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A Goofy Christmas Game
The holiday season is upon us so let's get the festivities started with some Four Color Fun from 1957. A Goofy Christmas Game appeared as one of the activity pages in the Dell comic Christmas in Disneyland. The rules in case you need them:
The night before Christmas, Goofy dreamed he had a visit from Santa's elves and played a game with them on his Christmas tree. This is the game they played, and you and a friend can play it, too, one of you being Goofy and the other taking the part of the elves. You will need a colored button as a marker for Goofy, which you will place on the star in the center, and seventeen white buttons as markers for the elves, to be placed on the ornaments marked E. Goofy and the other player move in turns following the lines, from one ornament to the next, in any direction. Each time Goofy can jump one of the elves, as in checkers, he takes it off the board. So it is up to the elves to try and get Goofy in a position where he cannot jump or move.
Departments: Four Color Fun
I am about as far removed from Broadway as one can get. So in that regard, reading the new book How Does the Show Go on? An Introduction to the Theater by Thomas Schumacher and Jeff Kurtti was both an entertaining and educational experience. Jeff, prolific author and noted Disney historian, has long been an enthusiastic supporter of our efforts here, and was kind enough to share some background on this wonderful new release from Disney Press.
Thomas Schumacher is well known for being a major part of Disney's animation renaissance, serving as president of Walt Disney Feature Animation during the heyday of such efforts as The Lion King, Pocahontas and The Hunchback of Notre Dame. He moved on to become president of Disney Theatrical Productions, producing such Broadway fare as Aida, Tarzan, the Tony Award-winning The Lion King and the upcoming The Little Mermaid. The collaboration between Jeff and Tom was born out of a longstanding friendship as Jeff relates, "I have known Tom Schumacher for almost 25 years now. We've been colleagues and collaborators and just plain pals. I love what he does, and I love how smart he is, and how passionate, creative, and clever he is. He is also a fiercely loyal and protective friend, and has often been a lone supportive soul when my life has been at low ebb."
The genesis of the idea for the book came about four years ago, during a conversation the two friends had in a place not very far from Broadway itself.
"On December 26, 2003, we had taken the "A" Train to Harlem to see a show at the Apollo Theatre. We were walking up Lexington Avenue, and Tom asked me if it was hard to write a book. My first response was 'No, but it's like anything, you never know till you try. Why?'"
Tom then indicated to Jeff, "I want to write a book."
While not necessarily surprised by Tom's revelation, Jeff admits that the subject Tom had chosen wasn't exactly what he expected.
"I thought he wanted to do something about Disney's resurgence in animation in the 1980s and 1990s from an eyewitness perspective, or something lofty about adapting a film to stage."
But instead, Tom revealed, "I want the book I wanted when I was eleven. I want something that explains what theatre is all about, and simply, and joyously, so it's not intimidating or snobby."
Jeff's reaction? "When do we start?"
The two worked on and off on the the project for about a year. "Tom is a VERY busy guy," says Jeff, "but between in-person meetings, e-mails, and phone calls, we developed the book concept and hammered an outline of the book together by about the Fall of 2004. Over the following year, I would work back and forth with Tom on every aspect of the book--he would bring up ideas, I would provide responses and raw materials, he would refine, revise, and rewrite so the information was delivered, but with his charming and unique voice."
Similar in design to interactive tomes such as Robert Tieman's Disney Treasures, Disney Keepsakes and Mickey Mouse Treasures, How Does the Show Go On? is a lavishly illustrated yet still very extensive and comprehensive look at the world of theater, using Disney stage productions such as The Lion King, Beauty and the Beast, Tarzan and Mary Poppins as the backdrops. That style of publication was clearly their intention as Jeff notes, "We looked at a lot of book styles and designs, and we really liked the recent books that becker&mayer! had done with Robert Tieman, and asked them to join the team. Their designers really stepped up, and have delivered one of the most charming and beautiful designs--it really fits with the tone and feel of the writing. The addition of artifacts and objects within the book was a natural, and they really add to the book's value and personality."
The book's chapters are cleverly but still appropriately labeled "Overture," "Act One," "Act Two" and "Encore." The "Overture" instructs you on the basics. The term "theater" is defined and distinctions are explained in regard to terms such a Broadway, off-Broadway and touring shows. A section that describes styles of theaters notes the importance of placing a production in a theater that best suits it.
"Act One" begins outside the theater, explaining the dynamics of the box office and even provides a diagram of how to read a ticket. To illustrate, facsimiles of a ticket and playbill from The Lion King are incorporated. Readers are then treated to extensive descriptions of all the production personnel, from the director, producers and playwrights to music supervisors, set designers, costumers and even publicists. Another very nice interactive piece is a set of design sketches Julie Taymor did for the "I Just Can't Wait to Be King" number from The Lion King.
"Act Two" literally takes readers backstage and walks them through the creation of a Broadway production, from initial conception right up to opening night. The technical side of the process is given extensive attention, covering all the various nuances of the stage from special effects to lighting to wardrobe. Did you know that there are four different types of curtains? Or that the term "limelight" had it origins in the stage lighting that predated electricity? These are just a couple of the many, many enlightening pieces of information imparted by the authors.
Especially notable is the book's price, just $19.95. "The fact that Tom has worked to keep the cost of the book under twenty dollars is pure genius and absolute commitment to his medium," comments Jeff. "He wants this book in kids' (and grown-ups') hands so that a new generation of kids will be attracted to bringing their talents and enthusiasm to the theatre."
While How Does the Show Go On? may seem to have been generally created to serve a more youthful readership, it is equally deserving of attention by adults as well, something that Jeff agrees with. "That's a great thing about the way Tom has written this book--it's accessible enough for kids, but it's not a "children's book"--adults will find as much to enjoy and inform them as a kid will."
Snapshot! - Jurassic Gas
The decor at Chester and Hester's Dinosaur Treasures in Disney's Animal Kingdom at times pays a subtle tribute to the storyline behind the establishment. Prior to the nearby discovery of prehistoric bones and the subsequent arrival of the Dino Institute, the couple ran a sleepy little gas station on the fringe of civilization. This impromptu design reflects the store's former emphasis on "fossil fueling."
Lost Imagineering: The Rhine River Cruise
The show building still exists behind the Germany pavilion in Epcot for what had been planned to be the Rhine River Cruise. The 1982 book Walt Disney's EPCOT provides this brief description of the proposed attraction:
"The future River Ride promises to be as enjoyable as it is informative. An early concept has visitors boarding a "cruise boat" for a simulated ride down the Rhine and other rivers, the trip affording a visual impression in miniature of the cultural heritage of Germany's past and the highlights of its present. Among the detailed models envisioned are scenes in the Black Forest, the Oktoberfest, Heidelberg, the industrial Ruhr Valley . . . the possibilities are limited only by the planners' imaginations."
Freeze Frame! - Bug City is All in the Family
Pixar is famous for inside jokes and this is especially true of the Bug City scene from A Bug's Life. When Flick arrives in the big city in search of warrior bugs, he is literally surrounded by thrown away cartons and containers whose brand names allude to family members of the film's creative team. Most notably, the names of director John Lasseter's five sons, Joey, P.J., Bennett, Sam and Jackson are represented on a soup cup, a soda bottle, a sardine can, a jar lid and a pretzel box respectively. John's wife Nancy has her maiden name Tague displayed on a wine bottle that sits in a corner of the bar.
A Bug's Life is filled with numerous other references, from Pizza Planet to Lost in Space to even the Broadway incarnation of The Lion King. But my particular favorite is the nod to Walt Disney Studios veteran Joe Grant. The Pixar folks salute Grant via the box of Casey Jr. Cookies, manufactured by the J. Grant Bakery. Casey Jr. is the circus train from Dumbo; Joe Grant is credited as one of that film's writers.
Departments: Freeze Frame
Celebrating Birthdayland
Mickey's Birthdayland is certainly one of Walt Disney World's most amazing success stories. Consider Charles Ridgway's analysis from his book Spinning Disney's World:
It was originally planned as a temporary attraction, but Michael soon decided to change the name to Mickey's Starland and make it permanent. It was a prime example of the Eisner-Wells team's ability to seize on a good idea and move fast, allowing talented people to carry it out.
Mickey's Birthdayland probably could not be built today with all the financial analyzers sitting on top of it — certainly not in the same way. That kind of shoot-from-the-hip management, so typical of Michael and Frank at the time, was what made everything fun, exciting and — big surprise — "successful."
This new Magic Kingdom "land" was the centerpiece of Walt Disney World's celebration of Mickey's 60th birthday in 1988, and literally went from concept to debut in just a few short months.
For more pictures of Mickey's Birthdayland and its connection to the comic book stories of Carl Barks, check out our earlier "Welcome to . . . Duckburg?" post here at 2719 Hyperion. And be sure to check the comments section of that particular post for additional background on Birthdayland by its very own original show director Steve Hansen.
Snapshot! - Enjoy Ice Code
Believe it or not, there are even crates in Tomorrowland.
These futuristic cargo carriers carry the Coca Cola brand and can be found near the center of Tomorrowland in Walt Disney World's Magic Kingdom.
Mickey's Lost Thanksgiving
The Disney Studio never released a Thanksgiving-themed cartoon during their classic years, but one in fact was literally on the drawing board at one time. Pilgrim Mickey went through an extended preproduction period beginning in 1938, but was suddenly suspended in the spring of 1939. Charles Solomon's excellent and extensive book The Disney That Never Was provided this brief description of the proposed short's storyline:
"The film was to open with a shot of a settler's cabin; Mickey appears to be wrestling with an Indian Chief in a warbonnet, but he's actually just using a feather duster to illustrate the tale he's telling his nephews. When he goes hunting, he mistakes an Indian's headdress for a turkey's tail and gets captured. Significantly, his nephews rescue him."
Mickey and friends did finally celebrate Thanksgiving some sixty years later on the television show "Mickey's Mouse Works." Mickey, Donald and Goofy go hunting for the holiday bird in a short entitled Turkey Catchers.
Have a safe and very happy Thanksgiving everyone!
People and Places - Denmark 1967
One day you're writing a post about a nearly fifty year old Donald Duck cartoon, the next day you have a brand new friend from halfway across the world. Different countries, different languages, different cultures; but despite these many obstacles, we can still connect through our shared passion for Disney entertainment in its many different incarnations.
This new friend that I speak of is Frantz Aschengreen who is a native of Denmark. Our mutual interest in the cartoon Donald and the Wheel initiated our contact, but we soon found common Disney ground in other areas, most notably the comic book works of Carl Barks and Don Rosa. And Frantz relayed to me one particular story from his youth that I felt just needed to be shared with 2719 readers:
I am Danish. I was 10 years old in late 1967, having discovered Walt Disney and Donald Duck a couple of years before. My parents had decided to finance an annual subscription to the weekly Disney publication "Anders And & Co." (Donald Duck) for my younger brother and myself.
That year and the next had bad news appearing on television almost as regularly as weather bulletins. Every night seemed to bring fresh images of horror and violence. Vietnam, race riots, assassinations, angry protests by kids not all much older than me. I'd watch them with my tutting parents, wondering if the world would go crazy before I got further into my teens.
As a counter weight there would be "Uncle Walt" beaming friendly optimism and adventure on television every Saturday when introducing new incentives in Disneyland and a number of funny cartoons to follow. I became smitten. I loved Uncle Walt and everything he represented - mind you it would still be another year until Neil Armstrong brought a whole new level of adventure into our living rooms! Being a rather enterprising young man then, I pondered for days as to how to get close to the magic world of Disney, which seemed, on the one hand, so alluringly close, but on the other hand so very far away from small-town life in suburban Denmark.
Then I had an idea: I would contact the Disney Studios and inquire if, amongst the Disney artists, there would be anyone with a boy my age who would like a Danish pen pal! This I did – in my schoolboy-English. And then I waited. Christmas 1967 came with the annual "Walt Disney Christmas Show" on 24 December and Jiminy Cricket crooning "When You Wish Upon a Star." But no letter in the mailbox. Wishes do come true, mind you. Lo and behold a letter did arrive. However, not necessarily with the reply I wanted.
I since wondered many times if any of the artists ever learned about my request. Somehow I did not mind the rejection; at least I tried. And Uncle Walt stayed with me in my heart as I grew up and maintained an interest in animation and cartoons – even to the extent of having cartoons of my own published! Not long ago I found the envelope from Disney amongst some old papers. It is still fully intact, complete with the letter (which tells a small story of its own), the promotional mini posters (which did please a 10-year-old boy) and the Uncle Walt postcards which today stand out as uniquely 1960ish in style. All in all a regular "time capsule" from the Walt Disney Studios in 1968!
Thanks to Frantz for sharing with us his memories on what is now the 4oth anniversary of this very special time from his childhood.
Departments: People and Places, VIP Visitors
Walt Likes Ike
While Walt Disney often possessed very strong political convictions, he rarely if ever used the company he and his brother Roy founded as a conduit to the general public for those opinions and viewpoints. Walt's political adventures have generally stayed under the radar, even when they have come to attain a degree of historical significance. This is especially true in the Disney Studio's creation of the what is largely considered one of the first presidential campaign television commercials, aired in 1952 for then Republican candidate Dwight D. Eisenhower.
The animated "I Like Ike" one minute spot channeled the famous campaign slogan into a cross sectional demographic march to the White House led by Uncle Sam and followed close behind by a flag-carrying, drum beating elephant. Certainly benign by today's mudslinging standards, its harshest moment portrays Adlai Stevenson, the Democratic candidate, riding a donkey away from Washington, accompanied by the lyrics "Let Adlai go the other way, we'll all go with Ike." But it was a bold move for 1952; Stevenson generally disdained the use of television commercials, but Eisenhower had no such qualms. He reached some 19 million viewers and went on to win the presidency in a landslide vote.
While Walt did have a reputation for sometimes bullying studio subordinates into making political contributions, he typically did not make many public endorsements. The Ike commercial was credited to brother Roy Disney as a producer and sponsored by the Citizens for Eisenhower-Nixon. It would be the genesis of a warm and friendly relationship between Walt and Ike that would extend all the way to Walt's death in 1966. Walt corresponded with the former president as late as summer of 1966; a few weeks following Walt's passing, Ike eulogized him, saying in part, "His work will endure so long as men and women and children retain a sense of wonder, a need for bright laughter, a love of the clean and decent. Consequently, Walt Disney's name and his creations will endure through generations. In honoring him, we salute an American who belongs to all the world."
Snapshot! - New York News - November 18, 1928
Hot off the presses, the November 18, 1928 edition of the New York News has landed on the Streets of America at Disney-MGM Studios.
But believe it or not, November 18, 1928 has not always been the recognized birthday of Mickey Mouse. In the recent book Mickey Mouse Treasures, author and Disney Archives manager Robert Tieman explains:
Walt Disney always said that Mickey's birthday was the day Steamboat Willie premiered, but the exact date had been lost to history. For the early birthday commemorations, the studio routinely picked a convenient day in the fall—generally a Saturday so movie theaters could schedule kiddie matinees, and generally in September (even though Steamboat Willie was nowhere near finished that early in 1928). Over the years, September 28 became known as Mickey's birthday, even making it into print in several reference books—until the establishment of the Walt Disney Archives in 1970.
One of the first things archivist Dave Smith tracked down was a vintage program from New York's Colony Theatre, the site of Mickey's debut. Inside was conclusive documentation at last of the debut of Steamboat Willie on November 18, 1928. This discovery allowed for Mickey's actual birthday to be recognized for his golden anniversary in 1978.
Departments: Special Occasions
A Tribute to Bruce Gordon
Friends of Bruce Gordon have posted a heartfelt and moving tribute to the Imagineer, author and much loved and respected Disney creative force. Gordon tragically passed away this past November 6th at a far too early age, sadly bringing to an end his distinguished and celebrated careers in numerous entertainment disciplines and endeavors. Special thanks to Jeff Kurtti, a close friend and frequent collaborator of Bruce Gordon, for sharing the link with us.
Tim Burton to Direct Two New Disney 3D Films
Very cool breaking news. Tim Burton will be returning to Disney very soon. According to SCI-FI Wire:
"Director Tim Burton has signed a two-picture deal with his longtime studio, Disney , that will see him direct and produce 3-D movies of Lewis Carroll's Alice in Wonderland and a remake of his short Frankenweenie, according to The Hollywood Reporter.
The Alice adaptation will be a combination of live-action and performance-capture animation and will be based on a script by Linda Woolverton (The Lion King). It will be produced by longtime Burton collaborator Richard Zanuck and former Disney chairman Joe Roth, with Jennifer and Suzanne Todd.
Filming will begin in early 2008, with a production completion date in May 08.
Burton will then segue to produce and direct a full-length motion picture version of his cult favorite 1984 film short, Frankenweenie, about a pet dog who is brought back to life by his loyal owner in a very unusual way. The film will be shot in stop-motion animation
Both movies will be presented in Disney Digital 3-D."
The Road Ahead from Magic Highway USA
It is with great pleasure that I am finally able to present the video of "The Road Ahead" segment from the 1958 Disneyland episode Magic Highway USA. I provided background on this nifty piece of 1950s futurism in the posts The Road Ahead and Another Drive Down the Road Ahead.
Departments: Magic Highway USA, The 1950s
Where Pluto Goes for Therapy
Amenities for Rover and Kitty are not just limited to kennel services at the Disney-MGM Studios theme park at Walt Disney World. The services of therapist Hugo Bark and the Lend-A-Paw Pet Clinic are readily available should you be successful in smuggling your little canine or feline past front gate security.
Camping doesn't mean "cheap" - It means "value"
If you plan on heading over to the Africa section of Disney's Animal Kingdom to see the animals, realize that the proprietors of Kilimanjaro Safaris are not the only game in town. Cap'n Bob's Super Safari offers visitors to Harambe a more value-priced excursion, and hits such hot spots as the Mauti Crocodile Farm and Camel Rides at Ujinga Ranch. Remember when you call to ask for "Ed."
I've generally tried to not go overboard in featuring too many Disney Park details, but my inbox has been filling up lately with requests for more frequent Snapshot! and Theme Parkeology posts. If that seems to be the consensus I will endeavor to increase my output in those two 2719 Hyperion categories. Let me hear your feedback, either via email or, as my buddies George and Andrew recommend--Geek Love (translated--the comments section).
Freeze Frame! - Mrs.Potts in the Jungle
While by no means a "hidden detail," this cameo appearance by Mrs. Potts and Chip in Tarzan was still a fun discovery nonetheless. At the rate that Terk and her friends were "trashin' the camp," one must wonder if these slightly less animated Beauty and the Beast incarnations managed to survive the encounter.
Desert Living in The Living Desert
Fifty four years ago today, Walt Disney released the first True-Life Adventure feature film The Living Desert. With its cactus-perched bobcat and square-dancing scorpions, the film launched yet another successful chapter in the history of the Disney Studios. Especially notable is the fact that RKO, Disney's distributor up until that point, balked at releasing The Living Desert, asserting that there was no market for longer form nature documentaries. Walt and Roy Disney were quick to show RKO the door and Buena Vista, an in-house distribution division was subsequently born. The Disney brothers were quickly validated in their decision; the film would gross over five million dollars on a budget of approximately $500,000, and would also win that year's Oscar for feature length documentary.
True-Life Adventures veteran writer and director James Algar explained the genesis of The Living Desert in a 1968 interview:
"Living Desert came about in this way. A young man from UCLA came in and showed us about 10 minutes of film that he had made as a thesis. Because it had to do with nature and we were then making nature stories, he brought it here. This was a boy named Paul Kenworthy. And this was one moment when Walt spotted a thing instantaneously; it sounded very exciting. Kenworthy's sequence was the story of the wasp and the tarantula. It was a very-well-covered, very-well-photographed, thorough going account of how this wasp stings the tarantula to a state of paralysis and lays its eggs inside the body of the tarantula. The tarantula is in a state of preservation, and when the wasp's young hatch, they then feed on the tarantula and become new wasps and fly off. This was a little complete short story right out of nature, and the boy had done it well. And Walt said, "Let's get hold of this young man and set him up out there and see if we can't find out more such stories about the desert and build a thing about the desert." And this is what happened."
Kenworthy would become one of two principal photographers on The Living Desert and ultimately go on to contribute his skills to subsequent True-Life films, most notably The Vanishing Prarie in 1955.
The Living Desert has any number of memorable moments, but a few stand out and those have become burned into the collective subconscious of the baby boomer generation. Dramatic confrontations--among them a red tailed hawk versus a rattlesnake, the aforementioned tarantula-wasp showdown, and two male tortoises jousting for the same potential mate. This harsher side of nature is offset throughout the film by lighter moments, most notably the comical, and occasionally criticized, scorpion square dance. Of that particular sequence, Algar noted:
"In Living Desert we had the material of the scorpions in their little mating ritual where they walk back and forth and circle. And the more we looked at that, the more it obviously felt rhythmic and the more we saw the chance of creating something interesting. This is one time where we actually created the music, and we set it to a square-dance routine. Now people tend to marvel, "Gee, how do you get those animals to perform to music?" where in truth you get the musician to perform to the animals. It's not quite as mysterious as it might seem."
One specific scene in the film would become legendary and in many ways iconic. When a peccary, an American cousin of the wild boar, chases a bobcat up a very tall cactus, the resultant image of the perched bobcat subsequently became representative of Disney's once and future nature themed efforts. It was displayed in marketing materials, on merchandise, and included in the opening montage of the Wonderful World of Disney. It was even recreated as part of the Nature's Wonderland attraction that was a Frontierland mainstay for many years at Disneyland.
Despite its recent DVD release, The Living Desert remains largely unseen except by the most devout of Disney enthusiasts. It is quick becoming lost in an age of high definition Imax productions and 24 hour nature-themed cable channels. It is regrettable as the film still retains a timeless charm and remains both entertaining and often compelling some five decades after its inital debut.
Departments: Retro-Reviews
Snapshot! - Air Conditioning Duck
Where else but the inspired lunacy that is in fact the exterior queue area of Muppet*Vision 3D at Disney-MGM Studios in Walt Disney World. We could post a detail a day about this attraction and it would still likely be years before we ran out of material.
Hooray for Main Street U.S.A.!
When you walk right down the middle of Main Street U.S.A., remember to proudly wave your pennant!
I have always loved it when Walt Disney World produced souvenirs for the Magic Kingdom that were distinctly "land-centric." Here is not one, but two pennants that celebrate the resort's most famous neighborhood. Both feature film connections--Cyril Proudbottom, Mr. Toad's loyal compatriot pulls the trolley, while Mickey and Minnie are decked out in their Nifty Nineties finery.
Your Friend the Rat
Once again, Pixar steps out of the box, but even more notably, steps back in time.
Its funny that so much of the initial buzz about Your Friend the Rat, the new Pixar short subject that appears on the just released Ratatouille DVD, is focused on the fact that it is largely comprised of two dimensional animation. For in truth, the roots of this particular endeavor can be found not simply so much in its more traditional hand drawn format, but in the cartoon modern style trappings and fast paced irreverent humor found in early Disney television productions largely written and directed by Ward Kimball.
This entertaining and often hilarious film owes much in theme and structure to Kimball's 1969 Oscar-nominated It's Tough to Be a Bird, and in some places even echoes that film's dialog. But in style and design it is clearly rooted in Kimball's earlier efforts on the Disney television anthology programs. It also is related to films such as The Truth About Mother Goose and additionally to many of the television episodes that showcased the eccentric and always very funny Ludwig Von Drake.
Remy and brother Emille take us through a fast paced and surprisingly educational history of the rat. Beginning with a quite expressive summary of mankind's longstanding war with this rodent species, the film then segues into a chronicle of global rat infiltration. It makes a hilarious pit stop in the 14th century to expose the real truth behind the Black Death, and at the same time affords us a clever but slightly more obscure Pixar character cameo. The fun continues, especially in an inspired sequence borrowing visuals from early pixel-heavy video games that illustrates how brown rats were vanquished from Alberta, Canada.
But the film rarely strays far from its Ward Kimball-inspired zaniness. When it touches on how rats have managed to survive extended exposure to nuclear radiation, the resulting mutant rodent is distinctly reminiscent of Kimball 's creations in 1957's Mars and Beyond. And shortly thereafter, when Mars plays a prominent part in the film's closing musical number, the dots are quickly connected. These Pixar folks are clearly fans of that particular member of Disney's Nine Old Men.
One piece of advice - be sure to read the details of the ending disclaimer. It's a bit of a challenge due to the antics of Remy and Emille, but well worth the effort.
Images © Walt Disney Company
The Old Mill - November 5, 1937
It is well near impossible to underestimate the importance and impact of The Old Mill, Disney's classic Silly Symphony that was released seventy years ago on this date. Cited most often as the first film to employ the multiplane camera, its merits extend well beyond that particular technical innovation. In their now classic book Disney Animation: The Illusion of Life, Frank Thomas and Ollie Johnston succinctly describe why The Old Mill is so notable and important, even beyond the achievement of the camera itself:
By 1936, a new type of picture was becoming possible. Technical skills were advancing and a new camera was being built that promised wonderful illusions; animation of rain and clouds and lightning had improved to the point where they were quite convincing; cartoon colors were beginning to glow; and new styling coordinated all of a film's parts into one unified concept. When these achievements were combined with the ability to portray mood on the screen, a true milestone in the development of the animated cartoon resulted: The Old Mill, Academy Award winner for 1937. With no story other than the reaction of various animals to one stormy night in a broken down mill, the film showed that an audience could be swept up by sheer artistry and become deeply involved in an animated film.
Echoing similar themes, authors Russell Merritt and J.B. Kaufman remarked in their recent excellent and extensive tome Walt Disney's Silly Symphonies:
This is the first Disney film meant to be taken seriously, the first with quasi-religious overtones in which art, nature, and machinery are given a sacred aura.
Much could certainly be written about The Old Mill, from the specific technical intricacies of the multiplane camera to the film's numerous awards and accolades. But its very simple, yet stunning interpretation of life, death and renewal is what truly resonates and continues to distinguish the film some seven decades later.
The Old Mill, under the inspired direction of Wilfred Jackson and Graham Heid, is brilliant in both composition and visual direction. The viewer is literally drawn into this microcosm of nature, almost as if taking the form of an incorporeal spirit and witnessing the events that subsequently transpire. This is in fact a deliberate dynamic created by the film's makers, in that frequently, the various creatures seem to acknowledge the viewer, most notably an especially observant owl.
The film opens some distance from the mill, as seen from the perspective of an orb weaver spider meticulously crafting its web. A slow and methodical zoom brings us in closer to the mill as we witness ducks and cows in their deliberate motions and travails. The focus settles on a small songbird whom we follow into the mill's interior to its mate and a nest of eggs. In a truly amazing vertical tracking shot attributed to animators Bob Wickersham and Stan Quackenbush, we travel from the building base to its peak, along the way encountering mice, doves, the aforementioned owl and finally a colony of bats who, with the approaching dusk, take leave and return us to mill's surrounding community of residents.
A cacophony of frog croaks and cricket sounds becomes an entertaining musical interlude. In perhaps one of the film's most stunning scenes, fireflies dance before the backdrop of the mill. This all leads to the climatic and visually mesmerizing thunderstorm. Drama unfolds as the mill residents attempt to survive an assault that culminates in a dramatic lightning strike.
Dawn arrives, peaceful and serene. The bats return from their nightly sojourn and we journey through and away from the mill much in the reverse manner of how we initially approached it. Starting at peak, we descend through the mill's now slightly more disheveled interior and revisit again the owl, doves, mice and a nest of newly hatched songbird young along with their attentive and proud parents. Retreating back from the mill, we see ducks and cows reversing their prior travels and we ultimately return to the spiderweb of the film's beginning, destroyed, yet still beautiful in its rain soaked glistening. While the mill's residents have ultimately weathered the storm, in a subtle testament to the nature of life and death, it is the fate of the distant spider that is questionable.
As noted, The Old Mill was a dramatic departure for Walt Disney, and especially remarkable in that it was less than a decade removed from the more primitive presentations of Steamboat Willie and The Skeleton Dance. In theme and execution, it paved the way for much of what would emerge a few years later in Fantasia. It's opening scene would be reinterpreted close to fifty years later for the equally stunning opening sequence of The Rescuers Down Under.
The Old Mill is an amazing and notable achievement, a film whose depth extends well beyond the visual dynamic afforded to it by one of the Disney Studio's most famous innovations.
Snapshot! - Call the Boys in Maintenance
Just another authentic corner of the Hollywood Tower Hotel at Walt Disney World's Disney-MGM Studios. This small maintenance storage office sits just out of direct view at the Picture If You Will area at the end of the Tower of Terror attraction. The wall calendar on the bulletin board does indeed display October 1939.
Disneyland Malaysia?
Reuters is reporting that Malaysia might become the sight of Disney's next theme park. Citing a weekly business publication called the Edge, the news service stated that "The government unveiled a $105 billion blueprint late last year to transform the southern tip of Johor state, which neighbours Singapore, into a regional economic zone for industry, logistics, trade and leisure."
"The proposed Disneyland theme park and resort is slated to be bigger than Hong Kong Disneyland and about the size of Tokyo Disney Resort."
Other entertainment companies are also considering the development, including Warner Brothers and MGM, although at this point Disney appears to be the distinct front runner. If talks are successful, a deal could be signed as early as next year, with a possible opening date of 2014.
Screening The Pixar Story
The Reporter.com covered the recent screening at the Mill Valley Film Festival of the The Pixar Story, Leslie Iwerk's documentary that's creating quite a buzz in Disney and animation circles. Iwerks, along with John Lasseter and Ed Catmull, participated in a panel discussion following the screening. Leo Holzer provides details of the event in a great article, and also provides an audio stream of the panel discussion. It's definitely worth a look and a listen.
Something Special Afoot
Mouseketeers know Mickey's own Mickey Mouse shoes are extra soft and comfortable. They're so flexible you feel sure-footed as a deer. And the full cushioned insole lets you walk on clouds. They're tough, too, for lasting wear . . . and so good looking. Tell mother about the Mouseketeers' Special Shoes. They're only $4.95 to $6.95 depending on size.
It's been a little while since we visited some good old fashioned pop culture from the 1950s. This ad for Trimfoot Shoes appeared on the inside front cover of the December 1956 issue of Walt Disney's Mickey Mouse Club Magazine. If you look closely, you'll see John Hench's 25th Birthday portrait of Mickey being offered as part of a mail-in premium, along with the official Mickey Mouse Club Ring.
What a Character! - Spike
Animated bees will be all the buzz this weekend courtesy of Jerry Seinfeld and Dreamworks Animation. So what better occasion than this to revisit a certain cartoon insect who was the bane of a famous duck's existence during the heyday of classic Disney animation.
Alternately referred to as either Spike or Buzz-Buzz, the little fellow proved to be a worthy adversary to Donald Duck. Of the name confusion, author and Disney historian John Grant noted "It is certain that the bee who appeared in Bee on Guard was called Buzz-Buzz; a bee antagonized Donald in six other shorts, and this bee was often called Spike. The two bees are, to this eye at least, hard to tell apart; it is possible that any perceived differences may simply be the result of different artists working at difference times."
Spike made his debut in the 1948 cartoon Inferior Decorator. Fooled initially by Donald's flower print wallpaper, he quickly falls victim to the duck's trademark bullying. While Donald tends to maintain the upper hand throughout the short, the plucky Spike perseveres and comeuppance is ultimately delivered in the end.
Spike switched headliners in his second appearance, trading pratfalls with Pluto in the 1949 cartoon Bubble Bee. The short plays off of two totally oddball premises. First, that Pluto finds himself coveting bubble gum balls from a gumball machine. Second, that for some bizarre reason, Spike is pilfering said gumballs and hiding them in the nearby hive. A succession of bubble gum-based gags quickly follows and similar to Donald's previous fate in Inferior Decorator, Pluto also gets it in the end.
Spike returned to Donald Duck cartoons that same year in Honey Harvester, and remained the malicious mallard's co-star for his remaining five appearances. Slide, Donald, Slide, Bee at the Beach and Bee on Guard all featured similar bee-duck craziness. But Spike's final appearance in 1952's Let's Stick Together turned out to be an unintentionally appropriate swan song. An older version of Spike is seen reminiscing about an earlier, and often contentious partnership with Donald. Most notable about the short was that the older Spike was given a normal voice, distinctly different from prior appearances where he had always communicated via high pitched buzzes and squeaks. This is especially ironic in that longtime Donald Duck director Jack Hannah once noted the benefit of this particular attribute, saying "You can get a funny sound effect out of a bee. They can cuss you out with that little bee noise." This older Spike was also similar in personality to another insect supporting player, Bootle Beetle, who co-starred a few times with Donald during roughly the same time period.
Of the end of Spike's career, John Grant observed, " . . . it is very interesting that this retrospective [Let's Stick Together] should appear so abruptly, and at a time when the bee's career looked to be highly successful -- as if, indeed, he was all set to become a regular fixture in Duck movies in perpetuity. One can only assume that Disney overestimated his popularity."
▼ November


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[![Build Status](https://travis-ci.org/facundovictor/jsfiddle-downloader.svg?branch=master)](https://travis-ci.org/facundovictor/jsfiddle-downloader) [![npm version](https://badge.fury.io/js/jsfiddle-downloader.svg)](https://badge.fury.io/js/jsfiddle-downloader) [![GitHub license](https://img.shields.io/badge/license-MIT-blue.svg)](https://raw.githubusercontent.com/facundovictor/jsfiddle-downloader/master/LICENSE) [![Total Downloads](https://img.shields.io/npm/dt/jsfiddle-downloader.svg)](https://npm-stat.com/charts.html?package=jsfiddle-downloader)
[![FOSSA Status](https://app.fossa.io/api/projects/git%2Bgithub.com%2Ffacundovictor%2Fjsfiddle-downloader.svg?type=shield)](https://app.fossa.io/projects/git%2Bgithub.com%2Ffacundovictor%2Fjsfiddle-downloader?ref=badge_shield)

Download fiddles from jsFiddle.net, just using a NodeJS script and save it as a single HTML file.

![NPM](https://nodei.co/npm/jsfiddle-downloader.png?compact=true)

**Installation**:

```
    npm install jsfiddle-downloader -g
```

**How to use it**:

```
  Usage: jsfiddle-downloader [options]

  Options:

        -h, --help                        output usage information
        -V, --version                     output the version number
        -u, --user <user>                 Save all the users fiddles
        -l, --link <url>                  Url of the fiddle to save
        -o, --output <path>               Target path to download the data
        -c, --compressed                  Compress the spaces of the HTML output
        -i, --identifier <fiddle_id>      Identifier of the fiddle to save
        -f, --force-http                  Use http when the URI method is undefined
        -v, --verbose                     Verbose output
        -I, --filename-identifier         Use fiddle identifier as filename (default)
        -T, --filename-title              Use fiddle title as filename
        -IT, --filename-identifier-title  Use fiddle identifier and title as filename
        -S, --filename-spaces             Keep spaces in filename (default: replace by underscores)
```

To download a single fiddle from its id:

```
  jsfiddle-downloader -i <fiddle-id> [-o <output file>] [-f]
```

To download a single fiddle from its url:

```
  jsfiddle-downloader -l <url> [-o <output file>]
  jsfiddle-downloader -l jsfiddle.net/<user>/<fiddle-id>
  jsfiddle-downloader -l jsfiddle.net/<user>/<fiddle-id>/<version>
  jsfiddle-downloader -l https://jsfiddle.net/<fiddle-id>
  jsfiddle-downloader -l https://jsfiddle.net/<fiddle-id>/<version>
  jsfiddle-downloader -l https://jsfiddle.net/<user>/<fiddle-id>/show/ -o myfiddle.html
```

To download all scripts of a determinated 'user' from jsFiddle.net:

```
  jsfiddle-downloader -u <user> [-o <output file>]
```

It'll download all backups in the currrent directory, the jsFiddles scripts will be named by default as:

```
  [<output-folder>/]<id-fiddle>.html
```

To save the files using the fiddle's title, provide the parameter `-T`:

```
  jsfiddle-downloader -T -u <user> [-o <output file>]
```

It'll download all backups in the currrent directory, the jsFiddles scripts will be named as:

```
  [<output-folder>/]<title-fiddle>.html
```

To avoid running a local server for resolving URIs that doesn't have an URI method defined. Use the `-f` parameter:

```
  jsfiddle-downloader -f -i <fiddle-id>
  jsfiddle-downloader -f -l <url>
  jsfiddle-downloader -f -u <user>
```

This will replace all the `http://` in the href of link tags and in the src of script tags.

You can make the filenames more informative with these options:

`-T` : `<fiddle-title>.html` (title given to the fiddle to make it public)

`-IT`: `<fiddle-id>_<fiddle-title>.html` (combined identifier and title)

`-S` : Keep spaces in filename (default: replace by underscores)

**Tests:**

In the project directory `jsfiddle-downloader` run

`mocha test [--keep]`

If you run tests with option `--keep`, the temporary directories containing
html files downloaded during tests will be preserved for inspection.

## License
[![FOSSA Status](https://app.fossa.io/api/projects/git%2Bgithub.com%2Ffacundovictor%2Fjsfiddle-downloader.svg?type=large)](https://app.fossa.io/projects/git%2Bgithub.com%2Ffacundovictor%2Fjsfiddle-downloader?ref=badge_large)

redpajama_set_name: RedPajamaGithub


For today's Daily post we were asked to write a post that teaches our readers how to do something you know and/or love to do.
For my 1st trick, I will try to show my readers how NOT to gaf.
When someone, anyone, or that extra special no one, has something to add on how you should live your life.
Simply nod, agree to disagree and move on.


One of our forum members, cheekytrolly has recently reviewed a copy of Project Canarias 2006 and posted it on our forums - I decided to post it on the home page for all to see. The review goes: Well I know it has been a month already since this freeware scenery package was released, but after no one else wrote a review of Project Canarias, I decided that it was time I tested it out for myself! Click on Read More for the full review.
To install the addon, you need to get three different files (Totaling 240mb) and extract them all to the same folder before you start the setup. The actual installation process is very professional and guides you through what is happening each step, and shows its progress on a percentage bar that gradually fills with color until it completes which takes roughly 15 minutes.
Once installed, you have the choice of flying at the islands of "Grand Canaria", "Tenerife", "La Gomera", "La Palma" and "El Hierro" which are all covered in new photoreal textures. (Photoreal meaning not computer generated textures, but real satellite or aerial photos placed exactly in the correct location, so what you would see in real life is what you see on the sim) A good thing about photoreal islands on fs2004 is that you don't see a big line between the new and default textures as the land is surrounded by sea. You can stay flying forever in the Canarys and forget the rest of the world exists!
As well as that, you get 20 metre mesh covering each island, so you see each hill, valley, mountain and crevice exactly as it would be in real life too. Just to put that into perspective for you, most of the default MS mesh is at a resolution of 150m, some good freeware mesh comes at 75m and payware mesh is at about 35m! As you can tell, the level of detail is amazing, especially with volcanic landscape of the Canarys!
Another feature included in Project Canarias that beats payware is the fact that there is autogen scenery (buildings, vegetation, vehicles etc) placed on top the photoreal in the correct locations. For example, a photoreal selection of the UK that cost me 15 pounds is completely 2D, with only images of roofs and treetops to look down upon, where as here, where there is a photo of a house roof in the Canary Islands, there is a 3D house (including all the walls) placed on top of it, again, just like you would see in real life! Even if you prefer no 3D objects if you want to see a specific location not covered up, you can always adjust your display settings in the sim, this way it suits everyone!
Now, what I think is the best feature of this addon is the nightlife in the Canarys. If you change your flight time to evening or night, you will be displayed a completely new set of photoreal textures, photographed at night. To accompany this, there is a setting in the Canarysim manager that allows you to add 3D lights to enhance buildings and roads, which I think you will agree after seeing the screenshot below, looks fantastic!
There are no downsides, this package will suit everyone's requirements and everyone's systems.


The cover story of the June 28, Asia edition of BusinessWeek reports on the role technology is playing in eradicating poverty in India. "[New efforts] have become successful and are starting to look like valid business opportunities. Now, the entrepreneurs are starting to discover one another: India has this year been host to three conferences on the use of technology for development in rural societies…With the number of success stories growing, though, Nasscom and the World Bank are planning a fund of up to $1 billion to support promising ideas." Read full article here.


Connecting remote communities, bridging the digital divide.
Today, Internet is playing a pivotal role in creating opportunities which did not exist just a decade ago. Now one can imagine large scale organizations, with highly skilled talent spread globally. We believe that good quality, high speed Internet infrastructure can help us realize our dream of creating livelihood opportunities in remote mountain communities.
This led us to lay emphasis in creating a robust last mile wireless network infrastructure which not only connects our delivery centers to the Internet, but gives opportunity to other businesses and entrepreneurs, reach out to the world with their products and services.
In about year's time, Vayudoot, our Internet Services initiative has covered roughly 2500 square kilometers of area, covering towns and rural areas around Dharmashala, Mcleodgunj, Kangra, Nagrota and Shahpur. More than 200 businesses, use our network infrastructure everyday, creating business opportunities in Tourism, Information Technology, Financial, Education, Healthcare and Public Service domains.


This paper describes the development of the Information Processing Taxonomy (IPT) Model which models children's thinking at different hierarchical levels. The main features of the Model consist of retrieving information from external memory and primary and secondary productions of Type A and B information. These features constitute the components of different levels of thinking which could be used to confirm and describe the children's cognitive processes. Examples are shown to illustrate how the Model could be used to construct test items at different levels on the basis of these features. The Guttman procedure was applied to test the consistency of the hierarchical nature of the Model. Results show that the items constructed using the Model were scalable.


Natural Styling Schwarzkopf is the secret behind perfectly defined curls! This treatment makes high quality transformation of style and lifeless hair in beautiful curls. Thanks to the gel substance you can create curls where you want!
Instructions: Glamour Wave Hydrowave is only available in one strength. This is for normal hair.


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Breaking The Silence: LGBTQ Veterans Share Their Truth
Marilyn Drew Necci | November 8, 2019
Topics: Bill Harrison, Diversity Richmond, LGBTQ veterans, Lindsay Church, Military Kid Art Project, Minority Veterans of America, Monument City Music, Our Stories Our Truth, Transgender Veteran Support Group Virginia, Trish E. King
This Veterans Day, Diversity Richmond will host an evening of stories from LGBTQ veterans and armed services members, in order to help create a community for current and former service members who are too often isolated.
One million LGBTQ military veterans. 80,000 LGBTQ active duty members of our armed services. But between the lingering legacy of Don't Ask Don't Tell and the current transgender military ban struggle, there's an isolating and silencing effect that has made it hard for LGBTQ veterans and service members to find community. This Veterans Day, Diversity Richmond wants to change that.
Together with a variety of local support organizations including Minority Veterans of America, the Military Kid Art Project, Transgender Veteran Support Group Virginia, and more, Diversity Richmond will be hosting the city's first LGBTQ veterans gathering on Monday night. Entitled "Our Stories, Our Truth: An LGBTQ Veterans Day Celebration," the event is designed to encourage community by allowing LGBTQ veterans to hear each other's stories and feel a little less alone.
"Nobody knows our issues like we know our issues," said Diversity Richmond's Executive Director, Bill Harrison. "Connecting with each other is the first problem to solve, because we often don't even know how many of us exist. The program will allow LGBT vets to share their journeys and offer a candid, honest conversation about their experiences."
The event will feature a performance from Monument City Music and a keynote speech from Trish E. King, a retired US Army soldier with over 20 years military experience. In 2015, she became the first openly transgender infantry member, and has since been an LGBTQ advocate who believes that "teams are at their best when everyone can bring their whole self to the table."
There will also be an opportunity to hear from each other, as attendees will get the opportunity to share their own stories of being LGBTQ veterans.
"Veterans Day is a celebration of those who have worn the uniform of the United States Armed Forces, but often LGBTQ veterans feel as though they don't belong in the veteran community," said Minority Veterans of America Executive Director Lindsay Church. "Policies like Don't Ask, Don't Tell and the Military Trans Ban have made it so LGBTQ veterans and service members have constantly had to hide their identity. This event is an opportunity for LGBTQ veterans and family members to break the silence and speak our collective truth."
"Our Stories, Our Truth" will take place at Diversity Richmond on Monday, November 11, beginning at 7 PM. It is free and open to the public, and the hosts encourage non-veterans to attend as well, in order to gain a better understanding of the unique challenges faced by LGBTQ veterans and armed services members in America today. More details about the event are available here.
SHOUT!ing Our Truth
Marilyn Drew Necci | September 19, 2019
Topics: Deejay Gray, Lora Beldon, Melissa Rayford, Military Kid Art Project, Museum of the American Military Family, SHOUT!, SHOUT! Sharing Our Truth, Theatrelab
This Sunday at TheatreLAB, SHOUT! brings the voices of LGBTQ military veterans and families to the stage for one night only.
This Sunday night, TheatreLAB will present SHOUT!, a play focused around the stories of LGBTQ veterans and military family members. The play will only be showing for one night, but it took years of preparation.
Indeed, for Richmond artist and art teacher Lora Beldon, the roots lie in her childhood, growing up in a military family and experiencing the particular chaos that families of active armed services members undergo. Today, her artistic work revolves around bringing art to the children of military families in particular, under the name Military Kid Art Project.
"What I've done over the past 15 years is travel around writing creative programming for military kids' classrooms," she explains. "People hire me and i go into their business or place, whatever that may be."
A few years ago, Beldon took an artistic residency at the Museum of the American Military Family in New Mexico, and it was from that residency that the initial roots of SHOUT! began to grow. Originally, it was a book, compiling the different stories military veterans and families had about their experiences with being LGBTQ in the orbit of the US armed forces.
The anthology that eventually resulted, edited by Beldon and Circe Woessner, was called SHOUT! Sharing Our Truth. It was very well received, winning the Albert B. Corey Prize from the American Historical Association in 2018. It was this success that led Beldon to begin thinking bigger.
One story from the anthology in particular stood out to Beldon. The story, written by a trans woman, told her story in two different voices — one male, one female. "Both the [museum] director and I said, 'Oh my gosh, this would make a really great play!'"
Writer/director Melissa Rayford; photo courtesy Lora Beldon
Beldon approached LGBTQ-focused charitable organization the Arcus Foundation to transform SHOUT! into a play, and, she says, "They absolutely loved it." Her next step was to contact TheatreLAB, where Artistic Director Deejay Gray was equally enthusiastic, connecting Beldon with Melissa Rayford, who took on the job of adapting SHOUT!'s stories for the stage.
"We just threw ideas around," Beldon says of the creative process. "She used quite a few of the stories. Some of the stories are an amalgamation — there are some parts of it where she used another story and tied it together."
The end result, which is also directed by Rayford, features six different actors and actresses, each with their own unique story to tell.
"They represent different branches and different time periods — before, during, and after Don't Ask Don't Tell," says Beldon. "But it's not just a play about military personnel or veterans; it's also about their families. So there's a couple of military-brat characters, and that was a really important aspect to me. I'm always trying to bring to light military brats, as not being an afterthought in military families."
Performers cover a full spectrum of age, race, gender, and experience; while some are veteran actors, others are just beginning their acting careers, and local artist Petie-Bogen Garrett has never acted at all.
"We did that on purpose," says Beldon. "The entire play is what the museum and I consider an educational tool." Their plan is to film the performance on Sunday night, then use it to create a package that can be distributed to schools, community centers, military bases, or whoever else would like to put on their own version of SHOUT!
It's important to Beldon that this version of SHOUT! be affordable and accessible for all groups who might want to stage it. "We purposefully created the kind of cast, script, and backdrop that wouldn't cost you a dime. If you wanted to do it outside, you could," she says. "But it's also something with great depth."
While Beldon is excited for the TheatreLAB performance this Sunday, to her it is just the beginning of SHOUT!'s life as a play. "I consider [Sunday's performance] a soft opening," she says. "We're opening it to the public for the one and only time in Richmond that I will handle it. Then we'll let it go out to the community."
To see SHOUT!'s maiden voyage into the world, head to TheatreLAB, located at 300 E. Broad St, on Sunday, September 22. Doors open at 6:30; tickets are $20 per person and are available at TheatreLAB's website. Beldon encourages those who wish to see the performance to buy tickets in advance, as it's close to selling out.
Top Photo courtesy Lora Beldon

redpajama_set_name: RedPajamaCommonCrawl


Father, You gave Ezekiel a recap of the physical sacrifices that were to be offered to You, when and where and how in specific detail. For You are a Holy God and the offerings and sacrifices provided atonement and consecration for Your people then.
Now comes Peter writing to remind believers that now they "are being built into a spiritual house to be a holy priesthood, offering spiritual sacrifices…" The Israelites had to go to a specific place, the Temple, and have their sacrifices presented by priests. But now believers' bodies are the "temple" and believers, themselves, are the priests. And the sacrifices offered are the spiritual sacrifices of praise, and a contrite heart.
Psalm 119 answers this, and so it has become my prayer. "Teach me, O Lord, to follow Your decrees; then I will keep them to the end. Give me understanding and I will keep Your law and obey it with all my heart. Direct me in the path of Your commands; for there I find delight.
Father, let me live and walk and worship according to these Words. Let me be taught by You. Break down whatever habits or tendencies I have that war against Your precepts or keep me from following Your path wholeheartedly.


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Wikiage - Celebrities Wiki, Biography, Age, Etc
Lucas Ansel TikTok Age, Height And Girlfriend: How Old?
December 20, 2020 James White Celebs 0
Lucas Ansel is an American content creator, animator, and film director. He is best known for his filmmaking videos on TikTok and Youtube. The Influencer usually uploads videos about his travel.
His videos also seem to have funny plotlines. As a result, Lucas Ansel has accumulated hundreds of thousands of followers on all sorts of social media.
Name Lucas Ansel
Profession Director/Content Creator
Married/Single Unmarried
Education Rhode Island School of Design
Instagram @lucas_ansel
Tiktok @lucas__ansel
Currently based in New York and Los Angeles, Lucas Ansel has trained at the Rhode Island School of Design. He was passionate about photography and filmmaking ever since his childhood. He took his talent to TikTok and got very famous in no time.
As of now, he is a professional filmmaker who has directed a few music videos, commercials, and ads. He is also known for designing advertising campaigns and has found a lot of success in it recently. Here is everything you need to know about him.
10 Facts on Lucas Ansel
Lucas Ansel is an American content creator, social media star, and filmmaker.
Moreover, Lucas is best known for his TikTok presence. The content creator has amassed over 400k followers on TikTok.
Lucas looks quite young in pictures. However, his age and birthday remain a mystery for now.
Also, the guy has a great height. Lucas possesses long brown hair and a pair of ocean blue eyes.
The filmmaker is currently based in New York City, United States.
Moving on, Lucas Ansel doesn't seem to have a girlfriend at the moment. He is single.
Likewise, we don't know much about his parents and family either. He has kept them off the unnecessary spotlight.
Moreover, the TikTok star is white by ethnicity.
He has trained at the Rhode Island School of Design. He is famous for his designing skills for advertising campaigns.
Even though he lacks a Wikipedia biography, you can find his bio on his personal website.
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The Arup SPeAR™ (Sustainability Project Appraisal Routine) Assessment provided a framework for planning, identifying areas of weakness and strength in UVa's current sustainability performance. As a component of this work, UVa appointed Arup to provide a baseline assessment of its sustainability performance. The sustainability framework used for the assessment was based on the Arup SPeAR™ (Sustainability Project Appraisal Routine) tool. This tool was developed to allow assessment in four major areas: natural resources, environment, social and economic, that broadly reflect the three major categories used in the triple bottom line of environment, economic, and equity. Each of the four quadrants includes focus areas based on specific issues identified within documents including the Brundtland Commission report, "Our Common Future", the Earth Summit endorsed protocol for Agenda 21 (a basis for sustainability programs for local authorities around the world). Each focus area includes indicators. The focus areas and indicators included in the assessment were tailored to UVa. The tool provides a visual depiction of performance in the four key sectors: Natural resources, Environmental, Social and Economic systems. The graphic representation makes plain both the linkages between economic, social, natural resources and environmental systems, and the areas of relative strength and weakness. In addition to the report, a tracking system and spreadsheet are in use by UVa which will allow the University to track progress made in indicator areas over time.
The Space Needs Projection Planning Model Summary Report, authored by Ira Fink and Associates, was developed in support of the decision-making process for the University Grounds Plan. This report describes the model used to analyze the growth of all facilities that will result from future student enrollment and faculty growth at the University of Virginia. The model was used to generate two potential growth scenarios—Steady State and Research Centric—for the next ten and twenty years for the Charlottesville campus, and the summary report includes a review of the outcomes of these two scenarios. In addition to the report, the electronic model was provided to UVa for use with future analysis, should there be a need for flexibility in planned growth.
The University of Virginia's Transportation Demand Management Plan, developed by the firm of Vanasse Hangen Brustlin, Inc., in 2007 as a part of the Grounds Plan, seeks to enhance Grounds planning decisions for improving mobility while respecting the university's environmental, historic, and cultural contexts. The report offers extensive analyses concerning existing conditions of pedestrians, bicycles, parking, traffic, transit, and commute options. In addition, the plan suggests "tools and mechanisms to better link transportation RESOURCES and land uses to affect a more efficient and sustainable transportation system" and proposes a strategic approach to transportation system improvements over 10- and 20-year planning horizons.
In 2006, as a part of the Grounds Planning process, the University of Virginia commissioned NatureServe of Arlington, VA, to create a comprehensive biodiversity analysis of lands owned by the University and the University of Virginia Foundation (UVAF). The resulting report entitled University of Virginia Biodiversity Analysis, explains opportunities for conservation as well as threats to important elements within the UVa and UVAF environs. The report analyzes data concerning land cover, habitat fragment, stream habitat, species occurrence, soil type, and regional context; providing a data inventory and analysis to prevent conflicts with regulated species and habitats, maintain the natural heritage of the University and Commonwealth, and enhance the environmental health and quality of those at the University and in the region. In addition to the report, NatureServe provided a supplementary GIS-based software tool, entitled NatureServe Vista, which will be used by University staff to help guide future conservation and land use decisions.
The Master Planning Council, chaired by the Office of the Architect, is charged with the task of advising the President of the University on mid-term and long range physical planning for the University of Virginia. The Council is composed of University leadership, City of Charlottesville and Albemarle County planning representatives, and two University students. Documentation of the Master Planning Council's activities, including Meeting Notes and Presentations, may be found on the Office of the Architect's website.
administrative and operational uses associated with Central, West and North Grounds. These workshops served as a forum to establish the needs of each user group, and to develop conceptual plans aimed at meeting those needs in support of the Grounds Planning process that followed. The workshops were focused in the following areas on the dates noted. Full reports are provided at the website location noted above.
The University of Virginia Current Planning and Projects Report describes all projects for both the UVa Grounds and the UVa's College at Wise that are in Planning/Design and Construction Phases. For each project, the report includes documentation of the cost, architect, contractor, and dates of construction, along with project images and photographs. The document is updated periodically as projects move through planning and design, to construction, and finally to completion.
and significant landscape component in order to describe the buildings' relative importance and to provide a practical framework for evaluation of past, current, and future development at the University of Virginia.
in Thomas Jefferson's Academical Village might be achieved in designs for new buildings and landscapes of the University. The document presents guidelines for the Foundations of geometry, massing, openings, and circulation; the Experiences of connectors, layers, and building landscapes; the Resources of various building materials; and the Collaboration of the review and approval process.
Guidelines for Sustainable Buildings and Environmental Design, a document prepared by the Office of the Architect in 2005, provides an introduction to sustainability issues at the University and outlines both objectives and strategies for cultivating a holistic approach to the environment at UVa. In addition to offering an overview of the University's environmental context and natural systems, the document presents eight main objectives for managing University development in terms of design, construction, and operation. These eight objectives are Energy Use and Conservation, Water Resources, Materials and Resources Conservation, Indoor Environmental Quality, Site Planning and Design, Local Climate and Climactic Design, Historic Preservation and Adaptive Re-Use, and Transportation. The document also includes a comprehensive list of resources that may be consulted as a complement to the University's sustainability guidelines.
Master Plan provides a foundation for developing a comprehensive and effective archaeological resources management system.
The University of Virginia's Strategic Plan for Water Resources Management is a landmark study that illustrates the University's commitment to treating water as a central community resource and its belief that the management of water should influence and contribute to the design of the University Grounds. The firm of Andropogon Associates completed the report in 1999 with assistance from Cahill Associates and MMM Design Group, as well as with support from a Steering Committee and Technical Advisory Committee. Through the use of maps, charts, photographs, and detailed analysis, the report recommends a new sustainable approach to the management of water resources based on a 'Water Balance' model. This model helps University staff and consultants to evaluate solutions for stormwater management, restoration opportunities, and land use and development strategies. This approach ensures that functional, environmental, recreational, and aesthetic benefits will be achieved not only for the University community, but also for neighboring communities and other members of the Chesapeake Bay Watershed.
In 1997 the Office of the Architect commissioned the firms Ayers Saint Gross and Michael Vergason Landscape Architects to produce a Landscape Master Plan for the University. The goal of the Landscape Master Plan was to provide a general framework to re-establish the delicate balance of buildings and landscape throughout the Grounds, that Thomas Jefferson created in the Academical Village. To accomplish this task, the plan both reinforces the long-range vision of the University master plan and provides guidance for day-to-day decisions about individual project development, landscape improvements, and upkeep. The document begins with a series of general observations about the campus landscape, continues by providing analysis of the landscape through inventory and detailed review at the precinct level. It concludes with seven key recommendations that will ensure that the University's landscapes continue to be strong social, physical, and temporal connectors.


Summer-run steelheading is over here.�� Wow, we had alot of fun on this river over the summer! It was a great run and we landed alot of Chrome. ��Winter run fish are not quite in the river but expect more to move into the Santiam system over the next six weeks.


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All did not go as planned over recess for self-proclaimed "Blue Dog" Baron Hill...
Curse You, Red Baron
All did not go as planned over recess for self-proclaimed "Blue Dog" Baron Hill…
ggarrison
After earning the moniker "Bunker Hill" for his mystifying disappearing act at the end of the last congressional session, Congressman Baron Hill (D-Ind.) has finally surfaced — twice. He conducted two town hall meetings, one down in the extreme south across the river from Louisville in Jeffersonville and the other in what should have been a very safe location, Bloomington, the home of Indiana University. Well, all did not go as planned by the self-proclaimed "Blue Dog." In both locations according to my patriots-in-the-room, at least half those in attendance came to express their objections to the whole healthcare boondoggle.
Recovering lawyer Rick Hofstetter reported,
The crowd looked to be a representative cross section of Indiana's Ninth Congressional District — students, seniors, kids, grey Hippies, young families. Several carried protest signs, both favoring and opposing government-managed health care. A suspicious number of those in line in front of me were clad in blue t-shirts bearing a quote putatively uttered by Dr. Martin Luther King, Jr. (I never knew King to have been so interested in health care reform.) The Blue Shirts were apparently the Baron's henchmen.
But what did the Elusive One have to say on this crucial issue; and did he use the Blue Shirts as his straight men to keep the event under control?
Well, it was apparently much more structured than some of the boisterous events we have all enjoyed around the country. In fact, the Baron strictly forbade anyone from recording or photographing anything inside the room — that's right, I said "forbade." One IU journalism student expressed her objection to this edict, but after she so complained a second time he showed his notorious temper as the effete representative scolded the kid, "This is my meeting, and we will run it by my rules." I'm not kidding, that's what he said. Of course the wise one didn't count on the utterly predictable reaction by the crowd that then proceeded to cat calls and an explosion of sound that drowned him out, public address system and all. From the back one voice was heard to say "Hey, you work for us!" More cheering.
Towing the party line and continuing to demonstrate his disdain for the facts, Hill had his people passing out materials identified as myth-busters intended to debunk all those pesky complaints about the Obamacare "public option," taxpayer-funded abortions, rationing, and the like. And of course the Baron kept to that script as well, assuring all that there was no chance we would lose our private coverage, that care would at no time ever be subject to restrictions or rationing, and that somehow all this new taxpayer-funded stuff wouldn't cost a dime. Again, reporter Hofstetter:
One woman, who stated that some things in health care needed fixed, begged the Baron to show proof that if this health care was passed, that she would be guaranteed to be able to keep her current health insurance which she is very, very happy with. After a short exchange with this woman, Hill's final response was "Trust me you can always keep your own insurance." Yes, this guy actually said "Trust me" and the crowd exploded in laughter.
All in all it was not a good time for the Red Baron; but unlike his colleagues around the country who stood there and took it for what seemed (to them, anyway) like an eternity, Hill stayed for the announced hour and then was gone, his Crimson Fokker idling in the parking lot, the trademark white scarf blowing in the hot air created by either by the exhaust or by the pilot, not sure which. He dodged and weaved, bloviated vacuous promises and stayed right where the Chosen One told him to stay.
So we head back into that one always-dangerous time — when Congress is in session — with these cosmically high stakes weighted and rigged by the likes of Hill of Indiana, formerly-principled representatives who are eager to sacrifice their long track records as moderates to avoid the wrath of Ms. Pelosi and The Chosen One.
Hill steadfastly promised to support cap and trade, zealously defended socialized medicine, and apparently never looked back at the angry throng of those he abandoned, all shaking their fists at his perfidy as the Fokker lifted off and disappeared over the horizon on its eastward journey.
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Written By ggarrison
Greg Garrison is a conservative talk radio host in Indianapolis, Indiana.
Farmland King Bill Gates Involved in Big Agriculture 'Revamp'


plant will grow tall and spindly as it reaches for the light. This is often referred to as "stretching." Young plants will quickly do this. For seedling growth, having at least 500 foot candles of light is required. This can be either natural or artificial light. If artificial light is used, set a timer that turns the light on for 16 hours and off for 8 hours of each day. Plants do need darkness as part of their daily cycle, so do not leave the light on all of the time.
Since your garden can hold a limited number of plants, be sure to plan what you will grow prior to planting. Schedule regular seeding for plants like lettuce and radishes for a continuous harvest.
Basil is a fast growing, hardy herb that is an excellent choice for a hydroponic garden.
growing medium such as perlite or expanded clay pebbles.
Carrots will be ready to harvest in about 2-1/2 -3 months.
system with perlite or rockwool as the growing medium.
Pick the cucumbers regularly to encourage continuous production.
Plant support will be needed for cucumber plants. The cucumber plant will be quite large so provide adequate space if you choose to grow them.
Most lettuce varieties will be ready for harvest in 35- 45 days.
When harvesting, you can remove just the leaves you need or you can harvest the whole plant. If you are harvesting the whole plant, remove the root ball with the plant and refrigerate to store.
Seed lettuce every few days for a continuous supply.
an ebb and flow system.
Radishes will do well in hydroponics as long as they have a grow bed deep enough to accommodate their growth. Radishes germi- nate and grow very quickly. Most radish varieties will mature in 30 -40 days. Continuous planting will give you a steady supply.
or expanded clay pebbles as the growing medium.
system will both produce good results.
Tomatoes are the most popular commercial hydroponic crop.
Most commercial growers grow full size, indeterminate varieties. These varieties will bear fruit in about 100 days and continue to produce up to a year. There are miniature tomato varieties available that are perfect for a smaller hydroponic garden.
droponic garden but they will also grow in other systems.
If you are growing tomatoes indoors, you may need to pollinate the individual flowers for fruit set to occur. This can be achieved by vibrating the flower or flower truss. As a tomato plant develops, plant support will be needed.


VINTAGE Blue Work'N Out Graphic Pullover Sweatshirt!
This sweater is perfect for any gym enthusiast! Work out and don't forget leg day! The graphic is still fresh and vibrant.
All prices on my page are up for negotiation. Feel free to message me if you want to discuss lowering a price. Discount bundle deals are also welcomed!
Condition: Is used, but honestly looks great.


The eagle eyed among you may have noticed that I mentioned taking on an editorial role at Comics Experience in the About section of this site and also in my Twitter bio. That role, and the reason behind it, have now been made official on the CE blog.
I'm excited to be part of the team involved with the upcoming slate of digital-exclusive titles launching on ComiXology. We're also opening up submissions again next week, giving Comics Experience Workshop members a month to pitch their ideas for new titles. There's an abundance of talent in the workshop and I'm excited to help give up and coming creators an avenue to showcase their work. More on this to follow in the coming months.


VOLPATOHATZ participated in a competition to design the new offices and ambulance services of 'Croce Verde' for the Municipality of Breganzona in Ticino, Switzerland. Additional to the core ambulance services, the project required a complex program of administrative offices, medical and dental studios, training rooms and office for the FCTSA department. The proposed language for this building was to express the thick horizontal floor levels by creating deep overhangs to balconies on all sides of the building, which was further accentuated by setting back the glass facade. The balconies are used by the staff and were designed to shade the offices. The depth of each balcony also varied in accordance to the sun path. The Croce Verde property is surrounded by a vast green field. The program also required the property to accommodate a large parking area for staff and visitors and a helicopter zone for emergencies. A proposed recreational park, perpendicular and adjacent to the property, allows access to the new building and be used by staff during their breaks.


text:
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Year in Space, A 1x56
Astronaut Scott Kelly's 12-month stay on the International Space Station tested human limits for space travel and laid the groundwork for a manned mission to Mars. Despite the technological "comforts" of the International Space Station, a year in space has been described as the epitome of extreme, with extraordinarily high physical stakes.
A Year in Space also follows Mark Kelly, Scott's identical twin brother. In the Kelly brothers, NASA had a near-perfect, two person sample group for biomedical research. NASA was closely tracking Scott's physical and emotional changes, and his biological functions, down to the molecular level while he was in orbit. The agency hoped to identify precisely what changes happened to Scott as a result of 12 months in space by comparing him to his identical twin, Mark, on Earth.
The documentary also delves into the broader historical context of the mission, including the history of space exploration, the political background of the Russian-U.S. relationship – Scott's compatriot at the start of the mission is Russian astronaut Mikhail Korniyenk–and the science and engineering conundrums posed by interplanetary space travel.
Inflight rights also available.
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Astronaut Astronomy Biomedical research Exploration Human biology Human endurance Inflight International Space Station ISS Mark Kelly Mars Mikhail Korniyenk NASA Outer space Planets Russia Science Scott Kelly Solar System Space Space Program Space Station U.S.
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Chernobyl: The New Evidence
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I hope everyone had a wonderful weekend celebrating Easter with family and friends. I got to go home to see my family and they got to meet my boyfriend for the first time! It was a wonderful weekend! But even better than that is the fact that Jesus' blood was spilled and His perfect life paired with His death and resurrection (aka He literally beat death...) save me from my wickedness! The love that is displayed through Jesus taking on the wrath of God is something I'm not sure I can completely comprehend. He felt the weight of every one of my sins, and just one of my sins someone would have had to die for. Yet my God died for all of them! Praising my faithful God that he made a way for a wicked sinner like me.
Eating: Nothing currently but I'm looking forward to getting home and having leftover Tortellini from this weekend! YUM!
Feeling: Great! This weekend was so refreshing and just what I needed to get me through these last few weeks of school. It was so much fun to see my boyfriend, who I care so much about, and my family, who mean so much to me and know me better than I know myself, interact with each other. I couldn't have asked for a better 4-day weekend! Thanking Jesus for the blessing of loved ones.
Wanting: To make it to May 17th! I'm so ready to walk across that stage.
Enjoying: Taking in the late nights, early mornings, study sessions, roomie chats and amount of free time that college brings. I want these last few weeks to fly by so I can finally graduate and finish school, but I also want to enjoy them to the fullest because I know I'll never get them back.
Here are some pictures from our weekend at home!
Happy Monday, friends! Have a great week, I'll be back on Friday with an exciting update!
Love this post full of hope, promise and looking forward. Enjoy these last few weeks of college. Such a special time.
Very nice post, enjoy your college days, they are really treasures.


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Q: Google charts with Fusion Table Example error Alright so I copy and pasted this example from google's chart tools documentation:
https://developers.google.com/fusiontables/docs/samples/gviz_datatable
I simply replaced their fusion table info with mine and am unable to get the table to appear.
This is what I have now with the fusion table set to public access:

<meta charset="UTF-8">
<title>Fusion Tables API Example: Google Chart Tools Data Table</title>
<link href="/apis/fusiontables/docs/samples/style/default.css"
    rel="stylesheet" type="text/css">

  Scoring Team:
  <select id="fundraiser" onchange="drawTable();">
    <option value="">All</option>
    <option value="default">default</option>
    <option value="aaaatester">aaaatester</option>
  </select>

A: I'm not sure what exactly was wrong with your query, but this works for me:
function drawTable () {
    console.log('foo');
    var query = 'SELECT fundraiser, price, merchant FROM 1QN6e86FybBULPekKvvXd_RF1jw01H7bZAJFjhUg';
    var fundraiser = document.getElementById('fundraiser').value;
    if (fundraiser) {
        query += ' WHERE fundraiser = \'' + fundraiser + '\'';
    }
    var queryText = encodeURIComponent(query);
    var gvizQuery = new google.visualization.Query('http://www.google.com/fusiontables/gvizdata?tq=' + queryText);

    gvizQuery.send(function(response) {
        if (response.isError()) {
            alert('Error in query: ' + response.getMessage() + ' ' + response.getDetailedMessage());
            return;
        }
        var table = new google.visualization.Table(document.getElementById('visualization'));
        table.draw(response.getDataTable(), {
            showRowNumber: true
        });
    });
}

function init () {
    // draw the table
    drawTable();

    // setup the fundraiser dropdown to redraw the table when the user changes the value
    var el = document.querySelector('#fundraiser');
    if (document.addEventListener) {
        el.addEventListener('change', drawTable);
    }
    else if (document.attachEvent) {
        el.attachEvent('onchange', drawTable);
    }
    else {
        el.onchange = drawTable;
    }
}
google.load('visualization', '1', {packages: ['table'], callback: init});

With this as the HTML:

    Scoring Team:
    <select id="fundraiser">
        <option value="">All</option>
        <option value="default">default</option>
        <option value="aaaatester">aaaatester</option>
    </select>

I would suggest, however, that if you are going to have a filter like that, where your initial query is unfiltered, that you switch to using a CategoryFilter to filter your data in the browser instead of making a query to the server every time the user changes the filter.  The only time making repeated queries to the server makes sense is when the total traffic to and from the server is likely to be substantially lower using multiple filtered queries than one single unfiltered query.

redpajama_set_name: RedPajamaStackExchange


Health Care Professionals must exhibit true empathy with their 'over weight' clients. Judgement and stigmatisation is not helpful.
This blog is a personal reflection of the knowledge I hold regarding obesity and its treatment. Information I have gained as a dietitian and latterly a counsellor. Counsellors generally try to follow three core behaviours; empathy, unconditional positive regard and congruence. It is these that have stimulated my re-evaluation of my beliefs about obesity and created a need for me to hold several positions of understanding all of which contain truths.
The client is telling me the truth. That is what they experience. Another parallel truth is that the body responds physiologically to satiety and so individuals know when they are full. Both are true simultaneously.
I am going to identify some of the truths that I believe about obesity. This is a blog. These are my educated beliefs.
When self-acceptance is dominated by the need to conform to external messages we become less attuned, less able, emotionally and physiologically to be who we are.
There is no such thing as a bad food, a diet that is balanced and varied can include a variety of foods. By this I do not mean a daily diet but a diet taken over weeks.
Labelling foods as 'good', 'bad', 'naughty', 'rewards', 'treats', 'healthy', unhealthy', 'forbidden', 'wicked' is unhelpful, and potentially damaging.
We are a complicated animal, our physiological development runs parallel to our emotional one. Issues of self-esteem, self-worth, identity, recognition are all developing as we grow. In families it is common to create an emotional meaning to food, either knowingly or not and this becomes imbedded in our emotional responses as adults.
A simplified example might be the use of sweets as a reward. Because sweets (chocolate, biscuits, cake etc) may not be freely available to a child and are associated with being good a child will become less able to control their consumption using physiological markers and more likely to be influenced by emotional markers. The absence of sweets therefore being associated with negative emotion and their presence a reward. So as an adult in low mood, it is logical to make oneself feel better by giving oneself a reward, (of sweets) just as their parents would, irrespective of hunger.
'Finish you meal' A young child (age 1-3 ) eating to appetite-(i.e. using physiological cues) may leave food on his plate. A parent, for one of many reasons does not want this. The child who is also learning about the affect his responses have on receiving attention from his care-giver, is encouraged to finish his plate. Instead of affirmation that he knows when his body is satiated (i.e. allowed to leave food) he is encouraged to over-ride this by finishing his meal in order to get affirmation from another. He is being taught how food can manipulate others, and/or that finishing food beyond satiety pleases those he cares about. These messages become embedded and may not even be part of our conscious decision making by the time we come to adulthood.
These are two simplified examples of what might go on in childhood that has a profound affect of appetite control in adulthood. Instead of labelling them as greed and lack of self –control, perhaps HCPs think of these as examples of self-soothing, or self-affirming behaviours.
School- The curriculum can teach children about health, and this can be reinforced by the provision of appropriate food in the school environment.
Families-Awareness of cross-generation food preferences provides opportunity to create and sustain a varied diet, incorporating a variety of foods and cooking methods.
Public Health messages-By which I mean consistent, easily accessible information- for those who want to learn, feel able to change, are literate and motivated. Is an useful way to advice on evidence based dietary guidelines.
The regular supply of a varied diet throughout the life cycle without recourse to bribery or reward, would greatly enhance the normalising of food.
It would be paradoxical to believe the body is able to control energy intake and also believe individuals are not able to control their intake through lack of knowledge of nutrition.
There are ways in which the body has evolved to control energy intake. These include muscle receptors along the gastrointestinal tract, secretion of regulatory hormones, nerve stimulation and brain involvement and several endocrine functions.
The infants success at being fed to appetite is positively reinforced-the infant 'learns' to trust his body.
The mother responds at an emotional level to positively reinforce that she is able to respond to the infants needs timely and appropriately. The supply of food is met without creating emotional stress or anxiety from either infant or mother.
The composition of breast milk is appropriate for the growing infant.
Other factors that inhibit or prevent or disguise our ability to control physiologically our energy balance.
The food industry-Expansive food choice, manufacturing methods, marketing, additives-colour, flavour, and preservatives all these and more serve to stimulate desire for foods outwith physiological need.
The glamour industry-How an idealised body shape, both for men and women detracts from the beautiful array of healthy shapes and sizes that men and women naturally have, these become unacceptable especially to those with low self-esteem and self-worth. We only need to look at other cultures and through history to appreciate how our interpretation of a 'beautiful' shape and sized body is a societal concept not a health one.
The health industry- Obesity has become a disease measured by a scale created for insurance purposes. It has made the assumption that there is a direct correlation with weight and health for all resulting in the belief all people with a BMI (for example) of 27 are equally as 'unhealthy'. This belief is rarely challenged.
There will be individuals, physically fit and healthy with a BMI of 27, a proportion will have low self-esteem, a poor sense of self-worth, and generally not feel good about their size- (after all society teaches them it is 'bad'). Assuming they can actually control their weight perfectly adequately using physiological markers, there self-worth is undermined by external factors and they begin dieting. They are told they are unhealthy! Foods that were once enjoyed and managed become 'naughty, bad, denied' and then craved. Their weight yoyos. Ironically it is this yo-yoing in weight that is more harmful than obesity per se. So the diet industry and our obsession with the perfect form and an inappropriate non-reflective use of BMI as a measure of health have made low self esteem into an obesity problem.
As a counsellor and dietitian my approach to clients who want to change their eating habits, is to first help them love and honour themselves. In time, with support and empathic challenging their emotional hunger will not need to be satisfied by diet, and their self-esteem not affected by inappropriate stereotypes.
The weight loss industry should perhaps begin to feel some responsibility for its perpetuation of the false idea that obesity is self-inflicted, and begin to offer empathy and positive regard for those it serves.
I endorse regular activity and a varied balanced diet as a means to good health.
Is the medical model the right way to support people with long term medical conditions?
I am writing this as a concerned health professional with experience of the NHS for over two decades and also as a psychotherapist, with an appreciation of why individuals may behave contrary, to what might be thought of, as against their best interest. My thoughts are my own. I have used the term 'patient' reluctantly; this term, inherent in the medical model is probably the most familiar to my readers.
The first paradox I encounter is that the medical model extrapolates clinical evidence obtained from Randomized Controlled Trials (RCT) to individuals. Is it appropriate to apply objective data (data aiming to be objective) directly to an individual subject?
Secondly the general assumption of the medical model is that the 'patient' wants his illness to progress slowly to maximise life expectancy, and consequently there is an implicit power differential that the health professional has the knowledge to help the patient achieve this outcome.
It can prevent a significant number of 'patients' from asking personal or challenging questions, resulting in dissatisfaction.
It creates additional barriers to forming healthy, useful relationships, 'patients' being labelled as 'poor attendees' 'non-compliant', 'troublesome', 'time consuming' and sometimes relatives also being labelled similarly.
Finally (in this blog at least) the NHS does not appear; yet, to add equal weighting to Patient Reported Outcome Measures (PROMs) compared to mortality rates or length of hospital stay, as a measure of its success.
The outcome of the medical model, to varying degrees is that individuals with long term conditions have an increased incidence of mental illness, unemployment, and reliance on others for financial support, the latter most likely due to lack of independence but, ironically, on the positive, possibly live longer than had they not had health care input.
Health professionals declare that they should knowingly do no harm. Currently interpreted as insuring the 'patient' has been provided with everything they need to know (within their capacity) regarding how to manage their illness appropriately, and which medication to take. Is failure to provide this unasked for information being negligent? I have indicated doing so may in fact cause more harm than not.
Secondly, there are many theories regarding the roles we create for ourselves, our need to fit into social norms-conforming; they can be below the surface or in the sub conscious. One of these is the relationship between patient and doctor/ health professional. I described this relationship as one about power earlier. I do wonder whether we used different labels, 'patients' became people and doctors or health care providers were 'advisers', as any other advisor, available when needed. Not thrust upon us like a PPI sales man.
I am aware, people do not know what they do not know, and this can be where my ideology fails. May I just pose that we, Health Professionals- need to shift our priorities from informing to listening?
https://www.insightfulness.co.uk/wp-content/uploads/2014/01/BLOG003c.jpg 173 297 Emma Dunn https://www.insightfulness.co.uk/wp-content/uploads/2013/04/insightfulness.png Emma Dunn2014-01-23 21:54:092016-09-20 23:36:05Is the medical model the right way to support people with long term medical conditions?