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The Untold Story (Unearthed Films) Blu-ray Review
Released by: Unearthed Films
Released on: October 20th, 2020.
Director: Herman Yau
Cast: Anthony Wong, Danny Lee, Emily Kwan, Julie Lee
The Untold Story – Movie Review:
Based on infamous true events that took place near main land China back in 1978, The Untold Story chronicles the tale of Wong Chi Hang (played by Anthony Wong, best known for his role in Hard Boiled), who we first meet at a mahjong game gone wrong, resulting in Wong beating and then burning the other player. A short time later and a mother and her two sons find some body parts washed up on the score. A team of local police officers, led by Danny Lee (who played Inspector Li in the Killer), a man who really enjoys the company of hookers, is begrudgingly signed to the task of investigating the crime.
Around the same time, Wong takes over the Eight Immortals Restaurant, his former employer now nowhere to be found. The more the police look into the events and backgrounds of the parties involved the grislier and more suspicious the events get and all fingers seem to point in the direction of the restaurant and its unusual new owner. After looking into it further, it turns out that the former owner of the restaurant and his entire family has disappeared, and Wong doesn't have any legal documents proving that the restaurant was ever legally signed over to him.
As the cops start to close in, Wong starts eliminating anyone who might have any dirt on him, his newly acquired restaurant giving him the perfect way to get rid of the bodies he leaves in his wake, including restaurant employee Pearl (Julie Lee), who he brutally rapes.
The Untold Story bounces between oddball humor when the cops are interacting, and brutal horror in a uniquely manner that borrows from films like Silence of the Lambs and Henry: Portrait of a Serial Killer. The subplot where female tomboy cop Bo, played by Emily Kwan, is flat out goofy and seriously at odds with the darker side of the film, resulting in some really unexpected and occasionally quite jarring shifts in tone. It's odd, you really wouldn't see a film like this made in North America. At times it's very funny and at others, incredibly disturbing, the rape scene and the final murders really standing out as seriously messed up. The gore effects are generally pretty well done too, with only the occasional severed body part looking fake and rubbery. Yau's direction is good, he paces the film nicely, and production values are solid across the board with the film benefitting from a good score and some solid cinematography as well.
Not for the squeamish (the contents and subject matter of The Untold Story earned it a CAT III rating due to the graphic portrayals of violence towards children, rape, and general bodily mutilation), this film allows Wong to delve into his character's dark side and bring a true human monster to life for the audience in a performance so convincing that he was awarded with the Best Actor award in the 1993 Hong Kong film awards. His performance here is, in a word, excellent. He's clearly completely committed to the part and he really just goes for it, coming close to chewing the scenery a couple of times but never quite going over that line. It is, ultimately, his performance that makes the picture work as well as it does. The supporting cast members are fine, Danny Lee standing out, but it really is Wong's show and the movie is at its best and at its most memorable when he's on screen doing his thing.
The Untold Story – Blu-ray Review:
The Untold Story arrives on region A Blu-ray in an AVC encoded 1080p high definition transfer framed at 1.78.1 widescreen and taking up just over 27GBS of space on a 50GB disc. It's a good transfer, improving on the DVD (which came out in 1999!) considerably, as you'd hope. The picture is clean, showing very little print damage but retaining the expected amount of natural film grain. Colors are reproduced well, skin tones look good and black levels are solid if maybe a step away from reference quality. There are no noticeable issues with major compression artifacts (you might spot a few minor ones in some of the darker scenes) and the picture is, thankfully, free of any obvious noise reduction or edge enhancement problems.
Audio options are offered in Cantonese and Mandarin language options in 16-bit LPCM 2.0 Stereo with removable subtitles provided in English only. No problems here, the audio sounds fine, with both tracks properly balanced and demonstrating a decent amount of depth. There are no problems with any hiss or distortion worth noting.
Extras on this release include a new commentary track featuring Bruce Holecheck and Art Ettinger. They start off by talking about the different titles that the film is known under, the stylized format used in the prologue, the importance of this era in Hong Kong filmmaking not just in the horror genre but in other genres as well, their own experiences getting exposed to Cat III films as well as the specifics of the rating itself, the impact of the Cat III boom on the Hong Kong film industry and the popularity of these films, details on the home video release history of The Untold Story (including mention of the German release on DVD that came with a set of chopsticks!), the use of 'daffy cop humor' in the picture, other pictures that the cast members were involved in, the significance of Julie Lee's presence in the film, the use of rape in this and other Hong Kong Cat III movies and the importance of Danny Lee's contributions to cop movies. As the track goes on, they also cover the importance of Dr. Lamb to the Cat III horror pictures, notes on the case that inspired the film, the way that police brutality is depicted in the movie, background details on Yau's career, Wong's performance (including his use of real vomit in the movie!) and career and lots more. It's a good track with a lot of information in it. These guys have solid chemistry together and have a very conversational delivery style that makes it easy to listen to.
Carried over from the old Tai Seng DVD release are separate archival commentary tracks, one with Anthony Wong and the second with Herman Yau. Wong's track, delivered in English and moderated by Miles Wood, starts with a talk about how he got into acting and then goes on to cover trying to resemble the real life person on which the movie was based, how he feels most Cat III scripts are generally pretty bad, working with Yau on the shoot, Danny Lee's performance and his tendency to take charge, what it was like shooting some of the gore sequences, the influence of his acting teacher on his work in this picture, his popularity in the west and his thoughts on the picture overall. Yau's track, also delivered in English and moderated by Wood, covers the real life events that inspired the film, how he came to direct the project, working with the cast and crew on the picture, what went into getting the props ready for the gore scenes, the camerawork featured in the picture, why the infamous rape scene was shot and cut the way it is and how important it was not to sexualize it, how shooting scenes with real meat and organs can result in a terrible smell, the use of humor in the picture and plenty more. If you haven't heard these tracks before, they're both well worth your time.
Unearthed also provides the film's score as an isolated audio track, also in 16-bit LPCM 2.0 format, which is a nice touch.
Also worth mentioning is the inclusion of Category III The Untold Story Of Hong Kong Exploitation Cinema, a feature length documentary that runs just over eighty-three-minutes in length. This documentary is comprised of interviews with academic and critic Sean Tierney, critic and producer Bey Logan, director Daniel Chan, Sitges International Fantastic Film Festival Deputy Director Mike Hostench, curator and critic James Mudge, academic and author Calum Waddell (who also directed the documentary), actor Gan Kwok-Leung, director Godfrey Ho, actor Anthony Wong and actress Josie Ho. This thorough examination of the Cat III movies covers the different classifications ratings and specifically what makes a Cat III film earn that rating, the different films that are now associated with the Cat III rating, early films that played a part in the movement including some Shaw Brothers pictures, the big players in front of and behind the camera, the importance of T.F. Mau's Cat III films and some of the politics behind them and contributions from other studios like Golden Harvest. We also get overviews on some of the more memorable Cat III films that have been made over the years like the Sex And Zen films, the Erotic Ghost Story movies, Chinese Torture Chamber Story, The Untold Story and its sequels, Ebola Syndrome, Dr. Lamb, the Men Behind The Sun films and Naked Killer to name just a few as well as a look at the work from Cat III legends like Amy Yip, Anthony Wong, Herman Yau, Simon Yam and the influence of the Hong Kong handover to its film industry, more recent Cat III films among other topics. It's pretty interesting stuff and nicely put together, covering pretty much all of the bases you'd hope it would cover.
On top of that, we also get Cantonese Carnage: An Interview With Rick Baker that runs just over thirteen-minutes. He talks about starting the Eastern Heroes fanzine and then, subsequently, the video label and store and the popularity of the Cat III films that he had a hand in bringing to audiences in the UK. He also talks about dealing with censorship problems, how the Cat III films were always the most popular even if the quality wasn't always there, the success of a Naked Killer boxed set release that they put out, the importance of Anthony Wong and Simon Yam to the Cat III market, some of the more important Cat III films from the era, dealing with the BBFC on certain releases and what's happened to the Cat III movies in the last decade or so.
Also found on the disc is a Q&A With Herman Yau in which, over seven-minutes, he speaks about the differences in the markets for some of his films in regards to the Hong Kong audiences and the mainland China audiences and the economic influence of those differences, the censorship issues that existed between Hong Kong and mainland China and what might happen to HK cinema as mainland China usurps the territory.
Rounding out the extras on the disc are two different trailers for the feature as well as bonus trailers for Famine, House Of The Flesh Mannequins, Nightwish, The Song Of Solomon and The Unnamable as well as menus and chapter selection options.
As to the packaging, Unearthed Films provides a slipcover with this release and, inside the Blu-ray keepcase alongside the disc, we also find an insert booklet containing a two-page essay on the film by Art Ettinger that provide a bit of background on the movie as well as his own thoughts on the film. Good stuff.
The Untold Story – The Final Word:
The Untold Story remains one of the more notorious Cat III pictures, and for good reason as it's pretty brutal in spots. While tonally this one is all over the place, Wong's insanely intense performance makes it one for the record books and Unearthed Films has done a very nice job bringing it to Blu-ray with a solid presentations and a whole lot of extra features both old and new. Highly recommended!
Click on the images below for full sized The Untold Story Blu-ray screen caps!
DVD And Blu-ray Reviews T-Z
Tags : anthony wong, blu-ray, blu-ray review, danny lee, eight immortal restaurant, emily kwan, herman yau, julie lee, the bunman, the untold story, unearthed films
Jack J - 11-10-2020, 04:56 PM
So good to see this is finally out on bluray. Hopefully this isn't a super limited release!!
Ian, you mention English subtitles but not whether they're newly translated in proper English, or if the label went the cheap-skate way and went for the the old wonky HK subs. I certainly hope they're new.
Ian Jane - 11-10-2020, 05:01 PM
They're probably new, I don't have the old disc to compare it to anymore but they weren't full of any wonky translations.
And so far as I know, it isn't a limited release.
Originally Posted by Ian Jane
I'm looking for a smiley to "like" your reply but I guess this is old-skool so I'll just have to say "thanks".
Bruce Holecheck - 11-10-2020, 07:08 PM
Originally Posted by Jack J
Slipcase and liners are limited to the first pressing, but beyond that it'll be available.
Jack J - 11-11-2020, 12:12 AM
Originally Posted by Bruce Holecheck
Hi Bruce. Cool, thanks!


text:
Q: Popup box should not be display when click on facebook like button Question: When I click on facebook like button a pop up box is appear. But I don't want to display it. When we click on facebook like button just my page should be like, box should not be display.
Can I hide this box ?

A: If you use iframe to show like button, comment popup will not be display when user click on like button.
See link below for more details:
https://developers.facebook.com/docs/plugins/like-button
See iframe sample code to display like button:
<iframe src="//www.facebook.com/plugins/like.php?href=https%3A%2F%2Fdevelopers.facebook.com%2Fdocs%2Fplugins%2F&width&layout=button&action=like&show_faces=false&share=false&height=35&appId=248175312034010" scrolling="no" frameborder="0" style="border:none; overflow:hidden; height:35px;" allowTransparency="true"></iframe>

A: is this possible for this pop up to appear only to those who didn't liked it already, I mean it should check the cookie and see if the visitor has signed in to his fb account and if he already had liked the page then this pop up doesn't show.

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Q: The use of 'otherwise' in a sentence For some reason I cannot understand the following sentence
"Unless we mutually agree otherwise in writing, you will..."
Is this mean that agreement must be in writing or that it does not have to be in writing (verbal)?

A: otherwise is the object in the sentence. "we agree" is the root phrase, with "in writing" as an (unmodified( dependent clause. What "we agree" upon, in this case, is something not already in the contract  --> something other than what was stated --> something "otherwise" --> otherwise
Clumsily phrased, especially considering contractual context, for this interpretation.


A large Winnie the Pooh teddy, a bike, a fax machine, jeans and a snake were among a host of bizarre items found in Scotland's sewers last year.
Scottish Water said it dealt with more than 40,000 blockages in the drains and sewer network.
Most were caused by people putting things such as cooking oil, nappies and baby wipes down sinks and toilets.
It is running an awareness campaign to highlight the issue, which it said creates costs of more than £7m a year.
A series of television and radio adverts will urge householders to dispose of kitchen and bathroom waste responsibly.
Scottish Water said cooking fat, oils and grease coupled with bathroom waste such as cotton buds, nappies and baby wipes created "a perfect storm of solidified fat and material that cannot break down easily in large clumps beneath Scotland's streets".
It warned the blockages can often lead to flooding and expensive repairs.
Chris Wallace, of Scottish Water, said: "The waste water drain which runs from your house to the public sewer is usually only about four inches wide, which is less than the diameter of a DVD.
"This drain is designed to take only the used water from sinks, showers and baths and pee, poo and toilet paper from the toilet."
The firm has also released a list of some of the more unusual items discovered in the sewer network.
Some of these - including mobile phones, jeans, false teeth, pants and toy action figures - were flushed down toilets.
However, other more bulky items - including a pink ladies bicycle, a fax machine and a large Winnie the Pooh teddy found in East Kilbride in South Lanarkshire - had been dumped down manholes.
The Scottish Water campaign to tackle blockages and encourage more responsible waste disposal also involves leaflets and school visits in the Stirling and Dumfries areas and will run for seven weeks.
Iain Gulland, director of Zero Waste Scotland, said: "I welcome the launch of this new initiative by Scottish Water to raise awareness of how to keep the sewer system clear of waste.
"Waste is a resource and there are significant environmental and economic benefits for Scotland if we work together to manage it more efficiently."


Generally, it seems to me, when people get together to talk about style and content in the novel they talk about just that: There's the way a story is written and there's what is written about. And the two, as any Literature Professor in charge of any introductory undergraduate course on the novel would say, are inextricably linked.
But nobody talks much about form. Or if they do, as the programme notes for this event suggest, they use it as another word for style.
And we need to talk about form. "Significant form", as Roger Fry and Virginia Woolf had it. Form that is the shape and idea and raison d'etre of the novel. Form that sits behind the style and generates it, that informs the presentation of content and makes sense of it, giving context. If content is the "what" of a novel – what it's made of – and style the "way" – in which way it is written – then form is the "how". How a story is made in the first place, the plan for its very being. And it's form, the mother of style and content, I may say – if I want to be rather classical and 18th century about things! - that I want to concern myself with here today.
As I say, it's something we don't hear much about. Form is fancy. It's "highbrow". It's the word used by Modernists and for Modernism, it's for academic papers and critical theory and discussions about aesthetics. Form, for all that it is talked about in general literary circles, in the papers and at Writers Festivals (though not this one!) may as well be a dirty word.
Yet, I return through the mists of time to my undergraduate English programme, headed up, no doubt, by that same professor I talked about earlier, who tells us that "style and content are inextricably linked" and the core course: Introduction to the Novel 101. And what I remember is this: That as we marched our way through the canon that year, from "Pamela" and "Clarissa" through to "Robinson Crusoe" and "Tristram Shandy" and "Tom Jones" and all the rest, stopping resolutely as we did in those Oxbridge syllabus dominated days with DH Lawrence, it was form that gave instruction to the writer I wanted to be. I had no or little interest, not really, in what went on in those books. All the stuff that was happening, riveting and dramatic as it may have been. I wasn't turned on by the stories' historical contexts, either; I didn't care to keep track of the characters' individual actions and remember what happened to whom, and when. No, I was interested in how they were made, those books, for what purpose their authors deemed they were fitted. I was interested in how an imaginative idea was going to be made as real to me and as necessary and vital as anything else that might be going on in my life. Once that was in place, I could figure, all the rest would follow.
And follow it did. The exam questions kicked in and I knew exactly what to do: "In what way does the word of Middlemarch reflect a changing England? "Forget it. "At what point in the novel and why does Dorothea realise her sense of independence has been challenged?" Pass. "Show passages of speech and description that reflect class prejudice." Not now. But once I got to "How has George Eliot gone about creating a social document within a novel?" I was off and running.
Form was my way in, then, to those often lengthy, densely written, character rich narratives that have all of us flipping back pages in the midst of our reading to remind ourselves of whether such and such was the same one who had said something to so and so in the first section, or whether he was her uncle. There was so much content! And then the paragraphs, the circumlocutions of period speech, the details of descriptions that were needed in a world before photographs and films. There was so much style! Getting through the canon of English language literature in three years – it's a relentless business, alright! But what books! What mighty books! And each one utterly unlike the other – no two authors writing in the same way and each literary project with its own unique shape. Like exciting novels we read now that transport us, that take us fully into their reality and keep us there, that aren't just some copycat project based on research, or that follow a trend, or trick us with a fancy style or overwhelm us with plot. The books that have form have unity and wholeness. They answer fully and with integrity the question: How am I going to create a world for this story to live in? That's what form does. It brings content and style together in unity in a novel. Without it, the style, original as it may be, is just echoing in an empty chamber. The content, box new perhaps but without its own form, dull and second hand and boring to read.
I have a million examples of writing of the other kind, that miss the point of form, and still the books are praised and bought and read. Seemingly, just because we're talking about novels, that great rag bag of a genre that can hold anything from chick-lit to "War and Peace", we can throw form out the window. Because in the novel, anything goes. But should it be that way? That a writer putting together a novel about, say, insanity in rural Ireland in the 19h Century, (and I'm making up the examples here, by the way, to be polite) a novel with an uneducated central protagonist who is keeping a diary from her cell, has not considered a form for that book that would make sense of that woman's status and condition? So, for example, she would not write at all –because she can't. She's not educated. She wouldn't be able to fill the pages of a journal in her cell. But still there would be some other way of the author creating that character's thoughts and life on the page? Can't that writer think about that, instead of just relying on the substance of his content, to make the story real? James Kelman knows how to solve that kind of challenge. He knows about form. He has characters who don't read, who've gone blind, yet still move through the pages of their stories in a way that's rich in literary terms because of how he has invented his books, to have come up with a form where, as the great late Dr Gavin Wallace, former head of literature at Creative Scotland described it, "the life being lived is contiguous with the writing that describes it." Kelman's form is made up of his very characters, who talk to themselves continually, apprehending, sensing, understanding, not understanding. What we read on the pages of his books are the entire contents of their minds. It s a world away from the tried and tested journal style used by that other writer, and countless like him, who've all copied in turn from Defoe – because Kelman has form. He' s not like anyone else. Form doesn't want to be.
Or, to take another example, that a book, say, written from a child's point of view might consider issues of vocabulary and understanding in a young mind, that it might encapsulate a sensibility more fractured and acute than the sophisticated adult who's writing it? Yet how many writers – some of them very successful – really capture in their words what it is to be a child? Carson McCullers did, perfectly, in "Member of the Wedding". She knew about form. Frankie's world, in that book, is complete, but made up of parts of disparate seeing and understanding and she grows up in the story with different ways of being, and speaking. Everything about the construction of "Member of the Wedding" is idiosyncratic and wild, mixed up as a dream. That's what a child's world is like. It's not a version of an adult novel cut down to size. It's not a controlled narrative, or masses of character and interiority. It's scattered and intense. Why don't so many authors who write from a children's perspective get it? That kids' worlds aren't like theirs? Why doesn't form seem to matter to them, that they should think that just by inventing a young voice they'll pull off the trick of making childhood seem like childhood?
As I say, I could go on and on here, with examples. Books written from the first person that have never considered what it is about the first person that might be exciting actually, that the reader might not feel she's been stuck in someone's solitary company for too long. Books written that seem to be about character, until, ten pages in, you realise they're only about stereotypes; or books set in ancient times with all the research in place, all those details about iron vessels and agriculture, only the teenagers who live in the freezing hovels sound like they come from LA. Or books that seem to be about fancy writing but the writing has no context because there' s been no central aesthetic governing it, nothing to put it in. Or books that seem to be about plot but really it's the setting that the writer loves, that could have been the plot in itself, if only the author had thought about form, if only, if only, if only… The writer had thought about form so many of the novels might come together.
But then, form is a challenge. It's the hardest part. It's why most writers stick with the tried and tested, that good old workhorse, the realist novel. Broken and harnessed to plough the fields of 19th century fiction, we know what to expect of it, what it's supposed to do. Indeed, how many other, very different kinds of books are always held up to it for comparison? If you listened to enough of the hugely successful realist novelists at work today talk about the novel, their novels, you'd be forgiven for thinking that the canon stopped its march right there, in the turned earth of the classical English novel, with its showing and telling and character development and narrative arc.
Yet the examples I gave before describe two ways form may have stepped in and created something new and exciting from the materials in hand without having to revert to copied and repeated methods. And I gave two masters of form, two great artists, as examples of how one might find solutions to the basic challenge of writing fiction, that is, making the words on the page believable and real. These are writers whose every book shows them having thought through completely the requirements of what they need to do to tell their stories. They know that idolect does not form make. Nor crazy looking chapter headings or multiple fonts. Nor content designed to impress or over-act. They know that form is not just tackling certain challenges of plot or character in isolation – but is the very "how" of their work, as I said at the beginning of this talk, its beginning and its end.
Virginia Woolf's novel "The Waves" tells the unbroken story of six friends from childhood into age. By creating a kind of banner of prose, without break, that segues from the mind of one character to the next, she tells about the private and public circumstances of their lives. So that's the style, that's the content. But the "how" is how she gets started. Two places divided by a corridor, is how she first thought of "To the Lighthouse". It was music for "The Waves", "rhythm". Yes, the work unfolds, as it does to any writer as she or he is writing, but it took shape first as a concept, an idea that was abstracted from the imagination and the intellect and sometimes, too, from the psychological make-up and even psyche of the author and then fashioned into fiction. I can imagine writing a novel that would be like a ship at night "strung about with lights" Katherine Mansfield wrote as though in response to Woolf's own definition of the novel as a "row of lamps". How far these ideas are removed from the rigid, rectilinear narratives, that flinty mass-produced form, that constitute so many novels today. How wild, by contrast, how trippy, how exciting and involving…This other kind of novel that has as its beginning a complex, aesthetic idea to do with the story's origin and design, that is nothing to do with what is safe and familiar.
In a recent lecture to writing students, critic and author Gabriel Josipovici talked about the "terror" of creation. He was addressing the modernist condition of making art in the void, described so beautifully in his recent polemic "Whatever Happened to Modernism?" as the "fading of the numinous", the relaxing of a religious medieval mind, content with its world order and heaven, into the troubled, questioning condition of humanism. There is time in which to create, Jospipovici said, and out of that time can come the excitement – of making something new – but alongside it is the terror, too, that the writing may not succeed. All we have to hold onto is the sense of the form of the project.
So to finish: There's writing as representation, and there's writing as a living thing. There are novels that are about, and like, and for. And there are other novels that …Simply are. To consider form, the shape, the concept of a work of fiction, is to go at reading from the most exciting perspective – one that gifts us with fresh sight, that makes reading not passive – part of out consumer consumption, an extension of the entertainment industry – but something active, engaging, affecting and real.
Let me conclude with a remark made by science-fiction-writer China Mieville, who had much to say on the future of the novel at the conference in Edinburgh last year and who was talking about novels there again this past week and at a book reading he gave a couple of months back. The word he had for what I'm wanting to get at here, in this talk of mine about what novels are made of, was "uncanny" – the notion of a thought, or a sentence that is homeless, somehow, in the text. He was referring to future-fiction and fantasy, and also the modernist idea of looking at something anew, so that the familiar seems strange – saying that both these concepts need to find a home in the story so the reader can make sense of them. But the idea works beautifully for us here, today, too. Because that's what form does. It gives the words, it gives style and content, a home.


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Non-Religious Americans Are More Reliably Democratic Than Almost Every Group May 15, 2019 Hemant Mehta
Non-Religious Americans Are More Reliably Democratic Than Almost Every Group
We know Republicans always pander to white evangelical voters. Why wouldn't they? Those evangelicals are a sizable and reliable voting bloc in elections. In 2016, roughly 80% voted for Donald Trump and that was despite all the scandals up to that point.
On the flip side, only about 70% of Americans without a religious affiliates voted for Hillary Clinton. But that still means we're a sizable, reliable voting bloc for Democrats. So why won't Democrats pander to us? Or, more strategically, why won't Democrats make a bigger deal about issues that matter to non-religious Americans when it could generate even more support among us?
It's a question that we've been asking for more than a decade, especially since the "Nones" began growing rapidly.
One theory that's been floated around is that Nones aren't single-issue voters. We're not asking for a president to advocate atheism for us. We don't even care, as a whole, about church/state separation as much as conservative Christians care about repealing abortion rights and hurting LGBTQ people. (In a sense, it's easier to pander to conservatives because Republicans know exactly what they want to hear.)
But it all goes back to one question: Are Nones as reliably Democratic as conservative Christians are Republican?
Considering both groups are now about 23% of the population, it would be worthwhile looking at how strong of a voting bloc both groups are. And that's what Professor Ryan P. Burge of Eastern Illinois University just did.
In a really neat article that is catnip for statistics nerds, he used information from the 2018 Cooperative Congressional Election Study, he worked out how various religious groups (even smaller ones) would vote. He figured out if they were politically left or right of center, and then he calculated how much deviation there was. The more deviation, the less reliable a group is for any political party.
Here's one example:
In that picture, you can see that White Evangelicals are mostly to the right (shocking!) with a standard deviation that's smaller than the overall average of 2.19. That means they're more reliably Republican.
What would it look like for a group that's reliably Democratic? Check out Black Protestants:
They are really left of center, and their standard deviation is even smaller. Black Protestants are more reliably Democratic than white evangelicals are Republican. (Case in point: Alabama Sen. Doug Jones.)
Okay. What about atheists?
We are left of center and we have a fairly small standard deviation. In fact, atheists are more reliably to the left than white evangelicals are on the right. There just happen to be fewer atheists in America.
And finally, what about Nones in general?
Slightly to the left with a standard deviation that is almost the same as white evangelicals. That says a lot more about the uselessness of that category than anything about non-religious Americans as a whole.
Burge writes:
… note that atheists are the second most Democratic leaning group of the fifteen in the sample, only bested by black Protestants. Agnostics rank fourth from the left, just after Muslims. However, note the "nothing in particular" group, which is nearly 20% of all respondents and much further to the right. In fact, this group is just slightly to the left of the mean partisanship score for the entire sample. When the nones are classified, oftentimes these groups are added together which pulls the mean partisanship further to the right and therefore misrepresents the true political outlook of atheists and agnostics.
In other words, explicitly non-religious Americans — a quickly growing slice of the population — are very much in line with the Democratic agenda. We are not as heterogeneous in our thoughts as common wisdom might suggest.
Burge summarizes the data:
… what does all of this mean? Well, it gives absolutely no ammunition to the argument that the nones are too politically diverse to actually coordinate an effective voice to politicians and candidates. In fact, the nones as a group are more politically unified than many of the largest religious traditions in the United States (evangelicals and Catholics).
He's right. There's an opening for Democrats to talk about issues that matter to us if they want the more apathetic among us to cast a vote in their favor.
What are those issues?
Well… that's where it gets complicated. It's hard to think of any issue that matters to the broader group of Nones as much as social (wedge) issues matter to conservative Christians. But there are a few places they could start: church/state separation, science education, sex education, any education, climate change, women's rights, LGBTQ rights, data-driven policies. All of those things would find broad support among non-religious Americans — and all are actively under threat when the GOP is in power.
Most Democratic candidates for president are pushing for all of these things, which is a good start. It would also help to mention the contributions of non-religious Americans in speeches instead of just as a mere afterthought in a list of faiths ("… and non-believers, too").
If there's one thing we learned in 2016 and really took advantage of in 2018, it's the importance of getting your base out to vote. That matters far more — and is more strategic — than trying to win over people who will likely never vote for you.
What Burge shows us is that non-religious Americans — especially those of us who don't believe in supernatural myths — are already on the side of most Democrats. It's up to the candidates to convince us they're worth voting for.
Channel - Politics Blue
Georgia Insurance Head, also a Christian Leader, Charged with $2M Campaign Fraud
May 15, 2019 Man Who Sells Alternative "Medicine" Insists He Saw Jesus When He Died


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[email protected] Embraces Vertical Concept for Affordable Housing Development in Phoenix
As the population increases, so does the need for living space. With limited land available, as is in the case in the Urban Core of many growing cities, the possibility of large plots of land for single family homes becomes either very expensive or very rare. When you can't build out, you build up… thus spurring the trend for vertical living.
The stacked townhome (or row house) is not a new concept. For centuries, city living has been based on homes with a small footprint, allowing for walkable neighborhoods surrounded by local shopping and dining. Central Phoenix land is at a premium and people are looking to create smaller carbon footprint via less car-use and more bike riding, less urban sprawl, and more intelligent design. Unfortunately, increasing the number of homes and neighborhoods ultimately results in the destruction of natural habitats and ecosystems which are essential to the health of our planet. It is a problem which cannot be overlooked.
This is where the concept of modern vertical living comes in. Trellis, a non-profit organization dedicated to making affordable, stable and sustainable homeownership possible, has recognized the need to adapt. [email protected] is a townhome community in Uptown Phoenix with a vision for preserving the future of our neighborhoods and the surrounding environment, which is why their developers adopted the vertical living concept. Vertical living is an innovative solution which strives to reconcile for the demands of a growing population and the desire for space, privacy and socially responsible homeownership.
[email protected] features 20, 3-story, townhome units which provide homeowners an affordable way to live in the heart of the city! [email protected]'s unique layout has two model options (The Agave & The Verde). Each unit provides residents a private garage and patio yard on the first floor, with an additional flex space that can be used as a home office or workout room. The homes feature a spacious open-concept kitchen, living area and bathroom on the second floor, and two bedrooms with en-suite bathrooms on the third floor. The property is designed with an energy efficiency HERS index score rating of 65 and the units are solar-ready and 35% more efficient than standard new build homes.
[email protected] offers residents an alternative to traditional high-rises and the horizontal developments which continue to extend the urban sprawl and negatively impact the future of our planet. While the pandemic continues to inspire people to reexamine priorities and seek ways to improve their overall quality of life, it is equally important to seize this opportunity to reshape and restructure the society we live in. By making affordable housing available, and prioritizing developments which preserve and protect our communities, we work together toward a brighter and greener future!
How Valley CRE Brokers Think Rising Interest Rates, Impending Recession Could Impact Market
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The Double Whammy of Home Prices and Interest Rates
What is a NNN Lease? The Changing Game in Triple Net-Lease Deals
A Closer Look at the Build-To-Rent Boom in Phoenix
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Concerns Lurk Behind Phoenix Multifamily's Torrid Pace
Examining the Intersection of Commercial and Residential Real Estate
REO Broker and Asset Management Services


Registrants who wish to resign from the CDHO, need to formally notify the College by completing an online Resignation Form in the self-service section. You will be notified once your resignation has been processed.
Failure to renew or to formally resign on or before January 1st, results in the suspension of the Certificate of Registration for non-payment of fees. Certificates of registration are automatically revoked two (2) years after being suspended. The public register will permanently indicate that a certificate of registration is "suspended" or "revoked" and this information will also be published in the College publication, Milestones.


The American actress loves her food. And she loves her wine, too.
It's a little-known fact that before getting engaged to Prince Harry, Meghan Markle first loved food.
On her now-defunct lifestyle site The Tig, the 36-year-old actress shared her favorite recipes and food picks for her readers. Though the rich resource that is The Tig is gone, we can, thankfully, watch Markle's previous interviews and check out her Instagram page to get a glimpse of what her Nottingham Cottage kitchen might look like.
To start her day, the American actress whips up an easy mix of oatmeal (steel-cut, that is) with bananas. In addition to that, the star confessed in an interview with The New Potato that her "ideal food day" would start with a Clean Cleanse vanilla shake blended with frozen Ontario blueberries for breakfast.
For lunch, Markle prefers something light such as a salad. Her favorite one happens to be a Niçoise salad, which she pairs with Grey Owl goat cheese and a baguette. As documented on her Instagram account, Markle also considers good sashimi a fabulous lunchtime treat.
Her midday snack is no different from her healthy choices. Markle's go-to dish is apples with almond butter.
She does have her vices though, one being french fries. The Suits star claims that during an off-season of shooting, she goes all out with the fried snack. "I'm always hoping I'm having lunch with people, so we can share fries. It's its own food group for me," she says.
Pasta is another one of her favorites. Preferably, one mixed with vegetables and parmesan cheese as a vegan practitioner. To keep her figure, most of the time Markle opts for soup. "Typically soup. I'm more peckish then, so I usually go lighter for dinner," she tells Delish.
In lieu of a dessert, Markle prefers a good nightcap. And with all the times she's mentioned wine in her interviews, it's safe to say that the future Duchess can't live without the fermented juice. She tells The New Potato, "God, do I love wine; a beautiful full red or a crisp white." However, she's not partial to just reds and whites, she also loves a good glass of rosé! Aside from wine, Markle is also a big fan of cocktails: "I love a spicy tequila cocktail, Negroni, or good scotch (neat)," she says—it looks like the Queen is in good company.


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Feb. 12, 2019 04:05PM EST
How An Online Fandom Put Be More Chill On Broadway
Last summer's off-Broadway run of Be More Chill. Photo by Maria Baranova, Courtesy Keith Sherman & Associates
When Chase Brock signed on to choreograph a new musical at a theater in New Jersey in 2015, he couldn't have predicted that four years later, he would be receiving fan art featuring his Chihuahua because of it. Nor could he have he imagined that the show—Be More Chill, based on the young adult novel by Ned Vizzini—would be heading to Broadway with one of the most enthusiastic teenage fan bases the Great White Way has ever seen.
Be More Chill on Instagram: "This Michael doll #FanArt is EVERYTHING!!!! Incredible work, @broadwaydollsandguys!"
The origin story of Be More Chill is already one of musical theater legend. After a month-long run at the Two River Theater, the creative team—including Brock, director Stephen Brackett, writer Joe Tracz and composer/lyricist Joe Iconis—thought the show's lifespan had unjustly passed. About two years later, Brock began noticing fan art popping up on Instagram, and assumed that Be More Chill was being performed at high schools or community theaters. (It wasn't yet: The show only became available to license in July 2017.) Instead, the cast recording was being streamed, over and over again, as teens discovered the show—and the rapidly growing canon of cosplay, fan fiction and fan art surrounding it—on YouTube, Tumblr and Instagram. By the spring of 2018, the album had been streamed over 100 million times. Be More Chill's success online is what convinced producers that it was ready for an off-Broadway production, which sold out before opening night; an extension of the run sold out in less than eight hours.
A move to Broadway, where the show begins previews this month, was almost inevitable. But the unapologetically quirky production will still be an underdog, just like its protagonist, Jeremy, a high school loser who ingests a pill-sized supercomputer called a Squip to help him be cool—or rather, "chill."
Brock partially attributes Be More Chill's wackiness to the absence of a commercial producer during development. "We were allowed to just do our thing, and as a result the show is spikier and stranger," he says. This freedom is also reflected in Brock's high-energy choreography, which draws from sources as various as a Belgian street dance called jumpstyle, and finger-tutting, which represents the digital world of the Squips. (His most memorable fan experience so far involved a teenage girl sitting near him on opening night off-Broadway, perfectly executing a complex finger-tutting sequence.)
Photo by Maria Baranova, Courtesy Keith Sherman & Associates
What was it like to visually shape a show that thousands of fans had listened to but never seen? "I had to trust that if one part of the show was connecting strongly then all the other parts would connect that strongly, too," says Brock.
But Be More Chill will need more than a teenage cult following to survive on Broadway. Brock says the show already has a growing fan base in the parents who brought their superfan tweens to the off-Broadway production. But the goal isn't to appeal to everyone, anyway. In fact, Brock believes that part of what has made the show so successful thus far is how it has connected with a very specific group: LGBTQ teens who consider themselves outsiders. Be More Chill's popularity on social media has generated an unprecedented collaboration with these fans, who have imagined new relationships between characters that are now alluded to in the show. "They are speaking back to us," says Brock, "and we have a responsibility of listening."
Be More Chill on Instagram: "Are you KIDDING me?!? This #FanArt is EVERYTHING!!!!! (@viiiarts / Instagram)"
Chase Brock Theatre Credits ›
First Look at the Off-Broadway Premiere of Be More Chill | Playbill ›
BE MORE CHILL - dance rehearsal footage - YouTube ›
Up Close and Personal With Be More Chill's Choreographer Chase ... ›
Be More Chill by Ned Vizzini ›
Review: 'Be More Chill' Is Dopey, Shrill and Somehow Very Popular ... ›
Amazon.com: Be More Chill (9780786809967): Ned Vizzini: Books ›
Be More Chill | Official Website ›
be more chill chase brock


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This bracelet is a extra special bracelet. It is designed to help make the connection with archangel Uriel in your time of need. Uriel is known as the angel of peace. But he is a teacher and brings wisdom. It is said when he is near you will feel it in your chest.
The charm bottle has Jasmine tiger's eye chips and quartz inside of it. With hemmatite on the outside.


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Getting the head in gear
By CRAIG MURPHY
For Jun Zhu, the reason for opening Gearhead Automotive earlier this year was simple.
"We don't have enough affordable auto repair shops in Keizer," said Zhu, who opened his shop at 1091 Chemawa Road North No. 11 in January. "I'm also trying to see if I can help the community. I want to help them out."
For Zhu, he sees that working in two ways, one involving his senior mechanic Richard Gonzales Jr.
"McNary High School is teaching auto repair," Zhu said. "I want to see if we can send our senior mechanic there to help, or have some of those students come to my shop. And for little league, I'm hoping to be able to sponsor them. I want to get our name out as a sponsor."
Zhu talked with mechanic James Rockwell last fall and decided to open the shop. The two looked at nearly 60 spaces before settling on their Chemawa Road location. Rockwell recently left due to National Guard commitments, leaving Gonzales as the sole mechanic.
"Right now it's just Richard," Zhu said. "Once we get more traffic, I want to get a second person. He's been trained as a GM certified mechanic. He's also been fixing foreign cars like BMWs. I go down there every other day. Richard is dealing with the day-to-day. I'm not a mechanic, so I can't fix cars."
Gonzales Jr. has eight years of experience working on General Motors products, plus four years working on Audis, BMWs and Minis.
"I'm a great tech," said Gonzales, 29. "I've always been at shops for at least five years. You've got to find someone willing to take changes. I come from Southern California. My buddies started their own shop. I started as a helper, next thing you know I'm knocking down motors. We did all makes and models. I put my hands on a lot of fast cars."
Gonzales got to know Rockwell by ordering parts at O'Reilly Auto Parts and was intrigued by the idea of working at the new shop.
"As long as we keep the customer flow going, it should be good," Gonzales said. "When I saw the building, I said they are for real. This is the real deal."
Zhu is optimistic business will start picking up.
"This is brand new here," he said. "It's starting a little bit slow. We're trying to get our name exposed more. We're here to help and have reasonable rates. I think we are needed in town, it's just a matter of time."
The shop labor rate is $82.50 an hour, while police, fire and military members get a 15 percent discount. The shop phone number is 971-202-2299.


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Iniziò la sua carriera presso il regno di Sicilia come magister, e maczoniero, guadagnò il titolo di miles, rientrando nella cerchia ristretta di Carlo I d'Anjò, attestandosi come familiares, e dal 1278 lavorò come Protomagister operum Curie e contribuì alla diffusione della cultura gotica francese nell'Italia meridionale. Si ritiene tra le altre cose attribuibile a lui l'introduzione dell'uso delle mura a scarpa e delle torri di difesa circolari nella ristrutturazione dei castelli angioini dell'Italia meridionale sul finire del XIII secolo. Ebbe in dono dal sovrano i territori di Montoroni e Mallani in Basilicata.

Tra le opere in cui è documentata la sua partecipazione attiva vi sono i castelli di Lucera dal 1269 al 1282, Canosa dal 1271, dal 1277 operò presso Bari, Barletta, Mola di Bari, Villanova di Ostuni, Brindisi, Melfi, Manfredonia, la torre della Leonessa.

Inoltre sono molto discusse e nell'ordine delle ipotesi, le attribuzioni del coro della cattedrale di Barletta, di Castel Nuovo, oltre alle chiese napoletane di San Domenico, San Gennaro, Sant'Eligio e alla Basilica di San Lorenzo Maggiore; non è accertato inoltre il suo probabile ruolo di castellano di Castel dell'Ovo del 1300.

Note

Bibliografia

Caroline Bruzelius, Le pietre di Napoli. L'architettura religiosa nell'Italia angioina, Roma, 2005.

Voci correlate
 Angioini
 Carlo I d'Angiò

redpajama_set_name: RedPajamaWikipedia


There are many industries where you can find the use of 3D and they are film when you can use 3D modelling and animations like characters, weapons and monsters. There is also the gaming industry when you model the 3D characters, the whole environment and other assets.
The software that people use to model 3D are Blender, Cinema 4D and Maya. The advantages of the Blender is that it is free, it is easy to use, you can With Blender, you can model using a preset basic mesh object: cone, cube, cylinder, sphere, torus, etc. – that you can extrude and reshape. Cinema 4D is not free but you can take your models and animate them for your game and make the animation look really smooth and add colours and materials. with Maya you can also model in 3D. The disadvantages with Maya Cinema 4D is that you have to pay a lot of money if you don't want to have any problems with copyright.
This image was produced for the gaming industries and the environments that the cars are surrounded by is a pitch with 2 goals on each side, the models that are in this image is a car, a football and boosts that you can see on the floor (the orange circles). The product design is for a photo realistic game as you can see the cars look realistic. All you have to do in the game is 2 teams of 1,2,3 or 4 and the team with the most goals in 4 minutes is the winner.
This image of a Dragon was produced for the film industries for a film called The Hobbit. The models is the Dragon and the golden coins. The environment is in a huge temple and it is filled with treasure. It is also dark is some areas of the photo to make the Dragon and the person look a bit more 3D, there is also bright lighting in the middle of the photo to show us that that is where they want us to look.
The Geometric theory is a basic object used in mesh modelling is a vertex , a point in 3D for e.g the line out side of the dragon and the outside of the cars in the top picture. A group of polygons, connected to each other by shared vertices, is generally referred to as an element. Each of the polygons making up an element is called a face for e.g the area filled of the dragon and the area of the cars in the top picture.
A constraint in your file size in 3D modelling you can have the file size in some amounts of sizes. However that the smallest file size is the best because it can load up quicker, but with the biggest file size you have the most polygons in the save file. if you use a certain render engine to get the best result you will get a longer loading time.
The common tools to make 3D models are blender and Cinema 4D they are really good for making 3D models for films, games and animations, for Blender you can add materials for colour and on cinema 4D you can add textures to your models to make them look more realistic. For Blender and Cinema 4D you use 3D shapes like Cube, Sphere and Torus to make them into your model, you do that by cutting them down or Splining or Patch modelling.
Point-light: where a model or a environment is lit from three directions in a scene.
On the left side of this house there is a point light that focuses onto the ground, it starts from the top part of the house. On the picture on the right is an example of a point light going strait onto a cup.
Direct-light: lighting in which the bigger part of the light goes directly from the source of the light to the area that is lit.
The picture on the left and right is an example of the lights going onto objects below.
Backlighting: a light is placed behind or at right angles to an object, person, or scene to produce such effects as depth or separation of subject and background.
These are examples of back lights. On the left picture it actually shows a diagram of where back light usually is and where it goes and on the right it actually shows it in action on a 3d model.
Key-lighting: Key lighting is the firs and most important light that makes the object or scene light up.
On the picture on the left it also shows where key lighting would be positioned.
This is a example of key lighting in action on an actual character model.
Fill-light: This is a light used to get rid or soften shadows that are caused by the key light.
Also on the picture on the left there is a diagram of where the fill light is positioned.
These pictures are examples of fill lighting on characters.
On the image to the left there could've been a a bit of colour lighting to make it look a bit lighter and more colourful and lighter instead of the characters trousers being a bit darker so the people can actually see what colour the jeans are meant to be. They could've added a bit of backlight behind the characters legs so that the whole area would be lit up.
The use of textures in 3D is to make the game look more photo realistic and just generally a lot nicer, it also can make the model or image on the screen look more a bit more 3D. Using materials for you 3D model you can add more colour and shading to the image so its easier to visualise the character to what they they would look like in real life.
For the image to the right they have used a lot of textures for the skin, trousers, shoes, shirt and hair. They have also used Vector instead of Bitmap because it depends on resolution when Vector doesn't. They have also added a lot of different colours to the image.
Rendering is loading a 2D model into a 3D model. Open GL is a cross-language application interface that interacts with the graphics on your PC. Direct X creates and manages graphics, images and multi effects in applicants.
Mesh construction: The way i am going to create my character is by extruding a primitive shape which in my case will be a sphere. for the arms i will be extruding outward then rotate it down, extrude it outwards and then rotate it down again. for the legs its the same process apart from i will be just extruding it strait down until they are long enough. All you have to do is make the object editable so you can resize it and select the face that you will want to extrude (I will not be needing Matrix extrude because the shapes in my character are simple enough to only use inner or outer extrude) once you have resized it all you will have to do is select a face of the primitive shape right click and select inner/outer extrude.
Polycount: This is the count of how many faces are on your object that you are trying to model. For games you will have to keep the polycount to as small as you can because then the game will be able to run better and also the render time will be a lot smaller because it will have a lot less to render. You can also use compression to make the poly count a lot smaller which makes the rendering time faster but the disadvantage with this is that it is less detailed which can be bad if you are going for a photo realistic game, also it costs a lot more to render more detail because you will need a decent graphics card approximately around £500.
Rendering: This is where you 3d models in programs like Cinema 4d and Blender and finalise the model by making it into a 2d image with a very photo realistic effect with the correct shadings, textures and how smooth the object can be.
Ambient Occlusion: This is a way of showing how bright the light should be on a specific part of the object based on the environment e.g if you had a ship on some water, the light reflection from the sun onto the metal of the ship and the reflection of the water can make the light a lot brighter.
Global Illumination: This is were it simulates where there is indirect lighting e.g light bouncing. If you had an image on the right and you turn this on as an effect you will see a reflection on the left of the image on the right.
You have attempted the 3d environments report with a good degree of understanding of the principles using some good illutsrative examples to explain your points, you make some good observations and this is well documented within your report, in order to improve, you would need to add more on mesh construction giving examples of how they are used.
You made some improvements to your work before half term and whilst this was good there were some areas you still needed to cover such as expanding on rendering techniques and watching your grammar and spelling. In addition you have failed to fully show any work for the pre-production part of this assignment, this needs to be done as soon as you can in order to give you further feedback on your work.


Tadelech was born in a town in Gurage Zone, where she grew up. She has 3 sisters and one brother, who now lives in Addis Ababa. When she was 16 she married a local boy. The conditions in their native town were really terrible and as a young couple they decided to set off to look for a better place to start their life together. Approximately 25 years ago they moved as far as Leku in Shebedino.


This is a fairly random selection of pictures featuring the llamas during the time we lived in the Aude. The collection is in date order, with the most recently taken pictures coming first.
If you click on a small picture you will see a larger version – and you can then click on the left/right arrows below the pictures to move backwards and forwards through the gallery. If you click again on a larger picture, you will return to this index page.
You can also see all the pictures as a slideshow by clicking the link.


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Adoption, Divorce, Same Sex, Collaborative
Arlington, Collierville, Cordova, Brownsville, Covington
Top Somerville Family Law Lawyers - Tennessee
Nearby Cities: Arlington, Collierville, Cordova, Brownsville, Covington
Related Practice Areas: Adoption, Divorce, Same Sex, Collaborative
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Since 1984, Paul Billings has provided businesses and individuals with high quality, personalized advice and representation. Paul is accessible, attentive, and sincerely desires to help you grow your business or win your lawsuit. A trusted advisor with many long-standing client relationships, Paul has an AV rating with Martindale Hubbell and currently practices in the following areas: Litigation,...
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Comprehensive, Quality Legal Solutions In Memphis At the law firm of Balestrini, Barnes, Jaber and Wood PLLC in Memphis, Tennessee, we are committed to providing high-quality legal services that are both affordable and effective. Serving the Memphis metropolitan region and the outlying communities, the attorneys at our law firm deliver quality solutions and professional representation to those who...
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Family Law Lawyers Serving Somerville, TN (Union City)
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Inspired by the legendary Dogtown Z-Boys and the Los Angeles skating scene of the 1970s, Dogtown owner and former California resident, Bobby Manere, brings West Coast street meat to the CT area.
A youthful, edgy descendant of The Original Swanky Frank's—Norwalk's road-side hotdog spot for over 60 years—the Dogtown food truck combines quality dogs with a bold, badass attitude. When it came to visually representing these two elements, we channeled the West Coast skate culture for which the truck was named. Taking a very literal approach, we designed a fun, energetic brand mark of a hotdog riding a skateboard, which has proven to be an unforgettable element of the Dogtown identity. Having experienced great success on the road with this mark, Dogtown has since achieved the ultimate food truck goal by opening their very own drive-in brick and mortar in Milford, CT.


text:
Pertusaria salacinifera är en lavart som beskrevs av Messuti & A. W. Archer. Pertusaria salacinifera ingår i släktet Pertusaria och familjen Pertusariaceae.   Inga underarter finns listade i Catalogue of Life.

Källor

Sporsäcksvampar
salacinifera


text:
Idaho Science Assessment
The Honorable Mike Rush
Idaho State Board of Education
Boise, Idaho 83720-0037
The Honorable Tom Luna
Idaho Department of Education
Len B. Jordan Office Building
Dear Executive Director Rush and Superintendent Luna:
I am writing regarding our review of Idaho's science assessments under the Elementary and Secondary Education Act (ESEA), as amended by the No Child Left Behind Act of 2001 (NCLB).
As outlined in my letter of February 28, 2008, states had to meet four basic requirements in science for the 2007-08 school year. In particular, each state was required to: (1) have approved content standards in science; (2) administer a general and alternate science assessment in each of three grade spans; (3) include all students in those assessments; and (4) report the results of the general and alternate science assessments on state, district, and school report cards. After reviewing the evidence submitted, Idaho still needs to provide data to the Department demonstrating that all students were included in the science assessments and that results from the science general and alternate assessments are included in the state-and district-level reports. Please let us know within 10 days of receipt of this letter the date by which Idaho will have those data and reports available so that we can confirm that it has, in fact, met the basic requirements for administering science assessments in 2007-08. States that do not provide the outstanding evidence to verify that they have met the four criteria for the 2007--08 school year have not met the basic requirements of the statute will be subject to consequences, such as withholding of Title I, Part A administrative funds.
In 2008-09, Idaho must provide evidence for peer review that demonstrates full compliance of its science standards and assessments. In anticipation of that required peer review, Idaho chose to participate in an optional technical assistance peer review in May 2008. I appreciate the efforts that were required to prepare for the technical assistance peer review and hope that the process provided useful feedback to support Idaho's efforts to monitor student progress toward meeting challenging science standards.
Based on the evidence received from Idaho, which was reviewed by the peers and Department staff, we have concluded that Idaho's science standards and assessments do not yet meet all the statutory and regulatory requirements of section 1111(b)(1) and (3) of the ESEA. Specifically, with respect to the Idaho Standards Achievement Test (ISAT), we have concerns with technical quality and reports and, with respect to the alternate assessment based on alternate academic achievement standards for students with the most significant cognitive disabilities, the Idaho Alternate Assessment (IAA), we have concerns regarding the alternate academic achievement standards, technical quality, alignment of science IAA to grade-level science content standards, and the inclusion of all students. The complete list of evidence needed to address these concerns is enclosed with this letter. We have scheduled peer reviews for states' science assessments for the weeks of October 25 through November 1, 2008, and March 23 through 27, 2009. All materials for review must be provided to the Department three weeks before the scheduled peer review.
Please keep in mind that science assessments represent one piece of a state's complete standards and assessment system, which also includes general and alternate assessments for reading and mathematics. As stated in the letter to you on November 16, 2006, from former Assistant Secretary Henry L. Johnson, Idaho's standards and assessment system is currently fully approved. To remain fully approved, Idaho must demonstrate that all components of its standards and assessment system, including general and alternate assessments for science, comply with all ESEA requirements for standards and assessment systems as administered in 2008-09.
We look forward to working with Idaho to support a high-quality standards and assessment system of which science standards and assessments are an integral part. If you would like to discuss this further, please do not hesitate to contact Sharon Hall (sharon.hall@ed.gov) or Lauren Prehoda (lauren.prehoda@ed.gov) of my staff.
cc: Governor C.L. Butch Otter
Margo Healy
SUMMARY OF ADDITIONAL EVIDENCE THAT IDAHO MUST SUBMIT TO MEET ESEA REQUIREMENTS FOR SCIENCE STANDARDS AND ASSESSMENTS MUST SUBMIT TO MEET ESEA REQUIREMENTS FOR SCIENCE STANDARDS AND ASSESSMENTS
Idaho Standards Achievement Test (ISAT)
1. Evidence that science content experts and a demographically diverse group of stakeholders were involved in the development of the academic achievement standards. (2.6)
Idaho Alternate Assessment (IAA)
1. Evidence that, for the 2008-09 revision of IAA, the alternate academic achievement standards are aligned with the grade-level 2006 Idaho science content standards. (2.5)
1. Evidence that the ISAT and IAA involve measures that assess higher-order thinking skills and student understanding of challenging content. (3.6)
Evidence of validity:
Evidence that Idaho has developed a timeline to conduct a study to ascertain whether the ISAT science produces intended and unintended consequences. (4.1)
Evidence that the use of accommodations has been evaluated:
Evidence that scores based on accommodated administration conditions allow for valid inferences. (4.6.b)
A monitoring plan and timeline to conduct a study of the availability and use of accommodations during test administration. (4.6.e)
Evidence of validity (4.1):
Description of the purposes of the revised science IAA.
Evidence that Idaho has developed a timeline to conduct a study to ascertain whether the IAA science produces intended and unintended consequences.
Evidence that IAA science item scores are consistent with domain structures for science and that scores are related to internal and external variables as intended.
Documentation of the standards setting process, and the plan for subsequent standards setting for the revised science IAA.
Evidence of reliability (4.2):
Documentation of how the format used for IAA science achieves consistency over time among raters and administrators to ensure meaningful interpretation of results.
Evidence that the IAA is fair and accessible to students who are eligible for participation. (4.3)
Evidence of clear criteria for the administration, scoring, analysis, and reporting components of the IAA science (4.5):
Evidence that all materials, including IAA administration guidelines and the test coordinators' guide reflect the current test year, have consistent requirements, and establish clear criteria for the administration, scoring, analysis, and reporting of the IAA science.
Evidence that the IAA, including all student evidence collected for the IAA, links and aligns comprehensively with Idaho's 2006 science (not health) academic grade level content standards and reflects a similar range of Idaho's academic content standards. (5.1, 5.2)
Documentation of ongoing procedures to maintain and improve alignment of the IAA science with the academic content standards and academic achievement standards. (5.7)
Documentation that all students in the grades tested are included in the science assessments, including students with disabilities, students with limited English proficiency, economically disadvantaged students, and students from major racial and ethnic groups, migrant students, and homeless students. (6.1)
Documentation that all students assigned to participate in IAA do so if they are enrolled during the test window. (6.1)
1. ISAT state summary data that facilitates appropriate, credible, and defensible interpretation and use of assessment data, including number of students enrolled and percent or number tested/not tested, participation and assessment results for all students and for each student subgroup, as well as student proficiency in relation to Idaho content and achievement standards. (7.1, 7.2)
Description of how the state ensures that individual student science reports are delivered to parents. (7.3.c)
Evidence that the state ensures that administrators and school-based staff maintain the confidentiality of student data within the school. (7.4)
Evidence that IAA science reports for the state, district, school, and individual student demonstrate that the reporting system facilitates appropriate, credible, and defensible interpretation and use of its assessment data, including the number of students enrolled, percent or number tested/not tested, participation and assessment results for all students and for each sub-group, as well as student proficiency in relation to Idaho content and achievement standards. (7.1)
Evidence that the state provided for the production of individual interpretive, descriptive, and diagnostic reports that indicates relative strengths and instructional needs. (7.3)
Individual student reports express results in terms of Idaho's achievement standards rather than numerical values such as scale scores or percentiles.
Individual student reports provide information for parents, teachers, and principals to help them understand and address a student's specific academic needs, in a format and language that is understandable, and are accompanied by interpretive guidance for these audiences.
Evidence that Idaho ensures that these individual student reports are delivered to parents, teachers, and principals as soon as possible after the assessment is administered.
Evidence of steps taken by the state to ensure that administrators and teachers maintain the confidentiality of the student data within the school. (7.4)