text:
Four engines and a truck company from the Billings Fire Department responded to a fully involved structure fire around 8 p.m. behind the Montana Convention Center on Midland Road in Billings on Tuesday, May 10, 2022. Battalion Chief Darrek Mitchell
Kalispell PD reports a "wanted man" was arrested earlier today at an apartment complex on Liberty Street
Two Missoula police officers were taken to the hospital and later released following a Sunday incident on Front Street
Billings Police respond to a robbery at the Maverick Casino at 710 14th St W on Sunday afternoon. A male suspect in his 30s entered the casino wearing a mask and black hoodie, passed a note indicating possession of a
The Billings Fire Department responds to a house fire at 252 Aristocrat Drive on Thursday. One person was transported to a local hospital with smoke inhalation after he went back in the house for a dog
Five fire departments, three emergency response agencies, and Northwestern Energy responded to a shop fire in the 7000 block of River Road in Gallatin County early Wednesday morning
The Billings Police Department is reporting two people are in custody after a robbery on Grand Avenue
1 July 2022Helena, Montana The Helena Police Department is looking for a missing 9-year-old girl who was last seen in the 1700 block of Lockey AvenueMissoula, Montana The Missoula Rural Fire District was called to the 100 block of Tower Street on Thursday afternoon on a report of a structure fire, Montana Missoula Rural Fire District crews quickly control fire on Tower St. ThursdayMontana Shooting in Lewistown, Montana. Details very limited. there is no threat to the public and at the area will be blocked off for quite some time. This is right next to the park in the area. , Montana I-90 westbound near Airway Blvd reopens after semi-truck fire, Montana A semi-truck caught on fire on I-90 westbound Monday near Airway BlvdTornado Warning including Alzada MT and Albion MT until 6:15 PM MDTBillings, Montana BPD received a call of a shooting with injuries. 1 injured and transported to area hospital. Suspect fled on foot and was not located. Suspect description: white male, 6', slicked back hair, goatee. Investigation ongoing. Billings, Montana 2400 block Overlook Dr (on top of rims). Officers responded to calls of a suspect shooting a gun off of the rims. Suspect located and arrested for criminal endangerment. Billings, Montana Structure fire reported on the 1200 Block of Concord Drive. Firefighters are responding to the scene. No further at this time, Montana Bozeman police are looking for a 16-year-old boy who was last seen near 1001 W Oak St. on foot at about 1:20 pmBillings, Montana Lacee Marie Robinson was last seen May 28 at a residence on Third Avenue South. She was recently diagnosed with a medical condition that makes her prone to illness, according to her family, and the Billings Police Department is investigatingBillings, Montana Michael Morado was killed in a shootout with police officers in an alleyway near North Park, according to a statement from Billings Police Lt. Matt Lennick. Lennick also named the 13 members of the Billings Police Department who fired theBillings, Montana A young teen is in custody after Columbia Fall police arrested him on suspicion of making threats against Columbia Falls Junior High School and its student bodyBillings, Montana At least one person is dead and a portion of a residential block near North Park is closed while police investigate a shooting which occured late Monday nightBillings, Montana The Billings Fire Department battles a 3 a.m. fire at the Colonial apartments at 223 South 27th Street on SaturdayBozeman, Montana Bozeman police say a suspect is in custody after an incident near the intersection of North Seventh Avenue and West Hemlock Street Friday eveningMissoula, Montana Avoid the area of East Broadway and Madison Street in Missoula due to police activity in the areaBillings, Montana A suspect has been arrested after a woman was found shot in a home on Stone StBozeman, Montana Police responded to reports of gunshots in the alleyway on the 200 block of Flathead Avenue a week and a half agoBillings, Montana Billings Police responded to a robbery on 29th St. W early Saturday morning, Montana A Helena police officer was called out Thursday morning for a report of a deceased man found in recycled cardboard at Pacific Steel and RecyclingBillings, Montana Aircraft Rescue and Firefighting staff will be performing an operational training exercise at the Billings Logan International Airport Wednesday eveningBillings, Montana Four engines and a truck company from the Billings Fire Department responded to a fully involved structure fire around 8 p.m. behind the Montana Convention Center on Midland Road in Billings on Tuesday, May 10, 2022. Battalion Chief Darrek MitchellMissoula, Montana Kalispell PD reports a "wanted man" was arrested earlier today at an apartment complex on Liberty StreetMissoula, Montana Two Missoula police officers were taken to the hospital and later released following a Sunday incident on Front StreetBillings, Montana Billings Police respond to a robbery at the Maverick Casino at 710 14th St W on Sunday afternoon. A male suspect in his 30s entered the casino wearing a mask and black hoodie, passed a note indicating possession of aBillings, Montana The Billings Fire Department responds to a house fire at 252 Aristocrat Drive on Thursday. One person was transported to a local hospital with smoke inhalation after he went back in the house for a dogBozeman, Montana Five fire departments, three emergency response agencies, and Northwestern Energy responded to a shop fire in the 7000 block of River Road in Gallatin County early Wednesday morningBillings, Montana The Billings Police Department is reporting two people are in custody after a robbery on Grand Avenue

redpajama_set_name: RedPajamaCommonCrawl


Naturally, the July issue of Bon Appetit is The Grilling Issue. Grilled chicken skewers, you say? Well, that's something I'd be making for dinner anyway, so bring it on. Additionally, I was looking forward to making these because they include sriracha and sambal oelek, the dynamic duo of spicy Asian condiments that are stocked in my fridge at all times. Usually, I feel like I should make a choice between one or the other, but here, I didn't have to choose between two of my best friends – they both came along to the party.
I had to make a few substitutions when making the marinade/sauce. I ran out of brown sugar, so I used a little less than what was called for. Also, I haven't been able to find a brand of fish sauce that doesn't make me totally gag. I've heard Red Boat brand is very good, but I haven't been able to locate that in a store in my area yet (I need to go on a fish sauce-hunting mission). So, instead of fish sauce, I substituted soy sauce to add some saltiness.
I'm happy to report that this recipe, even with my substitutions, was absolutely out of this world. Even better than my previous adventure with chicken and sriracha. It was the perfect balance of super spicy and kind of sweet. By no means, was it too spicy to eat (as long as you like spicy Asian food, I guess). In fact, as with many of Bon Appetit's cover recipes, it was so good that it was kind of hard to stop eating. Sure, I needed several tall glasses of ice water while eating it, but on a hot day, I probably needed the hydration anyway.
Meanwhile, preheat grill for direct grilling over medium-high heat. In a large bowl, whisk together vinegar, brown sugar, sambal oelek, soy sauce, sriracha and ginger. Add chicken and toss to coat. Thread chicken pieces onto skewers.
Transfer marinade to small saucepan. Heat to boiling over high heat. Reduce heat to medium; simmer 6 to 8 minutes or until reduced by half.
Transfer chicken skewers to grill. Cook, turning and basting with reduced marinade frequently, 8 to 10 minutes, or until internal temperature of chicken reaches 165 degrees F.
Gorgeous. And I can't stand fish sauce either!
Ugh, I know! I'm usually pretty open to most foods and condiments, even ones that smell weir. But fish sauce…I just can't.
Yum, these sound delicious. I often sub fish sauce for soy sauce and nobody has ever noticed!
Yeah, who needs fish sauce, right? 🙂 Thanks for stopping by!


text:
39: October 1953
Frontline Combat #14
"Albatross!" ★★ 1/2
"Bonhomme Richard!" ★★
Art by Joe Kubert
"Immelman!" ★ 1/2
"Whupped!" ★★★★
Story and Art by Jack Davis
Outside the 38th Parallel, the pilots aboard a Grumann SA-16 sea plane spot a lone raft being tossed about the waves and stage a quick and efficient rescue for the stranded soldier, battling the pull and crash of the tide as they maneuver their aircraft off the water and into the safety of the Japanese home base. The new guy quickly regrets his earlier scoffs that planes are nothing like boats when he hustles to the latrine after suffering a keen bout of seasickness from the bumpy ordeal.
Looks like an adorable little duck.
("Albatross")
This is another "story" of Kurtzman's that operates more like an anecdote or even a how-to manual most of the time and that never quite engages the reader beyond the tenuous fascination of learning something interesting. Peter and Jack seemed to dig this one, but aside from Wood's art and a sense of urgency kept at low-boil this one left me pretty cold. I had to laugh at the opening caption to "Albatross" which reads "Airplane story! ... But wait! We're not going to tell you about shrieking jets… hammering machine guns… exploding bombs! ... No!" It's almost as if Kurtzman's spirit was made aware of my noted ambivalence/boredom with the aerial yarns and came back to convince me that this was going to be something much better. As it turns out, I probably would've enjoyed this one more had it kept those strident elements.
Quick to make a liar out of me is "Immelman," the issue's sordid six-page "biography" of yet another WWI ace who became famous for feats of derring-do and bravery and, oh hell. This story suffers from the same detriment that "Albatross" did and, to be honest, one that sank a great many of the other aerial dogfighting tales: its visuals are just too flat. Let me be clear: the craftsmanship and technical skill that artists such as George Evans brought to the drawing board here and in other instances is more than evident, but the gridlocked panel layouts of the EC house style have typically restricted or outright strangled illustrations that should feel unbounded by gravity. This is interesting considering that Kurtzman was generally more willing to experiment with the format than, say, Feldstein, but for some reason (lest my memory is failing) all of the "airplane stories" from the past that come to mind all looked pretty much the same. I think this is a large contributing factor as to why they run together in my mind; I can't recall a totally arresting image from any of them like I can for other stories dealing with different branches of warfare (Army, Marines, Navy, etc.).
All taken from the same page.
("Immelman")
I'm sure I'm forgetting one really great plane yarn, but in any case "Immelman" definitely isn't it, and it's dearth of compelling visuals—minus one great shot of Immelman helping a wounded French airman from the wreckage of his craft—is compounded by the fact that the story is dull, dull, dull. An unfortunate call was made to source the brunt of the narrative from the pilot's actual diary entries, and they read just about as thrilling as anything that you or I would have recorded after a regular day's worth of shopping. First we're introduced to the maneuver named after our hero, then we're subjected to a laundry list of accolades that the pilot scored for his (drearily-depicted) victories, and then the ending happens. Even the fact that it's a blackly ironic one wherein Immelman inadvertently causes his own death when his malfunctioning machine gun shoots off the propellers on his plane couldn't completely wash away the taste of the tepid pages that preceded it for me.
Thus the onus falls on the other two stories in this issue to pick up the slack. "Bonhomme Richard," one of the legendary Joe Kubert's rare appearances in the EC playhouse, makes for passable enough entertainment. Its lilting, cyclical narration lends it a nice air of doom, and while Kubert's work here isn't necessarily anything to scream about it still communicates the rough-and-tumble work and exhaustion that comes with waging battles on the seas circa the 18th century. There is at least one standout illustration that uses a set of four consecutive panels to provide an effective wide-shot of the ship's deck, one that is mirrored by the final panel which shows our waterlogged protagonist telling his sea tale from the depths of Davy Jones' Locker aside the rotting frame of the S.S. Bonhomme Richard.
"Bonhomme Richard"
Thank goodness they saved the best for last. "Whupped" is a Civil War-set drama both drawn and conceptualized by artist Jack Davis. While Davis' first turn at the storytelling wheel left us a little underwhelmed ("Betsy", TFT 34), his second go at scripting his own assignment turns out incredibly well, likely due to the fact that here Davis is working with a subject that is near and dear to his heart. Right from the get-go we know that the artist is setting up the fresh-faced whelp excitedly joining the ragged Confederate ranks to ultimately experience a blistering encounter with reality, yet I for one did not expect Davis to go for the full Kurtzman-level "Everlasting Gobsmacker" effect that we used to see so often in the early days of Frontline Combat and Two-Fisted Tales.
The glories of war.
("Whupped!")
The salty sergeant who has unofficially taken the young buck under his wing doesn't even bat an eye when the full, ugly madness of battle slams into them like a tidal wave, both sides raving like blood-simple dogs while all about them people literally get their faces wiped off in gory spats of musket-fire and gutted like possums at the end of bayonets. It's an explosion of horror that seems to come out of nowhere, bursting onto the scene after moments of palpable exhaustion and gentle humor like a four-color spontaneous combustion. The title of the piece then in effect comes to describe not just the eager boy's brutal realization of war's vagaries as he meets death at the end of a blade but our own unmoored reactions to this slaughterhouse finale. To his credit, Davis never once shies away from the gruesomeness, but this is a world away from the human viscera-lined deli counter and more unnervingly close to an honest depiction of what it must look like when you give a hundred men a field to run around and stab each other in. I defy you to reach that last beautiful shot without being moved. --Jose
Is that you, Wally?
Peter: "Whupped!" reminds us that it wasn't just the horror titles that featured gore. That panel where a soldier's face explodes from a bullet is devastating in a way a human baseball field can never be. The final panel also packs a wallop even if it's been done before. "Immelman!" has nice Evans art (this was the last time Evans would work with super-precise Kurtzman; from here on out, George wrote his own war scripts) but the script becomes nothing more than a cataloguing of Immelman's "hits," with an ironic finale. "Bonhomme" features some glimpses of what would become the "Kubert style" years later. Though it's obvious from the get-go that the sailor is dead in the drink, that final panel is a stunner. My favorite story this issue is the one where the least amount of action takes place. "Albatross!" throws the spotlight on a service of the military oft-ignored (a trait that probably found Kurtzman a boatload of favor with servicemen), the sea-rescue. It's a fascinatingly detailed examination of a very dangerous vocation, one that might seem cushy to the outside world. Is that a self-portrait of Wally on the splash, panel 3?
Jack: "Albatross!" was also my favorite this time out. Is there anything Wood couldn't draw? It's a fascinating look at a sea plane rescue and shows how much research Kurtzman put into his stories. Even when there are no girls, Wood's work is a pleasure to see. Speaking of research, an editor's note in this issue's letters column says that this title and Two-Fisted Tales are dropping back from bi-monthly to quarterly because Harvey needs a break; it seems he has not fully recovered from his recent hospitalization for jaundice. I don't know if this is completely true or if the cutback was more due to poor sales, but these comics will be missed. I agree with Peter about the Davis story and think that Davis excelled at drawing the regular lives of regular folks: mud, rain, and all. The ending is very effective in its depiction of the waste of young life. The Kubert story is strangely uninvolving, despite telling of a thrilling battle, and the Evans story starts out with a great explanation of an in-air maneuver before boring us for four pages with a list of triumphs.
Williamson/Frazetta
"My Home . . ." ★★
"Saved" ★ 1/2
Art by Al Williamson and Roy Krenkel
"Planely Possible" ★★★
Story by William Gaines and Al Feldstein
"The Million Year Picnic" ★★★★
Art by John Severin and Bill Elder
"My Home . . ."
A rocketship crew, comprised of three men and one woman, lands on a planetoid, searching for uranium deposits, and is unaware each member is being closely watched by an alien in vapor form. The creature listens in and learns of the crew's plan to return to Earth (for more men to dig up the huge amount of uranium beneath the planetoid's crust) and decides to make the trip back with them. The thing discovers it can enter the human body and control its host (though the invasion kills the "life force" of the host), eliminating one of the men and turning the others against each other. What the vapor doesn't count on is falling in love with the gorgeous dame on board and, once assuming her husband's body, the toll its "occupancy" would take on the man. After all, it's tough to make love to a woman in a body that's rotting. Take it from me. There's the makings of a really good SF story in "My Home . . ." and some bits are memorable (after the alien has wittingly or unwittingly killed off all four members, it's cursed to drift forever through space in an unmanned rocketship), but there's some silly stuff here as well (Steve's turn on a dime from glum after Hal's death to smiling when he realizes he'll make more money as a result). Joe's art still seems to be getting weaker (though spacebabe Helen approaches Wally territory at times); let's hope that's temporary. In the end, let's say good concept, so-so delivery.
"Saved"
When the rocket ship Mercury returns without a crew for the fourth time, the Galactic Bureau of Investigation decides to investigate Captain Jargot and his death-ship. Agent Keston wins the trust of Jargon but the Captain confides that no sane rocketman will fly on the jinxed ship so the two "shanghai" a crew by kidnapping drunks and stowing them on board. But, after a victory toast with Jargot, Keston discovers he's been shanghaied as well. He wakes to find himself in chains and hears screams coming from a nearby chamber. One of the men, Sangor, lies chained next to him and informs him that the other crew members have been taken off to God knows what. Jargot enters to explain the situation: his Mercury is the fastest ship in the galaxy because it runs on a special formula: rocket fuel and human blood! Sangor breaks his chains, confesses he's a vampire, and drains Jargot. Relieved that he's been "Saved," Keston asks to be unchained, but Sangor smiles and tells him he'll be used as vampire fuel on the long trip home. An intriguing set-up devolves into silliness with the blood/fuel and vampire reveals (ah, the irony!). Williamson's art is inconsistent; at times it's brilliant, at other times sketchy and almost unfinished.
Walter Thurmond and his wife, Ruth, are in a terrible accident and Walter wakes in the hospital, long enough to watch his wife die in the bed next to him. Distraught, Walter must be sedated by his doctor. When again he awakens, a strange man looms over his bed. Introducing himself as Dean Warburton, "hospital laboratory technician," the man explains that he can make the world right for Walter again. There are four "possibility planes," according to Warburton: 1/Both Walter and Ruth survive the accident; 2/Walter lives, Ruth dies; 3/Ruth lives, Walter dies; 4/Both die. The nutty tech claims he can send Walter to a alternative universe with any of the four possibilities but one would present problems: if Walter were sent to the plane where both lived, there would be two Walter Thurmonds. Warburton suggests he send Walter to the plane where Ruth was the only survivor.
"Plainly Complicated"
"Plane Creepy!"
Walter quickly agrees, Warburton hits a few switches on a fancy doohicky (which he doubtlessly whipped up in his spare time without anyone else at the hospital having the foggiest notion) in his lab but something goes awry and Walter is sent to the plane where both he and Ruth are sitting up, worse for wear and tear, in their hospital beds. Thinking fast, Walter #1 waits for Walter #2 to fall asleep, binds and gags him, and takes him down to the hospital cellar where he pops him into the incinerator. Problem solved, Walter #1 heads back to his bed for some well-deserved sleep but that nap is disturbed when he's manhandled by Walter #1A and dragged down to the incinerator. Before he faces the Big Heat, he realizes that he's part of a big wheel that will keep on turning. As I've said before, I'm a sucker for these alternate reality/time-travel sagas and "Planely Possible," despite a whole lot of wordy expository, is a fun jaunt into that sub-genre. Very reminiscent, to me, of the excellent Spanish SF/horror film, Timecrimes (Los Cronocrímenes), also revolving around a man caught in an impossible number of realities. I have the usual complaints about Jack Kamen's stencils but must admit that the penultimate panel (Walter #1 being gagged by Walter #1A) succeeds in conveying the terror felt by the victim. Sure, Ruth looks exactly like every other Kamen dame and Walter and Warburton own the same goofy wide-eyed stare but, for one panel at least, Kamen comes through with flying colors.
"The Million Year Picnic"
On Mars, a family prepares for a fishing trek but, as the day goes on, the children realize that they are in for more than just a little vacation. This family has come from Earth to find a new world to colonize and, hopefully, avoid the traps that have doomed Earth. One of the young boys constantly exclaims that he wants to see real Martians and, in the end, when the family is looking at their reflection in a river, the father points and tells his family, "There are the Martians." Like many of Ray Bradbury's stories, a simple synopsis does not suffice; you really have to read the darned thing. So it is with "The Million Year Picnic," perhaps the best and most powerful of the Bradbury/EC collaborations (we've still got a few more to go, so we'll see how this one stands up), a story that takes its time and presents a certain creeping dread upon the reader, a dread which is unfounded in the end. We naturally expect the worst from a story about Mars but Bradbury manages to turn the extinction of Earth into a message of hope. "Million Year" almost resembles a Father Knows Best episode on Mars, with its strong-chinned and morally-grounded patriarch. Severin's art, as usual, is fabulous and meshes perfectly with Elder's inks. "Picnic" originally appeared in the Summer 1946 issue of Planet Stories and was absorbed into The Martian Chronicles (as its last "chapter"). --Peter
Jack: This is one of the worst overall issues of an EC comic I can remember. Bradbury's lyricism elevates "Picnic," but the story is rather plodding and the conclusion is obvious from early on. "Saved" is bizarre but kind of fun in the end, while "My Home . . ." is rescued from tedium by the appearance of a rotting corpse. Why is Helen even on board? She doesn't seem to add anything to the crew. Worst of all is "Planely Possible," which is among the bottom of the barrel for 1953. Kamen's art is at its weakest and the story is convoluted and not worth the trouble to unravel. Is it suicide if you kill another version of yourself in an alternate plane of reality?
"An Off-Color Heir"★★
"Dig That Cat . . . He's Real Gone!"★★★
"Corker!"★★
Art by Jack Kamen and Bill Elder
"The High Cost of Dying!"★★★
Impoverished portrait painter Laura Harber is thrilled when handsome and rich Gilbert Rais hires her to paint his portrait. She is even happier when he proposes marriage and takes her to his ancestral mansion in the Louisiana bayous. Laura is a bit freaked out by a portrait of his ancestor, Baron Gilles de Rais, from 1684, but she is more than happy to explore the mansion's 22 rooms—until she finds a 23rd. Despite Gilbert's telling her to stay out of the locked room, she can't wait to explore it. Meanwhile, Gilbert decides to grow some facial hair. She finds a key to the room and, after Gil heads off on a business trip, she enters and finds the bodies of seven women whose throats have been cut. She takes some turpentine and washes the snow white beard off of the man in the portrait, then turns to see her husband—descendant of Bluebeard and happily carrying on the family tradition, "An Off-Color Heir."
Facial hair coloring goes horribly wrong.
("An Off-Color Heir!")
Ghastly's art is even weaker than usual in this disappointing story. Thanks to Wikipedia, I just found out that there was a real Gilles de Rais, but he was not the inspiration for Bluebeard and he lived in the 1400s, not the 1600s. I guess Bill and Al didn't put the same level of research into the horror books that Harvey put into the war books.
Dr. Emil Manfred has figured out how to take the nine lives from a cat and transfer them to a human by means of a glandular transplant. He convinces a skid row wino to undergo the operation and it works! Renamed Ulric the Undying, the wino and the Doc split the proceeds from several highly publicized deaths, where they make big wagers and charge admission. Ulric gets greedy and kills the Doc, but when the time comes for his eighth death and he is buried alive, he realizes that he miscounted and the dead cat used the first of his nine lives.
"Dig That Cat . . . He's Real Gone!" uses a familiar formula that fits the particular skill set of Jack Davis—a series of violent deaths capped off by an ironic twist ending. The fun comes from watching all of the ways Ulric will get killed and from anticipating what will cause his downfall.
Al Feldstein and Jack Kamen battle for panel space.
("Corker!")
Dr. Peter Raymond's fiancé, Janet Daly, visits a swami as a last, desperate attempt to figure out the reason for her recent personality change. Once a good girl, Janet turned into a pleasure-seeking wild woman six months before and now keeps trying to kill herself. The swami diagnoses her as being possessed by a Lamia, a devil that gets bored and must destroy its host body to escape. The Lamia entered her when she witnessed a decapitation by hanging, so the only way for it to exit is if her head is removed. She runs away from Peter and jumps in front of a subway train; once she is decapitated, the Lamia moves on to its next host—Peter!
Reed Crandall to the rescue!
("The High Cost of Dying!")
This story is a "Corker!" all right, but not a good one. The strange blend of Kamen and Elder makes for a weird hybrid and the explanation regarding the Lamia is another one of Bill and Al's overly complicated setups. There's never any doubt about the ending, which is not a good thing in a story where the surprise ending is supposed to be the whole point.
In 1867 Paris, poor Henri Courbet learns "The High Cost of Dying!" when his wife passes away from malnutrition. A new city ordinance requires the dead to be buried within a day and Henri can't afford the 55 franc change for a funeral, so he takes the advice of a policeman and sells his wife's body to a medical school for 75 francs. Food and clothes are bought and Henri and his children pay their respects at his wife's funeral. How can that be, you say? It seems the body on the slab at the med school is not what it seems, and when the students pull back the sheet they discover that Henri killed the commissioner of health and pocketed the money!
I was lulled into a stupor by the first three stories in this issue and thus I was in a perfect mind set for the surprise ending of this story, which is nicely drawn by Reed Crandall. It's not his best work—the whole issue is mediocre—but at least I got something I was not expecting.--Jack
Death #1--or is it #2?
("Dig that Cat--He's Real Gone!")
Peter: "Corker!" proves that, even with help, Jack Kamen's art is stiff and boring. The story's a good one though, with a nasty finale. I laughed out loud when the swami very seriously moaned "a... a decapitation lamia." I'd have to say that "An Off-Color Heir" took me by surprise. I was waiting for some Dorian Gray rip-off but its real twist was a nice one. I will say, though, that Ghastly is getting less and less of a work-out every issue. Let's get him back into some gooey, moldy, oozy trouble real soon. I'll give you that "Dig That Cat..." is a pretty doggone silly story, with a ludicrous concept, and yet it works remarkably well! Ulric was not only a bad mathematician but also a bad businessman; ninety grand for a life? "Dig That Cat..." was adapted by writer Terry Black and director Richard (Superman) Donner as the first episode of the HBO Tales from the Crypt TV show in 1989. As I've noted on several occasions, I'm not a big fan of the TV show (way too much meaningless gore for my tastes), there were a few episodes that captured the flavor and atmosphere of EC and "Dig That Cat..." was one of them. Starring Joe Pantoliano as Ulric, the episode is directed subtly, a trait lost on future Tales makers. In all, eleven Haunt stories were adapted for the show. In just the space of a couple months, Reed Crandall has ascended to the throne of Best EC Artist. There, I've said it. Go ahead and argue with me about it but I'll not listen. "The High Cost of Dying" is just the latest example of Crandall's mastery that adds credence to my bold statement. Al's script is tight and never gives away its shocking twist until the final panel reveal. All in all, one of the best issues of Haunt in quite a while!
"EC Confidential!" ★★ 1/2
"Punishment Without Crime" ★ 1/2
"Two's Company . . ." ★★★ 1/2
Art by Al Williamson and Frank Frazetta
"The Ugly One" ★★★
After a plane crashes into the panicked masses of a New Year's celebration in Times Square, Phineas T. Fables, president of the Fables Publishing Company that releases EC Comics, calls those two ne'er-do-well editors of his, Gaines and Feldstein, into his office to discuss the little problem of their prognostication powers. It seems that one too many of the duo's "fanciful" ideas that have appeared in the pages of their SF magazines have come to pass in reality, including UFO sightings over Washington, D.C. and the innovation of sex changes. Bill and Al blow Fables off as looking too deeply into the matter, but all that changes when an alien spaceship touches down on 225 Lafayette Street, disgorging Martians out to settle matters with all those roguish EC staff members by zapping them into extinction. Much to Fables' shock and delight, it turns out that the Martians only destroyed android replicants of the staff members, who actually come out of hiding and explain their fortune-telling proclivities as evidence of their status as castaways from the planet Venus!
Just 'nother day at the office.
("EC Confidential!")
Despite starting things off with a splash page depicting an aircraft's crash landing in Times Square that will undoubtedly carry uncomfortable and ironic pangs of 9/11, "EC Confidential" is an addition to the company's established history of droll send-ups of their own infamy and creative process. But whereas earlier tales like "Horror Beneath the Streets" (HOF 17) offered up cutesy fantasies of just how the boys met the GhouLunatics, for instance, "EC Confidential" seems to be more in the line of patting oneself on the back with its frequent allusions to just how revolutionary and forward-thinking all of EC's titles were. Granted, I'm sure some of this is meant to be taken as false bravado, but I'm not convinced that Gaines and Feldstein *didn't* think they were hot stuff to one degree or another, and it's that oh-so-smug attitude that ended up overshadowing most of the humor here for me. I mean, Phineas Fables, in spite of being the company's publisher in the reality of the story, is such an obvious stand-in for the social janitors who were steadily becoming EC's enemies at the time, breaking down in the end and literally crying over the fact that he called Gaines and Feldstein subversive when really they were just trying to wake up all of the "smug, secure idiots out there" with unique brand of literature. A bit too on the nose for me to see this story as anything much more than some eager wish-fulfillment.
George Hill is fat, old, and incredibly rich, so it's a genuine surprise then when his 27-year-old wife suddenly steps out with another man closer to her age range and vitality. (Well, surprising if your name is George Hill, anyway.) How does the wealthy cuckold cope with this, you ask? By doing the next best thing to killing the cheating wench: he employs the services of shady company Marionettes, Inc. to build him an exact replica of Katie for him to take all his frustrations out on. When the automaton pushes the weepy sad-sack too far, he shoots her, cries some more, and then heads out into the city only to be promptly arrested by the police for murder. Even though George only killed a mechanized doppelganger of his wife, the law must make an example out of him, and so the death penalty is passed down. George doesn't quite grasp this point, so even after the real Katie attempts to visit him in prison he raves to bring her back in to prove his innocence.
Oh crap, my hand just blew up!
("Punishment without Crime!")
Like Jack says below, did Bradbury's story "Marionettes, Inc." really warrant two separate adaptations in the SF titles of the same company? (In my experience and to my knowledge, this is the only case when I've ever seen this occur with *any* story.) The short answer is "no, not really," and the longer answer is "Punishment without Crime." It's funny, because outside of Bradbury's eponymous company there's very little here to suggest the presence of the author's voice and just about everything to suggest another turgid jilted lover's affair served from the typewriter of Feldstein to the mundane execution of Kamen's brushes. There's really nothing here that we haven't seen before (or before that), and the story ends with an apathetic ellipses when it could have used a definitive full-stop.
Stranded on a lush planetoid after the override on his "uniroc" conks out, space scout Forbes occupies his dreary days with navigating the rough terrain and doing battle with the occasional Jurassic-esque alien that comes snapping after him. But all of this changes when Forbes meets Velda, a stunning, mute humanoid whom he rescues from a winged monstrosity and who becomes his boon companion in all the countless days to come. When not seeking comfort in the shelter of each other's arms, the couple conjures fantasies of their eventual return to Earth as they watch for the tell-tale signs of a rescue ship in the sky. And come salvation does one fateful day; Forbes' old comrades are delighted to see that the man has managed to hold up after all these years. But when Forbes introduces Velda to the group, the astronauts gently ask the castaway to come along with them. There is no woman there, they insist, but they can understand the need for Forbes' delusion and tell him that a psychiatrist will get him back on his feet. But the safety of the illusion is too good for Forbes to give up; he guns down his three would-be rescuers and runs back into the comfort of Velda's arms, who is now finally able to speak.
("Two's Company...")
I can definitely see the influence that "Two's Company…" had on the later work of EC aficionado Bruce Jones in the 70s and 80s; one of his tales from Alien Worlds bears a similar strain of fantasy serving as an escape from the horrors/mundanity of living on a prehistoric planet. On its own terms, "Two's Company…" is one of the best kinds of surprises, the seemingly familiar, unassuming story that sneaks up on you and smacks you over the head during the climax. The reveal of Forbes' mental instability is both shocking and haunting, a split in his psyche worthy of Norman Bates that finds him actually bestowing voice and agency on his alter ego by the story's end, his mysterious, disturbing fate left completely to our overactive imaginations. The presence of Frazetta's style is more prominent here than in previous collaborations with Al Williamson, I think, seen most prominently in the action sequences of monster slaying that perfectly complement the shadowy noir underpinnings of Williamson's contributions.
A real tearjerker.
("The Ugly One")
Around a campfire situated near an alien ship, a hideous creature tells its tale of woe to the group of spacefarers who listen intently. The creature, identical in likeness to the explorers, has been viewed as an abomination since the day of its birth, repelling its parents and siblings and earning nothing but contempt from schoolchildren and adults alike. Animals scamper at its approach, crowds give it a wide berth, and the one single flirtation with romance it experiences ends horribly when the attractive girl next door grabs her spectacles and sees the creature for the disgusting freak it is after exchanging some pleasantries. Even life's most momentous occasions are met with bitter disappointment and rage, from the silent reception at its high school graduation to the career recommendation that leads the creature to the offices of a freak show manager. Finally driven to the breaking point, the creature runs to the countryside only to see the alien ship's landing, bringing us back to the present. But this "Ugly Duckling" tale is not all that it seems: as it turns out, the "hideous creature" is actually a beautiful human female and the astronauts are all lusty men. Bidding farewell to her short, scaled, hunchbacked family, the maiden takes off with her new friends for more temperate climes.
Pulling the same bait-and-switch that would become so identified with "Eye of the Beholder" from The Twilight Zone seven years later, "The Ugly One" ditches Serling's gravitas in favor for a more irreverent tone, thanks in no small part to Joe Orlando's barely restrained lunacy. I doubt very much that anyone could react to the scene of the winsome neighbor shrieking in terror at the monster's weeping face after donning her glasses with anything other than a guffaw. And while the pig-snouted denizens of Serling's teleplay could certainly be seen as the source of derision in the right frame of mind, Orlando's depiction of the grown mutant doesn't just draw pity or revulsion so much as it does stifled giggles: the pug face, shriveled arms, domed back, and egg-shaped skull—not to mention its dopey smiles—all combine to leave this abhorred character a far cry from the haunting depiction of last issue's "The Loathsome." The whole gender twist that occurs at the end is interesting for a variety of reasons, none moreso than when reflecting back on the anecdote involving the pretty neighbor. Unlike the other generalities spouted during the creature's recounting of its life, this one is incredibly specific. So one has to wonder: was the neighbor in fact a member of the female sex, or was this just depicted visually for us, the readers, to coincide with the fact that the creature was being shown as a male in these flashbacks? I'm inclined to think the former is the case, and if this is so then our beautiful swan might have some tough news to break to her new band of leering buddies. --Jose
Get this man a chiropractor!
Peter: "The Ugly One" is a maudlin sob-fest with a twist that doesn't really work and crude, cartoony Joe Orlando visuals. "Punishment Without Crime" is sub-par Bradbury (based on the story that appeared in the March 1950 issue of Other Worlds; interestingly enough, Bradbury also used the puppet company in "Marionettes, Inc.") with on-par Kamen. As with "The Ugly One," the climax is a bit murky and makes for a long bout of head-scratching. "EC Confidential" is a fun bit of nonsense but the big twist isn't very shocking. The obvious highlight of the issue is the Williamson/Frazetta collaboration but, oddly, not for the art. My two partners-in-crime (and doubtless you, the reader) will tell me I'm a heretic, but I'm still not seeing what the fuss is all about. It's an unusual look for an EC Comic, yes, but it's not really ground-breaking and the only glimpse I see of Frazetta is that fourth panel of page seven (shown above). Most of the art looks somehow half-finished. The story, however, topped off by a whopper of a finale, is aces. For some reason, I never saw the reveal coming!
Jack: I always enjoy self-referential stories like "E.C. Confidential!," especially when they're drawn by Wally Wood. Is there a guide somewhere to who's who in the group picture of the E.C. staff? "The Ugly One" has better than average art by Orlando but the twist ending didn't work for me and I had to flip back through the pages to try to get what happened. The story is a strange mix of humor and pathos. "Two's Company . . ." is too heavy on the sci-fi jargon but no one can say the art isn't stunning. That leaves the Kamen Bradbury adaptation, about which the less said the better. I don't think the "Marionettes, Inc." concept really deserved more than one story.
"Robert E. Lee!" ★★ 1/2
"New Orleans!" ★★★
"Memphis!" ★★★
Art by Harvey Kurtzman and Reed Crandall
"Chancelorsville!" ★★★
The third (and final) Special Civil War issue. In our first history lesson, Harvey Kurtzman explores Robert E. Lee's bloody battle at Fredericksburg in December of 1862. Harvey injects his trademark humor/horror in the form of a young card shark who's winning the pocket change of his fellow Confederates but then later is shot to death when his backpack unravels and he's attempting to gather up his playing cards. Severin shows, once again, that he's one of the best in the EC bullpen at portraying these battle scenes but, jaded as I am by the dozens of Civil War books and Wikipedia, the story comes off as nothing more than a chapter in a history book. Old story, I know.
"Robert E. Lee!"
Next up, we learn how the Union captured "New Orleans!," primarily due to Commander Farragut and his crew bombing the hell out of Forts Jackson and St. Philip and a dogged perseverance to stay the course. Kurtzman abstains from anything resembling humor this time out and just doles out the grimness, all finely visualized by Wally (at times, it looks like someone gave Wood a hand here). I liked that Harvey didn't feel the need to interject a lot of words into the panels; short, concise captions and not a lot of "h'yar"s or "tarnation"s.
"New Orleans!"
"Memphis!"
A group of supporters stands on the banks of the Mississippi as the defense fleet of the rebels heads up towards "Memphis!" to meet the Yankee gunboats. While his mother looks on, worried, a small boy gleefully brags to his friends that his pappy is on board one of the boats and is about to give the Yanks a big surprise. Unfortunately, the Confederates didn't count on the deadly ships known as the "rams," and pert near the entire fleet is sunk. When the wounded and dead are returned to their home port, the woman discovers her husband is dead. The boy, not understanding war, runs off with his friends, threatening to throw stones at the Yankee gunboats. The only story this issue not written by Harvey, "Memphis!" is a very effective little slice of history, with just the right amount of pathos added to make it a drama (we're never introduced to any of the soldiers heading out of port so the supporters are the only characters we "know"). The best summing-up of the anti-war sentiments found in TFT and FC comes in the final panel, delivered by an old man, after the boys run off to deliver their message to the North: "Sometimes it seems grownups ain't got no more sense 'bout how serious war is then children . . . no more serious than children ay-tall!"
"Chancelorsville!"
"Chancellorsville!" shows us just how screwed up war can get when "Stonewall" Jackson is downed by friendly fire (he would die eight days later) while riding on a dark road. Harvey sidesteps a lot of his usual history talk (though it's not ignored) and gives us three characters who personify the good and evil of war. One man, "Gooberhead," can think only of personal gain and justifies robbing the dead by exclaiming that Stonewall would be proud of him, while the other two show mercy to the enemy and wonder at the horrors of combat. A good, solid read with great Jack Davis art (tops is the unnerving death of a soldier by bouncing cannonball). As mentioned during our discussion of the first "Civil War" issue, the plan was to have six issues devoted to the battles of the CW but that plan was curtailed. Since the war lasted another two years after Chancellorsville, Harvey would have had plenty of topics to fill three more issues. I'm of two minds: I appreciate the labor that went into these issues and I'm sure lots of kids got educated to a war that had been fought a century before but . . . I must say I prefer the non-theme issues and the little war dramas that Harvey could cook up. Unfortunately, "Chancellorsville!" was the last war story penned by Kurtzman, who put the war titles in his rear view and would concentrate his time, energy, and talents to MAD. Big changes were coming down the pike and next issue's "new" title reflects that. --Peter
Jose, overcome by yet another deadline.
("Chancelorsville!")
Jack: The war stories work best when there is a human element, and these four succeed to varying degrees because of how they bring the battle down to the individual level. "Chancellorsville!" is the most powerful in that it shows the cruelty and callousness of the one rebel, who seems to see war as a means to satisfy his own appetites. The death of the great general is all the more pitiful for being caused by his own men. The three Kurtzman stories demonstrate the usual level of excellence in writing; it's interesting to see Gaines and Feldstein succeed in "Memphis!" in following the Kurtzman model. The art in all four stories is outstanding, but Davis and Wood get my votes for best of the issue.
Inside front cover of TFT #35
Special announcement of the future
of TFT and Harvey Kurtzman
Next Issue . . .
A moment of peace amidst
G.I. Combat!
Jose, Bradbury wrote more than one story about "Marionettes, Inc.," and that's what I'm referring to. EC did not do multiple adaptations of the same story. Sorry if I wasn't more clear.
The plan for the Civil War series was for a total of seven issues, not six; Kurtzman told at least one interviewer that he had a plan for the 28 stories that it would have covered. Although TFT #35 suffers from the absence of the Kurtzman covers that give Frontline #9 and TFT #31 such incredible newsstand appeal, it's a very nice end to the truncated series and to Kurtzman's legendary run as the primary author of TFT. Crandall's contribution is a real standout, and I think that Jack Davis makes the most of his do-over of the Chancellorsville story; while I quite like his effort on "Stonewall Jackson" in FC #5, this one's an improvement in my eyes -- a better articulation of the inherent chaos of battles as opposed to an effort to express a tragic mistake by a worshipper of the general.
Frontline Combat was so great for its first nine or ten issues, but by #14 the magic was gone. The only entry I've ever liked in this one is "Whupped," and the Wood cover pales in comparison with his sensational covers for #13 and #15. I do like Kupert's gigantic sailor in the last panel of his story, though. That guy would have crashed through the deck any time he took a step; he looks about twenty feet tall next to the ship.
Thanks, Jim! We appreciate the detailed information and commentary. Keep it up!
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text:
/*
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *     http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package com.facebook.presto.plugin.redshift;

import com.facebook.presto.plugin.jdbc.JdbcPlugin;

public class RedshiftPlugin
        extends JdbcPlugin
{
    public RedshiftPlugin()
    {
        super("redshift", new RedshiftClientModule());
    }
}

redpajama_set_name: RedPajamaGithub


for the water tore them apart, and when the flood was over they both resumed their own shapes again, but the hunter and the hunter's wife found themselves each in a strange country, and neither knew what had become of the other.
too became a shepherdess. So they herded their sheep for many years in solitude and sadness.
Now it happened once that the shepherd came to the country where the shepherdess lived. The neighbourhood pleased him, and he saw that the pasture was rich and suitable for his flocks. So he brought his sheep there, and herded them as before. The shepherd and shepherdess became great friends, but they did not recognise each other in the least.


I am a mass-communication-public relations major at Texas State University. I originally (when I was age 5) wanted to be a video rewind person at a video store like Blockbuster. My inspiration for wanting such a career came from the movie Superstar (1999). The movie starred Saturday Night Live alum Molly Shannon who worked as a video rewind person on the weekends when she didn't attend catholic school. When I saw that Blockbuster was closing a bunch of its stores (and eventually all stores) my dreams were crushed and I had to pick a new career. Mass Communications and the study of media it was.
I originally covered educational things and incorporating film references into the posts. Since December 2013, I have started to focus more on film reviews and the analysis of the film and television industry. I focus on independent film with the occasional mainstream Hollywood film.
Movies: Safety Not Guaranteed, Wet Hot American Summer, Flirting with Disaster, Superstar, Night at the Roxbury, Click, The Italian Job, Pacific Rim, Silver Linings Playbook.
TV: It's Always Sunny in Philadelphia, 3rd Rock from the Sun, Seinfeld, American Horror Story, Brooklyn Nine-Nine, Law and Order: SVU.


text:
Auto Home Auto Odds Auto Buy Picks Auto Free Picks F1 Odds Auto News
Last Updated Apr 21, 2022, 9:35 AM
Norris and Ricciardo could be on the podium at Imola, says Fittipaldi
Carla Rosocha
US Sports Betting Industry Expert
Ferrari and Charles LeClerc have come up as early frontrunners in this F1 season but two-time World Champion Emerson Fittipaldi feels that Carlos Sainz can still challenge him. We caught up with the F1 legend who commented on his expectations from this weekend at Imola.
Red Bull and Max Verstappen have had a horror showing, considering their standards. How does the team go forward from here and what should they be aiming for in Imola?
"The beginning of the season for Red Bull and Max has been difficult, but at the same time, they showed their level performance."
"They are the team that can and will challenge Ferrari. They are the team to challenge Charles Leclerc and Carlos Sainz. No doubt about that."
"I think they need more resistance for the engine coming from Honda. Honda has to work hard now to be more resistant. Max will definitely be there. For sure. He will be a challenge. Always. You can't just switch it off."
Mercedes showed a lot of improvement at the Australian Grand Prix. Do you think they'll have a similar or better showing in Italy? What are your expectations from them?
"I'm sure they will continue to improve a lot for the Grand Prix in Imola."
"I was with McLaren in Jeddah, and Zak Brown confirmed that they'll continue to get better for each race. For the next four-five Grands Prix. McLaren is running strong but should be stronger at Imola."
"McLaren was without a doubt the most improved team at the Grand Prix in Australia."
"Both Mercedes and McLaren knows how to work within the new rules. In terms of mechanical grip, they improved a lot. The engine has also improved quite a lot. Lando Norris and Daniel Ricciardo are going to be strong again. Without a doubt. They have the potential to be on the podium in Imola."
All is going well for Ferrari, despite them not making any upgrades. Can you see both LeClerc and Sainz finishing on the podium in Imola?
"To me, Ferrari has the best package of the year."
"They look reliable, they look fast in different conditions, in different tracks. They got around the new rules better than anybody else, in my opinion."
"Very powerful engine, good mechanical grip, good downforce, good aerodynamic grip."
"LeClerc has a great potential to be World Champion but Carlos Sainz can challenge him."
"Carlos is a racer. He had a problem in the last race but he'll be back strong and I think the Ferraris, the two drivers, have the highest potential to be on the podium, for sure. No doubt about that."
"I have a lot of respect for what Ferrari has done from last year to this year."
"They focused on this year's car and it's showing in the results now. Last year was a frustrating year for Ferrari. This year is the opposite. They are the team to win the championship. That's my opinion, for sure."
Do you think Ferrari have designated LeClerc as their number 1 driver already?
"I don't think Ferrari will choose who is number 1."
"I think Ferrari, automatically, who'll be leading the championship, the next three-four Grands Prix, will have more support from the team."
"But so far, there is no number 1, number 2 driver right now."
"My opinion, looking from the outside, they have the same equipment, the same effort."
"This will be decided later in the season, not yet. But both can win the World Championship. It could be a great challenge between LeClerc and Carlos Sainz. It can happen, through the rest of the Championship."
What next steps do Lando Norris and George Russell need to take to become truly elite drivers? They're knocking on that door, but what will be the next step?
"I think Lando Norris has already established himself as what I call a potential, World Champion material."
"George Russell, for the first time, is driving for a better team, more competitive car, even though the Mercedes had problems in the beginning of the season."
"The last Grand Prix, he (Russell) showed his potential. It would be interesting to see George Russell, with Lewis (Hamilton), racing each other and Mercedes will be better."
"George can make good results, no doubt about that."
From the other constructors, Alex Albon, running on 1 set of tires for all but one lap, was very impressive in Australia, as well as Esteban Ocon - can Williams, Alpine, AlphaTauri and also Haas, spring some surprises this weekend?
"I think the one that's there for sure is Alpine."
"Alpine is ready to be there and we have to remember that Fernando Alonso is an incredible driver."
"You know Fernando will be there, very strong."
"Apparently, the last Grand Prix, he couldn't be on pole because he lost the quick lap. That shows his potential and the car's potential. In Australia, Fernando was extremely competitive."
"AlphaTauri can do well, but they have (issues with) the Honda reliability. Williams, they can improve."
"But don't forget Haas. Haas is going to be running very strong with (Kevin) Magnussen for sure."
"They improved a lot, they'll be there. That'll be the surprise team, in my opinion, the Haas team with Magnussen."
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Mitch Resnick is on the conference committee for the 2012 Digital Media and Learning Conference, "Beyond Educational Technology: Learning Innovations in a Connected World." As Professor of Learning Research at the MIT Media Lab, he develops new technologies and activities to engage people (especially children) in creative learning experiences. His Lifelong Kindergarten research group developed ideas and technologies underlying the LEGO Mindstorms and WeDo robotics kits, used by millions of young people around the world. His group also developed the Scratch programming language and online community, enabling young people to create and share interactive stories, games, animations, and simulations – and, in the process, learn to think creatively, learn systematically, and work collaboratively.
One thing we've seen is that the best learning experiences come when people are actively engaged in designing things, creating things, and inventing things – expressing themselves.
It's not just a matter of giving people opportunities to interact with technologies or using technologies, but if we want people to really be fluent with new technologies and learn through their activities, it requires people to get involved as makers – to create things.
A lot of the best experiences come when you are making use of the materials in the world around you, tinkering with the things around you, and coming up with a prototype, getting feedback, and iteratively changing it, and making new ideas, over and over, and adapting to the current situation and the new situations that arise.
In our after school programs, we see many kids who have been unsuccessful in traditional educational settings become incredibly successful when they are given the opportunity to make, tinker, and remix.
I think there are lessons for schools from the ways that kids learn outside of schools, and we want to be able to support that type of learning both inside and outside of schools.
Over time, I do think we need to rethink educational institutions as a place that embraces playful experimentation.
Mitch Resnick: Making, Tinkering, and Remixing in Learning Innovation from Connected Learning Alliance on Vimeo.


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I'm not really sure what made me get this album, I think it could have something to do with Taste of Country mentioning Kellie's name on Twitter regularly as she is up for a few categories in their awards. That and I'm sure I remember seeing this album recommended in the latest issue of Country Music People, so I thought I'd take a chance, not really knowing what to expect.
The album kicks off with Where's Tammy Wynette and immediately I'm confronted with a more traditional country music sound, but that's ok, her voice is good and along with the second song Unlock That Honky Tonk, they have a good beat and are both foot tapping songs. However, Stop Cheatin' on Me is the start of a sound I don't like, and that's the overuse of guitar bends and slides, if that's what they are called in the biz. It gives the songs a very dated and almost hokey feel, and the album doesn't pick up again until Tough, which is by far the standout song of the album. The fact that Tough has a more contemporary feel than the rest of the album is an indication of where my tastes lie.
Straight after Tough comes Turn On The Radio, which has a very dated sounding intro and the guitars through the songs do not seem to fit her vocals, and spoil an otherwise good song. It's all downhill after this I'm afraid, as a combination of those awful guitars and dragging pace can't lift this album back up to anywhere near the levels of Tough.
I really don't think Kellie's voice suits the direction this album went in for the most part. I hear a contemporary voice, and a really good one at times, but it's been muted down and confined within this album sound of yesteryear. It's not an album I can imagine myself listening to again and if I am going to listen to any more Kellie Pickler in the future I'll be checking it out first to see if it's vibrant modern Kellie or dated Kellie, and avoid the latter.
What is wrong with being "dated" ?? Among many others Beethoven and Patsy Cline are "dated" and they beat almost all of the modern musical manure being produced and pushed down the throats of the consumers-zombies of today.
There's nothing wrong in principal with anything being dated, it's just my opinion that a dated Kellie is not a good Kellie. I'm not saying that it's not good because it's dated, because all things dated are bad, but that her signing in the dated fashion didn't work for me. Ashley Monroe's Nashville Time Machine Sessions are recorded in a very dated style, and work brilliantly.


text:
Nestled between the San Bernardino and San Jacinto Mountains, this idyllic retreat is known for its calming waters, herbal remedies, savory eats, and eccentric shops.
Just as world-famous mineral waters bubble beneath Desert Hot Springs, so too do the many personalities of the desert oasis hide behind its façade.
An international destination for spa-seekers and canna-tourism, Desert Hot Springs is also fiercely local, filled with welcoming shops, unique restaurants, and vintage motels reimaged as colorful passion projects. It's at once innovative and deeply respectful of its past.
Cahuilla Indians made early camps here, but the "founding fathers" of the city as we know it was Cabot Yerxa, whose historic hilltop pueblo overlooks the city this day – a reminder of its legacy of vision and imagination.
LISTINGS FROM THIS AREA
20555 Mountain View Road, Desert Hot Springs, CA, 92241
15690 Vista Circle, Desert Hot Springs, CA, 92241
66358 Desert View Avenue, Desert Hot Springs, CA, 92240
65995 Thornton Road, Desert Hot Springs, CA, 92240
65793 14th Street, Desert Hot Springs, CA, 92240
19279 Prickly Pear Trail, Desert Hot Springs, CA, 92241
66974 Rayo Del Sol, Desert Hot Springs, CA, 92240
31301 Pace Lane, Desert Hot Springs, CA, 92241
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columbia_noon
gsapp global
Turgutreis 1974
Sat, Jun 4, 2016 4pm
Istanbul, Book Launch, Panel Discussion
Studio-X İstanbul
Richard Plunk
Suha Özkan
Alison Snyder
Laçin Karaöz
Zuhal Ulusoy
Richard Plunz
by Richard Plunz and Suha Özkan
Turgutreis 1974, a publication that Richard Plunz, a leading figure in housing and urban design, and Suha Özkan, Deputy and Secretary General of the Aga Khan Award from 1982 to 2006, have prepared together, will be celebrated with a book launch at Studio-X Istanbul on Saturday, June 4th at 4 pm. Richard Plunz will be presenting Turgutreis 1974, followed by a roundtable discussion with the participations of Suha Özkan, Alison Snyder, Laçin Karaöz, and Zuhal Ulusoy.
Join us for a memorable afternoon remembering Turgutreis.
Richard Plunz is a leading figure in urban design and one of the world's leading authorities in urban housing: His Housing Studios, which he developed at Columbia University are now an integral part of architectural curricula everywhere. His research into the evolution of housing in New York City has led to a number of projects including his landmark study, A History of Housing in New York City (1990). In his long term research interests, Plunz completed: a 14 year project on the urban expropriation of the Adirondack High Peaks region in Upstate New York; a three-decade study of physical and social transformation at Turgutreis, in Bodrum District on the Turkish Aegean coast. The author of many articles, studies, and reports, among Plunz's publications are many books, including A History of Housing in New York City (1990); The Urban Lifeworld: Formation, Perception, Representation (2002); After Shopping (2003); and Eco-Gowanus: Urban Remediation by Design (2007). His most recent co-edited book is Urban Climate Change Crossroads (2010).
Suha Özkan is an architect by training and has undertaken extensive research on the theory and history of architecture, design, vernacular form and emergency housing, and has published numerous articles and monographs in a number of languages. He taught architectural design and design theory at the Middle East Technical University (METU) in Ankara, where he became Associate Dean of the Faculty of Architecture, and was later appointed Vice President of the university. In 1983, following his tenure at METU, Dr. Özkan became Deputy Secretary General of the Aga Khan Award for Architecture, and served as its Deputy and Secretary General from 1982 to 2006. He has organized international competitions for cities including Istanbul, Doha, and Samarkand. He also has been associated with a number of prizes such as the Cityscape (Dubai), Hassan Fathy (Alexandria), European Union (Barcelona) and Architecture Festival (London) prizes. He was the president of the International Union of Architects Congress between 2001 and 2005, and is an Honorary Fellow of American Institute of Architects (2004) He established World Architecture Community and has been the Founding President since 2008. Dr. Özkan returned to teaching at METU in 2009, and remained there until he retired from the university in the summer of 2012. Since his retirement, he has established an architecture library in a 100-year-old house in Bodrum with a great archive of 10,000 books and 20,000 documents.
Associate Professor at the University of Oregon, Alison Snyder is interested in the intersection between architecture, art and the interior. Snyder's research draws on both archaeological and anthropological investigations to reveal how places, buildings, and interiors transform over time. She dismantles settings, structures, and cultural systems—monumental and mundane—for interpretation and analysis. She first explored the role of light in determining structure and form in ancient and modern religious buildings, initially through research and surveys of Ottoman mosques. Influenced by her work as architect for archaeological excavations in Israel and Turkey, Snyder began to investigate the effect of modernization on settlement patterns and customs in Middle Eastern contemporary village vernacular. Her writing on this topic has appeared in the journals Anatolica (2000), Journal of the Faculty of Architecture (2005), Dosya (2009), and in the book On Global Grounds: the specificities of urban change within globalization (2008). Snyder's current research looks at urban interiors in Istanbul, and how these spaces contribute to marking cultural change within a city undergoing both local and global transformation. Related publications include a journal article in Dosya (2011) and in 2A, Art and Architecture (2015).
Laçin Karaöz graduated from Yildiz Technical University in 2004. Before starting her master's degree at History and Theory of Architecture Program at the same university, she has worked at Arredamento Mimarlık and XXI architectural magazines. In 2007 she started to work in the Danish architectural office Bjarke Ingels Group, she worked on several international projects including Superkilen, which is amongst the nominees for Aga Han Architectural Prize of this year. She lives and works as an architect in Bodrum since 2009. There she had gained experience on stone building technique which was the subject of her master's degree studies.
Zuhal Ulusoy graduated with B.Arch and M.Arch. degrees from the Middle East Technical University, Ankara, Turkey. Receiving a Fulbright scholarship, she continued her graduate studies in the School of Architecture at Carnegie Mellon University (Pittsburgh, PA, USA), where she completed her M.Sc. and Ph.D. degrees in architecture and urban regeneration. In 1992, Dr. Ulusoy joined Bilkent University (Ankara, Turkey) as the Founding Chairperson of the Landscape Architecture and Urban Design Department. She was a visiting professor at Carnegie Mellon University's School of Architecture in 2003-2004, where she taught senior level design studio and a course on housing. In 2005 she joined the newly founded Architecture Department of Izmir University of Economics. Since 2008, she has been working at Kadir Has University, Istanbul, Turkey, as a faculty member in the Architecture Department, where she served as the Dean of Faculty of Art and Design between 2008-2015. She is also in the Administrative Board of the Istanbul Studies Center at Kadir Has University. In Fall 2015 she was a visiting scholar at the City College New York. Her research interests include urban studies, particularly urban regeneration and transformation, as well as design education at various levels. Her articles and chapters on these areas have been published in various refereed journals and in books. She has taught courses on urban design, concepts in architecture, took part in foundation design studios and urban design studios, and supervised Master's and Ph.D. theses.
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Rusted Iron pewter, round bail connectors, pewter castings, B'sue by 1928, nicely finished to the back. Measures 8mm, patterned beads. Very versatile and so much fun. Perfect for bracelets, charms, ear rings and more. Resembles Pandora beads, so pretty. It has a copper base over pewter and is nickel free.


text:
Tokyo reports 220 new coronavirus cases; nationwide tally 570
Sep. 18, 2020	04:01 pm JST	 Sep. 18, 2020 | 07:14 pm JST
The Tokyo metropolitan government on Friday reported 220 new cases of the coronavirus, up 49 from Thursday. The number is the result of 5,196 tests conducted on Sept 15.
The age groups with the most cases were people in their 30s (53), 20s (49) and those in their 40s (35).
The tally brought Tokyo's cumulative total to 23,828.
The number of infected people in Tokyo with severe symptoms is 26, one down from Thursday, health officials said.
Nationwide, the number of reported cases was 570. After Tokyo, the prefectures with the most cases were Kanagawa (78), Osaka (60), Aichi (40), Chiba (40), Gunma (27), Saitama (24), Hokkaido (17) Hyogo (12) and Okinawa (12).
Seven coronavirus-related deaths were reported.
© Japan Today
Sep. 18, 2020	04:23 pm JST
Up, down, up, down.
People being sent back to offices, and walking around inside the offices without masks and not respecting social distancing anymore.
Expect many clusters to start appearing in offices - just wait for it.
11 ( +15 / -4 )
Giant Haystacks
"Up, down, up, down.
Expect many clusters to start appearing in offices - just wait for it."
People have been saying that for months now and things continue to remain under control.
-8 ( +5 / -13 )
awomde
4.2% positive rate is not good
8 ( +11 / -3 )
The number of infected people in Tokyo with severe symptoms is 26
So out of 9M people in Tokyo we have 26 seriously sick with corona.
That's .0000028% of the population. The total number of people with corona is .0026% of the population. But yeah, let's keep making everyone wear masks, and keep making a lot of people wear gloves, force shops to use plastic shields and close early.
-17 ( +2 / -19 )
Tobias J Gibson
The total number of people with corona is .0026% of the population. But yeah, let's keep making everyone wear masks, and keep making a lot of people wear gloves, force shops to use plastic shields and close early.
Are suggesting that the mitigation and prevention measures have worked, therefore we should abandoned them?
Interesting take on it. My recollection was an uncontrolled spike in March, followed by an SOE which brought things under control and down to less than 50 cases a day, and almost zero deaths per day. This was followed by a push to resume economic activity and claims of success and victory, which in term led to an uncontrolled spike again, which was again followed by the reintroduction of numerous measures such as early closures, as well as the public returning to preventative behaviours (for example the massive drop in travel during Obon). This has scaled back cases to what appears to be around 500 cases and 8 deaths a day nationally. I think its fair to say there hasnt been a consistent sense of control as much as ebb and flow, and as people now adjust to think 500 a day is fine and we can go back to normal, we will see another spike, followed by more mitigation, followed by a new baseline of maybe 1000 cases and 20 deaths a day slowly becoming the new normal... But yeah, it is what it is. To be honest, life with corona now is not so bad, so I hope people are smart enough to at least continue as we are now until there is an effective, available vaccine, rather than being fooled into letting their guard down.
smithinjapan
Just in time for the GoTo campaign to open up in Tokyo.
gakinotsukai
Tou'd have the same rhetoric with AIDS ? Let's take our chances with unprotected sex ?
longtimenosee
Wow, this comment is so reckless that I have to fix you.
The masks will have to be worn until 2 weeks after the last person is vaccinated.
So buckle up, stop complaining, get used to it. If you want to go back to normal, keep your mask on.
The science is clear.
Don't be a knucklehead.
Fighto!
@ longtimenosee - well stated. Some people are just childish whiners.
Just wear a mask, its not exactly an ordeal.
Oxycodin
Sep. 19, 2020	01:09 am JST
Summer almost over just wait until November when sniffles season kicks in. We all be in Like defcon 3 mode all over
Don't let anyone on this program unless their prefecture's total coronavirus count is less than 50 or at least less than 3 digits.
For how much longer? A year? For one virus out of all the viruses that come and go?
Haha, omg, as if every last person on the planet is going to receive a vaccine for this virus. I guess we'll be wearing the masks forever then. Because there is no way every last person on this planet is going to get the vaccine. The science is clear.
Foreign visitors to Japan in 2021 fell to record low 245,900
Japan to provide over $1 mil, relief supplies to tsunami-hit Tonga
Japan's disabled artisans fight for spotlight


The PhenomiR database provides information about differentially regulated miRNA expression in diseases and other biological processes. The content of PhenomiR is completely generated by manual curation of experienced annotators. Data was extracted from more than 365 scientific articles and resulted in more than 632 database entries as of 02 2011.
The design principle of PhenomiR is to use established ontologies and resources. For annotation of diseases we use information of the OMIM Morbid Map, bioprocesses are described with terms from Gene Ontology and for annotation of tissue/cell culture information the Tissue Ontology is used.
The graph displays the connected part of the cancer network extracted from the PhenomiR database where only miRNAs with a minimal degree of 2 and a maximal degree of 5 were taken into consideration.
All miRNAs are shown as small color coded octagons; the color coding indicates the number of carcinomal disorders a	specific miRNA is involved in and reaches from light blue for 2 disorders to dark blue for 5.
Furthermore, the disorders, shown as green ellipses, are linked to the according entries within the database.


There has been a lot of talk recently about the huge amount of misogyny in the technology sector. It seems that any time a female comes out with a good idea, a point of view, or even just a comment, they are targeted by males simply because they are girls. If you are a father with daughters, this is incredibly concerning. Technology is playing a huge part in our lives in these modern times, but in the future there is no doubt it will play even more. And if we want our daughters to be able to thrive, then breaking free from this sexist nonsense simply must be a priority. And the best way to do it is to involve our daughters in technology from an early age. Here are some ideas that might help you do just that.
Children are naturally drawn to games on tablets, phones and computers. It's the flashy lights and colours that do it! But games are a good way to introduce certain skills, with problem-solving being a prime example. And the fun environment of games is a great way for them to start learning exactly how 'things' work. Very quickly, you will find your daughter can turn it off and on. And operate volume controls. And, if you are unlucky or careless enough, even access the app store and spend a fortune on your account. There are plenty of games for both sexes, particularly when they are young. A good way to get a gauge of the sort of thing they will like is by visiting a free gaming site yourself. Take a look at http://playberry.com/ for some fun and simple games – but go through them yourself to make sure they are suitable.
Girls are just as fascinated with building things as boys are. At least, they are until the inevitable differences led by peer pressure and what they see on TV start kicking in. So get building early! Use their fascination and ally it with their creativity to come up with cool ways of building a computer. As a development tool, it could set them on the road in the same way learning a musical instrument does. They will need to have a purpose and a goal to work towards – playing music, perhaps – but they will get a lot of value out of it. A good place to start would be with Raspberry Pi. You can find out more here – https://www.raspberrypi.org/. It's easy for kids to work with and a great introduction to how computing works.
As your daughter grows older, if they have a genuine interest in working with technology it will show. It is important to catch this wave of interest and back them, and give them the confidence to succeed. It could be a rocky path for them, and there is no doubt that they will feel like they are being pushed out by 'the boys' at certain times. But with your help and support, they will break down those barriers.


text:
Q: Code License that allows for Redistribution but No Compiling then Redistributing Essentially, I have an interesting Perl script that I want to put on Github / other places that I want to be re-distributable but I do not want anyone compiling it and then redistributing it (yes I know the source would be included with certain licenses - but I don't want it to ever be compiled at all).
Those who can figure out how to use CPAN, etc, to set it up - I want them to be able to use it and redistribute it in source format but is there a way of restricting the compilation and then redistribution. I only want to allow users to redistribute in source.

A: Your requirements are at odds with each other.  The first step of running a Perl 5 program is compiling.  Your best bet is the GPLv3, it requires anyone who distributes a compiled version to also provide a method to retrieve the source.
Most of the methods of making a binary out of a Perl 5 script (which I think you are confusing with compiling) aren't actually compiling.  They are packaging.  The source is still present in the binary and is compiled at run-time by an included copy of the perl binary.

redpajama_set_name: RedPajamaStackExchange


This permanent hospitalist job (Detroit) is from a hospital-owned practice.
St. John Health System is a not-for-profit Catholic healthcare organization sponsored by Ascension Health, the nation's largest Catholic and nonprofit health system.
Critical training is not necessary but candidates must have an Intermal Medicine residency.
At St. John Health System, we recognize that the greatest potential for a hospitalist department begins with the best and brightest physicians.
Our promise of medical excellence and compassionate care is at the center of our Catholic mission as we serve the sick and needy in our communities.
Required responsibilities include admissions, RRT and Code Blue.
We have the second-shortest commute time in the nation, a cost of living well below the national average and one of the most people-friendly communities in the country.
Tulsa, OK is the ideal size: large enough to offer excellent restaurants, high-end stores, beautiful homes and an array of nightlife activities, but small enough to make everyday life convenient.
We serve as an important safety net and community resource by providing leading-edge tertiary services for northeast Oklahoma.
The mission of St. John Health System is to continue the healing ministry of Jesus Christ by providing high quality healthcare.
We have night shifts available, either 12 or 14 hour shifts, 7on/7off or 10-12 shifts per month.
We are proud to provide a uniquely supportive and professional environment in which physicians can build rewarding careers in healthcare.
Physician - Hospitalist Job in Detroit, MI.
Benefits: health, dental, life, vision, CME, 401K, paid occurrence malpractice.
St. John Health System is part of Ascension Health, the nation's largest not-for-profit Catholic health system.
ICU hospitalists should also be proficient in central lines, intubations and arterial lines.
St. John Medical Center in Tulsa, OK has a large, robust Hospitalist group and is currently recruiting for Internists who want to work on the ICU team.


text:
Haymarket man convicted after tossing toddler into creek
Threw child over 13-foot embankment
by: Bria Lloyd
STRASBURG, Va.- A Haymarket man was convicted of several charges related to tossing a toddler into a creek while running from police in Strasburg.
Kyle Sunday was charged with child neglect, eluding law enforcement, destruction of property and driving on a suspended license.
Sunday pleaded no contest and was sentenced to one year and six months in prison. In August 2018, Sunday was pulled over after an officer saw a child sitting on his lap while he was driving. The defendant then drove away, parked the car and threw the child over a 13-foot embankment into a creek.
National / 1 hour ago
Maryland / 12 mins ago
More Virginia Stories
by Marcus Dash / Jul 18, 2019
BURKE, Va. (WDVM)-- The Fairfax County Health Department is investigating an outbreak at a second Northern Virginia retirement home.
Earlier this week officials confirmed there was a virus outbreak that took the lives of two elderly residents and left more than 50 sick at Greenspring Retirement Living facility in Fairfax County.
by Rebecca Burnett / Jul 18, 2019
LEESBURG, Va. (WDVM) -- In April 2019, as grass grew taller around three of the town's waterways, the Leesburg Town Council voted against using herbicides to clear weeds. Instead, this summer it's commissioned the help of over 50 workers… and they're not humans.
Over 50 goats are chomping away at weeds beside a waterway on Dry Mill Rd. A spokesperson for the town says council members were choosing between pricey organic herbicides, physical labor, and one unique suggestion from a group of Leesburg kids.
ARLINGTON, Va. (WDVM) -- In 2014, Arlington County identified the Gulf Branch watershed as a high priority for stream restoration because of habitat and infrastructure degradation. On Wednesday night, it finally launched its project into saving it.
The Department of Environmental Services has identified heavy stream erosion caused by excess runoff and trail erosion. Because of runoff into the stream, there has been increased sediment pollution, causing water quality issues.
Weather / 2 mins ago


At CSL Behring, Social Responsibility is about conducting our business ethically and contributing to the economic, social and environmental well-being of our communities. We believe that behaving responsibly is critical to the sustainability of our company.
We align our responsibility goals with our business goals to help ensure that they complement our unique capabilities and benefit our diverse set of stakeholders.
Environment: We recognize the importance of conducting our operations in an environmentally responsible manner and are committed to minimizing our environmental impacts without compromising safety, quality and affordability.
Giving Back: As a company dedicated to saving lives and improving the quality of life for people with rare and serious conditions, we believe in helping our patient communities. We also believe we are obligated to assist whenever possible with humanitarian programs and relief efforts around the world.
Workplace Health & Safety: We employ dedicated Environment, Health, Safety & Sustainability (EHS&S) teams at all our manufacturing sites to monitor health and safety performance. Our full commitment to health and safety is articulated in our Code of Responsible Business Practice.
CSL Behring is committed to protecting and conserving the energy, water and other natural resources that are essential inputs to the production of our life-saving therapies.
CSL Behring has developed a global framework that supports various local, patient and biomedical communities.
At CSL Behring, we promote safety, health and well-being in the workplace and appreciate the value of work/life balance.
We are dedicated to developing and delivering new therapies to solve unmet medical needs and save lives. Innovation is in our DNA.
Discover CSL Behring's life-saving therapies.
Join us and make history with the brightest, most passionate people from across disciplines.
Our Global Leadership Group enables us to deliver on our promise to patients.


From Digital Business to Cognitive Business - to help companies of all sizes to transform their business models digitally and leverage the opportunities of digitization, IBM is focusing on the growth initiatives of Business Analytics, Cloud Computing, Mobile Enterprise, Social Business and Security. These strategic fields provide IBM with both the foundation of their constantly expanding solution portfolio and its ongoing transformation into a Cognitive Solutions and Cloud Platform provider.
For 15 years, Servicetrace has been successfully developing innovative robotic solutions in the fields of Robotic Process Automation (RPA), Test Automation (TA) and Application Performance Monitoring (APM). With Servicetrace's automation solutions, organizations can launch their Enterprise Automation Journey safely, quickly and easily. Many global players across all industries trust the multi-patented technology, among them many of the 2,000 largest European companies.
In the BPM&O Academy, experienced experts from process management and change management provide their knowledge about BPM, and about how it can be implemented in the company and in people's minds. The BPM&O Academy offers various seminars and accredited certifications, as well as the customized in-house training. From practice for practice.
LEADing Practice, also called LEAD, is a collection of best and leading practices that leaders and outperformers in their industry and market are applying to keep or develop their differentiating and competitive aspects. Based upon university research and international standards, LEAD has integrated and standardized a set of best and leading practices into a common way of thinking, working and modelling.
LEAD concepts uniquely combine the much needed connection between Enterprise Modelling (e.g. Business Model/Competencies, Value Mgt, Services Model, Performance Mgt, Process Notations, Measurements, Information Mgt and Rules) with Enterprise Architecture (e.g. Business Architecture, Value Architecture, Service Oriented Architecture, Process Architecture, Information Architecture, Technology Architecture and Solution Architecture), thereby enabling all organizations to build on common principles.
Recognized as a paradigm shift within the global business and IT community, the LEAD open standards have been adopted by most of the fortune 500 companies and integrated into software solutions such as SAP® (ASAP Methodology), IBM® Rational®, iGrafx® and Software AG® (Aris®).
Today LEADing Practice is the fastest growing open standard and open source community dedicated to developing Enterprise Modelling and Enterprise Architecture Frameworks and is supported by the 2nd largest certified community of +2700 practitioners.
iGrafx leverages LEADing Practice process, value and information modeling principles and concepts, including the eXtended BPMN modeling capabilities, to support advanced business modeling that bridges strategy and operational execution.
RESEARCH: Address research concerns and questions that span around enterprise ontology and semantics within enterprise concepts, design, functions, tasks, information handling and governance and the relationships between those concepts within enterprise modelling and enterprise architecture disciplines.
DEVELOP UNIVERSITY CURRICULUM: Develop university curriculums for both Bachelor and Master level (existing BPM, SOA, Enterprise Architecture, Sustainability, Information Management and Project Management).
DEVELOP STANDARDS: Package applied academic research and findings into frameworks, methods and approaches that can be used by industries and universities alike.
ESTABLISH COMMUNITY SHARING: Share and publish the findings either in publications or to this open standard community.
iGrafx applies modeling principles developed through academic research by the Global University Alliance, through the integration of LEADing Practice concepts into the iGrafx products suite.