text:
Charles Rothschild (1877-1923) was an excellent botanist and specialised in orchids and the genus Iris. He brought home corms and seeds of the blue water lily from Lake Victoria. A special greenhouse was provided for them at Ashton Wold, where their flowers grew to a considerably larger size than in their native homeland. He collected and grew at Ashton and Tring almost all the then known species, so that the drawings by William Rickartson Dykes could be made from life for his monograph, 'The Genus Iris'. Charles bequeathed his collection of irises to the Royal Botanic Gardens at Kew.
Charles Rothschild was greatly excited by the beauty of moths and butterflies all his life. As a child his ambition was to own an Oleander Hawk Moth, and when he was convalescing in Switzerland, he collected gold spangled moths for each of his children. He went to great pains to search for species of butterfly, scouring a particular spot in the woods with a torch for the larvae and food-plant of a rare Hungarian butterfly, the life-cycle of which was then unknown. Charles promoted the establishment of a Nature Reserve at Puszta Peszer where the prohibition of collecting was strictly enforced.
In the field of entomology, Charles' brother Lionel Walter, 2nd Lord Rothschild (1868-1937) initially concentrated on beetles, but from 1895 he turned his attention to butterflies. His collection, mainly of butterlies and moths known as Macrolepidoptera, has been judged one of the greatest in the world. He went to great lengths to bring together large series of variations, breeding butterflies himself in Britain and hunting down rareties which came on the market. Together with one of his curators, Karl Jordan, Walter used his collection as the basis for a monograph on hawk moths which remains seminal in the field. The collection has enabled entomologists to analyse species from previously little collected areas.
Charles Rothschild's interest in fleas started with the purchase of some slides from a taxidermist which happened to include a specimen of an Australian 'helmet' flea. His collection began with his setting two mouse-traps in a hedge outside Tring. In one of these he caught a bank vole carrying several specimens of a flea called Typhlopsylla agyrtes. A number of collecting trips followed to Khartoum and the Sudan where, in 1901, Charles discovered the plague-carrying flea, then a new species, which he named Xenopsylla cheopis. Later the Indian Plague Commission sent him their flea material to work on, which led to an article in the Journal of Hygiene. Together with the entomologist Karl Jordan who worked at the Tring Museum, he produced numerous papers.
The partnership was particularly fruitful, and they continued collecting and publishing together even after Charles fell ill and was convalescing in Switzerland during the 1st world war. Charles' collection of fleas became one of the most valuable type collections in the world. As early as 1901, he intended to give them to the nation. He described some 500 new species and subspecies of fleas.
Three genera and seven species were named in his honour. He was the author, or co-author with Walter's entomological curator Jordan, of 150 papers. Species Walter Rothschild's passion for natural history manifested itself in the outstanding collection of natural history specimens he made which he began aged seven with his collection of insects.
Birds of Paradise and the Galapagos tortoises were his chief passion, but his most important contribution was with insects and birds, and during his lifetime, he collected 2. million butterflies and 300,000 bird skins. Believing that the comparative study of species could shed light on the study of evolution, he built up stunning series of species, specialising in taxonomy. Walter undertook field trips himself and also kept in touch with explorers and other collectors who carried on the hunt in every continent. In 1893 he procured the first entire specimen of the White or Square-mouthed Rhinoceros (Rhinoceros simus). Walter established a museum at Tring to house his collections, opening it to the public in 1892. Recognition of his service to the natural sciences was paid him not only with his election to the Royal Society in 1911, but also with the many species which were named after him. The collection was given to the British Museum which accepted the donation on 29 July 1938.
Walter Rothschild's museum of natural history at Tring.
Birds from Walter's ornithological collection.


ATTENTION Students: Do you struggle bringing your grade to a score you can settle with?
Heres a new solution! Campaign to change the grade system that won't effect and will only benefit!
The average students are afraid that there low grades (C) are on the verge of a failing grade. This is the number one reason why this campaign is necessary, take part now and reverse yourself from this situation!
Just simply promote this idea by sharing your ideas and opinions and spread the words to your teachers, staff, and principles. Ask others there opinions and let them know how they can get involved to promote this new change for the better of our school.


text:
import React from "react";
import ReactTestUtils from "react-addons-test-utils";
import jsdom from "mocha-jsdom";

import MenuScreen from "src/components/MenuScreen/MenuScreen.js";
import Button from "src/components/Shared/Button.js";

import setCurrentScreenAction from "src/actions/ScreenActions.js";
import { GAME_SCREEN } from "src/actions/ScreenActions.js";

import {setGameModeAction} from "src/actions/GameActions.js";
import {VS_HUMAN, EASY, MEDIUM, HARD} from "src/reducers/Game.js";

describe("MenuScreen", () => {

  jsdom();

  it("should exist", () => {
    MenuScreen.should.exist;
  });

  it("should be react element", () => {
    ReactTestUtils.isElement(<MenuScreen />).should.be.ok;
  });

  describe("Buttons", () => {

    let actions = [],
        dispatch = (action) => actions.push(action),
        gameModes = [VS_HUMAN, EASY, MEDIUM, HARD];

    it("Buttons should dispatch proper actions on click", () => {
      const menuScreen = ReactTestUtils.renderIntoDocument(
        <MenuScreen dispatch={dispatch} />
      );
      ReactTestUtils.scryRenderedComponentsWithType(
          menuScreen,
          Button
        ).forEach((button, i) => {
          let node = ReactTestUtils
              .findRenderedDOMComponentWithTag(button, "button");

          ReactTestUtils.Simulate.click(node);

          actions[0].should.be.eql(setCurrentScreenAction(GAME_SCREEN));
          actions[1].should.be.eql(setGameModeAction(gameModes[i]));
          actions = [];
        });
    });

  });

});

redpajama_set_name: RedPajamaGithub


text:
> News > Filtration Group Stimulates Job Market Through Key Acquisitions in Western New York
Filtration Group Stimulates Job Market Through Key Acquisitions in Western New York
Executives from Filtration Group and it's three Buffalo-based companies–Buffalo Filter, Multisorb Technologies and Air System Products–unveiled emerging technologies and active plans for employee recruitment at a press conference on August 21, 2018.
Following the announcement of the recent acquisition of Multisorb Technologies and the earlier additions of Air System Products and Buffalo Filter, Filtration Group has further expanded its portfolio in life sciences, healthcare, medical and an array of industrial markets. Filtration Group now has more than 7,200 employees across 28 countries and an annual revenue of more than $1.5 billion.
The products being designed, engineered and manufactured by the three Buffalo-based companies are broadening Filtration Group's capabilities to serve its customers with an unmatched depth of expertise in diverse market segments.
"Filtration Group continues to look for ways to make the world safer, healthier and more productive," said Mike Ellis, Chief Human Resources Officer for Filtration Group. "All three of our companies in Buffalo Niagara are committed to those same values as evident by the hard-working people who are employed at these facilities and the technologically advanced products that are being manufactured here.
For the Buffalo Niagara community, the investment by Filtration Group strengthens Western New York's growing distinction as a tech center and enables the companies to have greater reach across the globe while still retaining local roots.
"Filtration Group's significant local investment will further strengthen and expand our region's position as a leader in technology and innovation," said Sen. Patrick M. Gallivan, representing the 59th Senate District of New York State. "With customers located around the world, Filtration Group will provide new employment opportunities locally that will have a positive impact on the Western New York economy."
The series of acquisitions is representative of Filtration Group's pattern of breathing new life into local economies and identifying companies that are trailblazers within their industries.
"At Multisorb, we are constantly discovering new applications for our technologies and evolving our production lines to world-class standards," said Mike Lippa, Chief Operating Officer of Multisorb. "Our newly renovated facility and specialized manufacturing machines designed in-house reflect this mission. Joining the Filtration Group family equips Multisorb with the ability to continue these advancements while extending our potential customer base."
The companies promoted their range of employment opportunities for as many as 60 new positions and exhibited cutting-edge products featured in an "Innovation Station." For the biomedical market, Buffalo Filter showcased how its surgical smoke evacuation technology protects patients and medical staff from the damaging effects of smoke emitted through operating room equipment.
"Buffalo Filter is designing medical devices to improve surgical safety, which has prompted national legislation for smoke-free healthcare facilities," said Samantha Bonano, President and CEO of Buffalo Filter. "As a part of Filtration Group, we are able to reach new markets and channels with some of the most comprehensive and advanced product lines in the world."
In life sciences, Multisorb introduced its new developments in active packaging technology, including sorbents that use organic materials to preserve quality and freshness of pharmaceuticals and food and beverage products. For industrial markets, Air System Products also presented its condensate drains and oil/water separators that help reduce oil discharge from compressors and ultimately allow for more eco-friendly operations.
"We are pleased to be part of a global enterprise that affords us the opportunity to expand our footprint and share resources across many different markets and industries," said William Niblock, Vice President of Operations for Air System Products. "Having Buffalo Filter and Multisorb so close by is even more convenient and another benefit of joining the Filtration Group family."
Watch Video at WKBW Buffalo
Media Inquiries [email protected]

redpajama_set_name: RedPajamaCommonCrawl


After two weeks of damaging revelations before the Hayne royal commission, it would be understandable if Australians started to despair of the compulsory superannuation system.
Trustees of bank-owned superannuation funds were found to have ignored or deliberately worked against the interests of super fund members. In one case, the trustees watched as the for-profit part of the business purloined money belonging to members.
Hayne also heard about the apparent softly softly approach of the two regulators, the Australian Prudential Regulation Authority and the Australian Securities and Investments Commission. At least ASIC's deputy chairman Peter Kell indicated that the major banks would face civil actions for wrongly taking fees from fund members.
Hayne heard about the CEO of a leading industry fund who was unashamed about using $260,000 members' funds to pay for boozing and schmoozing at the Australian Open Tennis, including for his wife and kids.
Hostplus chief executive David Elia was unashamed about using $260,000 members' funds to pay for boozing and schmoozing at the Australian Open Tennis.
The anecdotes from David Elia from HostPlus suggest employers choosing a default super fund are more interested in free booze and sporting tickets rather than the performance and services offered. In this case the employees lucked out because HostPlus is the country's top-performing APRA supervised fund.
Philip Lowe, the softly spoken and eminently sensible governor of the Reserve Bank, summed up the controversies well on Friday with salient comments to a parliamentary committee. He said financial institutions clearly had difficulty dealing with conflicts of interest, and remuneration structures within institutions had driven poor behaviour.
But Lowe warned against imposing more regulations, as this would only stifle innovation. Lowe knows as well as most insightful observers that regulation is the go-to option for federal politicians whenever there is a crisis of confidence in any sector of the economy.
Usually this insidious tendency is held in check by leadership from those with a deep understanding of complex issues and the ability to explain to the man and woman in the street why more regulation is a dumb idea.
This takes courage, tenacity, passion and focus. Also, it requires consummate communication skills.
RBA governor Philip Lowe said financial institutions clearly had difficulty dealing with conflicts of interest, and remuneration structures within institutions had driven poor behaviour.
The super sector's overarching problem is that at this point in time there is no one in a leadership position in government or industry sticking their neck out to defend the system against all its critics.
One exception is former prime minister Paul Keating. But, unfortunately, in recent years his interventions about super have been few and far between.
The Hayne royal commission will probably serve to entrench the well-established myths about super and lead to another round of suffocating regulatory responses. That in turn will lead to even greater community disengagement.
Chanticleer's myth-busting draws on research by leading consultants, fund managers and work done by well-funded government inquiries.
The Productivity Commission inquiry into super headed by Karen Chester has found that over the decade to 2016, both APRA-regulated funds and self-managed super funds have delivered net returns of about 5.6 per cent a year.
Myth No.1 says our super funds are delivering poor returns relative to benchmarks and relative to pension funds in other countries.
In fact, data from research house Morningstar shows that over the past 25 years, Australia's super system has delivered real net returns of 5.1 per cent. That annual return is after taking account of inflation, taxes and all fees and charges.
This is better than the real rates of return achieved in other countries over the same period. Consultants Rice Warner point out that, in many cases, the fees and charges have included free intra-fund advice, cheap life insurance and choice of investment strategies.
Default super funds, which are usually the preserve of disengaged employees, generated average net returns of about 7 per cent a year over the 12 years to 2016. The Productivity Commission found that top performers were typically larger not-for-profit funds.
Myth No.2 says we all pay too much for our super and we have never gained the economies of scale from the growth in total super assets to $2.3 trillion.
In fact, fees charged by super funds have fallen by 27 per cent over the past 15 years to about $22.4 billion, according to analysis by Rice Warner. That works out at about 1 per cent of assets under management, which is reasonable and a sign of increased efficiency.
Fees have fallen thanks to the winding up of smaller corporate funds, an increase in average account balances, the rise in popularity of passively managed assets, tougher negotiations over investment mandates and the rapid growth of funds under management in MySuper products.
Rice Warner rightly points out busting the myth about high fees is made more difficult because of the lack of clarity about the fees charged. It says that the Productivity Commission, research house Rainmaker and the Grattan Institute have all overstated super fees by including group insurance premiums.
This is clearly misleading, as it is a separate financial product. The federal government has proposed making insurance in super an opt-in product and not something that is automatically provided to super fund members.
Myth No.3 says that Australians are paying some of the highest costs in the world for their super.
The Productivity Commission supported this myth using data from the Organisation for Economic Cooperation and Development in Paris.
But a dispassionate analysis by consulting firm Mercer completely demolished this claim. Mercer found the OECD data was not only inconsistent and incomplete – it was, in some cases, totally misleading.
For example, the cost of running Australia's defined contribution schemes were compared with the employer-sponsored defined-benefit schemes in Canada, Britain and the US. Defined benefit schemes enjoy cost subsidies by employers as part of the labour contract.
In addition, defined benefit funds tend to have a single pool of assets rather than Australia's system of individual accounts and greater choice. Mercer highlights the fact that when a retirement system is in the accumulation phase, its administration costs are higher than when it is in pension phase, which is the situation in most countries overseas.
Self-managed super funds, which are unique to Australia, have a significant impact on the structure and costs of the system. SMSFs tend to push up the costs of APRA-regulated funds because they reduce the average size of member accounts and leave small balances in APRA-regulated funds to ensure they keep cheap life insurance cover.
Also, APRA-regulated funds are being forced to add additional services to compete effectively with SMSFs. Services such as member-directed share investment and intra-fund advice push up the costs of running APRA-regulated funds.
Myth No.4 says the reform leading to the creation of low-cost MySuper default funds has been a flop.
MySuper is a long-term reform that needs time to work. The number of funds is declining and this consolidation will continue because of competitive forces which will push down the average fees. The Hayne inquiry will ensure stronger oversight of these funds and the removal of rorts.
Myth No.5 says that past performance is the best guide to choosing the most appropriate MySuper funds. The Productivity Commission has proposed a 10 "best in show" list which would see poor-performing funds closed.
But if the sole focus is annual performance, or even three-year performance, then investment horizons will shrink. That will work against super fund members having sound, patient, long-term strategies.
The last thing super needs is herding and short-termism. It would lead to worse aggregate outcomes. Value managers would be sacked at the very time when growth managers were losing their mojo.
It will take outstanding leadership and comprehensive nationwide education programs for Australians to learn about market cycles. These run for about 8 to 10 years and require the sort of patience not found in the typical 40-year-old.
As one wizened fund manager told Chanticleer, we need a super system that can deal with these market cycles by allowing funds to be different and sometimes contrarian, but at the same time provide supervision and feedback on shorter time-frames.


The last section of the new Queensferry Crossing has been lifted into place, completing the 1.7-mile link across the Forth. The final segment of the bridge deck was slotted into place by engineers on Friday. The piece was the last of 122 deck sections which connect the Lothians and Fife and its installation means the bridge is now fully joined-up.
Address: Ørestads Boulevard 19, DK-2300 København S.


text:
Broadneck grad Taylor-made for success
By By Hailli Woo sports@capgaznews.com
Broadneck grad Taylor George recently completed her career at North Carolina by earning All-ACC academic honors. (Courtesy photo , Capital Gazette)
Life after lacrosse is good for recent University of North Carolina Chapel Hill graduate Taylor George.
The Broadneck High School was named recently to the All-ACC Academic Women's Lacrosse Team for the third time in a row. She is working part-time at Naval Bagels in Annapolis while searching for an advertising job in either Washington, D.C., or Baltimore.
"Since I'm now a 'retired' student-athlete, there's no pressure to stay in game shape, but I have continued to work out just because I enjoy it," George said.
George, an Arnold resident, now turns to a run around the neighborhood or a game of tennis with her mom rather than engaging in more regimented workouts.
"Summer was always my favorite time to do extra individual work, whether it was wall-ball or speed and agility training,'' she said. ''During season, pre-season and fall ball, you're having to balance a lot which can be stressful. So for me, the off-season was ideal for working on my stick skills and my speed and quickness because I had more free time and energy to really commit to it."
Qualifying for the All-ACC Academic team three times in a row was quite a task.
"I think developing a sense of self-awareness helped me the most," George said. "Everyone has their own unique recipe for success, and I think finding it and fine-tuning it are super important."
A highlighting moment for George was when she "realized that [she] was happiest and most successful when [she] was able to effectively balance school, lacrosse and [her] personal/social life."
George played an integral part as the Tar Heels won a national title in 2013 and again as North Carolina was ranked No. 1 for much of her senior season.
"Being a part of UNC, UNC athletics and UNC lacrosse put me in an environment where I was constantly surrounded by amazing people having success in so many different walks of life, be it in the community, classroom, or the field of competition," she said.
The atmosphere at Carolina bred success, according to George.
"I think it can be kind of contagious in a way,'' she said. "You see your peers accomplish something great, and maybe it inspires you to work a little bit harder or have a little more confidence in what you're capable of achieving".
In her athletic future, George said, " I could see myself doing some kind of part-time coaching with a club team or some camps/clinics, but at this point in my life I'd really like to just take time off to focus on pursuing a career and other interests that I have. Professionally, I'd love to do something where I have the opportunity to be creative."
Her ideal job would be marketing or advertising for a company that offers sports-related products or services.
"Being well-rounded and multidimensional is something that's always been really important to me, so being recognized is an honor,'' she said. ''Going forward, I think it'll hopefully be a nice reminder that I'm able to juggle multiple responsibilities at once."


text:
Q: Transporting changes to disconnected system - git bundle? I have two systems, one for test and one for production. They are disconnected and neither is connected to the internet.
I have made significant changes to my software repo, and the production environment needs to be updated. Both systems have a copy of the git repo set up. The code on TEST was tagged when last transported to PROD (1.4.0), but we had to make emergency changes on the PROD system. These were then backported to TEST.
I intend to do the following:
On TEST:
git bundle create import.bundle 1.4.0..master

Then manually transfer the bundle to PROD.
On PROD:
git bundle verify import.bundle
# assuming all is well
git remote add import /path/to/import.bundle
git pull import master
# ...fix any merge conflicts

Which, I believe, will give me a PROD system that is up-to-date, plus I can then repeat the bundle create step later with an incremental set of changes.
Will this work? Are the problems that those with more git-fu can see?
EDIT:
I could replace the git pull import master with a git fetch import and git merge -X theirs import/master. Might be preferable.
Update 6 years later: it worked. I wanted a subset of changes because this repository was massive.

A: git bundle gives you the whole repository every time.  You do not need to add it as a remote, you can just pull from it directly (if I recall correctly).
You can also just have a bare repo on the USB disk.  The bundle is just a single file which is easier to handle outside of git.

A: On TEST, bundle everything from 1.4.0:
git bundle create import.bundle master ^1.4.0

Then manually transfer the bundle to PROD.
On PROD:
git bundle verify import.bundle
# assuming all is well
git fetch /path/to/import.bundle master:master
# ...fix any merge conflicts

more info: https://git-scm.com/book/en/v2/Git-Tools-Bundling

redpajama_set_name: RedPajamaStackExchange


text:
Los Angeles Galaxy vs Toronto FC June 11 2011
Alan Gordon
CARSON, CA – June 11, 2011: Toronto FC forward Alan Gordon (21) gets his first goal during the match between LA Galaxy and Toronto FC at the Home Depot Center in Carson, California. Final score LA Galaxy 2, Toronto FC 2.
Created: 11 Jun 2011	 Size: 3000x1574 / 1.5MB


Marvelously thick, this solid cherry board by John Boos & Co will bring a smile to your face with every chop. Made from renewable American Cherry, this cutting board is a durable hardwood that will last the rigors of the kitchen. Cherry wood is prized by wood workers for its natural beauty and deepening of color as it ages.
Finished with food safe John Boos Mystery Oil and Boos board cream.
Click the button below to add the John Boos Reversible Cherry Cutting Board 20 x 15 x 2.25 to your wish list.


text:
Q: ECMA Script 6 Arrow functions as object properties I realise this is a pointless thing to do but I don't understand why it doesn't work.
var person = {
    _name: "Steve",
    doSomething: () => console.debug("Doing stuff with ", this._name)
}

"this" is bound to the global object and not the object getName was invoked on. I was expecting that the above is equivalent to :
var person = {
    _name: "Steve",
    doSomething: function() { console.debug("Doing stuff with ", this._name) }
}

(I know you should write it like this)
var person = {
   _name: "Steve",
   doSomething() {
      console.debug("Doing stuff with ", this._name)
   }
}

A: From mdn:

Arrow functions capture the this value of the enclosing context

This is different to functions.


text:
HOMES ENGLAND £30M BOOST FOR MODULAR HOMEBUILDER
Homes England is investing £30m in modular homebuilder ilke Homes to turbo-charge production at their factory in Knaresborough, north Yorkshire.
The £30m is being allocated from the national housing agency's £4.5bn Home Building Fund, and the investment will enable the company to massively scale up its operation.
By next year, 2,000 modular homes will roll off the company's production line, rising to 5,000 homes a year within the next five years – potentially making ilke Homes a top 10 UK housebuilder.
The latest deal is part of a government drive to create a centre of excellence in the north for modern methods of construction to help speed-up house building, aiming to create a construction industry which will deliver zero carbon homes and, claim ministers, an industry potentially worth £40bn a year and creating 80,000 new jobs.
Modern methods of construction are a combination of off-site manufacturing and on-site techniques that provide alternatives to traditional house building, allowing homes to be built quickly, be more energy efficient and better designed. It can deliver high-quality housing at pace. By manufacturing off-site, the precision-engineered homes produced by ilke Homes are delivered twice as fast as traditional methods of construction – while creating 90% less waste.
Dave Sheridan, executive chairman at ilke Homes, said: "This deal is testament to the dynamic approach Homes England is taking to address structural issues within our housing and construction industries. The funding will bring in further private capital, creating hundreds more skilled jobs allowing us to build more homes more quickly for first-time buyers. We want to continue driving efficiency, quality and sustainability within the housebuilding industry and see this as a fantastic signal to others wishing to do the same."
Nick Walkley, chief executive at Homes England, said: "Our role is to be bold and take steps to speed up the delivery of homes across the country and there is huge, untapped potential to unleash by creating more capacity in off-site manufacturing. Modern methods of construction offer enormous benefits to housebuilding and this deal will have a transformational effect on ilke Homes' production."


Are you ready to GO!? Do you love to color coordinate your weeks with stickers and plan with a more cohesive look? This Functional Boxes portion of the Wild Dreams Weekly Kit is the perfect way to add some cheer to your planner while getting to choose which stickers you'd like.


Sunroof, Heated Leather Seats, Remote Engine Start, Back-Up Camera, Alloy Wheels, Turbo, Onboard Communications System, iPod/MP3 Input. Platinum White Pearl exterior and Black interior, EX-L trim. EPA 42 MPG Hwy/32 MPG City! CLICK ME!


How Many Spaces After a Period, Again?
Simple question for you today: when typing, how many spaces do you put between sentences?
If you're like me, you said two. However, Slate's Farhad Manjoo has a nice rant about the topic, and it's sure to spark some debate.
Or maybe there's really not much to debate?
So technically speaking, and as far as the style guides are concerned, one space is the correct method. So why in the world I did I learn two spaces after a period (and colon)?
Oh. That explains it. Back in typing class in 9th grade, we learned on archaic, heavy, industrial typewriters tucked away in the coldest, grayest classroom in my school. Everything, naturally, was monospaced Courier. So if you wanted your paper to look halfway readable, you double-spaced after periods and colons. And you also didn't get hit by the mean nuns patrolling the aisles.
But even if the modern rule is one space, here's the problem: at 41 years old, some 27 years into my official typing habits, typing one space after a period is nearly impossible. I habitually use two spaces. There. I just did it again – two times! – after my last two periods. It's a muscle memory thing.
The fact is it would take me longer to unlearn the two space rule than it's worth. Many modern applications – browsers, etc. – remove extra spaces automatically. Bad habits are accounted for and quietly censored.
A few times a year, an article like Manjoo's comes along and preaches the purity and correctness of the one-space rule. And I get religion. Then, after trying to type something using only one space between sentences, I find myself going back and removing the extra spaces my highly-trained, mildly spastic thumbs automatically put in. Then everything starts getting confusing, I get frustrated, and I have to play a quick game of Z-Type before I settle down and admit maybe I can't unring my two-space bell.
Is it OK to be wrong if you've been taught to be wrong by mean Catholic nuns who brandished rulers like swords?
I hope so, because that's the only excuse I have. Space space. Do you get what I'm saying?
Tags: grammar, punctuation, style, typefaces, typesetting, typing, typography, writing Posted January 25, 2011 by Jeff V.


Well I finally made it to South Beach! I've never been and what an experience it was. I was referred to Brian Hawkins lead hair, by my sweet friend Amanda. She and I grew up together and I have come to admire her work on so many levels.
Amanda and I made a ton of memories. It all started out with my A/C going out in my car half way to Miami. Which means we still had 2 hours to go! I have never been hotter! I'm pretty sure we never cooled off. We had planned to arrive early enough to check out the beach or sit by the pool, Once we finally made it to our fabulous hotel. We only had time to shower and head to our first job. Thank god for Uber!
We got back from our first job kinda late. We grabbed a snack and hung by the pool, until it closed.
The following day we had an early call time, protein shakes for breakfast it was.
Once our work was finished we finally had a chance to go to the beach!! It was just gorgeous!
Grabbing drinks by the pool and dreaming about our future in the hair and makeup industry was the perfect end to our stay in South Beach.
Check out these stunning models and their designer swim wear!! We had a blast! Can't wait to do it again.
SwimWear : Yandy, Hammock Swin, Kaohs Swim, Revel Rey Swim, Lycra Brand, and Keva J Swimwear.
Sponsors: Suddfxinc, Cricket Tools, Canviiy, RSession Pro, Luma Brush, Bio Ionic, Sprnette Hair Brushes, Beauty Launch Pad.


Hey, Traders!!!! Finding out for Hong Kong Stock Exchange Holidays 2017? Calm down, my friend. You are already looking at it. We have published legit and valid records for holiday hours and trading hours. Keep scrolling down and you will have the data you wanted to know.
You will also have facts regarding their trading hours as Hong Kong Stock Exchange Hours (Trading hours). You can afford to waste your time and fuel after visiting the exchange house without proper information. Well, you should save this information in your device which will help you every time you needed it. It definitely will save your time plus fuel.
Currently, it is the sixth Largest exchange in the world.
These are the days on which the HSEx is CLOSED.
You can have look at the table below. You must check this table very carefully. On weekends; Saturdays and Sundays they are closed.
We hope we have provided the exact report you wanted to know about Hong Kong Stock Exchange Holidays 2017 and Hong Kong Stock Exchange Trading Hours. We as http://onlinejoboffer.net keep providing legit and valid data and information regarding holidays and trading hours for stock exchange groups and others. You can be here whenever and wherever you wanted to be. You can suggest us if you wanted to, here below in comments. We will appreciate that. Keep in touch for more information. And blessings for your trading!!!


290dhs participation fee = 190dhs refund only.
Refund will be paid only cash at one of our flea markets registration desk.
Cancelations after 72h prior the event will not be applicant.
Important Notice: BOOKINGS CANNOT BE SHIFTED TO ANOTHER FLEA MARKET DATE, ONLY APPLICANT FOR THE RELEVANT DATE.
By agreeing on the Terms&Conditions you are automatically opligated to follow our Exhibitor Manual rules & regulations which you will find on our website to download.
Anything you can eat or apply to your skin is strictly prohibited to sell or even display. If so, legal actions will be taken against seller of prohibited goods. Inspectors from Dubai Government can be expected anytime to check your items sold on your stand.
Distribution of flyers or any commercial material is strictly prohibited in public parks, if so, legal action will be taken by the park owner (Dubai Municipality).
IT IS STRICTLY PROHIBITED TO DISPAY ANY GOODS DIRECTLY ON THE GROUND IN FRONT OF YOUR TABLE, ALL GOODS HAVE TO BE PLACES PROPERLY IN A BOX, CONTAINER OR ANY HARD CASE.
Eligibility: No limit on type of vendors: This is a true and unique Flea Market for used items, Crafters, Jewellers, Antiques vendors and more!
If a vendor is selling New/Commercial or Fake or any the above mentioned itmes at Dubai Flea Market, the vendor will be immediately disqualified from the event and the table / participation fee of 290dhs will not be refundet from the organizer and legal actions will be taken.
The Dubai Flea Market organizer "Green Spot Entertainment L.L.C." is not legally responsible on the items being sold at the flea market. The vendors are taking full responsibility for their goods they are offering/selling to the public. Selling new and fake items is stricktly prohibited - If vendors do so, "Green Spot Entertainment L.L.C." is not legally responsible - the vendor takes full legal responsibility. Green Spot Entertainment L.L.C. is authorized to close down stand selling new and fake items - the stand fees won't be refunded to the vendor.
Charities: Charity vendors are not allowed to have a stall at the Flea Market unless they have an official charity registration with the UAE Government. The charity registration ID has to be provided with the stand booking.
Stand package: The Organizer is providing within the stand package one table/two chairs for each registered vendor. Vendors must set up, staff their own booths and handle their own sales.
Stand set up timings: The product's displays are expected to be ready by the opening time of the flea market. The Market opening hours are just a given timeframe by the organizer, but vendors can pack up any time they want during the event.
It is strictly prohibited to pile up clothes on the ground. It is only allowed to display items on the ground if the vendor is displaying the goods in boxes, containers, cartons OR ANY HARD CASE ONLY up to 1 meter in front of the table only. Displaying items on the ground without appropriate containers is stricktly prohibited by Dubai Health Authority to protect Consumers.
Stand location: One stand per paid fee; each booth is first come first.
Stand Security: Vendors are responsible for securing their stands and the event Organizer Green Spot Entertainment L.L.C. is not responsible for loss, damage or bad weather or any case of health issues by the vendors, injuries etc. during the event.
Vendor service: Vendors providing a service to the public may do so at no charge.
The stand price includes one table and two chairs.
Participating at Dubai Flea Market is on your own risk. The event organizer Green Spot Entertainment L.L.C. will not be reliable for injuries or health issues, nor damage or lost items.
All Musicians & Entertainers may entertain free of charge and without pay, however are welcome to sell CD's or advertise at table provided. You must notify the Market prior to the event if you would like to play.
It is strictly prohibited to cover your stand with tents etc. if the weather condition is good (no rain).
Setup for stand will start 2hours before the official opening for visitors. The stand has to be ready for the public by then.
There is to be no selling of pornographic materials of any kind, movies with NC-17 or with explicit language. No selling of alcohol, tobacco, animals. There shall be no weapons of any sort sold (this includes bladed weapons and bee-bee, pellet, replica, or paint guns.
The organizers of the Flea Market won't be responsible for the theft, loss or breakage of personal or Stand/Display items.
The organizer makes no warranties beyond the mentioned terms and conditions.
Any special requests for additional Stand/Display needs must be made in writing and requested to the organizer per email.
There will be no structures provided to hang things on. Additional stand-displays are the responsibility of the seller. Therefore it is stricktly prohibited to use the palm trees belonging to Dubai Government for display purpose.
Electrical access needs to be requested by the organizer. Only a limited number of stands will have access to electricity for an additional charge. Electricity will only be provided to those who have requested it. You must provide your own extension cords.
F&B Vendors have to have a professional F&B license. To get the permission to sell F&B, please contact the Flea Market organizer.
The Flea Market organizer cannot be responsible for any additional fees and/or facilities required by city or county regulations.
The vendors can have as many people assisting at the stand as they like. No Personal ID will be provided for stand Participants, only a sticker to mark the vendors & their assistants.
No Security will be at the event to watch your items, so have someone with you to stay with you on your stand.
We strongly urge you to bring a trolley or hand truck for transferring the items to your stand. The stands are adjacent to the parking area.
The entrance fee for the public depends on the Park Entrance fee of the responsible authority.
Vendor registration: Please show the online booking confirmation / payment slip at the Vendor/Exhibitor Registration desk when you arrive at the venue to receive your table receipt.
Set up: Vendors are allowed to display items on the table and 1 meter in front of the table in boxes, containers, luggages etc. on the ground. It is stricktly prohibited by Dubai Health Authority to display goods on the ground without any protection. If a vendor does not apply the above mentioned, the Organizer will take action by closing down the stand, furthermore Dubai Municipality will apply fines and in cases legal actions. The vendor will be banned from any of our events and gets no refund for the same.
Clothes rack: Only 2 clothes racks are allowed to be on one stand. One to the right and one to the left of the talbe. If the vendor doesn't follow our regulation, the stand will be closed by the organizer, no refund for the stand fees.
You may arrange your stand any way you wish, as long as all items and displays remain within the provided space around the table unless pre-arranged according to the above mentioned regulations.
CLEANING: The vendor has to give the stand back to the organizer as received, which means in clean and good condition without damage of the table or chairs or any waste laying around. The vendor has to put their own garbage/waste in bags, cartons or containers. In case the vendor leaves trash at the stand spread around on the ground, the organizer will provide full data to Dubai Municipality to track the person. Dubai Municipality will take leagal actions.
The understanding designated representative of the organization requesting a Stand agrees to all of the above terms and conditions and understands that The Flea Market Organizer "Green Spot Entertainment L.L.C." is not be responsible for any loss, damage or event cancellation due to bad weather or any catastrophe.
You may not create a link to this website from another website or document without Dubai Flea Market (Green Spot Entertainment)'s prior written consent.


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How we made: N by Norwegian, March 2015
ntskinner June 11, 2017 September 16, 2017 Editing
The "Miami issue" was a good N by Norwegian issue, with subjects ranging from Lego hipsters to game-changing Hungarian piano-makers and the beery history of Pilsen, the Czech Republic. But the anchor to the issue was definitely the Miami cover story, which celebrated 100 years since Miami Beach was incorporated as a town (and tied in nicely with Norwegian's new routes to Fort Lauderdale)…
It was a funny trip, with art director Rickard Westin, photographer Tim White and me spending almost a week on Miami Beach. At first, it was a bit of a disaster. We were staying in a slightly grotty apartment within walking distance of nothing, and there'd been a misunderstanding at the venerable Joe's Stone Crab, where we'd ended up footing a monstrous bill for six people, after which a series of resulting recommendations had left our souls and wallets a little broken (give the Fontainebleau a miss if you don't have a Maserati). More to the point, we didn't have much of an idea who was going to tell us the great story of Miami, and the taxi drivers (of which there were a lot) seemed more interested in telling us about their failed business ventures.
The next day wasn't much better, with heat, hangovers and establishments charging us eye-watering sums for plastic-y sandwiches whilst assaulting our eardrums with Latin house music. But Rickard has an amazing ability, no matter how radiant or sunny the city, to find the darkest, dingiest bar – which is how we found ourselves, late in the afternoon, at Mac's Club Deuce. Mac's is a wonderful bar, and an outlier in the heart of Miami Beach. It's cheap and smoky, lit up by lurid neon signs that were installed for the Miami Vice wrap party here back in the 80s. There's usually old American rock coming from the jukebox, and basketball on the TV. The locals around the 360-degree bar aren't much to look at, which oddly is a relief in Miami.
But the kicker, which the super-friendly bartender told us as she served us our fourth beer (the two-for-one happy hour here lasts eleven hours), was that Mac, the owner, had just turned a hundred. We were doing a story about Miami Beach being a hundred, and Mac was even older than the town he lived in. It seemed like pure editorial kismet.
Mac ended up being a wonderful interviewee, even if he couldn't spare more than twenty minutes or so, and we decided he should be on the cover. The concept we settled on was to have him on the beach in a subtle homage to the book, The Hundred Year-Old Man Who Climbed Out of a Window and Disappeared. There was just a slight problem: Mac hadn't been to the beach, 150 metres down the road, for more than 30 years – and he wasn't about to start now. In fact, he wasn't prepared to go further than a block from the bar.
So Photoshop came to the rescue. We shot Mac against a wall outside his bar, and Tim shot Rickard on the beach (by an iconic lifeguard hut) with a suitcase, trying to look like a hunched old man so that the shadows would look accurate. Some Photoshopping later, we had a cover. It's not the most perfect image you've ever seen, and there's a touch of irony to the fact that we took a man with an almost pathological aversion to sand, and portrayed him on the beach. Still, it just about works.
And I think, in the end, we got a good story (read it here), supplemented primarily by Calvin Zook, a hilarious tour guide who seemed like he came straight from a Woody Allen film. It's probably the longest story I've ever written, and I'm sure another editor would have hacked it to pieces. But I think the people, and the colourful history, warrant it.
As a post-script, Mac died in 2016, aged 101. In early 2017, I went back to Mac's, and was happy to see that it hadn't changed one bit, except that there wasn't an old guy in the back office doing the accounts the analogue way. I was also happy to hear that Mac had liked our story, and that scores of people had come in with copies of the magazine to show him – which apparently he liked. It somehow meant a lot. I really hope that the bar survives, just as Mac has kept it since the 1960s. It would be a tragedy if it were turned into expensive condos – or a place that does overpriced sandwiches and Latin house music. Read the full issue here.
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Memphis Grizzlies Geoff Calkins Memphis Tigers High School Sports Season One WGC - FedEx St. Jude
Memphis 901 braces for tough Indy challenge
By John Varlas Updated: June 07, 2019 8:07 PM CT | Published: June 07, 2019 4:29 PM CT
Memphis 901 FC faces Indy Eleven Saturday at AutoZone Park. The visitors come into the match in fifth place in the USL Championship's Eastern Conference. "For us, it's an opportunity against one of the best teams in the East," said coach Tim Mulqueen. (Jim Weber/Daily Memphian file)
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I've recently entered a short story competition sponsored by NYC Midnight. They assign genres, topics and characters as prompts for your story. They have a list of genre definitions that I found extremely helpful. You can find it below and here as well.
A suspenseful story in which a mission involving risk and danger forms the primary storyline. The protagonist, who is typically operating outside the course of his or her daily life, embarks on a journey to confront obstacles and prove worthiness. Action sequences are frequently featured, especially those involving chases, explosions, and attacks. This genre has its roots in Greek and Medieval literature, including Homer's classic epic poem, the Iliad, which tells of the battles and events during the weeks of a quarrel between King Agamemnon and the warrior Achilles. Common elements: likeable hero, unlikeable antagonist, physical action, fast pace, violence, changeable setting. Action/Adventure books include Jack London's The Call of the Wild and Suzanne Collins's The Hunger Games. Action/Adventure films include Casino Royale (2006) and Mad Max: Fury Road (2015).
A story that typically maintains a light, satirical, or familiar tone and features amusing characters and situations. Humor is the fundamental driving force. The word "comedy" comes from the Greek word komos, which means revelry or merry-making–and indeed, comedy has its origins in ancient Athens, where it was used in celebrations dedicated to the Greek god of wine and revelry. Subgenres of comedies include screwball comedies, which derive humor from improbable situations and characters, black comedies, which have darker undertones, and romantic comedies, which focus on the antics of lovestruck characters. Common elements: love and sex, stock characters and situations, everyday speech, puns, and cheerful endings. Comedy books include Douglas Adams's The Hitchhiker's Guide to the Galaxy and Zadie Smith's The Autograph Man. Comedy films include This is Spinal Tap (1984) and Anchorman (2004).
Crime Caper
A lighthearted crime story in which the main characters perpetrate one or more crimes–e.g. thefts, swindles, or kidnappings–in full view of the reader or filmgoer. The plot focuses on the criminals and their attempts at escape or atonement. Scenes often leverage offbeat humor and acts of unusual cleverness or audacity. Common elements: The criminals are the main characters (the investigative team may appear but is not the main focus), complicated plots, flawed protagonists. Crime caper books include Michael Crichton's The Great Train Robbery and most books by Janet Evanovich. Crime caper films include Ocean's Eleven (2001) and The Italian Job(2003).
A story that relies on the emotional and relational development of realistic characters. Themes are often drawn from intense, real life issues such as addiction, infidelity, race and class tension, disease, and corruption to name a few. Conflict, which is a central component, may arise internally, within the main character, or may exist among multiple characters. Common elements: realistic characters, emotional themes, depth, moral grappling, conflict. Drama books include John Steinbeck's The Grapes of Wrath and Jhumpa Lahiri's Interpreter of Maladies. Drama films include My Left Foot (1989) and The Wrestler (2008).
A narrative that often features folkloric characters such as fairies, elves, trolls, or witches engaged in fantastic or magical events that illuminate universal truths. Fairy tales usually exist in a time-suspended context, with minimal references to actual events, people, and places. They are often short and intended for children, although there are exceptions to that rule. Common elements: conflict between good and evil, talking animals, royalty, archetypes, use of traditional beginnings and endings, i.e., "Once upon a time…" and "…happily ever after." Fairy Tale books include Jacob and Wilhelm Grimm's Complete Grimm's Fairy Tales and Catherynne M. Valente's The Girl Who Circumnavigated Fairyland In A Ship Of Her Own Making. Fairy tale films include Snow White and the Seven Dwarfs (1937) and The Princess Bride (1987).
An imaginative story that typically weaves magic or other supernatural phenomena into a self-coherent plot or setting (e.g. magic spells, mythical creatures, fabled kingdoms, witchcraft, wizardry, medieval universes). Unlike science fiction and horror stories, fantasy stories usually avoid deeply scientific themes or macabre plots. They tend to take place in imaginary worlds where magic and magical creatures are common, and they may serve as a bridge between medievalism and popular culture. Common elements: magic, mythological undertones, internal coherence, adventure. Fantasy books include J.R.R. Tolkien's The Lord of the Rings, J.K. Rowling's Harry Potter series, and George R. R. Martin's Game of Thrones series. Fantasy films include Willy Wonka & the Chocolate Factory (1971) and Pan's Labyrinth (2006).
A frightening story premised on the possibility of ghosts, which may appear by their own volition or through summoning by magic. Ghost stories are usually scary, leveraging suspense, a sense of the uncanny, and supernatural occurrences to elicit feelings of fear and foreboding. Ghosts appear in literature as early as Homer's Odyssey, which chronicles the hero encountering spirits of the dead during a journey to the underworld. Common elements: hauntings, supernatural intervention, chilling and suspenseful atmospheres. Ghost story books include Alvin Schwartz's Scary Stories to Tell in the Dark and Stephen King's Doctor Sleep. Ghost story films include The Shining (1980) and The Sixth Sense (1999).
A story that takes place in a setting drawn from history. Historical fiction is usually presented from the perspective of the historical characters, whose behavior is consistent with the manners and social norms of the time. Scenes and dialogue are well researched and imaginatively reconstructed to be as authentic as possible. Common elements: believability, historically-accurate detail, authentic dialogue, historical settings and persons. While there are no rules on how far in the past a story must be set to qualify it as a historical fiction piece, many are in agreement that the story must be set at least 25 years or more in the past. Historical fiction books include Michael Shaara's The Killer Angels and Toni Morrison's Beloved. Historical fiction films include Schindler's List (1993) and Letters from Iwo Jima (2006).
A story intended to provoke an emotional, psychological, or physical fear response in the audience. Horror stories frequently contain supernatural elements, though not always, and the central menace may serve as a metaphor for the fears of society. Common elements: eerie atmosphere, morbid themes, heightened suspense, focus on death and evil, uncanny situations and persons. Horror books include Mary Shelley's Frankenstein and Stephen King's It. Horror films include The Exorcist (1973) and Poltergeist (1982).
A story that frequently involves a mysterious death or a crime to be solved, though not always. The main character is often a detective who must consider a small group of suspects–each of whom must have a reasonable motive and opportunity for committing the crime. The detective eventually cracks the code by logical deduction from clues presented to the reader or filmgoer. Common elements: overt clues, hidden evidence, inference gaps, suspense, foreshadowing, red herrings. Mystery books include Agatha Christie's And Then There Were None and Truman Capote's In Cold Blood. Mystery films include Clue (1985) and The Usual Suspects (1995).
A story that uses irony and sarcasm to expose human folly and vice in the political arena. Political satires often critique the status quo and, in doing so, offer alternatives and possibilities for improvements. Solutions are not a requirement of political satire. Instead, satire's job is to reveal problems and contradictions–it is not obligated to solve them. Common elements: wit, irony, sarcasm, parody, exaggeration, juxtaposition, double entendre. Political satire books include George Orwell's 1984 and James Finn Garner's Politically Correct Bedtime Stories. Political satire films include Dr. Strangelove (1964) and Wag the Dog (1997). In addition, most sketches involving actors playing real-world political characters on sketch comedy shows such as Saturday Night Live are considered political satire.
A story that revolves around two people as they develop romantic love for each other and try to build a relationship. Romance stories may explore love at first sight, forbidden love, or love triangles. Common elements: a central love story and a complex and emotionally satisfying ending. Romance books include Jane Austen's Pride and Prejudice and William Goldman's The Princess Bride. Romance films include Casablanca (1942) and Brokeback Mountain (2005).
A story that combines love and humor. Typically, these are stories with light, funny plotlines centered on romantic ideals such as fate and true love. Romantic comedies often feature couples that are polar opposites in terms of temperament, social status, or situation in life. Common elements: voiceovers, comedy, awkwardness, sexual innuendo, "meet cute" (when one character meets another character in a cute way). Romantic comedy books include E.M. Forster's A Room with a View and Helen Fielding's Bridget Jones's Diary. Romantic comedy films include Annie Hall (1977) and When Harry Met Sally (1989).
An imaginative story, usually set in the future or in an alternative universe, in which new technology, scientific principles, or political systems are developed or applied. Science fiction frequently explores the potential consequences of scientific, social, or other innovations, and has been called a "literature of ideas." Common elements: futuristic technologies, outer space, alternative visions of earth and society. Science fiction books include Mike Resnick's Santiago: a Myth of the Far Future, Iain M. Banks's Excession and Ann Leckie's Ancillary Justice. Science fiction films include 2001: A Space Odyssey (1968) and Blade Runner (1982).
A story that involves espionage, secret agents, or secret service organizations as an important context or plot device. Spy fiction emerged in the early twentieth century, propelled by the establishment of modern intelligence agencies and rivalries between them. Common elements: espionage, secret agents, rogue states, organized crime, fundamentalism, terrorist networks, technological sabotage. Spy fiction books include Graham Greene's The Quiet American and John le Carré Tinker Tailor Soldier Spy. Spy fiction films include The Bourne Identity (2002) and The Lives Of Others (2006).
A story that slowly generates feelings of anxiety, anticipation and uncertainty in the audience. Typically the main character becomes aware of danger only gradually, thus exacerbating the audience's discomfort. Common elements: slower pace, heightened anticipation, audience knows more than main character, dramatic music. Suspense books include Dennis Lehane's World Gone By and Suzanne Collins's The Hunger Games. Suspense films include Rear Window (1954) and The Silence of the Lambs (1991).
A fast-paced, gripping, plot-centered story that invokes an emotional thrill by mixing intense fear and excitement. Usually the protagonist is in danger from the outset. These fast-paced stories typically involve major threats to the main character and/or wider society and the attempts to prevent something from occurring. Common elements: faster pace, action scenes, plot twists, prominent villain, "ticking clock" timing. Thriller books include Tom Clancy's The Hunt for Red October and Gillian Flynn's Gone Girl. Thriller films include Se7en (1995), Mission: Impossible (1996), and Black Swan (2010).
This entry was posted on January 28, 2018 by H.E. ELLIS. It was filed under Books and was tagged with competion, genre, SHORT STORY, writing.
Great Reaper graphic! Thanx. And now on to lay my awesome on someone taller. 🙄 🌯
I call my sci-fi 'action/humor…
I like sci-fi action/humor. It makes me think of THE FIFTH ELEMENT movie, or almost anything by Douglas Adams. You are in good company. 🙂
That was enlightening reading the definitions!
I thought so too. I never would have thought of Ghost Story and Horror as two different genres. They may not be in literary world, but I like the difference.


Note 1: This entry is updated on February 10, 2010. Today's edition of `Democracy Now!' aired a segment on this subject. Palestinian relatives of some of those buried at Jerusalem's Mamilla Cemetery are going to the United Nations to ask that the project be halted. Here is the link to the segment Democracy Now! . It adds some texture to the piece below firts published on January 24, 2010. There is a Colorado connection – Larry Mizel, Denver developer and now CEO of the Simon Wiesenthal Center in Los Angeles.
Note 2: Updated again on March 22, 2010. Two new items – one from the Mamilla Campaign opposed to the continued construction of the `Museum of Tolerance' on the site of the Mamilla Cemetery, the second from Haaretz of March 15, 2010 saying that despite the protests, that the construction of the museum will continue. The entry itself was not changed.
The shocked and appalled Jerusalemites and members of the Islamic Waqf gathering the scattered bones left by Israeli parking lot workers in Mamilla, the historic cemetery in the western section of Jerusalem (1967).
A project in the works for nine years to construct what is formally called a `Museum of Tolerance' in Jerusalem sponsored by the SimonWiesenthal Center in Los Angeles, has run into problems. According to the museum's literature, the Jerusalem project seeks to promote `unity and respect' among Jews and between people of all faiths'. Sounds promising at first, but when asked if the `tolerance' the museum hopes to promote would include Palestinians, Rabbi Marvin Hier responded that the museum is `not about the experience of the Palestinian people; when they have a state, they'll have their own museum'. Sounds less promising.
Then the plot thickens. The project had been controversial from the outset as it was planned to be built on the grounds of the Mamilla Cemetery, at least 1000 years old, which includes the remains of Moslems who fought against the Crusaders in the 12th and 13th centuries, as well as those of Moslem scholars from the 15th century onwards. Some reports suggest the cemetery is even older, perhaps 1500 years and the remains of friends of the Prophet Mohamed are buried there. The museum authorities come up with a fountain of lame excuses as to why it's not a `big deal' to build their tolerant museum on the bones of moslem holy men and scholars. Sounds awful.
but when asked if the tolerance' to museum hopes to promote would include Palestinians, Rabbi Marvin Hier responded that the museum is `not about the experience of the Palestinian people; when they have a state, they'll have their own museum'.
In spite of this detailed history and a slew of related legal problems that have plagued completing the museum, the Wiesenthal Center has done everything in its power to forge ahead with constructing the project with strong support from Israeli government and Jerusalem municipality officials. Sounds downright intolerant.
It does so even though the chief architect, Frank Gehry, whose credits include the Guggenheim Museum in Bilboa, Spain and the Disney Concert Hall in Los Angeles, has, disassociated himself from the project, leaving the future of the museum up in the air. The Simon Wiesenthal Center issued a press release stating that some scaled down version of the project would proceed all the same. Although most recently Gehry claims he withdrew over the financial aspects, it is likely that nine years of political opposition from Palestinians as well as a fair number of Israelis, were major factors in Gehry's decision to pull out, one that has embarrassed the Wiesenthal Center and threatens to undermine the project entirely.
Despite Palestinian and Islamic opposition to the project from the outset, Wiesenthal's Rabbi Marvin Hier pressed on with the project. When the project was first announced in 2001, it triggered angry responses from Muslim leaders who warned that there was no way the museum could be built without dis-interring graves, but their concerns were ignored until 2006 when it was reported that dozens of skeletons had already been unearthed during early excavations. Israeli archeologists were hoping to secretly move the skeletons, many of which had been damaged, without alerting Muslim authorities.
In 2008, the issue went before the Israeli Supreme Court which authorized the construction project. In response, Jerusalem's mufti, Sheikh Mohammed Hussein, called the museum's building 'an act of aggression' against the Muslim public. He added `how can a museum carrying the name of `tolerance' be built on a graveyard.
Rabbi Hier responded – giving a sense of what he means by `tolerance' by dismissing Arab objections as cover for 'a land grab by Islamic fundamentalists, who are in co-operation with Hamas'. Up until a few days ago, Jerusalem Mayor Nir Barkat supported the Mamilla site for the museum. He is quoted as having said `I don't see any problem with the site…it's a non-issue'. But in light of Gehry's withdrawal even he is vascillating and now is hinting that perhaps another site for the museum would be better. Although Hier enjoyed past support of Arnold Swarzenegger and Ehud Olmert, he now appears to be increasingly isolated.
It wasn't only Moslem and Palestinian voices that protested against the project. Many Israeli and Jewish voices joined in, either with lukewarm support or downright opposition to the idea. They ranged across Israel's political spectrum.
Many Israeli scholars, cultural figures, Orthodox leaders including Knesset member Rabbi Meir Porush and some American rabbis have joined the opposition to the museum, along with a group of leading British architects who signed a petition condemning the proposed museum as a `blow to peaceful co-existence'.
The Central Conference of American Rabbis, an umbrella group representing some 1500 Reform rabbis, urged the Wiesenthal Center to `find an alternative location to the three-acre site in downtown Western Jerusalem.
Also opposing the project were Revner Rivkin, Likud speaker of the Knesset and former Deputy Mayor of Jerusalem, Meron Benvenisti who denounced the Museum of Tolerance as `so hallucinating, so irrelevant, so foreign, so megalomic'. Yad Vashem, the holocaust memorial museum added its opposition, arguing that Jerusalem did not need another museum. Even many mainstream Israelis are opposed. They question a museum conceived, financed and designed by Americans.
Shimon Shamir, former Israeli ambassador to Egypt and Jordan, who now heads the Institute for Diplomacy and Regional Cooperation at Tel Aviv University said that he met with Gehry in Los Angeles in a bid to persuade him to withdraw. `I explained to him what a big mistake it was. I hope that it will never be built'.
And as it turned out, there is a Colorado connection to Jerusalem's Museum of Tolerance. As resistance to the project mounted Mizel, founder MDC Holding, once the largest builder of residential homes in the USA, intervened both in his capacity as chairman of the board of the Wiesenthal Foundation; a long time and dedicated Zionist, Mizel is also on the national board of the American-Israel Public Affairs Committee (AIPAC) and has long been one of the more influential power brokers in the Republican Party both here in Colorado and nationally. Mizel also has long had the reputation of a five-star fundraiser both for Republican and Zionist causes. Also on the board of the Wiesenthal Center and a vice president of AIPAC, is Mizel's long time friend, legal advisor, and political animal extraordinaire, Norm Brownstein.
Mizel is `into' museums. There is one in his name established here in Denver, the Mizel Museum . More recently he spearheaded, and largely funded a `project' of the Mizel Museum called `The CELL' – The Center for Empowered Living and Learning, a bizarre (and frankly awful) multi-media anti-terrorism museum in the heart of Denver. So the Museum for Tolerance in Jerusalem is right up his alley so to speak. In fact, it is impossible for Larry Mizel not to be in the middle of this project, both on the fundraising end of things as well as in lobbying for support for the Museum of Tolerance both in Israel and the United States. For example, on at least one occasion when the project ran into trouble, he called Prime Minister Ehud Olmert to lobby to keep the project alive.
More recently, last November, in part to build more support for the project, Mizel arranged a major appearance in Denver for Jerusalem mayor Nir Barkat, a strong supporter of the project. In November, Barkat spoke at an event at the University of Denver sponsored by the state's governor, Bill Ritter (D) and University of Denver Chancellor Robert Coombe. Barkat's Denver visit was funded in part by the Mizel Family Foundation. It wouldn't be surprising if Mizel organized some fundraising meetings as well for Barkat.
This a far cry from how things started out in 2001 with 10 contributors pledging $10 million each and a national campaign to raise the rest of the money looking quite promising. Some lost their money in the recent financial crisis and with it their contribution. Others, it appears, are now shying away as well.
It does not seem that the Wiesenthal Center has gotten the message: for many reasons, building the Museum of Tolerance on a Muslim cemetery is an awful idea, let us say it plainly: it is profoundly racist and what makes it worse is Rabbi Hier's obliviousness and callousness to the protests. The best thing the Center could do – for all concerned – is to let it die on the vine, cut their losses and move on… And instead of building museums `celebrating' tolerance, to practice it instead, by joining those calling for an end to the Israeli Occupation. But it will be a cold day in hell, as they say, before the Simon Wiesenthal Center even considers such a prospect.
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ROBIN WOOD AND RIO BRAVO
HOLIDAY MOVIE HYPERBOLE DEMYSTIFIED!
As everyone surely knows, the great critic Robin Wood, who wrote many a profound word on the work of Alfred Hitchcock, Howard Hawks and other filmmakers and films which were at the time deemed beneath consideration and discussion by the critical cognoscenti, passed away over the Christmas holiday. The day before Christmas, Jonathan Rosenbaum passed along a list dictated by Wood to a close friend, John Anderson, two days before he died. The list noted Wood's favorite films; curiously, there is no Hitchcock on the list, though reading it was, for me at least, a pleasant reminder of films I haven't seen in years (The Crime of Monsieur Lange, Ruggles of Red Gap), films I have yet to see (Angel Face) and films I dearly love (Sansho the Balliff, Code Unknown, Seven Samurai, Make Way for Tomorrow). And at the top of the list, Howard Hawks' magnificent Rio Bravo, a film that Wood once wrote would be the movie he would cite if asked to name one film that could possibly justify the existence of Hollywood.
Wood's citing of the Hawks film should be no surprise to anyone who knew Wood's work. Yet upon hearing of the list, Jeffrey Wells of Hollywood Elsewhere decided that it was the appropriate thing to do to chastise the late critic for his taste. He devoted an entire post (one I at first assumed might be tongue-in-cheek) to downgrading Rio Bravo in favor of High Noon, not entirely coincidentally, I'm sure, the very movie that Hawks claimed* was the inspiration for Rio Bravo. Wells wrote:
"You're about to leave the earth and meet the monolith and the greatest film you can think of is Rio Bravo? A zero-story-tension hangin' movie that constantly subjects viewers to screechy-voiced Walter Brennan, and which features the very soft-spoken, adolescent-voiced Ricky Nelson singing a duet with Dean Martin? If Wood is listening from his side of the cosmic fence, let me try explaining this one more time…"
Aside from whether one prefers Hawks and John Wayne (and Ricky Nelson and Walter Brennan and Dean Martin) over Fred Zinnemann, Gary Cooper and Grace Kelly, it seems to me to be in incredibly bad taste to treat Wood's deathbed declaration, made while undoubtedly enduring a lot of pain and discomfort, as a call for debate, as if he was standing before the National Society of Film Critics during their annual meeting when he made it. Though it ended up being perhaps his last word on the subject, the list was shared by Anderson and Rosenbaum in a spirit of respect and communication with those who followed Wood's career and was undoubtedly never intended to be the spark of public discussion. Though he claims to have followed Wood for years, for someone like Wells to be at all shocked that Wood would hold Rio Bravo in such high esteem, especially over High Noon, makes me wonder just how closely Wells was reading Wood in the first place. (Maybe there was a comic book tucked inside the hardcover pages of Wells' copy of Sexual Politics in Narrative Film, because surely if he had read it he might find Wood's championing of Richard Fleischer's Mandingo, in a 1997 essay entitled "Mandingo: The Vindication of an Abused Masterpiece," even more disturbing.)
I'm not suggesting that Wells hasn't a right to prefer High Noon over Rio Bravo-- I'm sure many do. (Hell, I know a few people who prefer El Dorado over Rio Bravo.) The point is that Wells can't seem to see that this is not the moment to take a dying critic's last words and use them in such a self-aggrandizing, opportunistic way. The instant my own appreciation for humanity takes a back seat to my all-consuming need for the movies, please feel free to forcibly unplug my computer and make arrangements to have me sent away. That's what true friends are for. For now, the thought of Robin Wood contemplating his favorite films, the ones that challenged him intellectually and undoubtedly gave him comfort, as he inched ever closer to the end of his own life is a thought that comforts me too. To Wood, who revered cinema as something to be given to as well as taken from, this comfort was the art form's final gift. Thanks to John Anderson and Jonathan Rosenbaum for allowing those of us who would appreciate the giving of that gift to share in it.
* Howard Hawks is quoted in Joseph McBride's book Hawks on Hawks:
"Rio Bravo was made because I didn't like a picture called High Noon. I saw High Noon at about the same time I saw another western picture, and we were talking about western pictures, and they asked me if I liked it, and I said, "Not particularly." I didn't think a good sheriff was going to go running around town like a chicken with his head off asking for help, and finally his Quaker wife had to save him. That isn't my idea of a good western sheriff. I said that a good sheriff would turn around and say, "How good are you? Are you good enough to take the best man they've got?" The fellow would probably say no, and he'd say, "Well, then I'd just have to take care of you." And that scene was in Rio Bravo. Then I said I saw another picture where the sheriff caught a prisoner, and the prisoner taunted him and made him perspire and worry and everything by saying, "Wait till my friends catch up with you." And I said, "That's a lot of nonsense, the sheriff would say, 'You better hope your friends don't catch up with you, 'cause you'll be the first man to die.'" While we were doing all this, they said, "Why don't you make a picture the other way?" And I said, "OK," and we made Rio Bravo the exact opposite from High Noon and this other picture, I think it was called 3:10 to Yuma."
Posted by Dennis Cozzalio at 11:39 AM
Gerg said...
You need to see Angel Face.
I know, I know... The list of the movies I haven't seen is by far the longest one of all.
Bryce Wilson said...
Come on Dennis nothing says class like picking on a dead man.
I have to say I am one of the few who prefers El Dorado. Just because Wayne and Mitchum hit a critical mass of being entertaining.
Also because James Caan's "Chinee" joke never gets any less jaw droppingly offensive, no matter if you know its coming or however many times you've seen it.
The thing that makes that joke so bizarre is the way it just comes out of nowhere (There's not any other racist material in the film) and leaves the same way. It's just ten seconds of horrendous racism cut into the middle of an otherwise utterly inoffensive movie.
Ed Howard said...
Wow, that's just obnoxious.
I love that one of Wood's last acts was apparently dictating this very personal list of beloved favorites. What a touching way for a film critic to say goodbye.
Hawks is very important to me, and one or two of his films would doubtless be near the top of any favorite list I assembled as well, though in my case Only Angels Have Wings or The Big Sleep might top the list, with the Wayne Westerns not so far behind. Coincidentally, just this morning I published a review of the great El Dorado, which I consider to be at least the equal of Rio Bravo and possibly even a little bit better; in any event, they're two towering, inspiring works. I've always loved Wood's contention that Rio Bravo justified Hollywood's output all by itself: such a poetic way of proclaiming a film's greatness. I'd say the same thing about Hawks in general.
Ed, I'm off to read your piece right now. It's been years since I've seen El Dorado-- my hometown drive-in used to show it every year on July 4 accompanied by a fireworks show-- but I always loved it, and now with your essay in hand I'll dust off my DVD and watch it as soon as I can. The enthusiasm you and EDJ have for the film is contagious.
The thing that really bothers me is that Wells couldn't see Wood's list for exactly what you suggest it is-- a lovely and appropriate gesture. He's too worried about the mileage he can get out of it by condescending to the choice and to Wood's memory while puffing himself up in the process.
WelcometoLA said...
Boy, I love Hawks, but there's nothing wrong with 3:10 To Yuma. The original one, anyway.
Alonzo Mosley (FBI) said...
On a related note, I caught "Rio Bravo" on American Movie Classics a week or two ago, and was kinda dumbstruck to see that AMC actually cut the film for time. It was a tiny cut and would have been unnoticable to anyone who hadn't watched the darn thing six or seven times already, but it was still sad to see.
TLRHB: Yeah, me too (I like the remake plenty as well.) It's been too long and High Noon isn't fresh enough in my head, but 3:10 to Yuma seems to me a different beast, I think, largely because of the time it takes to color in the relationship between Glenn Ford's killer and Van Heflin's family man-- we see not only Heflin's desperation and his desire to do right by his family, and his son, but also the intense manipulation he's subjected to by Ford's crafty outlaw. It really is a terrific movie. (The movie's director, Delmer Daves, is a name worth investigating further.) I think the remake does a fine job of restaging that conflict, and it may end up, if he doesn't stop working with Ridley Scott, one of the last times (along with this year's State of Play) I will have been glad to see Russell Crowe on the big screen.
Alonso: Just one more bit of evidence to hold up AMC as the American Mucker-up of whatever Classics they can find room for when they're not showing Halloween 5. How's fatherhood, by the way?
I was tempted to pull one of AMC's ludicrous choices of "The New Classics" as an example of how far they have fallen, but you filled in the blank for me.
Fatherhood is just dandy. A lessening of sleep as you might expect, but little C.C. is a joy, and she turns six months tomorrow!
By July she'll be ready for Midnight Run!
Adam Ross said...
RIO BRAVO's in my top 5 as well, and I never tire of reading appreciations of it. But it's maybe the only favorite movie of mine where I don't mind hearing critical arguments against it (and there's definitely plenty of them out there). I say this because the magic of RIO BRAVO to me is the can't-put-your-finger on it feeling a couple of times in the movie where you feel like pulling up a chair right next to Sheriff Chance.
It's the "hangout factor" that's been mentioned many times with RIO BRAVO that makes it so special, but I don't expect everyone to experience that feeling with it, and that's why it's one of a kind.
Peter Nellhaus said...
I am certain people will still be reading Robin Wood, long after Jeffrey Wells shuffles off this mortal coil.
christian said...
Who doesn't know at this point that Wells is a sociopathic moron? He claims to be in touch with the Film Godz but had no clue that Robin Wood adored RIO BRAVO or had written extensively about it over the years.
jim emerson said...
O, good lord, Dennis: Thanks for this. I've been tweeting and FBing and posting stuff about Wells (on "Rio Bravo" as well as his obsession with man-fat) over the last 48 hours because it made me so damn mad. As if an ignoramus like that has anything to say about what a great film scholar chooses to treasure on his deathbed! Just finished writing an all-too-brief appreciation of Wood, too -- and I see you've "borrowed" the same image I did for the top of your piece. Good on you!
Jeff McMahon said...
Why does ANYBODY pay attention to ANYTHING Jeff Wells says or does anymore? He's the movie-blogging equivalent of a grizzled panhandler on a street corner.
It's a good question, Jeff. To offer my own metaphor, I often think of the kind of stuff you get at HE as equivalent to a car crash where the driver comes stumbling out of the wreckage saying all sorts of things you'd like to think he'd keep to himself if he weren't in shock. But as far as Wells' comments re Wood and Rio Bravo, I guess some things are just too inappropriate to not comment on.
Boy, I love Hawks, but there's nothing wrong with 3:10 To Yuma.
Agreed. Far better than just about anything Hawks made after 1940.
Seriously, Rio Bravo is unwatchably dull. I'd rather watch the worst ten minutes of Wayne in Hatari on an endless loop than be forced to sit through Rio Bravo.
And I wouldn't worry about Robin Wood. He's dead.
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"Автономия" е български вестник, излизал в София от 10 май 1898 до 23 октомври 1899 (48 броя) и от 7 декември 1901 до 30 март 1902 година (6 броя).

Общо излизат 54 броя. Брой 1 – 5 носи подзаглавие Орган на политическите интереси на християнското население в Турция, брой 6-12 – Независим орган на македонските интереси, 20-24 – орган на политическите интереси на македонското население в Турция и после пак с първото подзаглавие.

Вестникът излиза в събота и първоначално е редактиран от Димитър Г. Чохаджиев, а по-късно от Ст. Иванов, А. С. Василев, Иван Стоименов, Иван Недев, Тодор Арсов и Александър К. Чакъров. Редактор е и Кочо Аврамов. От брой 24 във вестника има и текстове на френски език, като и заглавието излиза и на френски. Печатан е първо в печатницата "Иван П. Даскалов", а по-късно и в "Либерален клуб", "Т. Пеев", "Светлина", "Иван К. Цуцев", "Я. Петров", "Ив. Г. Говедаров", "Иван К. Божинов", "Б. Зилбер" и "Янко С. Ковачев".

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Gay Green-Wood
June 16, 2019 | 3:30pm-5:30pm
The Green-Wood Cemetery
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The Project joins with The Green-Wood Cemetery to celebrate Pride Month with a special trolley tour illuminating permanent residents who have made a lasting impact on American history and culture. Visit the graves of important LGBT figures including "It's Raining Men" co-writer, Paul Jabara; sculptor of Central Park's Bethesda Fountain, Emma Stebbins; activists and founders of the Hetrick Martin Institute, Drs. Emery Hetrick and Damien Martin, among others. This trolley tour is led by Andrew Dolkart and Ken Lustbader, co-directors of the NYC LGBT Historic Sites Project.
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Messaging startup Slack launches new product to power big businesses
By Heather Somerville
SAN FRANCISCO (Reuters) - Slack Technologies Inc, a Silicon Valley messaging and collaboration software company, is making a strong push to expand its business by selling technology to some of the largest corporations in the country.
Slack on Tuesday unveiled a new product designed for big companies such as International Business Machines Corp, Capital One Financial Corp and PayPal Holdings Inc. The Slack Enterprise Grid is set up for companies with hundreds of thousands of employees and strict compliance requirements.
The development marks a striking evolution for a four-year-old messaging platform that started out as a tool used by a handful of entrepreneurs and was quickly adopted by media companies and startups.
Slack is a platform where employees can send messages, collaborate, organize and share files. The technology also integrates with a wide variety of business software - such as Salesforce.com Inc and Skype - so employees can do all their work within Slack.
The technology had been designed for teams or small groups of employees. But with additional security and regulatory approvals, Slack can sell its enterprise product to big financial and health care companies, said Noah Weiss, who heads Slack's search, learning, and intelligence group. IBM, Capital One and PayPal have been using it for months.
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The new product provides another line of revenue for Slack, which was valued at $3.8 billion at its last private financing round a year ago. The company has raised more than $500 million from venture capitalists.
Slack is projecting about $150 million in annual revenue, Weiss said, based on its most recent monthly revenue. Its customers include 38,000 paying companies.
Slack started as a messaging system that co-founder and CEO Stewart Butterfield used to collaborate with colleagues as they built a gaming company, Glitch, which never took off.
But Slack faces formidable competition in Microsoft Corp, which last year unveiled its Teams workplace collaboration service, and Facebook Inc, which launched Workplace by Facebook. And there are ample other technology companies, from Atlassian Corporation Plc to Alphabet Inc's Google, which offer similar services.
A recent survey by Spiceworks, a network of IT professionals, found that Microsoft Teams will surpass Slack in popularity among businesses. About 27 percent of large businesses are already using or plan to use Teams within two years, compared with 18 percent using Slack.
Since most big companies already use Microsoft, it is easier and cheaper to stick with Microsoft's chat option, said Spiceworks analyst Peter Tsai.
"Essentially they (Slack) are competing against a free product," Tsai said
Reporting by Heather Somerville; Editing by Lisa Shumaker