Surya Ravena Gold 5 Ft. X 8 Ft. Indoor Area Rug-Rvn3114-58 – The with Surya Area Rugs is free HD wallpaper. This wallpaper was upload at January 31, 2019 upload by Hollie Walters in .
The 5th variety is actually feather never-ending loop heap carpet. It's really a blend of fleece protector, nylon material and polypropylene. This type of feather carpet is usually favored by many people people since it might cover footprints. Them is suitable to be slipped into a space frequented by simply men and women such as the interior of any household chamber. However, this bristle chenille is usually unsuitable for those of you with the family pet his or her claws can find yourself in trouble about the tapestry.
With any luck, using this quick clarification, you'll be able to identify the kind of pelt tapestry is actually most ideal for loved ones requires and home inner area. Pleased shopping for this bristle carpet!
If the following sort of pelt carpet is usually comfortable, that's wool. tweed style bristle carpet is proven to be heated and possesses some sort of thick measure. The feel is likewise comfortable to be able to vacant feet. Appropriate for use within locations using air flow conditioning. Enough time is pretty lengthy and extremely wear-resistant. So that you can wash it, you can use a hoover on a regular basis and grow it to completely clean dried up providers any six until twelve months.
Another variety of feather floor covering is definitely saxony. This rug is made utilizing knitted wool having a long dimensions that is comfy and has this softest surface amongst other fur rug. The particular duck down can easily be hit bottom so the footprints is often closed effectively in addition to the carpet still appears to be beautiful. This one fur rug would work to get positioned in the bedroom, lounge, along with food space.
When your next variety of pelt rug is definitely acquainted, which is wool. tweed type bristle floor covering is known to be heated and possesses any heavy dimension. The feel is additionally relaxed to be able to blank feet. Suited to easy use in bedrooms using surroundings conditioning. Some time is pretty lengthy and extremely wear-resistant. So that you can clean it, you can use a vacuum routinely and also see it to scrub dry out expert services any 6-12 months.
The next variety of bristle rug is definitely saxony. This kind of rug is created using crocheted yarn along with long dimensions which is heated possesses the tenderest texture and consistancy amongst other pelt tapestry. The actual duck down can be easily hit bottom so the foot prints is often sealed effectively plus the floor covering however appears beautiful. This one feather floor covering would work for being slipped into the bedroom, lounge room, in addition to cusine space.
The last can be viscose sort pelt rug. For those preferring this beauty worth inside the, through the years is great choice. This floor is made employing man-made materials which appear to be silk. The cost is often more affordable than an original soft silk carpet. The choice of colours along with patterns can be extremely very much to ensure that it can be adjusted to help the style of your house inside.
The 5th sort can be fur cycle heap chenille. It is just a combination of constructed from wool, nylon material and also polypropylene. Such type of fur chenille is definitely liked by many people men and women because it can cover footprints. It is suitable to get placed in a location visited by way of men and women like the insides of a loved ones area. But unfortunately, this feather rug will be unsuitable for those with any family pet his or her nails may find yourself in trouble to the carpet.


text:
# ifndef SR_TRACKBALL_H
# define SR_TRACKBALL_H

/** \file sr_trackball.h
 * trackball manipulation
 */
#include <sb/SBTypes.h>
# include <sr/sr_vec.h>
# include <sr/sr_quat.h>

class SrMat;

/*! \class SrTrackball sr_trackball.h
    \brief trackball manipulation

    SrTrackball maintains a rotation with methods implementing a
    trackball-like manipulations, and etc. */
class SBAPI SrTrackball
 { public :
    SrQuat rotation;    //!< current rotation
    SrQuat last_spin;

   public :

    /*! Initialize the trackball with the default parameters, see init(). */
    SrTrackball ();

    /*! Copy constructor. */
    SrTrackball ( const SrTrackball& t );

    /*! Set the parameters to their default values, which is a null rotation. */
    void init ();

    /*! Set m to be the equivalent transformation matrix. A reference to m
        is returned. */
    SrMat& get_mat ( SrMat& m ) const;

    /*! Gets the rotation induced by a mouse displacement,
        according to the trackball metaphor. Window coordinates must be
        normalized in [-1,1]x[-1,1]. */
    static void get_spin_from_mouse_motion ( float lwinx, float lwiny, float winx, float winy, SrQuat& spin );

    /*! Accumulates the rotation induced by a mouse displacement,
        according to the trackball metaphor. Window coordinates must be
        normalized in [-1,1]x[-1,1]. */
    void increment_from_mouse_motion ( float lwinx, float lwiny, float winx, float winy );

    /*! Accumulates the rotation with the given quaternion (left-multiplied) */
    void increment_rotation ( const SrQuat& spin );

    /*! Outputs trackball data for inspection. */
    friend SrOutput& operator<< ( SrOutput& out, const SrTrackball& tb );
 };

//================================ End of File =================================================

# endif // SR_TRACKBALL_H

redpajama_set_name: RedPajamaGithub


Understanding the abundances of molecules in dense interstellar clouds requires knowledge of the rates of gas-phase reactions between uncharged species.
However, because of the low temperatures within these clouds, reactions with an activation barrier were considered too slow to play an important role.
Here we show that, despite the presence of a barrier, the rate coefficient for the reaction between the hydroxyl radical (OH) and methanol—one of the most abundant organic molecules in space—is almost two orders of magnitude larger at 63 K than previously measured at ∼200 K.
We also observe the formation of the methoxy radical product, which was recently detected in space.
These results are interpreted by the formation of a hydrogen-bonded complex that is sufficiently long-lived to undergo quantum-mechanical tunnelling to form products.
This image shows where NASA's Curiosity rover aimed two different instruments to study a rock known as "Jake Matijevic." The red dots are where the Chemistry and Camera (ChemCam) instrument zapped it with its laser on Sept. 21, 2012, and Sept. 24, 2012, which were the 45th and 48th sol, or Martian day of operations. The circular black and white images were taken by ChemCam to look for the pits produced by the laser. The purple circles indicate where the Alpha Particle X-ray Spectrometer trained its view.
This image was obtained by Curiosity's Mast Camera on Sept. 21, 2012 PDT (Sept. 22 UTC), or sol 46. An unannotated version of this image is also available.
A chrondite meteorite in situ in Rub' al Khali, Saudi Arabia.
Earth is under constant bombardment by space rocks. When they crash and burn through the atmosphere, most of the debris gets lost to the oceans, while some is buried or gradually weathered away. Nonetheless, plenty of chunks of fallen meteors, or meteorites, are strewn across the accessible parts of the planet. So far, more than 40,000 meteorites have been found and catalogued, and countless more are still out there, waiting to be chanced upon.
If you need further incentive for finding something that was forged at the birth of our sun and contains secrets about the nature of our solar system, there's this: Space rocks are worth as much as $1,000 per gram. The following tips will get you started on your search, but be warned: This extraterrestrial treasure hunt requires hard work and dedication.
Scientists have virtually ruled out the possibility of life on Mars having revealed the planet experienced a 600 year water drought.
Samples of soil found that the surface had been starved of any moisture that might enhance the view that there are living organisms on the red planet.
Researchers spent three years gathering the the specific particles, which they likened to the soil found on the Moon – where it is conclusive that no life exists.
Dr Tom Pike, who fronted the study, said: 'We found that even though there is an abundance of ice, Mars has been experiencing a super-drought that may well have lasted hundreds of millions of years.
'We think the Mars we know today contrasts sharply with its earlier history, which had warmer and wetter periods and which may have been more suited to life.
The sample was collected during Nasa's 2008 mission to Mars and was extracted from the northern region of the planet.
Despite that area being arctic, separate studies revealed that the planet in its entirety is covered with the exact same substance.
The results noted that most Earth-like organisms would need to retreat underground to survive on Mars.
Below ground, there is sufficient pressure for water to be kept in a liquid state, which would enable microbes to thrive.
Possible life in the Martian trenches?
A team of scientists at the Planetary Science Institute in Tucson, Arizona, have drawn attention to a couple of small mineral-rich depressions on Mars that, perhaps relatively recently in the red planet's history, could have been places for life.
The smectites that Weitz speaks of are a silica and aluminum based type of clay also found to contain iron or magnesium. This specific substance, which readily expands or contracts under the influence of water, is formed from other silicate materials which have been altered in the presence of non-acidic water.
Context: The chemical composition of a molecular cloud changes dramatically as it collapses to form a low-mass protostar and circumstellar disk. Two-dimensional (2D) chemodynamical models are required to properly study this process.
Aims: The goal of this work is to follow, for the first time, the chemical evolution in two dimensions all the way from a pre-stellar core into a circumstellar disk. Of special interest is the question whether the chemical composition of the disk is a result of chemical processing during the collapse phase, or whether it is determined by in situ processing after the disk has formed.
Methods: Our model combines a semi-analytical method to get 2D axisymmetric density and velocity structures with detailed radiative transfer calculations to get temperature profiles and UV fluxes. Material is followed in from the core to the disk and a full gas-phase chemistry network — including freeze-out onto and evaporation from cold dust grains — is evolved along these trajectories. The abundances thus obtained are compared to the results from a static disk model and to observations of comets.
Results: The chemistry during the collapse phase is dominated by a few key processes, such as the evaporation of CO or the photodissociation of H2O. At the end of the collapse phase, the disk can be divided into zones with different chemical histories. The disk is not in chemical equilibrium at the end of the collapse, so care must be taken when choosing the initial abundances for stand-alone disk chemistry models. Our model results imply that comets must be formed from material with different chemical histories: some of it is strongly processed, some of it remains pristine. Variations between individual comets are possible if they formed at different positions or different times in the solar nebula.


text:
Herman Crisostomo
Herman A. Crisostomo is a photographer and filmmaker known for his stylish television commercials and photographs of beautiful women. Born in Sinajana to Herman Aguon Crisostomo and Marie Rosario Crisostomo, he is one of nine children. Crisostomo owns Pacific Pictures Film & Video, and Pictures, Inc.
Crisostomo began his education at the University of Guam studying art in the 1970s. Frustrated with creating images freestyle, he took a class in commercial art where he had to learn to use a camera. While he had rejected the camera earlier as too complicated, once he understood the device he fell in love with it. After earning a BA in art at UOG, Crisostomo left Guam to attend Brooks Institute of Photography in Santa Barbara, California, in 1977, graduating with a BA and BS in 1980 in Illustrative Photography. Nearly five years later he went to the Art Center, College of Design in Los Angeles to pursue another dream of becoming a filmmaker, and earned an MFA in Film in 1988.
People on Guam know a Herman Crisostomo photograph or television commercial when they see one, as Crisostomo's work always has a certain sense of style and lighting that is highly recognizable – which Crisostomo explains is a result of a mixture of art and commercialism.
Crisostomo describes his photography as a multilevel form of communication. He creates images that can be viewed as art or as a marketing component. The photographer, Crisostomo says, must imagine or see the image in his own mind and also understand how the camera will translate the message he wants to communicate to his audience. Making that connection is where the creative process comes in.
While people comment most on his exquisite lighting, Crisostomo said that there is much more to creating beautiful images – lighting is just one element. The photographer also has to factor in styling, visual composition, location or set environment and subject appeal. Everything in the photograph is communicating something, including choice of colors or no colors, facial and body expressions and so on.
A picture is built with layers of visual nuances. How a photographer combines and arranges these elements determines the strength of the visual message. Once the photographer has composed all these elements, the picture must also elicit some emotion in the viewer. Without that emotional connection the photo, whether it's art or commercial, lacks the real power of the photograph.
With the advent of digital technology the final form is often in post production, the editing work that is done in the computer after the shot is taken. In print advertising and television commercials photographers and cinematographers use these layers of communication to invent desire for a particular product, service or concept.
Commercial art is all about controlling the elements. Crisostomo can take the same model and create film noir, a glamour magazine style, or more of an artsy style, depending on what it is meant for, by working with the lighting, styling, and finally, in production. The client works with the photographer to decide whether this image is going to be something that will be hung on a wall in a home or whether it will be a billboard or a TV commercial, and it is up to the photographer to effectively render the image.
Lighting, though, is an important aspect to photography and is controlled by the photographer. The important thing, Crisostomo explained, is to see how you want the photograph to be lighted and then work to make that happen. For example, the light can come in from a window, or it can be reflected off a wall. How the light affects the subject is also important.
Crisostomo loves photographing people. Because of his background in advertising photography his favorite subjects tend to have some particular characteristics and/or beautiful faces. He creates visual concepts which connects people and products, using models and talent mostly as visual attention devices. An advertising photo or a TV commercial must first get the viewers attention before it can sell anything. In the advertising world, the more widely used visual elements are typically beautiful faces and bodies, simply because of their power to create attention whether it's fashion, glamour or other product association. Other powerful images that people easily respond to are children and animals.
Most of Crisostomo's work is in advertising with emphasis on fashion and glamour. Because of this he tends to look for certain qualities in his models – lines and proportions that he considers pleasing to the eye. He is interested, though, not just in classic facial beauty but also uniqueness. Not all attractive people are photogenic, Crisostomo notes.
He has learned to distinguish which faces are easier to photograph. There are actual mathematical formulas for determining if a face is photogenic such as measurements, size relations and symmetry within a face. The fuss over this technicality, however, is probably more relevant in modeling agencies or cosmetic surgery clinics. Most photographers rely on their visual instincts and when in doubt will perform test shots to determine a model's actual photogenic potential. A perfectly proportioned face is one thing but without the model's personal intrinsic personality, it's just another face. An image is only as powerful as the emotion it elicits, he says.
As a filmmaker Crisostomo noted that making television commercials is quite similar to commercial photography. The cinematographer is using the same elements of styling, lighting, timing, composition and emotion triggers, and adding two more dimensions – sound and motion. Those two elements, he says, exponentially escalates the power of photographic imagery.
Crisostomo considers TV commercials to be mini films. Unfortunately, many of them can be annoying and invasive especially the commercials that want to deliver their sales pitch like a hammer to the head. These commercials only insult your intelligence and irritate your senses, Crisostomo says, making one glad the remote control was invented. The commercials that people love to hate can actually create a negative impact on the company as well as product it is trying to sell and can be a waste of advertising dollars.
Although there's a myriad of TV commercial styles, Crisostomo tends to adopt the "Positive Emotion Association" method. He subscribes to the idea of entertaining the audience first and in the process, elicit some positive emotion, and then associate that feeling with the product. When emotion is added to the equation the viewer has better recall and is thus more likely to remember the product. When that recall is colored with positive perception, the audience is also more likely to buy a product.
Besides taking photographs and creating television commercials, Crisostomo made two video specials about Guam: Guam Paradise Island in 1984 (a docudrama) and Discover Guam (a tourism promotional video) in 1994. He was also the video editor for Pattera, a documentary by Karen Cruz, and Sacred Vessels, a documentary by Dr. Vince Diaz. He also was either the producer, director, cinematographer and/or editor for the following: "Tumon Sands Plaza," "GPO," "Mega Models of Asia," "The Magic of Rick Thomas," "Pacific International Corporation," and various television commercials.
Crisostomo wrote, directed, photographed and produced most of the Gibson's (the predecessor of GPO in Tamuning) television commercials from the mid-1980s through the 1990s, as well as its successor, Guam Premier Outlets. Other notable commercials he is associated with are those for Mid Pac's Miller Lite, Continental Airlines, GPO Fashion, FlipFlops Shop and Miss Guam World.
By Shannon J. Murphy
Leon-Guerrero, Jillette. Seeing Guam Through Our Eyes. Agana Heights: Guamology Publishing, 2010.

redpajama_set_name: RedPajamaCommonCrawl


There is a certain mystery as to how some inanimate object can be meaningless while simultaneously facilitating the birth and growth of a family. This house that we are about to move from in two days is just a house. It was very good to us but there is much about it that I won't miss. It is simply a house. All of the important elements of my family are either coming with us or are greater at the new house. And yet I have been preparing to grieve this house ever since we first seriously discussed moving (since before Miss Z was born).
This house sheltered a couple of naive newlyweds while they learned the hard work of marriage. The neighborhood beckoned us on hundreds of walks and the horses nearby replenished our souls. The walls of our living room witnessed both of the births of my children - their first cries and the most intense feelings we had ever had. Our first gardens, birthday parties, skinned knees, tricycle rides, snow days, and puppies. This house is just brick and shingles, but somehow it has attached itself to the identity of our family. Because of all this, I have been praying for the next owners. Mostly my prayers have consisted of a desire for the next owners to love the back yard and the unique neighborhood to be a safe haven for them like it was us. It feels silly in one way, but it helps me grieve I guess.
If you have ever met J, you know how much this kid loves to hit a ball. From the moment he turned 2 and was given his first baseball tee, he was begging Mr. Butler to play ball with him in the back yard. The hours and hours they have spent in that yard will always be burned into my brain. It just makes me love the house and yard more because it housed the growing of us. The new house has an even bigger yard and will witness many more just as significant milestones, Lord willing, so the house really doesn't matter at all. But sometimes in life, especially as we transition, it is difficult to let go of something until we can acknowledge it's significance. No matter how glad I am to move on, I am so thankful God blessed our quick and (my) emotional purchase of this old house. So, to attest to some really great moments in our house, here are the pictures to prove it!


Last week, Governor Chris Gregoire indicated that she plans to veto a medical cannabis bill that has the support of doctors, patients, city governments, and the legislature.
The bill had been carefully written and amended to ensure that Washington would have the soundest medical cannabis regulations in the country, protecting patients, providing clarity for law enforcement, and allowing cities to enact smart zoning regulations to keep dispensaries from being located near schools. Instead, the governor appears to be misinterpreting established federal policy in order to veto it, potentially leaving Washington with its existing mess of unregulated dispensaries and inviting more conflicts between law enforcement and the communities they're tasked to protect.
Sensible Washington is planning a series of events around the state this Wednesday, April 20, to promote I-1149 and gather signatures. This ballot initiative would remove all civil and criminal penalties for the adult possession, use, manufacture or delivery of cannabis, and it would instruct the legislature to enact appropriate regulations for those activities. The passage of this bill would reduce criminal activity, provide a much-needed boost to the state economy, allow for both cannabis and hemp to be grown in environmentally-sound ways, and establish enforceable age restrictions that can finally prevent sales to minors.


One easy way to prevent food poisoning is to use a digital food thermometer to make sure all the food you prepare with chicken is at an internal temperature no less than 74°C/165°F.
There is no such thing as the 24-hour flu. Symptoms of food poisoning may include stomach cramps, nausea, vomiting, diarrhea and fever. You may have had food poisoning without even knowing it.
Cook: Always cook food to the safe internal temperatures. You can check this by using a digital food thermometer.
Clean: Wash your hands and surfaces often with warm, soapy water.
Chill: Always refrigerate food and leftovers promptly at 4°C or below.
Separate: Make sure to always separate your raw foods, such as meat and eggs, from cooked foods and vegetables to avoid cross-contamination.
Ready-to-eat sushi is a potentially hazardous food. Sushi restaurants in our region cover the proper steps in their food safety plans to ensure sushi is safe for its customers. If you make sushi at home, follow these Sushi safety guidelines.
This video by the Canadian Partnership for Consumer Food Safety Education demonstrates four safe food handling practices for the home cook.


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text:
Ch11: Bankruptcy (Win and Tha) Sept 19, 2009 21:55:49 GMT -5
Post by Renekin Skywalker on Sept 19, 2009 21:55:49 GMT -5
SPM paused, turning pale. After a second, he says, "Yeah... um, my hand." He says, showing the fake cast to her. "Crushed a year ago. Never healed. Can't, um... you know... Play piano or, ummm. You know?"
"It's OK, dear." She says, softening. "No need to be shy, about it. But, Regault is a charitable foundation, so we will have to assess whether you qualify for assistance. How about you three have a seat there, and I will see if there's a free counsellor."
Post by Mierin on Sept 23, 2009 21:51:32 GMT -5
Miranda smiles politely at the receptionist and says "Thank you for your help." Turning to SPM and Tharsis, she says "Let's find you a seat while we wait to see if a counselor is available."
Last Edit: Sept 23, 2009 21:52:02 GMT -5 by Mierin
SPM looked genuinely worried. "But.. but what if they want to... in they ask... I mean..." He looked to be collapsing into a singularity even as he sat down. Did I mention he was incredibly shy?
Ch11: Bankruptcy (Win and Tha) Sept 25, 2009 9:19:36 GMT -5
Post by dakota on Sept 25, 2009 9:19:36 GMT -5
" It's okay." Jamison tried to reassure SPM. " We'll help you out. They don't know about the bump on the head you took when you hurt your hand in the accident. Right Mir..., right?" He caught himself from saying her entire name. " Uh, that's why we're here with you, right?"
"Oh... my... powers of... umm... powers of Attorney?" SPM asks. "It's very good for my cousin and her... um... her. ummm..." He paused good and long shyly looking at Miranda to make sure she wouldn't be upset. "Can I say husband? It's OK if it isn't." He adds, quickly. "You can both be... umm... be my cousins."
Ch11: Bankruptcy (Win and Tha) Oct 2, 2009 7:02:23 GMT -5
Post by dakota on Oct 2, 2009 7:02:23 GMT -5
Jamison grinned, slightly blushing. " Whatever, Socks. Just try to relax a little, or they might figure out we're up to something. We'll just talk to the conselor, we won't actually let them touch your hand, okay?"
Ch11: Bankruptcy (Win and Tha) Oct 2, 2009 10:50:04 GMT -5
Post by Mierin on Oct 2, 2009 10:50:04 GMT -5
Miranda just smirks a little at the sight of Jamison's blushing. "That's fine. Don't worry about it." She pats SPM on the shoulder gently. Looking around, she asks in a low tone of voice "What do you want us to call you? I think we'd get weird looks with Sock Puppet Man."
Ch11: Bankruptcy (Win and Tha) Oct 28, 2009 1:58:03 GMT -5
Post by Renekin Skywalker on Oct 28, 2009 1:58:03 GMT -5
"Oh, uhm..." SPM blanked for a minute, clearly deciding what would be safe. "Jerry?" He says, inquisitively.
Before the group could formally decide, they were called into an office with a perky-looking staff in a suit - clearly intended to interview to identify worthy candidiates.
"Well, hello, Jerry." Says Fong, the interviewer. "And what can I do for you, today?"
"Oh... um, I have this hand... it's very badly, damaged, and I can't um... Can't..." He says, nervously.
"Can't use it, hmm?" Fong asked, visually examining the cast.
His yes glanced to Tharsis and Miranda. "you're here for support?" he asks in a tone that implies moral support is a good thing.
Post by dakota on Oct 28, 2009 5:47:15 GMT -5
Jamison nodded. " Yeah, my cousin needed a lift, and then asked us to tag along. That's okay, isn't it?"
Ch11: Bankruptcy (Win and Tha) Oct 28, 2009 20:08:15 GMT -5
Post by Renekin Skywalker on Oct 28, 2009 20:08:15 GMT -5
"Yes, of course." Says Fong. "A lot of clients bring family for emotional support. Now then, do you have any medical information on the hand? X-Rays, or something similar, that we can use to examine for potential bio-systems?"
"Oh... Uhhm... No... I mean, not on me. I can get them... From my doctor, if you want." SPM said.
He leaned closer. "You have anything that can... um... you know, fix, uhh, um, terminal shyness?" He asked.
Fong chuckled. "No, sorry."
"And, we will need financial information." The rep added. "Tax returns, pay stubs, bank accounts. That kind of thing, to help determine whether you are in need."
"Yes, sure. Tax... receipts." SPM was writing this all down. Clearing his throat, he looked about to be bold. "Can we... can we... uhmmm..." He takes a breath. "Is there some kind of tour? IF there isn't, it's OK. But it will help to make me,.. us... feel better."
Fong nods. "Sure, in a moment."
After a quick call, the trio were being walked around a service area. There, a rather dishevelled man was talking about how the new upgrade wasn't worth the hassle. He looked to not be all there, though.
Jamison did his best not to limp, but the sword stuck down his pantleg made it hard not to. "This place is alot busier than I thought. so do you get people who come in just because they think this is just the next big thing in cosmetic surgery?"
"People do come to try and take advantage of the Foundation." Fong said. "Which is why we get to know potential clients first. Unfortunately, though, it can mean a wait time of weeks for non-essential items."
" That makes sense." Jamison replied with an agreeing nod. " even still, I bet some people try to throw loads of cash at you to do some wild stuff."
Post by Mierin on Nov 3, 2009 13:52:45 GMT -5
Miranda nods as she listens, sitting next to SPM, looking around the waiting room curiously.
Post by Renekin Skywalker on Nov 3, 2009 16:41:30 GMT -5
"This isn't a private clinic." The rep said to Tharsis. "If our Jerry here needs a working hand, of course we will get him the bio-systems he needs. But we don't do conversions just because someone throws money at us."
Windchill, Tharsis and SPM all see in the service area (since they're long past the waiting room) that the clients really are lower-to-middle class, and almost all have basic bionics or biosystems replacing eyes, hands, arms, legs, etc.: the kinds of harm done through disease or industrial accidents.
"But... I mean... MY cousin... he wants." SPM looks around anxiously. "He wants to know if you guys ummm... not experiment... but... What's the word? Like, research new improvements like other agencies?"
"A little." Fong says. "Regault, even with specialized sponsors, can rarely do more than help those in need with what's available." He grins politely. "Donations are always welcome, to improve services."
Last Edit: Nov 3, 2009 16:42:50 GMT -5 by Renekin Skywalker


text:
Home > Contents > People > Photographers > Fontayne & Porter
Includes: Charles Fontayne
Includes: William S. Porter
Active: US
Charles Fontayne and William S. Porter are particularly noted for a panorama of eight 6.5 x 8.25 inch Daguerreotype plates taken in September 1848 of the waterfront at Cincinnati. The view originally entitled "Daguerreotype View of Cincinnati. Taken from Newport, Ky." and now generally known as "The Cincinnati Panorama" is an outstanding example of early photography. Conservation work at the George Eastman House (GEH) in Rochester, New York in 2006-2007 using 100 times magnification revealed previously unseen details including the time of 1:55 pm on the clock tower of the Second Presbyterian Church.
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text:
September 30, 2014 May 1, 2021 travsd
A Short History of Evil Ventriloquists in the Movies
Ah! The emotionally troubled ventriloquist and his scary dummy!
There are enough movies, plays and tv shows about this ancient schizoid character that it constitutes a minor subgenre all its own. It's not surprising that terror is an offshoot of this ancient discipline. Its roots, like the roots of all theatre, go back to caveman times, and no doubt the supernatural was part of the original dodge. Like clowns, ventriloquists and their dummies are uncanny — they seem to be acting out some dream. If you'll check out the ventriloquism section of this blog, you will find biographies of all the major vents going back to the mid 19th century . Some of their photos, especially in the early days are quite disturbing indeed. Moreover, there is something about having a little "mini-me" that psychologically encourages the ventriloquist to pour his negative energy into it. The dummy has permission to say all the things that a person would usually censor himself from saying. Even relatively light comedy acts like Edgar Bergen and Charlie McCarthy had that feature. Charlie says all the wicked, lecherous, rude things — and Edgar's role is to scold him and apologize to the audience. Meanwhile, it's been Bergen who's really been saying those nasty things all along! It's downright diabolical!
And we are far from the first to notice. So here are some notable evil vent stories of stage and screen from the past century. Just in time for Halloween.
The Unholy Three (1925 and 1930): But of COURSE Tod Browning and Lon Chaney inaugurate the genre…except they almost don't. Based on a novel by Tod Robbins (the same guy who wrote the story which Freaks is based on) The Unholy Three does indeed cast Chaney as a criminal ventriloquist (whose best job is making pet-shop parrots seem to talk), but he also goes around in drag, and is in cahoots with a midget (Harry Earles) who pretends to be a baby, a strong man (Victor McLaglen) and a sexy vamp (Mae Busch). So the vent stuff gets tamped down a little, it's not the main focus. Still, it counts! I give two dates above because there was both a silent version (1925) and a talkie remake (1930).
The Great Gabbo (1929): I saw this one for the first time the other night — what sheer unadulterated delight. Based on a short story by Ben Hecht called "The Rival Dummy" and directed by James Cruze (best known for his silent epic The Covered Wagon) , the film stars Erich Von Stroheim as a cruel, fascistic ventriloquist who browbeats his lover and assistant (Betty Compson) and is only able to demonstrate tenderness through his dummy. After she leaves him, he is only able to relate to his dummy…and that's a little weird. Towards the end, when they meet again, he mistakes the girl's kindness for a rapprochement. When it proves illusory, he goes completely insane, and that my friends is worth watching. As are the very bizarre comedy routines with Stroheim's German accent in falsetto telling the jokes, and the eerie silences that follow them (this being one of the earliest sound films). The movie is also a strange hybrid…at least 50% musical comedy, fairly unrelated to the plot.
Dead of Night (1945): One of the terrifying classics of the horror anthology genre, Dead of Night tells six stories, one of which casts Michael Redgrave as an insane ventriloquist named Maxwell whose dummy Hugo gets him into some very bad trouble. In the end, Max does what must be done. Here's the famous, chilling climax:
The Twilight Zone: Episode: "The Dummy" (1962): Cliff Roberston is a down and out ventriloquist. His fear of his dummy has caused him to develop a drinking problem. Determined to fight, he decides to replace the current dummy with a sillier one. But Willy (the current one) tricks him and torments him. In the end, they have traded places. Willy is now the ventriloquist and Robertson's character is the dummy….
The Twilight Zone : Episode: "Caesar and Me" (1964): Jackie Cooper plays an Irish ventriloquist who is having a tough time making a go of it. His fully sentient dummy convinces him to commit robberies. When he does so and gets caught, and tries to demonstrate that the dummy put him up to it, the dummy falls silent. He is led away in handcuffs.
Devil Doll (1964)
This may be my favorite in the genre now for many reasons. One is that it takes the ancient idea of the "Uncanny" all the way back to its primitive origins. The Great Vorelli (Bryant Haliday), a magician, had gone off to the mystic East to study the secrets of the swamis. When he returns he succeeds in imprisoning the soul of one of his partners inside the ventriloquist dummy. His dummy can not only think and talk on its own, but it can walk by itself…and that is a mighty creepy sight indeed. Tod Browning also made a film by this name (originally called The Witch of Timbuktu), which while not a ventriloquist film, plays similarly with this ancient folk terror of the dollikin or manikin…the tiny evil imp who will sneak up on you in your sleep. In the end, Vorelli goes too far and his dummy Hugo (his name no doubt a nod to Dead of Night) turns the table on him. Look for more on star Bryant Haliday here in future. He grew up in a monastery in Rhode Island, did art theatre in the Boston area, and made several British horror films in the 60s. His is a most interesting profile.
Soap (1977-1981) On this ABC sit-com soap opera parody Jay Johnson played a guy named Chuck who was never without his wooden friend Bob. This was probably the first major, mainstream ear-pulling of the evil ventriloquist genre. Though it was a comedy, Bob WAS evil. He said and did things far worse than your Charlie McCarthys and your Jerry Mahoneys. Bob drew blood, and Chuck couldn't control him.
The Ventriloquists Wife (1978) The great comic playwright and actor Charles Ludlam had an off-Broadway hit in 1978 with this play about a murderous ventriloquist dummy and the toll he takes on the life of his hapless partner. This script plays with the evil ventriloquist genre on its own terms (by being dark) but unlike all the classic movies and Twilight Zone episodes up until that time — the comedy routines are actually funny. This makes it unique within the entire genre. The gorgeous Black-Eyed Susan was the titular wife.
Magic (1978) This may well be the best known evil ventriloquist movie of all, and it's a strange one. Anthony Hopkins plays true to type as a very ill-at-ease young man who finally manages to break out of his shell by augmenting his magic act with ventriloquism. The dummy "Fats" is crude and makes a lot of dick jokes, which passes for humor in the film in a way I don't find creditable. (Hopkins characterization is interesting to me — reminds me a bit of Jay Johnson's in Soap. Young, longish hair, and that nerd look, sweaters, sneakers, shirt tails hanging out…did he base the character on Jay? Or Chuck, rather?). Anyway, Hopkins' character proves to be about as stable as Norman Bates. There's no hint of the supernatural in this film; he's just a natural psycho. Oddly he does very little actual killing in the film by horror movie standards, making the film a bit of a head scratcher. What is it? A character portrait of no one who ever existed? But it sticks in the craw.
Mrs. Columbo episode: A Riddle for Puppets (1979)
Someone has killed the carver who made Jay Johnson's ventriloquist dummy! And the dummy has been acting very strange and evil of his own accord! Can Mrs. Columbo (Kate Mulgrew) find the REAL culprit? (Thanks Levar Ravel for letting us know about this obscurity!)
Tales from the Crypt: Episode : "The Ventriloquist's Dummy" (1990): SPOILER ALERT! yes, this one proves not so much to be an evil ventriloquist dummy movie as an evil parasitic twin movie, which is an even better act! Bobcat Goldthwait plays a young ventriloquist; Don Rickles, the older one with a…secret.
Cradle Will Rock (1999) Bill Murray is a down and out ventriloquist now out of work because of the death of vaudeville. He has a secret which gives him a breakdown. This is a subplot in Tim Robbins' larger movie about Orson Welles' rocky attempt to mount the Marc Blitzstein musical of the same name.
Dead Silence (2007) I was shocked at how much I enjoyed this film, and how original it is. I was expecting a retread of a story we've seen many times. Directed by James Wan, and written by Leigh Whannel, Dead Silence takes place entirely in a fairy tale realm, the ghost story space…the only realistic beats are in the film's first five minutes. A box containing a ventriloquist dummy shows up unexpectedly at a young couple's house….leading to a journey to an entire town where the leading citizens are murdered by the ghost of a ventriloquist. It is (so far) the only movie in which there's not just ONE, but over ONE HUNDRED evil ventriloquist dummies on the loose! In a haunted old theatre! Boo!
Ventriloquist : Two plays by Rick Mitchell (2012): I wrote the introduction to this book! You can buy it here. http://www.bookdepository.com/Ventriloquist-Two-Plays-Rick-Mitchell/9780983925590
The Plight of Cecil Sinclair (2014): My old pal "rock and roll ventriloquist" Carla Rhodes just launched her exciting and hilarious and creepy new web series. Watch it here.
Horror (Mostly Gothic)
Indie Theatre
Ventriloquism & Puppetry
evil dummies
Great Gabbo
Twlight Zone
Unholy Three
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LeVar Ravel (@LeVarRavel) says:
Awesome post, Trav! Quite a subgenre!
Jay Johnson did it again on Mrs. Columbo (failed sequel to Columbo), playing a murderous vent who has delusions about his dummy.
Not 1 but 2 Twilight Zone eps?! (It appears they even "recast" the dummy!) Sounds like they inspired the famous Batman villain The Ventriloquist, a man with a split personality who treats his dummy Scarface like a living mob boss!
Also–not completely in this subgenre, but "The Glass Eye" is one of the best eps of Alfred Hitchcock Presents. William Shatner tells a story about how Jessica Tandy fell in love with a handsome vent who had a shocking secret…
travsd says:
Thanks for this! I have blogged about Jay and Mrs Columbo both, so shall add that forthwith
kafclown says:
Wow! I didn't know about all of these! Thanks for the catalog!
I loved the book Magic, which I feel got into the insanity of the guy much better than the movie. I saw a hilarious murder mystery show/play by a Canadian ventriloquist at the Montreal Fringe Festival a few years back. Can't think of the name of the guy. As might be expected, the dummy did it!
It seems like a good plan when you're talking to the dummy. When the cops show up, not so much….


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Life advisor Suzannah Galland has written a number of pieces for us about how to read a potential lover, giving us smarter ways to navigate romantic relationships. With summer vacations behind us, and the full force of fall office energy upon us, we asked Galland to talk about business relationships. Below, she explains how to read—and handle—the trickiest players you're likely to encounter around the office, without getting caught up in the (exhausting) game.
by Suzannah Galland
When it comes to office politics, women too often have a tough time "playing the game." We're told to be tough and carve out agendas to equal the playing field. But few women enjoy the hardball approach, and attempting to follow it can leave many of us hating our jobs—and ourselves, for showing up as less than authentic.
In truth, the actual work you're doing should always come first, above the emotional and political landscape. People get dried up when they focus on "the competition," and can become afraid for their jobs. Indeed, some of the smartest women I know refuse to dance to the beat of peer pressure, and don't let themselves get caught up in the game at all. How do they get around it? They know how to be their best on their terms—or, how not to play the game as written. Nothing is more powerful.
It's extremely hard to not let office politics affect us. But there are ways you can successfully navigate the politics without becoming a slave to the game:
Identifying the Problem
My client Angie is a music producer. She's great at what she does but she feels held back by office politics, which have left her struggling to make sense of her career.
"I've dealt with politics a lot," Angie told me. "I think it's because I've been very successful at what I do. And I'm relatively young. My boss, Sandra, is at least twelve years older than me. She has huge budgets to achieve, and she's failing miserably. With her, I feel like I have a target on my back."
Angie was in a meeting with her boss, Sandra, and two guys from the industry who had come to pitch their ideas. "Sandra sat back and listened to them and gave me a reassuring look occasionally. They pitched an idea, and at one point, she turned to them and said, 'You shouldn't really be talking to Angie, she doesn't have anything to do with this, and I'm the one who makes the decisions.' They said, 'Oh, so sorry,' and looked at me with an embarrassed smile. They then just assumed I was a personal assistant."
Angie wanted to discuss the issue with Sandra, and asked for some face time with her; Sandra refused. "I wanted to get on the same page with her."
What do you do when you can't have a conversation, and everything you suggest is dismissed? Nothing changes and nothing gets resolved. This is just one example of how office politics can suck the cheer out of what's supposed to be your livelihood—and it can happen whether you're working for a boss or running the show.
Nothing is more powerful than not playing the game and knowing how to be your best, and on your terms. But reaching that point often requires a better understanding of the people in your office environment who stand as roadblocks in your path. Getting a quick read on who's who will give you the smarts to respond to the most critical of demands or circumstances—so you can turn your focus to the work, and shine.
The Players: How to Read a Room
To know people, you have to watch them silently. It's what people don't say that tell you the most about them. The more you watch, the more you begin to notice all the subtle movements they make. In a short time, you can learn to anticipate who's likely to do what, and with whom. You achieve far more by working with people, rather than working against them.
Not everyone you work with has an agenda. In fact, you can meet some of your best friends through work.
But I have come up with three profiles of the kind of people most likely to be mired in office politics. Use this information to keep your eye on the ball through times of stress.
Self-Important: I Know Everyone Except Myself
Self-Importants need to have their independence. For them, leadership feels easy, and while they may like to pretend they're on your side, the prospect of nurturing another human being is nauseating to them. On the other hand, they are never too worried about being rejected, as they're rarely put in such a position. Holding back is how they play. They are famous for making up new rules and expect others to be in full accordance with them, whether they know what the rules are or not. They are bullies. They're often hard to spot until you get bitten by one.
How to Deal with the Self-Important
They like and expect abuse; don't try and please them. And don't try and sort out problems with them either—that will backfire. Always give them plenty of praise and let them do the talking. Making them feel acknowledged and respected can go a long way, but don't kiss ass, which they hate that. Try not to talk about real-time problems or explain how something should be resolved. They don't like truth, unless they have made a point to own it. They're sadists and enjoy seeing people suffer. If only we could flip them right side up.
Desperado: Oozing Desperation
To the Desperado, the simplest thing becomes an allergy. Battered with fear, they're terrified of being fired and every micro detail is a big deal. Change is overwhelming. They crave acknowledgment. Often, they're scared of life and hide behind their jobs.
The Desperado often sends conflicting and confusing messages. While they expect constant assurance from their peers, their priorities are always changing. They need to feel good about themselves, at someone else's expense. They can quickly devalue themselves when things don't go according to plan. While they may appear open and trusting, they are actually quite the opposite. They are constantly overwhelmed and can at times suffer from bouts of depression. This can be agonizing and exhausting for anyone dealing with them. Often unqualified for their positions, they play a game of Russian roulette, just to serve the hierarchy, and at your expense. Much of this comes from a place of hopelessness—they accept the "fact" that things won't be any better.
How to Deal with a Desperado
Ask for a minute and say something like: "I know you're busy; you're doing so much." Give them plenty of acknowledgment. Whatever you do, don't let them think it's urgent. Try not to talk about your boss or anyone else in your office. Their job is their life, and their main concern is to favor what their boss wants. Don't underestimate them; they are not on your side. For the Desperado, it's all about the calm.
Name Dropper: Ass by Association
At a distance, a Name Dropper would seem to be a confident, assured person. They may have some swagger and bravado. When there's a problem, they're sure it could never be them. How lucky are they to have hired someone like me. I have an MBA. Don't they know I'm the real deal? This confidence can be a thin skin. What is less apparent is a Name Dropper is in dread of being overlooked. Name Droppers will do anything for admiration. They want something for their investment: You owe me something! They'll use coworkers just to connect with the hierarchy. This character doesn't really fit in, no matter what. By nature, they're lazy, tend to self-sabotage, and thrive on gossip. They have frequent outbursts over nothing and, two minutes later, are fully recovered.
How to Deal with the Name Dropper
What the Name Dropper really needs is simple support. They prefer not to talk, unless it's fast and sharp, or they are charming you up for something. Try educating the Name Dropper and see if he or she is open to prioritizing matters using a 1–10 approach. If anything, do this for yourself before you deal with him/her. If you find the Name Dropper is not getting back to you with the resources or the support you need for your team, try asking him/her to follow this three-step priority system:
Priority red alert, 10: Urgent
"Do you have a minute? It's a 10. I need to know blah blah by this deadline."
Priority 5: Fairly important but not immediately so.
Acknowledge him or her, and say: "I need to have this by Wednesday. It's priority 5. What do you recommend? If I don't hear from you, I will send a quick reminder."
Priority 1: They'll get this one.
Playing the game is not about sabotaging other people, it's about redefining leadership. Great teams are not just groups of people who work together, they are groups of people who trust each other. Office politics erode trust and can make being at work highly stressful. Knowing these personality types can help you establish trust with even difficult people. Trust is earned through human connection—so make an effort to genuinely want to know how someone's week has been, what challenges they are facing, how their weekend was, and so on.
Create something meaningful out of your work, take pride in it, and let the work speak for itself. Trust, transparency, and timing are critical in business relationships—be tactful but speak your mind when it's appropriate to do so. Build a circle of influence around your ideas and your work to build momentum. And be human. We have lost a lot of touch with our humanity in business by thinking we need to "act like men," or play hardball, when the qualities of nurturing and caring and being collaborative are needed more than ever to help the world navigate through some of its greatest challenges. Don't back down—but use what you know about the characters to play your own game.