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From the December 1991 Issue Subscribe
Bear With Me
Black bears have returned to Big Bend National Park, and our author is determined to find one.
By Gary Cartwright
The first clue that nature had given us a second chance appeared on the steep, winding road up to the Chisos Mountains basin and the lodge where we intended to spend the night. Our headlights flashed across a black-on-yellow bear-crossing sign. After an absence of more than fifty years, the Mexican black bear is once again a resident of Big Bend National Park. Drive with care.
It was late September. A Comanche moon dominated the vast night sky, and the Chisos Mountains seemed to jut out of the high desert like the jaws of hell. It was scary and wonderful driving into the park at night, overpowering, the way this country always is, especially when you haven't seen it for a while. The spirit of the Apache chief Baja del Sol, assassinated by his own people, is said to walk this range, and when the mountains swallow you up, there is a feeling that you have passed into another time. With a few exceptions, this is how the Trans-Pecos looked before the first settlers arrived. We had come looking for one of those exceptions—the black bear.
The bear population is still tiny, somewhere between six and eight, wandering randomly in a national park that covers more than 800,000 acres. But actually spotting one isn't as difficult as those figures suggest. Bears favor the moist canyons and cool slopes above 3,500 feet. For most of the year, the most attractive habitat for both man and bear is the Chisos range, that jagged mass of igneous rock that swells up from ancient seabeds and towers above everything else in the park. In fact, the easiest way to look for bears is to drive slowly along the seven-mile stretch of road leading up to the basin, through a thickly vegetated canyon called Green Gulch. Most of the bear sightings have been either along this road or on the nearby trails.
"Bears are accustomed to cars passing along the road," says Rick LoBello, the executive director of the Big Bend Natural History Association. "It's easier to get close to one in a car than it is on foot."
LoBello photographed a sow (as female bears are called) and two cubs in June 1990 while they napped about two hundred yards off the basin road. The bears had been spotted by a park ranger, who alerted the park dispatcher, who alerted LoBello. By the time LoBello arrived, there was a traffic jam on the basin road, as visitors with telephoto lenses and binoculars stopped to gawk at the three furry clumps. The cubs were sleeping in the branches of a piñon, but they woke presently, skidded down the tree, and nudged their dozing mother, who obligingly rolled over so that the cubs could nurse. The bears lingered near the tree for about two hours, then moved to a cooler, shadier spot higher up.
The sighting was a landmark event, partly because so many people saw and photographed the bears, but also because it confirmed that the black bear was indeed once again a resident of the park. There had always been a few vagrant bears, usually males who wandered down from the Sierra del Carmen on the Mexican side of the border. In times of drought or when there were fires in the high country of northern Mexico, people would spot bears in the Chisos or the Deadhorse Mountains, which run along the park's eastern edge. From 1944 to 1987, there was an average of 3 sightings a year. But in 1988, the figure jumped to a record 21 confirmed sightings. The following year the number was 29. As of September, there have been more than 60 sightings this year, 25 in July alone. The sow and cubs that LoBello photographed were seen numerous times. In July 1989, a family from Belgium had reported seeing the same mother bear with not two but three cubs. The cubs were described as toylike, each about one foot long. No one knows what happened to the third cub, but their ages were a sure indication that they had been born in the park. Cubs that young couldn't have traveled from Mexico.
One hundred years ago black bears were common—not only in the Big Bend but throughout Texas, except for the extreme southern portion of the state. The Mexican wolf, the bighorn sheep, and the mountain lion were also common in the Big Bend but, like the bear, were threatened by the advance of civilization. With the coming of the railroad through Alpine and Marfa in the 1880's, the land that is now Big Bend National Park became cattle country. In his book Texas' Big Bend Country, author George Wuerthner notes that the G-4 Ranch, which covered the western part of what is now the park, ran an estimated 30,000 head of cattle in 1891, and that was only a small portion of the animals grazing Big Bend rangelands.
In those days even the lower elevations blossomed and bloomed with lush profusion. Waist-high tobasa grass used to cover Tornillo Flat—homesteaders harvested and baled it for hay. Today Tornillo Flat is one of the ugliest parts of the park, a barren desert of deep arroyos, dried-up springs, and a few creosote bushes. An army expedition in 1860 reported that the grass along Terlingua Creek was stirrup-high and described the creek as a "bold running stream, studded with cottonwood timber and alive with beaver." These days, the stream is more timid than bold, and repeated browsing of cattle, sheep, and goats on the seedlings and sprouts has resulted in the near-elimination of the cottonwood.
Big Bend rangeland was already badly overgrazed by 1933, when the Texas Legislature began setting aside land to give to the federal government as a park. Resident ranchers fought the park idea like panthers, and when it was apparent that they had lost, they proved to be astonishingly sore losers. Between 1942—when the park boundaries were actually drawn—and 1944—when the park officially opened—ranchers indulged in one final bender of overgrazing that nearly did in the range for good.
Ranchers, hunters, and trappers also played hell with the fauna. By the time the park opened, the bear was no longer a resident species, having been hunted and starved until none were left. Bighorn sheep had died off too, thanks to diseases brought in by domestic sheep, and the golden eagle population dwindled, too—shooting the birds from airplanes used to be considered sport in this part of Texas. The lion, a resilient carnivore able to travel long distances, didn't disappear completely, though sightings were extremely rare. The most vicious extermination effort was a government-sponsored program to eradicate the Mexican wolf. Wolves were shot, crushed in steel traps, or poisoned with strychnine-laced bait. The last two wolves reported in Texas were killed in 1970. Today there are fewer than 35 Mexican wolves in existence, all of them in zoos or wildlife-management centers.
In one of those dazzling ironies possible only where bureaucracies flourish, the federal government has now declared the wolf an endangered species and is funding a program to reintroduce it to the American wilderness. Big Bend National Park isn't currently on the list of sites scheduled to receive wolves, but a group in Richardson that calls itself the Mexican Wolf Coalition is urging such a program, apparently with the support of Governor Ann Richards. Ranchers and landowners are vehemently opposed, of course, and the reintroduction of the wolf has become a polarizing issue in Brewster County. But in the years since bears and wolves vanished, Brewster County has evolved into something quite different: The southern half of the county is now more dependent on tourism than on ranching.
When we traveled to the park in September, we knew that the odds were long against actually seeing a bear, but just knowing that it was a possibility made the search worthwhile. Monsoonlike rains had pelted the Big Bend for several weeks before we arrived. Normally, the best time to see a bear is early morning or late afternoon, when the weather is most pleasant and the animals are moving about hunting for food. But the rains had cooled the desert and assured such an abundance of succulent plants that a bear wouldn't have to travel more than a few feet to find board and bed. Vegetation was so thick we could have stepped on a bear before seeing it.
The first afternoon, we hiked up Lost Mine Trail, a narrow switchback path that starts at the basin road and zigzags up a steep incline for 2.3 miles. At an altitude well above five thousand feet, it is a difficult climb, but there are a number of resting places, most of them with views of the cloud-covered peaks or deep green canyons, all of them shaded by a variety of juniper, oak, and pine trees. From the rocky summit at the end of the trail is a spectacular view across Pine Canyon to Lost Mine Peak. We didn't spot any bear along the trail, but we did see a pile of bear scat, as it is called in scientific circles. The excrement, which we identified with the aid of a book purchased at park headquarters, was the size and shape of a small sausage and had been deposited on a flat rock beside the trail. The bear had recently digested a meal of piñon nuts, acorns, juniper berries, and some sort of purplish fruit.
Of all of the amazing things that a visitor notes about Big Bend National Park, the most astonishing is the constant juxtaposition of desert and mountains. The Chisos range is a temperate island surrounded by the vast Chihuahuan Desert: Rainfall in the park varies from about 5 inches a year near the river to as much as 25 inches in the high country. The diverse nature of the park became particularly apparent when we moved on into Pine Canyon.
To reach the canyon trail, we drove up a primitive road on the back side of Casa Grande, the enormous plume of rock that is the park's most apparent feature. The road was hot and dusty, and it snaked through a stark landscape of sotol stalks, ocotillo, and occasional blooming lechuguilla and century plants to a clearing wide enough to park. From there we started out on foot up a steadily ascending trail, breathing hard and stopping frequently for water, a blinding sun in our eyes. After we had walked for about an hour, the trail narrowed into a heavily wooded canyon. At a still higher elevation, the temperature seemed to drop about fifteen degrees as the canyon walls swallowed up the afternoon. Through the crimson-edged leaves of bigtooth maples, sunlight dappled the trail, which was damp now and sometimes hard to detect in the shadows. Through the high branches of an enormous ponderosa pine, an acorn woodpecker carried some sort of strange grasshopper, shiny black with yellow trim, to her nest. At the head of the canyon, a spectacular waterfall plunged down a two-hundred-foot cliff. We sat for a while near the base of the fall, resting and talking about what to do next. We suspected that there were bears in this canyon—we had seen claw marks along the trail, scratched in the smooth cream-colored bark of a Texas madrone tree—and it was possible that a bear or two was hiding at that very moment in one of the dark-mouthed caves just above us on the canyon wall. But nobody volunteered to climb up and take a look.
In two and a half days of hiking and driving, we saw bear scat and claw marks, but the pesky animal itself eluded us. Our chances of seeing a bear, as it turned out, were better than the chance of a bear seeing us: Bears have notoriously poor eyesight but excellent senses of smell and hearing. Though the black bear is classified as a carnivore, it will eat almost anything, including grass, insects, rodents, fish, and garbage. A grown bear isn't much taller than a St. Bernard—about 25 inches at the shoulders—but it can weigh up to three hundred pounds and is surprisingly fleet-footed. Unlike the bad-tempered grizzly, of which there are none in this part of the U.S., the black bear is unlikely to attack a person, the exception being a sow that believes her cubs are in danger. In the winter, bears look for windfalls—a boulder or a tree base will do—to make a den, and cubs are usually born in January or February, while the sow sleeps. By the time the new mother is ready to leave her den, the cubs are strong enough to follow. They will stay with her for about two years, then strike out on their own.
After 45 years of park protection and the elimination of grazing, the Chisos Mountains are today probably a more suitable habitat for bear than they were in the thirties. Nevertheless, it is comforting to realize that the bear returned without any additional help from mankind. This is a tribute to what park superintendent Rob Arnberger calls the Mexican connection. "It's important that we have a reserve of bears to our south," says Arnberger, who hopes that publicity generated by the bears' return will revive interest in a sister park across the border in Mexico. Opening a sister park (apparently the idea of an international park is dead) has been discussed—and delayed—for years, in part because the Sierra del Carmen range is privately owned, and the Mexican government has shown no inclination to buy it.
The return of the Mexican black bear reminds us that Texas has been given a rare opportunity, one that isn't likely to come our way again. The Big Bend is one of our most important wildlife areas, one of the few places in the state to preserve a complement of the wildlife that was here when the first settlers arrived. The park has a resident population of about two dozen mountain lions, the maximum it can sustain. The Texas Parks and Wildlife Department is studying plans to reintroduce the bighorn sheep to the Black Gap Wildlife Management Area, just beyond the park's eastern border. The two bear cubs who created all the excitement in the summer of 1990 have left their mother and are traveling separately, and there is at least one other sow with a cub and maybe one or two more adult bears in the park.
The female who now seems destined to be the mother of the park's resurgent population may have already bred again. The park has scheduled a seminar on black bears, taught by Eric Hellgren of Texas A&I University, on April 30 (registration deadline is March 30), by which time there may be several new toylike cubs in residence.
Welcome to Palo Pinto, Texas's Next State Park
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Barbecue and Mexican Cuisine Strongly Represented Among the 2023 James Beard Award Semifinalists
By José R. Ralat
José R. Ralat
José R. Ralat is Texas Monthly's taco editor, writing about tacos and Mexican food.


Hiking is a walking activity that is conducted on trails, roads, paths and even across natural terrain whereas the enthusiast walks along a course towards a destination. It is a year-round endeavor that can include all types of terrain and is considered excellent exercise both aerobically and physically. Hiking is often done with backpacks and Spartan camping gear with hand held GPS navigational devices. It can be one of the least expensive outdoor activities to engage in.
Compasses have been around for a long time. They were developed for maritime use on ships to navigate the oceans of the world.
Using a compass to go in any particular direction in the woods is fairly simple.
There are 4 basic types of compasses that are used for navigational pursuits and each has their applications that make them more or less suitable for the hiker.
Orienteering is a competitive sport that hones the skills of the woodsman and hiker alike.
There are 10 essentials for outdoor activities of the more adventurous nature.
While modern hiking and other outdoor activities are usually accompanied by a GPS system, there is always a place for your compass in a pocket that could very well save your life some day.
One of the most disconcerting experiences you can have in the woods is to become lost.


A good shepherd leads his sheep to pasture. He cares for their every need. He does not drive the sheep with the shepherds crook, but rather uses it to correct the wayward.
Leadership, at any level, should know and follow the example of the Good Shepherd. Failure to do so leaves the sheep without guidance and in danger. Whenever leaders lose their concern for the people they are supposed to lead and concern themselves with themselves, then the people are in trouble.
The nation of Israel, during the time of Uzziah, knew a time of great prosperity. As then, so now today. It is always a great danger when the leadership is focused on selfish desires rather than the needs of the people. With leadership asleep at the helm, the people will be lulled into a false sense of security. Priorities in life are turned upside down. The things offered by the world become the focus, rather than the things of heaven.
A self-indulgent leadership leads to a self-indulgent people. The combination spells trouble of any nation. It is a deadly combination. It is one that is being played out in our own country. As long as the people's bellies are full and they experience prosperity, and there are no leaders to whom the people can look for guidance, then the nation, so afflicted, teeters on the brink of disaster.
Any nation, so prospering with material things, being so secure of body, so careless with the time allowed, will never see the foundations of their nation crumbling. They will never take note of the coming disaster. They will never feel the trembling of the earth – a sure warning. Amos preached two years before the earthquake, yet the people, so led, did not heed the warning.
Amos tried to warn the people by telling them to look at the nations around them who had fallen victim to the same deceit. If America is to endure for long, we had better look at the history of the nations before us who have suffered the same end as that of Israel.
I would point you to two nations in history whose people, because of poor leadership, were seduced into tolerating the present plight of things until disaster struck. Examine the reign of two kings, one of England and the other of France. Charles I of England, Louis the 16th of France . Both of them were puffed up with pride and greed, supported a sovereign monarchy, the feudal system – a system Americans are well on the road of knowing. It was a system in which the monarch, the judiciary, the nobility and the clergy, became so corrupt that there was no one that the people could look to for relief when the bread they earned was eaten by the leadership. They were left with nothing but the burden of heavy taxes and what little crumbs were left. People may be ruled as long as they get the crumbs from the rich man's table, but deprive them of the crumbs and they will rise up and blood will flow.
The bloody revolts of the masses in England and France ought to provide us a lesson for our own nation. I believe our present leadership fears such a revolt, hence the need to disarm, as did Hitler in Germany the people, prompted by those who ignored the law of the land for what appears to solve a problem for a moment, but never does.
My concern for our land are based on the Scriptures of the Old and New Testament and upon the study of history. Amos had a direct word from God. Mine is indirect, though still from God. It is the written Word of God which reveals the will of God for men who lead and those who follow.
This is the mentality of the majority of America's leadership, and the people are suffering for it.
The cry of Amos for justice in the land was ignored. He was a nobody, a simple herdsman from the hills of Tekoa; never having been to seminary or college, but called of God to warn the people. When nothing changed on the part of the people, and the leadership remained unmoved, then, the Assyrian came down like a wolf on the flock of Israel. She became a victim in 586 B.C., followed by the same end for Judah in 722.
Like Amos, I am not a son of a prophet, but called of God. I pray for our leadership that they may be brought to repentance and lead the people in righteousness. The failure here always results in the difference between repentance and revolution, between blessing and blood. My plea is for repentance and blessing, because the death knell of every nation comes when the leadership promotes godlessness rather than godliness.
America will be no exception.
When the blind lead the blind, both will fall into the ditch.


La Paz not only has excellent natural attractions to visit by night, but excellent places to spend a lively night party. Night fauna lives mainly on the Malecon, a place that for its tradition and tourist fame is the favorite for listening to everything from relaxing music to blues to jazz to euphoric metal rock.
An excellent place where you can listen to Spanish Rock music, such as el Tri, Caifanes, or Los Heroes del Silencio. A favorite place for over 50 years, this is the classic La Paz nightclub. Experience the euphoric atmosphere and sing together with all your party partners.
This is the classic Anderson's chain nightclub with the greatest international hits. Delightful drinks and refreshing beers catch the eye ofLa Paz visitors. This is a place where you want to be seen. The main clients are young people hanging out with the gang on weekends. The most representative La Paz nighclub.
Comfortable spot located on a second-floor terrace, with the latest pop hits in English. Have fun at this place with an excellent atmosphere. Ask the locals, and they will surely tell you how to get here.
Nightclub located at the Palmira Hotel, where you find different kinds of music. One day you can listen to rock music, the next pop, later on in the week classic 60's rock until you get to blues and jazz. Imagine a planned tour through the different music genres, you don't have to look around all over La Paz, just come visit us!


Death In Vegas: Tim Holmes (keyboards); Richard Fearless (DJ).
Additional personnel: Iggy Pop, Dot Allison, Bobby Gillespie, Jim Reid (vocals); Ian Button (guitar); Seamus Beaghen, Gary Burns (keyboards); Ali Friend (acoustic bass); Matt Flint (bass); Simon Hanson, Will Blanchard (drums); London Community Gospel Choir (background vocals).
Recorded at The Contino Rooms and The Strongroom, London, England; Electric Lady Studios, New York, New York.
Richard Fearless and Tim Holmes are the masterminds behind Death in Vegas. They wrote most of the songs on THE CONTINO SESSIONS and laid down loops, beats and electronics, their tracks augmented by a revolving cast of friends. For the most part, the album combines majestic, spacy Britrock a la Spiritualized with the studio techniques of electronica.
The opener, "Dirge," is a near-instrumental that rings electronic variations on an incessant two-chord vamp, in the manner of a modern-day Hawkwind. Several cuts are all-instrumental, leaving Fearless and Holmes to work their subtle magic on harmonically simple but texturally shifting frameworks. A couple of famous guest vocalist pop up--Iggy Pop delivers a tale of murder and mayhem on the ominous, punky "Aisha" and Jesus & Mary Chain's Jim Reid is on hand for "Broken Little Sister," a moody rocker not dissimilar to Reid's previous work. Things close on a celebratory note with the rapturous, elegantly unfolding instrumental "Neptune City."
Rolling Stone (9/30/99, p.84) - 3.5 stars out of 5 - "...rock that feels like techno....Gorgeous and wasted, THE CONTINO SESSIONS sounds like blues for space cowboys."
Entertainment Weekly (10/1/99, pp.74-5) - "...[their] songs lock into a groove and slowly burrow into your consciousness....With their repetitive guitar riffs echoing against electronics...their appeal doesn't fade..."
Q (1/00, p.84) - Included in Q Magazine's "50 Best Albums of 1999."
Q (10/99, p.117) - 4 stars out of 5 - "...stands as an attention-grabbing, chapter-closing masterpiece of darkling dance-rock psychedelia."
Alternative Press (10/99, p.91) - 4 out of 5 - "...frequently [succeeding] in matching the breadth of its ambitions....THE CONTINO SESSIONS finds DIV evolving into a band who can transcend the divisions between dance and rock cultures."
Muzik (1/00, p.69) - Ranked #7 in Muzik's "Albums Of The Year '99"
Muzik (10/99, p.95) - 5 stars out of 5 - "...a sepulchral, formidable inner space where the funk is evil, the guitars bittersweet, the vocals plaintive and the basslines beautifully surly. Truth is, a band headed by a dance DJ has just made this year's best rock album..."
Mojo (Publisher) (1/00, p.31) - Ranked #25 in Mojo Magazine's "Best of 1999."
Mojo (Publisher) (10/99, p.95) - "...its vision is resolutely bleak, its atmosphere airless and unsettling....[straying] into new areas previously unexplored in dance music. [DIV] have stopped imitating and begun innovating..."
You can earn a 5% commission by selling Contino Sessions on your website. It's easy to get started - we will give you example code. After you're set-up, your website can earn you money while you work, play or even sleep! You should start right now!


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Income Tax Assessment Act 1936
PART III - LIABILITY TO TAXATION
Division 6 - Trust income
Div 6 heading substituted by No 12 of 1979.
SECTION 95 INTERPRETATION
In this Division:
adjusted Division 6 percentage ,
of an entity that is a beneficiary or trustee of a trust estate, means the entity ' s Division 6 percentage of the income of the trust estate calculated on the assumption that the amount of a capital gain or franked distribution to which any beneficiary or the trustee of the trust estate is specifically entitled were disregarded in working out the income of the trust estate.
Definition of " adjusted Division 6 percentage " inserted by No 62 of 2011, s 3 and Sch 2 item 2, effective 29 June 2011. For application provisions see note under s 95AAA .
adjusted net income ,
in relation to a trust estate, has the meaning given by subsection 100AB(4) .
Definition of " adjusted net income " inserted by No 62 of 2011, s 3 and Sch 2 item 3, effective 29 June 2011. For application provisions see note under s 95AAA .
Division 6 percentage :
(a) a beneficiary of a trust estate has a Division 6 percentage of the income of the trust estate equal to the share (expressed as a percentage) of the income of the trust estate to which the beneficiary is presently entitled; and
(b) the trustee of a trust estate has a Division 6 percentage of the income of the trust estate equal to the share (expressed as a percentage) of the income of the trust estate to which no beneficiary is presently entitled.
However, if the income of a trust estate is nil:
(c) a beneficiary of a trust estate has a Division 6 percentage of the income of the trust estate of 0%; and
(d) the trustee of a trust estate has a Division 6 percentage of the income of the trust estate of 100%.
Definition of " Division 6 percentage " inserted by No 62 of 2011, s 3 and Sch 2 item 4, effective 29 June 2011. For application provisions see note under s 95AAA .
exempt income
, in relation to a trust estate, means the exempt income of the trust estate calculated as if the trustee were a taxpayer who was a resident.
See also Division 54 of the Income Tax Assessment Act 1997 (in particular, the provisions in section 54-70 about trusts), which provides a tax exemption for certain payments under structured settlements and structured orders.
Definition of " exempt income " amended by No 139 of 2002.
net income ,
in relation to a trust estate, means the total assessable income of the trust estate calculated under this Act as if the trustee were a taxpayer in respect of that income and were a resident, less all allowable deductions, except deductions under Division 393 of the Income Tax Assessment Act 1997 (Farm management deposits) and except also, in respect of any beneficiary who has no beneficial interest in the corpus of the trust estate, or in respect of any life tenant, the deductions allowable under Division 36 of the Income Tax Assessment Act 1997 in respect of such of the tax losses of previous years as are required to be met out of corpus.
A trust may be required to work out its net income in a special way by Division 266 or 267 in Schedule 2F to this Act or Division 275 of the Income Tax Assessment Act 1997 .
Definition of " net income " amended by No 41 of 2011, s 3 and Sch 5 item 376, by substituting " in Schedule 2F " for " of Schedule 2F " in the note at the end, effective 27 June 2011.
Definition of " net income " amended by No 79 of 2010 , s 3 and Sch 4 item 13, by substituting " under Division 393 of the Income Tax Assessment Act 1997 (Farm management deposits) " for " under Schedule 2G " , effective 1 July 2010.
Definition of " net income " amended by No 56 of 2010, s 3 and Sch 3 item 1, by inserting " to this Act or Division 275 of the Income Tax Assessment Act 1997 " at the end of the note, applicable in relation to CGT events that happen on or after the start of the 2008-09 income year.
Definition of " net income " amended by No 85 of 1998, No 39 of 1997, No 57 of 1990, No 107 of 1989 and No 111 of 1981.
Note to definition of " net income " inserted by No 17 of 1998.
non-assessable non-exempt income
, in relation to a trust estate, means the non-assessable non-exempt income of the trust estate calculated as if the trustee were a taxpayer who was a resident.
Definition of " non-assessable non-exempt income " inserted by No 66 of 2003.
has the same meaning as in the Income Tax Assessment Act 1997 .
Definition of " specifically entitled " inserted by No 62 of 2011, s 3 and Sch 2 item 5, effective 29 June 2011. For application provisions see note under s 95AAA .
S 95(1) amended by No 101 of 2006 , s 3 and Sch 2 item 266, by amending references to repealed inoperative provisions, effective 14 September 2006. For application and savings provisions see the CCH Australian Income Tax Legislation archive .
For the purposes of this Division, a trust estate shall be taken to be a resident trust estate in relation to a year of income if:
(a) a trustee of the trust estate was a resident at any time during the year of income; or
(b) the central management and control of the trust estate was in Australia at any time during the year of income.
In this Division, a trust estate that is not a resident trust estate in relation to a year of income is referred to as a non-resident trust estate in relation to that year of income.
S 95(3) inserted by No 190 of 1992.
S 95 substituted by No 12 of 1979.
Former s 95 amended by No 205 of 1976, No 51 of 1973, No 50 of 1966, No 48 of 1950 and No 22 of 1942.
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Worcester Historical Museum (WHM) is the only institution devoted to local history. It includes a research library of over 7,000 titles, an archive that houses thousands of documents, and a collection of artifacts, all vital to the study of Worcester history. A few examples of WHM's holdings include correspondence of abolitionist Abby Kelley Foster, Blackstone Canal Company records, Civil War era diaries and letters, and artifacts including early woodenware and ceramics, weaponry from the colonial era through World War II, paintings and sculptures, and a significant costume and textile collection.
WHM also owns and operates Salisbury Mansion, Worcester's only historic house museum. Built in 1772, it has been restored to its 1830s appearance. Thanks to the voluminous family papers, preserved at the American Antiquarian Society, it is one of the best documented historic houses in New England.
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Q: compare file size between two identical non sparse files while copying I'm using KVM to live migrate VMs from one host to another.
I have already written a web ui to do that. Now I want to implement a progress bar.
My idea is to compare the file size of the disk on the source and on the target while it's migrating.
Server1:
ls -ls /data/file.raw
858963 -rw------- 1 root root 21474836480 Dec 15 13:39 file.raw

Server2:
ls -ls /data/file.raw
698543 -rw------- 1 root root 21474836480 Dec 15 13:39 file.raw

Now, I took the allocated value and calculated it in percent.
100 / 858963 * 698543 = 81%
Fine. but there is one problem:
The disk is not sparse. The total size of the file is 1717926 blocks.
Actually, there are only 858963 blocks allocated. So the live migration is still copying the empty parts of the file while my progress bar is already at 100%
I already tried around with du and stat.
How to get only the transferred file size of the disk?

A: Use virsh migrate as already suggested, or take advantage of rsync's sparse files support, from man rsync:
-S, --sparse
              Try to handle sparse files efficiently so they take up
              less  space on the destination.

Try rsync -ahHS, add -P if you want to see progress and speed

redpajama_set_name: RedPajamaStackExchange


text:
1956 B.A.G. Spatz | The Bruce Weiner Microcar Museum 2013 | RM Auctions
1956 B.A.G. Spatz
Darin Schnabel ©2012 Courtesy o
The Bruce Weiner Microcar Museum | Lot 601
| Madison, Georgia
ID No.
Original and complete to the smallest detail.
Manufacturer: Bayerische Autowerke GmbH
Origin: Nürnberg, Germany
Production: 859
Motor: Fichtel & Sachs 1-cyl, 2-stroke
Power: 9.5 hp
Length: 10 ft. 10 in.
Identification No. 00236
Harald Friedrich, the co-owner of machine tool manufacturer Alzmetall, was thinking of expanding his tooling in the direction of presses for the new plastics materials. He had met the colorful Egon Brütsch at the Paris Salon, who impressed on him that plastics were indeed the future. Brütsch delivered a car and a set of plans, and Friedrich couldn't believe his luck that not only was he now making auto parts, but he was completing vehicles. He entered into a license agreement in December 1954.
In the spring, Friedrich was able to thoroughly test drive his Brütsch 200, called Spatz (Sparrow), on rough country roads, and he soon discovered that the fiberglass developed serious cracks at the suspension mounting points, which rendered the car completely unsalable—and Brütsch wasn't answering his phone.
He commissioned the legendary 77-year-old Professor Dr. Hans Ledwinka to make a proper automobile out of the Spatz. Ledwinka had designed Tatras and had played a leading role in the development of the Volkswagen, so he created a superb backbone frame characteristic of the Tatra's with a suspension like the Beetle's. Moving to four wheels was not so difficult a conversion, and so evolved the Spatz. Hydraulic brakes were a given, and the motor sat ahead of the wheels, making it a well-balanced mid-engine car. Free, unobstructed headlamps were acceptable in more countries, and the now split-windshield acquired a sturdy frame for better sealing with the top.
Friedrich knew the Sachs motor was marginal, but a replacement was unavailable, as BMW's Isetta motor was not for sale. He formed the Spatz-Fahrzeugbau to build the cars, and he also found time to build presses that cured the body shells in seven minutes instead of 24 hours. The problem of a dealer network was solved in July 1956 by a partnership agreement with motorcycle manufacturers Victoria in Nürnberg. The new company was called B.A.G. (Bavarian Auto Works).
The honeymoon was brief, as a car being tested by a magazine had an engine fire and Egon Brütsch was prepared to go to court regarding license fees for "his" car. Friedrich, after sleepless nights, decided within a few weeks to leave the partnership. This original-condition example came from Germany and is complete in all details, from the cast-aluminum rear license plate bracket through to the rare blinker lights and the delightful nose badge featuring a singing sparrow.
2012 Lexus LFA
1973 Porsche 2.7 RSH
RM | PRIVATE SALES
1959 Ferrari 250 GT Series II Cabriolet by Pinin Farina


text:
Film and Television: Biographies
Savini, Tom 1946-
Born November 3, 1946, in Pittsburgh, PA; married Nancy Hare, 1984; children: Lia (an actress). Education: Attended Carnegie-Mellon University.
Actor, special effects makeup artist, special effects supervisor, director, stunt performer, and stunt coordinator. Tom Savini Ltd. (special effects company), principal; Terrormania (haunted house attraction), Pittsburgh, PA, owner; Douglas School of Business, Monessen, PA, teacher of makeup special effects classes. Worked as a teenager in a traveling group that presented horror and magic shows at movie theatres; other work as a teenager included volunteer monster creator and makeup designer for a local television program called Chiller Theatre, Pittsburgh, PA; Optic Nerve Studios, Inc., special effects creator, 1994. Military service: Served as combat photographer in Vietnam.
Saturn Award nomination, best makeup, Academy of Science Fiction, Fantasy, and Horror Films, 1980, for Dawn of the Dead; Saturn Award, best makeup, 1986, for Day of the Dead; Lifetime Achievement Award, New York City Horror Film Festival, 2003.
Arthur, Martin, Libra Films International, 1979.
Blades, Dawn of the Dead (also known as Dawn of the Living Dead, George A. Romero's "Dawn of the Dead," Zombie: Dawn of the Dead, Zombies, Zombies: Dawn of the Dear, and Zombi), United Film Distribution, 1979.
Nicky, Effects (also known as Death's Director and The Manipulator), International Harmony, 1980.
Disco boy, Maniac, Analysis Film Releasing, 1980.
Morgan, Knightriders (also known as George A. Romero's "Knightriders"), United Film Distribution, 1981.
Second garbage man, Creepshow (also known as Cuentos de ultratumba), Warner Bros., 1982.
Himself, Il mondo dell'orrore di Dario Argento (documentary; also known as Dario Argento's World of Horror"), Vidmark Entertainment, 1985.
Himself, Document of the Dead, 1985.
Spirit of Jack the Ripper, The Ripper, Liberty Home Video, 1986.
The creep, Creepshow 2, New World, 1987.
Himself, Drive-in Madness! (documentary; also known as Screen Scaries), Imagine Video, 1987.
(Uncredited) The monomaniac, "The Black Cat" segment, Due occhi diabolici, Taurus Entertainment, 1991.
Himself, Dario Argento: Master of Horror (documentary), Vidmark Entertainment, 1991.
News photographer, Innocent Blood (also known as A French Vampire in America), Warner Bros., 1992.
Lieutenant Ron Vargo, Heartstopper (also known as Dark Craving), 1993, Tempo Video, 1996.
Roland, The Demolitionist, Simitar Video, 1995.
Sex Machine, From Dusk to Dawn, Dimension Films, 1996.
Himself, Halloween … The Happy Haunting of America! (documentary), Chuck Williams Productions/Whiz Bang Entertainment, 1997.
Deputy Hughs, Children of the Living Dead, Spartan Home Entertainment, 2001.
Eddie Rao, Eyes Are Upon You (also known as Demon Lust), 2001.
Uncle Joe, The Monster Man, 2001.
Rouge, Web of Darkness, Renegade Films/Savage Armadillo Productions, 2001.
Salt Lake City detective, Ted Bundy (also known as Bundy), First Look International, 2002.
Stranger, Blood Bath, 2002.
Jesus Christ, Zombiegeddon, Nickel Duck Productions/Wild Range Productions, 2003.
Kane, Vicious, MTI Home Video, 2003.
County sheriff, Dawn of the Dead, Universal, 2004.
The higher power, The Absence of Light, New Illusions Pictures, 2004.
Victor Tonelli, Unearthed, Pheromone Films, 2004.
Himself, UnConventional (documentary), Revolution Earth Productions, 2004.
Man, "The Psychic" segment, Death 4 Told, Asylum, 2005.
Stephen, Forest of the Damned (also known as Demonic, Johannes Roberts' "Demonic," and Johannes Roberts' "Forest of the Damned"), American World Pictures, 2005.
Machete zombie, Land of the Dead (also known as George A. Romero's "Land of the Dead," Land of the Dead—Le territoire des morts, and Le terre des morts), Universal, 2005.
Cabby, A Dream of Color in Black and White, Lions Gate Films, 2005.
Fate, 2005.
Sheriff, Beyond the Wall of Sleep, Lions Gate Films Home Entertainment, 2006.
Prester John, Sea of Dust, 309 Productions, 2006.
Himself, American Scary (documentary), Z-Team Productions, 2006.
Deputy Tolo, "Planet Terror" segment, Grindhouse (also known as Quentin Tarantino's "Death Proof" and Robert Rodriguez's "Planet Terror"), Dimension Films, 2007.
Killer, Horrorween, Adirondack International Pictures, 2007.
Matthew, Small Time Crime, 72nd Street Productions, 2007.
Going to Pieces: The Rise and Fall of the Slasher Film (documentary), ThinkFilm, 2007.
Film Work; Makeup Artist or Special Effects Makeup Artist:
Deathdream (also known as Dead of Night, The Night Andy Came Home, Night Walk, The Veteran, Whispers, and Soif de sang), MPI Home Video, 1972.
Deranged (also known as Deranged: Confessions of a Necrophile), American International Pictures, 1974.
Dawn of the Dead (also known as Dawn of the Living Dead, George A. Romero's "Dawn of the Dead," Zombie: Dawn of the Dead, Zombies, Zombies: Dawn of the Dead, and Zombi), United Film Distribution, 1979.
Martin, Libra, 1979.
Effects (also known as Death's Director and The Manipulator), International Harmony, 1980.
Eyes of a Stranger, Warner Bros., 1980.
Friday the 13th, Paramount, 1980.
(And horror sequence designer) The Burning, Filmways, 1981.
(And stunt coordinator) Maniac, Analysis Film Distribution, 1981.
The Prowler (also known as The Graduation and Rosemary's Killer), Sandhurst, 1981.
Nightmares in a Damaged Brain (also known as Blood Splash, Nightmare, and Schizo), 21st Century Film, 1981.
Xiao sheng pa pa (also known as Till Death Do We Scare and Siu sang ong ong), 1982.
(With others) Alone in the Dark, New Line Cinema, 1982.
Creepshow (also known as Cuentos de ultratumba), Warner Bros., 1982.
Midnight (also known as Backwoods Massacre), Independent International Pictures, 1983.
(And special effects supervisor) Friday the 13th—The Final Chapter (also known as Friday the 13th: Last Chapter and Friday the 13th: Part 4), Paramount, 1984.
Day of the Dead (also known as George A. Romero's "Day of the Dead"), United Film, 1985.
Maria's Lovers, Cannon, 1985.
The Texas Chainsaw Massacre, Part 2 (also known as The Texas Chainsaw Massacre 2), Cannon, 1986.
Invasion U.S.A., Cannon, 1986.
Monkey Shines (also known as Ella and Monkey Shines: An Experiment in Fear), Orion, 1988.
Red Scorpion (also known as Red Exterminator), Shapiro-Glickenhaus Home Video, 1989.
(And supervisor) Due occhi diabolici, Taurus Entertainment, 1991.
Bloodsucking Pharaohs in Pittsburgh (also known as Picking Up the Pieces), Paramount Home Entertainment, 1991.
Trauma (also known as Dario Argento's "Trauma"), Republic, 1993.
Heartstopper (also known as Dark Craving), 1993, Tempo Video, 1996.
Killing Zoe, October Films, 1994.
Backstreet Justice (also known as Dead Wrong), Prism Pictures, 1994.
Special effects supervisor, Cutting Moments (short film), 1997.
Special makeup effects supervisor, Cold Hearts, 1999, Synapse Films, 2002.
Special effects supervisor, Web of Darkness, Renegade Films/Savage Armadillo Productions, 2001.
Ted Bundy (also known as Bundy), First Look International, 2002.
Film Work; Other:
Director, Night of the Living Dead, Columbia, 1990.
Stunt coordinator, Children of the Living Dead, Spartan Home Entertainment, 2001.
A Night of Movie Magic, The Discovery Channel, 1995.
The American Nightmare, Independent Film Channel, 2000.
Dario Argento: En Eye for Horror, 2000.
Hollywood Goes to Hell, 2000.
Bogeyman II: Masters of Horror, Sci-Fi Channel, 2004.
Dream of the Dead: George Romero, 2005.
A-Z of Horror (also known as Clive Barker's "A-Z of Horror"), 1997.
The 100 Scariest Movie Moments, Bravo, 2004.
"Horror Makeup: Fright Factories," Movie Magic, 1995.
Peter Reynolds, "Lost Boy," Sheena, 2000.
Voice, "Worst Episode Ever," The Simpsons (animated), Fox, 2001.
"Frightvition 2002," The Midnight Movie, 2002.
Appeared in "Halloween Candy," Tales from the Darkside, syndicated.
Television Appearances; Other:
Motorcyclist, The Boy Who Loved Trolls, 1984.
Chemical/weapons engineer, Mr. Stitch, Sci-Fi Channel, 1996.
Television Makeup Effects Specialist:
The Assassination File (also known as Out in the Cold), 1996.
(And designer) Mr. Stitch, Sci-Fi Channel, 1996.
Television Director; Episodic:
Directed an episode of Tales from the Dark Side, syndicated.
Scream Greats, Vol. 1: Tom Savini, Master of Horror Effects (also known as Scream Greats, Vol. 1), Paramount Home Video, 1986.
Il mondo di Dario Argento 2: Il museo degli orrori di Dario Argento, 1997.
The Dead Walk: Remaking a Classic, Columbia TriStar Home Video, 1999.
Two Masters' Eyes, 2003.
Savini's EFX, 2003.
The Many Days of "Day of the Dead," 2003.
Behind the House: Anatomy of the Zombie Movement, Artisan Entertainment, 2004.
Creature Feature: 50 Years of the Gill-Man, Cinematic Heroes/Gill Film, 2004.
Tom Savini: The Early Years, Blue Underground, 2004.
Interviewee and director, Chill Factor: House Call (also known as Tom Savini's "Chill Factor"), 2004.
The Dead Will Walk, Anchor Bay Entertainment, 2004.
(In archive footage) Nightmares in Foam Rubber, 2004.
After Effects: Memories of Pittsburgh Filmmaking, Synapse Films, 2005.
The Shark Is Still Working, Finatic Productions, 2006.
The Witch's Dungeon: 40 Years of Chills, Colorbox Studios, 2006.
Texas Frightmare Weekend 2006, Triple C Productions, 2006.
Flesh Wounds: Seven Stories of the Saw, Dark Sky Films, 2006.
It Runs in the Family: The Making of a Sequel, Metro-Goldwyn-Mayer, 2006.
Appeared as teacher and created special makeup effects for the music video "Twisted Sister: Come Out and Play," Atlantic Video, 1986; appeared in and created makeup for "Be Chrool to Your Scuel" by Twisted Sister.
Grande Illusions, Imagine, 1983, reprinted as Bizarro!, Harmony Books, 1986, then as Grande Illusions: A Learn-by Example Guide to the Art and Technique of Special Make-up Effects from the Films of Tom Savini, 1993.
Grande Illusions, Book II, Michelucci, 1988.
Contributor to periodicals.
International Dictionary of Films and Filmmakers, Volume 4: Writers and Production Artists, 4th edition, St. James Press, 2000.
Aspire!, January, 2000, pp. 4-6.
Dark Side, December, 2002, pp. 26-32.
Fangoria, March, 1996, pp. 64-68.
Electronic:
Tom Savini Official Site,http://www.savini.com, April 13, 2007.
"Savini, Tom 1946- ." Contemporary Theatre, Film and Television. . Encyclopedia.com. 12 Jan. 2021 <https://www.encyclopedia.com>.
"Savini, Tom 1946- ." Contemporary Theatre, Film and Television. . Encyclopedia.com. (January 12, 2021). https://www.encyclopedia.com/education/news-wires-white-papers-and-books/savini-tom-1946
"Savini, Tom 1946- ." Contemporary Theatre, Film and Television. . Retrieved January 12, 2021 from Encyclopedia.com: https://www.encyclopedia.com/education/news-wires-white-papers-and-books/savini-tom-1946
Savini, Tom
Makeup Artist and Makeup Effects Designer. Nationality: American. Born: Pittsburgh, Pennsylvania, 3 November 1946. Family: Married Nancy Hare, 1984. Education : Journalism major at Carnegie-Mellon University, Pittsburgh. Career: Actor in North Carolina; 1976—first association with the director George A. Romero who cast him in Martin; television work includes episodes of Tales from the Dark Side.
Films as Makeup Artist and/or Makeup Effects Designer Actor:
Deathdream (Dead of Night) (Clark)
Deranged (Gillen/Ormsby)
Martin (Romero) (+ role as Arthur)
Effects (Nelson) (+ role as Nicky); Dawn of the Dead (Romero) (+ role as Motorcycle Rider)
Maniac (Lustig) (+ role as Disco Boy); The Awakening (Russo); Friday the Thirteenth (Cunningham); The Burning (Maylam)
Eyes of a Stranger (Wiederhorn); Prowler (Zito); Friday the Thirteenth, Part II (Miner); Midnight (Russo); Nightmare (Scavolini)
Creepshow (Romero) (+ role as Garbage Man #2); Alone in the Dark (Sholder)
Maria's Lovers (Konchalovsky); Friday the Thirteenth: The Final Chapter (Zito)
Day of the Dead (Romero); Invasion USA (Zito)
The Texas Chainsaw Massacre Part 2 (Hooper)
Creepshow II (Gormick) (+ role as The Creep)
Monkey Shines (Romero)
Red Scorpion (Zito)
Due occhi diabolici (Two Evil Eyes; The Facts in the Case of M; Valdemar; The Black Cat; Edgar Allan Poe) (Romero, Argento)
Bloodsucking Pharoahs in Pittsburgh (Smithee/Tschetter)
Trauma (Argento); Heartstopper (Russo)
Killing Zoe (Avary); Necronomicon (Gans/Kaneko)
The Stitch (Avary—for TV)
The Assassination File (Harrison—for TV) (+ role as Chemical Weapons Engineer)
Cutting Moments (Buck); Claustrophobia (+ d, role)
Cold Hearts (Masciantonio)
Other Films:
Knightriders (Romero) (role as Morgan)
Night of the Living Dead (d)
Innocent Blood (Landis) (role as News Photographer)
The Demolitionist (Kurtzman) (role as Roland)
From Dusk Till Dawn (Rodriguez) (role as Sex Machine)
Eyes Are Upon You (Goldberg) (role as Eddie Rao); Wishmaster (Kurtzman) (role as Pharmacist Helper)
By SAVINI: books—
Bizarro, New York, 1983.
Grand Illusions: A Learn-by Example Guide to the Art and Technique of Special Make-up Effects from the Films of Tom Savini, Pittsburgh, 1993.
By SAVINI: articles—
Segnocinema (Vicenza), March 1982.
Écran fantastique (Paris), no. 33, April 1983.
Time Out (London), 22 September 1993.
On SAVINI: books—
McCarty, John, in Splatter Movies: Breaking the Last Taboo of the Screen, New York, 1984.
Russo, John A., Making Movies, New York, 1989.
Wiater, Stanley, Dark Visions: Conversations with the Masters of the Horror Film, New York, 1992.
Brown, Paul, and Nigel Burrell, Tom Savini: The Wizard of Gore, Mark V. Zeising Publisher, n.d.
On SAVINI: articles—
Film Comment (New York), vol. 17, no. 4, July-August 1981.
Starburst (London), no. 47, 1982.
Écran fantastique (Paris), no. 24, May 1982.
Cinéfantastique (New York), vol. 21, no. 3, December 1990.
Tom Savini, a makeup artist who specializes in special effects scenes of bodily disfigurement and mutilation, has (for better or worse) played a major role in the development of the modern horror film. It was his innovative work in prosthetics and latex, alongside that of other makeup effects designers such as Rick Baker and Rob Bottin, which at the end of the 1970s assisted at the unholy birth of what has come to be known in critical circles and the fan press as the "splatter movie." This is a form of horror film which brushes aside the Manichean struggles between Good and Evil which had characterized earlier horror films, offering instead a fascination with the impact of violence on the human body. In splatter movies, objects of violence which were usually hidden from view—most notably, the internal organs—are displayed to the film audience in graphic and unforgiving detail.
Savini worked for three years as a combat photographer in Vietnam, and it was there that he first encountered the scenes of violent death which he would later recreate on film. "[In Vietnam], I almost stepped on an arm once," he says. "A Viet Cong was shot by a buddy of mine and when he fell, a grenade he'd had primed under his armpit went off and just blew him to smithereens. I saw a lot of grisly stuff all right, and my stuff in films has been pretty grisly. If I've got anything of a reputation at all, I'm probably notorious for how real my stuff looks . . . well, most of the time. I would say in that respect, the realism of my stuff, the grisliness, the anatomical correctness of it probably does come from that experience. But I don't want to give the impression that I do this work because of my Vietnam experience. Not at all. It's all in the script. Somebody writes this stuff."
Returning to America, he pursued journalism then an acting career for a short while before following in the footsteps of his idol, the silent screen star and makeup master Lon Chaney, and moved into the area of effects makeup for the stage, then the screen. He quickly made a name for himself through his involvement with a number of major (and quite a few minor) horror films, including Friday the 13th and, perhaps most significantly, a series of films for director George Romero—Martin, Dawn of the Dead, Creepshow, Day of the Dead, Monkey Shines.
It can be argued that Savini, through his effects work, offers us a distinctly modern view of an alienated human existence. The assaulted bodies he creates are all flesh, and no spirit. They function as mere containers of organs and liquid substances, as sites upon which various makeup skills and techniques can be unleashed. Like Rick Baker and Rob Bottin, Savini has acquired a substantial cult following, most notably in the pages of Fangoria magazine, but also through books and videotapes detailing his work.
Savini's signature effect is the exploding head: shotgun-to-the-cranium gimmicks feature in Maniac, The Prowler, and Day of the Dead. But the importance of Romero's input to Savini's oeuvre can be gauged by comparing the uninspired decapitations and stabbings of such glumly misanthropic items as Maniac or Friday the 13th with the outrageous, transgressive "splatstick" of Romero's zombie movies—which offer a ghoul losing the top of his head to a helicopter blade like a breakfast egg, a severed head used as a bowling ball with eye-socket fingerholes, or a villain snarling "'choke on 'em" to the zombies gobbling his entrails. Recently, his collaboration with Romero has been eclipsed by work for the Italian visionary Dario Argento, who produced Dawn of the Dead, directed (with Romero) the two-part Two Evil Eyes (for which Savini recreated Poe horrors like the naked woman bisected by a pendulum and the exhumed corpse with all its teeth plucked) and the drab decapitation-saga Trauma (featuring a handy noose gadget that automatically guillotines with as much resonance as an electric can-opener). His fame can be seen as part of the shift in the nature of horror to which he himself has contributed. Within this the increasing foregrounding of and fascination with special effects techniques, both in films and in horror fanzines, has made him as much a star of the genre as any actor or director. "Yes, I think the effects people are becoming the stars of the films," he says. "What the critics say about films like Friday the 13th—that they don't have much plot or characterization and are an exercise in one death after another—is absolutely true. The special effects are the stars of those movies. I can't say that [this] bothers me. But I will say that there was a magic alive in a lot of the older movies—the horror films, the swashbucklers, whatever—that we don't see today. I personally feel that it's a lot smarter to leave things to a person's imagination, let him fill things in for himself. When your mind completes something, it's much more valuable to you, I think."
Part of Savini's familiarity with audiences may also boil down to the fact that he has indeed worked as an actor—taking major supporting roles for Romero in Martin and Knightriders, enjoying himself as a monster-fighting biker dude in Dawn of the Dead and Robert Rodriguez's From Dusk Till Dawn, and playing Jack the Ripper in the made-for-video The Ripper—and branched into direction, with a few installments of Tales from the Darkside on TV and a Romero-scripted remake of Romero's seminal Night of the Living Dead, which surprisingly holds back on the gory make-up effects as it plays clever variations on the original film.
—Peter Hutchings, updated by Kim Newman and John McCarty
International Dictionary of Films and Filmmakers Hutchings, Peter
Hutchings, Peter "Savini, Tom ." International Dictionary of Films and Filmmakers. . Encyclopedia.com. 12 Jan. 2021 <https://www.encyclopedia.com>.
Hutchings, Peter "Savini, Tom ." International Dictionary of Films and Filmmakers. . Encyclopedia.com. (January 12, 2021). https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/savini-tom
Hutchings, Peter "Savini, Tom ." International Dictionary of Films and Filmmakers. . Retrieved January 12, 2021 from Encyclopedia.com: https://www.encyclopedia.com/movies/dictionaries-thesauruses-pictures-and-press-releases/savini-tom
Burt Lancaster , Lancaster, Burt LANCASTER, Burt Nationality: American. Born: Burton Stephen Lancaster in New York City, 2 November 1913. Education: Attended DeWitt C… Clint Eastwood , Eastwood, Clint Personal Born Clinton Eastwood, Jr., May 31, 1930, in San Francisco, CA; son of Clinton and Ruth (Runner) Eastwood; married Maggie Jo… Harold Lloyd , Beginning his career in motion pictures in 1914 and quickly moving under the direction of Hal Roach, Harold Lloyd (1893-1971) developed a bespectacle… Lon Chaney , Lon Chaney (1993-1930), nicknamed "The Man of a Thousand Faces," appeared in 157 films between 1913 and 1930. He is remembered for his inventive use… John Frankenheimer , Frankenheimer, John FRANKENHEIMER, John Nationality: American. Born: Malba, New York, 19 February 1930. Education: La Salle Military Academy, graduat… Sylvester Stallone , Stallone, Sylvester Nationality: American. Born: Michael Sylvester Stallone in New York City, 6 July 1946; brother of actor Frank Stallone. Education…
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Federal regulators such as the Food and Drug Administration and the Environmental Protection Agency have failed to classify most environmental chemicals as harmful because of outdated science, archaic regulations, and the failure to consider peer-reviewed, published studies conducted by university scientists.
The Center for Research on Environmental Chemicals in Humans was founded in 2017 to provide support and financing for the first controlled human trials of the low-level effects environmental chemicals (including endocrine disruptors).
The need for the Center's work grew out of the past four years of experience by the The Stealth Syndromes Project and its research arm, the Stealth Syndromes Study.
The Center's Projects
Stealth Syndromes Human Study -- Approved by the University of California, San Francisco Medical School's Committee on Human Research in 2015, this is the controlled first human study of environmental chemicals. This effort is the #1 priority for CRECH and the object of fundraising.
The Stealth Syndromes Project -- This multi-year endeavor began as an effort to clarify environmental risks for a non-scientific audience. The founders have supported this multi-year project from personal time and funds.
PharmBlockers -- -- This is a fledgling effort that has resulted from Stealth Syndrome Project research which discovered that some environmental chemicals work in ways that counteract approved pharmaceuticals. READ MORE ABOUT THESE CRECH PROJECTS.
The center's Co-Founder Biographies
Lewis Perdue, Project Co-Founder, Co-principal Investigator
Becca L. Yeamans-Irwin, Collaborator, Project Co-Founder
Support science that helps you avoid harmful chemicals
Click here to donate.
We are a Tax-exempt, 501(c)(3) Non-Profit – Your donation is tax-deductible.
Click here for Guidestar Profile, IRS Filing and Documents
The Center for Research on Environmental Chemicals in Humans needs your help to conduct the world's first study of environmental chemicals in humans.
The research has been supported since 2013 by the personal funds and volunteer efforts of Co-Founders Lewis Perdue, Co-Founder and Becca L. Yeamans-Irwin.
However, the approval of a revolutionary protocol by the Committee on Human Research at the University of California Medical School demands a strict set of laboratory and test procedures requiring far more resources to accomplish this first-of-a-kind study.
Producing Valuable Health Information For Non-Scientists
That four-year. initial volunteer effort has produced substantial health information to help non-scientists understand how environmental chemicals affect their health.
That content found at The Stealth Syndromes Project.
Developing Landmark Study For Risk Assessment
In addition the co-founders — with the invaluable volunteer support of UCSF Professor and Co-Principal Investigator Victor Reus— developed the unique study protocol that led to the first approval of a controlled human study a CHR at any major research institution.
More about that effort can be found at The Stealth Syndromes Human Study
New Risk Assessment Method Created
That effort has also resulted in the development of a potential new method for environmental chemical risk assessment: The PharmBlocker method.
Approved Research Now Moves To An Expensive New Phase
With that approval, the study moves into a new phase that requires substantial financial expenses due to the costs of sophisticated laboratory testing of test subject blood and urine samples.
Also expensive are the required laboratory assays of each meal consumed in order to directly measure environmental chemical concentrations and to establish precise nutritional composition.
Email To Learn How Your Time And Money Will Improve People's Health
Click this email link to get a personal reply.


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Q: Как получить path с svg файла? Подскажите, как можно получить path с svg файла?
Например, есть такой файл:
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Нужно каждый path отдельно.


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Out of Africa DVD review
Out of Africa was an endangered species when it was released in 1985. In 2016 it is all but extinct. The grand Hollywood romantic epic is a thing of the past, making way for the formulaic weepies from the pen of Nicholas Sparks et al. No more obvious example of this can be found in the introduction of Robert Redford's character, Denys Finch Hatton – a big game hunter carrying a pair of huge elephant tusks. That is not an image you would expect to see in the portrayal of a romantic leading man nowadays. It is far more likely that they would be sanding a boat, at sunset, with their shirt off.
So yes, this is my way of saying that it is all a bit old fashioned. Very deliberately paced, melodramatic and overly long, Out of Africa is most certainly the last of its kind.
Directed by Sydney Pollack, the film is beautifully made and features some stunning cinematography. His sweeping vistas of the Kenyan landscape are incredible and stir the soul with their beauty, but after a while you just want him to get on with the story.
Which just so happens to be the story of Karen Blixen (Meryl Streep), a wealthy Danish woman who travels to Kenya during the last years of the British Empire for a new life and a marriage of convenience. Unfortunately for her the marriage turns out to be anything but convenient. Her husband Bror (Klaus Maria Brandauer) is a philanderer, who disappears for weeks on end to go hunting, while she is left to manage the coffee plantation that he purchased with her money.
Into her life comes the rugged American big game hunter, Denys Finch Hatton (Redford). In real life he was not an American. He was British. An Eton and Oxford educated son of an Earl. An aristocrat who travelled to Africa to hunt animals. Somehow I don't think that would have been quite as romantic now would it?
Over the course of many years their close friendship develops into a passionate love affair. In one of the film's most famous scenes, whilst out on safari together, Denys washes Karen's hair. Her lips parted in sensual awakening as he rinses the soap from her hair. A million shampooing fantasies were born in this moment.
The performances in the film are universally excellent. In perhaps her most iconic performance, Streep shows why she is the greatest screen actress of her generation, delivering a note perfect evocation of Blixen. Redford is also on top form as the man in her life, who like Africa, is too wild to be tamed. Surprisingly though, when it came to Oscar night, the actors were just about the only people who went away empty-handed. The film won seven Academy Awards in total, including Best Picture and Best Director.
Your enjoyment of this film will depend entirely on how much you buy into the central relationship. If you are gripped and enthralled by the romantic liaison of Streep and Redford, then you will find much to love in this old-fashioned epic. If however, you are somewhat less than gripped by what is happening on screen, then the slow pace and extraordinary running time may test your patience to the limit.


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From December 17, 2021 all members are required to have confirmed their Covid-19 vaccination status for inclusion in member records.
From January 31, 2022 a 'No Jab - No Play' policy will be in force where only vaccinated members can participate in NAGC competitions or enter the clubroom. Members who have not demonstrated their Covid vaccination status will not be able to register for competition play and must refrain from enetering the clubroom.
Members are required to scan the QR code displayed in the clubroom, for contact tracing purposes, as well as having scanned the QR code in the golf course pro shop.
Occupancy restrictions for the clubroom and public spaces have been relaxed to three persons per four square meters (seated) and on person per two square meters (standing) as per SA State Government guidelines Level 1 Restrictions.
All other restrictions, including wearing of masks in indoor spaces will remain in force.
Refer to the SA Government website for further detail on restrictions.
https://www.covid-19.sa.gov.au/restrictions-and-responsibilities/activities-and-gatherings/current-activity-restrictions#pending_info_431246
Please observe the current activity restrictions and remain safe.


Uniform of the Rhodesian Horse Volunteers.
Death: Kurt Rene Kreuter 9201 Alastair Honeybun reports, with regret, the death of Kurt Kreuter on 22 September 2014 at Johannesburg, South Africa. He was 58 years old. Kurt joined the force in June 1974 and served until June 1977, leaving with the rank of Patrol Officer. He was in Traffic Branch, Highway Patrol. Kurt emigrated to South Africa and had trained and practised as a Paramedic, a career which was cut short by this death. Our thoughts and condolences go out to his widow, Esme, family and friends, to whom we extend our deepest sympathy.
Death: John Philip Bursby 6521Tim Cherry reports, with regret, the death of John Bursby on 21 September 2014 at Tunbridge Wells, United Kingdom. John joined the force in November 1961 and served until November 1966, leaving with the rank of Patrol Officer to join Immigration Department. During his service he was posted to Matabeleland districts, including Fort Tuli and West Nicholson and ended up as public prosecutor in Gwanda. He emigrated to Canada and went into banking, which carried him to a London investment banking career. He retired to Thailand, but returned to the United Kingdom for health reasons. Our thoughts and condolences go out to his family and friends, to whom we extend our deepest sympathy.
Eastern Cape Newsletter: September 2014 Ed Holloway has sent his Eastern Cape Newsletter for your reading pleasure.
Death: Anthony William Austen Down 4696Andrew Wood reports, with regret, the death of Tony Down on 17 September 2014 at Vredenburg, South Africa. He was 84 years of age. Tony joined the force in March 1951 and served until January 1962, retiring on gratuity with the rank of Sergeant. During his service he was stationed at Bulawayo Urban and Gwanda, before transfer to Morris Depot as an Instructor. Tony also served in Salisbury District (Beatrice, Norton, Marandellas, Mount Darwin), Salisbury Urban (Liq and Drugs) and then was PP at the Salisbury Courts.. Our thoughts and condolences go out to his widow, Laura, family and friends, to whom we extend our deepest sympathy. He was at one stage a member of the Eastern Cape Branch of the Regimental Association and he shall be sadly missed by his former colleagues.
Death: Robert George Kerswell 4149Barry Henson reports, with regret, the death of Robert Kerswell on 14 September 2014 in Shropshire, United Kingdom. Robert joined the force in December 1946 and served until February 1957, retiring on gratuity with the rank of Detective Sub-Inspector. He spent most of his service in the Criminal Investigation Department. After leaving the force, Robert qualified and took up a career in the legal profession, eventually becoming a partner of a Salisbury legal firm. In 1971 he took up the honorary role of Legal Advisor to the Regimental Association. Our thoughts and condolences go out to his widow, Judy, family and friends, to whom we extend our deepest sympathy. He was a member of the United Kingdom Branch, and up until 2006 the Mashonaland Branch, of the Regimental Association and he shall be sadly missed by his former colleagues.
Tony Trethowan 9129 - Civilian Gallantry Award On Second September 2014, former member, Anthony Trethowan received an award for gallantry in a civilian division for his brave actions in an incident in Yemen, on 23 June 2007.
Tony was on duty at an airstrip in central Yemen, managing aircraft and passenger safety when he and a number of people came under automatic gunfire from a position behind them. The source of the firing was a Yemeni soldier armed with an AK 47 assault rifle. The soldier ran forward around the front of the plane, shooting at the body of the aircraft. A number of individuals were hit by the weapons fire. The renegade soldier was eventually shot by one of the military guards, hitting him in the left shoulder. Trethowan quickly ran forward to overpower and helped disarm the gunman then restrain him until help came and the soldier was handed over to military personnel.
During the attack Trethowan gave immediate life-saving first aid to a British man who had been badly wounded. That man later said that Trethowan had helped to save his life and very likely, the lives of at least 3 others. Trethowan also took a leading role in the recovery operation, supervising and directing personnel, managing the medical evacuation and escorting injured persons to medical facilities. One person died in the incident and 5 others were badly injured.
Once again Sandy Stokes put his house and grounds on the family farm at the disposal of the Association for the 13th BSAP Irish Gathering. The day started out cool and cloudy but by afternoon it was a lovely sunny day and the garden was enjoyed by all.
In all previous years the ladies had done a stalwart job in doing the catering and cleaning-up afterwards but this year they were given a break and the catering was done by Merecia Fitzgerald who hitherto had provided boerewors to the Gathering and who was now in the catering line. Merecia did an excellent job in providing the Friday night snacks for the Traditional Irish music night and also for the Saturday lunch. The ladies were thus free to enjoy themselves. Biff Way performed the function of M.C. and Raffle Master in his usual professional manner, assisted by Marie Berry, and raised the sum of 191.00 euro for Association funds. This despite the fact that attendance was a little down on last year, some last minute apologies having been received. Thanks, Biff and Marie, and also thanks to those who provided some great prizes for the Raffle.
Thanks also to those who travelled a long way to attend, like Rod Finnigan from Harare whom I last saw many years ago and those from the UK, including Life President Peter Phillips, Deputy Chairman Alan Toms, Almoner Peter Biddulph and Fred Punter who was responsible for the photographs. Apologies received from Mike Crawford, (4789) Joan Matchett, Associate Stan and Ann Mills, 4896 Frank Sadlier, 4209 Julian Burkitt. Next Gathering will be on Saturday 5th September, 2015.
BSAP Former Members Web News: The web site administrator's news pages are kept up to date by courtesy of the Regimental Association Branches and all those members who report recent news events concerning former members of the force. Your contributions and articles for publication are welcome. Have you or has a former member of the force achieved some fame or passed a milestone? Please drop me a line by and tell me about it. Send pictures too.


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I Lived Like a Celebrity for a Week, and Here's What Happened
Every year during awards season, I spend so, so many hours—just about every weekend in January and February—sitting on my sagging couch, my Thai take-out getting colder by the second, while I try my best to write as many posts as quickly as I can about every thing that goes on during the red carpets and award shows. It is not glamorous and super exhausting, and I've often wondered what it would be like if the tables were flipped. Wouldn't it be great to put on a fancy dress, get made up, and have my biggest task of the day be walking down a carpet? So, when an opportunity came up to attend the People's Choice Awards (always the first show of the season), I decided to make a whole week of it and truly live like the other half. Here's what happened... SUNDAY I woke up at the God-awful hour of 4:30 A.M. to get to the airport in time for my early flight to LAX from JFK (a very celeb-friendly flight route, of course). Because it was my last remaining hours as a non-famous person, I elected to call the shady car service I always use for airport
By Anna Moeslein
Every year during awards season, I spend so, so many hours—just about every weekend in January and February—sitting on my sagging couch, my Thai take-out getting colder by the second, while I try my best to write as many posts as quickly as I can about every thing that goes on during the red carpets and award shows. It is not glamorous and super exhausting, and I've often wondered what it would be like if the tables were flipped. Wouldn't it be great to put on a fancy dress, get made up, and have my biggest task of the day be walking down a carpet? So, when an opportunity came up to attend the People's Choice Awards (always the first show of the season), I decided to make a whole week of it and truly live like the other half. Here's what happened...
I woke up at the God-awful hour of 4:30 A.M. to get to the airport in time for my early flight to LAX from JFK (a very celeb-friendly flight route, of course). Because it was my last remaining hours as a non-famous person, I elected to call the shady car service I always use for airport trips. (Cheaper than Uber!) My driver pulled up in his tattered car right on time, but I was surprised to see a pre-teen boy sitting in the front seat. "It's OK if my son's here, right?" my driver asked while he threw—literally threw—my carry-on into his trunk. I mean, sure, it's not like I have an option otherwise, is it? On the bright side, having his child in the car did not at all stop this man from driving at a breakneck speed. I got to JFK in record-breaking time. Also, during our ride, the driver said "fuhgeddaboutit" in a non-ironic way, so, long story short, I love him.
After a long security line and six uncomfortable hours of being unable to recline my seat (never sit in an exit row), I finally arrived in Los Angeles ready to behave like the star I know I am. Greeting me at baggage claim was my driver, Frank, a polite, well-dressed man who helped carry my bags to his refreshingly clean SUV. Soon, we arrived at the Loews Hollywood Hotel. Now, this was truly a celebrity experience—my room had champagne in it waiting for me! And a view of the Hollywood sign! And I learned that this is the hotel where every celebrity gets ready for the Oscars at. The stars literally go there on the day of, get ready in their suites, then ride in their limos around the corner to the Dolby theater—even though the hotel literally connected to it. (All of the Oscar press interviews take place in the hotel's ballrooms.) I begged the staff to tell me which celebrities have stayed in my suite before or who will be staying there during this year's award show, but they remained discreet. That's good. I was just testing them anyway...I can't have them revealing that I, a celebrity, have stayed there, right? Another bonus of the hotel: It has a stunning rooftop helipad that is used for things like VIP guest happy hours and rooftop yoga classes. Here's the view:
A photo posted by Anna Moeslein (@annamoeslein) on Jan 4, 2016 at 4:26pm PST
But soon, hunger took over. I debated ordering room service—seems like a celebrity would prefer to have things brought to them versus venturing outside, no?—but then I saw on Google Maps that In 'N' Out was nearby and my love of burgers took over any reservations I had about being around people asking for my autograph. (Spoiler: They did not.) Also, celebrities love In 'N' Out! Miley Cyrus, Adele, and Beyonce have all been spotted there, so that was good enough for me. I will say: The burger was delicious, but the fries were...OK. But that's a review for another time.
After, I wandered around Hollywood Boulevard and pretended that I was just killing time before my appearance on Jimmy Kimmel Live!. Hollywood feels a lot like New York City's Times Square, which is to say that one visit is enough. I did, however, enjoy seeing the stars on the Walk of Fame. Despite my new "celebrity" status, I don't actually have a star there, so I picked the first person I could find who I'd like to be: Amy Poehler.
*Another morning where I had to wake up insanely early—this time for a private yoga class. Gotta get that Jennifer Aniston body! If I were Jen, I would exclusively do private yoga classes so that nobody can take photos of me in weird poses. There's no hiding when you're not feeling stretchy enough or if you look super awkward during a downward-facing dog pose. *Do I have a Jen Aniston body yet?
I guess one session isn't enough to tell.
After that, it was on to the activity I was most excited for: a massage at Exhale Spa. Heidi Klum and Cameron Diaz are reportedly fans of Exhale's Core Fusion classes, but I'm all about that relaxation. Before the massage, I got to pick my choice of scented oil. There were three options, so I chose the one I think Jen A. might be most likely to get: patchouli. Seems like her, right? Eh? After, the masseuse informed me that she felt a lot of tension in my left shoulder and showed me a stretch I can do to help. I had only been a celebrity less than 24 hours and already the stress of fame was showing!
After the massage, I headed to a leisurely lunch at Fig & Olive—a hotspot in Melrose Place for stars like Amanda Seyfried. I figured Jen, who I decided I was channeling that day, would likely order a salad….but then the waitress suggested the chicken sandwich and fries, and I was sold. So much for that Jen A body. The fries were worth it. They're called "skinny fries," which I assume means they are diet friendly. Right? RIGHT?!
Next, it was on to a VIP tour of the Dolby theater, where the Oscars are held. I even picked out my seat of choice: Front row between Channing Tatum and Keira Knightly is perfect, thankyouverymuch.
Later, we had dinner at Cleo at the Redbury Hotel. Scarlett Johansson and the Beckhams (Victoria and David) have been there before, though I didn't spot any celebs during my meal. After dinner, however, was a much better celeb-sighting experience. During drinks at Good Times at Davey Wayne's, a 70s-themed bar that plays vintage music, uses shag carpeting in the decor, and serves drinks like the "Tiny Dancer," I instantly spotted Marry Me's Ken Marino and Brooklyn Nine Nine's Joe Lo Truglio sitting on the patio with their buddies. I, a huge comedy nerd, wanted to shout "Wet Hot American Summer! The State!" as a sign of my respect for their work. But I refrained because I honor my fellow celebrities' privacy.
I had the option to take an early Soul Cycle class—it's a favorite of David Beckham and Jake Gyllenhaal—but...I opted for my beauty rest instead. If Adele doesn't care for spinning, then it's not for me either. That afternoon, I took a tour of the Warner Bros. lot and saw lots of cool things, especially Harry Potter memorabilia, but perhaps most exciting was the scoop I got on Gilmore Girls returning! (Read all about that here.)
Then, it was time to head to Beverly Hills for lunch. I dined at Thomas Keller's Bouchon a table over from Elton John's manager (or former manager? I forget) and ordered a steak. A steak! For lunch! So extravagant. It was delicious, but by this point the busy life of a celebrity (eating, working out, going to bed late after a night of networking) was starting to wear on me. I ordered a coffee to go with my meal, but even that didn't boost me up. After lunch, I met with celebrity stylist and personal shopper Joe Katz, but I could barely keep my eyes open. He was lovely as he escorted the group I was with around the Van Cleef & Arpels on Rodeo Drive, showing off jewelry that may or may not be loaned out for awards season, but I could feel myself winding down.
By then, I was so ready for a nap, but only had a few moments to check into my next hotel, the W Los Angeles-West Beverly Hills, and change before dinner at Hinoki & the Bird, a favorite of industry executives. The food was amazing, but I was so tired I couldn't figure out how to use the sink in the bathroom. True story. I wish I was kidding.
The big day of my trip! I started with brunch at Clementine. It's in the middle of industry offices in Century City, so many music celebs have been spotted there getting a bite. DJ Khaled Snapchatted a recent visit, and Calvin Harris reportedly loves their Turkey Caliente sandwich. Yum.
After brunch, I got a nail treatment at Bellacures, where stars like Jessica Alba have been known to go. Once I was all glammed up (and properly hydrated with mimosas), I rushed back to the hotel to get ready for the People's Choice Awards that evening. I ordered room service for a quick lunch because I knew I wouldn't be able to eat again until late that evening after the show—but my GlamSquad arrived at the same time as my food, so I only got to shove a few bites in before it got cold and sad. Oh well. I turned my attention on to my beautification process instead. The W Los Angeles-West Beverly Hills offers an awards season viewing package, which includes a cocktail party at STK, GlamSquad makeovers, and Rent the Runway, so I had rented a black jumpsuit from RTR (this one, to be exact) because I wanted that Taylor Swift/Emma Stone vibe. If they can wear a jumpsuit, I can too, surely? Too bad this one was slightly big on me, so I had to do some quick styling. You're only ever photographed from the front on the red carpet though, so I had that going for me.
Once I got to the PCAs, I stopped by the red carpet—and it was INSANITY. There were so many flashing lights and people and screaming and confusion. I don't know how celebrities do it. They all looked so poised and normal, but it was a literal zoo happening around them. After the show, I finally got to eat (at STK), but by then, it was so late that all I could stomach was a few mini sliders. (Burgers seems to be a theme in my life.)
Finally, a day off! I had a leisurely morning strolling around Westwood before heading off to meet up with Glamour's west coast contributor, Jessica Radloff, who basically acted as my personal handler for the day. She escorted me around the Television Critics Association winter press tour, which is a gathering for networks to highlight upcoming and current shows for the press, and we attended an HBO party, where I met real celebrities: Sesame Street puppets!
A photo posted by Anna Moeslein (@annamoeslein) on Jan 8, 2016 at 7:04am PST
The only food there that I could find were milk and cookies (and Cookie Monster had those on lockdown), so we headed to Cecconi's, a West Hollywood celebrity hotspot. It was crowded, so we were told the wait would be 45 minutes to an hour for a table. Did they not know that I am famous? I didn't want to pull that card though because I am humble and of the people. (And it would surely show up in TMZ the next day.)
By this point, my normal, non-celeb life had caught up with me (read: I had a ton of emails), so I took some time off from being famous to catch up. Snooze. But I did take a moment to get lunch at Plan Check, a favorite of Taylor Swift's. I ordered a fried chicken sandwich because it seemed southern-y and she has a house in Nashville, so maybe that's what she would order? (Eh, worth a shot.)
Later in the day, my exhaustion from the week hit and I fell asleep hard. But naps are miracle workers—within two hours, I was ready to hit the town again for one last famous LA experience: drinks at No Vacancy, a favorite of Rob Pattinson and K-Stew. I managed to reserve a table (they are hard to get!) and my friends and I ordered a giant punchbowl. A lot of people stared at us, clearly trying to figure out who we were to get such good seats and have such a giant bowl of punch. Finally, people notice that I'm famous!!! (Also, our gorgeous waitress was a former American Idol contestant because this is LA and of course.)
I also found a secret photo booth:
Time to go home back to my normal life. But I had one experience left: A driver in NYC greeted me in a Bentley. Here's a photo as proof:
As if this wasn't luxurious enough, the seats in the car have a back massager, which is the most wonderful thing that's ever happened after a long flight where I yet again could not recline my seat. (Gosh darn you, Virgin America.)
As I looked out the window of this fancy car, I reflected on my time and what it was like to be a celebrity. Yes, it was filled with wonderful new experiences and luxury that I could never afford day to day. But there was also a lot of pressure, stressful time management, and an inability to be in control of your own day. I was surprised at how happy I was to get back to my normal life—which included writing about the Golden Globes, on my couch, that very evening. I will miss that back massager though...
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Magenta ist eine französische Gemeinde mit  Einwohnern (Stand: ) im Département Marne in der Region Grand Est. Sie gehört zum Arrondissement Épernay und zum Kanton Épernay-1. Die Einwohner werden Magentais genannt.

Geographie
Magenta liegt an der Marne, die die südwestliche Gemeindegrenze bildet. Umgeben wird Magenta von den Nachbargemeinden Dizy im Norden, Ay im Osten und Nordosten, Épernay im Süden, Osten und Westen sowie Hautvillers im Nordwesten.

Geschichte
Der Name des Ortes erinnert an den französischen Sieg in der Schlacht bei Magenta im Sardinischen Krieg. 1965 wurde die Gemeinde durch die Teilung der Gemeinde Dizy-Magenta gebildet.

Bevölkerungsentwicklung

Persönlichkeiten
 Georges Deflandre (1897–1973), Paläontologe und Botaniker
 Jean Poirel (1910–1975), Widerstandskämpfer

Gemeindepartnerschaft
Mit der gleichnamigen italienischen Gemeinde Magenta in der Provinz Mailand (Lombardei) besteht seit 2009 eine Partnerschaft.

Sehenswürdigkeiten
 Kirche Sainte-Marie, 1893 erbaut

Weblinks

Einzelnachweise

Ort in Grand Est
Ort an der Marne
Weinbauort in Frankreich

redpajama_set_name: RedPajamaWikipedia


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Entertainment News | kissrichmond Staff
'Bronzeville' Ep. 7: Everett's Release Shakes Up The Town
As Bronzeville continues, all of the South Side celebrates Everett Copeland's (Wood Harris) release from prison after his two-year sentence for tax evasion ends. But Everett has concerns after he finds out that Curtis Randolph (Laurence Fishburne) is back in the game. Jimmy (Larenz Tate) meets with Mr. Faulkner and the two speak of Jimmy's changing life. […]
Laurence Fishburne's Daughter Montana Fishburne Arrested
Laurence Fishburne's daughter Montana Fishburne has resurfaced in the headlines after she was arrested for a driving under the influence in Florida Saturday morning, PEOPLE confirms. Montana was arrested after she reportedly hit a vehicle that slowed down to avoid a crash on the I-95. A Highway Patrol trooper reportedly found an open bottle on […]
Kevin Hooks Is The First African-American Director To Tell Mandela's Story
Director Kevin Hooks (Prison Break, Agents of S.H.I.E.L.D) makes his return to the small-screen in the six hour BET miniseries, Madiba, the life and legacy of Nelson Mandela (Laurence Fisburne). Hooks talks to the Tom Joyner Morning Show about the historical importance of Mandela's story and being the first African American to tell his story. https://www.instagram.com/p/BP-xaUNDMNi/?taken-by=bet […]
First Listen: Larenz Tate Channels Orson Welles With New Podcast Movie 'Bronzeville'
History becomes most vivid when it's told through stories, and that's exactly what Larenz Tate is betting on with his new series Bronzeville.
Little Known Black History Fact: 'Madiba' Mini-Series
Nelson Mandela has been cemented in the annals of history by way of his rise to power from an anti-apartheid activist to becoming South Africa's first Black president. The universally known tale of the late global icon will get a fresh look with BET's airing of a three-part mini-series titled after Mandela's tribal name, Madiba. […]
Still No Oscar? 8 Black Actors Who Should Have Won An Academy Award By Now
This year's #OscarsSoWhite controversy has sparked a lot of conversation about actors and actresses (past and present) who should have received acknowledgement from the prestigious award show.
Radio One Exclusives | kissrichmond Staff
Laurence Fishburne Reveals Who Is Hardest To Work With On Black-ish [EXCLUSIVE INTERVIEW]
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https://www.youtube.com/watch?v=FpE19SxLcTY&t=8s Film : '#Risknama' Directed by Aarun Nagar". The film releases in cinemas on 15th March 2019.
https://www.youtube.com/watch?v=FpE19SxLcTY&t=8s Film : '#Risknamaa' Directed by Aarun Nagar". The film releases in cinemas on 15th March 2019.
Gurjar Aandolan Full Movie गुर्जर आँदोलन फुल मूवी Directed By AARUN NAGAR.


text:
Emma Macpherson b.
Also known as Emma Blake
Artist (Draughtsman),
Artist (Painter)
Colonial female author and artist who painted watercolours of landscapes during her brief residence in Australia before returning to Scotland with her husband to live in an inherited castle.
Biographical Data
Associates 5 people
Works 11 works
Collections 1 collection
References 6 references
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Updated Oct. 26, 2014
Created Jan. 1, 1995