  "global_fc3/biases:0": "inference/coefficients/global/fc3/biases:0",
}

test_tensors = {
  'inference/conv1/Relu:0': 'train/inference/coefficients/splat/conv1/Relu:0',
  'inference/conv2/Relu:0': 'train/inference/coefficients/splat/conv2/Relu:0',
  'inference/conv3/Relu:0': 'train/inference/coefficients/splat/conv3/Relu:0',
  'inference/conv4/Relu:0': 'train/inference/coefficients/splat/conv4/Relu:0',
  'inference/global_conv1/Relu:0': 'train/inference/coefficients/global/conv1/Relu:0',
  'inference/global_conv2/Relu:0': 'train/inference/coefficients/global/conv2/Relu:0',
  'inference/global_fc1/Relu:0': 'train/inference/coefficients/global/fc1/Relu:0',
  'inference/global_fc2/Relu:0': 'train/inference/coefficients/global/fc2/Relu:0',
  'inference/global_fc3/MatMul:0': 'train/inference/coefficients/global/fc3/MatMul:0',
  'inference/grid_conv1/Relu:0': 'train/inference/coefficients/local/conv1/Relu:0',
  'inference/grid_conv2/Conv2D:0': 'train/inference/coefficients/local/conv2/convolution:0',
  'inference/fusion/Relu:0': 'train/inference/coefficients/fusion/Relu:0',
  'inference/affine_coefficients:0': 'train/inference/coefficients/prediction/unroll_grid/stack_1:0',
  'inference/affine_coefficients:0': 'train/inference/coefficients/prediction/unroll_grid/stack_1:0',
  # 'inference/guide/Sum:0': 'train/inference/guide/curve/Sum:0',
  # 'inference/guide/channel_mixing/BiasAdd:0': 'train/inference/guide/channel_mixing/BiasAdd:0',
  # 'inference/guide/guide/Reshape_1:0': 'train/inference/guide/ccm/Reshape_1:0',
}

def main(args):
  config = tf.ConfigProto()
  config.gpu_options.allow_growth = True

  if not args.batch_norm:
    for t in transfer:
      if "BatchNorm/beta" in transfer[t]:
        transfer[t] = transfer[t].replace("BatchNorm/beta", "biases")
        print t, transfer[t]

  # Prepare a random input image
  test_data = np.random.rand(256, 256, 3).astype(np.float32)

  src_path = tf.train.latest_checkpoint(args.src)
  if src_path is None:
    raise ValueError ('Transplant: could not find a checkpoint in {}'.format(args.src))
  # Load src_path and metagraph, list all vars
  metapath = ".".join([src_path, "meta"])
  saver = tf.train.import_meta_graph(metapath)
  input_t = tf.get_default_graph().get_tensor_by_name('DataPipeline/shuffle_batch:0')
  bs_src = input_t.get_shape().as_list()[0]
  input_batch_src = np.zeros((bs_src, 256, 256, 3), dtype=np.float32)
  input_batch_src[0, :, :, :] = test_data[...]

  test_src = {}
  for k in test_tensors:
    test_src[k] = tf.get_default_graph().get_tensor_by_name(k)

  with tf.Session(config=config) as sess:
    saver.restore(sess, src_path)

    reject = re.compile(r".*(Adam|global_step|beta1_power|beta2_power|learning_rate|ExponentialMovingAverage|moving_mean|moving_variance).*")
    overrides = {}
    print "Fetching source variables tensors"
    for v in tf.global_variables():
      if reject.match(v.name):
        continue
      value = sess.run(v)

      if v.name in transfer.keys():
        # Take into account updated guide implementation
        if "channel_mixing/biases" in v.name:
          overrides[transfer[v.name]] = value + 0.5/8.0
          print "channel mix", value + 0.5/8.0, value
        elif "channel_mixing/weights" in v.name:
          overrides[transfer[v.name]] = value*(8.0-1.0)/8.0
          print "channel mix", value*(8.0-1.0)/8.0, value
        else:
          overrides[transfer[v.name]] = value
      elif v.name in transfer_sum.keys():
        dst = transfer_sum[v.name]
        if dst in overrides.keys():
          overrides[dst] += value
        else:
          overrides[dst] = value

    # print "Evaluating test tensors for the source"
    # test_result_src = sess.run(test_src, feed_dict={input_t: input_batch_src})

  tf.reset_default_graph()
  # Load dst_path and metagraph, list all vars
  dst_path = tf.train.latest_checkpoint(args.dst)
  if dst_path is None:
    raise ValueError ('Transplant: could not find a checkpoint in {}'.format(args.dst))
  metapath = ".".join([dst_path, "meta"])
  saver = tf.train.import_meta_graph(metapath)
  dst_saver = tf.train.Saver(tf.global_variables())

  input_t = tf.get_default_graph().get_tensor_by_name('train_data/shuffle_batch:2')
  input_t_fr = tf.get_default_graph().get_tensor_by_name('train_data/shuffle_batch:0')
  bs_dst = input_t.get_shape().as_list()[0]
  input_batch_dst = np.zeros((bs_dst, 256, 256, 3), dtype=np.float32)
  input_batch_dst[0, :, :, :] = test_data[...]

  test_dst = {}
  for k in test_tensors:
    test_dst[k] = tf.get_default_graph().get_tensor_by_name(test_tensors[k])

  with tf.Session(config=config) as sess:
    tf.global_variables_initializer().run()

    print "Overriding target tensors"
    for v in overrides:
      print v
      var = tf.get_default_graph().get_tensor_by_name(v)
      assign_op = tf.assign(var, overrides[v])
      sess.run(assign_op)

    print "Batch norm and moving averages:"
    for v in tf.global_variables():
      if 'moving_variance' in v.name or 'moving_mean' in v.name or 'BatchNorm/beta' in v.name:
        var = tf.get_default_graph().get_tensor_by_name(v.name)
        var = sess.run(var)
        print v.name, np.mean(np.ravel(var)), np.std(np.ravel(var))
    print "Batch norm constants:"

    feed_dict = {}
    # for v in tf.get_default_graph().as_graph_def().node:
    #   if 'BatchNorm/batchnorm/add/y' in v.name:
    #     print "set to 0", v.name
    #     var = tf.get_default_graph().get_tensor_by_name(v.name+":0")
    #     feed_dict[var] = 0.0

    print "Evaluating test tensors for the destination"
    feed_dict[input_t] = input_batch_dst
    feed_dict[input_t_fr] = input_batch_dst
    # test_result_dst = sess.run(test_dst, feed_dict=feed_dict)
    # for k in test_result_src:
    #   s_ = test_result_src[k][0, ...]
    #   t_ = test_result_dst[k][0, ...]
    #   diff = np.amax(np.abs(s_-t_))
    #   print k, s_.shape, t_.shape, "error:", diff
    #   assert (diff < 1e-5)

    new_path = os.path.join(os.path.dirname(dst_path), 'upgraded_from_sig2017.ckpt')
    print "Saving checkpoint:", new_path
    if not os.path.exists(args.dst):
      os.makedirs(args.dst)
    dst_saver.save(sess, new_path, global_step=0)

if __name__ == '__main__':
  parser = argparse.ArgumentParser()
  parser.add_argument('--src', type=str, required=True)
  parser.add_argument('--dst', type=str, required=True)
  parser.add_argument('--batch_norm', dest='batch_norm', action='store_true', help='normalize batches. If False, uses the moving averages')
  parser.add_argument('--nobatch_norm', dest='batch_norm', action='store_false')
  parser.set_defaults(batch_norm=False)
  args = parser.parse_args()
  main(args)


AUCTION PROPERTY. BOOK NOW FOR AN APPOINTMENT A unique opportunity to purchase premises within this popular area, which offers a commercial unit with main road frontage, residential premises, plus a large plot with planning permission for a detached dwelling. Planning permission has been granted to build an attractive three bedroom detached house, details of which can be found on Fareham Borough Council website, Reference P/17/1386/FP.
Window to side elevation and door to side. Double sink units. Part tiled walls. Cooking area with extractor hoods. Space for several appliances. Door to lobby.
An ideal storage area with window to side elevation, door to office and inner hallway which leads to the cloakroom.
Window to side elevation. Low level WC. Wash hand basin.
Conveniently positioned with a window to side elevation. Radiator.
Accessed via a double glazed door on the side of the property.
Double glazed window overlooking the rear garden. Radiator. Double glazed window to rear and side elevation. BATHROOM Four piece bathroom with corner Jacuzzi style bath. Low level WC. Pedestal wash hand basin. Walk in shower cubicle. Tiled walls. Radiator. Access to loft space.
Two double glazed windows to side elevation. Radiator. Wall mounted gas boiler. Glazed window and doorway to kitchen.
Double glazed window to side elevation and double glazed French doors to garden. Kitchen comprising of four ring electric hob with oven under. One and a half bowl single drainer sink unit with cupboards under. Range of wall and base level units. Recess for fridge and freezer.
BEDROOM ONE Double glazed window to rear elevation and window to side. Radiator. BEDROOM TWO Double glazed window to front and side elevation. Radiator. BEDROOM THREE Double glazed window to front and side elevation. Built in cupboard.


Create a list of keywords that you believe your company should be ranking for to help address what your business should focus on when optimizing for SEO. filling out the profile completely with all the necessary information, confirm your email address and URL by confirming an email sent to that email account and adding a snippet of code to your website to confirm your ownership of the URL. Many business owners get overwhelmed with social media, especially since there are so many different channels to be active on with their own unique cadence. You don"t need to be a Web designer or have years of experience in marketing.
1 How important is Robinswood, Florida SEO Services For Small Businesses?
2 Is it expensive to invest in Robinswood, Florida SEO?
3 How to hire the best Robinswood, Florida SEO company?
How important is Robinswood, Florida SEO Services For Small Businesses?
Mobile users are growing daily as there are nearly 60% of search queries that are performed by the mobile devices. In the SEO audit and backlink analysis, disavow the bad links pointing to the site to avoid the penalization. This may seem like a big, general suggestion, but there are several little changes you can make to your website that will help to increase your search engine optimization. Unlike big box stores and other larger online stores, you have the advantage of looking your customers in the eyes. In this section, I'll introduce a handful of specific strategies you can use to build your reputation and relevance in your given city.
While big-box stores and online retailers might have bigger budgets, you can use your intimate knowledge of your community and target audience with long-tail keywords to boost your online presence. Integrating Local SEO into your small business SEO strategy in Alachua County, Florida will not only help customers find you, but this approach also allows you to reduce the budget and increase qualified traffic. So they head to the relevant section, explore the different titles and eventually decide to check out your book because it's just what they're looking for.
Is it expensive to invest in Robinswood, Florida SEO?
This is the hard part of SEO but it's what will separate you from your competitors. It's also going to impress visitors to your site, who will want to share it on social media and link to it on their own websites. Improperly-handled SEO campaigns are increasingly common these days, but it is not a fate that need befall all small businesses. a lot of traffic during the course of your SEO campaign, don't let that prevent you from cycling your keyword focus.
Original content, such as a weekly blog or community activities, can go a long way towards capturing an audience and convincing them to continue interacting with your site until a sale is made. While this general area can sometimes be summed up with the name of just one town or city, it sometimes consists of a few different towns or cities. If your company changes addresses, it's important that its new address has been entered on all relevant platforms. Your potential success is determined by how Google views your neighborhood boundaries, so do some research before you begin.
How to hire the best Robinswood, Florida SEO company?
Not only does your social media activity help you directly improve your local SEO, it helps you indirectly increase your local SEO in Robinswood, Florida 32608 as well. This helps to develop more compelling content that more closely meets the needs, desires and preferences of your target audience and therefore makes it more valuable. It amazes me how many people get a weekly stats report sent to them but have no idea what the information is, let alone how to interpret the data and make their website better from it.
This is a general rule of thumb but for search engines to gather enough information about a page and rank it, it"s always a good idea to have at least 300 words on a page. Even if your website traffic largely comes from desktop search engine queries, you should heed this SEO best practice and make your website mobile-friendly. Instinctively, you might think that the better option for search visibility is to cover as many areas of expertise as possible.


Discussion in 'Introductions' started by serverninja, Oct 26, 2017.
I am not new to this form but i never sign up to this form ( usually i never sign up to any website/form). So why you do sign up here you ask? Well i am planning to build a script to crawl IMDB movie pages. But i need your help to figure out what to crawl.
I have come up with a list to crawl but i don't think it's very useful to many people.
Script will be fully automatic and run on any platform so don't worry about that.
Welcome to BHW, Good luck buddy!
Welcome to bhw mate All the best.
I was silent reader for a while on this forum too.


A legato forte Rhodes piano playing an F#0.
A soft staccato Rhodes piano playing an F#0.
A staccato mezzo forte multisampled Rhodes piano playing an F#0.
A staccato forte multisampled Rhodes piano playing an F#0.
A legato mezzo forte Rhodes piano playing an F#0.
A soft legato Rhodes piano playing an F#0.


Welcome to the Lassen Mineral Lodge and Volcano Country Camping.
in the town of Mineral in Northern California.
Mineral is a small mountain community with a population of 90.
the Lassen Mineral Lodge is a perfect setting for a weekend retreat or a long vacation.


Is this the coolest title ever or what? I picked this book up based on that alone and I know a few others who are interested for the same reason. Anna Dressed in Blood, the debut novel by Kendare Blake, has a lot of great elements in it. The premise is interesting. The ghosts are scary. The villain is legitimately terrifying.
Unfortunately, all those things don't exactly tie together well.
Theseus Cassio Lowood is apparently the only ghost hunter in the world (or not? it's vague) and he has a silver athame passed down from his father that allows him to kill ghosts. His father was killed by a ghost (or not? it's vague) and Cas has a chip on his shoulder the size of Montana. The first problem that every person over the age of about 15 will run into is that the protagonist is a whining, emo brat. Mind you, this book is billed as YA but this dude is that stereotypical sulking teenager in a very "I'm gonna slap that pout off your face" way. He's like the male Bella Swan. Had sparkling vampires appeared to woo him, I would not have been in the least surprised.
This is who I'm gonna call.
Next, we get to Anna herself and whoa, Nelly! She is scary. A few of the Amazon reviews state that this book is waaaay scarier than a YA should be, and I would have to agree that it would give the lower end of the YA age group some nightmares. Hell, it gave me nightmares. Anna is terrifying and strong and, much to my dismay, does not immediately kill our protagonist. However, she does bust out some carnage on another character and it is incredibly graphic. This isn't a "plucky band of kids saves the day" ghost. This is original Hellraiser scary. This is that horrific little girl crawling out of the TV in The Ring scary. You don't call Ghostbusters for this kind of ghost; you call Sam and Dean Winchester and hope that Castiel is backing them up. Anna is adult-scary in a book that has up until them worked extremely hard at being YA.
Eventually, we figure out that Anna isn't the true problem. There's something else going around murderizing people. It's the whatsit that ate Cas's father! How does he know? He just knows.
Honestly, the thing-that-ate-dad plot point would have been a compelling story in its own right if it had been worked more smoothly into the story. Hell, give it its own book. You don't need two mega ultra badass monsters in one story because one will just get thrown away. Why waste a great monster?
Anna Dressed in Blood would have been a much better novel if it was, say, third in a series instead of first. If I'd had time to grow to care about Cas (or even like the kid), I would have been more invested in his struggle. If we'd had a good grasp of the mythology of the world, I'd have been more impressed by just how tough Anna was compared to the other ghosts and what a challenge she'd be for Cas. The love story would have worked better if I had seen a lot more business as usual from Cas and gotten a better feel for how he normally reacts to ghosts. I also feel like the story should have been either a lot more YA or a lot less. It's a strange amalgamation of a very whiny kid protagonist and a very adult horror setting.
I'm going to buy the next few books from this author because she's got some very cool pieces going here. I'll be interested to see what it looks like when she gets better at fitting them together.
Really stinks when a cool title and a cool cover don't add up. Had this happen with a recent read and it made me sad. Good that the author has things going for her. I may check her out.