Havards Blackmoor Blog: Obey the Rules!
This summer I had an interesting discussion with a poster on one of the more grognardy D&D forums out there. The poster seemed shocked that I suggest he change certain rules in his AD&D 1st edition game. I argued that he should change that particular rule because I thought the rule in question was stupid. Interestingly, he did not do what I thought he was going to do, which would have been to argue that the rule was not stupd. In fact he seemed to admit that it was a rather silly rule. However, he protested wildly against changing it. Why? Because it was written in the rules. And he assumed that since the rules then must have come from Gary or possibly one of Gary's friends or even Dave Arneson, it would be wrong to change the rule.
The idea that he could be trolling did occur to me, but he did seem genuine about it, and the fact that there are entire forums dedicated to By The Book play means that there are probably more people in the Old School community sharing that opinion.
But what could be less Old School than By The Book play? Dave and Gary were both constantly changing the rules when they were DMing their early games. Many times suggestions about which rules needed to change would come from players. Like the time when the players suggested to Dave that their characters could maybe survive more than one hit, thus resulting in the creation of hit points. Other times, the DMs would figure out these things on their own.
Not that constantly changing the rules is a good idea. I often argue for sticking to the rules as written, especially before you know the game well enough. Some of the GMs I play with using non-D&D systems often seem eager to fiddle with the rules after a few sessions. I have found that this is often a bad idea since changing a tiny thing can have greater consequences than you know if you dont really understand the ideas behind the game. But after having played D&D for decades, I feel like I can do whatever I want with it.
Are you a BTB man?
Seems a very strange argument from an old schooler, to be sure. Especially considering everything we know about the way those early groups played. It's well documented that Gygax never used weapon speeds and hated psionics, for example.
I'm not a BTB person in general. While I keep most of the rules intact I have changed many of them to fit what I like in my game.
For example, I am getting an AD&D2e game ready and have switched it to Ascending AC, added spell points and make Thief skills work like NWPs. I have also done away with the different weapon damages based on size.
BTB play was never intended for the game and you can glean that from many comments made by the creators and developers of the day. The funny thing is that BTB only comes more out of games from 3e on than from games made before 2000.
No - and when I write material, I sometimes forget that somebody out there will take those words on the page as some kind of gospel. Weird.
Wholehearted agreement my friend, but maybe its not so mysterious why there's still a thriving BTB crowd. Remember that back in the 1e heyday TSR beat us over the head through dragon mag, the book intros by Gygax and the whole product line, that any straying from the AD&D "official" rules was wrongheaded and bound to end in doom and suffering. Classic D&D OTOH, seems to have been mercifully free of that, and 2e was much more flexible in attitude, at least at first.
There was actually no "beating over the head." There was a single Dragon Magazine editorial that most people forget was addressing tournament play specifically.
It makes no sense that Gygax would beat the fan base over the head with BTB, when he himself didn't play BTB.
While I think its great if you experienced none of that Jason, there certainly was repeated messages and subtext from TSR and from Gygax also, that AD&D was a perfected and superior system and not to be messed with. The pressure to conform to the rules is all over the place in TSR material starting with the preface to the DMG: "Returning again to the framework aspect of ADVANCED DUNGEONS & DRAGONS, what is aimed at is a "universe" into which similar campaigns and parallel worlds can be placed. With certain uniformity of systems and "laws", players will be able to move from one campaign to another and know at least the elemental principles which govern the new milieu, for all milieux will have certain (but not necessarily the same) laws in common. Character races and classes will be nearly the same. Character ability scores will have the identical meaning - or nearly so. Magic spells will function in a certain manner regardless of which world the player is functioning in. Magic devices will certainly vary, but their principles will be similar. This uniformity will help not only players, it will enable DMs to carry on a meaningful dialogue and exchange of useful information.
...The danger of a mutable system is that you or your players will go too far in some undesirable direction and end up with a short-lived campaign. Participants will always be pushing for a game which allows them to become strong and powerful far desire is to issue a death warrant to a campaign, for it will either be a one-player affair or the players will desert en masse for something more challenging and equitable. Similarly, you must avoid the tendency to drift into areas foreign to the game as a whole. Such campaigns become so strange as to be no longer "AD&D". They are isolated and will usually wither."
Two of the three DM's I played with in college (86-90) had taken exams from thier mentors to become DM's. There was one other player in our group who was "allowed" to substitute DM because he recently passed the test our DM had prepared. Such was thought of as a good thing because it shortened the rules debates between rules lawyers and DM, when chapter and verse could be called in quickly. Another group I played in didn't have an exam requirement, instead they constantly passed around a worn out and coverless copy of the DMG (fondly know as "the paper") and always followed it to the letter.
I think there is value to getting the rules "locked down", to a certain extent. My constant experiments with house rules can start to drive my group nuts from time to time.
But having a locked down set of rules and playing by the book are two totally separate things. So I put my house rules to paper, more to keep myself in check than anything else.
I am turned off by the tone of AD&D as well. I much prefer a game that is like, "Here's a starting point. Go play it and make it your own thing." OD&D and B/X are clear about having this attitude.
That being said, AD&D can certainly be done that way, but I agree with DH in that the text certainly doesn't encourage it.
Besides, playing strictly by the book encourages metagaming and munchkinism, which can be fun and rewarding for players, but is not my preferred style. I prefer to see players exercise creativity rather than rules mastery.
Codex Immortalis, now in English!


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Category Tech
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redpajama_set_name: RedPajamaCommonCrawl


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NGC 3087 ist eine elliptische Galaxie vom Hubble-Typ E0 im Sternbild Antlia südlich der Ekliptik. Sie ist schätzungsweise 110 Millionen Lichtjahre von der Milchstraße entfernt und hat einen Durchmesser von etwa 65.000 Lichtjahren.

Im selben Himmelsareal befinden sich u. a. die Galaxien IC 2534 und IC 2532.

Das Objekt wurde am 2. Februar 1835 von John Herschel entdeckt.

Weblinks
 SIMBAD Astronomical Database

Einzelnachweise

Elliptische Galaxie

redpajama_set_name: RedPajamaWikipedia


Hi guys! I am very new to unity 3D, and i have no idea how to add multiple question to specific components.
I am setting up a structure in the sky, and i want to add multiple questions to the structure.
Now, i created empty component named as a structure, then added a structure which is in the sky as a child. I also added box collider to empty component right bottom of "a structure".
I know there are lots of clever people who can help me here.
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There is no better place to enjoy the spectacular Greek sunset than on board the Anna Maria sailing yacht in the middle of the Aegean Sea. We choose the most ideal location for you to unwind and enjoy this stunning view while listening to jazz music and sipping on your favourite cocktail. Our captain will stop at the best anchoring site which is the famous 'Portara', while our crew will take care of your every need. Relax and admire the breathtaking and spectacular colours while the sun sinks behind the neighbouring island of Paros.


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Andrew Oyer Named Assistant Principal of Twin Valley Middle High School
Windham Southwest Supervisory Union is pleased to announce Andrew Oyer as the Assistant Principal of Twin Valley Middle High School.
We are excited about the strengths that Assistant Principal Oyer brings to his new position. He served as technology instructor, alternative educator, reading and science teacher, district curriculum leader, and assistant principal in New York and Florida prior to accepting this position at TVMHS. He demonstrates an ability to effectively support curriculum and instructional practices, leading to positive student outcomes. Oyer adds, "I'm thrilled to be here! It's clear that Twin Valley Middle High School and its students receive a great deal of community support." Principal Anna Roth has already begun working with Assistant Principal Oyer,
Kathy Larsen, Twin Valley Board Chair states, "Andrew's experience and skills will make him a valuable addition to our administrative team. The board looks forward to working with him, and we believe that together he and Anna will help guide Twin Valley Middle High School through these challenging times and beyond."
Guidance & Counseling (opens in new window)
Lunch Menu (opens in new window)
Middle/High School Calendar
Middle/High School News
Middle/High School Staff


When the original Destiny was revealed, I was thrilled. I had been waiting for Bungie to start a new series since finishing their work on Halo, and the original showing for the game was amazing. I constantly searched for new details online and I pre-ordered the game's special ghost edition. When it came, I covered my walls and shelves with the themed items. It looked like a game that would define a generation... but sadly, that did not happen. The great storytelling that Bungie was known for was entirely nonexistent, and so much of the world was left unexplored. Any bit of interesting story in the base game came in the form of collectible cards that could only be viewed outside of the game itself. Destiny was also advertised as a vast universe with four different planets to explore, but ultimately these planets only had one tiny location that could be fully traversed in minutes. This led to the game's biggest issue of all: a lack of content. Every one of the small areas was beaten to death, with strikes and campaign missions often playing out in the same exact place, just in reverse. Further, there was nothing to actually do in these open worlds other than finding collectibles. It made the already grindy process of getting better gear feel even more repetitive. Aside from the first raid, it took Bungie an entire year to deliver content worthy of the great shooting mechanics they had built. For many, it was too little too late.
Destiny 2 has a story. Seriously!
Yep, you read that right. Gone are the days of grimoire cards and a character's most memorable quote being "I don't have time to explain why I don't have time to explain". With Destiny 2, Bungie delivers a strong campaign that actually feels like it came from the developers of Halo. There are plenty of well-made cutscenes, with the CGI ones used for important moments really standing out. The fresh restart actually make sense from a story standpoint. The missions are accompanied by a tremendous soundtrack that surpasses the original's. The perfect track was added to every moment in the story (and in the rest of the game, even), always managing to match what was going on. My favorite piece of music from the score is easily "Journey", and it's a perfect example of music adding to big moments. There are multiple memorable missions, particularly at the start and end of the story mode. Many of them take place in completely unique locations, which made me actually want to replay them. An instantly lovable new character, Failsafe, is introduced about halfway through the game as well. She's a malfunctioning AI that essentially has two personalities, and she adds so much hilarious dialogue to her missions. It's great to have another likable character in this universe, since Cayde-6 was all that was offered on that front prior to Destiny 2. The Red War campaign's villain, Dominus Ghaul, is solid. His simple design and common evil traits are acceptable because of how well he's used. I was seeing updates on his quest to steal the Traveler's light every few story missions, and I was legitimately excited for them. His conversations with The Speaker (a character from the original Destiny that just stood around handing out emblems) allowed us to see more of Ghaul's backstory and explained his motivations, which actually made sense in a way. These scenes also gave The Speaker a chance to, well, speak, and he had some pretty awesome replies to Ghaul's monologues. Don't get me wrong, I won't sit here and say that this story was near Naughty Dog or Rockstar levels of quality. It certainly wasn't unique, either. The plot was simple: the bad guy blows up your home and takes your power, you get your power back, you bring your team together and you take down the bad guy. It's a sci-fi story that everyone has seen many times, so it's a testament to the game's presentation, dialogue and mission design that it actually works. A fun campaign with a simple story is a major step up from a bland campaign with no story, after all. Still, it's simplicity presents a couple of minor issues.
First, a lack of character development. In the first Destiny game, the only vanguard that people gravitated toward was Cayde. Zavala was nothing more than the stereotypical bland commander, and Ikora was the stereotypical smart character who thought she was better than everyone. When they had a more minor role in the original game, it was less of an issue. In Destiny 2 though, they are constantly at the forefront, and these flat characters simply don't get the job done. Ghaul and Failsafe are already much more memorable after their limited time in this one game. I'm not suggesting that Bungie should make Zavala and Ikora into Titan and Warlock versions of Cayde-6 (that would ruin both Cayde's role and the overall tone of Destiny). It simply says a lot that their best moments are interacting with each other and feeling like a fireteam. They still don't work on their own like Cayde does, and something needs to change with them going forward.
An even larger improvement than the story is Destiny 2's loot system. I no longer had to shoot into a cave of infinitely spawning enemies for hours on end... yay! The annoyingly unfair RNG is out, as is the issue of getting items for other classes that I don't even play. Players no longer need to equip their best gear to get the best quality weapon and armor drops, too. The game does it all on its own, so I was free to use whatever gear I preferred. This is just one of many large quality of life upgrades that makes Destiny 2 a much more enjoyable experience than the original.
Another is that Destiny 2 eliminates most of the seemingly never-ending crafting materials. Each planet has two that are exclusive to their location, while the rest of the game operates on basic currencies like glimmer and gunsmith parts. Cutting out all of the unnecessary items removes a hefty amount of Destiny's more boring aspects. Best of all, though, is one of the recurring planet-exclusive items: tokens. Each planet has a representative that you go to for taking up the planet's missions and getting its gear. They also accept tokens in exchange for legendary engrams, which contain some of their best planet-exclusive weapons and armor. I got tokens for everything that I did (patrols, public events, looting chests and taking out strong enemies in the world to name a few). This made every action I took in the game worthwhile. Even if you're helping a low-level friend climb the ranks, you're still working to unlock high-level gear for yourself just by playing the game.
One minor issue that I will mention, though, is the lack of changes to the character creator. For a game that places so much emphasis on how my gear looks, it's surprising that my character's face isn't nearly as important. It's the same exact barebones system as Destiny 1, with simple things like facial hair being completely left out. Hair styles are extremely limited, and only a handful of faces are available to choose from. Returning players cannot edit their character's appearance, either. With so many improvements, it's surprising that this feature was entirely overlooked. While it's far from a game-changing problem, it is still a problem and I hope it's fixed moving forward.
My favorite part of Destiny 2, though, isn't the improved story or great loot system. Surprisingly, it is the thing I hated most about the original: the open worlds. Aside from the European Dead Zone, they're not that big. A few are even on the smaller side, but what they lack in size they make up for with their great activities. Lost sectors are parts of the map hidden away that the player can explore, and all end with a mini-boss encounter and a loot chest. They took me to places of the map I would never have seen had I not ventured into the marked cave or hole in the ground. They added a whole layer of depth to each location that I wish more open worlds had. It really felt like I was exploring a destroyed part of Europe or a hidden Vex lair that the world had ignored. I explored them all, and loved every one of them. The lost sectors did not have some counter for how many I had completed, or a reward for exploring them all; I did them simply because they were a blast to do.
Yet, even a returning open world feature is improved upon for Destiny 2. I'm referring to Public Events, as they're so much deeper than before. The easily recognizable spider tank event now comes with unlockable scorch cannons, making the event faster, doable solo and more exciting in general. If the players unlock all of the cannons, they'll start a more challenging heroic event where a second spider tank drops. There are around ten public events, and most of them have a heroic version which increases the chances of getting exotic quality reward gear. Having so many different events with two versions is terrific, as they're such a great feature of Destiny. Another of those quality of life updates shows you where the events are, how long they've been active or when they're starting. Coupled with the newly-added fast traveling, players can jump between events and keep themselves in the action for hours. Patrols and hidden chests also return, remaining pretty much the same. You can examine many items in the world for added information on them and Destiny's deeper universe. With all of these great features, I found that well over half of my playtime so far has been spent in Destiny 2's open worlds. Bungie has definitely figured out how to make Destiny's locations work, and I can't wait to see more of them in the future.
Strikes and enemies and raids, oh my!
With Destiny 2, you'll be given access to five strikes (six if you play on PS4, but the additional one is really just a re-skin of a side quest). This was the same case for the original Destiny, and the strikes are either on par or superior to what the first game offered. The Pyramidion and The Inverted Spire both focus on the Vex, and they're my favorite strikes yet in Destiny. The only possible downside about the new strikes is the Nightfalls. Specifically, the design choice to give players a time limit for completing them. Personally, I like the change, but I understand why many don't. It's forcing players who don't like to speedrun to do so, and making an already hard difficulty harder. I wish there was a playlist that allowed for the traditional nightfall difficulty, as strikes seem to be the only area of Destiny 2 that don't accommodate every type of player.
Now, it's time to close out this in-depth review with some spoiler-free thoughts on Destiny's most defining feature: the raid. This game's first, The Leviathan, released a week after launch. I haven't been able to get a full team together to complete it yet (we tried to see as much as we could with four people), so I was only able to see a few sections of the large team-based challenge. That said, the little bit that I have witnessed myself is amazing. The Leviathan is by far the most visually unique slice of gameplay yet, as the white and gold color pallet help it to stand out from anything we have seen in both Destiny games thus far. The early puzzles required the same skill and teamwork as the original raids, and every little step that my group got through was exhilarating. I'm excited to see what puzzles come next, how the final boss works and some of the raid gear given out for completion. I haven't seen a large portion of the raid, that's for sure, but if it keeps the same pace as its opening I can easily see it becoming my favorite.


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1960 was a leap year.
January 1 - Cameroon gains independence. January 23 - Bathyscaphe Trieste dives to a record depth of 10,916 m in the Challenger area of the Marian Trench. January 24 - A major uprising in Algeria against French colonial rule.
February 13 - France tests its first atomic bomb.
March 21 - At least 79 people are killed and more than 180 wounded in the South African city of Sharpeville when police opened fire on peaceful black demonstrations against the racist regime.
April 1 - The United States launches the first time satellite, TIROS-1 April 2 - France signs an agreement with Madagascar, making Madagascar an independent state after 64 years of French colonial rule. April 4 - The first three female priestesses are ordained in Sweden. April 4 - France and the Federation of Mali (Senegal and Sudan) sign an agreement by which the Federation of Mali gains independence. April 19 - South Korea's first president, Singman Ri, resigns under pressure from student protests across the country over election fraud. April 21 - In Brazil, the state capital (Federal District) is transferred from Rio de Janeiro to Brazil.
May 1 - A US U-2 spy plane is shot down in the Soviet Union. May 9 - The United States becomes the first country to legalize birth control pills. May 10 - The Nautilus nuclear submarine completes its first underwater voyage. May 15 - Sputnik 4 is launched into Earth orbit. May 16 - Theodore Mayman demonstrates the first laser. May 22 - The strongest earthquake ever recorded in Chile, with a magnitude of 9.5 on the Richter scale. May 23 - Israeli secret service agents Mossad capture Adolf Eichmann hiding in Argentina. May 27 - A military coup overthrows the government of Adnan Menderes in Turkey, and the National Unity Committee, headed by General Kemal Girsel, takes power.
June 20 - The short-lived Federation of Mali, made up of the Republic of Sudan (now Mali) and Senegal, gains independence from France. June 26 - British territory of Somalia gains independence from Britain. June 30 - Belgian Congo gains independence from Belgium.
July 1 - Ghana becomes a turnip
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On today's extended newscast, we speak with Marty Durlin – the writer and director of the forthcoming KZMU radio drama, "Uranium the Musical." Rehearsals are now in full swing as local actors prepare to re-create Moab's cast of characters from the 1950s. Local figures like Charlie Steen, Ed Abbey and Milt (of Milt's Stop N' Eat) make appearances alongside fictional newcomers. Marty's original play blends a touch of mystery and noire with Moab's boomtown era, and she fills us in about the plot and her own creative process. Tune in!


Did we mention that you can wash it with a mild detergent?
If you are in mood for some color, this style also comes in the hues of gorgeous maroon, minimal black and versatile natural.
8-10 internal card slots, one bill sleeve and one SIM card slot.
Pull tab for easy access to extra cards.
Brown exterior contrasted with black interior.
Measures 4.01 X 3.35 inches.
Crafted from eco-friendly cork. The natural fabric of this wallet comes from the cork oak forests of the Mediterranean. It is also water-proof, anti-fungal and extremely light.
Measures 4.01 X 3.35 inches / 10.2 cms X 9.5 cms and weighs 40 gms.


Doncaster will find out on Tuesday if it will be a host city for the 2021 Rugby League World Cup as the countdown to the competition continues.
The town submitted its bid to the competition's organisers last year in the hope of convincing them it should be given a taste of the tournament and the benefits that come with it.
The competition – last held in Australia, New Zealand and Papua New Guinea in 2017 – will be held in England in October and November 2021, and tournament chiefs will announce the host cities, stadia and schedule on Tuesday morning.
"We had decided that if we wanted to stage another World Cup in England, it had to be bolder and braver than ever before – and in doing so, it had to capture the imagination of the wider population.
"Despite the unprecedented and seemingly never-ending instability in Whitehall, we won the biggest award of public funding into any sporting event since the 2012 Olympic and Paralympic Games.
The Free Press is campaigning in support of the bid, and now, Jon Dutton, chief executive of the RLWC 2021, said the board will announce the host cities on Tuesday, January 29.
The competition will be the first time the men's, ladies and wheelchair competitions will be held at the same time.
Mr Dutton said: "Whilst not pre-judging any decisions, there will be a big focus on cities, and there will be a significant footprint in London. But crucially our commitment to the Government of delivering 80 per cent of the tournament in the Northern Powerhouse will be met.
The host cities and towns will be announced live online at 9am on Tuesday. Host Helen Skelton will be joined by RLWC2021 ambassadors; Kevin Sinfield; St Helens and England Women's star, Jodie Cunningham; and Leeds Rhinos Wheelchair captain, James Simpson.
Mr Dutton added: "We have undertaken a thorough bid process, lasting twelve months and involving some very tough decisions. The quality of bids has been impressive across all three tournaments and we are now ready to share the venue details as we continue to build awareness and excitement.


What is the most important information I should know about iron sucrose?
What should I discuss with my healthcare provider before I receive iron sucrose?
What are the possible side effects of iron sucrose?
Your doctor or pharmacist can provide more information about iron sucrose injection.
Copyright 1996-2018 Cerner Multum, Inc. Version: 5.01. Revision date: 2/10/2016.


text:
Q: Local basis of parallel vector fields with respect to an arbitrary affine connexion. I would like to show that for any connexion D on $\mu: N \rightarrow M$ (N, M are manifolds), and any point $n$ in $N$ there is a local basis $\{X_i\}$ of vector fields over $\mu$ such that each $X_i$ is parallel at n, that is, $D_t X_i = 0$ for all t in the tangent space $N_n$.
Can someone point me the way for a proof?
Other answers in this site refer to a Riemmanian structure, orthonormal basis, normal coordinates, etc..

A: Choose a coordinate system $\varphi = (y^1,\dots,y^k)$ around your point $n \in N^k$ such that $n$ corresponds to $(0,\dots,0)$ and choose some basis $X_1|_{\mu(n)}, \dots, X_m|_{\mu(n)} \in T_{\mu(n)}M$. Define
$$ X_i(\varphi^{-1}(y^1,\dots,y^k)) = P_{\varphi^{-1}(sy^1,\dots,sy^k), s = 0, s = 1}(X_i|_{\mu(n)}). $$
In other words, $X_i$ at (the point corresponding to) $(y^1,\dots,y^k)$ is obtained by parallel transporting $X_i|_{\mu(n)}$ radially from $(0,\dots,0)$ to $(y^1,\dots,y^k)$. The $X_i$ are well-defined, smooth and linearly independent because parallel transport is a linear isomorphism and by constructing, they are parallel (usually only) at $n = \varphi^{-1}(0,\dots,0)$.

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Twin Cities rock group, Capital Sons are set to release their fourth album: Rose-Colored World. Their first three releases include a self-titled EP (2006), Dirty Neon (2009), and Swim the High Tide (2013). The group attests that Rose-Colored World is their longest and most ambitious release to date. The group is comprised of Karl Obermeyer: vocals, guitar; Keith Raney: bass, vocals; Rick Paukert: lead guitar; and Mike Jueneman on drums.
Melodic harmonies, rock infused rhythm and well-penned tunes are the core success of Rose-Colored World.
The group has continued to revolutionize their core group sound. Rose-Colored World, steps forward with a sonically diverse and energetic sound. At times hard-edge, while at other times introspective and heartfelt. The full-length album is adorned with relatable and socially conscious themes. The rock-anthem "Fugitive," kicks off the album with a signal of great songwriting and bolstered genius. While the deeply felt groove of "Hard Enough to Say," jangles with relevance. "Something to Grasp," with solid hits and a hook laden chorus, is in contrast to the Led Zepplin hit "Immigrant Song," taken at a much slower pace, allowing Obermeyer to savor each note with elongated prowess. The band attacks the tune with veneration. It takes a moment to shake off the Zep version, but once you do, it becomes evidently clear, Obermeyer has a voice that is to be reckoned with. Clear, versatile and full of buoyancy, in the long run, a great choice to cover. You can get the Led out in a whole new fashion. That's the Short of it!


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By Lisa Schwarzbaum
December 03, 1993 at 05:00 AM EST
Bill Bixby's long TV career was a lesson in the enduring appeal of good- natured decency. He befriended an alien on CBS' My Favorite Martian (1963-66) when he could have kicked cranky Ray Walston out of the house. He raised a son as a single dad on ABC's The Courtship of Eddie's Father (1969-72). He crusaded for human rights on NBC's The Magician (1973-74). And he felt really awful whenever he had to mutate into his alter ego on CBS' Incredible Hulk (1978-82). By the time of his death from cancer on Nov. 21, at age 59, Bixby was known more for the details of his personal life (he sought experimental drugs to fight his illness; he married his third wife, Judith Kliban, on Oct. 3) than for his talents. But even in sickness, he exemplified optimism: He was the primary director of NBC's hit Blossom, about a sassy young woman who looks at life as an adventure-a show about hopefulness from a man who never lost his. -Lisa Schwarzbaum
Bills, Bills, Bills
Academy expels Bill Cosby and Roman Polanski
Bill Pullman spots a disturbing clue in The Sinner season 2 clip
Samantha Bee responds to abortion bills by offering sex ed to male politicians
Bill Cosby accusers call his outburst in court 'Bill Cosby depravity 101'
Bill Cosby accusers celebrate his conviction: 'I feel like I'm dreaming'
Bill Murray helps Florida couple with baby gender reveal on golf course
Mahershala Ali says Bill Murray poured vodka on his head at the Golden Globes
Janice Dickinson 'delighted' at Bill Cosby's expulsion from Academy
Here are the projects pulling out of states with anti-abortion bills
Conan O'Brien, Bill Hader review God of War for 'Clueless Gamer'
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You can't have a concert without swag. Here is a collection of the special items we made for the event.
Starting with the Save The Date card, this was based on the ticket to a Faith No More concert we both attended right before we first met.
If we were treating the wedding like a music festival we needed to have an album. We came up with a fictitious band called the Significant Others and made our wedding invitation look like our album Domestic Bliss. The cover is us in front of Graceland. The inside is Elvis's living room and the back is a view of New York City from the rooftop of Patrick Arrasmith's apartment in Brooklyn. The image on the cd is the gold record on the Voyager spacecraft which is a nod to how Carl Sagan and his wife Ann Druyan met. A story that was told in our wedding ceremony. We filled the cd with some of our favorite music. Here is a link if you want to listen.
Who doesn't like temporary tattoos? We had some made with the Lovefest13 logo, Significant Others logo, and Elvis Presley's "Taking Care of Business" lightening bolt.
After melting faces with our wedding vows we threw some custom guitar picks out to the crowd.
No concert is complete without a tour t-shirt. This Significant Others logo features the Voyager Spacecraft with a woofer in place of the dish.


It's been a long time in coming!
After a thirty-five year career as a blues performer, including more than two decades with the W. C. Handy Award-nominated duo Satan and Adam, harmonica player Adam Gussow has made his solo debut. Kick and Stomp showcases Gussow in an unexpected but logical setting: a harp-powered one-man blues band.
Taking a cue from his Harlem mentor, Sterling "Mr. Satan" Magee, Gussow does it all, in real time—singing, blowing amplified harp, and stomping out some thump-and-metal grooves.
Only a handful of players on the contemporary blues harp scene have developed an immediately recognizable voice on the instrument. Gussow's sweet edgy tone, upper-octave pyrotechnics, and headlong swing make him one of those few. Kick and Stomp showcases his talents as a modern virtuoso, a player American Harmonica Newsletter praised for exhibiting the sort of "[t]echnical mastery and innovative brilliance that comes along…once in a generation."
This is a professionally duplicated CD. I ship it to you in real time, via First Class Mail. The six-page insert features the color photo above and extensive notes, plus a list of all songs with running times AND the key of harp that I played on each track, so you can jam along.
I will autograph the CD at no extra charge, at your request. Just note this using the little selector near the "Add to Cart" button.
This item is for INTERNATONAL destinations only (including Canada and Mexico). All USA customers should order the USA version of this unit, which is catalogue # MBH-002.


text:
Why is Olivia Munn being shunned for speaking out about a sexual predator?
After revealing that one of her cast mates in The Predator was a convicted sex offender, Munn says she's been treated like "I'm the one who went to jail". The case proves that women still take a risk when they speak out about sexual misconduct.
Imagine you've been hired to work on a new project. You're excited about it; you think it could be seriously successful. But one day, you learn that one of your new colleagues – a man in his 40s – once spent time in prison for grooming an underage girl.
The man in question is a friend of your boss, but you're sure that senior management and your other co-workers are unaware of his past. You also know the project will be ruined if word gets out that a convicted sex offender is part of the team – and you don't want to tacitly endorse the man's behaviour by working with him. What do you do?
In all likelihood, you would take the information you've learned about your colleague to management, and state that you don't want to collaborate on the project with him. You'd probably expect your other co-workers to support your decision to speak out, and to be thankful to you for blowing the whistle.
Actor Olivia Munn recently found herself in that exact situation when she discovered that one of her cast mates in upcoming film The Predator had been jailed for trying to lure a 14-year-old female relative into a sexual relationship over the internet. Steve Wilder Striegel spent six months in prison in 2010 after pleading guilty to risk of injury to a child and enticing a minor by computer, and is now a registered sex offender.
Jacob Tremblay was the only Predator actor who turned up to a recent video interview with Munn
Munn had appeared in a scene in The Predator with Striegel, and was horrified to learn of his past. As soon as she found out, she reported the information to 20th Century Fox, the studio behind the film. His scene has now been cut from the movie, which premiered at Toronto International Film Festival (TIFF) last week.
However, Munn says she feels she is now being punished for making a fuss about Striegel's role in the film. Over the weekend, she and other members of The Predator's cast were scheduled to appear in a video interview with The Hollywood Reporter. With the exception of 11-year-old child star Jacob Tremblay, all of the actors who were scheduled to take part in the interview cancelled at the last minute.
Munn explained that she felt isolated as a result of speaking out. "There are people who get very mad at you for not just helping them bury [a story like this]," she said.
"I do feel like I've been treated by some people that I'm the one who went to jail or I'm the one that put this guy on set… It's a very lonely feeling to be sitting here by myself when I should be sitting here with the rest of the cast."
Of course, Munn wasn't the person who "put [Striegel] on set". In fact, the actor was hired by the film's director, Shane Black, who is one of his close friends. Since leaving prison, Striegel has appeared in two of Black's other films, Iron Man 3 and The Nice Guys.
Initially, Black defended his decision to cast Striegel in The Predator, saying that he "personally chose to help a friend". He also defended Striegel himself, saying that the circumstances of his conviction involved him getting "caught up in a bad situation", as opposed to "something lecherous".
Black has since apologised to the cast of The Predator for not informing them about Striegel's record, saying he had been "misled" about the true nature of his friend's crimes. However, Munn told The Hollywood Reporter that Black had not contacted her directly to apologise or discuss the issue.
"I appreciate [his] apology," she said. "I would have appreciated it more if it was directed toward me privately before it went public and I had to see it online with everyone else."
Mira Sorvino was just one of the actresses blacklisted from Hollywood after speaking out against Harvey Weinstein
Several of the actress's co-stars in The Predator, including Keegan-Michael Key and Sterling K Brown, have since come forward to state that they support her. But Munn's sense that she was having to fight this battle alone is eerily familiar. It echoes the stories of actresses such as Rose McGowan, Ashley Judd and Mira Sorvino, who were effectively blacklisted in Hollywood after speaking out about Harvey Weinstein's alleged abusive behaviour.
Munn's experience also highlights the fact that women are still taking a risk when they speak out about sexual predators in the workplace. Since the #MeToo movement went viral last autumn, a poisonous narrative has emerged that suggests some women might simply invent or embroider stories of sexual misconduct out of spite or a desire for attention.
But making an allegation of sexual misconduct, or flagging past convictions for sexual offences, is rarely something that women decide to do lightly – particularly in a professional setting. Speaking out becomes even riskier when the alleged or convicted perpetrator is friendly with senior figures, as Striegel was. How telling it is that Black continued to hire his friend even after he had pleaded guilty to sexual offences, choosing to believe that his friend had simply been "caught up in a bad situation".
Whistleblowing is an even bolder move if it could potentially damage the reputation or financial success of a company (or film, in Munn's case). In these sorts of situations, it's sadly unsurprising that many people choose to stay silent rather than make a fuss.
In speaking out about Striegel, Munn knew that a shadow could be cast over The Predator. But as she rightly points out, some things are more important than the success of a film.
"We're making movies. We're not in the mafia. I haven't spoken against the family," she said. "I try to do the right thing and that's all I can do, and when I see something, [I] do something."
Images: Getty Images


Abstract. In this paper, we propose a hierarchical semantic graph model to detect and recognize man-made objects in high resolution remote sensing images automatically. Following the idea of part-based methods, our model builds a hierarchical possibility framework to explore both the appearance information and semantic relationships between objects and background. This multi-levels structure is promising to enable a more comprehensive understanding of natural scenes. After training local classifiers to calculate parts properties, we use belief propagation to transmit messages quantitatively, which could enhance the utilization of spatial constrains existed in images. Besides, discriminative learning and generative learning are combined interleavely in the inference procedure, to improve the training error and recognition efficiency. The experimental results demonstrate that this method is able to detect manmade objects in complicated surroundings with satisfactory precision and robustness.
How to cite: Sun, X., Thiele, A., Hinz, S., and Fu, K.: AUTOMATIC DETECTION AND RECOGNITION OF MAN-MADE OBJECTS IN HIGH RESOLUTION REMOTE SENSING IMAGES USING HIERARCHICAL SEMANTIC GRAPH MODEL, Int. Arch. Photogramm. Remote Sens. Spatial Inf. Sci., XL-1/W1, 333-338, https://doi.org/10.5194/isprsarchives-XL-1-W1-333-2013, 2013.


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HomeFeaturesMotorcycle History
Cycleweird: The AME Amazonas 1600
Jul 13, 2017 at 8:28am ET
By: Jason Marker
IT'S ALIVE, but just barely...
So, in this week's Cycleweird we're discussing the worst production bike ever made. Pretty bold statement, eh? I mean, "worst" is pretty subjective when it comes to more than a century of worldwide production history that includes such gems as the Chang Jiang 750 and the truly horrible Ironhead Sportsters. This week's bike is so widely derided by both bikers and the motorcycling press, or at least those who have heard of it, that it pretty much counts as the worst bike ever. Friends, let me introduce you to the AME Amazonas 1600.
MUITO ESTRANHO!
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What is the Amazonas, you ask? At its heart, the Amazonas is a parts bin-engineered, Volkswagen-powered frankenbike from São Paulo, Brazil, that was produced in the 70s. Why was it ever made, you ask? Well, that's kind of a tricky question. Like a lot of Cycleweird machines, the Amazonas has a hazy history that tells at least three different stories about how and where it came from. I'll be going with what appears to be the truest, most logical story, but just keep in mind that this monstrosity has other origin stories.
Our story starts in the mid-60s, after a military coup deposed the previous Vargas dictatorship and installed a brutal military dictatorship that would last more than twenty years. At some point, Brazilian economic apparatchiks had the bright idea to institute a series of truly draconian protectionist trade policies in an effort to bolster the country's foundering industrial and agricultural sectors. Basically, they taxed the hell out of any foreign imports as a way to spur domestic technological development and production. It, uh, it didn't work.
By the mid-70s, the country was in a pretty bad way thanks to oppression, poor decision making, and mismanagement by the junta. The government was on its hind legs, the economy was a complete shambles, and people everywhere were pretty desperate. There's a whole lot more social and economic baggage here to unpack, but that's way outside the scope of this article. Let's just say that, by the time our story starts, the country was kind of a disaster.
So majestic...
In the late-70s, one of the groups hit hardest by the trade policies was, strangely enough, the country's national police force. See, Brazil had no domestic motorcycle companies at that time. This put the national cops, who maintained a fleet of motorcycles for official use, in a serious bind. Their ride of choice was a herd of 50s-era Harleys that, by the late-70s, was spending more time in the shop than on the road due to attrition and parts scarcity. The effective ban on imports made it impossible to get parts to fix the old bikes, and forget about ordering new bikes, so the motor cops were left with nothing to ride. Into this desperate situation walked a man named Daniel Rodrigues.
Rodrigues, a tinkerer and shade-tree mechanic from São Paulo, got wind of the motor cops' desperate situation and had a brilliant idea – he'd design a rugged, reliable, heavy-duty motorcycle for the police using Brazilian-made parts and home-sourced ingenuity. To meet the needs of the police the bike would have to be fast, easy to maintain, and able to stand up to a whole lot of punishment. First, he started a company called Amazonas Motocicletas Especiais, Ltda (AME) to produce his bikes, then he went looking for parts. Since the most widely available, domestically-produced mechanical parts were car parts, that's where he started.
Volkswagen – along with Ford, Willys, and a handful of other manufacturers – had been producing vehicles in Brazil since the first round of import sanctions went into effect in 1953. Banking on the company's reputation for reliability and simplicity, Rodrigues started with VW's 1600cc air-cooled flat four Type I engine found in, among other vehicles, the legendary Beetle. The old Beetle mill was mated to a standard VW 4-speed transmission complete with first gear. The final drive problem was solved by welding up the VW's differential gears and running a sprocket and chain off a standard-issue half-shaft. The rest of the parts, such as the carbs, brake rotors, and other miscellaneous bits, were sourced from both Ford and VW parts bins.
Ponch? Is that you?
The bike's frame was a duplex tube design that, much like the crude, overly-stiff suspension, was totally inadequate for the task at hand. In testing it handled like a garbage truck and the VW engine produced just enough power to get out of its own way. Fully assembled, and draped in some rough-hewn trim and body work, the massive Amazonas weighed in well north of 900 pounds.
Despite all these flaws, the Amazonas was accepted by the Brazilian government for police work and was immediately put into service. Hilariously enough, the Amazonas police bikes proved insanely reliable during their government service. The VW engine was bullet proof, the engineering, while suspect at best, stood up incredibly well to the wear and tear of police work, and if they ever did break down they could be fixed anywhere in the country by anyone with a minimum of mechanical know-how, an adjustable wrench, and a twist of baling wire.
With the "success" of the Policial, AME decided to start producing bikes for the civilian market. By the mid-80s, the Amazonas' heyday, AME produced four models – the base model Esporte, the "performance minded" Super Esporte, a fully-dressed touring bike called the Tourismo, and the old reliable Policial. The only real difference between the four was body work, a mildly tuned engine in the Super, and the police gear mounted to the Policial. They sold relatively well, especially since they were the only game in town, and even gained a small but passionate following among Brazilian gearheads.
This is, sadly, the best resolution I could find of this amazing ad. That's the face of a man who is suffering from buyer's remorse right there.
Unfortunately, the rest of the world wasn't so happy with the Amazonas. While the VW engines were reliability itself, on the whole the bikes were slow, heavy, under-braked, under-suspended, underpowered, and a complete nightmare to ride. They were absolutely savaged in the foreign press by those writers brave enough to ride the export models. One review, in the 1987 issue of Dream Bikes magazine, had this to say about the ponderous Brazilian bikes.
"The outdated Russian Dniepr/ Ural flat twins used to be the means by which we reminded ourselves of the excellence of most latter-day Japanese and European motorcycles, but now the Amazonas has amply - and that's the motjuste for a two-wheeler scaling 386 kg dry and with a wheelbase of no less than 1680 mm - usurped the Eastern Bloc bikes in this educational role. The Brazilian Behemoth, built in São Paulo and powered by the air-cooled flat-four horizontally opposed pushrod Volkswagen engine, is so lacking in sophistication and finish that you can scarcely credit that someone, somewhere is actually building them in series production, still less finding buyers for the end result.
Curiously, instead of using the VW engine's inherent strength to advantage by making it a fully stressed member, Ferreira has constructed a crudely welded full duplex chassis, into which the unit isshoehorned, thus adding weight and reducing rigidity. The overall design concept of the Amazonas is basically amateur, as are the details: look at those evil castings for the footboards, or the brake master cylinder, carelessly sculpted by hand complete with many shaky lines where the artisan paused for a slug from the sugar-cane still. Or look at the massive front forks, no less than 48 mm in diameter with barely noticeable damping, and fitted with weighty 10 mm-thick cast-iron disc brakes, borrowed like the large ATE calipers from a local Ford car, and twice as thick and many times as heavy as most normal bike brakes.
However, the conversion from hand to foot change is crude and unwieldy, although the single-conversion to chain final drive, which is cheaper than making their own hypoid rear unit for bike use, results in a very long chain run and inevitable snatch. Theoretical plate, cable-operated VW diaphragm clutch is light to use. There's the VW crown wheel and pinion, but Amazonas's own top speed is 100 mph (160 kph) with the twin-carb engine, but you'd have to be a brave man to push an Amazonas to those extremes. Apart from the clutch, all the controls are unbelievably heavy, directional stability is a problem at almost any speed, and the rock-hard rear suspension, itself a primitive layout combining totally ineffective locally made dampers with a primitive plunger-type rear-axle location that went out of style thirty years ago in Europe, gives a bone-crushing ride."
Brutal, just brutal.
As an aside, I actually saw an Amazonas way back in 2002 at a place called Pioneer Auto Museum in Murdo, South Dakota, while the wife and I were on our honeymoon road trip. Let me tell you, they're no better looking in person than they are in pictures. I'd completely forgotten about them until I started researching weird bikes for this feature, and as soon as I saw the Amazonas I remembered seeing one all those years ago and I knew I had to tell you guys about them.
Amazonas Turismo and Esporte. Peep the flame job on that Esporte back there.
AME soldiered on into the late 80s, offering the same four models with various small upgrades that did little to improve the bikes' fit, finish, or ownership experience. In 1989, the Brazilian economy completely self-destructed and took many Brazilian companies with it, including AME. Rights to the Amazonas were snatched up by a company called TECPAMA, who continued to produce the bikes in limited numbers. By the early 90s, sales of the original four models had completely flatlined, and TECPAMA released a more modern – for lack of a better word – sportbike called the Kahena 1600.
Ladies and gentlemen - the 90s.
Rare as hens teeth, the Kahena was allegedly—I say "allegedly" because no one knows how many, if any, were actually built—produced between 1990 and 1992. A bloated, awkwardly-proportioned thing, it featured a spruced up VW 1600 engine, a twin-spar frame, painfully 80s neon graphics, and actual motorcycle parts like controls, tires, and even a shaft drive. It was also way, way lighter than the old Amazonas bikes, tipping the scales at a lean 675 pounds. If you have a Kahena, or know someone who has one, please send me photographic evidence. I really want to see one in the wild, as it were.
Death finally came for the Amazonas and the Kahena in the mid-90s. Relaxed trade restrictions and a newly-opened Harley plant were the final nails in the old bikes' coffin, and with an influx of Japanese imports and home-grown iron both bikes faded into obscurity. Fewer than a thousand Amazonas bikes were made, and fewer were exported. Those that were exported were sold in pieces and assembled by a Houston-based importer to get around emissions and safety restrictions, a scheme so cunning that you could pin a tail on it and call it a weasel.
Today, you'd be hard pressed to find an Amazonas owner, let alone someone who's even heard of them. Personally, I kind of love them despite their terrible reputation. While truly awful, they represent an attempt to make the best of a bad situation and provide a home-grown motorcycle for a suffering country. I just can't hate that.
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Local cultural councils and COVID-19
Jack Golden performs to an automobile encased audience beneath an evening sky atop Greenfield's parking garage, an Eggtooth Production Thursday evening. Staff Photo/PAUL FRANZ '; }
Jack Golden performs his one man act beneath an evening sky atop Greenfield's parking garage Thursday evening. Staff Photo/PAUL FRANZ '; }
Performer Jack Golden just prior to his first performance "Under the Stars" atop Greenfield's parking garage Thursday evening. Staff Photo/PAUL FRANZ '; }
Performer Jack Golden wears a partial mask in the opening scene of "Under the Stars" atop Greenfield's parking garage, an Eggtooth production Thursday evening. Staff Photo/PAUL FRANZ '; }
Memorial Hall on Bridge Street in Shelburne Falls. The arts space has been closed since the pandemic began. Staff Photo/Paul Franz '; }
By ZACK DeLUCAand DOMENIC POLI
Published: 9/17/2020 9:06:52 AM
As the arts industry faces a string of constraints during the lasting COVID-19 pandemic, local cultural councils have continued working to help their arts communities remain active, all while preparing for this year's grant application cycle.
The Athol Cultural Council was in the middle of a grant cycle in mid-March, when the state went into partial lockdown to subdue the spread of the COVID-19 virus. Chair Robin Brzozowski explained council members reached out to grantees and gave them options. Some artists elected to perform virtually, while others postponed shows and exhibits until the pandemic is over. Some canceled their applications and said they would reapply in the future. In Athol this year, just more than 25 percent of grant recipients had their program or event occur prior to the limiting of public gatherings.
"Our council members have really worked hard to connect with the people who had grants that were active during the period of time that (the lockdown) happened," Brzozowski said. "Our goal is to continue to fund arts programs the best way that we can and make them available to the community."
Members of Shelburne's council met via Zoom in late August to discuss, among other items, strategies for helping artists and organizations in the time of COVID. Shelburne Local Cultural Council Chair Connie Clarke said part of the cultural council's mission is to make sure that audiences remain connected to, and can find enrichment through the arts.
"For sure, this year we all are fine-tuning priorities to meet the challenges of the COVID-19 pandemic," she said. "How do we encourage people not to be discouraged, for one thing? These are tough times for arts and culture, but we are determined to be innovative and supportive because we make a difference."
Clarke said venues will need to be virtual or outdoors, noting that Memorial Hall Theater, the largest hall in West County, has been shuttered since March. Before the COVID-19 pandemic began, Clark said the Memorial Hall Association was meeting with groups to discuss use of the venue for future programs and events. Now, members are not even allowed upstairs and Pothole Pictures programming, operas and more have been put on hold.
"We've lost our traditional venues. We always assumed Memorial Hall would be open and available," Clarke said.
In this new era of uncertainty, arts organizations have been forced to adapt or temporarily close.
"Some grantees have figured out a way to present COVID-safe offerings in an adjusted way, for what they received their grants for," said Greenfield Cultural Council Chair Linda McInerney. "Others have postponed and said they'll do what they were granted for as soon as they're able to. And some are just unable to do their programs."
While there are still a lot of unanswered questions around when they will return to full audiences and indoor venues, McInerney said it's been "exciting" to see the ways area artists and performers are keeping the arts alive. Her own production company, Egg Tooth Productions, has continued to work to present pandemic-safe performances and events. Earlier this summer, Egg Tooth Productions put on a one-man show atop the parking garage in Greenfield.
In this, Clarke said she's been "blown away" by some of the ways artists have connected with their audience. Unfortunately, she said they just don't know what will happen to certain programs or events that don't easily adapt to outdoor or virtual venues. She also noted outdoor programs will all come to a halt when the weather turns.
"People are trying to figure out what to do in COVID, but it is not easy," McInerney said. "These challenges will be with us for a while, and we're meeting new challenges on a daily basis."
The state's grant cycle for local cultural council programs normally begins Sept. 1. It has been moved back one month this year; grant applications will be available Oct. 1. Cultural council across the region expressed that it's unknown as to what to expect for funding this coming year. A general consensus is that town allocations through the state's Local Cultural Council's funding program will be considerably less than usual due to the havoc the coronavirus pandemic is wreaking on state and local budgets.
Established in 1982, the Local Cultural Council is one of many initiatives supported by the Massachusetts Cultural Council, which annually receives funding from the State Legislature and the National Endowment for the Arts. In total, there are roughly 329 councils serving all 351 cities in the state.
As much as possible, McInerney says the Mass Cultural Council has been supportive. For example, the state council has allowed for grants to be adjusted from their original applications to account for COVID-19 limitations. This offers an opportunity to apply funds to ways of keeping the arts programming alive during the lasting public health emergency. Local cultural councils have taken similar steps. According to Brzozowski, the Athol Cultural Council has offered reimbursement grants for artists and performers who schedule shows and exhibits that are free or low cost for the public to attend. These grants are available to artists in various media — from music to literature to sculpture to painting.
"We're really open to all kinds of things," Brzozowski said, adding that musical performances and events featuring animals are particularly popular in Athol.
Brzozowski said the Athol council's Fiscal Year 2020 grant cycle distributed $12,100 through 20 grants. According to Brzozowski, Athol's cultural grants typically run between $200 and $1,500, which is the amount received by Tool Town Live, a summer concert series. The Massachusetts Cultural Council provides Local Cultural Councils with funding for the arts, humanities and interpretive sciences.
"Over the past several years we have seen a steady increase in the total allocation our community received, allowing us to provide our community with greater access to a variety of cultural events and programming," Brzozowski said.
According to McInerney, Greenfield gets roughly $10,000 in state funding for the arts each year. She anticipates getting about half that this year. In Shelburne, Clark said the local council's annual allocation is roughly $4,800. They spread its reach by giving grants of a couple hundred dollars to more than a dozen organizations, artists and programs that encourage innovation and community collaboration. Clark said the highest grant they gave in 2020 was for $300.
"Even though it's a small amount of money, it's a lot to them," Clarke said.
Often, Clarke noted, artists and programs will apply to multiple area towns for a few hundred dollars each; the towns give knowing they will all help kick in for the funding. To ensure funding for certain programming in the wake of the COVID-19 pandemic and this time of financial uncertainty, Clark said Shelburne and other neighboring towns will need to work in more direct collaboration.
In Greenfield, grants are often focused on programs that will also help benefit the city's public schools, library and senior center. One thing that is "sort of unique" about Greenfield, McInerney said, is that the city doesn't have an arts council of its own outside of the local cultural council. She said this disbanded in the '70s or '80s. Before COVID-19, McInerney said they had voted to re-institute an arts council, but now a timeline for this is unclear.
Funds for each fiscal cycle are awarded to reimburse project expenses after completion of the event, up to the full amount of the council's grant, Clarke said. To be eligible, all funded projects must meet the Mass Cultural Council's requirements and each town or city typically has its own set of guidelines.
More information on each town's Local Cultural Council and the grant application process can be found at mass-culture.org and massculturalcouncil.org.
Zack DeLuca can be reached at zdeluca@recorder.com or 413-930-4579. Domenic Poli can be reached at dpoli@recorder.com or 413-772-0261, ext. 262.
ATHOL MA
Shelburne Ma
Local Cultural Council
MassDOT plans replacement of two Montague bridges
State troopers arrest 3 in Bernardston for allegedly trafficking heroin, fentanyl


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#ifndef DALI_ADAPTOR_VERSION_H
#define DALI_ADAPTOR_VERSION_H

// INTERNAL INCLUDES
#include <dali/public-api/dali-adaptor-common.h>

namespace Dali
{
DALI_ADAPTOR_API extern const unsigned int ADAPTOR_MAJOR_VERSION; ///< The major version number of the Adaptor.
DALI_ADAPTOR_API extern const unsigned int ADAPTOR_MINOR_VERSION; ///< The minor version number of the Adaptor.
DALI_ADAPTOR_API extern const unsigned int ADAPTOR_MICRO_VERSION; ///< The micro version number of the Adaptor.
DALI_ADAPTOR_API extern const char* const  ADAPTOR_BUILD_DATE;    ///< The date/time the Adaptor library was built.
} // namespace Dali

#endif // DALI_ADAPTOR_VERSION_H

redpajama_set_name: RedPajamaGithub


text:
President Joe Biden is considering…
India Is Preparing Its Power Grid For A Major Renewable Energy Expansion
Following up on its COP26…
Latest Energy News
Tsvetana Paraskova
Tsvetana is a writer for Oilprice.com with over a decade of experience writing for news outlets such as iNVEZZ and SeeNews.
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This Oil Major Expects Its Oil Production To Peak In 2025
By Tsvetana Paraskova - Feb 28, 2020, 2:30 PM CST
Italy's Eni expects its oil production to start declining after 2025 under its new long-term strategy to rely on natural gas, renewables, and new technologies to cut net greenhouse gas emissions of its energy products by 80 percent by 2050.
In its Long-Term Strategic Plan to 2050 and Action Plan 2020-2023, the Italian oil and gas group set out an ambitious target to obtain by 2050 an 80-percent reduction in net scope 1, 2 and 3 emissions, referring to the entire life cycle of the energy products it sells.
Thus, Eni joins other Big Oil firms from Europe who have recently pledged reductions in scope 3 emissions, that is, the carbon footprint of the energy products that companies sell.
A week after new CEO Bernard Looney took over from Bob Dudley as BP's boss, BP unveiled earlier this month a plan to achieve net zero carbon footprint across BP's operations on an absolute basis by 2050 or sooner. The oil major also aims to halve the carbon intensity of the products it sells by 2050 or sooner, joining other companies such as Shell and Equinor, which also target to reduce the carbon footprint of the energy products that they sell.
Eni's plan today includes upstream production growth at an annual rate of 3.5 percent up to 2025, and a decline in oil and gas production after that, mainly for oil. By 2050, gas production would account for around 85 percent of Eni's total production, the company said.
Apart from higher gas production and projects for forest conservation and CO2 capture and storage, Eni aims to significantly boost its position in renewables. The company expects to have installed renewables capacity of 3 GW by 2023 and 5 GW by 2025, while installed renewables capacity is set to jump to 55 GW by 2050, with developments mainly in OECD countries.
"We have designed a strategy that combines economic sustainability with environmental sustainability and we have done so by defining an action plan based on technologies – existing or developed in-house - that we know how to implement. This will allow Eni to be a leader in the market supplying decarbonised energy products and actively contributing to the energy transition process," Eni's chief executive Claudio Descalzi said in a statement.
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The Real Reason Why Oil And Gas Is Here To Stay


Tuesday was crummy weather again so I stayed in and relaxed. Wednesday however started off OK and so I went to the Walt Disney Studios. About an hour into it the weather turned bad again but at least it didn't rain.
I was a little concerned about the operating hours, 10 – 7 thinking that was a rip off, but I had easily completed everything in about five hours and that's with a break for a meal. I had a good time, although the park is quite small, smaller than the version in Florida and I thought that one was small, oh well. So, here are my observations for you Disney fans.
The park is small. The Tower of Terror looks very different than in the US, it looks like a new Hotel. The pre-show is similar but once you're in the car thingy, it just rolls back a few feet and into the elevator shaft. The good part was pretty good, several drops and bits of weightlessness, I was satisfied. The Back Lot tour was pretty lame, just the catastrophe canyon and some other time fillers. The Motures, Action, Stunt Spectacular was pretty good. I haven't seen the version in the US yet so I don't have anything to compare it with. It was enjoyable though.
There was a show called Cinemagique with Martin Short where he's in the audience making a nuisance of himself and gets zapped into the movie. It was silly but the seats were comfortable and it was an OK way to spend a half hour or so. Rockin Roller Coaster with Aerosmith was there and was on par with the US version, great. There was a special effects attraction themed on the movie Armageddon that was pretty lame, it reminded me of a really old and lame attraction at Disney World called Mission to the Moon, later redesigned as Mission to Mars, also lame.
So that was my day at the Studios. My last six days here in Europe were a bit of a waste, Disneyland park was good, but the other days were wasted. I wish I had planned better and made some trips into and around Paris, but I just stayed in and relaxed. Perhaps I needed it though, two months on the road, I am pretty wiped out.
Well, I fly home tomorrow and I have mixed feelings about that. I'll post once more after I'm home with my final thoughts which ought to be a real page turner.


Skin neoplasms represent a group of cutaneous disorders comprising primarily basal cell carcinoma, cutaneous squamous cell carcinoma, malignant melanoma and cutaneous lymphoma. Until the last few years, not all skin cancers subtypes have been studied in an epigenetic milieu. Among skin cancer subtypes, melanoma is the most discussed from the epigenetic point of view due to its aggressiveness and its proven resistance to radiotherapy procedures. Epigenetic deregulations comprise reversible modifications of the nuclear material, for instance aberrant methylation of DNA, posttranslational modifications of histones and recently considered, microRNAs profiles. A relevant number of patents and clinical trials regarding the use of epigenetic drugs alone or in combination with classical procedures have been developed especially for melanoma treatment. Due to their particular aggressive character, cutaneous lymphomas or even the rare Merkel cell carcinoma has been started to be intensively investigated upon epigenetic context, leading also to develop new therapy options and novel patents for their treatment.


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Elatostema manillense är en nässelväxtart som beskrevs av Hugh Algernon Weddell, H. Schröter. Elatostema manillense ingår i släktet Elatostema och familjen nässelväxter. Inga underarter finns listade i Catalogue of Life.

Källor

Nässelväxter
manillense


Both stimulus and response conflict can disrupt behavior by slowing response times and decreasing accuracy. Although several neural activations have been associated with conflict processing, it is unclear how specific any of these are to the type of stimulus conflict or the amount of response conflict. Here, we recorded electrical brain activity, while manipulating the type of stimulus conflict in the task (spatial [Flanker] versus semantic [Stroop]) and the amount of response conflict (two versus four response choices). Behaviorally, responses were slower to incongruent versus congruent stimuli across all task and response types, along with overall slowing for higher response-mapping complexity. The earliest incongruency-related neural effect was a short-duration frontally-distributed negativity at ~200 ms that was only present in the Flanker spatial-conflict task. At longer latencies, the classic fronto-central incongruency-related negativity 'N(inc)' was observed for all conditions, but was larger and ~100 ms longer in duration with more response options. Further, the onset of the motor-related lateralized readiness potential (LRP) was earlier for the two vs. four response sets, indicating that smaller response sets enabled faster motor-response preparation. The late positive complex (LPC) was present in all conditions except the two-response Stroop task, suggesting this late conflict-related activity is not specifically related to task type or response-mapping complexity. Importantly, across tasks and conditions, the LRP onset at or before the conflict-related N(inc), indicating that motor preparation is a rapid, automatic process that interacts with the conflict-detection processes after it has begun. Together, these data highlight how different conflict-related processes operate in parallel and depend on both the cognitive demands of the task and the number of response options.


Discover and appriciate the submarine beauty that the ocean offers!
Learn and experience diving with a certified PADI Instructor in half a day! Theory class, pool practice the day before and next day ocean dives at 40 ft max. depth.
This reef is located in the middle of Herradura Bay. There are many goat fish, damsels, small snappers and puffers. It is the perfect site for beginners.
A large reef with various dive sites, named for it's many sea fans and big rocks where you will find lobsters, schools of surgeons and jacks as well as moray eels and grunts.
A little west of the garden this reef starts at 100 feet and ends up at 20 with a twin pinnacle. Here you will see eagle rays, spotted and electric rays as well as large schools of fish.
Diving along both sides of a large rock and between many channels you will have the chance to see surgeons, grunts, snappers and sting rays, as well as white tip sharks and giant manta rays.
This dive site is on the west side of the Herradura island. Cuevitas means "Little Caves" and in many of them it's easy to find white tip sharks and morray eels and swimming near the surface, barracudas and manta rays.
A reef made of different big rocks wich attracts, when in their season, manta rays. Due to its position is not accessible when there is swell.
A flat rock in shallow waters where there are schools of snappers, grunts and surgeons. Due to the shallow depth of the location it is only accesible during calm days.
This Island is located 15 miles north-west of Herradura Bay, and is famous for its whitesand beches and plenty of marine life. We can find hard coral, sea fans, big animals suchas white tip sharks, giant manta rays, sting rays, eagle rays, turtles, barracudas and a lot more.


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Stakelogic Unveil Marlin Catch Pokie
With such an incredible variety of online pokies already available from the creative developers at Stakelogic, it's nice to see a fishing-themed title heading our way from the award-winning studio.
Marlin Catch is due for release later this month and will surely have players chasing with new zest after the "one that got away".
The game area consists of 5×3 reels and 10 paylines. Three or more matching symbols on a payment constitutes a winning combination, and players will get to choose bets ranging between $0.10 and $20 as they embark on their latest big fishing adventure.
Not only is the theme bound to make headlines, but so is the top Jackpot prize money. On offer is a Jackpot equal to 25,000x the player's wager, which would be a life-changing windfall for most.
The symbols will make the game enjoyable too. These include everything you'd expect to find on a fishing trip: a fishing rod, come blue weeds, a three-angle fishing hook, and a life saver's swimming inflatable.
The bubbled W is the Wild symbol. It is a high-paying icon and also a substituting symbol. It's joined on the reels by the Swordfish Scatter, which is the key to unlocking the Free Spins bonus feature. The bonus feature comes standard with several huge rewards 5 free games with the possibility of adding more, a Sticky Wild, a Multiplier Wild, and a bonus Collector symbol.
There's also a Gamble feature for a chance to increase the player's winnings.


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Violinist.com - Violin Blogs - Laurie Niles - Blog Entry
Violin Community News 2010, Op. 7
Unfortunately, much of the audience apparently had a cold when violinist Joshua Bell and pianist Jeremy Denk played works by Bach, Schumann, Saint-Saens and Ravel to a nearly-sold-out crowd Monday as part of the Seattle Chamber Music Festival. "Two world-class musicians at the top of their game played before a Seattle audience that did not have the good sense to invest in a few cough drops," observed Sumi Hahn, writing for The Seattle Times. Hopefully the pair will have better luck when they perform many of the same works in a recital this Friday at Disney Hall in Los Angeles.
Violinist Jaime Jorge will perform in a concert called Hope for Haiti"s Children, to benefit UNICEF"s emergency relief efforts, at 6 p.m. March 7th a the Albuquerque Convention Center in New Mexico. A native of Cuba, Jorge immigrated to the United States when he was 10 and studied with violinist Cyrus Forough.
You may have heard that Gil Shaham is working through "Concertos of the 1930s," this year, performing seven of the some 14 concertos written during that decade by great composers such as Samuel Barber, Béla Bartók, Alban Berg, Ernest Bloch, Benjamin Britten, Karl Amadeus Hartmann, Paul Hindemith, Walter Piston, Sergei Prokofiev, Arnold Schoenberg, Roger Sessions, Igor Stravinsky, Karol Szymanowski and William Walton. This story, written by Barbara Jepson for the Wall Street Journal, goes into some depth about Shaham's project and about the coincidence of all those concertos written so closely together: "It would be foolish to read too much extramusical content into these pieces; all composers are primarily concerned with abstract issues of form, structure, harmony and the like. Yet many of these concertos convey an underlying unease," she says.
"Lutherie...like many of Europe"s historic crafts, is coming under threat from cheap Chinese products," according to an article in the Brisbane Times, which compares the violin-making situation in Cremona, Italy to that in, say, Xiqiao, China, where more than 40 companies crank out cheap violins. Italian makers also are seeking to stop counterfeits – Asian violins claiming Cremonese origin.
Russian violinist Viktoria Mullova played Brahms's Violin Concerto last week at Avery Fisher Hall with the Rotterdam Philharmonic Orchestra. Steve Smith from the New York Times observed that she had recently played the work with a period ensemble, and "here, watching Ms. Mullova play from a score, you sensed that she was thoroughly reconsidering a canonical work without having reached any firm conclusions. There was no faulting her rock-solid technique or coolly incisive tone. She was imposing in Joachim's first-movement cadenza, gracious in the Adagio and just buoyant enough in the finale."
A few more symphonies announced their upcoming seasons, including the The Philadelphia Orchestra and the The Boston Pops.
What to do with a VSO ("Violin-Shaped Object")? A number of symphonies put such fiddles in the hands of artists: not musical artists, but visual artists, who transform the objects into fodder for fundraising. Personally, I think it"s a good use for VSOs, as long as no one tries using a Strad as a canvas. Here is a gallery of violin objects-made-art-objects for a fundraiser by the New Jersey Symphony Orchestra.
From Sue Buttram
Posted on February 24, 2010 at 11:54 PM
I attended the Joshua Bell/Jeremy Denk concert and it was funny how many people were coughing but at least most of them waited to cough between movements. It showed real restraint. Great concert!
From Pauline Lerner
Posted on February 25, 2010 at 6:25 AM
I had a ticket to hear the Bell/Denk concert, but it was scheduled on a big snow day here, and even the concert hall was closed. It's been rescheduled for early March, and I'm really looking forward to it.
From LUIS CLAUDIO MANFIO
Interesting article about lutherie. I think that the offer of cheap violins eventually will make the prices of instruments made by top makers higher, because just a small group of top makers will survive in the market and they will ask high sums for their instruments.
That already happened in other professions, such as taylors. There were many taylors 40 years ago, and we could afford a custom made suit. Now they are scarce, and you will pay a mint for a custom made suit.
www.manfio.com


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You are here: Home | Exhibitor search | PPC-Z7312
A product from: ROCKTECH CO.,LTD.
PPC-Z7312
PPC-Z7311 is a industrial embedded all-in-one SBC powered by Freescale i.MX6 series CPU. Featuring low power consumption and outstanding computing & graphic performance, it's particularly suitable for harsh/demanding industrial applications and public s pace applications. PPC-Z7312 series offer various temperatur e level products to support a wide operating temperature range and could be extended for rich peripheral interfaces
Freescale ARM Cortex-A9 i.MX6 dual/quad core1.0GHz/1.2GHz
1 x dual 8 LVDS 1xVGA 1xHDMI
6*USB 2.0-A,1*OTG
2*RS232,1*RS485
7-inch liquid crystal with a resolution of 1024*600
HMI interactive device
Rail transportation Industrial automation
Medical device terminal
Unmanned intelligent terminal
Portable device
Established in 2007, Rocktech is a leader in providing embedded computer system products & solutions and keeps the knowhow on IoT in China. The company consists of two departments as Embedded Computing Platform Division and IoT System Division.
Embedded Computing Platform Division mainly provides design manufacturing services for customers, powered by Freescale, TI and Rockchip processors. The company has a sincere stable R&D team composed of professional engineers with years of experiences in embedded OS and software services, providing comprehensive services from kernel layer to APK layer. Our products are widely used in diverse industries such as intelligent terminals across smart cities, industry intelligence, intelligent transportation, as well as intelligent instruments and equipments, enabling Rocktech a leading brand in embedded computer industry.
Based on cloud applications, the IoT System Division provides cloud managed services such as cold chain logistics tracking services, industrial scene monitoring services, unmanned convenience stores and management services, as well as charging piles and management services.
Rocktech has gained dozens of patents till now, with the embedded technology development being at the leading edge of the industry. The company owns dozens of computer software copyrights, and has passed the certification of national hi-tech enterprises, ISO9001 quality management system, as well as authoritative certifications such as CCC. In 2017, the company was granted "Embedded Technology & IoT Project Lab" and "Xi'an Jiaotong University Joint R&D Lab ".
Rocktech has a workforce of 108 employees, among which 55 are R&D technicians with 15% holding the master or doctor degree. Taken Xi'an as its research and development center, Rocktech has set up sales and service offices in Beijing, Shanghai, Shenzhen, Xian and Chengdu. With the strict NPI process standard, higher product test standard, and sound after-sale service mechanism, Richtech provides the customer with higher quality products and outstanding services.
ROCKTECH CO.,LTD.


Indirect Determination of In-Situ Compressive Strength of ... Estimation of compressive strength of concrete of structures which suffered ... standard Pundit device.
Determination of concrete compressive strength of the ... Compressive strength determination ... only needed device would be an ultrasonic pulse tester.
5.1 Care must be exercised in the interpretation of the significance of compressive strength determinations by this test method since strength is not a fundamental or intrinsic property of concrete made from given materials.
Determination of appropriate mix ratios for concrete grades … Kazeem ADEWOLE, Wasiu O. AJAGBE, Idris A. ARASI 84 compressive strength of concrete used in typical construction sites in Nigeria.
· Splitting Tensile Strength of Cylindrical Concrete Specimens,Scope, The test method covers the determination of compressive strength of cylindrical concrete specimens, such as molded cylinders and drilled cores.


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Q: Data Validation using VBA with IF conditions not working I'm trying to use Data Validation with an IF condition which can offer two different Data Validation lists. dvEntry and dvExit is a defined range (column of a table).
If I enter a formula in the Excdel cell it works fine:
=IF(AI6="ENTRY", dvEntry, IF(AI6="EXIT", dvExit, ""))
However, If I try to use two IF conditions like above in the VBA code, I get an error. ActiveRow is my currently selected row. TRIGGERcol is the Column for the data validation.
Set Reset = tbl.ListRows(ActiveRow)

    With Reset
       .Range(TRIGGERcol).Validation.Add Type:=xlValidateList, AlertStyle:=xlValidAlertStop, Formula1:="=IF(AI6=""ENTRY"", dvEntry, IF(AI6=""EXIT"", dvExit, """"))"
    End With

If I disable the second IF condition, it works. But then I can't use the feature needed. I've tried using IFS instead of IF with the same outcome. What is wrong with the VBA Validation when using multiple IF conditions?
Appreciate any help.

A: Try this:
With Selection.Validation
    .Delete
    .Add Type:=xlValidateList, _
        AlertStyle:=xlValidAlertStop, _
        Operator:=xlBetween, _
        Formula1:="= IF( $AI$6 = ""ENTRY"", dvEntry, IF( $AI$6 = ""EXIT"", dvExit, TEXT(,) ) )"
End With

Replace Selection with the appropriated range.


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Village traveller site concern
Published: 7:04 AM March 6, 2009 Updated: 7:53 AM October 7, 2020
Residents are gearing up to fight plans for a gipsy and trav-ellers' settlement at Brockdish.
Land overlooking the River Waveney has been included on a shortlist of nine potential sites identified by South Norfolk Coun-cil, which is looking to make up a shortfall in provision for gipsies and travellers within the district.
And local people turned out in force at a parish council meeting last Thursday to give their views and hear more about the scheme.
The meeting was attended by more than 140 residents of Brockdish, Thorpe Abbotts and surrounding parishes, including Syleham. Two representatives of the district council also attended to outline its proposals for a permanent gipsy and traveller development next to the A143 Diss to Bungay road.
Concerns raised included road safety issues and the rural setting at the entrance to the village.
A parish council statement said it was a lively debate that resulted in a call for a public meeting.
This will be held tomorrow at 7pm at Brockdish Village Hall.
South Norfolk's eight weeks of consultations on proposed sites starts on Monday, during which the parish council will make its formal response.