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D. W. <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" />Griffith's Intolerance:
The Long-Forgotten Debut
by William M. Drew
The advent of online digitalized newspaper archives has opened the door to a vast treasure trove of long-buried information that is rewriting history, including that of the movies. One example of this is the new data I have been able to find on the first screening of D. W. Griffith's 1916 film masterpiece, Intolerance. To be sure, this is not as dramatic as the discovery I made of Griffith's lost years in the theatre in the early 20th century with its revelation of a highly dramatic and hitherto unknown episode in his life. My research in this resulted in a book entitled Mr. Griffith's House with Closed Shutters: The Long-Buried Secret That Turned Lawrence Into D. W., which can be ordered from Amazon Books: http://www.amazon.com/Mr-Griffiths-House-Closed-Shutters/dp/1466215100 Nevertheless, the recovered material on the initial public showing of Intolerance gives one a fresh insight into Griffith's methods as an artist including the manner in which he sought to introduce the film to its first audiences.
Standard sources have stated that one month prior to the world premiere of Intolerance in New York City, Griffith first screened the film in early August 1916 in Riverside, California. This information appears in what is a generally well-researched article by Russell Merritt on the evolution of the film, "D. W. Griffith's Intolerance: Reconstructing an Unattainable Text," published in the journal, Film History, and accessible online at: http://www.zzproductions.fr/pdf/griffith's-intolerance-by_russel_merrith.pdf Other sources have repeated this information, including the essay I wrote, "D. W. Griffith's Intolerance: Evolution of a Masterpiece," included as a bonus feature in the 2013 release of the film on Blu-ray/DVD by the Cohen Film Collection and available for purchase at: http://www.amazon.com/Intolerance-Blu-ray/dp/B00EVU3SO0/?tag=cohmedgro-20 With a pristine, beautifully tinted print, a powerful orchestral score by Carl Davis, the two spin-off features, The Mother and the Law and The Fall of Babylon, and a special interview with Kevin Brownlow, this is by far the best version of Intolerance now available to the public.
Thanks to a recent addition to the Newsbank group of vintage newspapers, it is now possible to correct my error and those of others by documenting that it was not Riverside in August 1916 where the film was first seen by the public but rather the city of San Luis Obispo on July 22 and 23, 1916. This is contrary to Russell Merritt's statement that San Luis Obispo was the third and last city where the film was previewed following screenings in Riverside and Pomona but that, unlike the earlier showings, the one in San Luis Obispo was "unadvertised and unreviewed." While there was to be no formal review of this first-ever public screening of Intolerance, it was fully advertised albeit, as with the succeeding previews, in a manner that involved an amusing bit of deception on the part of Griffith and his company.
My research led me to an article, "New Havens of the Movies," published in the November 1919 issue of Photoplay Magazine. The author was Alfred A. Cohn, later the scriptwriter of such celebrated films as The Cat and the Canary and The Jazz Singer, both made in 1927. Cohn credited Griffith with being the first producer in the film industry to test his films in smaller towns before premiering in the metropolitan centers, a practice known as "trying on the dog" (for "dog town") he had borrowed from Broadway producers staging out of town try-outs in advance of the opening on the Great White Way. According to Cohn, Griffith began this method in 1914 when he embarked on feature film production. Initially, Pasadena was the city he utilized for previewing The Escape, Home, Sweet Home and The Avenging Conscience, but due to the town's close proximity to Hollywood, the director found it necessary to select communities at a greater distance from the film capital to avoid competition from "unscrupulous rivals" cognizant of his activities.
Prior to its premiere, Griffith had previewed his earlier spectacular production, The Birth of a Nation, twice under its original title, The Clansman, first in Riverside on January 1 and 2, 1915, and later that month in Pomona, with no attempt to conceal the nature of the story and the creative personnel involved. This time, however, Griffith had created not only an entirely original work without any direct literary or dramatic source from which it was adapted but also a far more ambitious effort utilizing a truly novel structure never attempted before in a motion picture. Griffith sensed he was taking an enormous gamble in making on such a mammoth scale a film with a narrative intercutting four stories from different eras to express a very personal view of history and society. Accordingly, he apparently felt that as many as three previews were needed to gauge public reaction and make changes in the film as deemed necessary.
In his richly detailed memoir of his experiences as an assistant cameraman on many of the director's great productions, Adventures with D. W. Griffith, Karl Brown described Griffith's predilection for testing his films in "out-of-the-way places." Without specifying it was for Intolerance, he alludes to the first theatrical screening of the 1916 epic:
"Griffith took his own car, driven by his own driver, a tall, tight-lipped man known only as Mac. He took Rose and Jimmy Smith [Griffith's cutters who assisted him in editing his pictures] and a stack of film cans containing the latest of many cut and recut versions of the film in progress with him. He might go anywhere. He once went as far afield as San Luis Obispo, far up the coast halfway to San Francisco. These trips were closely guarded secrets, not for the sake of hiding anything but for the sake of being sure that there could be no such thing as a studio claque in the audience to distort reactions."
Brown went on to speculate that Griffith selected more remote communities because, having been an "extremely bad actor" on the stage, he wanted to test audience reaction from among less sophisticated spectators who would respond readily to narrative devices grounded in the popular theatre of melodrama. In the context of the San Luis Obispo preview, however, this seems somewhat doubtful. Many, including Brown, have stated that Griffith was unsuccessful in the theatre, a belief encouraged by the director himself who often dismissed his early acting on the stage as a failure. In truth, though, a large percentage of the critics reviewing his theatrical performances had had high praise for them.
The main reason for the choice of San Luis Obispo seems to have been its distance from the movie capital or indeed any large metropolis, located as it was on the boundary between Northern and Southern California. As the structure of the film was so unorthodox and it was such a risky venture, it apparently was felt desirable to try it out in a locale sufficiently removed from both Hollywood and San Francisco that a possible initial failure in reaching the audience might prove less disastrous than in a larger community. A less-than-favorable reaction in a major city could have cast a pall over the entire project, including efforts to recut or reshoot it in a manner that might have made it more acceptable to the public. As Cohn wrote: "The entire cinema world was agog over his secret activities and he did not want to show it unfinished in any nearby community. So a theatre was rented in San Luis Obispo, 220 miles north of Los Angeles, and Intolerance taken there for a tryout."
Both to maintain this secrecy and to prime the audiences in the manner he desired, Griffith even created a fictional persona for the previews of his new film. Whereas The Birth of a Nation had been previewed with his own name front and center in the advance publicity, Intolerance was heralded in these first advertisements as the work of an Italian filmmaker alternately named as Dante Guglio, Dante Gulio and Dante Giulio, the initials derived from the trademark "DG" (for David Griffith) that appear in many of the film's subtitles. The picture was given a new albeit temporary name for the previews, The Downfall of All Nations, or Hatred the Oppressor, and was credited to the Itala Film Co., said to be the same company that had produced the great Italian spectacle, Cabiria (1914). This was particularly significant since it was a screening of Cabiria that had inspired Griffith to undertake his own spectacular recreation of ancient history in an effort to surpass the Italian production. The new film was advertised as having as one of its highlights a great combat between two towering gladiators over the love of a beautiful siren whose wiles and charms almost cause the destruction of an empire. In truth, though, there was no such plot motif in the film, but Griffith and his publicists apparently felt that such an enticing advertising gimmick would help lure spectators to the theatre to see something far more wondrous.
The theatre where the new film was to have its first screening was one of the showplaces of San Luis Obispo, then a bustling little city with a population of 6,500. Opened in December of 1911, the El Monterey Theatre had a seating capacity of 700 and was advertised as the best-equipped theatre between San Jose and Santa Barbara. The special screening introduced an innovation to the El Monterey since, for this occasion, two projectors would be used to show the film, thus avoiding the delays between reels that had been the practice there up to that time. The showing would also have the advantage of a small orchestra playing the score that had been arranged for the film. There were to be three screenings, the first one on Saturday evening, July 22, starting at 7:45 p.m., a matinee on Sunday, July 23, at 2 p.m., and a final presentation that night at 7:45 p.m. The newspaper advertisement announced it as a ten-reel feature but this was doubtless a rounded figure for the film that was apparently 12-13 reels in length. Although at an early stage of production Griffith seems to have considered releasing it as a much longer film requiring two nights to run it, he ultimately opted for a length comparable to that of The Birth of a Nation.
There would be no review in the San Luis Obispo Daily Telegram following the three screenings. Instead, on Monday, July 24, there was a news item reporting that the large audience in attendance had been delighted with the production and bestowed many compliments on the management for bringing such a strong film to the theatre. Griffith and his presence in the theatre during the showings were not mentioned in the paper, nor was there any reference to the little orchestra playing the score by Joseph Carl Breil. The only person connected with the film noted in the Daily Telegram following the screenings was John A. Barry, Griffith's friend and the business manager of the Epoch Producing Co., the distributing organization of The Birth of a Nation. He had invested in both the earlier film as well as the new one and was in San Luis Obispo for the screening, as the paper pointed out. A later item appearing in the Daily Telegram in March 1918 in connection with a successful revival of Intolerance in San Luis Obispo that month recalled that a number of newspaper correspondents had also attended the preview and all the screenings had played to crowded houses.
In his Photoplay article, Alfred A. Cohn provided additional information about the San Luis Obispo showing, revealing that, despite the attempted secrecy, word did get out to some in Hollywood. He wrote that "the night of the performance two Los Angeles directors who had once been in Griffith's employ were in the audience. They had speeded that distance by auto after someone had 'leaked' to see what 'D. W.' had up his sleeve."
Cohn pointed out that, in addition to his cutters, James and Rose Smith, Griffith was often accompanied to his previews by his secretary, Agnes Wiener, and his cameraman, Billy Bitzer, as well as cast members and people on the exploitation staff. Inside the theatre, Griffith and staff members would pay close attention to the reactions of the audience. Although Griffith does not seem to have utilized written cards from audience members commenting on the film being previewed as would be the practice of the studios in later years, the careful study he and his associates paid to the spectators' response could result in subsequent changes in the film. On the way back from a screening, Griffith would confer with his employees about the new film with everyone encouraged to have his or her say. Cohn noted that, more than many other prominent filmmakers, Griffith solicited the opinion of even his humblest employees and took their views fully into account.
The director next previewed the film at the Orpheum Theatre in Riverside on August 4 and 5. Riverside then had a population of 18,000, nearly three times that of San Luis Obispo. With two large newspapers servicing the community, the ambitious presentation Griffith was planning was bound to generate considerable mention in the press, particularly in light of the successful preview there of The Birth of a Nation the year before. As in San Luis Obispo, Griffith advertised the film as a production from the Itala Film Co. directed by Dante Gulio. In the announcement, he further elaborated on these fictions by claiming that eleven reels of the film had been completed when the war broke out and the director, along with a majority of the players, was called to the front. A large percentage of the film's actors were said to have been either killed or captured, with Dante Gulio a prisoner of the Austrians in Vienna. The film's negative was described as having been purchased in America with a final twelfth reel shot in the US to complete the picture. Besides repeating the claim that the film involved a conflict between gladiators, the announcement said it depicted the downfall of ancient Rome with battle scenes taken at night showing a cast of more than 100,000 in front of the gates of the city.
The mythical Dante Gulio soon gave way to the very real D. W. Griffith, reported by the Riverside newspapers to be staying at the Mission Inn. Also checking in at the famed hostelry, as noted in the local press, were Mae Marsh and Lillian and Dorothy Gish, along with their mothers, Constance Talmadge, Robert Harron, James and Rose Smith, and Joseph Carl Breil who was on hand to conduct the eight-piece orchestra playing the score he had specially arranged for the new film. To a reporter's query about whether The Downfall of All Nations was the film on which he had been working for the past year, Griffith responded with an enigmatic smile that he was here to witness the picture's premiere. Lauding the beauty of Riverside, he said that, since the preview of The Birth of a Nation, he looked on the city as a sort of mascot and hoped to screen all of his future films there first. Diplomatically ignoring the earlier showing in San Luis Obispo, he stated that Riverside was the first city in the country to see the film and there would be no other screenings until it opened in New York in the fall. He said it would be at least one year before other cities on the Pacific Coast would present the film.
The Downfall of All Nations was booked at the Orpheum Theatre for two nightly shows only on Friday the fourth and Saturday the fifth at 8 p.m. The Orpheum had formerly been the Auditorium but recently a new management had, besides renaming it, remodeled it as a state-of-the-art theatre with a seating capacity of 800. Reviews appeared in the newspapers following the first performance. Writing in the Riverside Daily Press, W. L. Leamon hailed the new film as surpassing anything that had been exhibited there. Other than expressing some objection to the most gruesome images of bloodshed in the Babylonian scenes which he suggested could be cut, he had nothing but praise for "this wonderful production" to which nothing could be compared. The Babylonian battle scenes were, he said, "stupendous" as was the equally amazing feast in the great hall of Babylon. He described the theme as showing "the iron hand of authority" oppressing the powerless throughout history. The acting of Mae Marsh with "her wonderful art of expression" and Constance Talmadge with her equally splendid ability to interpret a difficult part were stand-outs, he wrote, as was also Seena Owen in her portrayal of the prince's wife. Curiously, though, his review did not identify Griffith as the actual director but instead noted that the picture showed that Dante Gulio was "a prototype of the great and only D. W. Griffith."
The review in the Riverside Enterprise, on the other hand, emphasized the fact that Griffith was the director of The Downfall of All Nations. The critic noted that his films had a tendency to carry a message, that he could be called a propagandist, but for that very reason his film was "all the more interesting and all the more worthwhile, for it is no petty creed of living that Griffith advances. He is an idealist with 'the brotherhood of man' as his chief tenet." The review, headlined "Film Spectacle is Artistic Triumph," said that in scope and scenic effect, it compared very favorably with Cabiria, "but with the addition of that intangible entity which really grips the spectator—'soul.'" He then described the film's theme as an attack on "intolerance of all sorts and all through the ages," including in the Modern Story depicting "the intolerance of working conditions in great industries" and the "intolerance of the misguided social worker." The "photography is nothing short of wonderful," he wrote, with the historically complete sets and battle scenes that were "realistic, compelling and altogether convincing." The acting, too, was "superb without exception," as he made special mention of Mae Marsh as the heroine in the Modern Story. While he acknowledged that there might be criticism that some of the scenes were "overdrawn and slightly melodramatic," he felt this "slight fault is swallowed up by the terrific appeal of the whole." The title, though, he called a mistake "as it gives no inkling of its extent or its scope" but thought this would "probably be remedied." In conclusion, he pronounced the new film as "probably the greatest motion picture ever produced."
The Saturday morning following the first screening, Lillian Gish was interviewed by a reporter from the Enterprise. Declining to answer more personal questions, Lillian, when asked what was her most thrilling experience, replied, "Last night." After seeing the new film in the theatre, she said she was so excited by the experience that she was unable to sleep. She pointed out that while working in such a massive production, one couldn't realize its true greatness until seeing it in its entirety. Her viewing of it in the theatre was something she would long remember. She said she had come down with others for the preview and was always impressed with the charm of Riverside and the Mission Inn. She added that she didn't like to rest for any length of time, finding that more tiring than work, and concluded by saying she planned to go for a swim that afternoon.
The critic of the Enterprise wrote in his review that the second performance that night would begin at 7:30 p.m. due to the film's running-time being slightly more than three hours. This was a change from the first night's showing when it had started at eight. He noted in his review that the film had played to a crowded and enthusiastic house and advised spectators to arrive early that night as he expected there would be a large attendance for the second performance.
There is, however, conflicting information about the extent of the turn-out for the Riverside previews. When the film returned to Riverside for an engagement in another theatre in December of 1916, the Daily Press recalled that back in August the "attendance was not large." This later screening also did not draw well, according to the paper which said that "attendance has not been what this picture deserves." This sharply differs from the consistent reports in the San Luis Obispo Daily Telegram that the film's previews had attracted crowded houses, a success which the paper said was repeated in San Luis Obispo when Intolerance played there in March of 1918. There seemed to be no consistency in the film's box office pull. For example, when Intolerance was presented in San Bernardino, a city not far from Riverside, only one month later in January 1917, it created a sensation, luring thousands of spectators to the theatre and provoking a fierce debate over its content between those on opposite sides of the Prohibition issue.
Whatever the size of the attendance at the Riverside previews, it had clearly been a succes d'estime, as evidenced in the glowing notices, and was inadequately described by Merritt as having "drained at least two members of the audience with its soporific titles and tedious detail." On the contrary, as the Enterprise noted a few days later, the film had made "a profound impression upon two Riverside audiences." This item also disclosed that the film, which had been produced under the working title of The Mother and the Law and had been screened in Riverside as The Downfall of All Nations, had been given a new and fitting appellation that would suit the colossal production admirably—Intolerance. The paper reported that, under an agreement with Klaw & Erlanger, Griffith was to present the film at the Liberty Theatre beginning on August 21. The opening, however, was postponed to a later date for Griffith was to hold one more preview in California before taking the film back East.
The director had arranged a final try-out in Pomona, then a comparatively small city of 12,500 located at the far end of Los Angeles County, about halfway between Riverside and the City of the Angels. Separated from the metropolis and its burgeoning movie studios by hills and valleys and rough roads, Pomona seemed a world away in those days. Griffith, wrote Alfred A. Cohn, regarded Pomona "as equivalent to a middle western agricultural and college town. If a play 'gets over' in Pomona, it will 'clean up' in the mid-west." Having earlier held a second preview of The Birth of a Nation in Pomona prior to its formal release, Griffith decided to repeat the experiment for his third and final preview of Intolerance.
The engagement was for Wednesday, August 16, and Thursday, August 17, with both screenings starting at 7:30 p.m. The venue selected for these special showings was the Belvedere Theatre with a seating capacity for 480 and which, like the El Monterey in San Luis Obispo, had opened its doors in 1911. In the advertisements placed in the Pomona newspapers, the title of the film was still being given as The Downfall of All Nations, or, Hatred the Oppressor, while the announcements continued to describe it as an Italian production that included a fight between two gladiators for a beautiful siren during the fall of ancient Rome.
Interviewed by Kevin Brownlow for his book, The Parade's Gone By, Joseph Henabery, who played Admiral Coligny in the film, recalled the preview nearly a half century later. He said that he rode to Pomona in Griffith's chauffeur-driven Fiat, along with the director, Mae Marsh, Lillian Gish, and Robert Harron. As he described it: "In those days it was a terrible thirty-mile ride to Pomona; there were no paved highways then. We plowed through to Pomona because it was an out-of-the-way place where we could be sure of an unprejudiced reaction."
Hundreds of Pomona theatre-goers filled the Belvedere that night, reported the writer for the Pomona Bulletin the next day. Few in the audience, however, were aware of the presence among them of Griffith and the cinematic luminaries in attendance. Dressed modestly and wearing a soft shirt, Griffith took his seat in a box to view the production. The article in the Bulletin made no mention of Joseph Henabery, Lillian Gish and Robert Harron, but noted as being there Mae Marsh, her mother, her brother Oliver, later a famed cinematographer, and two of her sisters, Mildred and Frances. Mildred would act in several films while Frances subsequently became a film editor. The reporter said Frances aspired to reach the heights attained by Mae and that she had a part in the new picture. Standard sources, however, have always stated that it was Mae's older sister, Marguerite Marsh, who appeared in the Modern Story of Intolerance as a society girl. Marguerite had a notable career of her own, and it is unclear if she was also at this preview and if the reporter might have confused her with Frances.
There were others who were listed in the article as having attended the Pomona preview. These included: Elmo Lincoln, the future Tarzan who played the Mighty Man of Valor in the Babylonian Story; Howard Gaye, the British actor cast as Christ, and "his stunningly attractive wife;" Edward Dillon, now a director who had acted with Griffith for years, including in the Modern Story, and his wife; Wilfred Lucas, another prominent actor associated with Griffith who had turned to directing; and Fay Tincher, the beautiful and popular comedienne of many films who did not appear in Intolerance but whose screen career had earlier been boosted by Griffith.
The eight-piece orchestra began playing Joseph Carl Breil's score as what the Bulletin called a "mystery picture" unfurled before a rapt audience who sat "spellbound with wonder and amazement as each succeeding scene rivaled the preceding one for its grandeur, enormity, joy, or pathos." The reviewer said that while it was very seldom that an audience applauded a motion picture, Griffith's epic was imbued with such a Shakespeare-like power that "its spirit was caught by the audience and the applause was general." He could find nothing comparable to the film, whether in scenic effects that resembled moving oil paintings or acting of great artistic and emotional power. So powerful was the work of the players, he wrote, "that their effect upon the audience was interesting to note. Many left the theater as if in a trance."
After the screening had concluded, a reporter from the Bulletin talked with both Griffith and Mae Marsh. The actress, modestly evading a discussion of her remarkable performance, instead spoke of how deeply impressed she was by the depictions of death and destruction in the Babylonian scenes in which she did not appear. Griffith, for his part, paid a compliment to the Pomona audience and explained to the reporter that he was not making a big "splurge" over the initial performance as it was still several weeks before the picture was to go into general release. Despite the disclosure in the Riverside paper several days before, the director continued to adopt a coy, wait-and-see stance with the Bulletin representative as to what was to be the final title of the film that had just been screened in the Belvedere as The Downfall of All Nations.
Joseph Henabery recalled that on the way back to Los Angeles, everyone else in Griffith's Fiat was raving about how wonderful the film was but that he was disconcerted by the unusual structure involving the four parallel stories. In particular, he felt the subtitles were insufficient in explaining the actions, relationships and motivations of the characters. Subsequently at the studio, he voiced his criticisms to Griffith. Henabery recalled that the director at first had a rare outburst of temper at these objections. After he had thought it over, however, Griffith saw his point and then worked with him and scenarist Frank E. Woods to make the suggested changes in the titles.
Henabery's criticisms, as well as the review in the Pomona Progress indicating that the film had been projected at too fast a speed, led Merritt to conclude that at this stage "the production was clearly still in trouble." However, even the Progress headed its review "Greatest of Films Here Well Received." The Bulletin reviewer left no doubt that the film as shown at the preview was an extraordinary artistic triumph, an achievement he compared to the works of Homer and Shakespeare. He observed that "The picture is deep. It requires the constant attention and study. It is designed for an intelligent audience and may be said to pioneer another forward step in raising to a still higher level the unspoken drama."
In general, then, the reception for Griffith's complex masterpiece in Pomona was highly positive, as contemporary opinion documents—a far different fate than that of another landmark film there many years later. For Pomona would receive a black eye in the annals of film as the site of what is doubtless the most famous or rather infamous preview in all of cinema history—the first public screening of Orson Welles's The Magnificent Ambersons at the Fox Theatre on the night of March 17, 1942. Accounts that are now legendary relate what witnesses from the studio described as the most disastrous preview they had ever experienced, with rowdy, mostly youthful Pomonans either laughing derisively and uproariously at dramatic scenes, talking back to the screen, or walking out long before the film had concluded. The fall-out from this preview, along with Welles's absence from the country, has been blamed for the decision by RKO production heads to delete a large portion of Ambersons, resulting in the mutilated masterpiece that alone exists today. Hence, it is the supposedly unsophisticated tastes of Pomona filmgoers that has been continually invoked as a major factor in what is widely viewed as an artistic desecration, although the version that emerged from all the cutting and reediting without the director's participation is still deservedly acclaimed as one of the cinema's greatest works .
The striking differences between the two previews a quarter of a century apart reveal, however, not so much a decline in the sensibility of Pomona's moviegoers as a stark contrast in the methods that were used to test a new and artistically experimental film on a fresh audience. As has often been mentioned, the screening of The Magnificent Ambersons immediately followed the showing of a popular, light-hearted musical, The Fleet's In. There was no advance word as to the nature of the second film the spectators at the Fox were about to see for the first time. The mainly youthful audience who had flocked to the theatre in hopes of a fun evening enabling them to escape from more serious issues such as the war were suddenly confronted with an intensely serious film containing deep psychological, philosophical and historical implications. And unlike with the Intolerance preview, the director was not on hand to supervise carefully the special screening. The outcome of the Ambersons preview, therefore, was to a considerable extent the fault of RKO executives, an indication of the shortcomings that were often all too evident in the seemingly smooth-running studio system where particularly difficult or demanding works of art were concerned.
Griffith's manner of previewing, however, was an example of his acumen. The critic of the Pomona Bulletin wrote: "Theater patrons who went to the Belvedere were expecting to see something unusual but they were not prepared for anything of the magnitude which followed." Griffith's advance advertising in Pomona as in the other two cities, continuing with the misleading information that the film included gladiator fights in ancient Rome, had said not a word about the unusual structure linking four stories from very different historical epochs. But he had planted just enough publicity to prime spectators for a serious, large-scale spectacle such as they had come to know with Cabiria and his own The Birth of a Nation. Thus lured to the theatre, an audience far more broadly representative of the public than a primarily youthful demographic was in the proper mood for a massive epic that contained even greater wonders than anything they had ever beheld before.
As noted earlier, Alfred A. Cohn credited Griffith with introducing the preview to the film industry. Relying on the observation of the audience's response to the film as it was being shown rather than the later Hollywood studio method of soliciting written cards from the audience, Griffith had evidently developed a practice that served him well. Indeed, it helped him to enjoy a long, fruitful period as an independent producer-director. Quite unlike a major studio like RKO with Ambersons, Griffith did not simply dump a previewed film on an unsuspecting audience, one that had been put in a very different mood by the preceding picture. Rather, he carefully selected the community where the film was to be screened and then made changes afterwards partly on the basis of how it was received by the audience.
Following the second Pomona preview on August 17 which he presumably attended as well, Griffith implemented the suggested revisions in final preparation for the world premiere of Intolerance at the Liberty Theatre in New York on September 5, 1916. While its theme and unorthodox structure confounded some, a preponderance of critical opinion recognized the new film as the stunning masterpiece of a new art form. Its influence would soon be felt in virtually every corner of the globe where films were being produced. Over the years it would continue to serve as an inspiration to many other great filmmakers, including Orson Welles who hailed Intolerance as a supreme achievement and Griffith as the greatest of all directors.
As Merritt documented in his article, Griffith would continue to tinker with the editing of Intolerance for at least another ten years in connection with its revivals as well as bringing out in 1919 two separate features, The Mother and the Law and The Fall of Babylon, taken from, respectively, the Modern and Babylonian Stories. The film would be constantly revived by archives, college film societies, and art houses and shown many times on television. Yet much of its early history, particularly the three California previews, would disappear from the record. The theatres, too, where it was first shown would fall prey to the ravages of time. The Orpheum in Riverside closed its doors in the mid-1920s while the Belvedere in Pomona was destroyed by a fire in 1933. The theatre in San Luis Obispo, however, which had hosted the first preview would have a much longer life-span. With the advent of sound, the El Monterey was redesigned for the new technology in 1928 and renamed the Obispo Theatre. It remained a leading cinema house there for decades until it, too, fell victim to a fire in December of 1975, 64 years after opening its doors to the public. Its role as the first theatre in the world to show Intolerance had long since been forgotten.
Today, San Luis Obispo is the home of an annual major film festival. One of its features is an award named after another great director, King Vidor, a long-time resident of the area. In 1916, newly arrived in Hollywood from his native Texas and seeking to secure a foothold in the cinema, Vidor briefly found work as one of the army of extras in Intolerance. Griffith's epic had a lasting impact on Vidor who considered it the greatest film in cinema history. Perhaps in tribute both to Griffith and all those who, like Vidor and Welles, were inspired by his film, it might be fitting for San Luis Obispo to commemorate the first-ever screening there by holding a special revival of Intolerance. In the continuity such a presentation suggests, it would be very much in consonance with the film's view of history and life as an eternal process of "Out of the cradle endlessly rocking."
William M. Drew copyright ©2009 - 2015


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MEPs consider tightening rules on mining companies
Transparency also asked of oil, gas and logging industries.
Transparency in the financial operations of European oil, gas, mining and logging companies will be the main focus of a vote in the European Parliament's legal-affairs committee on Tuesday (18 September) on reporting requirements in extractive industries.
A proposal from the European Commission would oblige multinational firms to report annually and country by country on payments they make to foreign governments, especially in developing countries, where many of these resources are located. The aim of the measure, presented by Michel Barnier, the European commissioner for internal market and services, is to deter corruption and tax evasion.
But the text foresees an exemption under which companies would not have to report when to do so would violate local criminal law. Companies in the extractive industry are seeking to broaden this exemption, so it covers civil law as well.
Transparency campaigners describe the exemption as a loophole that would encourage governments in the developing world to adopt legislation outlawing disclosure. The campaigners received a boost last month when the US Securities and Exchange Commission (SEC) issued its final rules implementing the Dodd-Frank act, adopted by the US Congress in 2010. Dodd-Frank does not provide for an exemption, and the SEC has rejected industry claims that exemptions are necessary, in an echo of campaigners' warnings. For the SEC, conformity with local law is a matter for contract negotiations between extractive firms and foreign governments.
The Commission's proposal, which takes the form of an amendment to the EU's transparency directive of 2004, broadly followed the Dodd-Frank act. The intention was that, taken together, the two pieces of legislation would create a de-facto global standard for transparency in the extractive industries.
Arlene McCarthy, a centre-left British MEP who is in charge of steering the draft legislation through the Parliament, has cautioned that the Barnier proposal consequently presents "a risk of a fragmented response to transparency". Eloise Todd, the director of the Brussels office of ONE, an anti-poverty campaign group, said: "The SEC was clear: project-by-project reporting and no exemptions in the US law. The Parliament can now reset the debate in Europe and help create a strong global transparency standard by endorsing equally strong EU legislation."
Michel Barnier

redpajama_set_name: RedPajamaCommonCrawl


This blog post demonstrates a Linq API which can be used to query the WPF / Silverlight Visual Tree. You can find a few other Linq to Visual Tree techniques on other blogs, but what makes this one unique is that it retains, and allows queries that make use of the tree like structure rather than simply flattening it.
What I will provide here is a brief overview of the Linq to Visual Tree API. The full sourcecode for this API is at the end of this article.
We'll start with a simple example. Include the Linq to Visual Tree namespace, then use the Descendants method to obtain all the descendants (i.e. children and children's children, etc ...) of an object within the visual tree.
There are also, ElementsBeforeSelf and ElementsAfterSelf methods that return the elements before and after the item which the method is being invoked upon.
The Linq to Tree API not only defines extension methods on DependencyObject, but also the same extension methods on IEnumerable<DependencyObject>. Unless you have previous experience of Linq to XML, I would strongly suggest reading my codeproject article to understand how this works!
Here, you can also see we are mixing the fluent and query syntax for Linq. Both give the same result.
Finally, this one-liner, outputs the entire visual tree in ASCII! It makes use of the DescendantsAndSelf, Ancestors and ElementsBeforeSelf methods, plus the funky Linq Aggregate method.
Note: this was invoked after the LayoutUpdated event so that we not only see the elements from our XAML, but also the elements created from their templates, giving us our full run-time visual tree.
You can download a simple Silverlight application that demonstrated all the examples given above: LinqToTree.zip.
Or, if you just want the Linq to VisualTree code, you can copy-n-paste from the windows below which has the entire API, which includes the methods illustrated above, plus their IEnumerable equivalents, and a few others I have not illustrated.


By Ted J. Schneider, Esq.
What if the landlord fails to comply with the terms of the lease? If a lender forecloses on your landlord, your commercial lease agreement could be at risk because the landlord's mortgage agreement can supersede your lease. If the property you are negotiating to rent is subject to claims that will be superior to your lease agreement, consider "negotiating a nondisturbance agreement" stating that if a superior rights holder forecloses the property, your lease agreement will be recognized an honored as long as you fulfill your obligations according to the lease.
Schneiders & Associates, L.L.P. is a multi-service law firm located in Oxnard, California with a focus in real estate related matters.


The man who decoupled messaging from the main Facebook site, made it a discreet app customers had to download to phones (which mined even call data from customer phones), is leaving Facebook's Messenger department to lead a blockchain working group within the company.
David Marcus, recent VP Messaging Products at Facebook, will reportedly take over an internal team already investigating blockchain at the company, Recode reports.
Reportedly joining Marcus on the team are two executives from Instagram: Instagram's VP of Engineering, James Everingham, and VP of Product, Kevin Weil.
Marcus, who joined the Board of Directors governing the cryptocurrency exchange Coinbase last December, will be replaced at Facebook Messenger by Stan Chudnovsky, VP of Product at Messenger.
It is so far unclear how Facebook might incorporate blockchain in its business model.
Industry pundits -like Jimmy Song, a former Paxos Principal Architect who investigated blockchains for institutions there- are circumspect about how useful blockchains are in the private sector.
The blockchain popularized by Bitcoin was designed by Satoshi Nakamoto to specifically resist private industry features like top-down or "centralized" management. Users transmit bitcoins, peer to peer, and the blockchain mathematically prevents by encrypting and using an honesty-incentivizing game-theoretical reward model to secure the network.
The gaming and settlement of Bitcoin's ledger happens across the entire global network. Third-party settlement services like those of banks are 'disintermediated' (or automated), but the trade off is the network processes data much more slowly. Changes to the software or protocols have to be made through a slow process of campaigning and voting across the network. No one can command a pivot.
These feature make Bitcoin-style distributed blockchains clunky to adapt for private businesses that generally rely on top-down social architecture for efficiencies.
Barzilay: And what is your take on private blockchains?
Although a number of so called "decentralized" or user-managed social media apps have been proposed in the last several years, it remains to be seen how viable they will be at competing with behemoths like Facebook.
The platform Steemit uses a cryptocurrency called Steem right now to incentivize contributions and enable users to curate and 'upvote' blog content. The project seems promising at first glance, but the Steemit "community" begins to look insular and self-referential when investigated.
Perhaps the pavlovian effect in society of regular money just seems more subtle, but the devotion to particular tokens on crypto-interested forums seems self-serving. "Users" become marketers. "Communities" look like cults. It's not a party. It's product theatre.
Maybe that's exactly what Facebook is looking for right now.
"We doubt that decentralized systems alone will address the threats to free expression caused by today's mega-platforms, for several key reasons," wrote authors Chelsea Barabas, Nerula and Ethan Zuckerman.
As well, the perfected interfaces at places like Facebook have been carefully engineered and updated for usability. It is difficult for startups to compete with that level of design.
Wired argues that managing the private keys that might allow a user at Blockstack, for example, to manage and sell their his or her own data is a notoriously tricky process.
'Private keys' are mathematically generated 'passwords' that can decrypt encrypted data. Losing them can mean losing access to the corresponding data.
While private key management may be hard, it amy also be a matter of maturity and practice. Right now, most people rely on third parties when they lock themselves out of websites, for example. But cryptocurrency storage devices like Ledger and Trezor wallets, do have recovery passphrases that can allow people to recover cryptocurrency private keys if they lose the device. The same could be true for future networks that involve user private key management.
The real sticking point regarding private blockchains, however, is how costly and difficult it is to get a complex programmable blockchains like Ethereum running without central management (Song and others would tell you that Bitcoin is a 'dumb' or simple, and therefore secure, blockchain. It is also the only one he considers decentralized).
Although blockchain is trendy, many are now clueing in that it may not but not suitable or likely for many businesses at this time.
Facebook may be trying to beat potential competitors to the punch by courting innovative 'socializers' with a Facebook token that incentivizes participation and rewards users for discreetly 'sharing' product endorsements in their 'social' posts. Get ready to hear even more about your friends' shampoo.
This entry was posted in Blockchain & Digital Currency, Featured Headlines and tagged coinbase, david marcus, facebook, jimmy song, mark zuckerberg. Bookmark the permalink.


Versatile Self Contained Unit For Lease Approx 275 Sq Ft. Can Be Used As Office Space, Retail Office. Kitchenette, Coffee Machine, Small Fridge, Microwave Rent Includes Hydro, Heat, Water, Maintenance, (Phone Internet And Cable Extra). Unit Is Available March 1, Or Immediately. Near All Major Highways And Public Transit.
Want to learn more about 30-2861 Sherwood Heights Dr (Winston Churchill / Sherwood H)?
I would like to learn more about 30-2861 Sherwood Heights Dr (Winston Churchill / Sherwood H).


To be a situation in which the outcome cannot be predicted or a decision between two things is very close. I don't know which team will win. Both have done so well this season that it's a toss-up. Should I take the entry level position, or go back to school? It's really a toss-up in my mind.
COMMON People say that something is a toss-up when they think that two things are equally likely to happen or be chosen. She might go to Scapa. Or Rosyth. It's a toss-up really. They said it's a toss-up whether oil prices will go up or down over the days ahead. Note: When you toss a coin, there is an equal chance that the coin will land heads or tails.
This expression refers to tossing a coin in order to make a decision about something.


Presentations from the Discard Action Group meeting 10th October 2018.
All the presentations and minutes from DAG meetings are below. We have archived presentations from previous meetings and the minutes prior to 2013 but these are available from Karen Green.
The last meeting was on Wednesday 10 October 2018 in London. The presentations are below and the minutes will follow in due course. The next meeting will be in Feb/March 2019.
For more information about the Discard Action Group contact Karen Green. To be added to the DAG mailing list to receive our monthly news update and details on the meetings please register here.


text:
Lily thought 'Mirror, Mirror' role was a prank
Career Projects Mirror Mirror News & Articles Press
Monday, Feb 20, 2012
Lily Collins thought she was the victim of a prank when she was offered the lead role in 'Mirror, Mirror'.
The 22-year-old actress admits she was initially "angry" when she received a call asking her to play Princess Snow White – the biggest part she has ever had – because she was convinced it was a joke being played at her expense, and became overwhelmed with emotion when she realized the offer was genuine.
She said: "It was April Fool's Day, so when I got the phone call I thought someone was playing a prank on me.
"I was quite angry and thought, 'If this is someone's idea of a joke, it's not funny.' But then, when I realized it was true, I burst into tears and started screaming. It's the role of a lifetime."
Lily – who is the daughter of musician Phil Collins and his second wife Jill Tavelman – has always wanted to be an actress but felt it was important to complete her education before embarking on her chosen career path.
She told Hello! magazine: "I could have started earlier than I did but I wanted to wait until I'd finished high school because I wanted to be ready, mentally and emotionally, to take on the rejection side of this business.
"You get told 'no' so many times that if you are the sort of person who takes 'no' as a deterrent, then maybe this isn't the right profession to be in.
"I've always been driven, which I think is something I've inherited from both my parents and I wanted to put off my career until I felt ready to face all the nos."
"Mirror Mirror" Update: Stills, Posters, On Set
Vanity Fair Photo Booth + Additional "MM" Stills
The Mortal Instruments: On Set
The Mortal Instruments: August 21
"Mirror Mirror" Press Conference


text:
African Bullfrog
Southern Rock Agama
Turtle Hatching
Sardine Run
Flamingo Flocks
Bat Migration
Species-Specific Safari
Primate Trekking
Land Safari
Guided Game Drive
Mobile Tented
Boating Safari
Ocean Safari
Cycling Safari
Air Safari
Fly-In Safari
Other Safaris
Cultural Excursion
hello@wildsafariguide.com
Bush Recipes
Nature Heroes
BEST BUSH RECIPES
TOP 10 BLOG POSTS
Introduction to Central Africa
While Central Africa doesn't immediately spring to mind as a safari-region, travellers should not disregard packing their bags for this part of the continent. Those prepared to get off the beaten track will discover some hidden gems that are sure to delight.
This region teems with national wonders to satisfy the lovers of all things wild and wonderful. These include rainforests, remote beaches, endless grasslands and havens for a good number of endangered species. Safari-goers eager to explore this region should, however, make sure about any travel advisories before departure. It is wise to heed caution as a foreigner when it comes to safety.
The Democratic Republic of the Congo, straddling the equator and bordering no less than nine countries, is dissected by the mighty Congo River that ends in the Atlantic ocean and is dominated by tropical rainforest, the second largest in the world.
Captivating wildlife encounters abound, including coming face to face with the mountain and lowland gorillas in Virunga National Park, the first national park established in Africa. Geological wonders like active volcanoes and one of only four continuous lava lakes in the world on Mount Nyiragongo should also not be missed.
A leisurely cruise on the Congo River will give safari-goers a different wildlife perspective, while a visit to the Kisantu Botanical Gardens is a feast for the soul.
Gabon is located on the west coast of Central Africa, on the equator. This Eden of Africa is covered in Atlantic Equatorial Coastal Forests. When visiting, travellers can choose from numerous national parks and nature reserves. Loango National Park is home to forest elephants, lagoons with whales and manatees. Lopé National Park, Gabon's oldest protected area, is home to gorillas, chimpanzees, and many other large mammals.
The Republic of the Congo has claimed a spot in the top echelons of safari experiences in Africa. It lies in the Congo Basin with three-quarters of the country covered in the lush, dense Congo rainforest. Unspoilt and genuinely wild safaris can be undertaken in Odzala National Park, Louana National Park, Conkouati Douli National Park, Nouabale-Ndoki National Park, and Lefini Faunal Reserve.
The most priceless of wildlife experiences are beyond question getting a glimpse into the unique world of the endangered western lowland gorilla.
Situated on the west coast of Africa and sharing borders with the Republic of Congo and the Democratic Republic of Congo, Angola offers an authentic experience. Aided by other wonders like several emerging national parks and countless untouched beaches along the 1,650-kilometre coastline, safari-goers are in for an adventure.
Beyond the wildlife landscape and accompanied game viewing in the national parks, desert and tropical beaches in spots like Musulo Island, Restinga Peninsula, and Arco Lagoon make for a laidback approach. The thundering water of the Kalandula and Ruacana Falls respectively is even more spectacular.
Ready to plan your holiday?
Wild Safari Guide
Let's Plan Your Safari
Your travel experience starts here
Guided Game Drives
Walking Safaris
Rhino Conservation
© 2020 Wild Safari Guide. All rights reserved. Wild Safari Guide is a trading name of ONDigital Limited registered in England, No.: 08657498. Registered Office: Grosvenor House, 3 Chapel Street, Congleton, England, CW12 4AB


text:
Q: GeoCoordinate in C# f_lat should return with value of customer latitude,but there is a mistake somewhere so it returns 1(return 1 is not expected result).
The coordinates of customer and drivers returns correctly from database.
When I put return f_lat; before GeoCoordinate constructor,it returns correct latitude of customer,but I put after GeoCoordinate constructor,it returns wrong latitude of customer.
Who can help to me?
[WebMethod]
public double FindNearestTaxiDriver(string f_mobilephone)
{

    double f_lat = 0.0;
    double f_lng = 0.0;

    ArrayList d_mobilephone = new ArrayList();
    ArrayList d_lat = new ArrayList();
    ArrayList d_lng = new ArrayList();

    ArrayList distanceBetweenTwoPoints = new ArrayList();

    MySqlConnection mySqlConnection = new MySqlConnection(ConfigurationManager.ConnectionStrings["connect"].ToString());
    MySqlCommand f_mySqlCommand = new MySqlCommand("Select f_lat,f_lng from farecoordinates where f_mobilephone='" + f_mobilephone + "'",mySqlConnection);
    MySqlCommand d_mySqlCommand = new MySqlCommand("Select d_mobilephone,d_lat,d_lng from drivercoordinates", mySqlConnection);

    try
    {
        mySqlConnection.Open();
        MySqlDataReader mySqlDataReader = f_mySqlCommand.ExecuteReader();
        while (mySqlDataReader.Read())
        {
            f_lat = Convert.ToDouble(mySqlDataReader["f_lat"].ToString());
            f_lng = Convert.ToDouble(mySqlDataReader["f_lng"].ToString());
        }

        mySqlDataReader.Dispose();

        mySqlDataReader = d_mySqlCommand.ExecuteReader();

        while (mySqlDataReader.Read())
        {
            d_mobilephone.Add(mySqlDataReader["d_mobilephone"].ToString());
            d_lat.Add(Convert.ToDouble(mySqlDataReader["d_lat"].ToString()));
            d_lng.Add(Convert.ToDouble(mySqlDataReader["d_lng"].ToString()));
        }
        GeoCoordinate f_coordinates = new GeoCoordinate(f_lat, f_lng);
        GeoCoordinate d_coordinates = new GeoCoordinate();

        for (int i = 0; i < d_mobilephone.Count; i++)
        {
            d_coordinates.Latitude = Convert.ToDouble(d_lat[i]);
            d_coordinates.Longitude = Convert.ToDouble(d_lng[i]);

            distanceBetweenTwoPoints.Add(f_coordinates.GetDistanceTo(d_coordinates));
        }
        //distanceBetweenTwoPoints.Sort();
        return f_lat;

    }
    catch (Exception)
    {

        return 1.0;
    }
    finally
    {
        f_mySqlCommand.Dispose();
        mySqlConnection.Dispose();
        mySqlConnection.Close();
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
Peru Offroad – Part 3
Posted byrtwpaul December 30, 2018 December 30, 2018 Posted indirt tracks, inspirational, people, peru, rainTags:adventure, dirt roads, Huascarán, klim, klim motorcycle, mosko moto, Motoz tires, offroad, people, personalities, peru, rtwpaul
Pallasca to Caraz via Cañon del Pato could be one of the top ten, day rides in Peru, there are a few options to get to Caraz but of course, we had to take the Captain's road and he built an absolute beauty.
Dropping out of Pallasca is an overload to the senses, views forever and in each of these there is a track or road that we'll be riding down, mostly dirt but occasionally a little old broken pavement
Out here you are nothing but a tiny speck on the landscape and one second too long admiring the view and you will get a free flying lesson
From the top, the river was a thin blue line that takes you an hour or more to reach
In such a desolate landscape that looks like its bereft of life, we find a vineyard flourishing alongside the river, no one around, just grapes doing there thing
A few miles later we pass thru a very depressing village with just a few people living there, the thought of why and how anyone would even consider living, settling or staying here is beyond us, we ride on and find an abandoned mine. By the looks of it, non-functioning for a very long time, but obviously the little village was built for the workers, the mine closed but some of the workers decided to stay…the mind boggles
…but the view from the mine…
We make the left turn onto the main road most people use and head along the road towards Cañon del Pato, not a duck in sight! There are a few former tunnels that have collapsed and been cleaned away, and the occasional bridge before the 40 or so tunnels begin
As we stopped for a break a Bently comes racing past us, then a 40's chevy!
We catch a glimpse of a plate on the Chevy that they are on the Grand Prix of South America, a few more cars go by and the drivers are waving and having a great time.
We find out later its not really a race at all, just a bunch of very rich people who shipped over their old rally cars to Buenos Aires and are driving to Cartagena, Colombia. It set up by a company called Bespoke Rallies who obviously do this and have very wealthy clients…sadly the employees who are also traveling along are not as cordial as the paying guests.
A simple rule is in place on Cañon del Pato sound your horn as you enter a tunnel to let others know who is coming from the opposite direction there is someone in the tunnel, and you wait for them to exit before you enter, its simple the tunnels are mostly just big enough for one vehicle wide.
Nope, not the organizers, we are in a tunnel, horn blaring, LED flood lights on (7200 lumens of them) and they race in at speed, I have to skid to a stop and go in a ditch because of these jokers who think Peru is a one-way race track…the novelty of the vintage cars wore off real quick.
Some sections have things that make you stop and go…!
This rock formation just did not make sense…geology majors?
…and can you imagine this was part of your trip home?
The Cañon continues…
We end the day in Caraz, find a really nice hotel on the square with a secure courtyard to park the bikes inside and decide to hang out for a few days, its 40 soles/ $11.84…we grab food in the market and I have fun letting Egle walk first and watching all the ladies expressions when they see her hair, they all love it, sadly it was so dark in there its difficult to get good crisp shots of most of them
…but here goes, all these are shot from the hip as to not be too obvious and upset the ladies, hence the slight fuzziness because of not pinpointing a subject, just wanted you to see the characters, the expressions, and the hats!
and whats the last stall in the market selling…hats of course!
****More about the Captain
The Last Captain of Pallasca
The central square of Pallasca is deserted and silent in the glaring white sun of the high Andes.
An old colonial church, built in 1625 by the Spanish monks, is crumbling, rotting away, paint peeling, walls slowly cracking and disintegrating, ghost houses surrounding the plaza abandoned and boarded up, save for a few, and the little crooked streets of cobblestone and dirt and clay run off into the labyrinth of Pallasca carving their way through a maze of decrepit, hollow houses covered in red tiles, broken, overgrown with moss, some now used for pig enclosures, pitiful laundry drying in the icy cold rays of the highland sun as the wind sifts the dust and the debris like a blind, vagrant wraith from the days of the past.
On the corner of the plaza, under a looming shadow of a Spanish villa, an old Quechua woman sits selling Andean herbs and bananas that had long gone black, her face half-covered by a wide-brimmed hat, squinting, dozing, she has been dreaming open-eyed, not noticing the dust and the sand that the wind had kicked up in her face, as if she herself had become a part of Pallasca, a stone in the cobbled street or an old wooden banister of a decaying gallery or a heavy silver ornament on one of the windows, long gone now, long forgotten.
Walking the crumbling, narrow streets smelling of moist earth, pig shit and sunsets, we abruptly come to a halt, this is where Pallasca ends, suddenly, in a pile of rock and stone, next to a rambling clay brick house, covered in soot, crippled and misshapen, the roof almost touching the ground now, and out in the yard overgrown with wines and coarse highland grasses, on a bench made from grey stone, or is it a tombstone – a strange lopsided obelisk – there is an old couple sitting. She is knitting a woolen mantilla, humming to herself softly, her fingers wrinkled, gnarled from arthritis. He is looking out at the menacing jagged peaks of the Andes, painted crimson and scarlet by the setting sun, his head trembling a little. They smile, and nod, and wish us good evening, good evening.
We stay with the Captain of Pallasca, in his white palatial nineteenth century house right next to the old church. There's a small boy running about in the courtyard and there are voices of women and a strong aroma of soup emanating from one of the inner chambers of the mansion, and somebody is listening to the radio in the labyrinth of rooms upstairs, and a heavyset, black- haired girl is picking ripe red tomatoes in the dark green jungle of the inner garden.
The courtyard cobblestones are now broken and worn, the Spanish galleries rotting before our eyes, collapsing, supported by wooden poles and scraps of metal, the stairs creaking and decaying, the rambling, crumbling mansion bound together by nothing but the iron will of the Captain. Our room has a high ceiling, there are two beds at the opposite walls, mattresses moldered, covered in threadbare blankets, and in the middle of the room there is a small wooden cabinet piled high with photographs and medals. There he is, the Captain: young and lean and handsome, standing tall, solemn, shaking the hand of the President, saluting the General.
Once a Spanish gold mining hub, Pallasca had since become a ghost town, had fallen through the cracks, its young leaving for Chimbote and Trujillo as soon as they could, its old slowly, dutifully dying. Merely six hundred people remain, quiet, weathered, smiling in disbelief, sitting around on curbs and broken benches, pious, staring at their own hands.
Five decades ago, Pallasca had been cut off from the world, with one dusty narrow mule trail going up the mountain, and the good citizens of Pallasca rode donkeys and mules and walked and had never seen an automobile. Then the Captain arrived. Stationed in Pallasca, the Captain became hellbent on changing its destiny.
"Millions of soles had been allocated to build a road, a real road to Pallasca, and millions had been stolen by thieving politicians. All five Peruvian presidents, crooks and scroungers, all of them! They should have their hands chopped off or be put to hard work. God damn! Well, I would have none of it. Pallasca needed a road to connect it to the Pacific and the Amazon, money or not. And I was going to build it", – the Captain tells us, leaning on the gallery banister, his voice booming. He is old now, so old, but still strong as an ox, his back straight and his hands calloused, he speaks in perfect Castellano, his face is marked but his dark eyes glimmer as he talks.
"We had no machinery and no technology, but we had vision and discipline. People have no vision and no discipline these days! God damn! I said to the Pallascans, each of you will build ten meters of the road, and it doesn't matter who you are: a merchant, a peasant or a teacher, or a child, even. Every living soul in Pallasca had to build their ten meters. Women would bring us food out on the face of the mountain. I had not slept in months, months, I tell you – but the road was built", – the Captain speaks hotly now, and behind him, there is an old black and white photograph, framed: the Captain, laughing with pride, carried on the shoulders of a cheering mob, waving the Peruvian flag, the first automobile entering Pallasca just behind him. June, 1973.
"Everything ages, everything crumbles and perishes… Pallasca is dying now, but I won't move. Carajo! I will hold this place together with my bare hands, even if the Pallascans are leaving, I tell you, vision and discipline! I wrote to the Australian embassy and asked them to give me a pair of koalas: there are forests around Pallasca, immense woods of eucalyptus trees, the koalas would breed and the tourists would come, those ridiculous little bears would attract travelers, just like the Pandas in Guayaquil, you see, and Pallasca would flourish once again. We have built the road, god damn it! We have built the road", – the Captain says, as he wishes us a good night and vanishes into the darkness of the second floor, into his chambers and into the glories of the past.
Deadly silence engulfs Pallasca as the freezing cold Andean night descends all around it. The Captain's palace, leaning heavily on the old church, sighs and whispers in the darkness, and in the crooked cobblestone streets, during the witching hour, steps of Spanish ghosts fall soundlessly into the velveteen blackness of the night.
"…the only thing that gave us security on earth was the certainty that he was there, invulnerable to plague and hurricane . . . invulnerable to time. For he had not survived everything because of his inconceivable courage or his infinite prudence but because he was the only one among us who knew the real size of our destiny" – Gabriel Garcia Marquez, Autumn of the Patriarch
After hanging with the ladies in the market we rode a little stopped a little, nothing special but made sure we were on the west side of Huascarán National Park so we could do a two-day loop, across the park on the #106 and back on the #107, this took us 4 days to complete…
The pavement ends at Yungay and five minutes later you are at the National Park gate, pay a nominal amount and the gate opens and immediately you are in another world
The road leads along the extremely blue Laguna de Llanganuco fed by the Nevado Huascarán Sur glacier above it
Still carrying those tires and still don't need them, but feel like a real adventure rider with an overloaded bike though
All the Zen dudes got here before us and made their mark like they do with Cairns, just wonder if half the people that do this actually know why they are doing it…or just copying
The track had become a small stream flowing into the lake and knowing we were headed up to and over 4000mm the thought of wet feet wasn't good
The sun disappeared behind the clouds and where we were headed did not look too inviting at all
Looking back down the valley willing the blue sky to come with us
Looking up it was difficult to discern between the clouds, the snow and the glaciers, but regardless up we went
Even at this high altitude life blooms as we shiver
you know when you are on one of those tracks and you take a photo and the next corner will be as good or better, but you still take it anyway…yeah, that!
***click photo for a big version
The pass some riders call one of the toughest day rides in Peru, well not sure about that, but the views up here are nothing short of spectacular
We head down the other side still on dirt but the two sides don't have too much of a resemblance after we leave the last glacier.
We set our sights on Yanama to try and find some lunch, not knowing there were two places with the same name seperated by a valley. As we pull into the first one I get a flat on the front, guessing a pinch flat from the rocky trail, this section of the town has just a few dirt streets and dirt brick buildings. The flat happens right next to the village school and what happens next is nothing short of inspiring, amazing and a little hard work…
Huascarán National Park has to be one of the best areas for riding and viewing the amazing Andes, so much so you kinda forget to check your bike as much as you should…tire pressures!
My front was low and coming down the east side of the 106 in some heavy sharp rocks I got a pinch flat on the front, in a tiny little hamlet called Yanama. I'm guessing not too much ever happens here, and most riders just ride on thru…nothing to see, well they didn't stop and meet the kids, did they?
Within minutes of stopping I was surrounded, unknowingly stopping by a school, it appeared the teacher had told the kids to go check what the alien was doing.
The kids were great, and just being kids, asking loads of goofy questions but very politely and interested in the GPS mainly to see exactly where they were on the planet and where this alien had ridden in from…they were amazed.
Once the flat was fixed food was needed, the kids said the next little Puebla had food and if I needed Facebook its in the main square, not internet…but Facebook.
The teacher shouted one word from the doorway of the schoolroom and with no complaining the kids said goodbye, the boys waved or wanted to shake hands, some of the girls wanted a hug, in a, 'please come back and see us again soon way', and then they ran and disappeared through the doorway laughing and giggling as they went
The kids were right there was food, not great food, but the Puebla was as sleepy as theirs, and also called Yanama, but in this one, the aliens were not as important as knitting, this lady literally never looked up, she was so engrossed…knit one, pearl one!
A dirt road out of town revealed a great valley with stunning views down to the river below, eventually…the track started so high that you literally couldn't see the bottom until around 20km was ridden
Eventually flattening out into a waterlogged muddy mess where a new bridge was being installed, heavy truck traffic went back and forth and destroyed the road outside little houses that appeared abandoned except for a few street dogs
…but with the sound of a throaty exhaust a few little faces appeared, I stopped and took the helmet off and walked thru the mud, the least I could do was try and make the kids day with a lollipop, I mean there was no way they were playing in this street for a long time to come
this dirt road leads to a little town called San Luis which in hindsight wasn't a great choice, after asking at 4 hostels with point-blank refusals or no parking or one where one guy came at me with shears shouting to get out of his parking lot.
The fifth said yes, and it was by far the worst place I've stayed since a place tattooed in my memory in Kazakhstan…and what makes it worse is there is a beautiful little town on 20km away that I'll stay in, later on, that is easily one of the nicest small towns in Peru!
To make San Luis worse, torrential rain started and it made the town feel even unfriendlier if that was possible, the power went out multiple times so all the restaurants closed their doors and didn't reopen
Eventually finding a bread lady who couldn't stop laughing like someone just told her the best 'yo momma so fat'…joke, I had to get a happy shot in this place just to me feel better about it, and I was only staying one night…albeit a blurred one, the camera unable to focus quickly enough due to the heavy rain
you can take a photo pretty much anywhere in Peru away from a big city by an hour or less and it could have been taken today or fifty years ago…plowing with a cow doing the pulling, the only thing that makes it not an older photo is the power lines, but I bet this family have been plowing these fields for generations
From San Luis its all pavement taking the 107 to the top, but it is worth taking because of the views of the glaciers
The road to the top is all hairpins as you'd expect and at the top is the Olimpia Tunnel, the highest vehicular tunnel in the world…allegedly
and say goodbye to Egle as she disappears into the tunnel, this is the last riding shot of her I have, not long after this we had a heart to heart and decided we are looking for different things from our adventurers so mutually agreed to an amicable split. (this all happened over a month ago)
She will still be writing for the editorial front page of ADVrider, but she simply doesn't have the time to do a ride report right now of her own, I'd just ask that you respect her privacy.
From here on out, this ride will continue solo for the foreseeable future
Huascarán National Park, Áncash, Peru
RTW Costs 3.0
4 thoughts on "Peru Offroad – Part 3"
Andrus Chesley says:
Love following your adventures about the world Paul. Tis the only way many of us old people will ever experience life out there. Many Thanks.
ericakse says:
Great write up! That road looks incredible!
fjrguy says:
Fantastic ride journal and photos. Thanks for sharing the ride.
Brian Clark says:
Many thanks for sharing your travels and motorcycle experiences. I'm outfitting a new DR650 and have appreciated your information! As a long-time motorcyclist I'm so very inspired by your bold adventure. Someday, I hope to break away from the "paradigm" we are all are raised to think leads to some ideal. I yearn to travel by bike for an extended trip, but that must wait until the kids are out of the house…


2/12 from the 1995 Treasure Hunt series. The Passion features gold metalflake paint with purple, black, and gold graphics on the sides. It has clear windows, a beige interior, gold rims with white line Real Rider tires, and a gold chrome Malaysia base.
The vehicle is based upon a customized 1949 Mercury Eight and made its debut in the 1990 basic line. The Passion was once again used as a T-Hunt in the 2005 series.


Tiny PHP Forum by Ralph Capper. Sadly, TPF is no longer supported by me. At some point in the future I might re-write it and re-release as a new version. You can find some information about it on this page though.
"A ~130K PHP simple Forum. Users can create new topics and threads and reply to other threads. Database free, TinyPHPForum uses text files only. Foolproof, easy, quick, tiny. Features inc. user accounts, avatars, admin functions, emoticons, skins....."
This was a learning PHP project for me some years ago. I found that there were very few very simple, small, flat-file (database-free) forum / BBS systems out there. So I wrote this.
By this time I was in full-time work and unable to fix what was broken. Since then people have come along and offered to help, I've added them to the developer list on SF, but not much has happened. When I look at the code now, I want to cry, as it's pretty bad.
What it needs is a serious re-write to address security concerns, make it more modular, and be able to use the existing file structure.
I wrote some time ago and have picked up TPF and done alot of re-writing.
Hi, just a simple question. Can I use Smarty as the template engine?
Sorry Waro, TPF is no longer supported, this page is just here for reference.
Yup, i created another version.
Based on normal TPF, Credits normal TPF, and just had a few more security features.
After i patch one more exploit i plan on making it downloadable!
If you get a release/download version going let me know and I'll happily link to it in the main article above.
Ha, nice work Squiblez, nice to see it used for something good. Best of luck, R.
I LOVE THIS FORUM SCRIPT! :) THANK YOU DUDE! PS: how can i change the timezone? as the time is wrong :) pls help!
I loved this forum engine so much, I used it for my website.
Thanks and please check it out.
A new version almost ready. Better security and faster.
Check the links above, maybe someone is still using it!


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All orders will ship within 1 business day, if however we have run out of any product we will let you know asap.
Standard delivery takes 3 – 5 business days within Australia and up to 10 working days to Western Australia.
Returns are not accepted for hygiene reasons, however if the product is faulty we will endeavour to replace your item.


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Many people are often scared about the idea of what is fashionable. People often see others wearing fancy garments and lose all hope of looking good. Luckily, the look you want to achieve is achievable. It should be easy after you read this article today.
Come with a style that is unique to you. Instead of following the crowd, be unique and create your own personal style. Having a comfortable personality is key, and when you create your style, you'll be praised on it's originality.
There are so many options available in terms of hair accessories. These include things like headbands bows, extensions, and others. Include various hair accessories for practical and aesthetic purposes. For example, wear a ponytail holder with an athletic outfit to appear spiffy. Pulling the hair off your face with an elegant headband is perfect for a special occasion.
If you put on mascara, do not continually put the brush inside and outside of the container. It will not get more product on the brush, and will trap air inside the bottle. This ups the odds of bacteria growing in it. So, instead of pumping up and down, tilt the brush slightly, spinning it to make sure it's coated properly.
Travelers should try bringing neutral colors in different shades to create clothing combinations. You don't need to fret about clashing colors and you can put together different looks with the few pieces you have. Try utilizing belts and scarves to bring your look together.
Consider wedged heels! These are popular now; on sandals or boots. Wedges can make you look taller and therefore slimmer. If you decide to buy a pair of these trendy shoes, try them on at the store. You don't want them too thick for you to walk comfortably.
Is dressing fashionably a little less intimidating to you after what you have learned from this article? Now you don't need to let fashion intimidate you. You can create different looks with just about any garment. Let everyone see your fashion sense in action!
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You might be new to Bitcoin and cryptocurrencies, and you have a hard time finding a place where to learn about it. We are going to tell you about the Best Bitcoin Resources that will help solve that problem.
In today's age of information, you can find the answer to almost any question online. Same as cryptocurrencies and Bitcoin, there are a lot of resources online that explain the question of "what's a Bitcoin?" There are learning resources, documentaries, video presentations, news websites, podcasts, forums and more all of them useful and reliable sources of information about Bitcoin.
This is an official 1minute video from Bitcoin.org which is a community funded resource websites about all things Bitcoin.
Coin Desk is your typical wall street, stock market bog but for Bitcoin only. The lovely people at Coin Desk provide reliable information, and the website focuses on news, prices, charts, and analysis regarding the price of Bitcoin and Blockchain.
Bitcoin Wiki is the Wikipedia of Blockchain and Bitcoin. When visiting the site, when you click on 'Getting Started' you will get a step by step guide to Bitcoin. There is an FAQ section which answers all the question regarding Bitcoin.
Podcasts have seen a real growth in recent time. So it's only fair that Bitcoin has its own talk show. Regarding Bitcoin podcasts, the 'Let's Talk Bitcoin' podcasts covers the entire Blockchain industry. They have a Q&A podcast where they answer the questions submitted by the viewers, and they hold a solid relationship with their viewers.
Another great podcast is 'The Bitcoin Knowledge Podcast' that covers topics like Bitcoin, Fintech, and Blockchain. The great thing about these guys is that they interview the best people in the business on their podcasts. It offers a real relationship between the industries main people and those who are simply interested in investing, and that's why it makes them one of the Best Bitcoin Resources out there.
Explain Bitcoin Like I'm Five is an amazing article about Bitcoin. The author, Nik Gustodio, uses an apple to explain the blockchain and how it works with very simple and everyday metaphors.
While not exactly a Bitcoin video, this video focuses more on the blockchain. It's a very well made informative video on the most exciting implications of blockchain and the impact it could have on our lives. It distances itself away from Bitcoin and focuses more on Ethereum(another blockchain based cryptocurrency); however, it is an outstanding source of information.
If you are interested in Bitcoin and cryptocurrencies, and you want to be more than just a follower of the technology, than reading the original Bitcoin whitepaper is something you should read. It's the first time Bitcoin and Blockchain were introduced to us after the 2008 financial crisis.
This is a video where the creator's break down the technology behind the Bitcoin network. It is a well technology-focused video and it explains the algorithm, mining, and cryptography, it explains how everything works together in making the network secure and how decentralization works and what it means.
This is a video by Anders Brownworth and it's a detailed video about how the Blockchain works but made in a way that you can visually see the key pieces of what the Blockchain is.
The Jameson Lopp's Bitcoin Resouce is a website that holds hundreds of link to resources regarding Bitcoin and Blockchain. It includes trading resources, wallets, exchanges, data tracking sites, online course, blogs, forums and it displays recommended Twitter accounts to very informative experts in the field.


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In 1990, Town School launched the New Teacher Institute, a two-year program that combines both theoretical and practical aspects of classroom teaching. During the 2018-19 school year, the New Teacher Institute celebrates its twenty-ninth year at Town. There have been 186 individuals who have completed the two-year program, and many have gone on to hold a number of teaching and administrative jobs in the field of education. Among the current Town faculty and staff, there are ten teachers and one administrator who are former NTI Resident Teachers.
Our two-year program emphasizes daily teaching, curriculum planning, and professional growth. The two-year experience gives the Resident Teachers the opportunity to integrate and apply the theoretical and practical aspects of classroom teaching.
Each year there are 15 Resident Teachers on a two-year rotation. In the Lower School (kindergarten through fourth grade), there is a Resident Teacher and a Head Teacher in each self-contained classroom. The Upper School (fifth through eighth grade) is compartmentalized, with Resident Teachers working in the Humanities and STEM departments. The Art Resident Teacher works in both Lower School and Upper School. New Teacher Institute Resident Teachers are chosen from a large and competitive pool of applicants from around the globe.
During the program the Resident Teachers gain experience over two different grade placements, with two different Head Teachers. The only exception is the Art Resident Teacher who works with the same Head Teachers as a department for both years in grades K-6. With this constant opportunity for immediate feedback between the Resident Teacher and Head Teacher, the returns are enormous for the boys, the Resident Teachers and the Head Teachers, all of whom benefit from the mutually rich relationships fostered at Town.
For more information or to apply to our program, please visit our program and application pages. Contact the Director of the New Teacher Institute, Jennifer Liu, at 415-746-1163 or nti@townschool.com, with any questions.


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(CNN) Celebrities like Mindy Kaling, Lena Dunham and Olivia Munn are among those who have paid tribute to designer Kate Spade, who died Tuesday. She was 55.
What a devastating morning to hear that one of our most beloved American designers has passed. Seven years ago, I was asked to be the first celebrity 'face' of their brand. I still look back on that experience as a dream coming true. It may surprise some of you to know that I never actually met Kate Spade, but for as long as I can remember her fashion has influenced and inspired me. From quirky prints to ladylike cuts and everything in between, she designed with playful sophistication for every woman and girl. She made fashion fun and empowering and full of personality. What some of you may not know is that Kate Spade and her company (@katespadeny) were also dedicated to giving back, especially to women. The Kate Spade & Company Foundation provides approximately 1.2 million a year to nonprofit organizations who help provide women with access to tools and training to achieve economic independence. I hope that both her and her company's work to bring fashion and women's economic success to everyone continues as her legacy unfolds. My love is with her family and friends at this very sad time. If you or someone you know is feeling distressed, contact the National Suicide Prevention Lifeline at 1 800-273-TALK (8255) or follow the link in my bio.


The mortality rates for the first year of the projection, mid-2004 to mid-2005, are based on the best estimates that could be made in the autumn of 2005 of the numbers of deaths at each age in 2004-05.
Assumed improvements in mortality rates after 2004-05 are based on trends in mortality rates before 2004. Improvements in mortality rates by age and gender in the base year of the projection are estimated from the trends in years from 1961 to 2003. It is assumed that these annual rates of reduction in mortality rates for the base year will tend towards a common reduction at each age of 1 per cent a year by 2029. Thereafter the mortality improvement is assumed to continue at this rate, in contrast to the previous projections where it was assumed to half every subsequent twenty-five years.
The rates of mortality improvement which are assumed for the UK for the base year of the projections (2003-04) are shown in Figure B1.
A comparison of period expectations of life (eols) for Scotland with the UK as a whole (Figure B2) suggests there has been a gradual widening in the difference in expectations of life for males under the age of 80, since the mid-1970s. There are no obvious patterns of divergence (or convergence) in the comparison of Scottish and UK life expectancies for females.
Given this finding for males, further analysis indicated lower rates of improvement should be adopted in Scotland for males in their 20s, 30s and early 40s, and also in their late 50s and early 60s, than for the UK as a whole. The extent of these differences are shown in Figure B3.
The impact of these new assumptions can be summarised using the period expectation of life at birth, based on the mortality rates for the given year. This life expectancy is assumed to rise from 74.3 years in 2004 to 79.1 years in 2031 for males, and from 79.4 years in 2004 to 83.6 years in 2031 for females (For the UK as a whole, the equivalent figures are a rise from 76.7 years in 2004 to 81.4 years in 2031 for males, and from 81.1 years in 2004 to 85.0 years in 2031 for females). Compared to the assumptions used in the 2002-based projections for Scotland, these lead to an increase in the expectations of life at birth for males of around 0.3 years in 27 years, and for females of 0.1 years.


text:
Samuel H. Charlton
CityPoint | One Ropemaker Street
London EC2Y 9HU EN
Phone: +44-(0)20-7275-6513
Fax: +44-(0)20-7275-6502
Based in our London office, Samuel Charlton is a Partner in the Firm's Real Estate Department. He concentrates his practice on private equity real estate acquisitions, dispositions and joint ventures on behalf of leading international fund sponsors.
Funds advised by Blackstone in their €947.9 million acquisition of a majority stake in Testa Residencial
Blackstone Property Partners Europe in its joint venture with Telereal Trillium for the £1.46 billion acquisition of part of Network Rail's commercial estate portfolio
Blackstone Property Partners Europe in its minority investment in Logicor
Round Hill Capital in a strategic minority investment in Round Hill by Dyal Capital Partners
Blackstone Real Estate Partners in connection with the acquisition of the real estate assets of GE Capital Real Estate in a transaction valued at approximately $23 billion
Northwood Investors in its $992 million (£635 million) acquisition of more than 7.1 million square feet of office and industrial properties located throughout the United Kingdom from certain funds managed by Highcross Strategic Advisors Limited
Blackstone Real Estate Partners in connection with the acquisition of a majority stake in a portfolio of multifamily real estate valued at approximately $2.7 billion from GE Capital
RAINN in renewing and expanding their lease for their Washington, D.C. headquarters
Cornell Law School, 2010 J.D.
Johns Hopkins University, 2007 B.A.
Based in our London office, Samuel Charlton is a Partner in the Firm's Real Estate Department. Samuel concentrates his practice on private equity real estate acquisitions, dispositions and joint ventures on behalf of leading international fund sponsors.
His recent transactions have included representing:
Blackstone Real Estate Partners in the sale of the Simply Group of hotels
Blackstone Real Estate Partners in its €1.275 billion acquisition of a portfolio of 180 mixed-use industrial and logistics properties from Hansteen PLC
Blackstone Real Estate Partners in its €340 million sale of the DoubleTree Amsterdam Hotel, its £190 million sale of the DoubleTree Westminster Hotel and its £300 million sale of the DoubleTree Tower of London Hotel
Blackstone Real Estate Partners in its acquisition of OfficeFirst Immobilien AG
Samuel received his J.D., cum laude, from Cornell Law School in 2010 and his B.A. from Johns Hopkins University in 2007.
Scott M. Kobak


text:
Readmissions in Severe Sepsis Are as Common as Those in Heart Failure and Pneumonia
Severe sepsis is a significant cause of rehospitalization along the lines of nationally recognized outcome measures and more commonly discussed conditions such as heart failure (HF) and pneumonia, says Darya Rudym, MD, of New York University School of Medicine, lead author of a study presented at the 2015 American Thoracic Society International Conference.
Sepsis is an infection of the bloodstream that can lead to organ failure and death. "Severe sepsis continues to be a common cause of hospitalization and has the associated high costs," Rudym says. Although some quality measures associated with sepsis have been previously studied, such as length of stay, Dr. Rudym and fellow researchers aimed to study the rate of readmission within 30 days after discharge with a diagnosis of severe sepsis. Researchers wanted to compare this rate to the readmission rates for Centers for Medicare and Medicaid Services reported outcomes such as acute myocardial infarction (MI), HF, and pneumonia.
The researchers examined inpatient discharges from Bellevue Hospital in New York City between July 2011 and July 2014 and identified subsequent readmissions to the hospital within 30 days.
During the three-year study period, researchers tracked 22,712 discharges, with an overall readmission rate of 15.31%, or 3,477 patients. Using three different previously reported methods to identify patients with severe sepsis, namely Angus, Martin, and the explicit International Classification of Diseases-9-CM sepsis codes, 1801, 798, and 579 patients, respectively, were identified as discharged with severe sepsis. "Of those, 266, 119, and 71 were readmitted within 30 days, accounting for 14.77%, 14.91%, and 12.26%, respectively," Rudym says.
The readmission rate for MI was 8.67%; for HF, it was 15%; and for pneumonia, it was 14.46%.
"Readmission rates in severe sepsis are shown not to be significantly different from readmission rates in heart failure and pneumonia," Rudym says.
Source: American Thoracic Society (ATS)


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