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April 23, 2020 9:38AM EDT
Panama: Set Transgender-Sensitive Quarantine Guidelines
Gender-Based Quarantine Leading to Arbitrary Arrests, Fines
Police officers are pictured during the curfew as the coronavirus disease (COVID-19) outbreak continues, in Panama City, Panama, March 31, 2020. © REUTERS/Erick Marciscano
(Washington, DC) – President Laurentino Cortizo Cohen of Panama should issue transgender-sensitive guidelines and procedures to help ensure nondiscriminatory enforcement of Panama's gender-based quarantine, Human Rights Watch said in a letter sent today.
On April 1, Panama put into effect a gender-based quarantine schedule in response to Covid-19, requiring women and men to remain quarantined on alternate days. However, transgender people are being singled out for profiling by police and private security guards and in some cases have been arrested and fined or prevented from buying essential goods. This is happening regardless of whether they attempt to follow quarantine measures based on the sex marker on their ID or do so based on their gender identity.
"Transgender people in Panama are being humiliated and accused of breaking the law under the quarantine policy simply for being themselves," said José Miguel Vivanco, Americas director at Human Rights Watch. "The Panamanian government should ensure that quarantine measures are implemented in a way that respects transgender people's dignity."
Human Rights Watch interviewed nine transgender people who experienced discrimination when they left their home for essential needs according to the sex marker in their national identification card, in compliance with the Health Ministry rules. Human Rights Watch also documented three cases of transgender people who suffered discrimination when they left their homes on days in accordance with their gender identity.
International human rights law requires efficient, inexpensive, and straightforward procedures to allow legal recognition based solely on the "the free and autonomous decision of each person." But the National Civil Registry Agency in Panama's Electoral Tribunal requires transgender people to undergo sex reassignment surgery before they can modify their legal gender on official documents. Under Article 121 of the Civil Registry Law, a medical doctor must certify that their elected gender "corresponds" to the applicant's physiology.
In one case Human Rights Watch documented, on April 9, a day designated for men to conduct essential business, police in Panama Province detained Mónica, a transgender woman, when she attempted to enter a supermarket. Police took her to Casa de Justicia Comunitaria de Paz Pedregal, a nearby station, where officers inappropriately touched her breasts and mocked her about being a man during a body search. They also threatened to put her in a cell with 200 men. Mónica paid a US$50 fine to be released. "The [Covid-19] measures have empowered police to discriminate and we, transgender people, need urgent help," Mónica told Human Rights Watch.
Policies that essentially force transgender people to stay at home are unlawful and an unjustified restriction of their freedom of movement. Restrictions on this right are permitted but must have a proper legal basis, be for a legitimate purpose, and be proportionate, including in their impact in practice. Restrictions may not be discriminatory, including on the basis of gender identity or expression.
President Cortizo Cohen should adopt and publicly announce transgender-sensitive guidelines to clarify that Panamanians should follow the gender-based quarantine in accordance with their gender identity or expression. The government should adopt a directive for state agents and call on private entities to respect Panamanians' gender identity and expression. The government should create a complaints procedure that would lead to sanctions against state agents and private entities who discriminate.
April 2, 2020 Dispatches
Panama's Gender-Based Quarantine Ensnares Trans Woman
August 10, 2022 Report
"I Don't Want to Change Myself"
Anti-LGBT Conversion Practices, Discrimination, and Violence in Malaysia
July 18, 2022 Report
"We Just Want to Live Our Lives"
El Salvador's Need for Legal Gender Recognition


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Home Boxing News Chael Sonnen: I 'Don't Know' That Any Boxer Can Beat Jon Jones
Chael Sonnen: I 'Don't Know' That Any Boxer Can Beat Jon Jones
Jon Fuentes
UFC.com
Jon Jones is simply a winner – or that's what one outspoken MMA name believes.
Jones has excelled in all athletic endeavors he has taken part of. In amateur wrestling, Jones captured an NJCAA Collegiate Championship and was also named an NCJAA All-American. In mixed martial arts (MMA), Jones is a former UFC light heavyweight champion and has never lost inside the cage.
If he were to dedicate his athletic ability fully to boxing, who's to say Jones won't see success?
"Bones" recently teased a possible boxing move, saying he believes he could hang with the best of them if given two years to train. Jones' former opponent, and former UFC middleweight title challenger, Chael Sonnen, seems to agree. Speaking in a Twitter video recently, "The Bad Guy" said he's not so sure any boxer can beat Jones (via MMA Junkie):
"Some guys are winners, and some guys aren't," Sonnen said. "And that is just a reality. And it does not come down to hard work and dedication and discipline and focus and experience. Sometimes it just doesn't.
"Sometimes you just have a winner. Jon Jones' highest level that he ever reached in wrestling was the national junior college championships. And guess what? He won it. The highest level that he ever put himself into in mixed martial arts was a light heavyweight championship fight. And guess what? He won it. Some guys are just winners, like it or not. I do not think that Jon Jones is the world's greatest boxer. I just don't know that I'm sure that any boxer in the world can beat him."
How would Jon Jones do in the world of boxing? #beyondthefight pic.twitter.com/MoyzQOvm3L
— Chael Sonnen (@ChaelSonnen) October 26, 2018
Chael Sonnen: Jon Jones' First Alexander Gustafsson Win Proved Him As 'Toughest' Fighter In World
Claressa Shields Claims She's Doing MMA Training With Jon Jones In February
Chael Sonnen Sees Through Jon Jones' Support For Nate Diaz During USADA Incident

redpajama_set_name: RedPajamaCommonCrawl


The automotive industry is perhaps a case in point: German cars, for example, are comparatively expensive but represent state-of-the-art engineering and thus continue to sell well worldwide (logically, one reason why VW is under enormous pressure in Germany to address and rectify its recent history of cheating on emissions–nothing less than the Made in Germany brand is at stake). All political rhetoric aside, Americans recognize as much. There is little desire among Americans that their kids harvest veggies in Salina, clean hotel rooms in Wichita or drive a cab in New York. What is in demand are well-paid manufacturing jobs but, in all honesty, where in the developed world are low-skill manufacturing jobs on the rise? Or well-paid? A knowledge-based-economy more aptly describes the future, a skilled workforce designing, engineering and manufacturing specific higher-end products which can be sold competitively and profitably in a global market. Energy, bio-engineering, aerospace and IT-technology are a few examples of fields in which Americans can retain a formidable lead if they invest prudently and also work at understanding their customers and markets.
This last thought is also one of significance. In recent years, one can witness American companies losing market share or failing altogether as they shift toward IT-driven customer management processes in hot pursuit of efficiency. While there is some merit to using such technology, it doesn't cover all the bases–bringing down cost is not a benefit if a large chunk of the business is sacrificed to achieve it. We have seen an American retailer dropping $1bn before quitting Germany and its otherwise robust retail sector. We have seen a US automobile manufacturer lose hundreds of millions of dollars in a muddled sponsoring/rebranding effort on the other side of the Atlantic. We can observe US companies selling everything from cars to business jets to premium brand guitars shifting the focus of their activities toward CRM software such as SalesForce and losing their thus far often fiercely loyal European customer base while doing so. The lesson here is that knowledge is not always technical and it cannot always be reduced to algorithms with universal validity. And that ongoing investment in qualified people on the factory floor and in the field is still a legitimate strategy to sow the seeds of long-term success and further growth.
In the past, America has reinvented itself again and again, its cities transforming themselves as they absorbed successive waves of immigrants eager for opportunity, its industries giving quick rise to new products and processes while others disappeared just as rapidly. While some of the challenges we face appear daunting, they are arguably no greater than what previous generations of Americans were confronted with. Each of these generations has possessed its own unique tools, skills and mindset to master change but no one has succeeded or endured by simply denying the validity of this change–our lives and livelihoods are inextricably intertwined with the wheel of progress. Instead of appealing to populist instincts and suggesting the effects of globalization can somehow be reversed, it would be much more productive–and honest–to encourage those Americans who fear for their livelihood to look forward, not back. Economic progress and growth is not always linear and certainly not always painless. Nor does it promise instant gratification. But it does set the stage so that our children, the next generation, benefit. Bringing back unsustainable industries, coal mines and steel mills will not help them build their own future. It will only burn up resources which will be needed otherwise as technology advances. And the pain or discontent of those who bet their future on these dinosaurs will be no less.


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Hitchcock Conversations: "North by Northwest" (1959)
by Jason Bovberg | Apr 29, 2013 | Hitchcock | 0 comments
Synopsis: Roger Thornhill, a hapless New York advertising executive, is mistaken for a government agent by a group of foreign spies, and is pursued across the country while he looks for a way to survive.
Jason: So let's talk North by Northwest.
James: Right on.
Jason: This is the ultimate Hitchcock wrong-man/mistaken-identity/on-the-run-from-everybody-across-the-country plot, isn't it? We saw the genesis of this favorite idea in The 39 Steps, and we saw it mature through Young and Innocent and Foreign Correspondent, but more than anything, North by Northwest seems to be a remake of Saboteur, which has many similar situations and characters, except that it goes north by northeast, from California to New York. North by Northwest goes from New York to South Dakota. I guess you'd call this film Hitch's ultimate stab at that plot, but I don't think it's really representative of Hitch's best work. It doesn't hold a candle to Vertigo or Shadow of a Doubt, Hitch's really thought-provoking and rich films. But North by Northwest is a big, fun lark, and I can appreciate it for that.
James: I wasn't terribly blown away by this film. I think you nailed it by saying that it's fun, and I can also enjoy it for that, but compared to others, it's a bit lacking. I think the reason it falters is that Roger Thornhill (Cary Grant) isn't really running for his life. He gets himself into trouble more than trouble comes for him. Sure, the "wrong man" theme is strong throughout, but at any time, he could just bow out of this cat-and-mouse chase. For me, that's not as effective as the other films with the same theme, because he isn't being chased in the same manner.
Jason: Yeah, I think you could say that North by Northwest isn't as serious as the previous films, such as The 39 Steps and Saboteur. Those movies had a real element of fear, with humor on the sidelines. You could call North by Northwest more of a comic thriller, with humor being the priority. You're right, I never felt that Thornhill—even though he's on the run through the whole movie, wearing the same gray suit—was in any real danger. It all felt very tongue-in-cheek, sorta the same mood of To Catch a Thief.
James: With that said, North by Northwest features the best mistaken-identity setup of any Hitch film. I loved it. Thornhill is simply in the wrong place at the wrong time. And I loved the idea that the real person who he's mistaken for doesn't even exist. Nice touch.
Jason: I totally agree. And, boy, does the plot get started in a hurry. We're barely introduced to Thornhill—a successful advertiser who's kind of an ass—before he enters a club and is mistaken for a man named George Kaplan. Kaplan, we come to find out, is a non-existent decoy created by either the CIA or the FBI to throw enemy agents off the scent of a real double agent right in their midst. What a fantastic setup! Because now that Thornhill has been mistaken for someone who doesn't exist, he's going to have a hell of a time convincing anyone that he's not George Kaplan. I love this idea of forced play-acting. And the deeper he delves into the mystery, to clear his name, the deeper he digs himself into danger. It's actually a brilliant setup—as long as you can accept the moment when he flags down the waiter in the club just as the enemies are having Kaplan paged at the same restaurant.
James: You're right, he is kind of an ass early on, isn't he? I actually wondered why Hitchcock would let his leading man be sort of an unlikable character. Not unlikable, but too much of a ladies' man? It's funny stuff, but he's on the verge of being rude to his secretary. Do you think that hurts his character? We've seen plenty of Hitch movies that feature a main character who's single and a bit of the ladies' man, but here it's more in your face. Luckily, it doesn't come into play later, except for the scenes with Thornhill's mom, Clara (Jessie Royce Landis).
Jason: Thornhill is definitely an insufferable jerk in his introduction, not only to his secretary but also to the man he steals the cab from. (I have a feeling Grant was like this in real life.) I look at the whole mess he gets into as his punishment for being such an ass. And by the end, hopefully he's grown into a better person.
James: Yeah, I see him growing into a better person, but that growth isn't as well developed as in some of the other films we've watched. Or maybe just not as powerful or as important.
Jason: Hey, speaking of the introduction scene, which takes place during New York rush hour, did it remind you of the beginning of Rich and Strange, which also started with a throng of people getting off work and taking to the streets?
James: I did think of Rich and Strange. And another thing I immediately noticed in the opening is that North by Northwest was going to have a broader scope than a lot of Hitch's earlier films. It's good to see a few films in a row that are more open and grounded in real places. Really helps open up these films, which I like.
Jason: It definitely helps that North by Northwest looks so huge and gorgeous, in VistaVision and on-location in New York City. The whole film does have a blockbuster feel to it. This is probably Hitch's most gigantic, sprawling film, on all levels. And this from the man who recently gave us the tiny film The Trouble with Harry. And look at the film right after this one: a little black-and-white slasher film called Psycho. Hitchcock's range is amazing.
James: I also took note of Bernard Herrmann's huge opening theme. Man, that dude knew how to make a catchy tune.
Jason: I've been listening to a CD of Bernard Herrmann's Hitchcock scores over the past few weeks, and I'm hooked. The score for North by Northwest is the highlight, a really catchy thrillride.
James: Seems that each score he does gets better and better.
Jason: So, after the mistaken-identity scene at the bar, Thornhill falls straight into the villain's lair. I was immediately reminded of Saboteur again, not only for the mansion and the library setting, but also because of Philip Vandamm (James Mason), the primary villain. Have we seen a more perfectly suave mastermind of evil in the course of this project? Vandamm might be my favorite Hitch villain ever. Mason's voice is so silky smooth and sly. He's such a smooth operator.
James: I agree that there are many, many similarities between North by Northwest and Saboteur. And I agree that Vandamm is a terrific villain. Understated and quiet, but sinister underneath. Great stuff. Fun to watch. Speaking of the library, do we ever learn how this group of bad guys has managed to infiltrate this big house that belongs to United Nations delegate Lester Townsend (Philip Ober)? I don't think that was ever made clear. Not that it needed to be, but it felt odd that it was brought up but never discussed.
Jason: When Thornhill finally meets the real Townsend at the UN, we learn that Townsend hasn't been to his house in weeks. I gathered that Vandamm and his crew knew of Townsend's schedule and just broke in to the house to use it as a temporary hideout.
James: If that's the case, then the police are even bigger buffoons than usual in Hitch's films. Anyway, what did you think of Vandamm's henchmen? How about Leonard (Martin Landau)? I really liked the entire squad of bad guys.
Jason: Yeah, I liked the goon squad. And Landau, looking so young and evil, plays another great villain in this film. Did you catch a whiff of homosexuality off Leonard? At one point toward the end, he says to Vandamm, "Call it my woman's intuition."
James: Yeah, he is a bit effeminate, isn't he? I guess I didn't really think about the homosexual side of the characterization. There's really just that one line. Looking back, I can see it, though.
Jason: How about Thornhill's "forced" drunk driving scene? Putting aside the obvious process shots, here's another scene that benefits from the great use of Herrmann's terrific main theme. And Grant's drunk acting is pretty funny.
James: That drunk-driving scene is pretty entertaining. I don't know if Grant played a drunk man very well, but it was fun to watch him slur his words and try to convince the police that he'd been kidnapped.
Jason: So, we meet Thornhill's mom, Clara, for the first time when he makes bail at the jailhouse. Did you recognize Jessie Royce Landis from To Catch a Thief, in which she played Grace Kelly's mom? She was actually a year younger than Grant, and yet she was playing his mom.
James: Oh yes, I recognized her. Clara is a very interesting character. It seemed that she expects this kind of behavior from her son. And throughout the sequence, she doubts his story. What does that tell you about him? And her? Seems that he's a bit of a partier and probably never very serious.
Jason: That's a good point. On the one hand, Thornhill and his mom are close. I mean, he's always talking about her or calling her or asking her advice. So, you get the feeling he relies on her in his day-to-day life. On the other hand, she looks down on him, smirking all the time. Perhaps his playboy ways have always frustrated her. And yet he's a successful ad man with a thriving career. Maybe there's a little Oedipal thing going on there.
James: I kinda got the impression that Thornhill is a bit of a mama's boy. At the same time, he's a ladies' man. In a way, it sort of hints at other weird mother-son relationships in Hitch's films. The way Thornhill dotes on his mother reminds me of Psycho, actually. I think Psycho will be the climax of all the odd relationships we've seen so far.
Jason: I like how the mystery of the plot develops with the scene at the hotel, where the non-existent George Kaplan is registered. Thornhill digs himself deeper into the mystery, and we learn clues just as he does. I like how the audience is totally involved in the solving of the mystery, all the way through, mostly starting with this scene. This is also the scene in which Thornhill really takes on the identity of Kaplan, mostly because all the hotel personnel believe that he must be Kaplan. There's a great feeling of inevitability to his "playing the part" of Kaplan.
James: I like the scene at the hotel, too, particularly the way everyone begins to assume that Thornhill is Kaplan. The harder Thornhill tries to prove who he is, the more he becomes known as Kaplan. Hell, even his mother continues to doubt him because he can't prove anything.
Jason: Now we get to the great scene in UN headquarters, in which Thornhill attempts to meet with Lester Townsend, who he thinks is James Mason's character, but he finds that the real man is a complete stranger. Here's where we find out that the enemies are using Townsend's house as a hideout. And then we get the great assassination sequence of the real Townsend falling forward against Thornhill with a knife in his back. I was genuinely surprised by this scene. And I love how it plays out, completely incriminating Thornhill, who grabs the knife and gets his picture taken by a photographer, who just happens to be three feet away. I laughed at that.
James: It was completely surprising to see Townsend get the knife to the back. I was taken off guard, that's for sure. But to be honest, if you think too hard about it, in the earlier scene at the Townsend house, the cops should have easily been able to uncover the truth about Townsend not being the man Thornhill talked to and that the wife wasn't the right wife. But that's okay. The scene adds a lot of mystery to the film and actually helps step it up a notch for me.
Jason: Agreed. So, we get a little chase sequence, and Thornhill eventually finds himself aboard a train, where he meets Eve Kendall (Eva Marie Saint). Did you have any doubts about Eve at first? Of course, we find that she's working with Vandamm and will ultimately betray Thornhill (before we find that she's actually a double agent working for the US government).
James: I had doubts about Eve immediately. And to be honest, I didn't realize she was a double agent until I was supposed to (at the airport), so that was well played. I enjoyed the banter and her sexual innuendo, but the two of them really didn't seem to click the way some of the other Hitch couples have. What did you think of their relationship? I think I like the thought of it more than I like the execution.
Jason: You're right, I didn't catch the usual spark between these two. Not quite enough development there.
James: But it's amazing how rampant the sexual innuendo becomes when these two meet. Each progressive Hitch film seems to be more and more open sexually.
Jason: Eve is incredibly forward in these scenes. It's obvious that she just wants to rip his clothes off and climb on top of him. There are some extremely racy lines in this section. I wouldn't even call this stuff innuendo. Just plain naughty. How about this exchange: Thornhill says, "The moment I meet an attractive woman, I have to start pretending I have no desire to make love to her." Eve responds, "What makes you think you have to conceal it?" and Thornhill says, "She might find the idea objectionable." To which, Eve says, "Then again, she might not."
James: Yeah, good stuff. One part of me thinks that this type of frisky relationship works better than the love-and-marriage crap we used to see. This is more believable.
Jason: In the reading, I came across an interesting angle, as far as the relationship between Thornhill and Eve goes. Donald Spoto thinks of North by Northwest almost as a sequel to Notorious. In both, we have a double agent who has infiltrated enemy lines to be the mistress of the head villain. Eve could at least be considered the "sister" of Alicia Huberman in Notorious. Eve isn't a tragic figure in the same way that Alicia is in that film, but she has her own demons. I like how Eve's predicament really comes into play toward the end, when her allegiance is questioned by Vandamm, all because of the fact that Thornhill has no idea what's really going on. But what a great moment when the US government agent called "the professor" (Leo G. Carroll) says, "She's one of our agents," and Thornhill just goes white. "Oh no!" It's probably the only moment in the film when he expresses genuine emotion. An indicator that he has grown from the unfeeling bastard he is at the beginning.
James: I do see the similarities and I like the comparison, but to be honest, some comparisons make me feel like Hitchcock stole from himself way too often. But I think the emotion and tragedy of Notorious helped me bond with the key players in a way that's not apparent here. I just never found myself caring one way or the other about Thornhill and Eve. Sure, I knew I should feel this way or that, but it never really got to me in any way.
Jason: I wouldn't call this a "steal" from Notorious, more of an alternate angle of similar subject matter. In Notorious, we're privy to everything that goes on while Alicia gives herself to the enemy. In North by Northwest, we see an outsider confronting the scenario after the fact. I just think it's an interesting take.
James: Do you think there are so many similar scenes in these films just because Hitch made so many movies? Or do you think Hitch liked to constantly revisit certain elements and make them better? It just seems like there are similarities all over the place in his movies . . . probably more than the average director.
Jason: I think all directors tend to return to certain themes or moods. They all have their trademarks. Capra has a very recognizable signature, as do Kubrick, Fellini, Bergman, all the greats. But yeah, Hitchcock did seem to want to revisit things a lot. I know North by Northwest was a conscious effort on his part and on the part of the screenwriter Ernest Lehman (who died earlier this year) to make the "Hitchcock film to end all Hitchcock films." So even at the time, they knew they were treading familiar territory.
James: Moving on, I loved the auction scene. Everything about it is so well executed, from the serious nature of the dialog, to the look on Eve's face when Thornhill comes barging in, to the comedy routine of Thornhill getting escorted out. Superb. And I liked the play between Thornhill's hatred for Eve and his terrible words for her in this scene, compared with the scene later when he takes it all back. She hurt him. She hurt him badly, and when he finds out what a fool he's been—that, my friend, is a great moment.
Jason: The auction scene is a riot. And here's another parallel we can draw with The 39 Steps. Doesn't this remind you of that film's political-rally scene, in which Richard Hannay puts on a show in order to escape the bad guys slowly surrounding him? Hitch has a lot of sequences similar to this one, it seems—making a ruckus in a public place to create a fuss, then slyly sneaking away.
James: Nice catch!
Jason: Ready to talk about the crop-dusting scene? This is the scene that North by Northwest is probably most famous for. It's stuck right in the middle of the film, and it doesn't make any real sense, and yet it's so well done and vital to the movie. Why is that?
James: The crop dusting scene is great, although, like you suggest, it's not entirely plausible. Why would Vandamm bother sending him out there? Who the hell is flying that plane? But man, you can really tell Hitchcock has a budget now. It's actually a bit surprising how stark the differences are. It's almost as if this film has jumped forward in time. It feels more modern. Bigger. Better. Hell, that explosion alone shows that Hitch has more money to play with.
Jason: I agree that the sequence itself is spectacular. It's like a perfect short story stuck into the main plot. It's practically wordless, with all natural sound, no score. And the way it's shot and framed . . . perfect! I particularly loved the bizarre scene at the start of the sequence, when Thornhill is waiting on one side of the street, and a strange man walks up to the other side of the street, and they just stare at each other for a while. Then, the plane becomes more of a faraway threat, when we learn that it's a crop-dusting plane that's nowhere near any crops. The shot of that plane right behind Grant as he runs . . . it doesn't get much better than that, as far as Hollywood escapism.
James: Love it.
Jason: I read something interesting (but farfetched) last night, regarding the crop-dusting scene. This scene occurs at the film's middle point and is a big, empty, nonsensical sequence. By empty, I mean that the scenery is bare, and the sound is quiet . . . it's kind of a strange dustbowl in the middle of the movie. Now, consider that Thornhill says earlier that his middle initial O stands for "nothing." I admit this is stretching, but I kinda like the idea that the film is equated with Thornhill himself, whose name is itself characterized by emptiness in the middle.
James: Hmmm, interesting idea. Farfetched, but I kinda like it. It actually raises a good question about his middle name. Why did he say that the O stands for nothing? Maybe the O is actually a zero?
Jason: I think the real reason behind the name is an allusion to David O. Selznick, whose middle name also stood for nothing. Maybe a little dig there, making Thornhill an insufferable ass and putting him through hell?
James: What a great rip on Selznick. Hitchcock—what a bastard. Hahaha. But this is actually where the story started really getting good for me, because Thornhill begins taking action instead of having things happen to him. For example, when he finds Eve at her hotel, he tricks her into believing he knows nothing and that he's taking a shower, when he's really spying on her. I love that because he's more of a force now. Plus, that scene is just well done. You can see in her eyes that she cares for him, but she still has to lie to him. Well done.
Jason: I like your thoughts about how Thornhill becomes a man of action. He becomes increasingly real through this movie, more and more in charge of his own destiny. What did you think of the strange scene at the airport, when Thornhill finally meets the professor? It's nice to see Thornhill get the answers to a few riddles, and put the final act in motion, but I thought it was an interesting choice to drown out a long section of their dialog with the scream of an airplane. I gather that Hitchcock felt that since we already knew all that background information, we didn't need to hear it again, but it's not entirely clear that's what they're talking about. It felt odd to me, but I understand the motivation.
James: I thought Hitch drowned out the dialog here so that he didn't have to fill in too many details. Once a character starts explaining something, he has to explain it all, but we don't need to hear every little detail. So maybe he didn't want to take away from the emotion of the film by focusing on the unimportant details.
Jason: Okay, so in this scene, we get the distinct impression that US intelligence has been perfectly willing to sacrifice Thornhill's life to Vandamm for the good of the cause. I guess I just find that to be a surprising message. There are impure motives on both sides.
James: Yeah, I thought it odd that the government would just sacrifice Thornhill. Maybe that's a touch of Hitch's resentment for police or authority? Either way, I think that detail is a detriment to the story. I would've felt more worried about Thornhill had the FBI been worried about him too.
Jason: It's at this point that the film becomes all about saving Eve. More similarities to Notorious.
James: But again, Thornhill becoming a man of action—in other words, really becoming secret agent Kaplan—provides a lot of suspense and intrigue.
Jason: So, we're off to Mount Rushmore. Let's talk about the sequence in the visitor center. Thornhill and Vandamm meet once again, and there's a new tension involving Eve. Vandamm has his evil eye on her now. So we can assume that Thornhill and the professor have elaborately staged a fake shooting in the middle of the cafeteria. When Eve "kills" Thornhill, it will be clear to Vandamm that Eve's loyalty lies with him. But did you pause and wonder how Thornhill and the professor could have set that up so quickly?
James: Yeah, I thought of that. But it didn't bother me. I just figured they had some drop point or a way to talk to her. But it's a pretty elaborate setup. I like the way it all plays out. Seems at least somewhat plausible that Vandamm would be convinced.
Jason: Did you catch the little boy covering his ears in the background—before the gun goes off?
James: Huh, didn't notice the kid.
Jason: He must have been tired of Hitch's retakes. Anyway, this a great surprise scene, seeing Thornhill gunned down. And it leads straight to the one scene where we finally get to see Eve as herself. Apparently, MGM wanted Hitch to cut this quiet forest sequence, because the film was overlong (it's the longest Hitch flick ever) and because they felt it didn't add much to the story. But I think it's an essential character moment for both of them. We learn of her struggle in the demon's lair, and we see further growth on his part.
James: I might agree that the film is a little too long, but I don't think I could point out any scene I'd want to see cut. And you're right, we need to see Eve as herself or there'd be no emotional attachment for that climax.
Jason: At about this point in the story, we learn that Vandamm has been exporting US government secrets on microfilm inside small art sculptures that he buys at auction. At first, the microfilm doesn't seem to adhere to the proper definition of the MacGuffin—it doesn't really kick off the story—but then you realize that yes, in fact, it does, even though we don't know the specifics at first. Or is George Kaplan the MacGuffin? Hmm, I kinda like the sound of that.
James: Is it possible North by Northwest has two MacGuffins? As I see it, the first one is Kaplan. That propels the story forward from the start and most of the way through. However, there's always that lingering question about who Vandamm is and what he's up to. And in the end, that's the MacGuffin that comes to a close at the climax.
Jason: I like your suggestion of two MacGuffins. What an interesting idea! And it adds to the sprawling nature of the film—the adventure is so huge that it needs two MacGuffins.
James: By the way, I knew there was something in that statue right away. I mean, why else would they make a point of showing him buy it?
Jason: The whole sequence at Vandamm's house is fun, as Thornhill climbs stealthily up its walls and climbs in. I liked the suspense of the matchbook, on which he scrawls a note to Eve ("They're on to you!") and tosses it down to where she's sitting with Vandamm and Leonard. Nice moment when Leonard picks it up, not thinking, and just tosses it in the ashtray. And when she picks it up and reads the note, she gives this little jump. This is also the scene where we get the biggest hint that Leonard is gay ("Call it my woman's intuition"). You get the feeling that he pines for Vandamm, much like Smithers on The Simpsons, but Vandamm is staunchly heterosexual and amused by Leonard's attraction.
James: Yeah, that Leonard. I've thought about it and he's totally Smithers. Definitely. I love the house scene for all the reasons you mention. The whole second half of this film is brilliant. I will admit, though, that even though the Mount Rushmore scene is great, it looks a little fake. I like the fact that Eve is in danger and he has to pull her up and save her. Good stuff. Reminded me of Saboteur when the villain was hanging off the Statue of Liberty. Very similar indeed. And I was actually hoping, at least a small part of me, that Eve would fall.
Jason: I do like the grandeur of this scene, and actually, I'm impressed by the miniature work. I could suspend my disbelief enough, even though they weren't crawling all over the real Mount Rushmore. Nice trick photography. Sure, I understood that it was trickery, but I thought it wasn't half bad. The model looked fantastic. Nice catch on yet another similarity to Saboteur. And I like your idea that Eve could fall. That would be an interesting end to her own private story, and then Thornhill could go back to the odd relationship he shares with his mother.
James: Now that I think about it, Eve couldn't fall because of the similarities the film would then have with Vertigo. But it makes me wonder whether Hitch was scared of heights. Seems that many scenes show someone falling or about to fall from a great height. There's even the idea of cars going over the edge of cliffs in a number of his films.
Jason: You're right on with your comment about heights. A lot of characters are falling or almost falling in his films, especially this one. Even Vandamm, toward the end, suggests getting rid of Eve by "disposing of her from a great height." Hitch is also very fond of high-angle shots, particularly here. Nice catch.
James: I know, isn't it?
Jason: Here's a cool piece of subtext that I gathered from the reading: There's a whole lot of role-playing in this movie. Play-acting, false identities, references to theater. Of course, Thornhill is "playing" Kaplan throughout, and when he gets picked up by Vandamm at the beginning, he misses a theater performance that night. Vandamm himself is "playing" Townsend, and Eve is double-playing both Vandamm's mistress and Thornhill's seductress. When Thornhill takes his mother and the police to the Townsend residence and finds the same woman who is in league with Vandamm, she gives a performance herself, and Thornhill even cries out, "What a performance!" Later, Vandamm tells Thornhill, "Has anyone ever told you that you overplay your various roles rather severely, Mr. Kaplan?" Even more fuel for this: At the end, both Thornhill and Eve play a ruse, and Thornhill even plays dead—and convincingly. It's a world in which everyone is fake.
James: Hmmm, that's an interesting note. I like it. Even Leonard is playing a straight guy. Hahaha.
Jason: What makes this film so great, compared to all the others of its kind, is, well, the budget—which paved the way for all kinds of great set pieces and spectacles—but also the casting of Cary Grant and James Mason. After Notorious, I'd say North by Northwest is the greatest of Grant's four film roles for Hitch. His charm and wit are perfectly in tune with the mood of this film. (His greatest Hitch role, in my opinion, is Notorious, mostly for the way Hitch subverts Grant's image in it. But here, Grant is playing Cary Grant, and that's fine. Who else but Grant could have pulled off the scene in the hospital, when he stumbles into that woman's room, and she first says "Stop!" indignantly, then says "Stop!" as if to say, "Please stay"?) As for Mason, he's gotta be the quintessential, suave Hitchcock villain, reminding me of the older gent from Saboteur but really perfecting this evil, debonair character and probably prefiguring many slick Bond villains. In fact, I see North by Northwest as a precursor to the Bond films.
James: I liked both characters as much as you did. The film still feels a bit lacking to me, however. It's big and long and loud, but it's missing some of the deeper, thoughtful stuff that some of Hitch's great movies have.
Jason: Well, we can't end a discussion of North by Northwest without mentioning its last shot. I laughed out loud when that train thrust into that tunnel, providing a perfect "climax" to Thornhill's bed scene with Eve.
James: That train shooting into the tunnel is perfect. I loved it. Although, I thought the transition of his hand pulling her up off the cliff and into the bed could've been edited better. Loved the idea, but it wasn't quite executed perfectly.
Jason: I guess one final thing I'd like to mention is the Saul Bass opening-title sequence. This thing rocked. It was in tune with the music, and it actually reminded me of the Panic Room credits. Same idea. Of course, we have better technology today, but I thought these credits really set the mood and pace for the movie. And it ends with a pretty good Hitch cameo, as he walks up to a city bus, which closes its doors in his face.
James: Great stuff. Funny, I thought of Panic Room, too. These credits were very well done.
Jason: On to Psycho!


text:
Freudian Repetition and Restoration in Sylvia Plath's Life, Art, and Death
Phillip Potamites Department of Applied Foreign Languages, National Penghu University, Taiwan
Paul Juinn Bing Tan Department of Applied Foreign Languages, National Penghu University, Taiwan
Hui-mei Yao Department of Applied Foreign Languages, National Penghu University, Taiwan
This paper analyzes Sylvia Plath's obsession with death as manifested in her life and poetry. Through her overt display of this obsession in many of her critically acclaimed poems, she provides a poignant and compelling case study exemplifying Freud's theory of a death drive which both conflicts and combines with more agreeable, pleasure-seeking life instincts. Because of her writing's aesthetic value and historical importance, her compositions can be seen as an outstanding example of Freud's concept of "sublimation": the conversion of antisocial tendencies into positive cultural contributions. However, Plath herself eventually succumbed tragically to the dark forces which haunted her life and poetry. Plath's multiple suicide attempts testify to her real-life compulsion towards death, while her poetry includes both direct references and numerous thinly-veiled metaphors. Notably, the parallels to Freud's theories are more nuanced than simple self-destructive tendencies sublimated into beautiful art. These sublimations also reveal Freud's concept of "overdetermined" multiple meanings and include abundant examples of identity "transference". She furthermore reaffirms the death drive as something trapped in repetition seeking restoration of a prior undisturbed state. Finally, her poetry explicitly expresses the ambivalent feelings due to such sublimated, overdetermined symbols which unite the contrasting and converging forces of the life and death instincts. Thus, this paper argues that Plath's poetry attests to both general and specific aspects of the psychological conflicts postulated by Freud's theories of co-conspiring antithetical instincts.
Potamites, P., Tan, P. J. B., & Yao, H.- mei. (2014). Freudian Repetition and Restoration in Sylvia Plath's Life, Art, and Death. Mediterranean Journal of Social Sciences, 5(3), 618. Retrieved from https://www.richtmann.org/journal/index.php/mjss/article/view/2183


text:
Q: Ruby TFTP server I have the following code that I put together for a simple Ruby TFTP server. It works fine in that it listens to port 69 and my TFTP client connects to it and I am able to write the packets to the test.txt, but instead of just writing packets, I want to be able to TFTP a file from my client to the /temp directory.
Thanks in advance for your help!
require 'socket.so'

class TFTPServer
  def initialize(port)
    @port = port
  end

  def start
    @socket = UDPSocket.new
    @socket.bind('', @port)
    while true
      packet = @socket.recvfrom(1024)
      puts packet

      File.open('/temp/test.txt', 'w') do |p|
            p.puts packet
        end
    end
  end
end

server = TFTPServer.new(69)
server.start

A: Instead of writing to the /temp/test.txt you can use ruby's Tempfile class
So in your example:
require 'socket.so'
require 'tempfile'

class TFTPServer
  def initialize(port)
   @port = port
  end

  def start
    @socket = UDPSocket.new
    @socket.bind('', @port)
    while true
      packet = @socket.recvfrom(1024)
      puts packet

      Tempfile.new('tftpserver') do |p|
        p.puts process_packet( packet )
      end
    end
  end
end

server = TFTPServer.new(69)
server.start

This will create a guaranteed unique temporary file in your /tmp directory with a name based off of 'tftpserver'.
EDIT: I noticed you wanted to write to /temp (not /tmp) to do this you can do Tempfile.new('tftpserver', '/temp') to specify a specific temporary directory.
Edit 2: For anyone interested there is a library that will do this https://github.com/spiceworks/net-tftp

A: you'll not get it so easily, the tftp protocol is relatively easy, but put/get is not stateless, or at least if the file does not fit in a single packet, that is something like 512, but some extensions allow a bigger packet
the file on the wire is splited and you'll get a sequence of packets
each packet has a sequence number so the other end can send error for a specific packet
you should take a look at wikipedia page:
http://en.wikipedia.org/wiki/Trivial_File_Transfer_Protocol
here a sample code I wrote in 2005 but id does the specular thing (it sends a file)
it's python but reasonably similar to ruby :D
def send_file(self, addr, filesend, filesize, blocksize):
    print '[send_file] Sending %s (size: %d - blksize: %d) to %s:%d' % (filesend, filesize, blocksize, addr[0], addr[1])
    fd = open(filesend, 'rb')

    for c in range(1, (filesize / blocksize) + 2):
        hdr = pack('!H', DATA) + pack('!H', c)
        indata = fd.read(blocksize)
        if debug > 5: print '[send_file] [%s] Sending block %d size %d' % (filesend, c, len(indata))
        self.s.sendto(hdr + indata, addr)
        data, addr = self.s.recvfrom(1024)
        res = unpack('!H', data[:2])[0]
        data = data[2:]
        if res != ACK:
            print '[send_file] Transfer aborted: %s' % errors[res]
            break
        if debug > 5:
            print '[send_file] [%s] Received ack for block %d' % (filesend, unpack('>H', data[:2])[0] + 1)
    fd.close()

    ## End Transfer
    pkt = pack('!H', DATA) + pack('>H', c) + NULL
    self.s.sendto(pkt, addr)
    if debug: print '[send_file] File send Done (%d)' % c

you can find constants in arpa/tftp.h (you need a unix or search online)
the sequence number is a big endian (network order) short !H format for struct pack
ruby has something like python struct in String class

redpajama_set_name: RedPajamaStackExchange


Why are they in Carly's room? Well, whatever. At least I found the note. I walked into Carly's room and the lights were off. Either Sam was pulling a prank or something, or they were actually in the studio. I flipped on the lights expecting Sam to jump out at me. But Carly was just sitting on her bed with her pink bathrobe on with no Sam in sight.
"Sam, Sam, Sam, that's all you talk about." She slowly walked toward me. "You never talk about me anymore, why not?" This was getting creepy.
"So… Sam isn't here…?" I asked. Okay, what's going on?


3.1 What is Brewers Yeast?
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Providing your dog with a Brewers yeast is made from a one-celled fungus called Saccharomyces Cervisiae which is used to make beer but it also and biting flies from bothering. Brewers yeast is a naturally occurring substance which is safe to use as a daily. This supplement can also help years my dog, Eliot, suffered dog and improve their health, your animal's health. Don't Miss Stories on PetGuide. This article describes how effective. For most dogs one teaspoon teaspoon of brewers yeast or 1 brewers yeast table is sufficient but always read the label of any dog nutrition supplements and follow the dosage. If your dog weighs less, brewers yeast and garlic tablets itchy skin and possible a.
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Find out what brewers yeast with itchy and dry skin deal of experience with dogs dosage of brewers yeast.
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Brewers yeast is a naturally yeast varies from brand to Photo Gallery Sorry there are.
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text:
Hurley Invites Local Residents to Satellite Office Hours
Mar 29, 2019 | Hurley
CHICAGO – To bring services provided by her constituent service office to local residents, state Rep. Fran Hurley, D-Chicago, is hosting satellite office hours in Orland Park on April 10.
"As we continue through April and into May, the legislative session in Springfield will be getting much busier, and lawmakers will continue debating and voting on important matters facing Illinois," said Hurley. "My satellite office hours provide an easy opportunity for residents that might not be able to make it to my constituent service office to stop by and express any concerns they have about the issues facing our state."
Hurley is hosting satellite office hours at the Orland Park Public Library in room 102, located at 14921 S. Ravinia Ave. Local residents are encouraged to stop by on Wednesday, April 10 between 3:00 and 5:00 p.m. to share their thoughts on the state and local issues they care about most, or for help gaining access to state-related services.
"Hearing the thoughts and concerns of the individuals that I represent helps me to be a strong voice for them in Springfield," continued Hurley. "I encourage local residents to stop by my satellite office hours to share their ideas about how we can work together to make our communities stronger and make Illinois better for those that live here."
For more information, contact Hurley's constituent service office at 773-445-8128 or RepFranHurley@gmail.com.
Rep. Fran Hurley
(D-Chicago)
281-S Stratton Office Building
Chicago Office:
10400 S. Western
Orland Hills Office:
16033 S 94th Avenue
Orland Hills, IL 60487
Illinois House Democratic Caucus | Copyright © 2021


text:
Best Books To Read
Ways With Words
Books Video
Heart Of Darkness: Bruce Springsteen's Nebraska by David Burke, review
Bruce Springsteen's haunting album Nebraska is 30 years old and is the subject of a new full-length study.
Bruce Springsteen's dark, acoustic album Nebraska is 30 year's old in January 2012 - and is the subject of a new book by David Burke.
By Martin Chilton, Digital Culture Editor
2:20PM GMT 05 Jan 2012
Bruce Springsteen's album Nebraska is 30 years old this month. It has been described by Rosanne Cash as "one of the great documents of American life".
Even Springsteen devotees are split over their estimation of his bleak, solo acoustic album but for many fans, including singer Steve Earle, it remains the towering masterpiece of the Boss's career.
Burke, a music writer, pieces together the story of the album but fleshes out his tale with a more general appreciation of 62-year-old Springsteen's long career.
The real strength of the book is the detail of how Nebraska came to be made. Springsteen, once feted as the 'future of rock and roll', had already achieved mass market success with Born To Run. But he wanted to stretch his songwriting and did so via a bold and incessantly dark country-folk album recorded on a four-track recorder.
On his 1980 album The River, Springsteen had recorded a track called Stolen Car, a brooding, mournful song that would sit easily on Nebraska. Springsteen described Stolen Car as: "The predecessor for a good deal of the music I'd be writing in the future . . . inner-directed, psychological."
Bruce Springsteen picture gallery
Why we all love the Boss
Springsteen to give music lecture
Nebraska opens with a song about teenage mass murderer Charles Starkweather (whose killing spree in the 1950s inspired the film Badlands) and the whole album is infused with a sense of displacement and struggle. Springsteen had just finished reading Joe Klein's biography of Woody Guthrie and Nebraska was written at a time when 'Reaganomics' were impacting on many Americans. Springsteen believed that the recession was causing a loss of community and said: "When that occurs, you just get shot off somewhere where nothing seems to matter."
Burke laments the fact that Toby Scott, the engineer on the album, cancelled an interview citing lack of permission from John Landau management but the author does his best to piece together the technical story of how Springsteen made the record on a shop-bought Tascam Portastudio 144. Nebraska was originally intended as demos of songs to be recorded with the E Street Band. The engineers did not fully know how to use the varispeed on the cassette-tape Portastudio, which had the wrong setting, and there were dirty tape heads, yet the imperfections are somehow part of the record's ultimate charm. As Springsteen admits: "You can hear the chair creaking on Highway Patrolman."
Springsteen played the demos (including songs that never appeared on the final album) to the E Street Band but when they rehearsed they could not get the full-band versions to sound the way he wanted despite numerous sessions at the Power Station recording studio. Tapes of these sessions remain a collector's 'Holy Grail' for Springsteen fans, especially since drummer Max Weinberg praised the souped-up versions as "killing . . . very hard-edged."
Burke explains how the sleeve cover of Nebraska evolved. The photograph is a two-lane blacktop in the Midwest, taken by David Michael Kennedy through the windshield of a car some time in the 1970s. The bleak picture fitted the name and the mood of an album for which the title Open All Night had been considered and rejected. "Nebraska is built on the premise that everybody knows what it's like to be condemned," said Springsteen.
Blake is good on Springsteen's background - and his fractious relationship with his father - and indulges himself with lots of opinions about Springsteen's later work. The book ends strongly, with a series of musicians - including Rosanne Cash and Laura Cantrell - talking about Nebraska. It's also interesting to hear the verdict of Peter Case - a fine folk musician Springsteen himself admires but who has not achieved the popularity his talent deserves. Case is the most critical about Nebraska, saying "it lacked rhythm and I didn't like the fact he burrowed titles".
Heart Of Darkness is clearly for Springsteen fans but the book will prompt you to listen afresh to what is a monumentally good record. The 10 songs - including My Father's House and Mansion On The Hill - are enduring classics but my own favourite, for what it's worth, is Used Cars. It's Springsteen's plaintive song about a family buying a second-hand car and it captures so much in one couplet:
"Now my ma she fingers her wedding band,
And watches the salesman stare at my old man's hands."
Steve Van Zandt said that when Springsteen played him the home-made demos of Nebraska he told his old friend to release the album in its original state, saying: "The fact that you didn't intend to release it makes it the most intimate record you'll ever do. This is an absolutely legitimate piece of art."
Heart Of Darkness: Bruce Springsteen's Nebraska by David Burke (£14.99, Cherry Red Books)
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text:
Charleston Home Explorer
117 Broad St, Charleston, SC 29401
There are very few places in the United States where someone can lay claim to living in the home of a ''Founding Father.'' Edward Rutledge, signer to the Declaration of Independence, lived in this magnificent Georgian-style mansion from 1763 until his death in 1800. Rutledge also served as South Carolina's 10th Governor. Now known as The Governor's House, this home was first built in 1760 by James Laurens, brother to the President of the Second Continental Congress, Henry Laurens. His son John Laurens served as aide-de-camp to President George Washington and was a close friend to Alexander Hamilton. Sitting on nearly 1/2 acre just outside the original walled city, on the site of the former Charleston Orange Garden, the house has been altered and added onto since construction.The grand double house boasts Greek Revival wrap around piazzas as a Category 3 House listed on the National Register of Historic Places. In 1972 the home was declared a National Historic Landmark by the United States Department of the Interior. Original details are found throughout, including heart of pine floors, detailed moldings, 7 fireplaces, triple hung 9-foot windows and 12-foot ceilings. The main level of the property includes a grand entry with a sitting area, formal dining room, piano room, parlor, kitchen, reception room, office, powder room and one guest bedroom ensuite. Ascend the ornate spiral staircase to the second floor to find four guest suites, three with sitting rooms. Two guest suites are on the third floor. The ground floor, or terrace level has two guest suites as well as a studio apartment with kitchenette and a 3/4 bathroom. Two guest suites with separate sitting rooms can be found in the kitchen house. The large lot on nearly a 1/2 acre includes space for a large pool and pool house. There are currently 14 off-street parking spaces in the courtyard, accommodating ample parking for the residence. The mansion and kitchen house currently serve as an 11 room historic Inn with an Innkeepers studio.
Peninsula Charleston Inside Of Crosstown
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PRESCHOOL-5
11 student/
Burke High School
Brick, Wood Siding
Bedroom, Dining Room, Gas Log, Living Room, Three +, Wood Burning
Ceiling - Smooth, High Ceilings, Bonus, Formal Living, Entrance Foyer, Media, In-Law Floorplan, Office, Separate Dining, Study, Utility
Lot Size Units:
Lot Square Footage:
Master Bedroom Description:
Dual Masters, Garden Tub/Shower, Outside Access
Master Bedroom Location:
Wrought Iron, Privacy
Parking Description:
Attached, Off Street, Other (use Remarks)
Patio Description:
Patio, Wrap Around
Has Central Air Conditioning:
Electric, Forced Air
Dryer Connection, Washer Hookup, Laundry Room
Handsome Properties
108 E Cooper Ave A, B, C, D, Folly Beach, SC 29439
16 Beds | 0 Baths
Listing Provided By Luxury Simplified Real Estate
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SITTWE — A man was killed and his wife was injured in a storm in Rakhine State, according to the local Fire Service Department.
U Pyae Tun, 78, was killed and his wife, Daw Saw Mra Oo, was injured when a tree fell on their house in the village of Hmaw Daw Oo in Manaung Township on Tuesday morning.
The wife was still being treated at a local hospital in the township for minor injuries, said the head of the state's Fire Service Department, U Thaw Dar.
"I heard that the storm has subsided after moving across Manaung," U Thaw Dar told The Irrawaddy.
The Fires Service Department has prepared teams of 35 in each of Rakhine's 17 townships for emergency rescue work. It was still raining heavily from the storm in Sittwe, the state capital, through Tuesday evening.
Many people in a camp for displaced Hindu families in Maungdaw Township were also without adequate shelter, said camp supervisor U Ni Mal.
"Of the 16 buildings in the camp, six have no roof. We have to bear the weather, rain or shine. We have reported to the authorities, but they did nothing," U Ni Mal told The Irrawaddy.
The Irrawaddy was not able to contact the Rakhine State government to ask about the measures it was taking to cope with the storm.
The Department of Meteorology and Hydrology announced Tuesday morning that the storm in the Bay of Bengal would cross the Rakhine coast within 12 hours and has issued a level red storm warning.
It said the maximum wind speed could reach 50 miles per hour when the storm crosses the Rakhine coast between Sittwe and Kyaukphyu and that tidal waves could reach seven feet in height along the coasts of Manaung, Kyaukphyu and Sittwe and three feet in height along the coast of Irrawaddy Region.


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Naphtali Press
Publishers of Puritan, Presbyterian, & Reformed Books
October 15, 2013 by Publisher
George Gillespie, English Popish Ceremonies
George Gillespie, A Dispute Against the English Popish Ceremonies. 2013. 544pp. Sewn hardbound, dust jacket, color frontispiece. Foreword, Historical Introduction, Overview & Analysis, Bibliography, Indices: Section, Edition Errata, Author, Subject, Scripture, OED first usage. $43.50 For sale pricing see Store.
Sample Extracts (PDFs) of front matter and body of the work.
Naphtali Press is pleased to announce we are going to press with the publication of a new critical edition of George Gillespie's seminal work, A Dispute Against the English Popish Ceremonies, and it should be available in mid to late November, available now. We first published this title twenty years ago and the book has been out of print for some time; but we are persuaded the need for it is still great. Written when "worship wars" involved real wars, the general principals presented by Gillespie have abiding pertinence and if properly applied could go a long way toward resolving the worship controversies of this day.
This extensively revised edition will mark the four hundredth anniversary of the birth of the author. The Dispute contains over a thousand citations from nearly two hundred authors and over three hundred works, which have all been carefully traced and confirmed for this new edition, greatly expanding the footnotes over those in the 1993 edition. With all these sources more clearly exposed for the modern reader, one may better appreciate why this 24 year old astounded his contemporaries on the eve of the Second Reformation, and why the Dispute merited a place for Gillespie at the Westminster Assembly of Divines, where he helped shape Presbyterian doctrine for centuries to come.
Gillespie marshals material from leading Reformers and Protestant works to defend biblical worship principles, from all the important writers of the time defending the English popish ceremonies, from classical literature, church fathers, scholastics, linguists, as well as from the leading Roman Catholic writers, commentators, anti Catholic and anti Protestant polemicists, and other works of the period. Even if one rejects the Puritan point of view on worship matters, this volume offers valuable insight into the important literature on all sides at this important period in church history.
This new critical edition retains Roy Middleton's helpful Historical Introduction which explains the setting and why there was a need for such a book. This new edition adds an Overview & Summary, which analyzes Gillespie literary style, surveys the literature cited and gives helpful summaries of the different sections of the Dispute. The text has been collated again against the different editions, and as noted all the thousand+ references checked and traced (some turning into mini research project all in themselves), all the Latin has been rechecked and the translations provided for the 1993 edition confirmed, tweaked, or corrected. There are extensive indices of various sorts and a complete bibliography.
Gillespie's Dispute truly remains a tour de force and one of the most important works on Reformed worship principles. Also, it is rare that a Christian work also factors as an important work in a nation's history; and the Dispute certainly is a famous work in Scottish history as well as Covenanter and general Presbyterian history. This new critical edition seeks to do justice to such an important book and present it in a form useful for this and future generations to come.
W.D.J. McKay, Hughes O. Old, Terry Johnson, W. Robert Godfrey
A Dispute Against the English Popish Ceremonies by George Gillespie.
Why should a seventeenth century polemical study of 'popish ceremonies' be of any interest to readers in the twenty-first century, unless as a historical curiosity? The style of such works is complex and off-putting and the issues discussed apparently relics of a bygone day. To draw such conclusions would be a serious mistake. We live in a day when the biblical doctrine of the church is largely ignored, and the resulting ecclesiastical chaos is only too obvious. Though written more than three and a half centuries ago, Gillespie's book gets right to the heart of the matter. Discussions of the right of the church to ordain ceremonies not prescribed in the Bible, the power of civil rulers to involve themselves in church affairs, the true nature of liberty of conscience—these issues and many more receive thorough examination. Adding to as well as subtracting from the requirements of Scripture is shown to be unacceptable. The perplexing issue of how to address 'things indifferent' is considered at length. Careful thought is given to the place of imitating the example of Christ and the apostles in ecclesiastical matters. All these and more are of pressing contemporary relevance. The style of the book of course offers challenges to modern readers, but Chris Coldwell has done an excellent job of minimising these difficulties in his painstaking editorial work. Gillespie's treatise merits the careful attention of all who are seriously interested in hearing what the Word of God has to say in relation to the life and worship of Christ's church: so gird up your loins and prepare to engage with a master theologian of abiding value. Rev. Prof. W.D.J. McKay, Reformed Presbyterian Church of Ireland, author of An Ecclesiastical Republic: Church Government in the Writings of George Gillespie.
Early in my ministry I had occasion to discover the riches of Puritan devotional literature. In the beginning of the seventeenth century in England, in Scotland, and in America, there was a real blossoming of Christian learning which, sad to say, was largely neglected by the time I had gotten to seminary. Happily much of this is now at the beginning of the twenty-first century beginning to reappear.
George Gillespie's work is especially important because it gives us a glimpse of the thought of a Scot who attended the Westminster Assembly. He is notable for his opposition to the religious ceremonies that the Stuart dynasty tried to impose on the Church of Scotland. Gillespie's opposition to Erastianism was particularly forceful, as was his opposition to the so-called adiaphora, or "doubtful things." The Stuarts did manage to impose Erastianism on the Church of England, as well as many of the adiaphora, but never on the Church of Scotland.
George Gillespie died young, never having reached his fortieth year, and yet he is recognized as one of the most articulate Puritans of his age. Hughes Oliphant Old, John H. Leith Professor of Reformed Theology and Worship and Dean of the Institute For Reformed Worship of Erskine Theological Seminary, and author of many books including the multivolume The Reading and Preaching of the Scriptures in the Worship of the Christian Church.
Whether one's interest is historical studies or liturgical theology one cannot but be thankful for the work of Chris Coldwell in producing this new critical edition of the Scottish theologian George Gillespie's English Popish Ceremonies, first published in 1637. The text is a revision of the 1993 edition which was also published by Naphtali Press. Gillespie's copious citations of the church fathers, medieval theologians, Reformers, Roman Catholic apologists and contemporary writers have been traced and documented, the bibliography updated, the translation of the Latin proofed and adjusted. Remarkably, Gillespie wrote this monument of Reformed scholarship when he was but 24 years of age. Its publication was the key to his invitation to serve as a Scottish delegate to the Westminster Assembly, of whom he was its youngest member, not yet 30 years of age. Never did worship 'according to Scripture' receive a more comprehensive treatment; never did the regulative principle receive a stronger defense; never were Reformed liturgical theology and apologetics expressed more convincingly than in the hands of the man often called 'Great Mister Gillespie' in his own day. Terry Johnson, Senior Pastor, Independent Presbyterian Church, Savannah, Ga., and author/compiler of many books including the Trinity Psalter, Leading in Worship, and The Case for Traditional Protestantism, Reformed Worship.
Gillespie's famous book is a vitally important work in the history of the Scottish Reformation, but it is much more than simply that. It has abiding and profound value for all who are committed to knowing, applying, and following the Word of God on the proper worship of the church. With great insight and passion Gillespie pursues the freedom of the church from political interference and from ecclesiastical tyranny as well as the freedom of the individual Christian conscience from the burden of tradition. He rejoiced that the Church of Scotland had gotten "rid of all such rotten relics, riven [torn] rags, and rotten remainders of Popery" and feared that they were now returning by political fiat. He warned, "there is not a more deceitful and dangerous temptation than in yielding to the beginnings of evil." This splendid edition makes Gillespie's demanding work more accessible to the modern reader and encourages careful reading of this vastly rewarding study. W. Robert Godfrey, President and Professor of Church History, Westminster Seminary California, and author of many books and articles, including, An Unexpected Journey: Discovering Reformed Christianity, John Calvin: Pilgrim and Pastor and (with James Montgomery Boice) Pleasing God in Our Worship.
← Sermons of Rutherford, Gillespie, Baillie and Henderson
The Westminster Assembly's Grand Debate. →


As hosts on late-night TV trash Trump and NPR commentators seem drunk with glee over the suggestion of "treason," Mr. Codevilla, instead, highlights "the professional quality" Donald Trump and Vladimir Putin displayed at their press conference.
Mr. Codevilla, a diplomacy expert, explains why the T/P press conference was an exemplar of how things should be done: He bestows an A+ to the two leaders' frankness and specificity of serious business.
For Putin: The Cold War is ancient history. Nobody in Russia (putting himself in this category) wants that kind of enmity again. It is best for Russia, for America, and for everybody else if the two find areas of agreement or forbearance.
For Trump: Relations between the globe's major nuclear powers have never been this bad—especially since some Americans are exacerbating existing international differences for domestic partisan gain. For the sake of peace and adjustment of differences where those exist and adjustment is possible, Trump is willing to pay a political cost to improve those relations (if, indeed, further enraging his enemies is a cost rather than a benefit).
Putin's Russia agenda is as a status quo power – a power that wants stability. Putin's Russia, diminished and dispirited (high unemployment, alcoholism, illnesses and low longevity numbers), is looking to recover as much as possible of what Russia lost in the Soviet breakup. In forcibly taking back parts of Georgia and Ukraine, according to Codevilla, Putin was pushing against open doors.
Today, no other doors are open. Now that Putin is ahead, he wants to stop the game. He knows that nobody is going to wage or even risk war against Russia in an attempt to try disgorging Abkhazia and Crimea. Putin wants Trump to acknowledge that.
With his warning against extending NATO to Ukraine Georgia, Putin was signaling that all else is negotiable.
Putin has rebuilt Russia's military. Now he wants to protect its edge by persuading Trump to keep U.S. missile defense in its current dysfunctional mode.
This is an inflexible demand that deserves an equally inflexible rejection.
Trump had already delivered it by ordering the establishment of the U.S. Space Force.
By securing his naval and air bases in Syria, Putin succeeded in returning Russia to warm-water sea power. That required backing the Shia side in its intra-Muslim war against the Sunni in Syria, while the United States backed the other side.
Today Iran, Syria, Iraq, and Turkey are much as Putin wants them. He wants Trump's acknowledgment of this Russia continues to argue to Americans that both countries have suffered far more from Sunni terrorism—ISIS and the Muslim Brotherhood—than from the Shia version.
As professor emeritus of international relations at what is now the Pardee School of Global Studies at Boston University, Codevilla is appalled.
(The) classic texts of diplomatic practice teach that diplomacy advances the cause of peace and order only to the extent that its practitioners avoid contentious opinions and stick to demonstrable facts.
The AP reporter, who should be ashamed, is beyond shame.
Then again, so are the ruling class representatives who have redoubled their animus against Trump. Cheap partisanship is not all that harmful.
It is the transfer of domestic partisan animus to international affairs, however, that has the potential to start wars.
For much more read here.


Convincing emotional drama? Yes. Convincing Australian accent? Definitely not.
'Nuff said. Did Brad really expect to get away with this one?
That supposedly Irish-American accent done by a Scotsman was never going to pan out well… No cigar, Connery.
Offensive to the ear – that California accent was painfully evident in Paddy Breathnach's frisseur romcom.
Begins well as a bratty kid from Arizona, but admits that he was messed up by hanging out with the other British actors. "Am I coming in clear?" was the unfortunate and ironically memorable line.
You tried, you failed. Better luck next time.
Supposed to be a Canadian accent. Did you get that? Neither did we. Born in Sydney of English parentage, the H-man didn't really stand much of a chance.
The British babe falls just short of the mark with his less-than-convincing Southern accent. Down-Under co-star Kidman (Ada Monroe) also fails to deliver a credible US accent, creating lingual chaos in this Civil War romance.
Did we miss any? Share your thoughts below! Don't forget to check us out on our Movie Talk Facebook page, and follow us on Twitter, for more fun movie stuff.
Watch out tomorrow for our Top 10 Best Fake Accents in Movies, and see if your favourites make the list.


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Q: mod_rewrite and redirecting on exact match
Possible Duplicate:
Everything You Ever Wanted to Know about Mod_Rewrite Rules but Were Afraid to Ask?

I want to redirect http://www.name.com and http://name.com/ to http://my.name.com/.
Examples
http://www.name.com/ goes to http://my.name.com
http://name.com/ goes to http://my.name.com
http://www.name.com/picture.jpg no redirect
http://name.com/folder/picture.jpg no redirect
Thanks.

A: Some more information about your setup would be good, but essentially:
RewriteRule ^/$ http://my.name.com/ [R=301,L]

That's for in your virtual host configs for the domains that are redirecting; if it's in an htaccess or <Directory> block then you'll need to remove path information:
RewriteRule ^$ http://my.name.com/ [R=301,L]

..and if it's in a location like an htaccess that applies to all of the domain names, then you'll need to have it not redirect for the target domain.
RewriteCond %{HTTP_HOST} !^my\.name\.com$ [NC]
RewriteRule ^$ http://my.name.com/ [R=301,L]


the net flow of oxygen is into the cell.
the water molecules will not pass through the membrane. A membrane which allows molecules to pass through it is said to be permeable (to those molecules).Neighboring molecules affect the rate of diffusion.Stir Hot plate 13. the rate of diffusion can either be inhibited or enhanced.Temperature 5.Stirring rod 16. In affect. For example. Diffusion will occur through an artificial membrane if the membrane is permeable to the solute or the solvent and separates two solutions of different concentration.Scissors 8. 2. Diffusion causes molecules to disperse from an area of high concentration.Logger pro 4. For example if a particle that is able to diffuse across a certain membrane is surrounded by some neighboring molecules.The membrane that the molecules have to diffuse across. diffusion will always proceed from an area of higher concentration to an area of lower concentration and equilibrium will eventually occur. If diffusion occurs when there is a concentration gradient. especially diffusion across a cell membrane.Iodine 14. Objective: The purpose of this experiment: 1.1 Factors Affecting the Rate of Diffusion: There are many things that affect the rate of diffusion. 3.RAISE Revitalizing Achievement by using Instrumentation in Science Education 2004-2007 Equilibrium is a key concept in understanding diffusion. 4.Use the conductivity probe to measure the change in ionic concentrations in a solution over a period of time 2.Graduated cylinder 17. the water molecule will collide with other molecules and change the rate of diffusion 3.Dialysis tubing (pre-soaked in water) 6.Vernier computer interface 3.Vernier conductivity probe 5.Study how different factors affect the rate of diffusion 4.1% and 10% salt solution 11. Equipment list: 1.The steepness of the concentration gradient 2.Funnel 15. Equilibrium occurs when the concentration of a substance is equal throughout a medium. if a cell membrane is hydrophobic (water-hating).Beaker 7.5% starch solution 12.2 Measuring the Rate of Diffusion: The rate of diffusion can be measured by observing the change in concentration of the ions over a period of time.Ring stand The National Science Foundation Division of Graduate Education: GK12 Program . Since the ions are electrically charged and able to conduct.Distilled water 10.Computer 2. a conductivity probe can be used to monitor the change in conductivity of the ions in a solution over a period of time. 1.The size of the molecules 2.
Prepare the computer for data collection by opening the file "Membrane Diffusion" from the Biology with Computers folder of LoggerPro. 5 A. After two minutes. 2.Concentration Gradient: 1 Measure 300ml of distilled water and place it in the 400ml beaker 2 Obtain a dialysis tube which contains 1% salt solution and submerge it completely into the beaker 3 Position the conductivity probe into the water as shown below in Figure 1. highlight the section of the data from where the values start to increase. Important: Be sure to position the conductivity probe and the dialysis tubing the same distance apart in each trial.Connect the conductivity probe to the computer interface.RAISE Revitalizing Achievement by using Instrumentation in Science Education 2004-2007 9. Figure 1 4 Using a stirring rod. Experimental Procedure: 1. 7 Click the Linear Fit button to perform a linear regression and a box will appear with the equation of the best fit line. The National Science Foundation Division of Graduate Education: GK12 Program . the data collection will stop automatically.Dental floss 5. 6 To determine the rate of diffusion. stir the solution for about 30 seconds and then start collecting the data by clicking 5 Collect the data for two minutes and continuously stir the solution.
2.Save the data as Othermolecule.cmbl 5B.RAISE Revitalizing Achievement by using Instrumentation in Science Education 2004-2007 8 The slope of the line (m) is the rate of diffusion. 10 Save the data as concentration. Analysis/Assignment: Table 1 Salt concentration (%) Rate of diffusion (mg/L/s) 1% 10% Table 2 Dialysis tube concentrations Rate of diffusion (mg/L/s) 10 % salt/10%sugar Questions: 1.cmbl 6.Effect of other molecules: In this part of the experiment we will be testing the rate of diffusion with the presence of another molecule. Record that value in Table 1 in the Analysis section.Repeat steps 3-10 from Part 5a. 1. 3. Make sure you change the distilled water in the 400ml beaker.Obtain a dialysis tube that contains 10% salt solution and 10% starch solution from your instructor.Submerge the dialysis tube into a beaker filled with 300ml of distilled water. 9 Remove the dialysis tube and repeat the same steps using 10% salt solution. 4.How would one be able to figure out the concentration of the toxic chemical that has been diffused across the membrane with knowing the rate of diffusion and the time that has passed? (Hint: look at the units) The National Science Foundation Division of Graduate Education: GK12 Program .
Predict your results and give an explanation (attach an extra sheet if you need more space). The National Science Foundation Division of Graduate Education: GK12 Program .Design an experiment that would show how temperature affects the rate of diffusion.Which molecules diffused through the membrane and which didn't diffuse in Part B of the experiment and why? 3.What are some sources of error in this experiment? 5. 4.Compare the rate of diffusion for the 10% salt solution with the rate of diffusion for the 10% salt/10% sugar solution.RAISE Revitalizing Achievement by using Instrumentation in Science Education 2004-2007 2. Give a valid explanation for this difference.
Why? 7.Challenge: Predict what would happen to the rate of diffusion if the water in the beaker in which the dialysis tube is submerged is not replaced for each trial.RAISE Revitalizing Achievement by using Instrumentation in Science Education 2004-2007 6.Challenge: Based on the data and your observations. how can we inhibit (slow down) the rate of diffusion so more of the toxic chemical can be disposed of? The National Science Foundation Division of Graduate Education: GK12 Program .
add 5-6 drops of iodine-potassium iodide solution 2.RAISE Revitalizing Achievement by using Instrumentation in Science Education 2004-2007 Pre-lab Preparations: 1. The solution will appear to be slightly cloudy. The National Science Foundation Division of Graduate Education: GK12 Program . After the solution has been slightly cooled off. add 5g of starch to 100ml of water and heat the solution slowly until the starch dissolves. Soak the dialysis tubing in distilled water for at least 3-4 hours before use. For the starch solution.


Mrs. Angela Fennell DMD is a female health care provider with Dentist listed as her primary medical specialization. Her credentials are: DMD.
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text:
Wellbeing & Royal Mail Group
Publish Date: Posted about 2 years ago
With wellbeing high on the agenda, it's important ot understand how employees wellbeing adds value to an organisation how this has evolved in recent years. Awareness and understanding could be key to longer term success in this area. Dr Shaun Davis (MA, MBA, MA, MSc, Chartered FIOSH, FIIRSM, Chartered FCIPD, MIoD), Global Director of Safety, Health, Wellbeing and Sustainability, Royal Mail Group, shares with Allen & York what wellbeing means to Royal Mail Group and the importance of wellbeing in the workplace.
What does wellbeing mean to Royal Mail Group?
At Royal Mail Group we are committed to further improving our employee' s physical and mental health. We aspire to develop a culture where individuals feel supported and informed to take ownership for their own health and wellbeing so that they can bring the best version of themselves to work, every-day. It's more than duty of care. We believe by investing in wellbeing we will all feel better, perform better and create a positive working environment that we can all benefit from.
Why is having a wellbeing strategy important to Royal Mail Group?
Our people are our biggest asset and therefore our aim is to ensure that everyone in the company feels responsible for making sure that we all go home safe and well every day.
There are several health challenges facing society; rising obesity levels, mental health conditions, and an ageing workforce. These health challenges are reflected in our own employees within Royal Mail through adverse lifestyle choices; an ageing workforce; physically demanding jobs; and changes to the way we all work through technology and the pace of change.
We recognise that some employees face a range of health and wellbeing challenges - either mental, physical or both. The Feeling First Class program alongside a great range of health-related offers and services accessed through our benefits website provide employees with a range of tools to help them optimise their personal health and wellbeing.
What advice would you give to organisations looking to improve the wellbeing of their employees?
Start with listening to your employees and stakeholders, look at the feedback from engagement surveys or employee forums or similar. Review your absence data and understand the demographics of your organisations.
About Shaun
Shaun is a Chartered Fellow of The Institution of Occupational Safety and Health, a Fellow of The International Institute of Risk and Safety Management, a Chartered Fellow of The Chartered Institute of Personnel and Development, and a Member of The Institute of Directors. Shaun has a wide portfolio of responsibilities across the Royal Mail Group including safety, health, well-being, and sustainability.
Before joining the Royal Mail Group, Shaun worked in the construction, refurbishment, infrastructure, and waste management sectors and led organisations to achieve significant improvements in performance. Shaun has also guided culture change programmes and achieved a variety of awards and accolades for the organisations he has worked for.
Shaun holds five Masters Degrees; an MA in Leadership & Culture Change, an MBA, an MA in Marketing & Innovation, an MSc in Workplace Health & Well-being and an MA in Strategic Human Resource Management.
He also holds a Doctorate in Coaching and Mentoring with his research having explored the relationship between coaching, well-being, and organisational culture. Shaun is also an honorary Assistant Professor at the University of Nottingham School of Medicine.
Shaun is a trustee of three charities; The Men's Health Forum, The Society of Occupational Medicine and The Rowland Hill Fund. He is also a member of the Business in the Community (BITC) Workwell Leadership Team and acts as vice-chairman and director of strategy for the pan-European mental health campaign 'Target Depression in the Workplace'.
A published author in a number of respected journals and practitioner publications, Shaun has also co-authored the men's mental health book 'Positive male mind' and his latest publication 'Positive mental health' will be launched in October this year.


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Charlemagne crowned the first Holy Roman Emperor.
William the Conqueror was crowned King of England.
Sir Isaac Newton born in Woolsthorpe-by-Colsterworth, Lincolnshire, England.
Exiled King James II of Great Britain arrives in France following the Glorious Revolution which deposed him. His ghost is said to haunt his residence in St Germain in Paris.
Cartoonist Robert L Ripley (Believe It or Not) born in Santa Rosa, California.
Actor Humphrey Bogart (Casablanca) born in New York.
Bandleader Cab Calloway born in Rochester, New York.
Author Quentin Crisp born in Sutton, Surrey, England.
TV pioneer Rod Serling (Twilight Zone) born in Syracuse, New York.
Writer Carlos Castaneda (The Teachings of Don Juan) born in São Paulo, Brazil.
Singer Jimmy Buffet born in Pascagoula, Mississippi.
Actress Sissy Spacek born in Quitman, Texas.
Baseball player Rickey Henderson born in Chicago, Illinois.
Ringo Starr received a drumset for Christmas.
Disney's The Sword In The Stone was released.
New York Yankee manager Billy Martin killed in a car accident.


Another successful Draggins Car Show at Easter (the 52nd) has come and gone.
There were a good number of past members helping out.If you are ever interested in helping out at the show, let the Draggins know, it's always a great weekend and an opportunity to see lots of people you may not have seen for awhile.
On the Saturday evening of the car show, all the past members who had been helping at the show, got together at the clubhouse for an impromptu evening of pizza and refreshments. Lots of stories, some good food and fellowship. Doesn't get any better than this!
You all have your up to date past members list that we sent out last July, don't be afraid to reach out and phone or email someone that you haven't seen for awhile and join us at next years car show.
Let us know of any changes to the list and also send us some up to date info on yourselves so that we can post it here on the Draggins Alumni web page.
Our car club would like to recognize the continuing support of one of the alumnus of the Draggins Car Club.. While he may have left an active role in the club many year's ago, he has continued to participate for many years as a judge at our annual car show. He has been an inspiration to other members through his fellowship and example. I'm pleased to have the opportunity, on behalf of the Draggins Car Club, to present Jack Alexander this award reflecting our appreciation of his many years of dedication to our club and our car show.