Come for the great speakers and community, stay to find out about the brand new open source hardware certification program (tickets are still available).
After lots of work by lots of people stretching back . . . lots of time, OSHWA is finally ready to unveil our open source hardware certification program. The certification will be a way for the open source hardware community to know that when a project or product calls itself "open source hardware" they mean the version of "open source hardware" that complies with the community definition of open source hardware.
At the summit we'll explain how you can get your stuff certified, how you can use the certification to learn more about stuff you get from other people, and other things that you might want to know about the certification. There's no substitute for getting that information in person (trust me), so if you don't already have tickets click here!
One of the things that makes open source hardware licenses hard is that – unlike software – it isn't always easy to determine what parts of a product (if any) are covered by copyright. Since traditional open source licenses rely on copyright to make them enforceable, understanding how copyright applies to a piece of open source hardware is the first step in deciding how you might want to license it.
Finding copyright can be complicated because it protects creative and decorative works (including code), but not functional items. Pieces of open source hardware often combine both creative and functional elements. This makes it critical to understand how to break out the copyright-protectable parts from the non-copyright-protectable ones.
Unfortunately, today in the United States there are at least ten different and somewhat contradictory tests to guide that process. That makes it hard for copyright experts to draw the line between copyrightable and non-copyrightable, and essentially impossible for everyone else.
That's why OSHWA joined the International Costumbers Guild, Shapeways, Formlabs, Printrbot, the Organization for Transformative Works, the American Library Association, The Association of Research Libraries, and the Association of College and Research Libraries on a brief written by Public Knowledge in the Supreme Court case Star Athletica v. Varsity Brands. While the case is nominally about cheerleader uniforms (really), it boils down to a simple question: which test should be used to separate out the copyrightable and non-copyrightable elements of an object that includes both?
The brief does not advocate for a specific test. Instead, it simply urges the Supreme Court to pick a simple, easy to understand test. That clarity alone would be a huge benefit to the entire open source hardware community.
Although we are filing the brief now, the Court's decision probably won't be until next year. Once it comes out, we'll do our best to explain what it means for the entire open source hardware community.
A couple weeks ago, we made a call for ideas for a logo to be used in OSHWA's upcoming Open Hardware Certification program, and we got some great submissions. From these, we've selected a handful of especially promising ideas and we'll be sending a survey to OSHWA members shortly to solicit input on these, narrowing down the ideas towards a final logo.
Thanks again to those who submitted ideas, and we'll have some more news for you soon!
Last weekend, during the Open Hardware Summit, OSHWA unveiled version 1 of the Open Source Hardware Certification. This certification was the result of a community discussion process that began back on June 2nd and continues to this day. Since the announcement there has been a great discussion about the certification, including on Hackaday (including in the comments), in the comments for the original announcement, and on the Evil Mad Scientist blog. Those discussions have raised some concerns and shed light on some potential misunderstandings, and it seemed reasonable to begin to address both with a blog post.
First, OSHWA appreciates that the community takes this proposal seriously enough to discuss and debate it in the first place. It is called version 1 for a reason, and we pushed it forward knowing that it would inevitably evolve over time. That being said, we feel that the current proposal addresses many of the concerns that led to the start of this process in the first place.
The OSHWA certification is not designed to place restrictions on the use of the term "open source hardware" or to restrict how people use the open source hardware open gear logo. Nothing in the proposal requires anyone to use the certification, or gives OSHWA the power to sanction a project that decides – for whatever reason – that the certification is not for them.
The certification is not designed to force everyone doing open source hardware into a single box, or to exert exclusive control over the world of open source hardware. Such a task would be impossible, and counter to the purpose of OSHWA.
"But there is something  rotten, deeply rotten, in the world of open source hardware. And that is that the label "open source hardware," either in words or represented by the OSHW logo (the keyhole-gear thing above) has been misused so much that it can't really be trusted.
This problem has a number of causes, including some of the licensing challenges related to open source hardware. Regardless, the certification was the result of OSHWA trying to find a way to give both creators and users of a piece of hardware a degree of certainty that hardware that called itself open source hardware actually complied with a commonly understood definition of open source hardware. That is, while anyone can call themselves open source hardware, only hardware that actually complied with the rules set out by OSHWA could call itself OSHWA-certified open source hardware.
There is no intrinsic value in certification. For users, it only matters if they feel that a certification provides them with useful information about a piece of hardware they are considering spending time with. For producers, it only matters if they believe that people will look for the certification and care if they find it.
Neither of these results are inevitable. Fortunately, if it turns out that the certification is not useful to people, it dies a quiet death of neglect.
OSHWA believes that – properly executed – it will be useful. That is why we are spending the time to create it and present it to the community. But it may be that there really isn't a demand for a way to know that open source hardware complies with a commonly held definition of openness. Or it may be that there is a demand for such a thing, but that this certification isn't the right way to achieve it. In either case, OSHWA will go back to the drawing board to try again.
Some members of the community have raised concerns about the enforcement mechanism for noncompliance, specifically the fines. As was explained in the presentation at the Summit, the enforcement mechanism is an attempt to balance two competing concerns.
On one hand, there has to be a way to punish bad actors who use the certification without complying with it. That punishment must be significant enough to deter abuse. Escalating fines are a good way to do that.
On the other hand, we are in the early days of open source hardware and there are not well established ways to apply the definition and best practices to every situation. In light of that, it is critical that creators acting in good faith have plenty of opportunities to discuss their goals and work towards a resolution before penalties are applied. The earliest stages of enforcement are designed to create that space.
OSHWA believes that the enforcement process outlined in the certification balances those two concerns. When reading the certification, it is important to remember that no one has to use the certification and that OSHWA has neither the interest, power, nor authority to punish projects that simply describe themselves as open source hardware and/or use the open gear logo. The entire regime only applies to projects that decide to opt in to the certification process.
The first hard part was taking a proposal through a process of community feedback and discussion. The next hard part is developing the legal license that will make the system described in the certification document enforceable for projects that opt in.
The execution of this next part is important as the development of the specification itself. We are cognizant of that, and are doing our best to create licensing language that is clear, approachable, and accurate. Part of doing that means being as transparent as possible about the process, and open to community feedback. That is why we launched this idea with a call for community input, and why this blog post exists today.
If you have concerns about the proposal, let us know. You can use the comments below, contact us, or open a discussion in the forums. In the meantime, we're going to focus on finalizing the certification process and not screwing it up.
This is version 1 of an official certification for open source hardware housed in the Open Source Hardware Association. It outlines the purpose and goals of such a certification, and establishes the mechanisms for the operation of the certification process itself.
Make it easier for the public to identify open source hardware.
Expand the reach of open hardware by making it easier for newer members to join the open source hardware community.
This is an open source hardware certifications administered by OSHWA. Users will self-certify compliance in order to use the certification logos. In doing so, they will submit to oversight and enforcement by OSHWA.
This certification is designed to benefit at least two parts of the open source hardware community. First, it benefits purchasers of open source hardware by making it easy to identify truly open source hardware in the marketplace. Projects and products obtaining certification and displaying the certification logo clearly communicate a commonly agreed upon definition of openness with customers and users. While certification is not a condition for openness, obtaining certification is a way to make it clear to others that a given project is open source hardware.
Second, the certification benefits creators of open source hardware. By giving creators specific guidelines, certification allows open source hardware creators to confidently declare their projects and products as open source hardware. Certification also allows creators to defend that declaration by pointing to compliance with specific criteria defined in the certification process.
The certification will operate as a self-certification. Creators will not apply to OSHWA for certification. Instead, creators will self-certify compliance with certification standards. Self-certification will give creators the right to use the OSHWA open source hardware certification logo. As part of the self-certification process, creators will agree to subject themselves to penalties for non-compliance. OSHWA will be responsible for enforcing those penalties.
While open source hardware is already well defined, one of the greatest challenges in creating an open source hardware certification is determining how to handle non-open components. Full openness is a worthy goal, and companies and projects that strive towards it should be identified and commended. However, many well-known open source hardware projects and products strive towards openness but, by necessity, incorporate non-open components. The open source hardware definition recognizes this reality, and provides guidance on how best to handle non-open components in the context of open source hardware.
In order to address this challenge, the OSHWA certification focuses on the creator's contribution. For the purposes of the certification, openness will be determined by the openness of the contribution made by the creators of the project. A certified project will be required to share its entire contribution (including the contribution of affiliated corporate entities, if appropriate) in accordance with the open source hardware definition, but not expected to avoid third party closed components beyond its control. A certified project should use open parts over equivalent non-open parts when they are available. However, no project will be found in violation of the certification simply because it incorporates non-open parts beyond its control.
Finally, certifications are not available aspirationally. A project or product that intends to be open source but is not yet open source is not eligible for certification. This includes pre-production projects such as Kickstarter campaigns. If the certification is used in a Kickstarter-type campaign, the project must at that time be in compliance with certification requirements. To avoid confusion, projects should not advertise their intention to comply with certification standards until they have met certification standards.
The creator's contribution is defined at everything within the creator's control. While some elements of a project may come from third parties beyond the scope of the creator's control (for example, hex-only source files versus the full stack), the creator is required to fully open and document all elements within their control in compliance with the open source hardware definition. If the creator is or is employed by a corporation, this obligation extends to any elements within the control of that corporation and associated entities. This requirement is specifically designed to prevent corporations from creating "open subsidiaries" that make use of corporate technology without having to open the technology itself. In some ways, this requirement can be thought of as a rule of "do the best you can," while recognizing that the openness of some elements is beyond the control of any individual creator.
OSHWA open source hardware certification will operate on a fee-free, self-certifying basis. OSHWA will maintain a list of certification requirements at OSHWA.org, and creators are required to notify OSHWA that they intend to make use of the certification. This notification will take the form of an email to a dedicated email address and its contents will be publicly displayed on the OSHWA website. Notification will be intentionally lightweight, and OSHWA welcomes the creation and continued development of rich third party databases and listings of open source hardware projects and products.
By using OSHWA open source hardware certification logos and seals, a creator is attesting that she is in compliance with all relevant requirements and is agreeing to comply with any penalties imposed by OSHWA for misuse.
OSHWA will work to enforce the use of certification marks and invites third parties to bring violations of certification marks by way of informal complaints. Upon investigation of an alleged violation, OSHWA may impose escalating penalties for violations. Alleged violators may elect to remove the OSHWA certification logo instead of remedying the violation. In order to avoid penalties in such situations, alleged violators will be required to comply with a notification regime instigated by OSHWA designed to communicate the decision to impacted parties.
Complaints are not required for OSHWA to initiate an investigation of a project or product. Complaints can be brought by anyone if the complainant believes that an OSHWA open source hardware certification is being used without complying with requirements. Complainants are highly encouraged to reach out to the potential violators before contacting OSHWA – many good faith errors can easily be resolved once they are brought to the attention of responsible parties. If that direct contact fails to resolve the concern, complaints should be sent to a dedicated email address and should include as much information and context as possible in order to assist investigation. Complaints will be investigated at OSHWA's discretion. As a general rule, complaints cannot be made anonymously to OSHWA. However, unless it is relevant to the investigation, OSHWA will avoid disclosing the identity of the complainant to the target of the complaint. Additionally, OSHWA reserves the right to allow anonymous complaints in extraordinary circumstances.
Last week OSHWA joined our friends at Public Knowledge, EFF, the Digital Right to Repair Coalition, and Public Citizen in telling the US Court of Appeals for the Federal Circuit that ownership matters. Why is ownership so important? Because owning something means that you have the right to fix it or change it or integrate it into something else without first asking permission from the original manufacturer. A manufacturer of an object shouldn't use patent law to get a perpetual veto over how you use that object.
The case involves Lexmark (the 2d printer company). Over the years, Lexmark has tried to use pretty much every legal trick it could think of to lock down its printers and prevent people from using non-Lexmark toner. Having worked through all of its other options, in this case Lexmark turned to patent law.
Patents give patent owners a lot of control over objects. However, that control largely disappears when the owner decides to sell an object. My phone is chock full of patents that allow the manufacturer to prevent someone else from making one without permission. However, once I buy my phone, I can do pretty much whatever I want with it – paint it green, use it as a coaster, or sell it to the phone manufacturer's ex that they hate. This limit to patent control is called "patent exhaustion." Essentially, once you sell an object protected by patent, you have "exhausted" your patent control over it.
Lexmark is looking for a loophole to patent exhaustion. They argue that patent exhaustion only applies if the object was sold in the US. If the object was originally sold overseas, Lexmark argues, patent exhaustion should not apply. If this argument sounds vaguely familiar, the US Supreme Court heard a very similar case relating to copyright a few years ago. In that case, a student was buying official copies of textbooks in Thailand (at low Thai prices) and reselling them in California (at higher – but still lower than the publisher was charging – US prices). The Supreme Court rejected a foreign sale loophole for copyright protected books, and now we are urging the Federal Circuit to reject a foreign sale loophole for patent protected printer toner.
In addition to undermining the concept of ownership, allowing such a loophole would undermine confidence in the market. Imagine if you needed to research the supply chain history of everything you buy. Two identical objects on a shelf could be treated very differently by the law depending on where they happened to be originally sold by the manufacturer. How are you supposed to know which one you really get to own and which one is still under control of the original patent owner? That's a research burden that serves no purpose.
Charles at Public Knowledge and Vera at EFF have good summaries of what is going on in this case. We at OSHWA are proud to be able to contribute to this effort and look forward to updating you as it develops.
Who: The Open Source Hardware Community and the Open Source Hardware Association. if you are reading this, that probably means YOU.
What: A certification program for projects so that people can know that the project really is open source hardware.
When: From now until the Open Hardware Summit. The first deadline for comments and answers to the questions is June 26, 2015.
Where: Comments and answers are being collected in the Open Source Hardware Association forums. We are aiming to roll out the first version of the certification process at the Summit in Philadelphia.
Why: While the community has done great work on developing open source hardware principles, many people are still looking for a simple way to know that something really is open source hardware. Hopefully the certification will be a big step towards that goal.
How: The initial proposal is available here. Once you have read the proposal, weigh in on the questions in the forums here. The OSHWA board will use those answers to craft a final version of the proposal. If more input is needed, there may be a second round of questions for the community.
So what are you waiting for? Check out the full proposal here and starting giving feedback here!
This is a discussion draft and proposal to create an official certification for open source hardware housed in the Open Source Hardware Association. It contains an overview of the proposal and raises some specific questions related to the development and implementation of a certification. Once you have read the draft, please provide feedback in the OSHWA forums.
This is a proposal to develop one or a series of open source hardware certifications administered by OSHWA. The certification requirements would be developed collaboratively with the community and could possibly vary by degree of openness . Users would self-certify compliance in order to use the certification logos.
A single certification threshold would have the benefit of clarity and simplicity. However, it may not contain enough flexibility to capture the diverse paths towards openness in the hardware world.
A tiered certification would have the potential to muddy the waters around what really is "open" and could potentially be gamed by bad actors. However, by creating a spectrum of certifications and examining their use over time, OSHWA could collect real-world information about what degree(s) of openness feels most viable to the community by tracking the adoption of the various tiers. Over time, the spectrum of licenses could be consolidated based on adoption rates (this evolutionary model was used by Creative Commons to simplify and focus their license structure over time), thus bringing additional clarity to what is and is not truly OSHW.
An additional benefit of certification could be to make it easier for "outsiders" to participate in OSHW by bringing additional clarity to the definition, thus expanding the reach of OSHW and its exposure to new communities. The following is a short sketch of elements of this proposal.
OSHWA is opening this proposal to the larger community because OSHWA is a community-driven organization and open source hardware succeeds on the strength of the open source hardware community. The goal of this process is to arrive at a consensus-based certification process for open source hardware.
Comments will be accepted via the OSHWA forums. Each specific question will have its own branch. There will also be a general branch that will act as a catchall for comments that don't fit neatly into a specific question.
We have created the option for a second round of comments. This second round will be used if the first round comments do not indicate that the community is moving towards a consensus. If needed, the second round should give everyone a chance to weigh in on questions left unresolved in the first round. If the first round of comments point to a conclusion we may not have a second full round.
All comments will be reviewed by the Open Source Hardware Association board, which will also be responsible for revising and finalizing the proposal.
Move towards common expectations of what qualifies as open source hardware, including how non-open elements of putatively open source hardware is handled.
Expand the reach of open hardware by making it easier for "outsiders" to participate by setting clear expectations and definitions.
The Open Source Hardware Definition and Open Source Hardware Best Practices were massive steps towards clarifying what actually qualifies as open hardware. However, questions still remain about how to apply the definition and best practices properly to a given project, and also about how closely a project must adhere to all of the best practices in order to qualify for opensource hardware certification. Notably, "open source hardware certified" and "open source hardware" do not have to be absolutely synonymous. The purpose of the certification process is to try and provide some sort of certification of compliance for others. Nothing in this certification process prevents someone from calling their project open source hardware. The certification only has meaning if, over time, the community decides that the existence of the certification helps them identify projects that comply with their understanding of what open source hardware means.
One way to handle questions relating to how to apply definitions and best practices to a given project would be to develop a single canonical litmus test for openness. This would create a clear distinction between what is "really open" and what is merely trading on the popularity of the term open source hardware. While bringing many benefits, a single test may not fully capture the community understanding of what qualifies as acceptable and unacceptable compromises in a move towards openness for a given project.
An alternative path is to develop a spectrum of tests of openness. As long as they are clearly differentiated, it would allow a project to navigate its specific limitations by claiming "partial openness," "full openness," or recognized degrees in between. The project could be transparent about its level of openness, but still get whatever credit it can get for incorporating some level of openness. Levels could be indicated via a level system (Gold OSHW, Silver OSHW, Bronze OSHW), a laundry/nutrition-style label, or other indicators.
Over time, a spectrum of tests could help give rise to a more accurate understanding of how creators actually apply open principles to hardware. The criteria that are embraced could be promoted, while the criteria that are avoided could be reconsidered and even depreciated.
Such a spectrum does come with downsides. It has the potential to make it even harder for end users to really understand what an "open" label means. It could also allow bad actors to game the system in order to claim openness for marketing purposes while avoiding adhering to the spirit of open source hardware.
Another advantage of formal certification would be to make it easier for "outsiders" – developers and companies without strong personal ties to the open source hardware community – to confidently offer their products up as OSHW. This is especially important in recruiting larger companies into the OSHW world. Of course, attracting larger companies into OSHW is a debatably valuable goal. The benefits of expanded awareness must be balanced against threats of being coopted and the watering down of the definition of true OSHW. However, if such an outcome is worth exploring, providing clarity and a glide path may make it easier for outside developers (both independents and those at larger companies) to embrace openness without fear of unintentionally violating misunderstood community norms.
In order to avoid turning OSHWA into a large certification bureaucracy, once developed the licenses could be offered up for self-certification. That would mean that anyone would be free to use the certifications as long as they felt that they complied with the terms of the certification.
Critically, self-certification would not simply mean that anyone could call themselves open source hardware. In order to self-certify, a project would need to agree to abide by open source hardware requirements. Perhaps more importantly, the project would also have to agree to comply with sanctions and penalties imposed by OSHWA if they were found not to comply with the requirements.
While it would still require OSHWA to enforce the certification rules, self registration is a low-impact alternative to a much more onerous system that required anyone to get formal pre-approval before adopting the certification.
While not required, certification users could be encouraged to register their certified projects with OSHWA (or a third party registrar) as part of downloading the registration logos. This could help create the long-discussed open hardware registry. Additionally, it could create a way for OSHWA to track and compare the uses of various flavors of certification (if such flavors of certification exist).
This proposal does not require the collection of any fees in order to function. However, certification logos could be used as a source of funding for OSHWA if OSHWA was so inclined. The lowest impact way to impose fees would be to impose either a one-time fee or royalty on the use of a certification logo in a commercial product. Such a fee could be tied to volume or revenue so that small projects would be exempt, but more successful products had to pay on a sliding scale. Of course, the fee would need to be low enough to avoid acting as a disincentive to adopt the certification logo.
There is a broad range of potential options when it comes to enforcing proper use of certification logos. Options include, but are not limited to, maintaining a "list of shame" online for companies and projects that misuse the logos, maintaining the option to demand the removal of a logo on noncomplying products, operating some sort of public complaint process to identify misuse, and even imposing some sort of financial penalty (perhaps after an opportunity to correct is given) for misuse of the logo. These options are not necessarily mutually exclusive.
Please provide your thoughts on the following questions. Explanations for your preferences are appreciated. You can also make general comments here.
Is certification something that OSHWA should be looking into all?
Do you prefer a single definition of openness or a spectrum of options? Please explain your preference. If you prefer a spectrum, do you have a preference between a tier-based spectrum or a nutrition/laundry label-style approach.
Should it be possible for projects with non-open components to be certified as open source hardware? If so, how should the process handle such projects? Is a part-by-part label desirable because it gives specificity or undesirable because it complicates understanding the label for less technically sophisticated community members?
Do you prefer a self-certification process or a process that involves pre-approval of certifications by OSHWA?
Should registration be part of the certification process? If so, should there be a single central repository or a distributed set of repositories that comply with base-level requirements?
Should certification require fees? If so, should those fees take into account the size of the person/company behind the project, the commercial nature of the product, and/or the number of units sold?
What is an appropriate penalty for projects that fail to meet certification requirements? Should the penalty process include an opportunity for those projects to correct the error before the penalty is imposed?
Should OSHWA maintain a public database of certification complaints and how those complaints were addressed? If so, should the entire process be public or should there be a grace period for private resolution?
Should there be a distinction between mandatory requirements and simple best practices? If so, should there be some way to indicate that a project also/only complied with best practices?
Is reaching out to companies outside of the current open source hardware community a goal worth pursuing?


An experienced consulting professional who has a broad understanding of technical architecture, cloud and on-premise application integration to SaaS, ERP, & 3rd party applications, and software development life cycle. Requires hands-on experience working with Oracle Integration Cloud (OIC), Oracle Integration Cloud Service (ICS), Oracle Process Cloud Service (PCS), Oracle Java Cloud Service (JCS), Oracle SOA Cloud Service (SOA CS), and/or Oracle SOA 12c/11g Suite, as well as experience working with application integration to Oracle ERP Cloud (SaaS), Oracle HCM Cloud (SaaS), Oracle EBS, JD Edwards, PeopleSoft, Siebel CRM, and any other Oracle business applications.
complex duties and tasks that need independent judgment, in order to implement Oracle products and technology to meet customer needs.
As an Oracle Cloud Integration Software-as-a-Service (SaaS) Architect consultant in the Oracle Platform-As-A-Service (PaaS) Cloud Technology Practice, you are responsible for developing and maintaining expert level skills on Oracle Integration Cloud (OIC) and Oracle API Platform Cloud Service. Your specialization will be focused on cloud architecture, application integration, and cloud application development using Oracle s Cloud Integration Platform. Focus will be on application integration between Oracle and other business application providers on the cloud (SaaS), ERP, and 3rd party systems.
Consultant must have at least five (5) years of experience working in Oracle Cloud Integration Platform, Oracle SOA Suite technologies, and/or Oracle SaaS/ERP integration technologies. Consultant should have 8 years of total experience to apply.
You will serve in the role of an Oracle Cloud Integration SaaS Architect in customer engagements and will be responsible for defining and implementing architectures that address customer business challenges.
integrated software solutions within constraints of time and budget.
expertise, project leadership experience, and client management skills.
software solution is delivered in a timely manner, at budget, and to our client's satisfaction.
expectations. It also requires working closely with other Oracle groups, offshore development and third-party vendors to ensure high quality, on time delivery.
In addition to project delivery, our consultant will be called upon to help the consulting practice by assisting with the following: Mentoring, Seminars, Workshops, Proposals and for providing subject matter expertise to support sales.
remotely. The combination of all of these types of projects usually results in 50%-75% travel.
Oracle Integration Cloud (OIC), Oracle SOA Suite 12c/11g, or Oracle SOA Cloud Service.
Delivering SaaS/ERP integration to Oracle ERP Cloud (SaaS), Oracle EBS, JD Edwards, PeopleSoft, Siebel CRM, and any other Oracle business applications.
Our goal is to keep you working within your region of the country (East, Central, or West), or in the region adjacent to yours. There are times when cross country travel could be required but we will try to minimize.


Situated in the forest of the Magoebaskoof valley this property offers visitors a rare insight into the mysteries of the forests and grasslands which are home to an incredible variety of plants and ferns. Frequent visitors to this 2 ha property are Cape Parrot and both the Vervet and rare Samango monkeys. Walking, hiking and birding can be enjoyed on the property and in the immediate area.
Agoris is ideally situated halfway between Tzaneen and Haenertsburg and is the perfect location from where to explore this magnificent area.
Spacious with two bedrooms, an upstairs loft with shower, a well-equipped open plan kitchen, a dining area, lounge and an outside patio overlooking the forests. Complimentary tea, coffee and rusks provided. Salt pepper and oil also provided - just in case your forgot your own!! Patio with free-standing braai. Can comfortably sleep up to 7 persons.
2 Adults Sharing: R600/unit | 4-7 Adults sharing: R1200/unit. Tea, coffee and rusks supplied - also salt, pepper and so on for in-case you forgot your own!
A comfortable and beautiful roomy space with a huge verandah overlooking the forests and valley. Lovely outside entertainment space with lapa and sparkling pool. Can sleep 2 - 10 people.
Please complete and submit your booking enquiry directly to Franco at Agoris Cabin by completing and submitting this form. Please do not hesitate to consult the website again should there not be availability. .
Thank you for your interest and enjoy your stay. Please check the dates for all our activities and festivals and remember to book your accommodation early during busy periods.
Agoris Cabin is situated 2km off the R71 in the Magoebaskloof valley, 25 km from Tzaneen and 17km from Haenertsburg. When you leave Johannesburg you will be going on the N1 to Pietersburg/Polokwane. Take a right turn onto the R71 to Tzaneen. About 55km from Polokwane you will get to Haenertsburg. From the three way stop at Haenertsburg carry on going straight on the R71 for another 14.5km. When you get to the Magoebaskloof Mountain Lodge on the right hand side, you only have about 50m further down before you turn to your sharp left where you will see the Road number A.44. Carry on the gravel road for 0,5km and turn left at the fork, carry on for about another 1km and at that point take the middle road for another 200 meter, turn right where you see the sign - Agostino and Iris Rech Agoris, Cabin. When you arrive you will be welcomed and can collect your keys from Maria.


Harmonic analysis, specifically in time-frequency analysis and wavelet theory. Time-frequency concentration, smoothness and decay using the theory of frames - in particular, Gabor and wavelet frames. Mmultilinear pseudodifferential operators using mainly a time-frequency approach. Applications of frames to signal processing, both in the finite and infinite dimensional settings.
Gabor analysis in weighted amalgam spaces (with K. Grochenig and C. Heil), Sampling Theory in Signal and Image Processing 1 no. 3 (2002), 225260.
Embeddings of some classical Banach spaces into modulation spaces, Proceedings of the American Mathematical Society 132 no. 6 (2004), 16391647.
Bilinear pseudodifferential operators on modulation spaces (with A. Benyi), Journal of Fourier Analysis and Applications, to appear.
Modulation spaces and a class of bounded multilinear pseudodifferential operators (with A. Benyi, K. Grochenig and C. Heil), submitted.
Weak uncertainty principles on fractals (with R. S. Strichartz), 2004 preprint.


We provide support to people with a range of needs in their own homes, including those with learning disabilities, autistic spectrum disorder, physical disabilities, complex needs, mental health issues and age related needs. Our aim is to support people to have a safe and secure home, to live as independently as possible in their own home, to live as full a life as possible and to be part of their local community.
In this role, you will be an integral member of the support team contributing to and ensuring a high quality of care and support for individuals with a wide range of support and care needs within the Dunfermline, Rosyth, Glenrothes and Kennoway areas. These services may require you to be trained in CALM – Crisis, Aggression Limitation and Management and physical intervention techniques, if you have not had any training, this will be provided to you.
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You must be able to support and be flexible in your approach to work and it is essential you are able to work a rota which will include weekends, sleepovers and may include waking night shifts.
In return for the above we will offer an attractive salary and benefits package including full funding and support towards an SVQ qualification in Care and generous annual leave entitlement.
A current driving licence, business insurance and the use of a car for work purposes are desirable but not essential.
To apply online log onto our website.
The closing date for applications is on Monday, 6 May 2019 at 12 Noon.
Interviews to be held on Monday, 13 May 2019.
Come along to our recruitment event to find out more about working in Care. Chat to staff and supported people and find out about the posts on offer.
If you wish to be interviewed on the day, log onto our website to complete the application form prior to the event.


The inaugural NIST Center for Neutron Research (NCNR)<hxxp://www.ncnr.nist.gov> "Summer School on Modeling Neutron Data of Biological Systems" will be held from Monday, July 11 to Friday, July 15, 2011.
The Summer School is sponsored by the NCNR<hxxp://www.ncnr.nist.gov> and by the National Science Foundation<hxxp://www.nsf.gov> under the Center for High Resolution Neutron Scattering (CHRNS)<hxxp://www.ncnr.nist.gov/programs/CHRNS/> cooperative agreement DMR-0944772. There is a $150 registration fee. Support for graduate students, postdoctoral fellows and junior faculty may be requested on the summer school application form<hxxp://www.ncnr.nist.gov/summerschool/ss11/application_model.html>.


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Big PUBLIC Auto Auction this Saturday 11am in Mission Valley! The OPENING BID for this vehicle is $1500. The Auto Auction is OPEN TO THE PUBLIC and is FREE to enter. All cars have PASSED SMOG and have CLEAN titles.
Come see this 2001 Ford Explorer Sport . Its transmission and Gas V6 4.0L/245 engine will keep you going. This Ford Explorer Sport has the following options: White-faced instrument panel cluster-inc: warning lights, trip odometer, tachometer, fuel, oil pressure, coolant temp, voltmeter, Warning chimes-inc: headlights-on, key-in-ignition, seat belt, Textured platinum grille, Steel spare wheel, Speed-sensitive intermittent windshield wipers, Solar-tinted glass-inc: windshield, front door windows, flip-open rear quarter glass, Side door intrusion beams, Securilock passive anti-theft system, Roof rails, and Rear window defroster. See it for yourself at Auto Auction of San Diego, 5801 Fairmount Ave, San Diego, CA 92120.


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Front Page » Transportation » Virgin Train to run from PortMiami to Disney World
Virgin Train to run from PortMiami to Disney World
Written by Jesse Scheckner on October 29, 2019
Within three years, Florida's visitors and residents may be able to go to Disney World or Universal Studios, then take a Virgin Train directly from Orlando International Airport to PortMiami and board a cruise ship – or vice versa.
That potential boon to the Sunshine State's tourism industry moved closer to reality Tuesday, when Miami-Dade lawmakers unanimously OK'd terms of an estimated $53.3 million project with Virgin to build a station at the state's leading economic generator by 2020.
The item, sponsored by Commissioner Rebeca Sosa, authorizes Mayor Carlos Giménez to negotiate those terms with Virgin Trains USA, a subsidiary of Florida East Coast Industries that still operates as Brightline.
"This is a first-of-its-kind train to port station that will connect the cruise capital of the world with a car-free option for millions of cruisers looking to start their vacation a little earlier," Virgin Trains President Patrick Goddard said in a statement. "This is a tremendous partnership and infrastructure investment between PortMiami, Miami-Dade County and Brightline that will increase mobility, take cars off the road and provide our state's visitors an easier way to get around."
The county expects to receive $49 million in rent and passenger fees over the deal's 30-year initial term, a memo from Deputy Mayor Jack Osterholt says.
The deal also includes provisions for a 20-year renewal at Virgin's option plus two extra 20-year renewals subject to mutual agreement between the county and Virgin.
If all three renewals are tapped for a maximum 90 years, the county expects to collect $490 million.
Costs for the project include $15.4 million to build the 20,500-square-foot station on at least one acre of the seaport, $35 million for a 240-passenger train set and other overruns to be paid by Virgin.
The county would invest $5.2 million, for which it would be repaid through a $2 fee per departing rail passenger.
Jean Monestime, the only commissioner on the dais to comment on the item, said he hoped the fee would be charged to cruise ships' passengers "instead of just a segment of the population."
Neither Ms. Sosa nor any other commissioner moved to amend the item.
For the first 10 years of the accord, Virgin would agree to not operate a train station at any other port.
The company would pay all operations and maintenance costs for the stations, trains and customer service, including passenger shuttles to cruise terminals.
Virgin would also upgrade its tracks at the seaport as part of the development. However, it would still have to share the tracks with other rail operators "actual and future," the memo says.
The deal also includes provisions for Virgin to relocate to another site at the port "that would serve as a more optimal location" or use space at that site for supplemental purposes.
Since starting service in January 2018, Virgin Trains, backed by New York-based Fortress Investment Group, has built three stations, bought five train sets and made broad infrastructure investments in Florida totaling $2 billion, according to the company's prospectus.
Virgin this month launched Phase II of a multibillion-dollar project connecting its West Palm Beach station to Orlando, with potential stops in Fort Pierce and Stuart. The company estimates completing Phase II, which includes laying more than 170 miles of new tracks, will take about three years.
11 Responses to Virgin Train to run from PortMiami to Disney World
Ironic. It will be easier to fly to Orlando than to Miami to take a cruise from Miami. It would make things much easier and advantageous to Miami if there was a more seamless connection between MIA and the port.
B. Gaber
Thanks to our Commissioners and vergin Managers in making this possible. Everyone I spoke to about this is excited and cannot wait for it to start. It is the best idea ever .
Rube. G
Take an uber lol.
AJ Reddy
Most Important, will the station have connectors to the 5 different terminals under construction? If not it will be useless. How do people that get off the Port Station reach the RC, Carnival, Norwegian etc terminals with their lugaage?
spuwho
There is already shuttle bus that runs through the parking garages/lots today that makes stops at all the terminals. Same shuttles will come through the port station as well. Not a biggie.
R PULIDO
Looks a very good proyect and that the people that are in charge will think
in the details.
Jose Roeder
connectors to the different terminals? Good questions the system needs to be integrated somehow not drop of people at point A and fend for yourself.
Greg Schenk
Can't wait to try it all
Is there a map from Miami airport to Orlando showing route and stops
maria napoles
I do run an art gallery in the area of City of Miami, El Portal Village, Little Haiti . etc etc
I do travel on regular base between, Miami, Miramar, Fort Laudeerdale, Pompano Beach, Lauderdale Hill ( related to art busiiness ). call events
the briar train goes back and forth at all times ( empty ) without more terminal stops ( it is a waste of taxpayers money ) If, this is part of the plan until under sources, investments and population data surveys can be manipulate to request more money from the State Capital or even Federal .. I understant BUT do not sell me that it is the answer to our mayor congested traffic jam almost at all times between Counties
I think it's wonderful that Virgin has taken over the corridor. It would be equally nice to bring back our Rail system in general everywhere in this country. RR have a beautiful scenery if it's done the proper way.
Is Virgin willing to Purchase Amtrak and can we get a direct line from NYC to Florida. (Obviously I'm joking..not really)
Pat storts
This will cost too much money for most people. Better to fly into Orlando and take shuttle or rent car to hotel for trip to Disney. The trains are said to be 32 trains back and forth disrupting Floridian lives daily. It is an excuse for cargo being transported frm the cargo ships in the ports. Passenger trains cannot support train service. Cargo is where the big money and profits come frm. Eventually the canal in Nicaragua will be built by the Japanese for cargo ships to compete with the Panama Canal bring goods into our Florida ports, loaded up on trains to be shipped out on Virgin Trains. It shud of been built on the center of the exsisting highways And expressways ..
Multi-million deal would run Virgin Trains into Port…
Virgin Trains USA might roll into PortMiami
After Brightline deal, Virgin Group gets seaport…
PortMiami deals to create 27,500 jobs, mayor says
Virgin Trains USA starts building rail line to Orlando
As PortMiami rides high, more development deals on horizon
PortMiami sets global passenger record
Tri-Rail won't roll into downtown Miami this year
FYI Miami: April 11, 2019

redpajama_set_name: RedPajamaCommonCrawl


In 1911, the Irish Republican Brotherhood's Irish Freedom newspaper featured an article on the training practices for young recruits used in the Japanese army. The methods used by the Japanese military, Irish Freedom claimed, offered Irish nationalists a useful "Cúntas ar an mhódh 'na ndéantar saighdiúirí de na buachaillibh óga" [Account of the manner in which young boys are made into soldiers]. The article was intended as a commentary on the recently founded Na Fianna Éireann [The Warriors of Ireland]. This militia-style organisation for Irish boys was one of the most important Irish political groupings in the turbulent years around 1916, though they have received far less attention from historians than their adult contemporaries in the Volunteers or Cumann na mBan. Na Fianna Éireann, in their own attempt to turn boys into manly soldiers, displayed a number of anxieties about Irish identity, masculinity and national decline.
Na Fianna was founded in 1909 by Bulmer Hobson and Constance Markievicz. Hobson had already formed an organisation under this name in Belfast in 1902. This earlier Fianna Éireann, dedicated to the promotion of sports and the Irish language, was intended as an alternative to the Catholic Boys' Brigades that had become a recruiting facility for the British Army. In August 1909, having decamped to Dublin, Hobson chaired a public meeting "to form a national boys' organisation to be managed by the boys themselves on national non-party lines." The second Fianna Éireann was the result of this. Shortly afterwards Hobson returned to Belfast and Constance Markievicz assumed responsibility for the organisation. In the years after 1916 its numbers rose to 30,000, the high tide of Fianna membership.
The Fianna were clearly influenced by the British Boy Scouts movement, founded by Robert Baden-Powell in 1908. The Scouts drew on contemporary anxieties about the impact of modern urban lifestyles, something Baden-Powell sought to reverse through healthy and correctly masculine pastimes. Na Fianna Éireann was a product of similar societal fears, and indeed the Fianna, for all their anti-English rhetoric, regularly emulated the Scouts.
Liam Mellows, who graduated from the Fianna to the Volunteers, looked back in 1917 at the arrival of the Boy Scout movement in Ireland and suggested that had they succeeded, Baden-Powell's organisation would have "completed the attempts made by England" with the help of traitorous "seonini" to make a "happy English child out of the Irish boy." Thus, Mellows felt, "Some antidote was needed" if the future men of Ireland "were not to be swallowed up in the tide of Anglicisation engulfing the land." The antidote to the Scouts, of course, was the Fianna, even if the differences between the two were often negligible. The internal structure of the Fianna was remarkably similar to that of the "Baden Powell's", their uniforms were also similar and there is evidence that the Fianna competed with the Irish branch of the Scouts for potential recruits.
The Scouts in Britain had emerged during a panic over supposedly inferior military recruits during the Boer War and they sought to promote restorative "good citizenship" among British boys; the full title of Baden Powell's 1908 handbook was, appropriately enough, Scouting for Boys: A Handbook for Instruction in Good Citizenship. The Fianna similarly sought to make clean-living citizens out of Irish boys, whilst also preparing them for future military activities. The 1914 Fianna Handbook urged each member to "make himself strong in mind as well as in body…. [to] think for himself and be self-reliant and strong." Fianna members were, on the one hand, "pledged to re-establish a free Irish nation, and their first work must be to train themselves to be fit citizens of a free nation", whilst also learning lessons "of self-sacrifice and service… to obey and to be self-controlled." They were urged to be good citizens and to never act in such a way that they would bring Ireland into disrepute. More prosaically, a Fianna boy would take regular baths, would always present himself with "clothes brushed and boots polished." He would not take alcoholic drinks and, "Wishing to grow up strong in body and mind" he "smokes seldom, if at all." On a basic level, this was not all that different from the ideas of Baden-Powell.
Na Fianna were always an avenue for social reform as much as it was a military organisation. Much like the Volunteers, the G.A.A., and even the Gaelic League, they displayed marked anxieties about national decay, about Ireland's lack of formal political sovereignty and about the effects of British colonialism on Irish men's virility. When Na Fianna spoke of making men out of boys, they were tapping into deep veins of meaning within nationalist culture and thought.
 'Saighdiúrí na hÉireann' [Irish Soldiers]. Irish Freedom, November 1911.
 Marnie Hay. Bulmer Hobson and the Nationalist Movement in Twentieth-Century Ireland (Manchester: Manchester University Press, 2009) 28.
 Marnie Hay, 'The Propaganda of Na Fianna Éireann, 1909-26.' Mary Shine Thompson, ed., Young Irelands: Studies in Children's Literature (Dublin: Four Courts Press, 2011) 49.
 NLI 1A 2302, Donnchadh O Seaghdha, ed. Liam Mellows. The Irish Boy Scouts: A History of Na Fianna Eireann, 1909-1916 – Reprinted from the Gaelic American (1917).
 NLI 5A 3521, Na Fianna Eireann Historical Documents No. 1: Sean Healy O/C/ Cork, 1916 – Transcript of an interview with Sean Healy of 24thAugust 1974 by Donnchadh O'Seaghdha.
 Fianna Handbook (Dublin: The Central Council of Fianna Eireann, 1924). This is a reprint of the 1913 handbook, with some minor changes made to reflect the post-Civil War political context.
 A message from former Chief of Staff Eamon Martin'. In NLI IR 300 P49, Cathal O'Shannon, ed. Souvenir of the Golden Jubilee of Fianna Éireann, 16 August 1959.
 'To the Boys of Ireland.' Irish Freedom, February 1914. In the original Irish Freedom article, no author is listed. In the 1959 Souvenir of the Golden Jubilee of Fianna Éireann, however, the author is listed as Pearse, and the content is certainly consistent with his work.
 'From the Editors'. Fianna [Warriors], Vol. 1, No.5, June 1915.


Unsigned players: LB Akin Ayodele (UFA), QB Brian Brohm (UFA), TE Scott Chandler (RFA), OLB Keith Ellison (UFA), RB Quinton Ganther (UFA), DT John McCargo (UFA), TE Jonathan Stupar (UFA), S Donte Whitner (UFA), CB Ashton Youboty (UFA).
Key arrivals: Ex-Jets UFA WR Brad Smith, July 29 (four years, $15 million); Ex-Dolphins UFA QB Tyler Thigpen, July 29 (three years).
Key departures: UFA ILB Paul Posluszny, July 29 (to Jaguars).
Key re-signings: UFA CB Drayton Florence, July 29 (three years, $15 million).


Digital marketing has emerged from the era of basic websites into dynamic, multi-layered pages rich with visual and written content. When it comes to your professional practice, it's as much about seeing as it is about reading. Producing short videos introduces you to potential clients and personalizes your services, instantly adding value.
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Confluence Magazine recently published an article about the expansion of Lawgical to house five new employees in marketing, audiovisual production, and communication. Lawgical CTO Trent Carlyle was quoted numerous times.
The one thing Carlyle and company aren't looking for is investment capital. "We don't have any investors and we're for the most part debt-free," he says.


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OTHER MUSICALS IN EAST LANSING
Rain - A Tribute to the Beatles Event homeBuy ticketsCustomer reviews WickedDear Evan HansenMy Fair Lady
Cobb Great Hall Please selectVenue homeLocation and directionsSeating maps Brian Regan (Jan 23, 2020)The Illusionists (Feb 8, 2020)We Shall Overcome (Feb 14, 2020)Joshua Bell (Feb 24, 2020)My Fair Lady (Feb 26 - Mar 1, 2020)Wicked (Apr 1 - 19, 2020)Gordon Lightfoot (May 14, 2020)Wild Kratts - Live (May 21, 2020)Dear Evan Hansen (Jun 16 - 21, 2020)
Although purists might sneer at this concert/theatrical experience, there's no denying that, as cover bands go, this is one of the best.
Why See Rain - A Tribute to the Beatles?
the ultimate BEATLES tribute band
Together longer than The Beatles themselves, RAIN has mastered every song, gesture and nuance of the legendary group, delivering a totally live, note-for-note performance that's as infectious as it is transporting. From the early hits to later classics that The Beatles never got the chance to play live - including the most complex and challenging songs - this adoring tribute will take you back to a time when all you needed was love, peace and a little help from your friends!
No other rendition of The Beatles' music comes close to this level of performance, which has taken years of mastery and attention to detail that is unmatched. From the early days of The Beatles' appearance on the Ed Sullivan show in 1964, through Shea Stadium, the Sgt. Pepper era and on to the Abbey Road years, the RAIN captures it all flawlessly.
Performance date: 6 May 2020
Suitable for audiences of all ages
Two hours and 20 minutes including one 20 minute intermission
Cast and Creative
Founder and Manager - Mark Lewis
About East Lansing Theater: We are an independent show guide not a venue or show. We sell primary, discount and resale tickets and prices may be above or below face value.
Wed, May 6
Candace: "RAIN of Love Last Night"
What a fabulous show! At first, it seemed like I was back in the 60's... more
Adrian: "What a show!"
I saw the 4-8-2011 show @ the Orpheum & loved every minute. The various... more
Sound good to you? Share this page on social media and let your friends know about Rain - A Tribute to the Beatles at Cobb Great Hall.
Please note: The term Cobb Great Hall and/or Rain - A Tribute to the Beatles as well as all associated graphics, logos, and/or other trademarks, tradenames or copyrights are the property of the Cobb Great Hall and/or Rain - A Tribute to the Beatles and are used herein for factual descriptive purposes only. We are in no way associated with or authorized by the Cobb Great Hall and/or Rain - A Tribute to the Beatles and neither that entity nor any of its affiliates have licensed or endorsed us to sell tickets, goods and or services in conjunction with their events.


iBall has today added a new member to its CompBook series with the launch of iBall CompBook Marvel 6 laptop with window 10 in India. Home-grown consumer electronics company iBall on Monday launched an another new budget-oriented laptop, called the "iBall CompBook Marvel 6" under its popular budget range Compbook series in the Indian tech market. Priced at Rs. 14,299, the new CompBook Marvel 6 is now already made available for purchase via all leading brick and mortar stores across the country.
Envisioning the tremendous potential for innovative products needed by the ever-evolving users in computing and digital world, iBall was launched in September 2001. iBall, that started off with only 1 product category – the mouse, is giftcurrently in over twenty six product categories. iBall today is considered as one of the most innovative and fastest growing brands in most of its product categories. It has a strong pan India presence with 26 branches across the country. iBall has enviable penetration and its products are available in over 750 cities and towns right from large format retail outlets to small neighbourhood shops. iBall is perhaps the only brand which has over 125 self-owned service centers to provide after-sales services across the country. At iBall, there is a continuing endeavour to improve, enhance and introduce robust products with the latest technologies.


The Woodland Chapel is Skogskyrkogården's first and smallest chapel. It was designed by Gunnar Asplund and inaugurated in 1920.
Standing amidst the dense conifer trees, the forest chapel by the great Swedish architect Gunnar Asplund first appears like a modest cottage. The only ornament is the golden Angel of Death by Carl Milles on the wood shingle roof above the entrance. The angel receives visitors with open arms. The chapel, inaugurated in the 1920s, is the first and smallest in Stockholm's large forest cemetery. The Danish pleasure palace of Liselund, the world's only thatched palace, had inspired Asplund to design this building.
In 1915, Ashland and Sigurd Lewerentz, who had met at university, won the competition for designing the forest cemetery. The concept developed by the two architects focused on the emotions of the visitors of the cemetery, the mourners with their feelings. The architects wanted them to find solace in nature, symbolizing the cycle of life, and thus be accompanied in their pain.
As a consequence, the small forest chapel is surrounded by a low stone wall inside of which the trees are noticeably denser. They are intended to give mourners the opportunity to collect their thoughts before taking their leave of the departed. Inside visitors are greeted by a surprisingly light-filled room with a pantheon-like dome which conveys a feeling of lightness. After the ceremony, the mourners are led out through another entrance into a bright open landscape intended to make their return to life easier. Impressively designed through and through the chapel is filled with fascinating details. The keyhole at the entrance represents the eye of a death's head and the cast-iron gate bears a host of Christian symbols.


Airlines require flight attendants to wear uniforms that are neat and clean.
Given that cabin crew spend the most forward-facing time with passengers, it makes sense that uniform standards exist—and that they're addressed when things are seemingly slipping. This isn't just a mandate from on high, either: several flight attendants reportedly reached out to Slater to "share concerns" about colleagues whose uniforms didn't adhere to company standards, prompting the memo. The flight attendant union supports United's efforts on this front, according to Skift.
At a minimum, across airlines, cabin crew are expected to don company uniforms that are clean; some airlines, like Singapore Airlines, have more exacting requirements, with strict rules on hair, nail polish, and watches, rings, earrings, and eyeshadow that can be paired with the sarong kebaya. (Male flight attendants at Singapore Airlines have similarly strict rules, though far fewer.) Though "pass travelers" have a dress code policy (see: United kerfuffle over leggings), most air travel passengers don't. Still, there are a few good reasons to spruce yourself up when you fly. Chief among them? You'll probably get better service.


Fans around the globe knew that Arrow had been picked up for a "full season;" but thanks to its success fans will rejoice once they learn that they are getting something more!
The first season had 22 episodes, now it will be of 23. Time will tell what's in store for Ollie's alter ego.
This means that there will be another hour of good television for the fans of the series. Arrow's Wednesday night companion, Supernatural, also gets 23 episodes this year.
The hit-TV-action series Arrow has received favorable reviews, with a Metacritic score of 73 out of 100, based on 25 critic reviews. Mary McNamara of the Los Angeles Times qualified the series as an interesting setup with a quality look, describing Setphen Amell (Oliver Queen/ Arrow) as "a poster boy" (no doubt literally) for the Katniss Everdeen set.
Arrow premiered on The CW network October 10, 2012. Since then it has received a good reception in Latin American countries as well, when it aired in October 22, 2012.
I'm a 31-year-old bilingual writer, with a passion for running; exercise fan. Enjoys reading comics, scifi stories, working in a online scifi comic. Organizer of the zombie walk in Guayaquil, Ecuador.
Should you reaction me with a slice of information about how precisely you made your blog look this spectacular, I'd enjoy it!


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The Master of Suspense: 50 Years of Hitchcock
Daily Dose #11: Thought I'd Left (Opening Scene of Mr. and Mrs. Smith)
By Dr. Rich Edwards,
July 12, 2017 in The Master of Suspense: 50 Years of Hitchcock
mtncat
What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc?
Hitchcock reveals quite a lot through dolly shots, tracking shots, and extreme attention to detail. He shows us a pair of rich, pampered, self-indulgent slobs who are confined to a room and trapped in a marriage by their insecurities. Not so funny so far.
Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not?
I agree it's typical in the respect that he establishes a mood and fleshes out a backstory largely through his use of motion and music.
What do think about the casting of and chemistry between Carole Lombard and Robert Montgomery? Do you think both are well cast for this "comedy of remarriage?" Why or why not?
I think the casting is probably fine. Lombard and Montgomery are both attractive and visually expressive actors. I have to confess I don't know much about screwball comedies. I twice enjoyed It Happened One Night. Does that count?
LingeringScholar
LocationVirginia, USA
The opening shot of this film tells us a great deal about the couple, and juxtaposed with the final shot, it speaks to their character progression. The camera opens while panning over the breakfast and dinner dishes of the last three days encircling David, hunched on the floor playing solitaire. The dishes are delicate and noisy. He steps carefully around them while answering the door. The dishes represent his wife's affections, rules, and "screwball" nature. She is delicate, and he must step around her cautiously. or pay the consequences. A number of times throughout the film she picks up and shatters glasses or pitchers when he has failed to "step with care." The final scene shows how their dynamic has changed, though.
David is no longer stepping around her. He takes charge by strapping her into the skis and pushing her back on the chair. She protests, but likes the change in their dynamic, making sure to keep her foot fastened. Much can be read into the final shot of the skis crossing each other, but in light of the "stepping with care" theme, we can see the skis as large and clumsy. They are the antithesis of stepping lightly, and she crosses them, further complicating their ability to navigate space. The couple isn't reclaiming their old relationship, with it's rules and hoops. They've entered into a new territory in which David fighting for her will sometimes mean "fighting" her directly rather than try to assuage and appease. Whether the new relationship will last is up to each viewer, but Hitchcock has told a solid story of character and relationship progression and used visuals masterfully to indicate the development.
Scripty
Hi, I was having trouble with this yesterday so hopefully today I will be able to get it all in w/o being kicked out. Here goes...
1. The opening of the movie is a pan of the dirty dishes on the bedroom floor that lead up to Mr. Smith playing a game of solitaire. (Hitchcock's touch)
The use of light, shadows & close ups. (Hitchcock's touch)
The music helps to create the tone and mood of playfulness and upcoming comedic antics to come. (Hitchcock's touch)
2. So far in most of the films we have seen, Hitchcock's openings have been shadowed in darkness. The music foreshadowing upcoming tension and suspense; the opposite of Mr. and Mrs. Smith. So, I guess I don't agree with the statement this is a typical Hitchcock.
3. I believe Lomabard and Montgomery are a perfect fit. The chemistry is evident to me. Love them both. Good choice, Hitch!
Alynia
What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc? -- The play with light is visible; especially the angles that cross the hallway when Sammy and the housekeeper are trying to get the paper signed.
Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not? -- It's typical of his skill; the acting is smooth, the scenes are set... the only difference is that unlike his other stories, we are not left wondering "what next?"... we don't have a hook to help us turn the page.
What do think about the casting of and chemistry between Carole Lombard and Robert Montgomery? Do you think both are well cast for this "comedy of remarriage?" Why or why not? -- They work well together and seem to have the chemistry that viewers like to refer to... I think of it more as good acting, editing and direction than 'chemistry.'
ewangk
LocationHalifax, NS
1) Hitchcock always makes great use of lighting with the angles and alternating light and shade in the backgrounds. This is readily apparent when the messenger from the office and the housekeeper approach the bedroom door. We also learn that the couple are more concerned about the state of their relationship than the cleanliness of the room, evidenced by all the dirty plates and trays littering the room, the unmade bed, etc.
2) I do not find this opening overly similar to other Hitchcock opening. There is no crowded room of milling people. There is no building of suspense. There is a smooth and breezy atmosphere of wedded strain and then blissful makeup of a happy marriage. At this point, there is no wondering of what comes next, but a wondering of what fun will we have!
3) There does appear to be good chemistry between the leads and both are excellent comedic actors and are able to work smoothly together.
Chris_Coombs
LocationNew England
What Hitchcock "touches" do you see in this early scene from the movie?
We see Hitchcock's famous POV shot: the view of Devlin as he enters the room, through Alicia's physical (and mental and emotional) disorientation.
We see the canted angle, which (as mentioned in the lecture video) is a shot he used in 'Downhill'
We see light and shadow to reveal character information, which I will discuss in detail answering the next question.
How does Hitchcock choose to light, frame, and photograph his two stars in this scene?What are some of the contrasts that Hitchcock trying to set up between these two characters through art direction, costume, and cinematography?
Contrasts through costume: Grant is neat, and suggests order, and a business-like manner. He's there for the job. Bergman is wearing a Zebra top, which both suggests wildness as a party girl and moral ambiguity: black and white, is she good or bad?
Bergman is also disheveled, hair a mess, on her cheek. She is at a low point in contrast to Devlin.
At the beginning we see Devlin through her eyes, and the close ups on Alicia are for us to both identify with and empathize with her character.
A key lighting moment is when Devlin plays the recording. Up until then we do not truly know if she is bad or good. As it plays, she is seen in the bedroom doorway in shadow. As the record tells us she is patriotic, she slowly steps forward - half shadow half light, to eventually stand in full light. The lighting - shadow to light - reflects the audience realizing she is not bad but good. It is only at THIS moment, that we know she is good, that Devlin stands beside her and we see them both in the same frame.
It should also be noted Grant's name as 'Devlin', which is similar to 'Devil', as he is there to offer her a truly Faustian bargain: You can redeem yourself and make up for your father's evil, but you must bed a man you don't love.
Based on this scene (or the entire film if you have seen it already), reflect on the casting of Cary Grant and Ingrid Bergman. Does this scene conform to or challenge their well-known star personas?
We come to know Grant as a leading man, and Bergman as a leading lady. In the film they both are. We come by that casting to expect a romance between them, and there is one.
Grant and Bergman usually if not always play good people, and they are in the film. I think this casting helps us realize that though this is dirty work they are both good people.
500efr
1. Hitch pans across the whole room. We see a man playing cards and a woman sort-of sleeping. Trays of dishes are scattered everywhere. We get character POVs from a husband playing cards and his wife in bed - both surveying the room. There are high angles, low angles and odd angles...all part of the Hitach touch. Like Rear Window, the pan tells us a lot about the main characters - that these are people of means, obviously and willingly locked in the bedroom until some resolution is reached.
2. Although it is a slow, opening pan and not the quick cuts we see in other films, the slow pan gives us lots of info about the characters. We will see this again in Rear Window.
3. Lombard and Montgomery work as a couple. She comes to this film with a screwball comedy background and his sometimes goofy smile seem to draw each other in.
Wellsy
LocationSouthern Ontario
Carole Lombard and the Carole Lombard pans through and Carole Lombard breakfast dishes. Carole Lombard then maids and phone rings Carole Lombard and Carole Lombard. Carole Lombard under covers and Carole Lombard bed while Carole Lombard cards and pen...............forget it. I can't focus. Carole Lombard. **sigh**
Trishy1
I'm not sure I see any Hitchcock touches and if I didn't know it was directed by Hitchcock, I wouldn't recognize that it was from this opening. Regarding the couple, we learn that they are wealthy, they've been holed up in their room for awhile because there are remnants from many meals strewn about the place and the man hasn't shaved for some time. He's playing solitaire and she's still in bed, so we know they are not getting along at this point. However, when he slams the door and she believes he has left the room, she is sad, and then relieved to find out he's still with her, and then he climbs in bed to cuddle with her, so we know they care about each other.
In the sense that this opening shows a conflict has occurred or is about to occur, it's a typical Hitchcock opening. But visually, it's unlike any other opening we've seen in the daily doses.
They seem extremely at ease with each other. She even brushes his nose with her finger for no apparent reason. I think they have tremendous chemistry and I look forward to viewing this film.
SallyRenne
LocationBloomington, Indiana
Typically, Hitchcock provides his audiences with information about the story that is about to unfold. From the opening credits we learn that this is the residence of David Smith. Hitchcock gives us an opening shot that tracks through the elegant detritus of breakfast, lunch, and dinner bone china, cut glass, and .925 sterling silver inhabiting the floor space in the bedroom. From the hand playing a card on the solitaire game, the camera tracks to Robert Montgomery's whisker-stubbled chin and tousled hair. Then, directed as much by Montgomery's glance, the tracking continues to the bed with its silk-padded headboard, satin sheets, and Carole Lombard's face smashed into a pillow. Edward Ward's score, almost carnivalesque, adds to the light-hearted tone. Hitchcock introduces the house and office staffs, establishing David Smith's social status and profession. Back to the bed where the besotted Smiths melt into each other, Mr. Smith's feet firmly planted on the floor, where we learn why they are ensconced in the luxury of their bedroom suite. Rule number seven. "You're not allowed to leave the bedroom after a quarrel unless you make up."
In addition to camera movements, angles, shot composition, sound design, and lighting design that impart a backstory and an emotional attachment, "part of the Hitchcock 'touch' was a very clear set of instructions to the various heads and directors of the film's visual design team." [Lecture Notes, Daily Dose #11] Hitchcock's vision for the opening scene of Mr. and Mrs. Smith is enabled by the minute details created by an assemblage of incredibly talented collaborators.
As a viewer, without input into the casting process, it is whether or not the chemistry between the leads works. There has to be electricity between them on the big screen that connects to me in a darkened theatre. Claudette Colbert and Clark Gable have it. Carole Lombard and William Powell have it. Katherine Hepburn and Cary Grant have it. And, Carole Lombard and Robert Montgomery, in their dishabille in the opening scene of Mr. and Mrs. Smith, have it. The juxtaposition of their goofy grins and messy hair with the opulence of the setting further endears them to me and sparks that chemistry. They draw me in. Hook, line, and sinker. And, isn't that exactly what Hitchcock wants?
DrNickatNite
1. What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc?
a. It appears they live in the lap of opulent decadence beyond the wildest dreams of avarice. (Not exactly the "ordinary man" of the thrillers, huh?) The focus of the cameras on the facial expressions as they react to off-screen cues is very Hitcockian. Hitchcockesque. Ish?
2. Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not?
a. The happy, light mood is similar to The Lady Vanishes inn scene, but there are many elements atypical to the style generally expected from a Hitchcock film.
3. What do think about the casting of and chemistry between Carole Lombard and Robert Montgomery? Do you think both are well cast for this "comedy of remarriage?" Why or why not?
a. I think this is a great pairing – they could have easily been a staple in comedy for years following.
tigorprod
1. What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc.?
Hitchcock begins with the establishment of characters, a married couple played by Robert Montgomery and Carole Lombard, by allowing the audience to discover their personalities with certain visual cues before any dialogue begins. The first dissolve opens to a pan-dolly shot of plates of half-eaten food. The shot lands on a disheveled, unshaven Robert Montgomery smoking a cigarette playing solitaire. He eyes a space in another part of the room. The shot switches to a wide shoot of a figure occasionally tossing on a bed. Hitchcock dollies from a wide shot to a close-up that shows the upper half of a beautiful woman's face as she awakens from a knock at the door. Hitchcock's opening shots are completely devoted to discovery of the character's personalities and situation.
The production design is built around a sense of the prestigious, upper-class lives of the husband and wife characters. The brightly lit set of the couple's home shows an elegant décor to suit the upper-class tastes of its inhabitants. Even the bedclothes of the couple are elegant. These are people whose problems certainly have nothing to do with the lack of money.
The opening for Mr. and Mrs. Smith is certainly not typical for Hitchcock. He still engages his tools of discovery with selection of camera shots including dolly shots as he has in previous films. His use of bright, full lighting is a scheme used by many directors of the era that direct comedy. Obviously, dark, moody cinematography would not be appropriate to the lightness of comedy. His selection of a light, silly music score further carries out the intention of the story linked to the production design.
It is a solid bit of casting in my view. Both Lombard and Montgomery were well-known, well-liked stars of the period. However, there is also a chemistry between them that is hard to define. For example, Montgomery starred with Bette Davis in June Bride in which the chemistry seems strong as well. No doubt, the casting of the principal characters is first based on potential box office draw but the chemistry is very important in the decision-making of the director and producers as well.
[NOTE: I don't believe my responses to the questions were received by the message board. Pardon the resubmission]
1) I have seen this film once or twice and until today I was unaware that Mr. Hitchcock directed the picture. That said, I see the use of extreme close ups (Mrs. Smith's eyeball) and the use of minor characters to supply information that the audience needs to hear in order to advance the plot.
From the bedroom that looks like it has been hit by a hurricane, we see one of the most overtly sexy and sexual openings to any comedy seen before. The tumult of wanton lust between these two must have gone one not only for hours but days in fact. Mr. Hitchcock is letting everyone know that these two have been in the throes of passion and there is nothing's by the censors can do about it!
2) Other than the aforementioned touches I mentioned in my preview answer to Question 1 I found very little to suggest that Mr. Hitchcock had anything to do with this film. The music used to underscore the scene belongs in a cartoon and not in a Hitchcock film.
3) The casting of Mr. Montgomery and Miss Lombard is splendid; her death aside, I think that another team up between the two would have been just ideal
joant
LocationWoodstock NY
After reading the LECTURE NOTES, I feel rather foolish. One of my closet friends was (and still is) an independent titles designer. Through her I was introduced to many of the job categories discussed here. My eyes were opened, at that time, to the existence of elements other than the story. And how a film would look like a stick figure drawing without them Of course, this was decades ago. I spoke to her last night and we had a good laugh about how I just lightly brushed across these elements.
ckusama
The opening is definitely Hitchcokian to me. The camera dollies to an ultra closeup of Carole's eye, for instance. The reveal of the room also is reminiscent of other films of Hitchcock. The music supports a rather light mood and the room is brightly lit to show the room in disarray. It looks like this couple lives a life of leisure and neither mind a mess at all! Particularly telling is the addition of breakfast to the collection of dirty dishes and barely eaten food.
Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not? This film is so much lighter in content that it is hard to compare to other opens. Most of the other opens had a sense of foreboding that was creeping into the story. This movie is not set in a public place and lighting is bright and cheery, not dark and ominous.
As noted, Carole Lombard was an actress with excellent comedic timing. Robert Montgomery acted in film noir and dramas and comedy. But in this pairing, you see such a sexiness when he slams the door to wake his love and she is downcast because he left. Then he pops up and the smile and their eyes is just adoration personified. He rushes over to hold her and they talk about their "rules" of marriage. A great pairing!
TheRealSuzyQ
1 & 2) The touches that I noticed are the various camera angles, the close up of Mrs. Smith, the obvious humor, and the introduction of multiple characters other than that, this opening is very different from what we've seen so far. The feel is light an airy, there is no sense of mystery - I am curious to know what the deal is with these two but I wouldn't call it a mystery. Being a "screwball comedy" it stands to reason that the opening tone would be very different and it is.
3) I like the pairing of Lombard and Montgomery. They seem very comfortable with each other and there is a believable chemistry between them.
agebha2
One of the "touches" I noticed in the sequence was the way Hitchcock cued in the audience on what was going on in the room, to the exclusion of the domestics and other characters. In a way, the audience knows more about what is going on than the other people in the house.
We learn that the couple isn't sleeping together. Robert Montgomery is sitting next to a make-shift bed on the sofa, while Carole Lombard is curled up in the bed. It appears they are keeping up the pretenses of a happily married couple, as Montgomery does his best to keep the maid from looking inside, but are obviously having problems. However, they aren't doing a very good job, as the scene cuts to two women (domestics?) who gossip about the couple.
However, we can see that they really do love each other, not only from the dialogue, but form the camera angles and the lighting. As they talk to each other, the camera is focused solely on them, as if they are the only two people in the world. Also, the lighting seems to highlight that "glow" of someone in love.
I tend to disagree with that statement. In the other openings we've watched, there's always been some tension, so indication of the action to follow. However, in this opening, I feel the focus is more on the (actually) happy couple, so I don't get an idea of what is going to go on later.
I think that Carole Lombard is a great cast for a "comedy of remarriage," and I think Robert Montgomery could work. There seemed to be some chemistry between them (nothing explosive, mind you). Lombard is a comedienne who could easily master the roll, and there was something in Montgomery's portrayal that indicated he could pull it off. While serious, there was something playful in his demeanor that made me feel like he could make light of a bad situation.
Cucperson
I loved this movie and while it may not be "typical" Hitch it nevertheless has some of his signature elements - POV shots, sly ending, interesting background details, which brings me to a question.
Did anyone else notice the man in the background in one of the steam room scenes?
We see a vague outline of a person behind and between Robert Montgomery and Jack Carson. As he fans himself, the steam parts ever so slightly to reveal a quite large figure who, for all the world, resembles Hitchcock himself, though i do confess he is usually more dressed than in this scene. Is this an uncredited and unrecognized cameo? i know there is a cameo elsewhere in the movie but who says there cannot be two? One of Hitchcock's other signature elements is his attention to details and the inclusion of details to tell part of the story. There seems to be no other good reason for a man in the back of the steam room to be revealing himself unless it is a subtle joke.
debbi-c
The opening scene of Mr. & Mrs. Smith shows the couple in a bedroom suite that has not been tidied up for quite some time....dirty dishes all over the place, blankets on the sofa showing someone was sleeping there...makes you think that this is a couple in the midst of a quarrel. Yet the music is soft, kind of pastoral....you can almost hear the birds chirping....What's going on here??
We soon see the maid bringing the breakfast tray, not being let into the room, & trying to assess if she'll be able to remove some of the previous meals' dishes this time, or will she have to wait, again.
Eventually, they make up after Mr. S. tricks Mrs. S. into thinking he's left the room, & we get a clearer picture of what's going on.
This opening is not like most of the "Hitchcock openings" that we've seen so far, but it does have the humor & muted slapstick that Hitchcock likes to use. Most of Hitchcock's openings are in more public places. The Smiths are alone together in their bedroom, although, many people are trying to get in, or trying to figure out when they're going to exit the room.
I think Carole Lombard & Robert Montgomery are well cast for this type of movie. There is much good chemistry between them; their faces light up when they're in that scene when they make up.
dianuchis
The Hitchcock touches in the opening of Mr and Mrs Smith are detected through the sound of music, the character introduction through mannerisms, and the unfolding of the situation these characters are in. There's also the signature of Hitchcock detailed designs of the room and the costumes that reinforce the situation these characters are in. So far, i think the casting of Lombard and Montgomery is precise and works fantastic.
sherry.johnson
What Hitchcock "touches" do you see in this opening sequence? Moreover, what do we learn about or know about the couple through the scene's visual design: the props, the set design or dressing, the decor, the camera angles, the lighting, etc? The camera following the trail of dirty dishes up to Mr. Smith then over to Mrs. Smith under the covers. The music being comical and then as they make up more romantic. They look like a wealthy couple with the nice furniture and all that china. They have a maid and cook/housekeeper. Then we find out he is a lawyer. The use of humor when Mr. Smith signs with a pencil on a legal document and says, "No one will know." Mrs. Smith stays under the covers. When Mr. Smith pretends to leave the room using a walking stick and she pops out of bed.
Do you agree or disagree with the following statement: the opening sequence of Mr. and Mrs. Smith is a typical "Hitchcock opening" based on openings you have seen so far in the other Daily Doses? Why or why not? I think the opening is not typical in the sense that it is a calm scene without dancing girls, women screaming, or crowds. It is more like Rebecca even though Rebecca is not a comedy.
What do think about the casting of and chemistry between Carole Lombard and Robert Montgomery? Do you think both are well cast for this "comedy of remarriage?" Why or why not? I think this is wonderful casting. There is a chemistry and it holds up throughout the movie. They both are able to make the humor and frustration of the marriage work.
mandyhnandez
LocationColorado
1. Some Hitchcock touches that I see in this scene are the use of music to control the mood, secondary characters that provide side comedy and advance the plot, and the way that visuals are more important than dialogue. Even several years later we can see that Hitchcock is still a silent film director at heart because half of the opening scene has no dialogue, and uses the music, set, and camera to tell a majority of the story. We can already tell before the maid and cook talk that they have had a fight but want to cover it up to the outside, and that they have been there for at least a couple of days. This is apparent in how he is sleeping on the floor, there are dishes strewn about, and he is scruffy and unshaven.
2. I agree and disagree. It is true that there are several touches, like I listed before, but there are definately things that are consistent in a lot of other Hitchcock openings but not in this one. For instance, it does not open in a public place, it does not have a melancholy or dark feel, and the main character(s) are not thrust into some crazy circumstance or plot. They are an ordinary couple having a fight.
I forgot to reply to the third question, oops! Sorry!
3. I think that the pairing of Lombard and Montgomery is very good. They have good chemistry, and act like an actual in love couple would. For instance, when she thinks he left, she looks sad, but then when he pops up from behind the couch, she looks so relieved and happy, and forgets that they had a fight to begin with. He takes her in his arms, and his sheer resolve to follow her 'rules' shows ho much his character loves her. They were able to pull it off very well.
LocationMount Laurel, New Jersey
I'm just not that eager to watch a Hitchcock screwball comedy. I have not seen this film but I'm certainly willing to try. My thought about Hitchcock using comedic touches in his suspense films is: you just cannot have a film that has nothing but suspense and fear all the way through! You can only inflate a balloon so much before it pops, and you don't want it popping too soon. Use comedic moments to give the audience some relief before putting them through the ringer again. That said, I wonder if the opposite is true for a Hitchcock comedy? Does he need to insert some suspense or tension at some point to relieve the comedy? I guess I'll find out when I watch the film.
Personally? I do not see any of Hitch's 'touches'. This feels like a film directed by the same men who directed The Awful Truth or My Man Godfrey. If I felt Rebecca was 'un-Hitchcock' I take the comment back. At least Rebecca had a Gothic flair to it. From a production standpoint it's made crystal clear to us these people are swimming in money. They have a team of people to cater to their whims and in true screwball fashion, are driven mad by their loony employers. The couple eats well, dresses well, sleeps well. Their problems are certainly not the same as the typical moviegoer at the time. But that's what the world needed - escapism and romance.
I do not see this as being a typical Hitchcock opening at all. As we've seen in each film his style changes and progresses, but where is the crowd scene? Where's the theater, or the restaurant? This is light comedy that starts in a rich couple's bedroom.
What do you think about the casting of and chemistry between Carole Lombard and Robert Montgomery? Do you think both are well cast for this "comedy of remarriage?" Why or why not?
Both of them are talented actors. They seem to have great chemistry. However, they are no Hepburn/Tracy, or Grant/Dunne. However,in the film's defense, 5 minutes is not quite enough to judge their entire performance.


Arlen L. Olson, 70, of Alexander, lost his fight with cancer and passed away on Saturday, November 24, 2018 at his home.
Funeral services for Arlen will be held at 11:00 AM on Wednesday, November 28, 2018 at Ewing Funeral Home, 111 Luick's Lane South in Belmond. Burial will follow at the Alexander Cemetery.
Arlen's family will greet relatives and friends beginning at 10:00 AM at the funeral home on Wednesday.


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