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Wrath of the Crows
Director: Ivan Zuccon
Writers: Ivan Zuccon, Gerardo Di Filippo
Producer: Zack Ewans
Cast: Tiffany Shepis, Debbie Rochon, Suzi Lorraine
Website: www.ivanzuccon.com
Ivan Zuccon made his feature debut 13 years ago with The Darkness Beyond. Now, with his seventh feature, Ivan has come of age. Wrath of the Crows, coming to us a full five years after the terrific Colour from the Dark, is his most mature and accomplished film to date. But it's more than that, it's magnificent: a whole new level of film-making. In my opinion, this is a genuine, no-holds-barred, world-class masterpiece which finally establishes Zuccon as a globally important director. In years to come, perhaps this will be seen as an iconic title in the history of Italian horror (or maybe not - I'm notoriously bad at predicting these things...).
Wrath is also (if this stuff matters to you) by a considerable margin Ivan's goriest film, with simply masses of blood and some superb prosthetics.
As so often with Ivan's films, a somewhat rundown location is key to the story; in this case, a prison where a handful of inmates await the verdict of an unseen Judge, spending their days in bare cells with shit- and straw-covered floors. But, through some finely integrated stock footage, the story does take us outside the prison walls for some scenes. (We know it's stock footage because there's an elephant in one shot. It looks like Ivan's working with a bigger budget, but there's no way he's hiring elephants.)
It's clear that this prison, with its two uniformed, sadistic guards and a slavering, animalistic human guard dog, is not in the real world. This is a film of allegory, or metaphor, or fantasy, maybe nightmares. A gripping ten-minute prologue sees one prisoner offered freedom, then tortured - but cuts suddenly to the same character in a very different situation. Then cuts back equally suddenly to the prison. Is one of these a dream? Is either real? Or neither?
There is a natural assumption - and I'll make it for you - that in a situation like this, we're in Hell (or Limbo or somewhere) and everyone is dead. That's along the right lines but there is much, much more to Wrath of the Crows than a simple 'they were dead all along' twist. This isn't a film that builds towards a twist, it's a finely wrought, expertly crafted exploration of morality, reality, brutality and fatality (and indeed fatalism) - but, as one expects from a Zuccon picture, never normality.
These prisoners, these lost souls in a borderline unreal world which, from their limited, caged viewpoint, could be as real as many a 21st century third world prison, are not simple cyphers who can be summed up with individual glib sentences. They are at one and the same time complex, real people yet also hollow shells of humanity. We know nothing about them except what we can see in their interactions and relationships with each other and with the guards. The interstitial scenes which take us outside the prison walls (and back? forwards? sideways? in time) tell us more but are not simple, pat explanations of how and why these benighted figures ended up in this hellhole, resigned to their fate. And they feed directly into the main story in a variety of sometimes startling ways.
Debbie Rochon, returning to Studio Interzona after her fine performance in Colour from the Dark, is Debby. The awesomely named Domiziano Arcangeli is Larry. Brian Fortune (looking exactly like a post-revolution, pre-execution Saddam Hussein) is Hugo. Tara Cardinal is Liza. These characters are individuals, united only by their isolated existence, sharing only Ivan and Gerardo Di Filippo's carefully chosen words as days become weeks become years and they lose all memory of a life before prison. They never question what might be happening in the outside world. For them, there is no outside world. They have been locked away and forgotten.
Then Princess arrives: a new prisoner, with a different attitude. Dressed in an amazing crows'-feather cloak over a leather basque, she exudes a brash confidence that the others have lost, but intriguingly exhibits no overt defiance against the rules or the system, despite being penned into the same row of barred cells as the rest. Princess is as accepting of the filthy, bleak, sunless world of the gaol as the four others; in fact she almost seems to relish her new life and the chance to taunt, cajole and maybe even dominate her neighbours.
Everyone in the international cast, without exception, gives their all. As in the past, Ivan has coaxed magnificent performances from actors who all too often ply their trade in hoky B-movies where opportunities for characterisation are sparse. Debbie Rochon's 18 other 2013-listed IMDB titles, for example, include Return to Nuke 'Em High and Bikini Bloodbath Shakespeare. Those sort of gigs are fun - God knows I love Uncle Lloyd and can't wait to see a new Nuke 'Em High movie - but they don't stretch an actor. Sometimes an actor wants to take their tongue out of their cheek and really, you know, act. Rochon is a fine actress, but like every other fine actress she needs the roles.
Tara Cardinal is a name I'm not familiar with but that's because I've never been sent copies of Bite Nite, Quest for Comic-Con or Fable: Teeth of Beasts. I don't think I'm prejudging these movies of which I know nothing in assuming, based solely on their titles, that they aren't deep character studies. And Domiziano Arcangeli is another new name to me, although he has been making films since he was discovered at the age of eleven in 1979, with more than 150 IMDB credits, about two thirds in Italy and the rest following his move to Hollywood in about 2006-ish.
He was in a 1982 ETA Hoffman adaptation, Vampirismus, and that same year appeared in Antonio Margheriti's Hunters of the Golden Cobra opposite David Warbeck (reteaming with both for 1984's Ark of the Sun God). His CV is packed with legendary European directors albeit not necessarily their best-known - or best - works. So we find him in films by Lucio Fulci (Ghosts of Sodom), Aldo Lado (Ritual of Love), Umberto Lenzi (Demons 3), Tinto Brass (Paprika), Andrea Bianchi (Le Perversioni degli Angeli), Bruno Mattei (Capriccio Veneziano, Land of Death, Mondo Cannibale) and even a spell working for Jesus Franco (Vampire Blues, Red Silk, Incubus). (But interestingly not, so far as I can tell, Argento.)
Once Stateside, Arcangeli started out in such low-rent titles as Jeff Leroy's Werewolf in a Women's Prison, The Asylum's Omen knock-off 666: The Beast and Sean Cain's heartwarming festive classic Silent Night, Zombie Night. He was Victor Frankenstein in Frankenstein Rising, Renfield in Waiting for Dracula (which he also wrote and directed) and Dr Van Sloan in something called Creep Creepersin's Dracula. (Mr Creepersin has previously escaped my attention, despite making about 40 films in the past seven years; Arcangeli is also in his delightful romcoms Orgy of Blood, Alien Babes in Heat and Brides of Sodom.) My point is that Arcangeli has, like Debbie and Tara, paid his dues in the Z-league but, despite having actually worked with Fellini (an uncredited bit-part in Intervista but hey, it's still good), it looks like he has rarely been stretched. Directors who average more than five films a year rarely provide the most satisfying opportunities for their casts.
Irish actor Brian Fortune has a less obviously cheap'n'cheerful CV: mostly Dublin-based shorts but with a few horror features including Dave McCabe's Shackled, Eoin Macken's The Inside and Eric Courtney's An Irish Exorcism (maybe there's an Irish Horror Revival...) plus he was in a couple of episodes of Game of Thrones, which probably paid the rent for a few months. So: a quartet of solid, talented thespians, capable of turning their hands to anything but rarely given the opportunity to explore a story and characters as powerful and thought-provoking, as harrowing and haunted as Larry, Debby, Hugo and Liza. Great work by all.
But Princess is something else. Princess is Tiffany Shepis.
Seriously, if you retained any doubts that Shepis is the reining Queen of Horror, dispel them now, because in Wrath of the Crows La Shep is simply awesome. I won't bore you with a canter through Tiff's recent career - the IMDB is over there if you want to take a look - but I will point out how I have observed before that, when given the chance, she is a fantastic actress with a sympathy for the genre that shines through every role. Sometimes, amid the gleeful horror hoopla, Shepis finds a part - and a film, and a director - that she can work with: a complex mixture of confidence, vulnerability, mystique, danger, passion, torment, reproach, violence, horror (of course) and a dozen other personality traits, mixed in the right proportions to make a character cocktail. Stirred, not shaken. We saw this in Zuccon's NyMpha, we saw it in The Frankenstein Experiment/Syndrome, and we can see it again here. (Frankenstein Experiment helmer Sean Tretta shot second unit for Ivan; he also has the envious position of being Mr Shepis.)
Princess is an amazing performance of an amazing role, standing out even among such a strong and well-handled cast. This is an extraordinary character: layers of understanding and mystery gradually peeling away as we start to find out more about who she is, and why. The other prisoners consider her a witch, maybe because of her costume if nothing else. What does she know? Where has she come from? What makes her different from the others? Should they welcome her or reject her, fear her or trust her? Shepis strides through the film, investing every syllable of dialogue, every glance, every movement, every frame with fantastical, horrific significance. I've never seen her better than this.
So now I've gushed about the principal cast (and skipped through their filmographies), let's return to the movie itself. This is more accessible and less obtuse than some of Ivan's earlier work, which often prioritised elegiac qualities over straightforward narrative, but that is not to say that there is a simple story here or a simple structure. This is a multi-dimensional web of narrative which is so bound up with characters and settings - and indeed photography, editing, costumes, make-up... - that the film feels like a total cinematic package rather than just a story told on screen. There is a clear third act, a development of the story which introduces a new set of prisoners and I'll not deny that I found that slightly disconcerting but it serves its purpose and does not in any way detract from the sheer enjoyment of this amazing horror film.
Ivan's work has always been influenced to a greater or lesser degree by his love of HP Lovecraft but Wrath of the Crows seemed less Lovecraftian and in fact reminded me more of another much-adapted classic author (one whom, truth be told, I have always preferred). And that is Poe (and not just because of the corvid connection). Edgar Allan Poe was a poet: even his fiction has a poetic quality to it, a lyrical evocation of gothic imagery in contrast to Lovecraft's reliance on things being 'indescribable' (both approaches have their merits). Wrath of the Crows is a film poem, and I know that sounds pretentious but that's the impression that I got while sitting, spellbound for an hour and half. Every syllable of every word of every sentence has been carefully selected and positioned, and the same approach has been made to every camera angle, every lighting choice, every cut, every sound, every costume, every scattering of straw on the prison floor.
Just like a poem, the film only really works as a whole. That's the main reason I'm not going into too much detail about the plot. Not because it's unfathomable, but because a summary could never do it adequate justice. It would be like summarising a poem: well, there's a raven which has learned to mimic a word and it perches on a bust... See what I mean? Just like a cloak of crows' feathers, Ivan has taken dark and rarely considered things then woven them together to create a satisfying, unexpected, extraordinary whole which works brilliantly in both what it does and how it does it. Taking that apart again wouldn't leave a cloak, just a pile of old feathers.
One of the feathers that Ivan has woven into his witch's cloak of darkness is a level of blood and gore above anything he has done previously but this is never gratuitous, never used to just titillate the baser elements of the audience (though it might well enhance their enjoyment of the movie). People are stabbed, people are beaten, people are bitten, people are mauled. Eyes are gouged, throats are slit, skulls are cleaved, teeth are pulled, a tongue is cut out. But every violent act - and its consequences, fatal or otherwise - feeds into the greater body of the film and is handled with the skill of a past master who loves and understand horror cinema.
And there's religion, and there's sex, and there's families. Because it wouldn't be an Italian horror film without those. (Oh, and there are crows too, though quite how wrathful they are is hard to determine.)
This is the key to Ivan Zuccon's success: he is Italian horror. He knows and loves this genre. But what he is not is a slave to tradition; quite the opposite. Ivan is at the forefront of what, for want of a better phrase, I'll call the Italian Horror Revival. The IMDB lists about a hundred Italian horror features released since 2000, seven of them Ivan Zuccon joints. So clearly something is going on but people aren't seeing the bigger picture, just like the British Horror Revival (and potentially that Irish one I mentioned). Many people ignored the boom in fantastic home-grown horror because they believed that British horror would only rise again when Hammer returned. But The Woman in Black was an anomaly (and an over-rated one at that).
By the same token, Italian horror fans seem to live in expectation of the Second Coming of Dario Argento - but he is an old man who, however good his 21st century outings, is never going to make anything like Suspiria or The Bird with the Crystal Plumage again, no matter how many times his prophet Alan Jones raises people's hopes. The best modern Italian horror is new and different and vital and low-budget and fiercely independent and contemporary and very, very Italian and it reacts against, at least as much as it is influenced by, classic Italian horror. I bet Ireland's the same. Heck, I bet every country's the same. They're all just waiting for somebody to join the dots and realise what has been happening in the indie/DTV market while everyone was suffering from terminal nostalgia.
Ivan has moved on from the Italian Horror Revival. His last film premiered in London; this one premiered in Hollywood. All six of his previous features have achieved international distribution, something that virtually none of those other 2000-and-after spaghetti horrors have managed, a couple of latter-day Argentos notwithstanding. He is a cinematic force to be reckoned with, and Wrath of the Crows is the next step in his journey towards global acclaim.
So who else can we spot in this international all-star cast? Well, Suzi Lorraine plays a number of roles. She has more than 70 IMDB credits including Sea of Dust, Last Rites of the Dead, She-Demons of the Black Sun, Satan's Schoolgirls, a bunch of Seduction Cinema crap from the early 2000s (under a different name - smart move) and a handful of BHR entries including Monitor, Three's a Shroud and Dead of the Nite. Zuccon regulars Michael Segal, Giuseppe Gobbato, Matteo Tosi and Emanuele Cerman are respectively the head warden, the savage 'dog solder' he keeps on a lead, an executioner and 'Spoon', a trustee prisoner with OCD who distributes the slop (and has a disturbing interest in cutlery).
Gerry Shanahan is another Irish actor and another alumnus of Studio Interzona. Since making Colour from the Dark he has appeared in three gore'n'Guinness features - Shackled, Hotel Darklight, and Portrait of a Zombie - plus another Italian horror flick, Zombie Massacre (which also features Michael Segal, Tara Cardinal and... Uwe Boll as the President of the USA?). John Game, who plays the prisoner featured in the prologue, is a British actor who is also in a new Benelux film called A Warning to the Curious (which may or may not be an MR James adaptation). He's particularly good in a physically demanding role and I suspect we'll be seeing more of him in the future.
Other cast include Carl Wharton (Zombie Massacre again, plus British SF-thriller The Turing Enigma), Andreea Togan, Chris Pybus, Svetlana Bekleseva (also one of two credited Tiffany Shepis body doubles), Roberta Marelli (also co-producer), Marcella Braga (who was in an Italian Star Wars fan film!) and Ivan's young daughter Miriam (in two roles, including 'Young Debby'). To a man and woman (and child) they are all excellent.
Danilo Carignola and Elena Sardelli of leading Italian make-up effects house Crea-Fx provided the excellent blood'n'gore; what a busy time they must have had. Visual effects supervisor Luca Auletta worked recently on an intriguing-looking spaghetti horror-western, Undead Men. Antonio Masiero was the sound designer but there is no composer credited: all the music came from stock libraries. David Bracci, who has worked on most of Argento's pictures since the late 1990s, gets an 'additional special effects' credit. The production designer, as ever, was Valeria Zuccon and the costume designer was once again Donatella Ravagnani. As with the cast, all those behind the camera worked their socks off and have produced outstanding work.
And holding it all together is Ivan, the director, the co-writer but also the cinematographer and the editor ("cut and shot" as his credits traditionally say). As director he leads his cast into wonderful performances, but they would go to waste without the exquisite camera-work, extraordinary lighting and spot-on editing. But this time, curiously, he is not the producer. That is someone named Zack Ewans, a name which returns precisely no hits on Google, not even an IMDB credit. Is it Ivan under a pseudonym? Could be: it is sort of a bit like his names reversed.
Look, I know this epic review has seemed like a gushing love-in, and I know that I always rave about Ivan's films, and I also know that there are people out there who disagree with me and don't like the Zuccon movie(s) they've seen (hey, some folk can't stand the Beatles). But you all know by now that I only ever write honestly. I write what I feel about each individual film. And if I keep giving the impression that every Ivan Zuccon picture is better than the last one, that's because in my opinion, each one is. I still recall that day in 2000 when I first met Ivan at Cannes (in a hotel suite being rented by Tiffany,as it happens - my god, we were all so much younger then).
Ivan's career since then has been a journey, a progression through which he has taken his natural, God-given talent and refined his skills through a succession of fascinating horror films. And it has been a privilege to travel alongside Ivan on that journey towards Wrath of the Crows, eagerly unwrapping each new VHS tape or DVD as soon as it arrives and watching his body of work develop. Yes, Ivan is my mate. But I've had mates who have dropped their game and made poor films, or at least films which weren't up to their usual standards. If that happens with Ivan, I'll say so. (Or I'll say nothing; if I ever don't review one his movies, you'll know I found it disappointing). So yes I know Ivan personally, and a few of the other names here, but I don't praise things because I know the people who made them. I praise things because they're great. And Wrath of the Crows is great.
I expect good things from an Ivan Zuccon film, but Wrath exceeded even my high expectations, and for that I have to give serious consideration to awarding it my highest rating. I very, very rarely give a film A+, not least because if I do, there will be nowhere to go if something better comes along. Perhaps Ivan's next film will be even better than this one. But, realistically, I was so blown away with Wrath of the Crows, with the work of Ivan, Tiffany, Debbie and everyone else involved, that if I am honest with myself I have to say this is a perfect horror film. Instantly one of my favourites ever. I want to watch it again. Now.
Bravo maestro.
MJS rating: A+
Labels: 2013, Italy, witches
Brian Fortune 25 May 2013 at 00:05
Fantastic review Mr Simpson. Thank you so much.
I watched the movie for the first time a couple of days ago and was blown away by Ivan's immeasurable talent. So well 'Cut and Shot' and directed. The cast were amazing.
I really hope I get to work with Ivan again, I see great things for that man!
Brian Fortune
Jake Parsons 31 May 2013 at 14:32
Much thanks to you Mr. Simpson for putting out the amazing and informative review. I've seen other films from Ivan and have become a long time fan and from this review I am very excited to see this film as soon as it comes out. Does anyone have a release date yet or know when it may come out in the US? I've been a long time fan of Italian horror films and truly believe Ivan is the new successor to the throne of this genre. I agree with your comments on Tiffany Shepis as well and I am very much anticipating seeing the work of Tiffany and Ivan together again. And from what you are saying it seems as though she has found a great new vehicle moving her career forward.
I also very much follow Domiziano Arcangeli and his career being again very excited about his role in the film and working with Ivan as well! I have to say though, I'm surprised with your knowledge of cinema that you would only focus on some of his lessor films. I read about and saw some of his earlier films in Europe as well as his early films and tv shows shot in the US that weren't mentioned like Zalman King's Chromium Blue that was actually in 2001, where Domiziano stood out very early for me as a brilliant actor, also great in Sin's Kitchen opposite the amazing Jeffrey Wright, cult classic Samurai Avenger: The Blind Wolf and most recently in Lionsgate's The Ghostmaker.
Again, great all around review as always from you Mr. Simpson. I really can't wait to see Wrath of the Crows as it very much sound like more than just a horror film but a real classic.
Jake Parsons
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Home » Scholarly Articles » Meaning and Differences Between Morals and Ethics
Meaning and Differences Between Morals and Ethics
Differences Between Morals and Ethics: You may have come across the terms "morals" and " ethics" once, twice or numerous times . It may also be that you have heard these terms and wondered what the difference are. In fact, it is not uncommon for a lot of people to think of these terms as being the same thing. In life, we encounter moral and ethical issues, on a daily basis. Generally, these two mean the personality, attitude, and behavior of a person.
They are in fact, not the same. While they're closely related concepts, morals refer specifically to principles that guide, while ethics on the other hand concern specific rules and actions, or behaviors.
The confusion between these two words can be traced back majorly to their origins, for example, the word "ethic" comes from Old French (etique), Late Latin (ethica), and Greek (ethos) and translates to customs or moral philosophies. "Morals" comes from Late Latin's moralis, which means to appropriate behavior and manners in society. The word Morals was obtained from a Greek word "Mos" which translates to custom. On the other hand, Ethics was derived from a Greek word "Ethikos" which translates to character. So, the two words originally have very similar and synonymous meanings.
Morality(morals) and ethics(ethics) of individuals have philosophically been the subject of study for over a thousand years. The idea of ethics being principles that are set and applied to a group (not necessarily focused on the individual) is relatively new, though it dates back to the 1600s. However, the distinction between ethics and morals is particularly important for philosophical ethicists.
Therefore, while morals are the customs established by group of individuals, ethics is the character of an individual. Also, while morals are connected with principles of right and wrong, ethics are refer to the right and wrong conduct of an individual in a particular situation. Though many persons use the two terms as synonyms, there are in fact slight and subtle differences between morals and ethics.
Differences Between Morals and Ethics
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1 What is Morals?
2 What is Ethics?
3 Major Differences Between Morals and Ethics
4 Application to Real Life Situation
What is Morals?
Generally, morals are the social, cultural and religious beliefs or values that an individual or group holds which tell them what is right or wrong. Morals are those rules and standards developed by the society or culture which is to be followed strictly by them while deciding what is right. Some moral principles include:
a. Do not cheat
b. Be loyal
c. Be patient
d. Always tell the truth
e. Be generous
In fact, Morals refer to the beliefs that are not necessarily objectively right, but is considered right for any situation, so it can be rightly said that what is morally correct may not necessarily be objectively correct.
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What is Ethics?
To start with, we must note that ethics is a branch of philosophy. Ethics deals with the principles that guide the conduct of an individual or group. It works as a guiding principle as to decide morals (what is good or bad). It can be said that ethics are the standards which govern the life of a person. Ethics is also known as moral philosophy. Some ethical principles are:
a. Truthfulness
b. Honesty
c. Loyalty
d. Respect
e. Fairness
f. Integrity
Note that an ethical code has nothing to do with cosmic righteousness or a set of beliefs. It is just basically a set of rules that is drafted by trade groups to ensure that their members stay out of trouble and act in a way that brings good name to the profession. It is also important to note that what is ethical is not always what is moral, and what is moral is not always ethical, for example, Omerta is a code of silence that was instituted amongst members of the Mafia.
Meaning of Morals and Ethics
It's major use was to protect criminals from the police. This rules though, ethically-correct behavior among the organization, can also be viewed as wrong from a moral standpoint. Also, a moral action can also be unethical. A lawyer who tells the court that his client is guilty might be acting out of a moral desire to see justice done, but this is highly unethical because it violates the attorney-client privilege.
Though Ethics are very consistent within a certain context, they can vary greatly between certain contexts. Take for example, the ethics of the medical profession in the twenty first century are generally consistent and do not change from one hospital to another hospital, but they are different from the ethics of the twenty first century legal profession.
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Major Differences Between Morals and Ethics
The major differences between Morals and Ethics include:
How to differentiate between ethics and morality with examples
1. Morals deal with what is 'right or wrong'. On the other hand, ethics deals with what is 'good or evil'.
2. Morals are general guidelines that the society frames, for example, we should speak the truth at all times. On the other hand, ethics are a response to a particular situation, for example, is it ethical to state the truth at all times?
3. The word morals is derived from a Greek word 'mos' which refers to custom and the customs are determined by group of individuals or some authority. On the other hand, ethics is originated from Greek word 'ethikos' which refers to character, and basically character is an attribute.
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4. Morals are instituted by society, culture or religion, while Ethics are chosen by a person as principles that governs his or her life.
5. As said already, morals are concerned with principles of right and wrong, while, ethics emphasizes on right and wrong conduct
6. Since morals are framed and designed by the group, there is no option to decide or choose, what the individual can do is to either accept or reject. On the other hand, the people are free to decide, institute and choose the principles of their life in ethics.
7. Morals may vary from society to society and culture to culture. What is obtainable in one society may be totally different from another, as opposed to Ethics, which remains the same regardless of any culture, religion or society influence.
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8. Morals do not apply to business, whereas Ethics is widely applicable in the business, and it is known as business ethics.
9. Morals are expressed in the form of statements, but Ethics are not expressed in the form of statements.
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Application to Real Life Situation
If the relative of a huge political figure has committed a crime and the politician uses his powers to release the relative from legal consequences, it is immoral because the politician is trying to save a criminal.
what is the difference and similarity between ethics and morality
An acquaintance, close friend or relative of an interviewer comes for an interview and without asking a single question, the interviewer selects him on the basis of favoritism and not merit. This act is highly unethical. This is because the selection process should be obviously transparent and unbiased.
A foodstuff seller sells adulterated products to his customers to earn more profit. In this scenario, this act is neither moral nor ethical because he is cheating his customers and profession at the same time.
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Every single individual has some principles which guides him in life. These principles help him or her to cope with any adverse situation. These principles are known as ethics. On the other hand, Morals are not the hard and fast rules. Morals are also not rigid. Morals are basically rules which a majority of people in society see as right. That is why the people widely accept them.
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Two hours before we were supposed to leave for a gathering, I discovered that it was a housewarming party (not a bunch of friends meeting at a nearby bar!) I love to bring treats to parties, so I had to make something that I could easily finish in a limited time frame. Within 2 hours, I had baked, frosted & cut up these bars, walked the dog for 45 minutes, and gotten ready for the party. To speed the process along, I did place the bars in the fridge to finish cooling so that they were completely cool by the time I frosted them.
These were a huge hit - both by the people at the party, and my co-workers who enjoyed the other 1/2 of the pan the next day! Even though they were 2 days old by the time they were finished, people were still raving about them (down to the last crumb left in the tupperware). The vanilla beans give the cookie a great flavor (along with the beautiful specks!), and the cream cheese in the frosting keeps it from being overly sweet.
Preheat the oven to 350˚ F. Grease a rimmed baking sheet (mine was 12 x 16″) with butter.
Combine the butter and sugar in the bowl of a stand mixer. Beat on medium-high speed until light and smooth, about 2 minutes. Mix in the eggs one at a time, beating well after each addition and scraping down the sides of the bowl as needed. Blend in the vanilla and seeds from the vanilla beans. Mix in baking soda. Add flour into mixer bowl, and beat on low speed just until incorporated.
Transfer the cookie dough to the prepared baking sheet and press into an even layer. Bake approximately 15 minutes, until lightly golden and a toothpick inserted in the center comes out clean. Transfer the pan to a wire rack and let cool completely before frosting.
To make the frosting, place the butter & cream cheese in the bowl of an electric mixer. Beat on medium-high speed until smooth, about 1 minute. Blend in the vanilla and confectioners sugar until smooth, 1-2 minutes. Tint as desired with food coloring. Spread over the cookie in the pan, garnish as desired, cut into bars and serve.


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difference b n double drum boiler and single drum boiler
Boiler feed pump | KSB
Boiler feed pumps are also referred to as feed pumps (see Reactor pump) and designed as multistage radial flow pumps. (Also see Multistage pump.). They serve to feed a steam generator such as a boiler or a nuclear reactor with a quantity of feed water corresponding to the quantity of steam emitted.
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Boiler Systems. The main components of the boiler system include the feedwater heaters, deaerators, feed pumps, economizers, superheaters, condenser and condensate pumps. In addition, there are sets of controls to monitor water and steam flow, fuel flow, and chemical composition of the air and steam.
Double beat valve | Tractor & Construction Plant Wiki
2014-4-4 · The double-beat valve, drop valve or equilibrium valve is a type of poppet valve arranged to allow it to be opened against a high pressure with a minimum of force.. One of its uses is in steam engines to admit steam to the cylinders and to release the exhaust. In stationary steam engines it is usually operated by trip valve gear while in railway locomotives a valve gear such as Caprotti is used.
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Les Papeteries Aubry de Venthon, situées à Venthon, au-dessus d'Albertville en Savoie, furent le premier site français d'exploitation de nombreux alliages de métaux performants, utilisés ensuite pendant la Première Guerre mondiale pour fournir la plus grande partie des approvisionnements militaires français, dans une seconde usine à Ugine, à 9 kilomètres de là.

Histoire
Armand Aubry qui crée en 1888 à Venthon une chute d'eau aménagée en 1896 s'en sert pour sa papeterie, équipée d'un moteur électrique. Ensuite, de mars 1899 à 1905, les papeteries ont été occupées par l'industriel suisse Paul Girod. Il les a transformées en usine de mise au point du vanadium, car il n'avait n'a pas l'argent nécessaire à l'acquisition des gisements au Colorado et au Pérou. Le site lui sert aussi à la mise au point d'autres alliages, ferro-tungstène, ferro-molybdène, ferro-uranium, ferro-tantale, et ferro-bore puis à la fabrication industrielle du ferro-chrome et du ferro-manganèse.

En 1900, pour augmenter le débit du Lac de la Girotte, est creusé un tunnel à  sous la surface du lac, couplé à un premier Barrage de la Girotte, en face du Col du Joly, ce qui permet à la retenue d'eau d'atteindre six millions de mètres cubes, afin d'alimenter de façon plus importante le Doron de Beaufort et l'usine électrique desservant les fours à métaux installés dans les ex-Papeteries Aubry de Venthon. Un autre percement du lac aura lieu en 1923.

Avec une hauteur de cent mètres de chute d'eau, l'usine produit 4 MW, c'est la plus puissante des Alpes en 1900, après celle de Chedde (7 MW), composante des centrales hydroélectriques de Passy, située près de Saint-Gervais en Haute-Savoie.

En 1902, Paul Girod, qui était locataire, rachète l'usine. Mais son espace assez limité et la cohabitation difficile avec Aubry, l'amènent à chercher un nouvel endroit. En 1902, il le trouve à Ugine et décide d'y construire une usine de ferro-alliages, la « Société Anonyme Électro-métallurgique Procédés Paul Girod », inaugurée en 1904, puis y fonde en 1908 les "Forges et Aciéries Paul Girod", à l'origine d'Ugitech, en développant à nouveau le réseau hydroélectrique du Beaufortain, valorisé par la construction d'une ligne électrique à haute-tension « Albertville-Annecy-Lyon ». Les usines de Venthon et Queige sont déménagées à Ugine, s'ajoutant à celle qui s'y trouve.

De son côté, Aubry céda ses installations à la Société Electrométallurgique du Sud-est en 1906, laquelle mit en service son usine d'aluminium en 1908. Elle l'arrêta en 1911 en raison de la mévente du métal et se trouva donc dans l'obligation de la vendre aux "Forges et Aciéries" de Paul Girod, qui récupère ainsi le site cédé en 1904, conserve la fabrique d'électrodes puis engage la fabrication de carborundum de 1920 à 1947.

Références

Entreprise métallurgique
Entreprise ayant son siège en Savoie

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Transporting your car, truck, or van is easy with Andrew Auto Transport.
You will then receive instant rates that you can choose to book. Things such as price, time frame and service level are important to note when comparing potential transporters.
You also want to know what type of shipping service your vehicle will need. Shipping a used car via open transport may be the easiest/cheapest option but you certainly wouldn't want to ship your vintage Ferrari that way. An enclosed trailer is a good option to consider for high value vehicles that you don't want exposed to the elements. Remember most car shippers are brokers, they are middlemen between you and the auto transport driver. They are in place to check insurance and background of car carriers operators. Value this service highly as some of us who did not use a broker ended up with major headaches trying to get insurance info and good pricing.


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Sahara Hotel in Las Vegas Closes Amid Losses
By Alexandra Berzon
Updated March 11, 2011 6:31 pm ET
The Sahara Hotel and Casino—where Johnny Carson performed sold-out shows and the Beatles once stayed—will close its doors, marking a milestone in Las Vegas's ongoing recession as the first casino on the once-booming Las Vegas Strip to shut down due to the recent downturn.
The 55-year old property will be shut in May because it is losing money, its owner, SBE Entertainment Group, said Friday. "The continued operation of the aging Sahara was no longer economically viable," Sahara Chief Executive Sam Nazarian said in a statement.
The closure will mean over 1000 Sahara employees will lose their jobs. The company said it will work with MGM Resorts International MGM 2.49% to try to find jobs for employees and also to accommodate hotel guests with reservations. Mr. Nazarian declined requests to be interviewed.
In the statement, Mr. Nazarian said he and his partners are assessing their options, which he said could include a complete renovation and repositioning of the hotel. Mr. Nazarian did not indicate any plans to tear down the building.
Originally opened as Club Bingo in the Las Vegas Strip's earliest days, the casino became the Sahara in 1952 and is one of the last vestiges of a mid-century building boom that swept the Strip.
Closing a casino without a replacement plan would be a sharp change for a town where the old was often torn down to make way for the new. For decades when casinos such as The Stardust and New Frontier closed they were destroyed in celebratory bursts often featured on national television. They were removed to make way for more expensive and more lucrative casinos as property values soared.
That trend ended during the economic downturn, as visitors cut back sharply on spending on hotel rooms and gambling. Casino winnings from gambling on the Las Vegas Strip fell to $5.8 billion in 2010, down $1 billion from its peak in 2007.
Now casinos are struggling with a glut of rooms. That puts particular pressure on older casinos, such as the Sahara, which don't draw the crowds like bigger newer properties.
Two of the largest companies, MGM Resorts and Caesars Entertainment Inc., are struggling under enormous debt-loads. Nearly every Las Vegas casino company that took out significant loans in recent years has been forced to restructure, go through bankruptcy proceedings or foreclosure.
But while casino revenues in the fall of 2010 appeared to indicate better days were ahead, recent months shown otherwise. Casinos on the Strip posted declines in revenue in November and December compared to the same months in the previous year. January data, which was released Thursday, indicated small declines.
Amid this, the Sahara was particularly vulnerable. The casino sits on the far northern stretch of the Las Vegas Strip, where it is in a neighborhood with several old casinos that haven't seen much investment in many years. At one time, developers hoped to revitalize that section of the Strip with new projects but they were either never started or not finished.
The Sahara passed through a number of hands before 2007, when Stockbridge Real Estate Funds and SBE, lead by Mr. Nazarian, a high profile Los Angeles nightclub impresario, bought the casino for $300 million. The team planned an extensive overhaul that would rebrand it SLS, the name of a hip boutique hotel Mr. Nazarian owns near Beverly Hills.
Instead it postponed those plans and even closed many of the hotel rooms during the downturn, as well as much of the entertainment there. It was forced to operate room rates as low as $26 a night since even the Strip's nicer and newer casinos were offering cheap rooms.
"One of the problems for older hotels is that people do not come to Las Vegas for 1950s charm," said Las Vegas historian Michael Green said. "If they want that they go to a B&B in New England."
Write to Alexandra Berzon at alexandra.berzon@wsj.com


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Q: How to get the size of browsing window in width and height using ruby code I want retrieve the width and height of browser in pixel(px) using ruby code. I don't have any idea how to do this.
Please help

A: With the help of Javascript you can calculate the width and height of browser and pass this info to server using AJAX .
Else not possible by ruby code .
EDITED :
If you are working on rails app than you can do it like :
To get the browser dimension use the link :
http://www.howtocreate.co.uk/tutorials/javascript/browserwindow
And if you using jQuery then use below function to get the height and width of window .
$(window).width();
$(window).height();

And use Ajax feature to pass this dimension to your action .

A: Server side language can't do that, you should use javascript to do such thing.

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This one of a kind Butterfly statement necklace is simply beautiful. I think it has an Art Nouveau look to it.
I've created a focal out of a vintage buckle and exquisite lampwork wings by Mandrel Beads. I love the way the buckle appears to be a slide on a necklace of flower blossoms. Truly a statement piece that would look stunning over a black top or dress. For a more casual look - pair it with jeans and a linen or white top.
Vintage metal buckle - I was able to give it a nice shine, so my guess is that it's nickel silver. If you are allergic to nickel - don't wear the buckle part next to your skin.
Sterling Silver wirework, extender chain and lobster clasp.
Adjustable from 18 to almost 21 inches.
Focal buckle is 3.25 x 2.75 inches and the longest wing dangle is about 3.5 inches below the buckle.
I was inspired to create this piece to bring awareness to the devastating losses of butterflies in our environment. It is believed to be a combination of the use of Round-up, deforestation, and loss of habitat. There are many sources for studies on this that you can check out on the internet.
As a nature buff, I just can't imagine a world without butterflies. Can you?


I Decided to sell my personal 52 M38-A1 to finance my Wagoneer build. It has 51k original miles. I have had this for 6-8 years I think.... I believe I am the second owner (minus military). I purchased from a elderly gentleman's family when he was in hospice. Still 24volt, all blackout lights work aside from drivers fender light, including the dash. This Jeep has the deep water fording kit (missing tail pipe extension and snorkel extension). New seat upholstery and custom bikini top made from genuine WWII canvas, husky overdrive (rare), rebuilt brakes, add-a-leaf in all 4 original springs, has kelsey hayes renegade 1 wheels with decent 33x10.50x15 bfgs. Rebuilt carb, rebuilt dual action fuel pump, new gas tank, pickup and sender and two new battery's (all within last 4 months) has rust on sides (note photos) floors solid but pass floor has typ crack. Some rust in battery box (has a plate over it) You can see all I have done, I painted everything I have touched with the correct simi OD green. The underside is in good shape, original and dirty, some of the "top hats" have rust, Everything underneath and the wheel wells are coated in a thick military under body type paint.
Runs and drives pretty damn good, haven't taken it very far yet. Planned on using it to run around this winter, Will cruise down the road 50+ mph. Previous owner had installed aftermarket turn lights on the front and the rear. I removed those and use hand signals. Wires are still there if you wish to put your own on. FUN jeep to drive, however....... I really want to build my Wagoneer as a "here's what I can do" kinda rig for my business. So....... breaks my heart but something has to give.
Please look at www.thejeepfarm.com for more pics and info. I am not a dealer but a Jeep restoration facility/hoarder. Time to let one go.


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Home/Commentary/Afghanistan peace process must tackle Taliban discontent and the allure of ISIS
Asia PacificCommentaryPeaceWar
Afghanistan peace process must tackle Taliban discontent and the allure of ISIS
The US must urgently adopt new military tactics to fight Islamic State in Afghanistan and plans to reintegrate Taliban fighters
Opinion Editor October 12, 2018
Former Taliban fighters line up to hand over their rifles to the Government of the Islamic Republic of Afghanistan during a reintegration ceremony at the provincial governor's compound. The re-integrees formally announced their agreement to join the Afghanistan Peace and Reintegration Program during the ceremony in 2012. Image: Lt. j. g. Joe Painte/US Department of Defense
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By Anastasia Bradatan
Although the Afghanistan conflict is no stranger to violence against civilians, the United Nations claims that the first six months of 2018 have brought about a new record high of 1,700 civilian deaths. Of these deaths, 52 percent are attributed to Islamic State Khorasan Province-backed attacks. With close to 1,500 fighters, the militant group has proven its ability to reassert itself despite the pressure it has faced from the Taliban, the Afghan government, and U.S.-led NATO forces.
ISKP's membership and territorial control could grow even further in the event of a peace agreement between the Taliban and the Afghan government, given that disgruntled Taliban fighters might move to the ISKP side.
With the United States now in the early stages of peace talks with the Taliban, there is a growing urgency for Washington to adopt new military tactics against ISKP and develop a strong reintegration plan for Taliban fighters. To mitigate the risk of strengthening ISKP, the United States should help the Afghan government establish an agency focused solely on reintegration efforts, and should work closer with Pakistan in curbing ISKP's regional strength.
Still from an Islamic State-Khorasan Province (ISKP) propaganda video of the battle of Tora Bora, Afghanistan in 2017. Image courtesy Paweł Wójcik
The need to change the course of action against ISKP, particularly as the United States embarks in peace dialogues with the Taliban, lies in the fact that some Taliban fighters, disgruntled with the peace process, might join ISKP.
Although ISKP and the Afghan Taliban have fought against each other in places such as Jowzjan province, ISKP could see an opportunity to recruit Taliban fighters unhappy with the peace process.
As noted in a May 2016 report by the Middle East Institute, "the best and only chance for [ISKP] to resurge in Afghanistan is if ongoing fragmentation in the Taliban leads to a major breakup, allowing ISKP to possibly absorb these fighters to rebuild its strength."
ISKP's involvement in the illegal mining of talc as well as the drug trade creates economic incentives for Taliban members to join. While some of the current ISKP fighters are drawn to the group's ideology, many are former Taliban (Afghan and Pakistani) fighters wanting to gain a greater role in the drug trade.
Additionally, with Afghanistan's current dire economic situation, it is unclear what economic incentives the Afghan government could provide to former Taliban fighters to comply with even a partial disarmament. Given that employment would be a primary concern particularly for young reconciled Taliban fighters, employment opportunities in a country with more than half the population living in poverty seem dim.
The prospect of former Taliban fighters joining ISKP seems all the more likely with recent U.S. intelligence reports stating that Islamic State is well-positioned to rise again based on its number of fighters and healthy financial standing.
Still from an Islamic State-Khorasan Province (ISKP) propaganda video about attacks in Afghanistan's capital Kabul. Image courtesy Paweł Wójcik
Additionally, ISIS is able to facilitate the relocation of some of its key operatives to Afghanistan, according to a U.N. report. This has given ISIS members the chance to plot terrorist attacks against Europe from Afghanistan, which although they have been detected and derailed, still show how dangerous ISKP is becoming.
Earlier this month, Afghan President Ashraf Ghani expressed his concern that the number of ISKP fighters (particularly Syrian and Iraqi fighters) is growing. To date, U.S. tactics against the group have mostly consisted of an ongoing airstrike campaign, which included dropping the "Mother of All Bombs" – the largest non-nuclear bomb in the U.S. arsenal – in April 2017, to targeted drone strikes against ISKP leaders.
U.S. air strikes against the group, however, have been insufficient in taking out ISKP, which has remained resilient. If former Taliban fighters were to join, eliminating ISKP from Afghanistan would become even more challenging.
Reintegrating the Taliban
In addressing the issue of economic incentives for ex-fighters, the United States and Afghanistan can draw lessons from what has been largely viewed as the successful reintegration of FARC rebels into Colombian society.
Following the Colombian model of creating an Agency for Reintegration, the United States could, along with its allies, fund the creation of an Afghan government agency solely focused on reintegration efforts.
That agency, as the one in Colombia, would focus on providing educational programs, vocational training, microbusiness loans, and other employment resources for former Taliban fighters. Such an agency could dissuade Taliban fighters from joining ISKP for economic reasons.
The governor of Afghanistan's Badghis province, Jamaluddin Ishaq, poses with civilians and Taliban fighters during a ceasefire celebration on Eid on June 16, 2018. Image: @Humayoonbabur/Twitter
To address the increased security threat posed by ISKP, the United States should pursue closer counterterrorism cooperation with the Pakistani government. Islamabad also views ISKP as a top security threat, thereby making it feasible that they can work together to curb the extremist group in the near future.
Disregarding the ISKP's regional force might bring about an uptick in the number of civilian casualties, particularly among religious and ethnic minorities, as a result of this terrorist group's lethal attacks.
As the United States pursues peace talks with the Afghan Taliban, it should remain cognizant of the security threats posed by other regional terrorist groups, especially ISKP.
Anastasia Bradatan is a former researcher with the Stimson Center South Asia Center. Additionally, she has also held positions with the American Enterprise Institute Critical Threats Project and the Armed Conflict Location & Event Data Project (ACLED).
She graduated from the University of Texas at Austin with a BA in International Relations, Hindi, and Spanish-Portuguese. During her undergraduate career, she spent a year abroad in India studying Hindi and Urdu as a David L. Boren scholar.
All views and opinions expressed in this article are those of the author, and do not necessarily reflect the opinions or positions of The Defense Post.
The Defense Post aims to publish a wide range of high-quality opinion and analysis from a diverse array of people – do you want to send us yours? Click here to submit an Op-Ed.
Afghanistan Editor's Picks featured Islamic State-Khorasan Province (ISKP) Pakistan Taliban US
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Raptor Watch
Kasey Cheydleur
Steph Szarmach '15 holding a Northern Harrier. Photo credit: Steph Szarmach
Steph Szarmach '15, a biology and environmental studies major, says she has known for a while that she wanted to pursue a career in conservation biology. After a summer research experience with Boise State University's Raptor Research program, she narrowed her focus to birds of prey. When a fellow student in her ornithology class mentioned the Golden Gate Raptor Observatory program (GGRO), she knew she had to follow up. "I knew an internship with the GGRO would be a perfect fit because it would allow me to gain more experience in field biology, apply raptor research skills I learned last summer, and explore public environmental education and citizen science" says Szarmach.
The Stratham, New Hampshire, native now spends five days a week identifying and counting raptors flying through the San Francisco Bay Area. She also catches individual raptors to collect data on size, age, sex, and health of the birds; she then releases them with a non-invasive leg band so they can later be identified and researchers can learn more about where the birds are traveling and the threats they face in the wild. The research is part of a long-term data set being used to answer questions about raptor movements, environmental threats, and the effects of climate change.
Szarmach says working with the community is an important part of GGRO's work. "Since our Hawkwatch site is so close to a major metropolitan area, the Golden Gate Raptor Observatory is much more accessible to the public than other organizations' sites. Working with so many talented and enthusiastic citizen scientists is definitely one of the most rewarding parts of this job. This program shows that a person doesn't need to have a degree in biology or a career in a science-related field in order to contribute meaningfully to important research."
In the future, Szarmach says she wants to continue her field experiences and eventually pursue master's or PhD in conservation biology with a focus on raptor biology and population genetics.
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Shari Rabin Awarded Research Fellowship from National Endowment for the Humanities
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A biology and musical studies double major at Oberlin, Learman is completing her PhD in the Cellular and Molecular Medicine program at Johns Hopkins University.
Student Brings Expertise to Discussion on Arab Youth and Resilience
An international student from Jordan, Marah Ajilat discussed COVID-19-era job prospects in a panel discussion hosted by The Hill.
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Metal video game tribute band, Powerglove released its first official video from their record, Saturday Morning Apocalypse. The video pays homage to classic video games of the '90s, and it is appropriately awesome.
Powerglove's newest album, Saturday Morning Apocalypse, a tribute to many classic cartoons, has been out since last year, but the band just released its first video for "Batman," a song based on the classic Danny Elfman score from the 1989 film. Check out the video below.


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text:
Amy Gottlieb
Amy Gottlieb is a Toronto-based photographer and video artist. Born and raised in New York City, she moved to Canada in 1972. Her work explores family histories, the intersection of personal and historical memory and the relationship between cognitive and body memories. Her 1997 award-winning video "In Living Memory" screened at over 25 festivals across North America and on television. "Tempest in a Teapot," a 1987 video about Amy's mother and her radical political activities screened at five festivals around Toronto and was exhibited as an installation at A Space Gallery in Toronto, complete with wallpaper created from her mother's FBI files.
Her 2010 photo-based work, "FBI Family" speaks to the social and political textures of state surveillance, both historic and contemporary. "FBI Family" was exhibited at the Junction Arts Festival and will be exhibited at other venues throughout the year.
Amy currently teaches photography at a Toronto high school.
In Living Memory
Tempest In A Teapot
1987, 04:00 minutes, English
When Worlds Collide: Queer film fest frames a playful, disturbing...
by Kyla Wazana. Xtra!, May 22, 1997, no. 328.
Flaming Creatures. New tendencies in Canadian video
by Jan Allen and Gary Kibbins.
Regeneration: 13 October - 25 November 1990
by Christine Conley. Regeneration, 1990. Kingston: Agnes Etherington Art Centre, 1990.
<!- /.critical-writing-index -->


The Electron Pod light set comprises two small rechargeable lights that give a useful amount of visibility both during the day and at night-time. Available in a range of colours, the Pods are also available singly, so you don't need to buy the set if you only need one or the other.
Modern battery tech, LEDs and optic design mean that lights just keep getting smaller, and these are among the smallest I've used, each a little cuboid that butts up to the seatpost and handlebar. They fix to your bike via simple silicone straps with a couple of holes at each end, giving some flexibility for different sized handlebars and seatposts.
The main light bodies are made from aluminium and ABS plastic and feel well made. Each has a silicone piece at the rear, which simply pushes onto the main unit, a little like a small square (rubbery) piece of Lego. Behind this is the micro-USB charging port, and the pressure that fixing the light to your bike creates between these two parts is what keeps the water at bay. I had no issus with water ingress.
At the front is a plastic lens that does a pretty decent job of directing the light available out. Electron claims 50 lumens at the front and 15 at the rear. The front light is primarily a "be seen" light for use in streetlit night-time riding or to help be sure you're seen in the daytime, rather than one that I'd want to use to see by for any significant amount of riding in the dark unless I was going at a sedate pace.
Operation is pretty simple – you just push the lens of each light. Double-click to turn it on, click to cycle through the modes and hold to switch off. It's a pretty familiar approach that we've seen on plenty of other lights. There's not a whole lot of tactile feedback when operating that switch, it must be said – it feels like the lens is just a bit loose. I'd like it better if there was a nice solid click. That said, it's perfectly easy to operate, even when you've got thick gloves on.
The Pods have lithium-ion batteries built in, and battery life is decent, especially when you consider how tiny they are. The front light will run for 2.5 hours on steady full power, and 50 hours on flashing, with the other modes falling between these extremes. At the rear, you get 4 and 70 hours respectively. I tested the full power modes and the claimed times are pretty accurate, although I'd expect a bit less in colder temperatures.
Micro-USB is pretty standard nowadays unless you're an iPhone user, but Electron includes a couple of short cables which will work in any USB port or charger. In order to charge, you simply pull the rubbery block off the back of the light to reveal the port. Unlike the small flaps that more commonly cover charger ports on bike lights, there's nothing to retain the backs of the lights, so you need to be careful not to lose these blocks; they're a little vulnerable to disappearing into the bottom of a rucksack never to be seen again, in my view, and without them the lights aren't much use.
There are concave indentations to fit the handlebar and seatpost, plus an additional block for the rear light with a V-shaped cutout to suit aero seatposts.
The beams from both lights are of a similar shape, which is to say a relatively tight circular shape, which is really quite bright for a light this size. I used them on a foggy day and my riding companions reported that the rear light made a real difference to rearward visibility.
Outside the central beam the lights are still pretty visible, and there are also small orange side ports that allow a little light out. Output through these ports isn't especially bright, but they're better than nothing, although 90-degree side visibility isn't as good as something like the Cateye Rapid X.
The front light has quite a blueish hue. Out of curiosity I tried using it on the fast, dark Wiltshire roads I commute on. I was fairly comfortable at 20kph with just enough beam throw to avoid the potholes, but on the faster sections downhill I was more reliant on my memory of the road than the detail I could actually pick out from the light. For this sort of riding, I think that 300 lumens is around the minimum I'm comfortable with.
As well as a high and low constant mode, there are also flashing and pulsing modes. Flashing is pretty eye-catching, so works well as a daytime light, though it might not be popular if you're riding with others.
One area where the Pods aren't particularly great is in how they indicate battery charge levels, both in use and when charging. Lacking any separate charge indicator LED, it's all done with the main light. So, if you're running them on a constant setting, they'll flash twice every 5 seconds to warn you the battery is low (Electron doesn't give a percentage). And if you're on flashing mode then it does the opposite – staying constant for 2 seconds every 5 seconds. Once you've had the warning, you've got around 15 minutes on high power constant before they power off, so if you need to go further than that you'll want to switch to a lower power mode.
When you're charging them, it's arguably more opaque still. Connect the USB lead and the light flashes once to tell you it's charging. When you unplug it, it will flash once, twice or three times to tell you the state of charge (0-35%, 36-90% and 91-100% respectively). While charging there is no indicator to show the current status without disconnecting and reconnecting. It works, sure, but it's not nearly as intuitive as the red/green LED indicators that most other lights use.
I like these lights because they're so small, unobtrusive and easy to fit. I wouldn't use them alone for my winter commuting, as I need more light for the unlit lanes, but unlike bulkier units I was quite happy leaving them on my best bike to improve my visibility to other road users day and night. At the front in particular, the fact that the light sits neatly in front of the bar rather than on top of it just makes it look a lot sleeker. Probably more aero too, y'know.
At £45 for the set, they are reasonable value given that they successfully combine a decent output with good build quality and the compact size. If you're riding in busy urban streets, you might want to consider lights with more all-around visibility, but for most folk these will do a good job of getting you seen.
Tell us what the light set is for, and who it's aimed at. What do the manufacturers say about it? How does that compare to your own feelings about it?
Tell us some more about the technical aspects of the light set?
Nice solid construction and the rubber bits seem well made too. I'm not really enamoured of the lens click to switch it on and off – there's no tactile feedback. I'm also a little disappointed that the rubber back covers aren't attached in any way other than being pushed onto the lights – I can see these getting lost.
Rate the light set for design and ease of use. How simple were the lights to use?
Very easy to use, though I would have liked a more definitive click on the lens switch.
Pretty simple to attach, including adaptor to suit aero seatposts. I would like the rubber back parts to be attached more permanently – if you lose them then you're stuck. And I think I'd lose them.
Rate the front light for waterproofing. How did it stand up to the elements?
As long as you keep the rubber cover in place, there aren't any issues.
Rate the front light for battery life. How long did it last? How long did it take to recharge?
Rate the rear light for battery life. How long did it last? How long did it take to recharge?
Battery life is decent for such small lights. Recharging is quick too. The system for advising you that the battery is low (and for giving the status when charging) is confusing and not very well implemented.
Both offer a bright, fairly focused beam. They are much better than the (cheaper, but similar looking) Lezyne Femto set, for instance. The rear light in particular is very eye-catching provided that you are within the beam cone. The front light is just about sufficient for steady riding in the dark, but is probably better suited to lit streets (or indeed daytime use). Both are visible at close to 90 degrees, but beyond that only the modest output from the side windows is visible.
Main body of each light is pretty solid. My greater concern would be over losing the other parts (rubber block or strap).
Yep, these don't weigh a lot.
You can get other sets where there's a bit more light for similar money (for instance from Lezyne), but here it's the tiny size with reasonable output that's the draw.
Pretty well. I wouldn't use them alone for my commute, which runs through some dark roads with fast cars, but for urban commuting and daylight riding purposes, they're a good option.
Small, unobtrusive but with a good level of output for the size.
I'd like a more definitive click when you operate the lens switch. Charging/discharge indicators aren't the easiest to understand.
Generally small lights like this are not much more than blinkers but these kick out a surprising amount of light. They're nicely made and if you don't venture beyond streetlit roads then they might be all the light you need.
I'd be a bit careful with lights that use the lens as the switch. I've got a couple and it only takes a grain of road sand getting down the side of the lens and they tend to jam up and stop working properly.
Had a front version for over a year and proved very reliable. Well worth the investment.
Next Genetic Bikes product is the saddle riser.
It has to be said, I'm glad this article has been resurrected as some of the comments are hilarious!


Sorry, people lured in by my meatless recipes.
Although I cook without meat a majority of the time, I am completely powerless when it comes to chicken thighs. Tender, juicy little pieces of meat on not-too-much bone, they're virtually impossible to screw up — and even better, they're almost always cheaper than other chicken pieces.
My favorite way to prepare chicken (or turkey) thighs is to make Filipino chicken adobo. There are about as many recipes for adobo as there are cooks, but they all rely on a combination of soy sauce, vinegar, and garlic, at least, and usually a little sugar, bay leaves and black pepper, too. After a fair amount of trial and error, here's the recipe I use.
Combine 1/2 cup mushroom soy sauce, 3/4 cup vinegar, 3 tablespoons honey, 3-5 cloves of minced garlic, 3-ish bay leaves, and 1/2 teaspoon black pepper with 1.5 cups water. Bring to a boil and add 3 pounds chicken thighs. Cover, and reduce to a simmer, adding more water if needed to keep the meat covered. Simmer for about 30-40 minutes. Remove from the sauce and set aside. At this point, you can fish out the bay leaves and bring the liquid to a boil until it reduces by at least half. Set a grill (or frying) pan on medium-high heat and grill each piece, skin-side down, until the skin is crisped. The sugar helps caramelize the skin but it will also help it burn faster, so watch out. Serve (with a little of the reduced sauce) over white rice or shredded cabbage or whatever suits you.
Some notes: this recipe is based on what I usually have on hand. The mushroom soy sauce isn't exactly traditional, but because it's so thick and dark, you can use much less and get the same result that you'd get with about a cup of regular soy sauce. I usually use cider or rice vinegar, but I've used red wine or even plain white vinegar in a pinch (just don't use balsamic) and swap in any other sugar for the honey. (You could also use boneless and/or skinless thighs, but… meh.) Oh, and definitely make the whole three pounds of chicken because the leftovers are heavenly.
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← Food blogger, meet food allergies.


1. The promoter is Country House (Carlisle) Ltd (company no. 03962030) whose registered office is at 12 - 16 Lonsdale Street, Carlisle, Cumbria, CA1 1DB.
2. Employees of Country House Outdoor or their family members or anyone else connected in any way with the competition or helping to set up the competition shall not be permitted to enter the competition.
3. There is no entry fee to enter this competition.
4. Customers of Country House Outdoor can enter by posting a photo of their purchase using the hashtag #chofashion on Facebook, Twitter or Instagram.
5. One winner will be drawn every month, on the 1st of each month, starting on the 1st December 2016 until further notice.
7. The prize for each winner is a £100 gift voucher to spend at Country House Outdoor.
8. The promoter reserves the right to cancel or amend the competition at any time.
9. No cash alternative to the prizes will be offered. The prizes are not transferable. Prizes are subject to availability and we reserve the right to substitute any prize with another of equivalent value without giving notice.
10. Winners will be chosen at random using a random number generator.
11. The winner will be notified via the social media channel used to submit the entry within 28 days of the closing date. If the winner cannot be contacted or fails to claim the prize within 14 days of notification, we reserve the right to withdraw the prize from the winner and pick a replacement winner.
12. The promoter will inform the winner of when and how the prize can be collected.
14. The competition and these terms and conditions will be governed by English law and any disputes will be subject to the exclusive jurisdiction of the courts of England.
15. The winner agrees to the use of his/her name and image in any publicity material. Any personal data relating to the winner or any other entrants will be used solely in accordance with current UK data protection legislation and will not be disclosed to a third party without the entrant's prior consent.
16. Entry into the competition will be deemed as acceptance of these terms and conditions.


The United States is planning to expand tariffs against more Chinese imports if a meeting of the countries' presidents doesn't go well next month, Bloomberg News reports, citing sources. The G20 conference is set for next month in Argentina. If trade talks there don't ease the current standoff, more tariffs may be added, Bloomberg reports.
Companies are facing plenty of sustainability questions about the environmental impact of their products, and the latest target in the fight against plastics is, oddly enough, paper cups, The Wall Street Journal reports. Many of the cups have a plastic lining that requires a special process for removal, so even if put in recycling bins, many paper cups don't go through the process and end up as trash, the Journal says.
The four largest commodities traders plan to go digital and ditch paper contracts, invoices and payments, according to Supply Chain Dive. Archer Daniels Midland Company (ADM), Bunge, Cargill and Louis Dreyfus Company have joined forces to find a solution and move away from manual processes, the report said.
Where to Source Rhinos, Tigers?
And finally, an update from China: Rhino horns and tiger parts can be sold and used for Chinese medicinal practices if they are sourced from animals in captivity, except from zoos, The Wall Street Journal reports. China's president eased a 25-year ban on the animal parts to boost the industry. Conservationists fear this will increase the already robust illegal trafficking of the animal parts and further endanger rhinos and tigers.
Can the New NAFTA Fix the Low Milk Price Problem in the U.S.?


Saying this was a an awesome shoot is an understatement! This was one of the funnest shoots I've been on and I have been dying to release the photos for months now! I had the pleasure of working with ESPN Magazine for a feature on Chandler Parsons last October in Houston. I wasn't sure what to expect at the time since I was driving straight into Houston to meet Chandler and his girlfriend, Robyn, to go over wardrobe options. I have to say, it was great to meet the two of them and his personal tailor; we all hit it off and it seemed like we had known each other for years. After shopping and digging through his amazing closet, we had some solid options!
Shoot day came around and we decided to put him in 3 different looks; a custom suit, a casual look and a super fun look shot at the Toyota Center. We went through multiple scenes and scenarios to make sure ESPN had plenty of options to choose from. Obviously, the colorful look won; it was my fav!
Check out the fun behind the scenes from our shoot with Chandler Parsons of the Houston Rockets!
And here is the issue!!! Go get it NOW!!


text:
Specialised wound care clinics in Spain: distribution and characteristics
Abstract: Objective: To determine the number of specialised wound care units/clinics (SWCUs) in Spain, at present, and to describe their most important characteristics. Method: This was an observational study with a descriptive-analytical, cross-sectional, multicentre approach, where the studied population consisted of SWCUs in Spain. A specific data-collection questionnaire was designed using a modified Delphi method, consisting of four rounds, with the collaboration of 10 wound experts. The final questionnaire included 49 items distributed across four dimensions/areas with a content validity index (CVI-Total for pertinence=0.96 and CVI-Total for relevance=0.94. Results: A total of 42 SWCUs were included in the study. Most SWCUs were based in hospitals (n=15, 35.7%) or healthcare centres, covering a specific healthcare area (n=17, 40.5%). SWCU coordinators were primarily nurses (n=33, 78.6%). Staff members' professions in SWCUs included registered nurses (n=38 units, 92.7%), nursing assistants (n=8 units, 19.5%), podiatrists (n=8 units, 19.5%), vascular surgeons (n=7 units, 17%), osteopaths (n=2 units, 4.8%) and medical doctors from different specialties (n=3 units, 7.2%). For wound aetiology, the most prevalent wounds managed were diabetic foot ulcers (n=38 units, 90.5%), followed by venous leg ulcers (n=36 units, 85.7%) and arterial ischaemic ulcers (n=36 units, 85.7%). A statistically significant association was found between the number of staff members in a SWCU and the existence of resistance/opposition barriers when developing a SWCU (Chi-square test, p=0.049; Cramér's V=0.34; 34%), as well as between resistance/opposition barriers when developing a SWCU and a nurse as coordinator of a SWCU (MacNemar test, p=0.007, Cramér's V=0.35; 35%). Conclusion: The typical SWCU implemented in Spain is located in a hospital or integrated in a healthcare structure that offers coverage to a whole health area and providing services for people with hard-to-heal wounds (wound management and prevention) and health professionals (advice, consultancy and training/education). Despite the growing number of SWCUs in Spain, the future of this new organisational model is uncertain, as there can be barriers to creating them and some deficiencies, such as low staff numbers, which need to be addressed.
Fuente: Journal of wound care Vol. 29, No. 12
Editorial: MA Healthcare
DOI: 10.12968/jowc.2020.29.12.764
Url de la publicación: https://doi.org/10.12968/jowc.2020.29.12.764
Leer publicación
GONZÁLEZ-DE LA TORRE, HÉCTOR
VERDÚ-SORIANO, JOSÉ
QUINTANA-LORENZO, MARÍA L.
BERENGUER- PÉREZ, MIRIAM
RAQUEL SARABIA LAVIN
SOLDEVILLA-ÁGREDA, JAVIER


Want it on Tuesday, 23rd April? Place your order within 3 hrs 50 mins and select Nominated Delivery at the checkout.
Kipling's Art M is a large nylon travel bag for women, with adjustable corners that can alter the size and look in an instant. Art is a versatile, lightweight holdall and ideal whatever you like to do in your leisure time; whether it's a short break or a trip to the gym. The Art M Tote is designed to be nice, roomy weekend bag for women with chunky zippers and a practical trolley sleeve, that pops neatly over your suitcase handle.


We regard every individual as special and we seek to meet the needs and requirements of all our children regardless of gender, ethnicity, culture, religion or ability. Our Special Needs Coordinators are qualified teachers with expertise in how children develop.
If you have a concern about your child's academic progress it is essential that you discuss this with the class teacher so appropriate support can be arranged.
It is important to understand that the Special Educational Needs Register is a flexible document which offers specialist support to children as and when they need it. We all have a duty to ensure that every child has the opportunity to reach their full potential and we like to work in close partnership with parents/carers and other agencies to make this happen.


text:
use std::cell::RefCell;
use std::ops::Deref;

/// A reference counted pointer to an object that lives in an arena.
pub struct Rc<T> {
    chunks: std::rc::Rc<RefCell<Vec<Vec<T>>>>,
    // Similar to Rc itself, we choose a weird name here because of a privacy check
    // bug in rustc.
    _ptr: *mut T
}

impl<T> Clone for Rc<T> {
    fn clone(&self) -> Rc<T> {
        Rc {
            chunks: self.chunks.clone(),
            _ptr: self._ptr
        }
    }
}

impl<T> Deref for Rc<T> {
    type Target = T;

    fn deref(&self) -> &T {
        // This is okay because the pointer will never outlive the chunks, and
        // the chunks must still exist as this object contains a reference
        // counted pointer to it.
        unsafe { &*self._ptr }
    }
}

impl<T> std::fmt::Display for Rc<T> where T: std::fmt::Display {
    fn fmt(&self, f: &mut std::fmt::Formatter) -> Result<(), std::fmt::Error> {
        self.deref().fmt(f)
    }
}

impl<T> std::fmt::Debug for Rc<T> where T: std::fmt::Debug {
    fn fmt(&self, f: &mut std::fmt::Formatter) -> Result<(), std::fmt::Error> {
        self.deref().fmt(f)
    }
}

impl<T> std::borrow::Borrow<T> for Rc<T> {
    fn borrow(&self) -> &T {
        self.deref()
    }
}

impl<T> std::fmt::Pointer for Rc<T> {
    fn fmt(&self, f: &mut std::fmt::Formatter) -> Result<(), std::fmt::Error> {
        std::fmt::Pointer::fmt(&(self.deref() as *const T), f)
    }
}

/// A typed arena that provides reference-counted pointers to its underlying
/// objects.
#[derive(Clone)]
pub struct Arena<T> {
    chunks: std::rc::Rc<RefCell<Vec<Vec<T>>>>
}

impl<T> Arena<T> {
    /// Create a new arena with an unspecified capacity.
    pub fn new() -> Arena<T> {
        Arena::with_capacity(8)
    }

    /// Create a new arena with a known initial capacity.
    pub fn with_capacity(n: usize) -> Arena<T> {
        Arena {
            chunks: std::rc::Rc::new(RefCell::new(vec![Vec::with_capacity(n)]))
        }
    }

    /// Store an object in the arena, returning a reference counted
    /// pointer to it.
    ///
    /// ```rust
    /// use rc_arena::Arena;
    ///
    /// let arena = Arena::new();
    /// let foo = arena.alloc([0; 256]);
    /// let bar = arena.alloc([1; 256]);
    /// let baz = bar.clone();
    ///
    /// assert_eq!(foo[0], 0);
    /// assert_eq!(bar[0], 1);
    /// assert_eq!(baz[0], 1);
    /// ```
    pub fn alloc(&self, value: T) -> Rc<T> {
        let mut chunks_borrow = self.chunks.borrow_mut();
        let next_chunk_index = chunks_borrow.len();

        let (last_child_length, last_chunk_capacity) = {
            let last_chunk = &chunks_borrow[next_chunk_index - 1];
            (last_chunk.len(), last_chunk.capacity())
        };

        let (chunk, next_item_index) = if last_child_length < last_chunk_capacity {
            (&mut chunks_borrow[next_chunk_index - 1], last_child_length)
        } else {
            let new_capacity = last_chunk_capacity.checked_mul(2).unwrap();
            chunks_borrow.push(Vec::with_capacity(new_capacity));
            (&mut chunks_borrow[next_chunk_index], 0)
        };
        chunk.push(value);
        let new_item_ref = &mut chunk[next_item_index];

        Rc {
            chunks: self.chunks.clone(),
            _ptr: new_item_ref
        }
    }

    /// Get the number of objects currently placed in the arena.
    pub fn len(&self) -> usize {
        let chunks = self.chunks.borrow();

        chunks.iter().map(|a| a.len()).fold(0, |a, b| a+b)
    }

    /// Iterate over the objects in the arena, accepting a closure which
    /// will be passed a reference to the Rc of the object. This may be
    /// deprecated in favor of a (safe) iterator API in the future.
    ///
    /// This will always iterate in the order that the objects were
    /// allocated.
    ///
    /// ```rust
    /// use rc_arena::Arena;
    ///
    /// let arena = Arena::new();
    /// arena.alloc("Hello,");
    /// arena.alloc(" ");
    /// arena.alloc("world!\n");
    ///
    /// arena.each(|obj| {
    ///     print!("{}", obj);
    /// });
    /// ```
    pub fn each<F: for<'a> FnMut(&'a Rc<T>)>(&self, mut f: F) {
        use std::ptr;

        let chunks = self.chunks.borrow();

        let mut rc = Rc {
            chunks: self.chunks.clone(),
            _ptr: ptr::null_mut()
        };

        for val in chunks.iter().flat_map(|chunk| chunk.iter()) {
            rc._ptr = val as *const T as *mut T;

            f(&rc);
        }
    }
}

#[test]
fn basic_usecase() {
    let arena: Arena<usize> = Arena::new();
    let test1 = arena.alloc(1);
    let test2 = arena.alloc(2);

    let test = test1.clone();
    assert_eq!(*test, 1);

    drop(test1);

    assert_eq!(*test, 1);

    drop(test);

    assert_eq!(arena.len(), 2);

    drop(arena);

    assert_eq!(*test2, 2);

    drop(test2);
}

#[test]
fn drops_at_once() {
    use std::sync::mpsc::{TryRecvError, Sender, channel};

    struct Foo {
        tx: Sender<()>
    }

    impl Drop for Foo {
        fn drop(&mut self) {
            self.tx.send(()).unwrap();
        }
    }

    let (tx, rx) = channel();

    let arena = Arena::new();
    let test1 = arena.alloc(Foo {
        tx: tx.clone()
    });
    let test2 = arena.alloc(Foo {
        tx: tx.clone()
    });

    let test3 = test1.clone();

    drop(tx);
    assert_eq!(rx.try_recv().err().unwrap(), TryRecvError::Empty);
    drop(arena);
    assert_eq!(rx.try_recv().err().unwrap(), TryRecvError::Empty);
    drop(test1);
    assert_eq!(rx.try_recv().err().unwrap(), TryRecvError::Empty);
    drop(test2);
    assert_eq!(rx.try_recv().err().unwrap(), TryRecvError::Empty);
    drop(test3);

    assert_eq!(rx.recv().unwrap(), ());
    assert_eq!(rx.recv().unwrap(), ());
    assert_eq!(rx.try_recv().err().unwrap(), TryRecvError::Disconnected);
}

#[test]
fn iterates() {
    let arena: Arena<usize> = Arena::with_capacity(2);
    arena.alloc(1);
    arena.alloc(2);
    arena.alloc(3);
    arena.alloc(4);
    arena.alloc(5);

    let mut expected = 1;

    arena.each(|t| {
        assert_eq!(**t, expected);
        expected += 1;
    });

    assert_eq!(expected, 6);
    assert_eq!(arena.len(), 5);
}

#[test]
fn formatting() {
    let arena: Arena<usize> = Arena::with_capacity(5);
    let test1 = arena.alloc(1);
    let test2 = arena.alloc(2);
    arena.alloc(3);
    arena.alloc(4);
    arena.alloc(5);

    assert_eq!("1", &*format!("{}", test1));
    assert_eq!("2", &*format!("{}", test2));
    assert_eq!("1", &*format!("{:?}", test1));
}

redpajama_set_name: RedPajamaGithub


Zimbabwe is in a mess, but I think all Rastafarians cannot let that stop them from even a few minutes to reflect on the meaning of this day. We join Rastafarians around the world, and Orthodox Christians in celebrating the Feast of the Three Kings, also known to English-speakers as "Ethiopian Christmas".
Last year, I had the chance to explain in a local paper to Zimbabweans why we Rastafarians regard this day as sacred, and why we reject the Christmas Day of most other people. So, I am not going to do that again.
I am going to call on all Rastafarians to reflect on the meaning of this day; a celebration of the birth of our Lord and Saviour Iyesus Krestos, the forerunner of His Imperial Majesty Emperor Haile Selassie I. On this day, the three Kings did find the Infant Christ and His Mother, and paid homage to Him, bringing Him the same gifts that our Father Adam was first given as his first worldly goods.
How I long for there to be a conducive environment in Zimbabwe for Rastafarian people to continue in the direction we had begun to chart around 1998 when the congregation of the Holy Sanctuary/Senaah/Ophir was revived. We would have plenty to celebrate then, and there would be plenty food, and freedom and security. I forsee those days returning imminently.
All Rastafarians, in Zimbabwe and elsewhere, this is a day of joy still- a joy that becomes more profound as the meaning becomes clearer. I pray that we will have more joy, and that our hearts and minds will be opened up to an even greater understanding. Yihun inji, amen.
As with previous occasions, I offered the fervent prayer that the next Genna, I will celebrate with a life-partner that will share its meaning.