Thank you for joining us in supporting a new generation of writers. Your donation to Willamette Writers Inc. will help us provide scholarships to students to attend our annual conference and to participate in our mentoring programs. We are also working on expanding our programs for writers in rural and urban locations as well as making our website and programs more accessible. Your donation will help make this possible.


When youre looking to get married, there is no way that youre going to be sure that youre going to get married to the other person if youre not as them out. You need to be able to be very sure by looking for time that you can be able to organize an engagement party or an engagement ceremony where youll be able to give them the engagement ring and confirm if theyre going to marry or not. One thing that you need understand is that majority of people tend to cherish engagement parties because it gives you the assurance that you have gotten a life partner. When it comes to purchasing the best engagement rings, you need to understand that there quite a number of things that need to ensure that you focus on in this article is going to make you understand some of these things.
To begin with, it is always important that you choose the specific place where you will be able to purchase the engagement rings because you can either decide to purchase them from online shops or you can decide to buy them from physical companies. Regardless of the place that youre going to buy, one of the factors that should be very important for you is to have a budget for the ring that youre going to buy for example, you need to be sure about the amount of money that youre ready to spend on the person. You will realize that if you determine the cost, youll be able to know which particular ring will be perfect for you. There are so many engagement rings that you can be able to choose from and your decision to purchase a particular engagement ring will always depend on your budget.
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text:
Q: Can a Micro handle torrent downloading? Is it possible to design a circuit that have an LCD, a USB port and a LAN port and be able to get torrent files from a flash drive and download them to the flash drive?
I saw a direct URL file downloader circuit using PIC before but I can find it.
Do you know something like that for torrents?
Thanks

A: Almost anything that can run Linux can do this.  The Raspberry Pi board is one of the new trendy ones.
There are lots more, but this question/answer would quickly degenerate into a shopping project.  Google is your friend here.

A: You could accomplish most/all of this using an Arduino with an ethernet shield, or the special Arduino Ethernet board. The newer ethernet shields even come with a micro-SD card slot. The BitTorrent protocol should be simple enough to run on a small device, though I'd probably invest in one of the more powerful boards (e.g. Mega2560) to be safe. You can read from and write to FAT16 and FAT32 filesystems on standard SD and SDHC cards using the SD library. They've even been nice enough to provide libraries for Hitachi HD44780 compatible screens and another for KS0108 compatible screens to take care of the display part. There's also a great SHA1 library for Arduino, which will be necessary for computing info-hashes and verifying data parts.
Your part of the project would involve implementing the bencode routines for tracker communication and communications protocols for client-to-client transfers, then tying it all together.

redpajama_set_name: RedPajamaStackExchange


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WIRED's vision of a new World's Fair, WIRED NextFest is a four-day festival of innovative products and technologies that are transforming our world.
This year's NextFest in Los Angeles features more than 160 interactive exhibits from leading scientists and researchers around the world.Experience the future of communication, design, entertainment, exploration, health, play, robots, transportation, security, and green living. Visitors of all ages are welcome.


text:
Lillian Pierce
On a conjecture for \(\ell\)-torsion in class groups of number fields: from the perspective of moments
with C. Turnage-Butterbaugh and M. M. Wood
(submitted)
(abstract) (arXiv)
It is conjectured that within the class group of any number field, for every integer \(\ell \geq 1\), the \(\ell\)-torsion subgroup is very small (in an appropriate sense, relative to the discriminant of the field). In nearly all settings, the full strength of this conjecture remains open, and even partial progress is limited. Significant recent progress toward average versions of the \(\ell\)-torsion conjecture has crucially relied on counts for number fields, raising interest in how these two types of question relate. In this paper we make explicit the quantitative relationships between the \(\ell\)-torsion conjecture and other well-known conjectures: the Cohen-Lenstra heuristics, counts for number fields of fixed discriminant, counts for number fields of bounded discriminant (or related invariants), and counts for elliptic curves with fixed conductor. All of these considerations reinforce that we expect the \(\ell\)-torsion conjecture is true, despite limited progress toward it. Our perspective focuses on the relation between pointwise bounds, averages, and higher moments, and demonstrates the broad utility of the method of moments.
(hide abstract)
An effective Chebotarev density theorem for families of number fields, with an application to \(\ell\)-torsion in class groups
In this work we prove a new effective Chebotarev density theorem, independent of GRH, that improves the previously known unconditional error term and enables the counting of small primes; this theorem holds for the Galois closures of "almost all" number fields that lie in an appropriate family of field extensions. The new effective Chebotarev theorem is expected to have many applications, of which we demonstrate two. In particular, we provide the first nontrivial upper bounds for \(\ell\)-torsion, for all integers \( \ell \geq 1 \), applicable to infinite families of fields of arbitrarily large degree.
The Vinogradov Mean Value Theorem
[after Wooley, and Bourgain, Demeter, Guth]
(Bourbaki Seminar, June 2017)
Asterisque, to appear.
(abstract) (arXiv) (seminar)
This is the expository essay to accompany my June 2017 Bourbaki seminar on the resolution of the Vinogradov Mean Value Theorem. 80 pages.
Endpoint Sobolev and BV Continuity for Maximal Operators
with co-authors E. Carneiro and J. Madrid
J. Functional Analysis, 273 (2017) 3262-3294.
On \(\ell\)-torsion in class groups of number fields
with co-authors J. Ellenberg and M. Matchett Wood
Algebra and Number Theory, to appear.
For each integer n, we prove an unconditional upper bound on the size of the n-torsion subgroup of the class group, which holds for all but a zero-density set of field extensions of the rationals of degree d, for any fixed d=2,3,4,5 (with the additional restriction in the case d=4 that the field be non-D4). For sufficiently large n (specified explicitly), these results are as strong as a previously known bound that is conditional on GRH. As part of our argument, we develop a probabilistic "Chebyshev sieve," and give uniform, power-saving error terms for the asymptotics of quartic (non-D4) and quintic fields with chosen splitting types at a finite set of primes. 25 pages.
A polynomial Carleson operator along the paraboloid
with co-author Po-Lam Yung
Revista Mat. Ibero., to appear.
We consider a polynomial phase Carleson operator that is of Radon type, namely it involves integration over a paraboloid in Euclidean space of dimension at least 3. We show that this operator is bounded on L^p for p strictly between 1 and infinity, for certain classes of polynomial phase (in particular with restrictions on the first and second order terms). 76 pages.
Polynomial Carleson operators along monomial curves in the plane
with co-authors Shaoming Guo, Joris Roos, Po-Lam Yung
Journal of Geometric Analysis, to appear.
We prove L^p bounds for partial polynomial Carleson operators along monomial curves in the plane with a phase polynomial consisting of a single monomial. These operators are "partial" in the sense that we consider linearizing stopping-time functions that depend on only one of the two ambient variables. A motivation for studying these partial operators is the curious feature that, despite their apparent limitations, for certain combinations of curve and phase, L^2 bounds for partial operators along curves imply the full strength of the L^2 bound for a one-dimensional Carleson operator, and for a quadratic Carleson operator. 27 pages.
Averages and moments associated to class numbers of imaginary quadratic fields
with co-author D.R. Heath-Brown
Compositio. Math., to appear.
For any odd prime q, consider the q-part of the class number of the imaginary quadratic field with square-free discriminant -d. Nontrivial pointwise upper bounds are known only for q=3; nontrivial upper bounds for averages of the q-part have previously been known only for q=3,5 In this paper we prove nontrivial upper bounds for the average of the q-part for all primes at least 7, as well as nontrivial upper bounds for certain higher moments for all primes at least 3. 25 pages.
Representations of integers by systems of three quadratic forms
with co-authors D. Schindler and M. Matchett Wood
Proceedings of the London Mathematical Society (2016) doi: 10.1112/plms/pdw027
(abstract) (arXiv) (journal)
We apply the circle method to count simultaneous representations of "almost any" tuple of three integers by a system of three quadratic forms. In particular, we develop a three-dimensional application of Kloosterman-style cancellation on the minor arcs; inexplicit geometric criteria for smoothness play a particularly important role. 66 pages.
Burgess bounds for multi-dimensional short mixed character sums
Journal of Number Theory, 163 (2016) 172-210.
This paper applies multi-dimensional Vinogradov mean value theorems in order to prove Burgess bounds for multi-dimensional short mixed character sums. 33 pages.
Lower bounds for the truncated Hilbert transform
with co-authors R. Alaifari and S. Steinerberger
Revista Mat. Ibero., 32, no. 1 (2016) 23 - 56.
Given two intervals I and J on the real line, we ask whether it is possible to reconstruct a real-valued function supported on I from knowing its Hilbert transform on the interval J. When neither interval is fully contained in the other, this problem has a unique answer (the nullspace is trivial) but is severely ill-posed. We isolate the difficulty and show that by restricting the problem to functions with controlled total variation, reconstruction becomes stable.
Burgess bounds for short mixed character sums
Journal of the London Math. Soc., 91, no. 3 (2015) 693-708.
In this paper we introduce Vinogradov mean value theorems in order to prove Burgess bounds for short mixed character sums.
Simultaneous integer values of pairs of quadratic forms
J. Reine Angew. Math., in press
We prove that a pair of integral quadratic forms in 5 or more variables will simultaneously represent almost all pairs of integers that satisfy the necessary local conditions, provided that the forms satisfy a suitable nonsingularity condition. In particular such forms simultaneously attain prime values if the obvious local conditions hold. The proof uses the circle method, and in particular pioneers a two-dimensional version of a Kloosterman refinement.
Counting rational points on smooth cyclic covers
Journal of Number Theory, 132 (2012), pp. 1741-1757.
(abstract) (pdf) (arXiv) (journal)
A conjecture of Serre concerns the number of rational points of bounded height on a finite cover of (n-1)-dimensional projective space. In this paper, we achieve Serre's conjecture in the special case of smooth cyclic covers of any degree when n is at least 10 and surpass it for covers of degree at least 3 when n is at least 11. This is achieved by a new bound for the number of perfect r-th power values of a polynomial with nonsingular leading form, obtained via a combination of an r-th power sieve and the q-analogue of van der Corput's method.
On a discrete version of Tanaka's theorem for maximal functions
with co-authors Jonathan Bober, Emanuel Carneiro, and Kevin Hughes
Proceedings of the Amer. Math. Soc. 140 (2012) 1669-1680.
(abstract) (journal) revised version on (arXiv)
In this paper we prove a discrete version of Tanaka's Theorem for the Hardy-Littlewood maximal operator in one dimension, both in the non-centered and centered cases. Up to date version available on arXiv.
A note on discrete fractional integral operators on the Heisenberg group
Internat. Math. Res. Not. Vol. 2012, No. 1, (2012) 17-33.
(abstract) (pdf) (journal link)
We consider the discrete analogue of a fractional integral operator on the Heisenberg group, for which we are able to prove nearly sharp results by means of a simple argument of a combinatorial nature.
Discrete fractional Radon transforms and quadratic forms
Duke Math. Journal 161, No. 1 (2012) 69-106. Correction 162 (2013) 1203-1204.
(abstract) (pdf)
We consider discrete analogues of fractional Radon transforms involving integration over paraboloids defined by positive definite quadratic forms. We prove certain conditions are sufficient for them to extend to bounded operators from l^p to l^q for certain p,q. The method involves an intricate spectral decomposition according to major and minor arcs, motivated by ideas from the circle method of Hardy and Littlewood. Techniques from harmonic analysis, in particular Fourier transform methods and oscillatory integrals, as well as the number theoretic structure of quadratic forms, exponential sums, and theta functions, play key roles in the proof.
On discrete fractional integral operators and mean values of Weyl sums
Bull. London Math. Soc., 43 (2011) 597-612.
(abstract) (pdf) (journal)
In this paper we prove new operator norms for a discrete fractional integral operator by applying techniques motivated by the circle method of Hardy and Littlewood to the Fourier multiplier of the operator. From a different perspective, we describe explicit interactions between the Fourier multiplier and mean values of Weyl sums. These mean values express the average behaviour of the number of representations of a positive integer as a sum of s positive k-th powers. Recent deep results within the context of Waring's problem and Weyl sums enable us to prove a further range of complementary results for the discrete operator under consideration.
A note on discrete twisted singular Radon transforms
Mathematical Research Letters 17, no. 4 (2010) 701-720.
In this paper we consider three types of discrete operators stemming from singular Radon transforms. We first extend an l^p result for translation invariant discrete singular Radon transforms to a class of twisted operators including an additional oscillatory component, via a simple method of descent argument. Second, we note an l^2 bound for quasi-translation invariant discrete twisted Radon transforms. Finally, we extend an existing l^2 bound for a closely related non-translation invariant discrete oscillatory integral operator with singular kernel to an l^p bound. This requires an intricate induction argument involving layers of decompositions of the operator according to the Diophantine properties of the coefficients of its polynomial phase function.
A bound for the 3-part of class numbers of quadratic fields by means of the square sieve
Forum Math. 18 (2006) no. 4, 677-698.
This paper proves a nontrivial bound for the 3-part of the class number of a real or imaginary quadratic field, by developing a variant of the square sieve and the q-analogue of van der Corput's method.
Companion paper by N. M. Katz
On a question of Lillian Pierce
by Nicholas M. Katz
The 3-part of class numbers of quadratic fields
J. London Math. Soc. (2) 71 (2005) 579-598.
This paper proves non-trivial upper bounds for the 3-part of the class number of real and imaginary quadratic fields, as well as consequent upper bounds for the number of elliptic curves with given conductor.
Note: preprints may differ slightly from final published versions.
Oberwolfach report 2016 (link)
On torsion subgroups in class groups of number fields, JMM 2019 Sampler, Notices of the AMS, vol. 66 no. 1, January (2019) 97--98
Princeton Lectures in Analysis, by Elias M. Stein and Rami Shakarchi — A Book Review
Book Review in the Notices of the AMS, May 2012 issue
Reviewed by Charles Fefferman and Robert Fefferman, with contributions from Paul Hagelstein, Nataśa Pavlović, and Lillian Pierce
Discrete Analogues in Harmonic Analysis
PhD Thesis, Princeton University, 2009
Advisor: E. M. Stein
MSc Thesis, Oxford University, 2004
Advisor: D. R. Heath-Brown
The Pair Correlation of the Zeroes of the Riemann Zeta Function
Undergraduate Senior Thesis, Princeton University, 2002

redpajama_set_name: RedPajamaCommonCrawl


The benefits our customers will gain from Teximp are multiple. Our company's policy of prompt communication using modern technology & service centres (TTC) offers you the opportunity to test the functional suitability of our products before making any investment.
Teximp's highly trained specialists will assist all individual visitors and provide machine demonstrations, machining of parts, training and instruction of our customers' employees. There is a whole array of brands that can be tested locally.


Edie Melson shines the love of Christ, and she expresses her heart for people in many ways. I don't know her well, but she has impressed me through our brief interactions and my observations over the past 10+ years. God's activity in Edie's life inspires me.
At one of my first Blue Ridge Mountains Christian Writers Conferences, Edie assisted Alton Gansky, the former director. In the midst of her busy schedule, Edie graciously offered to look at my book proposal outside of the normal appointment times. I still can visualize standing with her in one of the building's open spaces, discussing my material. Her willingness to provide input encouraged me in itself, but her feedback also prompted me to query an acquisitions editor upon my return home.
I also possess a favorite memory of Edie. During a morning group session, she sat toward the front with her laptop in use. Alton Gansky referred to Edie in his remarks, mentioning she was engaged at that moment in leading someone to Christ. I've never forgotten. With all of her conference responsibilities and all of the people surrounding her, Edie made time to fulfill the most important call of all: sharing the Gospel and helping someone understand how to be saved.
Edie encouraged me recently when she referenced the writer's journey. This simple truth helps me appreciate where God started me as a writer to where He's brought me. Though I have a long way to go, Edie's words of wisdom enable me to enjoy the present while seeking the future. Her comment resonated with me, strengthening me to continue one step at a time because a writer's career involves a process.
It's been my privilege to sit under Edie Melson's leadership at the Blue Ridge Mountains Christian Writers Conference. God has blessed her with a gracious and humble attitude, which ministers to all. He's also invested many talents and gifts in her, and I believe she desires to use her abilities to build the Lord's kingdom—not her own.
Please join me in welcoming Edie Melson, author, blogger, speaker, and a Blue Ridge Mountains Christian Writers Conference Director, to Writers Connect.
Edie, when and how did you come to know the Lord as your Savior?
Edie Melson: I was 11 and asked Jesus to become Lord of my life one night while laying in my grandmother's bed.
Edie Melson: I've always loved encouraging others. In the beginning of my writing career that took the form of being a part of a writers group and a small critique group. Eventually I started my blog, The Write Conversation, and began sharing things that could help other writers—from craft and publishing to social media and marketing.
At the heart, I'm an author and blogger. I believe my primary gift is helping others connect with God's plan for their own writing. I love to encourage, teach, and share my own story with others.
Edie Melson: I think He's used the words I write to help individuals. He's also using me now, as one of the two Directors of the Blue Ridge Mountains Christian Writers Conference, God is using me to encourage hundreds of writers. It's an awesome thing to get to watch how God works to change the world one writer at a time.
What are your dreams and goals for 2018?
Edie Melson: My dreams are to see my books become more widely read. My goal is to get another social media, blogging and branding book written and published with my co-author and co-director, DiAnn Mills.
Edie Melson: Anytime we're about the Lord's work, the enemy is waiting in ambush. That's certainly the case in the Blue Ridge Mountains Christian Writers conference and in my personal life as I work on two book releases this spring and summer. Please pray against attack.
Thank you, Edie, for joining us on Writers Connect. It's been an honor to interview you, and please be assured of my prayers. May the Lord bless your writing, speaking, and leadership roles, and may He encourage you with the fruit of your labors.
To my readers ~ Please remember Edie in your prayers as she has requested. And if you're interested in connecting with her further, please see the links below.
Thanks for this interview with Edie. I read her The Write Conversation every morning and am always inspired and encouraged by what she and her fellow writers tell me. It was very nice to learn a little more about her.
You're very welcome! Thank you for reading this post and commenting. I'm so glad you enjoyed learning more about Edie Melson – I did, too! I look forward to connecting with you again.


On 18 May 2014, the pilot of a Piper PA-25, registered VH-SSO, took off from Bacchus Marsh aeroplane landing area (ALA) with a glider in tow. During climb the pilot noticed a momentary engine power loss, following which the glider pilot released the tow rope. The pilot of the PA-25 immediately re-joined the circuit via the downwind leg. The engine responded normally to throttle inputs following the momentary power loss, but after the pilot turned onto the base leg of the circuit, the engine surged briefly then stopped. The pilot conducted a forced landing but the aircraft landed heavily and was substantially damaged. The pilot was uninjured. Subsequent inspection found that the aircraft fuel supply was exhausted.
The gliding club that operated the PA-25 used aircraft flight time to determine when a refuel was required. According to this system of fuel management, a refuel was required at 1284.1 hours flight time, but the flight time following the accident was almost 1284.9 hours. The pilot was familiar with this system, but it was ineffective in alerting the pilot of the need to refuel on this occasion. The aircraft was fitted with a warning light to alert pilots to a low fuel level condition, but the light did not illuminate during flight on this occasion.
The pilot was not expecting to fly on the day of the accident and did not follow his usual pre-flight routine, which normally included a physical check of the aircraft fuel state. The pilot may have been suffering from an elevated level of fatigue having had very little sleep during the evening prior to the accident.
In response to this accident, the Gliding Federation of Australia planned to remind all glider towing pilots of the importance of fuel management and fatigue awareness. This accident highlights the importance of careful attention to the fuel state of an aircraft, and the need for caution when usual pre-flight preparation is interrupted or abnormal. This accident also serves to remind pilots to carefully consider the possible effects of fatigue before engaging in flying operations.


text:
Beyond Pippi Longstocking: Intermedial and International Aspects of Astrid Lindgren's Works
Beyond Pippi Longstocking: Intermedial and International Aspects of Astrid Lindgren's Works. Bettina Kümmerling-Meibauer and Astrid Surmatz (eds.). New York and London: Routledge, 2011. 275 pages. £80.00 (hardback).
Drawing its name from Astrid Lindgren's legendary girl-power/trickster-figure, Pippi Longstocking, this collection of new critical articles (most of which originated in conference papers) sets out to explore the oeuvre of the iconic Swedish author, Astrid Lindgren. In doing so, the international scope of the volume is, at least, twofold since it seeks to explore the impact of Lindgren's work globally as well as make it accessible to an international (read: English-language) audience. According to the editors Bettina Kümmerling-Meibauer and Astrid Surmatz, both of whom have held the esteemed position as guest professor in memory of Astrid Lindgren at Linnaeus University at Kalmar/Växjö in Sweden, the intention is to convey a broad overview of Lindgren's legacy today. Thus, the volume deals not only with Lindgren's written works, but also with the vast number of remediations and translations of her books, as well as artwork and other cultural manifestations of her celebrated persona. Through such intermedial and global approaches, the volume wishes to advance international interest in Lindgren's work.
The goal of expanding Lindgren research and making it accessible to a wider audience is doubtlessly to be applauded. Within the Swedish-language context, Lindgren research is both wide-ranging and well established. A search in the Swedish university and research library database, Libris, reveals, not surprisingly, that since the late 1950s well over 500 books and articles have been written on the subject, but only a few Swedish titles, such as Vivi Edström's Astrid Lindgren, a Critical Study (2000) (orig. Astrid Lindgren, vildtoring och lägereld, 1992), have been translated into English. The undertaking is, therefore, of great importance although not entirely unproblematic. It is perhaps unfair to ask that Beyond Pippi Longstocking should mirror the vast extent of already existing Swedish-language Lindgren research; especially given the intention to produce new knowledge on the subject. Still, it remains somewhat unfortunate that the book, as one of the few studies available in English on the subject, will only give its readers a fragmented view of the overall scope of Lindgren research.
The volume addresses a wide range of subjects arranged into four sections on the translation and international reception of Lindgren's work; explorations of film versions of her books; closer studies of the role of illustrations in her work and her picturebook production, and finally essays on the role of music, sculpture and architecture in relation to her work and persona. The final section of the book provides especially striking and thought-provoking views of Lindgren's work and her status as a national icon. Two articles consider music in relation to Lindgren's works: Magnus Gustafsson traces the folk song tradition in Lindgren's writing, whereas Björn Sundmark's piece, cleverly entitled "The Sound and Music of Astrid Lindgren", elegantly employs narratology to show how the musical elements of the Emil and Pippi books are enhanced in the film versions. Finally, Jens Arvidson explores the notions of sculptural installations and public art in relation to the conflict around the Astrid Lindgren Memorials in Vimmerby, and Heidrun Führer makes a bold case for viewing the theme park Astrid Lindgren's World in Vimmerby as a Gesamtkunstwerk comparable to Wagner's Bayreuth! This section gives evidence of how fruitful an intermedial approach can be when trying to find new things to say about an already well-researched author's oeuvre. Furthermore, it finishes the volume on a very strong and convincing note.
Having said this, it must also be said that Beyond Pippi Longstocking is a rather uneven volume, as conference publications admittedly often are. For one thing, some articles would have benefited from stronger editorial support, especially when they overlap and, when read successively, seem to argue opposite points of view. Anders Wilhelm Åberg's and Corina Löwe's essays, for example, both comment upon the Swedish Folkhemera–i.e. the epoch of the Swedish twentieth century model of welfare society – and the concept of nostalgia in relation to film versions of Lindgren's texts. Both articles are quite interesting, yet it seems strange that Åberg's strong case for relating Folkhem-nostalgia and the mythification of a utopian past to less innocent nationalistic tendencies in the Swedish society of the 1980s and 1990s and Löwe's much less critical, even apologetic, view of nostalgia and traditional 'Swedishness' is never commented on. Also, a greater effort to harmonize the use of terminology would have helped unify the collection. For instance, the term Folkhem is referred to slightly differently by different authors. A final concern is the seemingly random inclusion of pictures. Although some articles are generously illustrated others are, without any explanation, not. Their absence clarifies how crucial it is for readers of a theoretical discussion of images to have access to the pictures under scrutiny.
To sum matters up, Beyond Pippi Longstocking is a rewarding – albeit uneven – read. Apart from the previously mentioned articles in the final section on music, sculpture and architecture, I especially enjoyed reading Eva-Maria Metcalf's thorough overview of the reception of Pippi Longstocking in the USA; Anders Wilhelm Åberg's enlightening views on how nostalgia in some of Lindgren's films from the 1980s and 90s mirror a potentiallydisturbing wish to remake a national past; and Elina Druker's equally sharp analysis of aesthetic and ideological concerns in relation to Lindgren's and Anna Riwkin-Brick's photographic picturebooks. Upon finishing the volume,the articles that wrestle with applying an intermedial perspective onto Lindgren's work stand out as the ones that most obviously manage to say something concrete and new on the subject.
Maria Lassén-Seger
Åbo Akademi University, Finland


The supreme court (SC) on Tuesday extended the deadline to link Aadhaar with services till it delivers its final verdict. The apex court, however, said that Aadhaar will continue to be mandatory for receiving subsidy and benefits.
The five-judge constitution bench headed by chief justice Dipak Misra said that the government cannot insist for mandatory Aadhaar linkage in relation to tatkal passports, bank accounts and mobile phones. The delivery subsidies and benefits would still require Aadhaar, as provided under section 7 of the Aadhaar Ac, 2016.
Earlier, the SC had set March 31 deadline for Aadhaar linkage with these services in its interim ruling on December 15. This excluded opening up of new bank accounts for those already having Aadhaar.
The SC bench comprises of chief justice Misra, jutices AK Sikri, AM Khanwilkar, DY Chandrachud and Ashok Bhushan.


text:
Q: spring mvc: Could not resolve dynamic value in placeholder I am migrating project Struts1 to spring mvc.

*

*In struts errror handling done by message-resources in struts-config.xml

<message-resources parameter=" resources.messages " />
message.properties
login.error.missingValue=Please supply a value for {0}.
login.error.missingValues=Please supply values for these fields: {0}
ActionClass
addError(request, new ActionError(MISSING_VALUE_ERROR, missing,new Integer(missingCount)));
In second parameter user passing dynamic value like username/password.
I tried below things in spring mvc...but not able to get dynamic value.
spring-servlet.xml
<context:property-placeholder location="/resources/messages.properties"/>
@Controller
@Value("${login.error.missingValue}")
private String MISSING_VALUE_ERROR
I am getting below output in spring.
Please supply a value for {0}.
I want to replace {0} with dynamic value like...username/password etc.
Please help he me here how can I do in Spring MVC?
Thanks in Advance.

A: Both spring and struts provide mechanisms for error message handling and rendering them to the client browser.
Both do the same thing but in other ways, but  with different purposes.
If you're using struts to represent your frontend then you should use the struts message resource way to render the error messages back to the client.
Regarding your error and question:
You autowired a value defined as a property resource, handled by spring property placeholder, which expects at startup to have a value present (imagine using a plain properties file with a missing value vs a message resource)
In order to fix your error above, you need to comply with the default spring message source lookup ( as your autowired values is not a property, it's a message).
For this to work you have to define the following:
<bean id="messageSource" class="org.springframework.context.support.ResourceBundleMessageSource">
    <property name="basename">
        <value>messages</value>
    </property>
</bean>

and afterwards autowire the MessageSource and get the dynamic value from there.
You can find more examples here


History in England, the U.K.
Through a thousand years of history, this walk tells the story of the British monarchy as it moves from the centre of power to the ceremonial periphery, a movement vividly illustrated by the style and geographical placement of the remaining royal palaces and the parks that surround them.
Starting at Westminster Hall, and continuing towards Buckingham Palace and Kensington Gardens, we will consider how the modern, ceremonial version of constitutional monarchy evolved over time and how that is reflected in the increasing democratization of space, best seen in the parks themselves, but also in the architecture and positioning of the palaces and their increasing accessibility and commercialization.
We'll walk through St. James's Park, once Henry VIII's deer park, taking in St. James's Palace and Clarence House, today home to Prince Charles and Camilla Duchess of Cornwall.
Behind the sprawl of modern London lies the secret history of the capital's most daring and controversial source of entertainment: the theatre.
During this sightseeing tour of the city, we shall reconstruct London's historic stages, and come to understand the social and artistic forces that were born here and that still underpin our world.
Any discussion of the English theatre has to start with Shakespeare. Thus we will begin our walk on the South Bank, not far from the Globe Theatre, the modern reconstruction of the playhouse where many of Shakespeare's plays were premiered.
Starting here, on the banks of the Thames, takes us back to a time when the theatre was a public arena, when plays were a part of everyday life. At the same time, as we explore the surrounding area, we will discover why the theatre was feared for so long that it was banished across the river, to this dangerous and dissolute area that was then well outside the city walls.
Old Father Thames is the longest and best-known river in England and has inspired many a writer and artist. During this tour, one of the most popular for our city of London guides, we follow the course of the river through the heart of London and get an overview of the city and her history.
This walk is the perfect introduction to the city, providing an overview of London's history and development, we will use the river Thames as a thread that connects places and events. We begin at Tower Bridge and make our way to Parliament, about 2.5 miles.
As we walk we'll explore a wide range of themes tied together by the central idea that the city and the river have mutually shaped each other over time.
In 1666, the medieval city all but disappeared in the Great Fire of London. The city was rebuilt on the footprint of its predecessor and then seriously damaged again during the Blitz of 1940-1941.
One of the worst nights was the Sunday between Christmas and New Year's Day, December 29, 1940, when the warehouses and offices were empty and people were at home enjoying Christmas break.
That night, the area around St Paul's was devastated and those working on the ground dubbed it 'The Second Great Fire of London'. In general, only those buildings with firewatchers on their roofs survived.
This walk focuses on the hidden physical remains of London's past rather than the more obvious sites and the spaces between. London does not proudly display most of its history like Rome or Venice, one needs to seek it out. During our walking tour we will try to find some of the physical reminders of that past, now off the beaten path.
We begin our walk at the Museum of London, a few minutes away from which is one of the hidden gems of London: the remains of the western gate of the Roman fort that once stood here, something not normally accessible to the public, now incongruously within a car park.
While here, we will look at the remains of the Roman city wall and the signs of its continued use up to the eighteenth century. We will then walk to the area near the church of St. Bartholomew the Great, an important part of medieval London. We will visit the church and find ourselves surrounded by the perfect twelfth-century Norman architecture that survived both the 1666 fire and the Blitz.
Following the plague of 1665 and the Great Fire of 1666, wealthy Londoners began moving beyond the walls of the crowded city, looking for more space and healthier surroundings. Aristocratic families like the Dukes of Bedford planned city squares as self-contained communities centered around a square garden. During this walk, you will explore some of these picturesque squares and will learn about the institutions and local thinkers who made this area the intellectual hub of the city.
Bloomsbury became the first neighborhood in London to have such a square; originally know as Southampton Square, it is now Bloomsbury Square. John Evelyn, the diarist, described it as 'a noble square or piazza - a little towne.' As long as the façade was uniform, developers could build what they liked behind. Squares soon became popular and are still a distinctly-London style of urban design: today there are 600 of them!
Pubs and beer are a symbol of British society and tradition as much as tea and cakes and fish and chips.
But beyond the stereotypes do you know what lies behind the tradition of beer and pubs? This three-hour london beer and brewery tour of London will give you a new perspective and appreciation of beer as you enjoy ample tastings at various pubs and breweries located in the East End London area.
Led by a trained food anthropologist with expertise in the beer and brewing industry, we'll focus on the history of brewing in London, highlighting beer's evolution from a dietary staple, to the almost lost tradition of cask ales, to today's renaissance of craft beer and brewing.
Westminster has been at the heart of the governmental system of England (and later, Great Britain) since the Norman Conquest in 1066. Originally the site of the main royal palace in London, whose vestige survives in Westminster Hall, it has, over the centuries, become the seat of parliamentary democracy.
The area in its immediate vicinity, specifically Whitehall and Parliament Square, has seen the development of grand building works housing royal palaces, government departments, and the Supreme Court. Westminster Abbey, the other focal point, has also played an important role in the history of government, hosting coronations, royal weddings, and funerals, and serving as a necropolis for the kings and queens of England.
Discover Westminster's Second World War sights with a knowledgeable guide and visit the fascinating Churchill War Rooms, an underground network of bunkers that served as the government wartime offices.
The 2-hour walking tour includes little-known war tales and tidbits of London history as well as facts about the much-loved maverick leader Sir Winston Churchill. Learn of his life and legacy on an audio tour of the Churchill War Rooms' museum and cabinet rooms. The tour also takes in top London sights such as Big Ben and Westminster Abbey.
Get to grips with Britain's royal and political history on this 4-hour tour of Westminster Abbey and the Houses of Parliament.
Step inside the famous Gothic abbey, which has been the setting for almost all English coronations since William the Conqueror's crowning in 1066, along with many other royal occasions including Prince William and Kate Middleton's wedding.
Then gain insight into the British political system with a guided tour of the House of Lords and Houses of Commons inside the Houses of Parliament.
Experience an intimate visit to the public houses and taverns of Soho and Fitzrovia that inspired generations of writers and artists. And meet Dylan Thomas, Charles Dickens, Virginia Woolf, George Orwell, Anthony Burgess, T.S Eliot and others.
Meet Charles Dickens (deceased) in Fitzrovia. After an introduction and a quick British pub quiz, it's off to visit places frequented by many of the great 19th and 20th century poets and writers, including Dickens, Brendan Behan, Dylan Thomas, Anthony Burgess, Karl Marx, George Orwell and Virginia Woolf et al, and a few earlier writers such as Samuel Johnson and William Blake. See Dylan Thomas meet his wife, Caitlin and look at other incidents that inspired some great works.
Set in one of the most iconic botanical landscapes, housing the largest collections of living, painted and dried plants, Kew Royal Botanical Gardens are a sensory embodiment of the global reach and passion for discovery that defined the British empire in the 18th and 19th Centuries.
On this walk, we'll discuss the force behind the development of these gardens as well as the present and future of Kew, as a center of research into plant genetics and participation in international conservation efforts.
Delve into the depths of one of London's most important and pivotal eras in history. Discover what life was like in London during WWII and the Blitz; from the daily life of citizens, to the role and influence of Winston Churchill. This significant time in London's modern history has fascinated many, and has contributed enormously to both history books and national mythology in Britain.
From the Great Fire in 1666, to the Blitz bombings during WWII, the City of London has been bruised and battered, yet continues to rise up time and time again. One of the worst nights was the Sunday between Christmas and New Year's Day, December 29, 1940, when the warehouses and offices were empty and people were at home enjoying Christmas break.
That night, the area around St Paul's was devastated in a way that affected both the physical structures, and mental attitude of Londoners, for years to come.
Just a few paces from the bustle of the Strand lies one of London's best-kept secrets: a patchwork of secluded squares, alleyways and courtyards that has been home to the legal profession since the Middle Ages when students first came to study and live at the ancient Inns of Court.
Today the four great Inns - Middle Temple, Inner Temple, Lincoln's Inn and Gray's Inn – still form thriving communities providing a base for most of the country's barristers within easy walking distance of the nation's principal courts.
The three-hour walk — led by a barrister or law expert —traces the development of the English legal system, explaining and illustrating its many quirks, from the history of the barrister' horsehair wigs – still worn for most trials - to the role of Queen's Counsel or the Lord Chancellor.
Our Jewish history in the City of London walking tours trace the history of this diverse and active community, giving visitors a distinct sense of its rich culture and history.
Jewish history in London began in 1066, when William the Conqueror encouraged Jewish merchants and artisans from northern France to move to England. From that time (notwithstanding Edward the First's mass expulsion in 1290) London has been home to a very diverse and active Jewish community, one that established itself primarily in the area east of Tower Hill.
Our Jewish London walking tour traces the history of these different communities, some of which continued to live in London after the expulsion, but the majority of whom entered into England only during the seventeenth century under the decree of Oliver Cromwell.
In 1666, the City of London burned to the ground. From the smouldering ruins of the city, the famous English architect Sir Christopher Wren designed and built St. Paul's Cathedral and over fifty parish churches.
Discover the genius of his work in some of his finest creations and find out more about the man, how he worked, and what inspired him on this London city sightseeing tour led by an architecture historian.


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Lymanopoda is a butterfly genus from the subfamily Satyrinae in the family Nymphalidae found in north-western South America.

Species
Listed alphabetically:
Lymanopoda acraeida Butler, 1868 – acraeid mimic satyr
Lymanopoda albocincta Hewitson, 1861 – white-banded mountain satyr
Lymanopoda albomaculata Hewitson, 1861 – pearled mountain satyr
Lymanopoda altaselva Adams & Bernard, 1979
Lymanopoda altis Weymer, 1890
Lymanopoda apulia Hopffer, 1874 – Apulia mountain satyr
Lymanopoda araneola Pyrcz, 2004
Lymanopoda caeruleata Godman & Salvin, 1880
Lymanopoda caracara Pyrcz, Willmott & Hall, 1999
Lymanopoda caucana Weymer, 1911
Lymanopoda caudalis Rosenberg & Talbot, 1914
Lymanopoda cinna Godman & Salvin, 1889 – blue-stained satyr
Lymanopoda confusa Brown, 1943
Lymanopoda dietzi Adams & Bernardi, 1981
Lymanopoda dyari Pyrcz, 2004
Lymanopoda eubagioides Butler, 1873 – pale mountain satyr
Lymanopoda euopis Godman & Salvin, 1878
Lymanopoda excisa Weymer, 1912
Lymanopoda ferruginosa Butler, 1868 – rusty mountain satyr
Lymanopoda galactea Staudinger, 1897
Lymanopoda hazelana Brown, 1943
Lymanopoda huilana Weymer, 1890
Lymanopoda hyagnis Weymer, 1911
Lymanopoda ichu Pyrcz, Willmott & Hall, 1999
Lymanopoda inde Pyrcz, 2004
Lymanopoda ingasayana Pyrcz, 2004
Lymanopoda ionius Westwood, [1851]
Lymanopoda labda Hewitson, 1861
Lymanopoda labineta Hewitson, 1870
Lymanopoda lactea Hewitson, 1861
Lymanopoda lebbaea C. & R. Felder, 1867
Lymanopoda magna Pyrcz, 2004
Lymanopoda maletera Adams & Bernard, 1979
Lymanopoda marianna Staudinger, 1897
Lymanopoda melendeza Adams, 1986
Lymanopoda melia Weymer, 1912
Lymanopoda nadia Pyrcz, 1999
Lymanopoda nevada Krüger, 1924
Lymanopoda nivea Staudinger, 1888
Lymanopoda obsoleta (Westwood, [1851]) – obsoleta satyr
Lymanopoda orientalis Viloria & Camacho, 1999
Lymanopoda panacea (Hewitson, 1869)
Lymanopoda paramera Adams & Bernard, 1979
Lymanopoda pieridina Röber, 1927
Lymanopoda prusia (Heimlich, 1973)
Lymanopoda rana Weymer, 1912
Lymanopoda samius Westwood, [1851]
Lymanopoda schmidti Adams, 1986
Lymanopoda shefteli Dyar, 1913
Lymanopoda tolima Weymer, 1911
Lymanopoda translucida Weymer, 1912 – golden mountain satyr
Lymanopoda venosa Butler, 1868
Lymanopoda viventieni (Apolinar, 1924)

References

Satyrini
Nymphalidae of South America
Butterfly genera
Taxa named by John O. Westwood

redpajama_set_name: RedPajamaWikipedia


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Tag Archives: Ellettsville
Adult Baseball, College
Portland (Ind.) Rockets baseball a 60-year tradition
August 6, 2019 stvkrh905	2 Comments
"Way to get off the bus, Gus. Scoring runs is fun!"
After the Portland (Ind.) Rockets plated three in the first inning at the National Baseball Federation major division (unlimited age) wood bat regional in Fort Wayne, manager Randy Miller shouted his approval from the third base coach's box.
Miller has brought enthusiasm to the diamond for much of the organization's long history.
The Rockets — started in 1959 by Dick Runkle and continued by Ray Miller (Randy's father) — celebrated 60 years of diamond fun and memories in 2019. That makes it one of the longest-running continuous teams in amateur baseball.
"We go back to our 1960's roots," says Portland manager Randy Miller, who has seen the Rockets square off against squads from Albany, Geneva, Dunkirk, Elwood, New Castle, Upland, Yorktown and beyond. A rivalry with the Gas City-based Twin City Bankers is well-chronicled in Bill Lightle's book "My Mother's Dream."
When the Rockets began, they were comprised of players from Portland and later fanned out from Jay County.
"We're still townball," says Miller". We just come from a lot of towns."
The '19 Rockets (10-13) had four players who claim Portland as their hometown — Peyton Heniser, Chandler Jacks, Max Moser and captain Mitch Waters. They also came from Auburn, Bluffton, Carmel, Ellettsville, Frankton, Indianapolis, LaPorte, Marion, Pendleton, St. Joseph and Thorntown in Indiana and Coldwater, St. Mary's and Vandalia in Ohio.
The oldest players were Waters (35), Chris Gaines (33), Zeth Tanner (29), Codey Harrison (28) and Craig Martin (28). The rest were under 25 with seven teenagers. Waters is the director of operations at the Jay County Community Center.
A graduate of Jay County High School and Manchester College, Waters played for the Kalamazoo (Mich.) Kings of the independent Frontier League.
"Our guys are some of the best athletes their high schools have ever had," says Randy Miller. "They're gamers.
"I'm just so proud of them."
Miller, 65, began playing for the Rockets in 1972 and caught a doubleheader at 51. By the 1990's, he was sharing manager duties with his father and has continued helped continue the tradition.
"I've got a motorcycle and a boat," says Miller, a former teacher at Adams Central High School in Monroe, Ind. "I'm not on them very much in the summer."
Runkle had the Rockets competing in the old Eastern Indiana Baseball League. Local talent included Steve Takats. His Ball State University teammate, Merv Rettenmund, played for Portland in 1966 and made his big league debut as a player with the Baltimore Orioles in 1968 and was an MLB hitting coach for many years.
The Rockets went 18-1 and won the EIBL in 1968.
With the team in financial trouble, Ray Miller took over in 1972. He doubled the schedule and included games with Fort Wayne teams.
With the support of wife Betty, Ray helped secure a playing facility in Portland that is now known as Runkle-Miller Field.
"Mom was always there with a sandwich and a cold beverage," says Randy Miller of his mother, who served 16 years as city clerk.
In 1984, the Rockets merged with the Bank of Berne Lancers and went 34-20. The '85 season was the best to date at 41-14 with Portland's first-ever American Amateur Baseball Congress state title.
Miller became AABC state secretary in 1991 and the Rockets won AABC state crowns in 1991, 1994, 1996, 1997, 2001, 2004, and 2006 and in more than 30 years as manager Portland won more than 900 games.
Ray Miller died in 2017 and was inducted into the National Semi-Pro Baseball Hall of Fame in 2008. Randy Miller was enshrined in 2011.
With Randy Miller, siblings Brad Miller and Mickey Scott and many community members pitching in, the Rockets have survived. Mickey, who was city clerk for 12 years, used to run Runkle-Miller's "Rocket Lunching Pad" concession stand and now Brad does it.
All three Miller offspring have taken turns watering the field. The baselines are seeded to help with all the excess rain.
For years, the Rockets were purely a family-funded operation.
Since the mid-1990s, the Rockets have swung wood bats. At first, Randy provided those. But that got too expensive and now the players provide their own clubs.
For $100, the team picks up the cost of caps, uniforms and handles insurance.
Randy Miller carries on a tradition by giving the "Rocket Report" on WPGW 100.9 FM on afternoons following games. Samantha Thomas, who once worked for the Fort Wayne TinCaps, is involved with keeping score and other team functions.
Randy Miller schedules games, recruits players, pays bills and generally keeps the Rockets going.
"That's my legacy," says Miller. "I carry the torch."
The Rockets coaching tree spreads far and wide, especially along the U.S. 27 corridor.
"They want to give back to the game," says Miller. "We are a baseball town. I really believe that."
Among former Rockets are Jay County High School head coach Lea Selvey, Adams Central head coach Dave Neuenschwander and Bethel University head coach Seth Zartman.
Portland won 35 or more games a season throughout the 2000's and went to the NABF World Series in Buffalo, N.Y., in 2012. A few years ago, the Rockets posted a 35-12 mark.
In 2018, an $28,000 scoreboard was installed at Runkle-Miller Field.
A 60-foot "Wall of Dreams" mural on the side of Portland's Ritz Theatre was painted by Pamela Bliss and dedicated July 28 and many alums and Rocket backers came to celebrate.
Wearing the gold and black, fans were in Fort Wayne to see the Rockets' latest season come to a close.
But the fun is not over yet for 2019. The annual Rocket Rally golf outing is scheduled for Sept. 22 at Portland Golf Club. For more information, email Randy Miller at ramiller15@embarqmail.com.
Randy Miller and Mitch Waters share in the spoils of victory for the Portland (Ind.) Rockets baseball team. (Portland Rockets Photo)
Dalton Tinsley hits for the Portland (Ind.) Rockets baseball team. (Portland Rockets Photo)
Former players and fans gathered July 28, 2019 for the dedication of a 60-foot "Wall of Dreams" mural and celebration of 60 years of Portland (Ind.) Rockets baseball. (Portland Rockets Photo)
Artist Pamela Bliss created the 60-foot "Wall of Dreams" mural on the side of the Ritz Theatre in Portland, Ind. On Aug. 28, 2019, there was a
Siblings Brad Miller (left), Randy Miller and Mickey Scott stand in front of a "Wall of Dreams" mural in Portland, Ind., celebrating 60 years of Portland (Ind.) Rockets baseball. The mural behind them depicts Randy and their father, Ray Miller, who were co-managers for years.
The story of the Portland (Ind.) Rockets baseball team and the "Wall of Dreams." (Portland Rockets Photo)
Runkle-Miller Field received a $28,000 scoreboard in 2018. The field is home to the Portland (Ind.) Rockets baseball team, which has been around since 1959. (Portland Rockets Photo)
AABCAdams CentralAlbanyAmerican Amateur Baseball CongressAuburnBaltimore OriolesBank of Berne LancersBetty MillerBill LightleBlufftonBrad MillerCarmelChandler JacksChris GainesCodey HarrisonColdwaterCraig MartinDave NeuenschwanderDick RunkleDunkirkEastern Indiana Baseball LeagueEllettsvilleElwoodFort WayneFort Wayne TinCapsFranktonFrontier LeagueGas CityGenevaIndianaIndianapolisJay CountyJay County Community CenterJay County High SchoolKalamazoo KingsLaPorteLea SelveyMajor League BaseballManchester CollegeMarionMax MoserMerv RettenmundMickey ScottMitch WatersMy Mother's DreamNational Baseball FederationNew CastleOhioPamela BlissPendeltonPeyton HeniserPortland Golf ClubPortland RocketsRandy MillerRay MillerRitz TheatreRocket Rally golf outingRocket ReportRunkle-Miller FieldSamantha ThomasSeth ZartmanSt. JosephSt. Mary'sSteve TakatsThe Lunching PadThorntownTownballTwin City BankersUplandVandaliaWall of DreamsWPGW 100.9 FMYorktownZeth Tanner
Edgewood grad Smith in seventh season leading Ohio U. baseball
May 17, 2019 stvkrh905	Leave a comment
Rob Smith identifies two qualities that he brings to his job as head baseball coach at Ohio University — intensity and consistency.
"There certainly is a lot of fire and passion in myself, yet a consistency in how we train, how we practice and what our expectations are," says Smith, who was hired to lead the Bobcats program June 11, 2012. "I would like to think that I'm very competitive. I would like to think that resonates with our team and that we value hard work."
Prior to taking over in Athens, Ohio, Indiana native Smith served two assistant stints at Purdue University on the staff of head coach Doug Schreiber and then at Creighton University for Ed Servais.
"Schreib is a very fiery, passionate coach," says Smith. "He could really put a charge into a team. Coach Servais had that as well. He was probably the most consistent person I've ever been around.
"I'd like to think there's a combination of a little bit of both (in me)."
Smith was a volunteer assistant at Purdue in 1999 then spent two seasons managing in the summer collegiate Northwoods League with the Wisconsin Woodchucks (winning a championship in 2001) before being hired by Schreiber as the Boilermakers pitching coach.
"Everything that I have been able to do as a coach I owe to that man without question," says Smith of Schreiber. "He gave me a chance to be a college coach when I really didn't have the resume to get that position.
"I had five awesome years there."
Chadd Blasko, who was selected in the first round of the 2002 Major League Baseball First-Year Player Draft, was among Smith's Purdue pitchers.
Smith was associate head coach at Creighton in Omaha, Neb., 2007-12, while gaining wisdom from Servais.
"He's — without a doubt — one of the 10 best college baseball coaches in the country," says Smith of Servais. "He's an outstanding coach, a great teacher of the game.
"A lot of the things I learned about how to run a practice, how to manage a ball club I learned from my time at Creighton with Ed."
Switch-pitcher Pat Venditte, now with the San Francisco Giants organization, was a part of the Smith-led Bluejays staff.
Smith has built the Ohio Bobcats on a few simple concepts.
"In our program pitching and defense are two very big things that we spend a lot of time talking about," says Smith. "It's handling the ball and eliminating free bases."
Ohio, a member of the Mid-American Conference, won MAC tournament titles and qualified for NCAA regional play in 2015 and 2017. Prior to 2015, the Bobcats had made just two NCAA tournament appearances in the 43 previous seasons.
Smith coached four Bobcats — right-handed pitchers Brett Barber, Tom Colletti and Logan Cozart and outfielder Mitch Longo — that went on to play minor league baseball. Colletti is currently in the San Diego Padres system, Cozart with the Colorado Rockies organization and Longo in the Cleveland Indians chain.
The 2019 team is 17-32 overall and 11-14 in the MAC and fighting for a spot in the six-team conference tournament, which is May 22-26 in Avon, Ohio. The Bobcats split the first two of a three-game series at Western Michigan, coached by Indiana native Billy Gernon, May 16 and 17.
There are three Indiana products on the roster — senior Kenny Ogg and freshmen Zyon Avery and Xavier Haendiges.
Smith grew up in Ellettsville, Ind., and is a 1991 graduate of Edgewood High School, where he played for and later coached under Bob Jones.
After his college playing career ended, Smith was hired to coach the Edgewood freshmen and also started a summer travel team called the Indiana Blue Storm.
Smith played at Vincennes University for National Junior College Athletic Association Baseball Coaches Association Hall of Famer Jerry Blemker and Indiana University Southeast for Rick Parr.
"Coach Blemker taught me a lot," says Smith. "Certainly baseball stuff, but probably more so about discipline, growing up and being a man.
"He's been very instrumental in my life. He helped me mature. He was very patient with me through some times where I probably not the easiest player to coach.
"His patience and understanding and his toughness helped me in so many ways."
At IUS, Smith saw right away Parr's passion and knowledge about hitting.
Smith's first college coaching gig came in 1998 at Saint Joseph's College in Rensselaer, where Mike Moyzis was head coach and Rick O'Dette (who would coach the the Pumas for years until the school was closed and is now leading the program at Saint Leo University in Florida).
At Ohio U., Smith uses statistics, trends and analysis to make decisions, especially in pitch calling.
"I believe in analytics," says Smith. "I believe there's a place for it. It's very useful if you can get the right information.
"That's always been the issue at the college level. The information you can get your hands on at times is spotty. It's getting better and better. There's the ability to watch film and more games are on TV. There's a lot more resources to gather good information to make decisions."
Smith says the higher the sample size, the more reliable the information.
Rob and RaeAnna are the parents of four teenagers — identical twins Sierra and Serena (19), Tyson (15) and Isabelle (13). The twins just completed their freshmen year at Ohio. Tyson is a high school freshman. Isabelle is in the seventh grade.
Rob Smith brings combination of intensity and consistency in his seventh season as head baseball coach at Ohio University in 2019. (/Emilee Chinn/Ohio University Photo)
Rob Smith started as head baseball coach at Ohio University June 11, 2012. He took he Bobcats to the Mid-American Conference tournament titles and NCAA tournament berths in 2015 and 2017. (Maddie Schroeder/Ohio University Photo)
Rob Smith is the head baseball coach at Ohio University. He grew up in Ellettsville, Ind. He played and coached Edgewood High School, played at Vincennes University and Indiana University Southeast and coached at Purdue University and Creighton University before landing in Athens. (Ohio University Photo)
AthensBilly GernonBluejaysBob JonesBobcatsBoilermakersBrett BarberChadd BlaskoCleveland IndiansColorado RockiesConsistencyCreighton UniversityDoug SchreiberEd ServaisEdgewoodEllettsvilleIndiana Blue StormIndiana UniversityIndiana University SoutheastIntensityIsabelle SmithJerry BlemkerKenny OggLogan CozartMACMid-American ConferenceMike MoyzisMitch LongoNorthwoods LeagueOmahaPat VendittePumasPurdue UniversityRaeAnna SmithRick O'DetteRick ParrRob SmithSaint Joseph's CollegeSan Diego PadresSan Francisco GiantsSerena SmithSierra SmithTom CollettiTyson SmithVincennes UniversityWestern Michigan UniversityWisconsin WoodchucksXavier HaendigesZyon Avery
Former LaPorte, Indiana standout DeMuth heading into fifth pro baseball season
February 7, 2018 stvkrh905	Leave a comment
Dustin DeMuth's fourth professional baseball season gave him the chance to see what it means when you move up the ladder.
DeMuth, who was selected in the fifth round of the 2014 Major League Baseball First-Year Player Draft out of Indiana University by the Milwaukee Brewers, played 96 games at High-A Brevard County, Fla., and 34 contests at Double-A Biloxi, Miss., in 2016 then 116 more at Biloxi in 2017.
"It was definitely an up-and-down season," says DeMuth, who hit .244 with nine home runs, 20 doubles and 40 runs batted in from the left-handed batter's box and also honed his skills at first base in '17. "There is a separator from High-A to Double-A ball. It was a grind. It was fun though. I learned a lot."
DeMuth, a 2010 LaPorte High School graduate, saw the pace of play speed up in the Double-A Southern League. He also faced pitchers who have better command of their stuff.
"You see velocity all through the minor leagues," says DeMuth. "(Double-A pitchers) have velocity and can put it where they want it. They can locate off-speed pitches. You have to be ready for any pitch in any count.
"They'll attack you differently every time you go up there. You have to keep making adjustments."
Defensively, DeMuth continued to pick up on the cues needed to play well at first base.
"I've always been a pretty good hitter," says DeMuth. "But I always thought my defense was lacking."
DeMuth has picked up a number of things from Brewers coaches on hitting, fielding and footwork.
"A lot of people have different ways of teaching things," says DeMuth. "You find something that clicks in your head,you understand it and you go with it."
DeMuth's off-season has been eventful. He got engaged to girlfriend of more than four years — Caitlin Hansen — last November and the couple plans to wed this November.
Dustin and Caitlin met through mutual friends. The Roncalli High School graduate is a former defensive specialist on the IU volleyball team.
DeMuth has also been in Bloomington working out with the Hoosiers baseball team as he gets ready for 2018 spring training in Arizona. The Brewers' Triple-A affiliate is at Colorado Springs, Colo.
Indiana's program is now headed by Chris Lemonis. Tracy Smith was the Hoosiers head coach when DeMuth played in Cream and Crimson.
DeMuth credits Smith for instilling mental toughness in his players.
"He helped us move on from the rough spots and mistakes and continue to grind," says DeMuth of Smith, who is now head coach at Arizona State University. "He was a great mentor for all of us."
It was a talented and close-knit group that played in the College World Series in 2013 and the NCAA Regional in 2014 and won back-to-back Big Ten Conference titles. DeMuth's teammates included several players on their way to pro baseball, including Kyle Schwarber (who made his MLB debut in 2015 with the Chicago Cubs), Aaron Slegers (2017 with the Minnesota Twins), Sam Travis (2017 with the Boston Red Sox) and Jake Kelzer (a Bloomington native now pitching in the Philadelphia Phillies system).
"It was like a family to be honest," says DeMuth. "Most of those guys are still good friends."
DeMuth was drafted in the eighth round by the Twins in 2013, but opted to go back to IU. After being chosen as a third-team All-American as a junior, he was a first-team All-American while hitting .374 with five homers and 40 RBIs as a senior. His career average was .344 in 236 games (all starts) and left the program ranked No. 1 all-time in doubles (63) and No. 2 in hits (316).
Born in Merrillville, DeMuth went to school in Highland, Ind., through sixth grade, went to Edgewood Middle School in Ellettsville, Ind., then moved to LaPorte during his seventh grade year. He played four seasons for the LaPorte High School Slicers and is grateful for the chance head coach Scott Upp gave him to be a varsity regular in left field as a freshman.
"That was a big deal back then," says DeMuth. "(Upp) is one of the reasons I went on to play baseball in college."
A three-sport athlete at LaPorte, there was a time early in his prep career where DeMuth ranked basketball and football ahead of baseball.
But he saw 6-foot-2 point guards becoming a rarity at the big-time college level and began seeing the opportunities on the diamond.
"I always wanted to go to college and play D-I and baseball was definitely the best route to go," says DeMuth, who is featured in the book Slicer Baseball, A Cut Above: The History of LaPorte Baseball.
While in high school, DeMuth played a few summers of travel baseball for the Indiana Chargers.
At IU, he followed up his freshman year with the Winter Park Diamond Dawgs of the Florida Collegiate Summer League and his sophomore year with the Wareham Gatemen of Cape Cod Baseball League.
Dustin, 26, is the youngest Dave and Judy DeMuth's four children, coming after David, Jenny and Julie. Dave, a former Merrillville High School assistant principal, is retired. Judy DeMuth is superintendent of Monroe County School Corporation. The girls both played college basketball — two-time all-Big Ten performer Jenny at Indiana and Julie at Ball State University.
Dustin DeMuth, a former LaPorte High School and Indiana University baseball standout, is going into his fifth season in the Milwaukee Brewers organization in 2018. (Biloxi Shuckers Photo)
A Cut Above: The history of LaPorte baseballAaron SlegersArizona State UniversityBall State UniversityBasketballBig Ten ConferenceBiloxi ShuckersBloomingtonBoston Red SoxBrevard County ManateesCaitlin HansenCape Cod LeagueChicago CubsChris LemonisColorado Springs Sky SoxDave DeMuthDavid DeMuthDouble-ADustin DeMuthEdgewood Middle SchoolEllettsvilleFlorida Collegiate Summer LeagueFootballHigh-AHighlandIndiana ChargersIndiana UniversityJake KelzerJenny DeMuthJudy DeMuthJulie DeMuthKyle SchwarberLaPorteMerrillvilleMilwaukee BrewersMinnesota TwinsMLB DraftMonroe County School CorporationPhiladelphia PhilliesRoncalliSam TravisScott UppSlicer BaseballSlicersSouthern LeagueSpring TrainingTracy SmithVolleyballWareham GatemenWinter Park Diamond Dawgs


text:
Distribute Cover Songs
Pay Collaborators Automatically
Cover Song Licensing & Distribution: Everything You Need to Know
Why release a cover song?
Recording your own unique interpretation of a video game soundtrack, a popular song from the past, or a current hit can be a smart way to reach a bigger audience.
Cover songs allow you to:
Maintain streaming momentum with a steady schedule of cover-song singles
Benefit from the power of a proven song while showcasing your unique style
Build a bridge between your cover song videos on YouTube and your music on other digital music platforms
Earn money from your cover song's sound recording
Get discovered by new listeners
And considering the popularity of cover songs on YouTube videos and within Spotify playlists, it's clear that digital music platforms love to get behind creative cover songs too, provided those tracks have accurate metadata, allowing DSPs to accurately manage the flow of royalties to rights holders. Without a license, or with sloppy metadata, your cover song could be removed from the most popular music services in the world.
Don't risk it! With Soundrop, you'll know that your cover song has been properly licensed FOR LIFE, and all royalties are being paid correctly.
With Soundrop, you're covered.
Bad pun, but anyway… Licensing cover songs and managing the ongoing accounting hassle of paying mechanical royalties to publishers is not why you signed up to be a musician. Let Soundrop help you with that stuff so you can keep your focus on creating.
Soundrop is the easiest way to license and distribute cover songs.
For a one-time fee of $9.99 per cover song, we will:
Secure your cover song license, forever
Manage the payment of mechanical royalties to the appropriate publishers, forever
Distribute your music to the most popular download and streaming platforms, including Spotify, Apple Music, and many more
Facilitate rights splits and pay multiple collaborators
RELEASE YOUR COVER SONG TODAY.
How Soundrop cover-song licensing works
We keep it simple for you, so you can spend your time creating.
Here's the basic outline of our cover song licensing process:
You sign up your music with Soundrop:
Enter in whatever information you know about the song's songwriters or original performer
Our licensing partner Loudr, whose system is connected to ours via API, will search, verify, or correct the rest of the songwriter, publisher, and copyright information
Loudr will issue a NOI (a notice-of-intent) to the appropriate publishers to notify them you'll be covering their song
Your legally-licensed cover song will be distributed to the biggest music platforms in the world, including Apple Music, Spotify, and many more
Soundrop will automatically subtract all mechanical royalties from your revenue and pay them to the publishers of your cover songs – for life
The verification process mentioned in Step #3 above is essential to make sure accurate metadata is delivered with your audio, and that proper rights holders are being compensated (which is the key to keeping a cover song available on digital music platforms).
For instance, if you were to cover the song "Because the Night" and list Patti Smith as the artist, we would catch that, verify the song you're covering, and correctly credit Bruce Springsteen as the composer.
REST EASY WITH TROUBLE-PROOF COVER SONG LICENSING.
What qualifies as a cover song?
There are lots of different ways to create new music from existing material, and not all of them will qualify as cover songs.
A cover song is a new recording of an existing composition still protected under copyright. In order for your version to be considered a cover song, a previous recording of that existing composition must have already been made commercially available.
If you're covering video game music, the song you're recording must have been released in the form of an audio soundtrack in order to be considered a cover song. It's not enough that the music has been made available as an element of the game experience.
Three important rules to remember about cover songs:
A cover song is faithful to the melodic and lyrical components of the original composition.
A cover song CAN (and often should) take stylistic liberties, making changes to the genre, tempo, key, instrumentation, etc.
If you are recording the very first version of a song you did not write, it's NOT a cover song (and you will need the permission of the songwriter/publisher).
How can I tell if a song has already been commercially released?
As mentioned above, the song you're "covering" must've already had an official release in order for YOUR version to be considered an actual cover song.
A few places to check to see if a song has been released:
Amazon — Search for the release as a domestic product.
Google — Google is always your friend.
VGMDB — The video game music database even has catalog numbers.
Can medleys be legally licensed?
In short, yes.
Technically speaking, some would argue that a medley is a "derivative work" and NOT a cover song. But with the help of our licensing partner Loudr, we can legally license medleys for you.
IMPORTANT: Medley licensing requires us to pay a separate mechanical license to each of the included songs' publishers, so releasing a medley that includes elements from more than three or four songs can be cost prohibitive. You don't want to have to pay so many rights holders that you're actually losing money on every download.
What kinds of songs are NOT considered covers?
Public Domain songs are not cover songs
A Public Domain work is a song that has passed out of its copyright protection period. These are often compositions written prior to 1923. Think Beethoven, hymns, old folk songs, etc. You do NOT need the permission of the songwriter or publisher to record a new version of a Public Domain composition.
Three important rules about Public Domain works:
Your version of a Public Domain composition is NOT considered a cover song.
You should list the publisher as "Public Domain."
You should still credit the original songwriter, composer, or author (if unknown, list the writer as "Traditional.")
Important: The "1922 or earlier" rule only applies to compositions, NOT sound recordings. In the United States, due to some complex rights arrangements, there are NO sound recordings in the Public Domain.
That being said, some compositions written after 1923 could be in the Public Domain, depending on how long the songwriter lived, meaning you would not be required to pay a publishing royalty or secure a license to release your own version.
For details about how long copyright protection applies to musical works, according to the date of creation and the lifespan of the composer, visit Copyright.gov.
Other resources to determine if a song is in the Public Domain:
PDinfo.com
Derivative Works are not cover songs
A "derivative work" is a new composition created from elements of an existing song or songs still protected under copyright. Derivate works are NOT cover songs and will require you to get the permission of the existing song's publisher in order to distribute your recording.
Examples of derivative works include:
Mash-ups
Parodies (like Weird Al's music)
A version that makes significant changes to the melody or lyrics, or replaces portions of the lyric with new original lyrics
Again, you CANNOT distribute a derivative work without the permission of the copyright holder of the pre-existing work. Unlike with cover songs, the copyright holder CAN deny you permission to create a derivative work for any reason.
If a derivative work has been properly licensed with permission from the original publisher or copyright holder, you can distribute that song through Soundrop as an original work as long as the proper songwriting ownership of the new song is listed. Those ownership shares should reflect the license you have negotiated. We can even make sure the original copyright holder automatically receives a share of the revenue!
Requesting permission to create a derivative work
You know you'll need to ask the publisher for permission to create a new work based on a existing song, but who do you contact?
Here are a few places to search for publisher information:
Liner notes – Publisher names should be listed on CD and vinyl jackets
Online credits – Publisher info is also sometimes displayed on websites and music services alongside musician, engineering, and production credits
P.R.O. databases – Performing Rights Organizations like ASCAP, BMI, SESAC, SOCAN, and PRS can be a great place to start your research.
If you need legal assistance contacting publishers or negotiating terms, see if your town has a VLA offering free legal assistance for musicians.
Recordings with samples are not cover songs
A sample is a snippet of audio taken from an existing recording that's protected under copyright and used in a new recording, often in a recording of a totally new composition.
Samples, no matter how long or short they are (yes, even if they're shorter than 6 seconds), CANNOT be legally used without the permission of the rights holders.
To legally clear a sample used in a new recording, you need the permission of:
the owner of the sound recording (the label)
the owner of the composition (the publisher)
These rights holders can say yes or no for any reason whatsoever. If they agree, they can set the terms for payment, rights splits, and more.
For more information about legally licensing a sample, go HERE.
Also, check out services like TrackLib who offer pre-cleared samples from thousands of original recordings.
Releasing cover songs… the legal way
In order to distribute a cover song you need to secure a cover song license. You also must arrange for the accurate payment of all mechanical royalties generated by the sale or streaming of your version to the song's publisher.
Soundrop makes this easy. We'll secure the license for you, and make sure all royalties are paid to the publisher correctly – forever.
LICENSE YOUR COVER SONG TODAY!
What is a compulsory license?
The mechanical license you need in order to distribute a cover song is called a "compulsory license" because as long as you're meeting the requirements above, the publisher cannot prevent you from releasing that recording.
However, if you don't secure the cover song license or pay the appropriate royalties, the publisher can revoke your right to distribute their composition.
Who owns your cover song?
There are two primary rights to consider with a cover song:
The sound recording rights – which are owned by the person or label that created the cover song track
The publishing rights – which are owned by the songwriter and/or publisher of the underlying composition
If you created the recording, most likely YOU are the owner of the sound recording.
What royalties are generated when a cover song is downloaded or streamed?
The label royalty – This a fee owed to the owner of the sound recording for the purchase or streaming usage of the track.
The publishing royalty – These royalties (largely mechanical royalties generated from the virtual "duplication" of the song when it's downloaded or streamed) are owed to the publisher of the song.
With Soundrop, we'll make sure you collect the first kind of royalty, and that the publishers are correctly paid everything they're owed – which is essential if you want to keep your cover songs available online.
The royalty breakdown
There are a lot of different rights and royalties at play when music is performed, sold, or streamed. These include:
Mechanical royalties are owed to the publisher(s) when their composition is mechanically reproduced in the form of physical pressings (CD, vinyl, cassette, etc.), or virtually reproduced as a digital download or interactive stream (an on-demand play via services like Spotify and Apple Music). This is the primary royalty that Soundrop will pay on your behalf to publishers for all your cover songs.
Performance royalties are owed to the publisher(s) and songwriter(s) when their music is performed in public, broadcast on terrestrial radio, or played con satellite radio and digital radio services such as Pandora. These royalties are collected by performing rights organizations and/or publishing rights administrators.
Neighbouring rights royalties are owed to the creators of a sound recording (label, artist, session players) when the track is played via a non-interactive streaming service such as Pandora Radio, or on many radio stations outside the US.
The Do's and Don'ts of cover songs
Make sure to license your cover songs BEFORE you distribute the track (this is the part Soundrop takes care of for you – otherwise the publisher can make you remove the song from popular download and streaming services)
Do some research into the songwriter and original performer of the song (this will help us to secure the right license more quickly)
Use proper title formatting – typically the ACTUAL title of the song, not something like "Joy to the World (cover song) by Opening Band." That stuff might fly on YouTube or Soundcloud, but it's not going to work on Apple Music or Spotify.
Put your own stamp on the song. There's no point in releasing a carbon copy!
Use samples without permission.
Change the lyrics without permission.
Alter the melody (too much).
Change the title of the song.
Give the song away for free on your website (without paying mechanical royalties).
If this all seems like a lot to remember, let Soundrop simplify everything for you. We offer easy cover song licensing for a one-time fee of just $9.99 per song.


Here at Shears Green Infants we take part in a variety of concerts every year. These include Harvest Assemblies, Christmas Plays and the Year 2 End Of Year Concert.
Year 2 have performed their end of year concert titled " What have you done lately." As always they were amazing and sang and spoke beautifully.
The concert ended with the song "Proud" by Heather Small. Each child thought about what they were proud of.


text:
Movie Discussion Thread
:: Why So Media 2.0
Page 2 of 7 • 1, 2, 3, 4, 5, 6, 7
Re: Movie Discussion Thread
by -Mazer on Thu May 22, 2014 9:49 pm
Darth Luna wrote: I liked it, but I have many gripes with it. chief among them being the MUTO.
Why the fuck is their main attack an emp? This was a glaring plothole for me, since in nature there are no animals that would succumb to emp and it is essentially only useful against the humans' technology.
They can clear this up in 2 ways, either make it so that in the era that these creatures come from, there were some were susceptible to emp strikes. Or 2, the MUTO were actually alien creatures meant to soften up the humans for conquest, by knocking out their technology.
That second point is my prefered for this other gripe, why did Godzilla chase and destroy these creatures? There was speculation that he was the alpha predato and was hunting them, but if that's the case, why didn't he eat them, and 2, that being the last of their kind, thus his food source, now he's doomed.
On the other hand, if the MUTO were alien and Godzilla recognized this instinctively, then it would be reasonable to see why he just straight up destroyed them.
Essentially my problem with this movie is that it felt like set up for further movies without answering anything for the audience. An after credit scene showing aliens pissed off that their MUTO were defeated would have solved this and been extra awesome as set up for future movies.
Well, the MUTO were actually Parasites that feast upon larger creatures. So my theory is that the reason Godzilla hunts them is to basically protect himself. Like he senses them and then is like "Crap, these creatures are a threat" and hunts them down. Not to feed upon but just to slaughter because they showed that these things can reside inside larger monsters (remember their shells were found inside the bones of a massive beast)
As for the EMP - I did a quick google search. It seems that EMPs can actually create a violent blast of Gamma Radiation if the EMP is strong enough.
EMPs are radiation after all and strong enough ones can come from forces (such as nuclear explosions) which will be accompanied by gamma rays. So if a pulse is strong enough, it CAN hurt the body, but it would be because of the gamma rays and other stronger radiation.
So it may not be strong enough to kill a Godzilla like creature but it could hurt or even disorientate it. We saw that the MUTO are capable of actually tearing creatures a part. The EMP may be nothing more than a "Back off or you'll get hurt" warning like a rattle snake's tail.
-Mazer
Bounty : 41
by Lunacy on Thu May 22, 2014 9:57 pm
Yeah, I was thinking that too, that it could have been because they're parasites, but weren't they a little big to be parasites? Especially the female that was as big as Godzilla.
Maybe the babies once they hatched, but then that wouldn't make sense, because the MUTO hatched and became big immediately.
As for the EMP becoming to the MUTO what the rattle is to the rattlesnake, outside of how it looked in the movie, it lookes nothing like that in real life. In fact, it's not even visible. So that couldn't be a tell either, unless a creature senses it.
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Location : The Boneyard, New California Republic
by -Mazer on Thu May 22, 2014 10:07 pm
Darth Luna wrote:
I am sure they sense it considering, according to Watanabe, all these creatures fed off radiation. So I am sure when the EMP is released, other creatures would feel it since they all have the same bio-system inside of them to an extent.
And here is how the MUTO work from what I saw. They have teensy babies that hunt down giant monsters and crawl inside of them. As the baby grows, it forms that giant shell and begins feasting off the radiation inside of the monster until the monster dies.
If the MUTO grows completely, it breaks out of the monster (thus killing it which explains why they are so vicious) and seeks a mate to create more babies.
If the monster dies before it matures, the MUTO hibernates in that shell until it becomes strong enough to break out (which is what it did when the humans let it stay at the radiation plant).
They are kind of like those flies that lay their eggs inside of the head of spiders. The adult versions only exist to mate and lay new eggs. It's the tiny babies that actually destroy the other monsters.
So basically Godzilla hears the two communicating and is like "Crap. Mama and Pop are here. They NEED to be destroyed before they lay eggs because those babies will be a huge threat to me." So he exterminates them in order to save his own skin rather than just wanting to feed off of them.
by Lunacy on Thu May 22, 2014 10:13 pm
I guess if I look at it as them going to many metamorphosis, then it makes more sense. Still doesn't make sense how they knew to attack with the emp and that it would be effective against the humans. Even if it was instinctive, I just can't think of creatures, especially when they get to the same size, that would be affected by it.
I don't think they did know it would be effective. The only time they released EMPs is when they are FIRST attacked by humans. Every time they walked past humans without being attacked, they didn't give two damns. The moment they were attacked, they release an EMP. It's a warning for lesser animals to back the f*ck off least they get all kinds of messedup.
And again its not supposed to be a weapon. Just something to tell other animals to back off so it wouldn't really affect creatures like Godzilla, but just tell them "Hey buddy...I'm here. Back the hell off."
by LegendX48 on Fri May 23, 2014 9:19 pm
TensePsychopath wrote:
Easily one of the best comic book films in years.
Saw this earlier as well. Some little things just bugged me and it just wasn't as great as the rest of the world has been saying.
Wolverine being sent back when it was supposed to be Shadowcat, Shadowcat being with Iceman instead of Colossus, changing the assassination from that of Senator Kelly to Bolivar Trask. The way it ended was nice and the ways the X-Men were killed in the future were good and crazy. Colossus being ripped in half while in his metal form was some crazy shit. Quicksilver 1) shouldn't have been in it for the 70s portion OR he should've only been an infant at most 2) while cool, was only in the movie for about 5 minutes
I feel like reading the comic before seeing the movie was a huge mistake and I just couldn't love it due to that. Thought it was alright in the end.
LegendX48
Location : Lying in the snow, staring up at the sky.
by TensePsychopath on Sat May 24, 2014 2:49 am
LegendX48 wrote:
Of course it had to be Wolverine sent back though. He's basically the franchise protagonist and non-comic readers hardly know Shadowcat, she's only been in one previous movie that's almost ten years old. Also, when was it shown that Shadowcat was with Iceman? Rogue's cameo at the end showed that he was still with her.
TensePsychopath
by LegendX48 on Sat May 24, 2014 12:01 pm
TensePsychopath wrote: [img]http://content6.flixster.com/site/10/26/31/10263108_ori.jpg[img]
Future timeline when they all meet up before sending Wolverine back. They're holding hands.
But anyways, I feel like I would've liked the movie considerably more if I had never read the comic.
by TensePsychopath on Sat May 24, 2014 2:10 pm
Well the ending with Rogue has changed that anyway.
by LegendX48 on Sat May 24, 2014 9:52 pm
good but don't like what they did with Electro.
Making him that obsessed weirdo? Come the fuck on, man.
Enjoyed it more than X-Men DOFP
by ColumbianLoom on Sun May 25, 2014 11:02 pm
So I watched X-Men last night and it was definitely the best X-Men movie I've ever seen. Probably even better than X-Men Origins.
But there was plot holes that I picked together throughout the movie (I haven't read the comics btw, I'm just going by the movies):
First off, why is Charles alive in the future? Didn't he die in X-Men 3? Like what the fuck!?
Second, why was Striker so young? That makes no sense. In X-Men Origins they were a team for a while and he was much older. That makes absolutely no sense.
ColumbianLoom
Bounty : 6
Location : Fort Collins, CO
by TensePsychopath on Mon May 26, 2014 4:08 am
ColumbianLoom wrote: So I watched X-Men last night and it was definitely the best X-Men movie I've ever seen. Probably even better than X-Men Origins.
I thought X-Men Origins was meant to be incredibly shitty...
The post-credits scene of X-Men 3 shows that Charles transferred his consciousness into the body of his comatose twin brother. It's pretty stupid, but then I think most people would rather forget that X-Men 3 ever existed. The ending of DOFP pretty much erased everything that happened in it anyway.
I think the whole Stryker thing is because the actor was originally meant to be playing a young Juggernaut, but he was written out of the film and changed to Stryker.
by LegendX48 on Mon May 26, 2014 12:12 pm
Charles Xavier has died a billion times in the comics, don't even bother getting worked up over
how he's alive in DOFP even though he actually is supposed to be dead in the story proper with Magneto being in charge of the X-Men trying to accomplish the same mission in the future time line
And Origins is a travesty, it is NOT Wolverine's origin but some brand new shit written for toddlers instead
Also, the more I think about it the less I dislike the DOFP movie. It's still no The Wolverine or X2 but still, it's climbing up there.
by Lunacy on Mon May 26, 2014 12:17 pm
Lol at this convo. FoXmen movies are all a travesty. Also, Origins is a tragedy, just so bad (I'm not even talking about Deadpool here). As for continuity errors, Fox has managed to do with a couple of movies over a period of, what a decade, what has happened to the comics since the 60s. Not sure if I should congratulate them on that or not....
Anyhow, the best way to get enjoyment from the movies is to know nothing about the comics. I don't care if Fox adds teasers/easter eggs for comic fans, it's for the best to know nothing. Many long time comics fans are too busy being appalled at the butchering of the characters to be interested in that (I'm partially in this camp).
Back to the issue of continuity erros, that's what pissed me off more than anything. They were already doing a bad adaptation, but then they go and fuck up their own shit by making it convoluted and contradicting the stuff they had set up. I think First Class was the one that really took that to the new level.
Anyhow, it's best to try and enjoy the movies on individual basis or maybe even individual sections of movies.
Also, I still don't like first class just because I was so excited when they announced they were doing that series. I thought it was gonna be the actual X-men first class comic. That would have been awesome. Was just a huge disappointment to see the truth. :/
Last edited by Darth Luna on Mon May 26, 2014 12:24 pm; edited 1 time in total
by TensePsychopath on Mon May 26, 2014 12:21 pm
LegendX48 wrote: Also, the more I think about it the less I dislike the DOFP movie. It's still no The Wolverine or X2 but still, it's climbing up there.
The Wolverine was so meh.
I thought it was great, the uncut and extended version is the way to go though his claws still don't get bloody enough. But, yeah, it's still pretty full of what Luna said, all that character butchering. The Silver Samurai wasn't the silver samurai.
by Lunacy on Mon May 26, 2014 1:36 pm
http://io9.com/8-ways-x-men-movie-continuity-is-still-irretrievably-f-1581678509
relevant to this convo
by ColumbianLoom on Mon May 26, 2014 7:31 pm
LegendX48 wrote: Charles Xavier has died a billion times in the comics, don't even bother getting worked up over
Darth Luna wrote: Lol at this convo. FoXmen movies are all a travesty. Also, Origins is a tragedy, just so bad (I'm not even talking about Deadpool here). As for continuity errors, Fox has managed to do with a couple of movies over a period of, what a decade, what has happened to the comics since the 60s. Not sure if I should congratulate them on that or not....
Darth Luna wrote: http://io9.com/8-ways-x-men-movie-continuity-is-still-irretrievably-f-1581678509
Lol. Thank god I haven't read the comics. I would probably be just as pissed as you guys. Your guys' feeling of frustration must be similar to when I see a piss poor anime adaption of a manga.
Basically the whole series sounds fucked. They might as well just start over from the beginning and correct all this crap.
I feel like a director like Christopher Nolan would be able to save the X-Men movie series.
by LegendX48 on Mon May 26, 2014 7:43 pm
Well, in that respect, DOFP did do just that, everything sans X1 and First Class (arguably) has been retconned entirely. Though it's not the best start it will be interesting to see where they go from here.
by ColumbianLoom on Sat Jun 14, 2014 10:23 pm
LegendX48 wrote: Well, in that respect, DOFP did do just that, everything sans X1 and First Class (arguably) has been retconned entirely. Though it's not the best start it will be interesting to see where they go from here.
I think they should redo the whole series.
I just got done with Maleficent. I have to say I was pretty disappointed. I expected the movie to much darker and better written.
Maleficent herself had good development, but all the other characters were paper cutouts and just sucked. And like I said, it was a little too lighthearted.
It was nice, but I feel like it was wasted potential.
by -Mazer on Mon Jun 23, 2014 4:56 pm
Wow....HTTYD 2 was all light and fluffy then suddenly turn dark and serious near the end of the 2nd act.
by Cybersix on Mon Jun 23, 2014 9:50 pm
-Mazer wrote: Wow....HTTYD 2 was all light and fluffy then suddenly turn dark and serious near the end of the 2nd act.
RIP Stoick
by -Mazer on Mon Jun 23, 2014 10:09 pm
Cybersix wrote:
And he didn't die slowly or anything! I mean usually when a character dies they are alive long enough to say some words of love and wisdom...but no. BLAM! Point blank with Blue Energy/Fire. He died INSTANTLY
by Koenig on Thu Jun 26, 2014 12:51 am
I just watch Amelie. I liked it, regardless of the fact I found some content inappropriate.
Last edited by Koenig on Thu Jun 26, 2014 11:08 am; edited 1 time in total
by Justin on Thu Jun 26, 2014 2:47 am
I watched Frozen not too long ago.
I didn't like it.
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HAVANA — Former Cuban leader Fidel Castro has said he decided to step down and transfer power to his younger brother, Raul, because he was diagnosed with a fatal illness in 2006.
In an article published to mark his 87th birthday, Fidel Castro said he didn't expect to survive the stomach ailment and live for so long.
Castro had been in power since the Cuban Revolution in 1959.
The long article was only published by official newspaper Granma yesterday, a day after his birthday.