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'Ma' Ma Mia!
Ma loves you. A LOT.
Classic slasher movies tend to follow familiar formulas: teenagers getting knocked off by a mysterious stranger who is eventually revealed to be someone with some kind of grudge, usually having to do with neglectful or mean teenagers in their past. Ma follows a bit in that vein, but omits some of the mystery. There's no doubt Ma is nuts, and doesn't have her teenage posse's best interests at heart. But the why is revealed slowly, as is the extent of her insanity.
Set in an unnamed southern town (though filmed in Natchez, MS), the film establishes our Final Girl immediately. Maggie (Diana Silvers, recently seen in Booksmart), and her single mother Erica (Juliette Lewis) have recently moved to town, but it doesn't take long for Maggie to make friends with the cool kids: party girl Haley (McKaley Miller) and a trio of boys, including insta-boyfriend Andy (Corey Fogelmanis).
The group's go-to fun time is drinking at the Rock Pile, which is, literally, a pile of rocks in the middle of nowhere. Getting booze for these jaunts requires hanging outside a liquor store and begging an adult to buy up for them.
Enter Sue Ann (Octavia Spencer). At first adamantly against it, she eventually gives in, for reasons that are very obviously ulterior, especially after she makes sure the kids get caught that evening. When she conveniently runs into them again, she tells them they can drink in her basement. After all, it's better than them driving around drunk, right?
She quickly earns the nickname "Ma," and before her complimentary Pizza Rolls are even finished, her basement is the new hot ticket, although there are rules: there has to be a designated driver, and no one is allowed to go upstairs.
While partying in a middle-aged stranger's basement doesn't seem particularly odd to the teens at first (because, one, drunk, and two, dumb teenagers in a horror movie), when Ma starts to send them incessant texts and video messages, practically begging them to keep showing up, they get wise, and spread the word that Ma is a little weird, and they should probably stay away from her party den.
Which gets back to Ma....
At first, we just assume Sue Ann is a lonely woman who gloms onto the kids out of a combination of concern and lonely desperation. But flashbacks reveal Sue Ann has a history at their high school, and with some of their parents. But the pace at which those flashbacks are scattered throughout the film is off, both slowing things down, and remaining annoyingly enigmatic for the majority. We know something bad happened to her, but when they finally get to it, the event loses much of its impact.
Pacing in general is a big problem, as there's nothing gradual about Ma's turn from creepy to completely psychotic. In fact, her break is so sudden it ends up being one of the film's biggest laughs, which the movie could use more of. And indeed, there are clues that this is all being played for camp, the biggest being the presence of Allison Janney as Sue Ann's veterinarian boss, who spends all of her extremely brief screen time glaring or yelling at Sue Ann ("Sue Ann! Why isn't that dog shaved?!"). But Ma never truly commits to the camp.
(I'll also add that the fact that Ma works with animals had me tense throughout the whole thing, fearing she was going to murder everyone's pets. Happy to spoil it for the similarly nervous and say no dog dies, though one does get hurt.)
Director Tate Taylor worked with Octavia Spencer previously on the film The Help, which was firmly set in the south, and dealt with historical race relations. Ma is also centered on a black woman in the south, and yet race plays almost no part in the story. The flashbacks reveal she was the only black girl within her social group, and everyone she deals with as an adult is white. (Aside from one of the partying teenagers, and at least that doesn't go unnoticed or without comment)
By ignoring the topic, the film falls into the camp of unsurprising crazy killer stories, offering no real nuance, commentary, or subversion to the genre. It had me imaging what someone like Jordan Peele could have done with the same story. Perhaps he could have given us a film actually worthy of the all-in performance from Octavia Spencer.
Labels: Horror
'Booksmart' Schools The Teen Comedies That Came Before It
"YOLO POLE THO!"
Booksmart, actress Oliva Wilde's directorial debut, is the first film of 2019 I immediately wanted to see again, both to catch the jokes I missed when they were drowned out by laughter, and because it just made me so...happy.
A ribald, raucous, and revelatory comedy centered on female friendship, it manages to firmly entrench itself into the annals of great teen comedies, while also flipping cliches, and avoiding the tropes that often make us look back at our teenage faves thinking, "Really? Really, now."
The story centers on Molly (Beanie Feldstein) and Amy (Kaitlyn Deaver), two high school seniors on the last day of school. Both have gotten into Ivy League schools, though that's not something they can brag about since class president Molly instituted a rule that seniors can't talk about their college admissions, lest it make lesser students feel bad.
You would expect two overachievers like Molly and Amy to be the butt of many a joke, and they are. But they also deserve some of the derision they get because they're a bit insufferable. And that's what makes them perfect heroines. They aren't just nerdy outcasts. They also have a tendency to be condescending and dismissive of their more carefree classmates. Which is why it comes as the most tremendous of shocks to them when they learn that a lot of those classmates also got into good colleges (aside from the one slacker who repeated a grade and is heading straight to a coding job at Google).
"How?!," screams Molly, "You guys don't even care about school!" "No, we don't only care about school," replies the girl known as AAA for reasons related to rumored roadside hand-jobs.
Realizing they spent four years needlessly devoted to nothing but school, Molly and Amy decide to pack four years of fun into one night. This means going to a house party thrown by Molly's underachieving but very cute student council vice president, Nick (Mason Gooding), if they can only figure out where it is. (Unsurprisingly, they weren't invited.)
The resulting evening is filled with both the things you'd expect from a teenage comedy, and surprises. While Molly and Amy are looking to possibly hook up with the objects of their affection, that's not the sole purpose of their evening, which is instead a broader YOLO smorgasbord of shenanigans. (That Amy is gay is nicely presented as long established fact, and only her Christian parents, played by Will Forte and Lisa Kudrow, who are comically over-accepting of it, ever seem to give it much thought.)
There are plenty of times where we laugh at Molly and Amy, but also plenty of times when we laugh with them. And what I found most refreshing is that not once are Molly's or Amy's looks the object of derision. There are no jokes centered on weight, or their level of attractiveness. At one point, a student even talks about how he'd totally get with Molly, if he could only put a paper bag over her "butter personality."
And yes, perhaps that's not a realistic portrayal of high school life in the age of the bully-in-chief. But it sure is a nice break from stereotypical cinematic mean girls who always seem to pop up in high school comedies to do nothing but be mean and pretty. Instead we get girls like Gigi (Billie Lourd, perfection) a rich party girl with an almost shamanistic supply of insight and hallucinogens, and Hope (Diana Silvers), who is, yes, mean and pretty, but also...well, I won't give it away.
Director Wilde perfectly weaves the film's raunch and warmth, perhaps best demonstrated during Molly and Amy's conversation about masturbation and the involvement of a beloved stuffed animal, while also throwing in some truly gonzo bits of surrealism (animated Barbie dolls are involved). It's rare to see a comedic debut so masterfully assured.
And Beanie Feldstein and Kaitlyn Deaver are so, so good as the BFFs, I almost assumed they actually did know each other for years in real life. They didn't, but apparently Wilde suggested they immediately become roommates once they were cast in the film. It worked. That familiarity paired with the script by Emily Halpern and Sarah Haskins, and Susanna Fogel and Katie Silberman, gives us the most believable pair of besties since...well, since Ilana and Abbi bid us farewell a few months ago.
Booksmart is being compared to 2007's Superbad, both because of the subject matter and because Beanie Feldstein's older brother Jonah Hill starred in it. And while I liked Superbad just fine, I ultimately came away from it feeling like it just wasn't a movie made for me (and that period shaming scene wasn't the only reason why, though it was a big part). Booksmart had the opposite effect. It's the teenage comedy I wanted as a teenager, and as a young adult, and now, and forever.
Labels: Comedy
'Poms': Diane Does Death
"Is that Angelica Huston twerking?!"
In a recent interview promoting her new film John Wick: Chapter 3, Angelica Huston threw some major shade at Diane Keaton's latest women-of-a-certain-age comedy, Poms. To wit:
Quite honestly, I'm looking for movies that impress me in some way, that aren't apologetically humble or humiliating like, "Band of cheerleaders gets back together for one last hurrah," you know. An old-lady cheerleader movie. I don't like that kind of thing. If I'm going to be an old lady — and I'm sort of touching old lady these days — at least I want to be a special old lady. I don't want to be relegated to some has-been making a comeback. I hate comebacks.
Yikes! Did Diane Keaton murder Angelica Huston's puppy or something? Is there some kind of longstanding feud between them since they both dated Jack Nicholson? Or did Angelica just see the Poms script, and couldn't help herself? (She has since apologized. Kind of.)
Because the truth is, she's not wrong about the movie. It would be more fun to watch a passive aggressive exchange between Angelica Huston and Diane Keaton centered on anything than it would be to watch Poms.
Now, I don't think there's anything inherently wrong with an old lady cheerleader movie, or an old lady comeback movie, or just an old ladies being old ladies movie, if done well. But Poms is nothing but (a blissfully brief) 90 minutes of wasted opportunity and talents.
In a lot of Diane Keaton movies, Keaton essentially plays Keaton, her quirkiness filling in for character development as needed. But in Poms, her quirk just isn't equipped to do that much heavy lifting. Within the first five minutes of the movie, we learn basically everything we're ever going to know about her character, Martha: she's unmarried, never had kids, is not seeking treatment for a recent cancer diagnosis, and is moving from some unnamed city to a retirement community in Georgia.
Why's she giving in to death? What was her life like? Was it a good one? Why Georgia, of all places? Does she have any friends or family to speak? We never find out the answers to any of those questions. There's plenty of time to show Martha puking into various toilets as her illness progresses, but apparently not enough to develop her into anything resembling an actual person.
Except, of course, for the cheerleading thing, which is either a missed opportunity that has haunted her her entire life, or just something she's reminded of because she finds her old cheerleading uniform in a moving box. Really, either could be true, as it's nothing but an inelegant plot point stuck in the movie so it can get to the old ladies trying to start a cheerleading squad.
Of the pompon squad, Jackie Weaver gets the most development as Martha's outgoing and randy next door neighbor, Sheryl, while Pam Grier, Rhea Perlman, and Phyllis Somerville get painfully few opportunities to shine. The rest of the squad are relegated to background players.
Which leads me to wonder, if the film isn't going to bother using the acting talents of those other actresses, why not just hire older dancers instead? That way, the cheerleading scenes would actually be executed well, instead of the painful and ineptly choreographed routines director Zara Hayes tries to convince us are rousing and worthy of viral popularity. While Poms would like us to believe the cheerleading is some kind of metaphor for dancing in the face of death, the inspiration falls as flat as a drunken sorority girl on top of a pep squad pyramid.
'Long Shot' Comes Out Ahead
Note: the hats are not hiding head wounds
While Long Shot does open with a scene in which journalist Fred Flarsky (Seth Rogen) suffers a blow to his head (and, well, his entire body), that accident does not lead to some kind of head trauma-created alternative reality in which women like the beautiful and powerful secretary of state Charlotte Field (Charlize Theron) find him irresistible; I guess that conceit is reserved for the ladies. Instead, we're to accept this is a romance based in reality.
And that's fine! Beautiful people fall in love with shlubby people all the time! I just wish when it came to Hollywood, that scenario wasn't relegated to the realm of fantasy for one of the sexes.
Following that slapstick-filled opening, the alternative weekly Brooklyn paper Fred Flarsky writes for is bought by a right wing media conglomerate owned by the Roger Ailes/Rupert Murdoch-esque Parker Wembley (a heavily made up Andy Serkis). The very liberal Flarsky quits in disgust. His best friend Lance (O'Shea Jackson, Jr.) attempts to cheer him up with a day of debauchery, and because Lance is rich (though it's never made clear exactly what he does), the night ends at a fancy benefit featuring Boys II Men, and a guest list that includes Secretary of State Charlotte Field.
Flarksy and Field have a bit of history. When he was 13, she was his 16-year-old babysitter, and he made his crush on her embarrassingly obvious. While he's never forgotten her, he's kind of hoping she's forgotten him, or at least, the more embarrassing parts. But she does recognize him, and their conversation helps her remember the idealist she used to be in high school.
Field is a skilled--and youngest ever--Secretary of State to an imbecilic president (Bob Odenkirk, nailing it) who seems to have been elected simply because he played the POTUS on a popular television show; (it's not unheard of!). She's set her sights on succeeding him, and needs to improve her public image a bit to boost her numbers. This means hiring an advisor (Lisa Kudrow, in a killer cameo), to help her improve things like her wave, and punching up her speeches with humor.
Enter newly-unemployed Fred Flarsky. Field's chief of staff (June Diane Raphael, in what would normally be a villainous role, but is thankfully more nuanced), is steadfastly against the hiring, but Field is adamant. So before Flarsky can even change out of his painfully ugly neon windbreaker, he's jet-setting around the world as Field's new speech writer.
Flarsky spends as much time as he can getting to know Secretary Field, in between her 10 minute, eyes-wide-open power naps, and during the seven minutes she may have between phone calls, and Rogen and Theron have a believable chemistry together. For the most part. When they end up having sex that results in simultaneous orgasms after 20 seconds of intercourse, I kept waiting for Secretary Field to roll over, laugh and say, "Ha ha, but seriously, get back here and help me finish."
And certainly, Rogen and Theron do look like an unlikely pair. Rogen is playing a pretty standard Seth Rogen man-child character, but his pairing with Theron as both his straight man and a comedic partner, helps make him more likeable than he has been in years. Their escapade taking molly at a Paris nighclub is funny. But Theron's scene handling a national crisis while still high is funnier than anything else in the admittedly pretty funny movie.
You can't have a romantic comedy with roadblocks, which include the belief Field's staff has that voters won't accept someone like her paired up with someone like him. They're convinced they'd be more accepting of a romance between her and the handsome but milquetoast Prime Minister of Canada (Alexander Skarsgård, hilariously playing against type).
But it's a potential scandal with Flarsky at the center that is set up as the true roadblock forcing Field to choose between love and career. While the screenplay (by Dan Sterling and Liz Hannah) does acknowledge just how difficult and unfair Field's being a woman has made her rise to power, it also exists in a world where Donald Trump as president doesn't, and never did, exist. In some ways this is problematic, as we're all too painfully aware that scandals aren't enough to convincingly bring down a presidential candidate any more, so why would they even worry about it?
But on the other hand, it also broadens the romantic fantasy. Sure, it's nice to imagine a happy ending between a seemingly mismatched couple. But isn't it even nicer to imagine a world where the last three years never even happened?
'Booksmart' Schools The Teen Comedies That Came Be...


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‹ December 12: J. Wilbur Chapman's Evangelistic Crusades • December 14: Persecution of the Lord's People ›
December 13: Rev. John Bailey Adger [1810-1899]
13 December, 2018 in December 2018 by Wayne Sparkman | No comments
The following obituary was published in The Presbyterian Quarterly, April 1899 (Volume 13, Number 2), pages 354-355:
John Bailey Adger, D.D., died in Pendleton, South Carolina, on the 3d of January, 1899, in the 89th year of his age.
Dr. Adger was born of Scotch-Irish parentage in Charleston, S.C., December 13, 1810. He graduated when 18 years of age at Union College, Schenectady, N.Y., and at Princeton Theological Seminary in 1833, of which, at the time of his death, he had been for some time the senior surviving alumnus. Shortly after his ordination by the Charleston Union Presbytery in 1834, he went as a missionary to the Armenians, under appointment of the American Board of Commissioners for Foreign Missions, and served in this work for twelve years at Constantinople and Smyrna, until the failure of his eyes and other circumstances compelled his withdrawal from the foreign field. During his missionary service he translated into Armenian the New Testament, Pilgrim's Progress, the Shorter Catechism, and other books, which translations are still in use among that people.
After his return home he engaged in work among the negro slaves in his own native city. A church, connected with the Independent Presbyterian Synod, whose house of worship stands hard by his late residence in Pendleton, is appropriately named for him, "The Adger Memorial Church."
Upon the withdrawal, in 1856, of Dr. Palmer from the Chair of Ecclesiastical History and Church Polity in the Columbia Theological Seminary, Dr. Adger was elected his successor, and filled that position with great zeal and ability for seventeen years. After his retirement in 1874, although he had then reached the age of 64, he entered with energy and vigor upon the pastoral work in his own Presbytery of South Carolina, which he continued until, having attained the age of 83, he was reluctantly constrained, by physical infirmities, to give up the public preaching of the Gospel.
At this advanced age, and amid these hindering infirmities, with courage and energy, he undertook what was perhaps the greatest task of his life, the writing of a large book, which he called "My Life and Times." His life had been a long one, the times through which he had passed, eventful in Church and State; and he undertook to write a history and discussion of the various questions he had to meet and help to solve. With the assistance of a devoted daughter, and such other help as he could procure, he gathered up the facts, studied out the questions, and dictated chapter after chapter of his book. His mind, still clear and vigorous, and his body wonderfully strong and active, he labored systematically and diligently for several years at this work. And almost as soon as the last chapter was finished, the last page written, and the valiant servant of God had laid down his fruitful pen, the Master called him to the everlasting rest.
Dr. Adger's magnum opus, My Life and Times, is a classic and was reprinted just a few years ago by the English publisher, Tentmaker. This same work can also be read online, here.

redpajama_set_name: RedPajamaCommonCrawl


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Home » Power » Company News
Jura mainland submarine cable replacement commenced
PowerTransmission and DistributionPower Cable
By NS Energy Staff Writer 26 Mar 2020
Jura mainland submarine cable replacement has started. (Credit: SSE)
Scottish and Southern Electricity Networks (SSEN) has commenced the installation of a new submarine electricity cable between Jura and Tayvallich, Argyll, following a cable fault in November.
Necessary permissions from statutory authorities were received on 24 January and, since then, a specialist marine vessel has been on standby awaiting suitable weather conditions to carry out the end-to-end cable replacement. This critical work is essential to the safe and reliable supply of electricity and is in keeping with government guidance on continuance of works vital to national infrastructure. Measures have also been put in place for social distancing and safe working in relation to the coronavirus outbreak.
SSEN's team has been working since first light this morning (Wednesday 25 March) to install the cable, with completion expected by Friday afternoon. Upon successful installation, end-to-end testing will take place before connecting the new cable to the electricity distribution network serving Jura, Islay and Colonsay.
Weather permitting, SSEN expects the new cable to be in operation by early April. Customers on Jura will experience a brief interruption to power supplies of less than five minutes as the network returns to normal operation and are being proactively contacted in advance.
The ongoing security of supply remains a key priority and SSEN would like to reassure its customers that contingency measures are in place, including the operation of Bowmore Power Station and local renewable generation, to ensure a safe and secure supply of electricity to customers on the islands. SSEN would like to take this opportunity to thank local businesses and the wider community for supporting its key workers to carry out this critical work.
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The Chicago Pneumatic CP7748 features among the top 5 impact wrenches under $200 for a number of valid reasons. This wrench delivers incredible power of 1200 feet pound of torque, is lightweight, has an ergonomic grip, and features an innovative safety feature to protect the user's fingers.
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The Ingersoll-Rand 2130 heavy-duty air impact wrench offers up to 550 feet pound of torque. The wrench is also lightweight and durable, thanks to the manufacturer's use of light reinforced aluminum hammer case.
The Ingersoll-Rand 2130 offers the user several adjustability options making it a handy tool for various home improvement jobs. Furthermore, the simplicity and power of this tool suits it to automotive repair work as well. Generally, the 2130 will do great in any situation where messy work conditions dictate the need for an easy-to-maintain impact wrench.


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Supervisor Election - Begins November 4, 2021 and ends December 3, 2021 @ 4:00 pm
The 2021 election features three candidates vying for two seats on the Darke SWCD Board of Supervisors.
The Ohio Soil and Water Conservation Commission will cause an election of supervisors of the Darke Soil and Water Conservation District (SWCD) to be held in accordance with Chapter 940 of the Ohio Revised Code. Individuals who own or occupy land within the Darke Soil and Water Conservation District and are 18 years of age or older may vote for supervisor.
There are three (3) ways an eligible voter can cast a ballot:
At the Darke SWCD office located at 1117 Southtowne Court, Greenville, Ohio 45331 from November 4, 2021 until December 3, 2021 during normal business hours; or
At the Darke SWCD Annual Meeting, which will take place on November 22, 2021 at the Sure Shot Tap House located at 117 East 5th Street, Greenville, Ohio 45331 from 6:00 pm until 8:00 pm; or
Voting absentee from November 4, 2021 until December 3, 2021, by requesting the ballot application and election ballot from the Darke SWCD office at 1117 Southtowne Court, Greenville, Ohio 45331, by calling 937-548-1715, extension 3, or email jared.coppess@darkeswcd.com. Absentee ballots must be received by the Darke SWCD office by 4:00 pm on December 3, 2021.
Two (2) supervisors will be elected to a three-year term commencing on January 1, 2022 and ending on December 31, 2024.
Nominees are:
Rob Filbrun
Gary Goettemoeller
Tom Harrod


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Гали́на Влади́мировна Голыне́ц (род. 11 июля 1943 года, дер. Клесово, Смоленская область, РСФСР, СССР) — советский и российский , член-корреспондент Российской академии художеств (2009).

Биография

Родилась 11 июля 1943 года в дер. Клесово Смоленской области.

В 1967 году — окончила Институт живописи, скульптуры и архитектуры имени И. Е. Репина, а в 1976 году — аспирантуру МГУ.

В 1977 году — защитила кандидатскую диссертацию, тема: «Дореволюционный период творчества С. В. Малютина» (научный руководитель Д. В. Сарабьянов.

В 1980 году — присвоено учёное звание доцента.

С 1989 года — член Союза художников России.

В 2009 году — избрана членом-корреспондентом Российской академии художеств.

Семья
Муж — советский и российский искусствовед С. В. Голынец (1939—2018)

Научная и преподовательская деятельность

Специализируется на Искусстве Древней Руси и его традициях в искусстве Нового и Новейшего времени; на русском прикладном (народном и промышленном) искусстве; на художественной культуре Урала и Западной Сибири.

С 1967 года — работает в Уральском государственном университете, профессор кафедры истории искусств (с 2004 года). Ведет курсы: «Древнерусское искусство», «Русское декоративно-прикладное искусство» — и спецкурсы: «Невьянская школа иконописи в контексте искусства Нового времени», «Русский фарфор». Курирует различные проекты, выставки.

Автор книг и статей о мастерах неорусского стиля конца XIX — начала XX века, о старообрядческой иконописи (ввела в научный оборот понятие «невьянская иконописная школа»), о творчестве художников Севера, о современном искусстве Екатеринбурга.

Награды
 Почётный работник высшего профессионального образования Российской Федерации (2010)

Примечания

Ссылки

Выпускники Санкт-Петербургской академии художеств имени Ильи Репина
Преподаватели Уральского государственного университета
Члены Союза художников России
Почётные работники высшего профессионального образования Российской Федерации
Члены-корреспонденты РАХ

redpajama_set_name: RedPajamaWikipedia


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Darth Vader actor Dave Prowse has died, aged 85
The Bristol actor was also known for playing the Green Cross Code Man
Dave Prowse, the Bristol actor who played Darth Vader in the original Star Wars trilogy, has died aged 85.
The weightlifter-turned-actor, who also earned an MBE for playing the Green Cross Code Man to promote road safety, died after a short illness, his agent Thomas Bowington said in a Facebook post.
Prowse won the role playing Vader due to his impressive 6ft 6in physique, but with his West Country accent deemed not quite suitable, the part was instead voiced by James Earl Jones.
"May the force be with him, always!" Mr Bowington said in a statement to the BBC.
"Though famous for playing many monsters – for myself, and all who knew Dave and worked with him, he was a hero in our lives."
Mr Bowington called the actor's death, after a short illness, "a truly and deeply heart-wrenching loss for us and millions of fans all over the world".
Prowse represented England in weightlifting at the Commonwealth Games in the early 1960s before embarking on an acting career.
He was reportedly spotted by Star Wars director George Lucas when playing a bodyguard in the 1971 film A Clockwork Orange, and invited to audition for the roles of Darth Vader and Chewbacca.
He once told the BBC he chose Vader over his hairy co-star because "you always remember the bad guys".
Actor Daniel Logan, who played Boba Fett in Star Wars: Episode II Attack Of The Clones, posted a picture to Twitter with Dave Prowse, writing: "Sad to hear of the passing of a #StarWars family member. RIP Dave Prowse.
Dad ditches more than half his weight after having a stroke at 26stone
Woman, 82, fined £75 for dropping piece of tissue
"Darth Vader wouldn't be the same without you in the costume. We had many fun times & laughs at cons together over the years.
"Glad to have been able to call you a friend. Rest now and be one with the Force!"
Film director Edgar Wright paid tribute to Prowse, describing him as the man who "stopped a whole generation of kiddies from being mown down in the street".
He said: "As a kid Dave Prowse couldn't be more famous to me; stalking along corridors as evil incarnate in the part of Darth Vader & stopping a whole generation of kiddies from being mown down in street as the Green Cross Code man. Rest in Peace, Bristol's finest."
American actor Carl Weathers, who played Apollo Creed in the Rocky films and appears in Disney Plus Star Wars series The Mandalorian, paid tribute on Twitter: "RIP David Prowse. That stature contributed so much to Darth Vader's legend. #BePeace."
SAS and SBS finally settle who is best - with a bake-off
Police in Wales stop 110 drivers on first day of Covid border check
British actor Robin Askwith recalled first meeting Dave Prowse in 1972.
"Such sad news that dear Dave Prowse has passed away..," he wrote on Twitter.
"I first met him in his gym in 1972, West End gym and then he seemed to turn up in everything I did, once turning up in full Darth Vader kit to watch me roll around naked with Pamela Stephenson ….RIP Dave …"
The Twitter account of the Peter Mayhew Foundation, set up in memory of the actor who played Chewbacca, shared a picture of Prowse with Mayhew and their co-star Kenny Baker.
"RIP Dave Prowse. I hope you're up there sharing a pint and a story with the boys. #DarthVader #DaveProwse #RIPDaveProwse #StarWars."
Mayhew died in 2019 and Baker, who played R2-D2, died in 2016.
Prowse's Star Wars co-star Mark Hamill called him "much more than Darth Vader".
He tweeted: "So sad to hear David Prowse has passed. He was a kind man & much more than Darth Vader.
"Actor-Husband-Father-Member of the Order of the British Empire-3 time British Weightlifting Champion & Safety Icon the Green Cross Code Man.
"He loved his fans as much as they loved him. #RIP."


This is what they call "Kitchen of Showa". "Okonomiyaki Nomura" has been a flat pancake (Okonomiyaki) business here in Tomonoura for more than 100 years. It was truly a "well-established store". Nomura is always full of regular customers in lunch time. "Nomura" is called "Western one" from loco people. When loco people said "Why don't we eat the Western" means let's go and eat "Nomura's Okonomiyaki". In the past, "sauce flavor" itself was a rare product, and Okonomiyaki; which put some sauce; used called "A penny Western food" "Nomura" remain the days of remnant strong.


The SH-Navi2V is a SoC for car navigation systems incorporating image recognition processing functions. Built around the SH-4A and with a high operation frequency of 600 MHz, its many peripheral functions include a 2-D graphics engine, an audio encoder, and an Ethernet interface.
The SH-4A CPU core delivers superior processing performance of 1GIPS or more at its maximum operating frequency of 600 MHz, and the FPU provides excellent processing performance of 4.2 GFLOPS.


As the country marks 100 years since Armistice this week, our students have been remembering the part this school played during World War One, whilst also marking our annual Founders' Commemoration Day.
With roots dating back 384 years, Redmaids' High has a tangible link with much of the city's history including during wartime. In 1916, following the Battle of the Somme, The Red Maids' School took on a very different role as a volunteer auxiliary hospital run by nurses from the British Red Cross.
Redland High School also had a part to play in the war effort as a number of Jewish refugee children from Belgium were taught there and the school supplied hundreds of towels and garments to the British Red Cross for use at Bristol Royal Infirmary.
"This year's Founders' Commemoration Day seems particularly poignant," said Isabel Tobias, coming at the end of a week spent marking the centenary of the end of World War One.
"We have been remembering those who bravely fought over a hundred years ago, some who spent time recovering at our school, but also we have talked about the physical and mental injuries servicemen and women still endure today.
Five of our student pianists attend a piano masterclass at Steinway Hall in London.
As part of her Extended Project Qualification (EPQ), Elena held a private exhibition of 60 photos.


The 2019 Nissan Armada. It features an automatic transmission, all-wheel drive, and a powerful 8 cylinder engine. Nissan prioritized fit and finish as evidenced by: leather upholstery, automatic dimming door mirrors, heated and ventilated seats, telescoping steering wheel, a power rear cargo door, power windows, and a blind spot monitoring system. Passengers in the third row enjoy seat back reclining functionality, providing an extra level of comfort and convenience. For drivers who enjoy the natural environment, a power moon roof allows an infusion of fresh air. Audio features include a CD player with MP3 capability, and 13 speakers, providing excellent sound throughout the cabin. Rear LCD monitors provide entertainment that your passengers will appreciate no matter how far the drive. Nissan also prioritized safety and security by including: dual front impact airbags, front side impact airbags, traction control, brake assist, anti-whiplash front head restraints, a security system, an emergency communication system, and 4 wheel disc brakes with ABS. Safety and maximum capability are assured via self leveling rear suspension, which maintains optimal driving geometry. We know that you have high expectations, and we enjoy the challenge of meeting and exceeding them! Please don't hesitate to give us a call.


text:
AJYCP plans stir demanding ILP
By STAFF REPORTER - 15 Sep 2010 12:00 AM GMT
GUWAHATI, Aug 19 - Demanding the provision of inner-line permit (ILP) for the State, the Asom Jatiyabadi Yuba Chhatra Parishad (AJYCP) would launch a movement from August 20. The youth body today asserted that the indigenous population would not get the benefits of NRC unless constitutional safeguard and ILP is implemented in the State.
�The final draft of long awaited NRC has been published. However, it is yet to be seen whether it is going to protect the interests of the indigenous people or not. We are of the opinion that unless the National Register of Citizens is supported by some additional provisions like giving some constitutional and economic safeguards to the indigenous people of Assam, it won�t be able to serve the purpose entirely,� the youth body�s central committee president Putul Dutta and general secretary Palash Changmai said.
�It�s not a new demand from the AJYCP. Suspecting a threat to the identity and existence of the indigenous people due to continuous cross-border infiltration and migration from within the country, the Parishad had demanded for inner line permit in Assam nearly four decades back. Since Independence, these two issues have affected the socioeconomic condition of the State in an adverse manner and some effective steps are necessary to save the indigenous people from becoming minorities in their own land,� Changmai said.
Also expressing concern over the reports of steps taken up by the neighbouring states after publication of the final draft of the NRC in Assam, the AJYCP leaders said that whereas the other states are expelling the doubtful citizens, Assam has no such mechanism to stop those people from taking shelter here.
�We would start our movement on August 20 by staging a three-hour sit-in demonstration throughout Assam. The movement will continue in the days to come,� the AJYCP leaders said.


text:
export BOOT from './Boot'
export BLANK from './Blank'
export PRELOAD from './Preload'
export END from './End'
export IMAGE from './Image'
export MOT from './Mot'
export TEXT from './Text'

redpajama_set_name: RedPajamaGithub


Ya know, sometimes it's not always the best thing to have all the money to do what you would do if you had all the money.
Decorating slowly can have its advantages. If you have needed to wait until you could afford an item or the means to accomplish a small re-decorating project the advantage to that is by the time you've completed a project or room, you tend to discover your very own style rather than a "dime-a-dozen" showroom style by Ashley or even Thomas. Your new room is truly YOURS.
We have always needed to redecorate or remodel or finish a basement one board, table, or picture at a time. But you know what? We ended up with a home that is unique from anyone else's and fits us perfectly. If we would have had the money to have our builder finish our basement at the time we built our house we wouldn't have anything like it is shaping up to be. Having the time or I guess I should say, having to TAKE the time whether we want it or not, GIVES us the time to think and ponder about our finished project, even if it comes 10 years later.
Decorating in one fell swoop leaves us at the mercy of the popular trends of the day. Having the time to piece together a family room can create a space that has our own imprint and becomes a room that will withstand time.
Decorating our home is a journey, not a weekend trip!


Digital glass art from your images are digitally printed directly onto 6mm toughened clear glass with polished edges. Wall mount side grip panel fixings are supplied. Bespoke sizes available on request. Glass Art can be used indoors or out.


text:
QuartzClock
QuartzClock was our first app, and it's free! It is a simple clock with an alarm. It is designed to be easy to read in bed, without your glasses on. The colours change just by dragging your finger over the display. Works on iPhones, iPods, and iPads.
If you "Disable Auto-Lock" to stop the screen going blank, make sure your device is plugged into power to avoid draining the battery.
It's possible to Lock Orientation and Colours, so if you accidentally touch it while it's running, it doesn't change (this is all under the Settings tab). If the orientation isn't 'flipping' when you expect it should, please check the Lock Orientation in your general iDevice settings as well.
There are options to show the day of the week (multi-lingual!), show the date, and flash the time seperator dots.
To set the alarm, go to the Settings tabs, and switch on the Alarm option, and thense the time you're after and tap 'Set'.There should be a little bell icon and a countdown timer in the top right-hand corner of the clock face, so you know the alarm is working.
The alarm can be set to repeat once, or daily, at thesame time. There are four alarm sounds you can choose from.
It's not posible to set the LED screen option as the default setting, sorry.
April 2018 Some users have reported issues with the alarm on QuartzClock running on the latest iPhones. Unfortunately there isn't anything we can do about this, as it's an issue stemming from the iOS system and new hardware, and nothing we can alter in code. QuartzClock just tells the device to 'play a sound', that's it. You may be able to fix things by deleting and reinstalling the app, that's worked for some people. You can also try a hard reset, or turning your phone on and off again. (This is proving to be an issue with other apps that involve telling the device to 'play a sound', so we're not alone in this one!)
Please note that we are currently unable to continue developing this app, due to illness, so while you're welcome to send us feature suggestions, we're unlikely to be able to act on them any time soon.
Site Map | Last updated 20 01 2020


There aren't enough food, service, value or atmosphere ratings for Goen Dang Ne Rural Area Restaurant, South Korea yet. Be one of the first to write a review!
Get quick answers from Goen Dang Ne Rural Area Restaurant staff and past visitors.


Frans de Voldere advises and litigates in matters of intellectual and industrial property.
Frans manages sizeable trademark portfolios, and advises on trademark strategy and management.
In this respect Frans advises on the selection and availability of trademarks, opposition proceedings and the protection against unauthorized use.
intellectual property audits and setting up strategies and tactics to reduce the risk of infringements.
Frans is a litigator in the best sense of the word, and a specialist in conservatory arrests (prejudgement seizures).
He strongly believes in the power of this important tool that is specific to the Dutch jurisdiction.
An arrest can create a favourable position to negotiate and force reluctant debtors to pay what is owed [more...»].
He has successfully arrested a wide range of assets: ships, trading goods, bank balances, real estate, household goods, et cetera.
Frans published articles on legal aspects of domain names on the internet, with an emphasis on trade mark related issues.


text:
Q: Turn while loop into math equation? I have two simple while loops in my program that I feel ought to be math equations, but I'm struggling to convert them:
float a = someValue;
int b = someOtherValue;
int c = 0;

while (a <= -b / 2) {
    c--;
    a += b;
}
while (a >= b / 2) {
    c++;
    a -= b;
}

This code works as-is, but I feel it could be simplified into math equations.  The idea here being that this code is taking an offset (someValue) and adjusting a coordinate (c) to minimize the distance from the center of a tile (of size someOtherValue).  Any help would be appreciated.

A: It can be proved that the following is correct:
c = floor((a+b/2)/b)
a = a - c*b

Note that floor means round down, towards negative infinity: not towards 0. (E.g. floor(-3.1)=-4. The floor() library functions will do this; just be sure not to just cast to int, which will usually round towards 0 instead.)
Presumably b is strictly positive, because otherwise neither loop will never terminate: adding b will not make a larger and subtracting b will not make a smaller. With that assumption, we can prove that the above code works. (And paranoidgeek's code is also almost correct, except that it uses a cast to int instead of floor.)
Clever way of proving it:
The code adds or subtracts multiples of b from a until a is in [-b/2,b/2), which you can view as adding or subtracting integers from a/b until a/b is in [-1/2,1/2), i.e. until (a/b+1/2) (call it x) is in [0,1). As you are only changing it by integers, the value of x does not change mod 1, i.e. it goes to its remainder mod 1, which is x-floor(x). So the effective number of subtractions you make (which is c) is floor(x).
Tedious way of proving it:

At the end of the first loop, the value of c is the negative of the number of times the loop runs, i.e.:

*

*0 if: a > -b/2 <=> a+b/2 > 0

*-1 if: -b/2 ≥ a > -3b/2 <=> 0 ≥ a+b/2 > -b <=> 0 ≥ x > -1

*-2 if: -3b/2 ≥ a > -5b/2 <=> -b ≥ a+b/2 > -2b <=> -1 ≥ x > -2 etc.,

where x = (a+b/2)/b, so c is: 0 if x>0 and "ceiling(x)-1" otherwise. If the first loop ran at all, then it was ≤ -b/2 just before the last time the loop was executed, so it is ≤ -b/2+b now, i.e. ≤ b/2. According as whether it is exactly b/2 or not (i.e., whether x when you started was exactly a non-positive integer or not), the second loop runs exactly 1 time or 0, and c is either ceiling(x) or ceiling(x)-1. So that solves it for the case when the first loop did run.
If the first loop didn't run, then the value of c at the end of the second loop is:

*

*0 if: a < b/2 <=> a-b/2 < 0

*1 if: b/2 ≤ a < 3b/2 <=> 0 ≤ a-b/2 < b <=> 0 ≤ y < 1

*2 if: 3b/2 ≤ a < 5b/2 <=> b ≤ a-b/2 < 2b <=> 1 ≤ y < 2, etc.,

where y = (a-b/2)/b, so c is: 0 if y<0 and 1+floor(y) otherwise. [And a now is certainly < b/2 and ≥ -b/2.]
So you can write an expression for c as:
x = (a+b/2)/b
y = (a-b/2)/b
c = (x≤0)*(ceiling(x) - 1 + (x is integer))
   +(y≥0)*(1 + floor(y))

Of course, next you notice that (ceiling(x)-1+(x is integer)) is same as floor(x+1)-1 which is floor(x), and that y is actually x-1, so (1+floor(y))=floor(x), and as for the conditionals:
when x≤0, it cannot be that (y≥0), so c is just the first term which is floor(x),
when 0 < x < 1, neither of the conditions holds, so c is 0,
when 1 ≤ x, then only 0≤y, so c is just the second term which is floor(x) again.
So c = floor(x) in all cases.

A: c = (int)((a - (b / 2)) / b + 1);
a -= c * b;

Test case at http://pastebin.com/m1034e639

A: I think you want something like this:
c = ((int) a + b / 2 * sign(a)) / b

That should match your loops except for certain cases where b is odd because the range from -b/2 to b/2 is smaller than b when b is odd.

A: Assuming b is positive, abs(c) = floor((abs(a) - b/2) / b). Then, apply sign of a to c.

redpajama_set_name: RedPajamaStackExchange


text:
Good Attorneys At Law > Tax law blog > 2013 > April
The Six Rights of Copyright – Part III: The Right to Prepare Derivative Works
Posted by Ari Good, JD LLM on April 30, 2013
This is the third part in our series on what makes a copyright. If you're just jumping in, take a look at the first two parts linked below to get caught up. To refresh, the six parts of copyright are:
To try to get behind the curtain of copyright, we're individually exploring each of these six rights. An understanding of each of these rights and how they operate will allow you, the creator, to be in a better position to take advantage of your copyright.
III. The Right to Prepare Derivative Works
A derivative work starts with a pre-existing, copyrighted work. A different author then recasts, transforms, or adapts it to create something new and original. The exclusive right to prepare derivative works is also known as the adaptation right. As an exclusive right, the copyright owner of the pre-existing work alone has authority to prepare derivative works. Derivative rights also tend to overlap with the reproduction right because you're reproducing a part of the original in the derivative work. The derivative right exists primarily to prevent others from stealing your ideas for their gain. It also works, however, to stop others from changing the meaning of an original work unless they have the author's permission.
Mona Lisa with a Moustache – A Derivative Work
Derivative works come in many shapes and forms. Mona Lisa with a Moustache is a famous scholarly example, but films from Harry Potter to the Godfather are ripped from the pages of books. Hip hop is rife with beats, samples, and lyrics taken from earlier songs (although this musical practice has been going on for ages). Even the popular Ecards with sarcastic messages on Facebook are derivative works. Adaption may also occur when there is a:
Dramatization
Fictionalization
Editorial revisions
Compilations (musical or factual) are NOT derivative works, but can still enjoy copyright protection under a different part of the law.
Copyright protection extends to derivative works, just as it does to the original work. This protection, however, only covers the new and original material added to a pre-existing work. There must also be a substantial difference between the new and original work. Creating a derivative work doesn't give that creator any ownership over the original work. It also doesn't enlarge or extend the copyright protection of the original work. The following is an example to illustrate the point:
Mario Puzzo originally penned The Godfather as a book in 1962 by Mario Puzzo. The book Godfather has copyright protection. Francis Ford Coppala and Mr. Puzzo took this pre-existing work, with Mr. Puzzo's permission, and adapted it into a screenplay. The screenplay Godfather also has copyright protection as a derivative work, but only for the new and original material. Mr. Coppala did not gain ownership rights to the book, and Mr. Puzzo did not get added time for his copyright to the book. The 1972 movie Godfather, in turn, was a derivative work of the pre-existing screenplay with its own copyright protection. The two Godfather sequels also were derivative works of screenplays (these screenplays also being derivative works of the original Godfather film).
Derivative works are very common to the entertainment industry. We could create an equally complex scenario as the Godfather example above for many musical works.
As a finale note, people can potentially invade your right to prepare derivative if they're making Fair Use of your copyrighted work. In plain English, people can make limited, derivative copies of pre-existing works if it's legitimately done for educational, commentary, criticism, parody, or other similar reasons. Technically speaking, Mona Lisa with a Moustache would be a potential example of a parody that is also fair use (if copyright protected the original Mona Lisa).
The world of derivative works is an extraordinarily complex area of law and this article only touches upon its diversity. Artists file lawsuits everyday claiming copyright infringement and derivative rights are a big part of the reason. Just ask the label for the Harlem Shake.
What other current and popular work out there can you think that may violate a creator's derivative right?
The Six Rights of Copyright – Part II: The Right to Distribute
This is the second part in our series on what makes a copyright: the Right to Distribute. If you've not already been so kind, have a look at Part I (the right to reproduce the work). To refresh, the six parts of copyright are:
To try to get behind the curtain of copyright, we're going to individually explore each of these six rights. An understanding of each of these rights and how they operate will allow you, the creator, to be in a better position to take advantage of your copyright.
II. The Right to Distribute
Distribution at Work
The exclusive right to distribute ensures that only you, or someone you authorize, can lawfully share your copyrighted work. Distribution not only covers direct sales of things like CD's, DVD's, and music files, but also their leasing, rental, and lending. This right, when paired with the right to reproduce, gives financial teeth to copyright protection. Only you, the copyright owner, can profit from the distribution of your copyrighted work through its sale, lease, or rental. An obvious violation of this right occurs when another sells your work without permission, but also occurs when it is given away, too. Peer to peer file sharing, internet piracy, and posting to a website are all common examples.
The right also lets you control how the work is distributed. The copyright owner, for instance, can dictate the price for a sale, the stores where someone can make a purchase, or if he/she lets someone borrow and use it for charitable reasons.
An important restriction on the distribution right is the Doctrine of First Sale. Once a person buys a physical copy of the copyrighted work, they can resell or otherwise do away with the copy as they see fit. A buyer, after purchasing a CD for example, owns that CD but not the copyright to the music itself. They can resell it at a garage sale, give it to a friend, or even use it as a target for skeet shooting. First Sale is the mechanism that allows Netflix and Blockbuster to rent out physical copies (not internet streaming) of movies. The right to first public distribution is another way of thinking and naming the issue.
The First Sale Doctrine, however, is not without its own limitations:
First Sale Doctrine only applies if a copy was lawfully made and sold under the U.S. Copyright Act. The U.S. Supreme Court is currently considering whether the Copyright Act can ever apply to copyrighted works made overseas.
First Sale Doctrine does not permit a person to rent out Computer software or CD's they've purchased.
More recently, a federal court also ruled that First Sale Doctrine does not allow the resale of digital music files.
As a finale note, people can potentially invade your right to distribution if they're making Fair Use. In plain English, people can make limited distribution of copyrighted works if it's legitimately done for educational, commentary, criticism, parody, or other similar reasons.
Chime in with any questions or comments that you may have about the right to distribute.
The Six Rights of Copyright – Part I: The Right to Reproduce
Figuring out what copyright actually protects is truly a dizzying concept. The fact that copyright actually has traditionally covered a bundle of five exclusive rights makes matters more complicated. Things became even more confusing when Congress added a pseudo sixth exclusive right in 1995. These six rights are:
I. The Right to Reproduce
Pressing of Record
The exclusive right to reproduce your work is the core function of copyright and gives it its name. Reproduction is the act of producing physical objects that contain or embody the copyrighted work. Only the copyright owner can make or control reproduction of their work. Reproduction commonly occurs in the form of publishing books from a manuscript, pressing records from a musical work, and manufacturing DVD's from a motion picture. Unauthorized reproduction occurs when someone photocopies that book, samples that music without permission, or pirates a copy of that film off the internet.
The general rule, as stated above, is only the copyright owner can control the reproduction of the work. There are, however, a couple important exceptions to this rule (aren't there always exceptions to the rule?):
"Fair Use" reproduction: This allows someone to make an authorized copy of the work if it's for the purpose of education, commentary, criticism, parody of other similar reason. Keep in mind, though, that the copy is limited to only what is necessary for the goal of fair use. This means a critique of a music album can only fairly use samples of the music, not make an entire copy of the album.
Libraries and educational institutions can make a limited number of copies as provided by law.
An issue of Fair Use is the most common exception that people cite to when making unauthorized copies. Many defendants claim Fair Use when copyright owners sue them for copyright infringement.
Reproduction of musical works also has its own separate, unique rule from other types of copyrighted work. Anyone can make their own copies without permission and distribute them once a copyright owner records and makes first distribution of their audio only works (think CDs, not music added to film or TV). This is a compulsory license. The copies are legal, even though they are made without permission, but a royalty (9.1 cents per song or 1.75 cents per minute) must be paid to the copyright owner for each copy distributed. This system is not very practical, however, so different agreements are commonly made. The Harry Fox Agency is well known for arranging deals between copyright owners and third party distributors.
As a final note, copyright infringement can occur even when someone doesn't make a complete copy of the work. The copy need only be substantial and material. Chopping off parts of a song or omitting a few tracks from an album can still be a violation of the law.
The right to reproduce, of course, would be of little economic value if not paired with the exclusive right to distribute. Follow along as we next explore that particular right.
Chime in with any questions or comments that you may have about the right to reproduce.
Top 10 Reasons To Register Your Copyright
Posted by Ari Good, JD LLM on April 4, 2013
The sheer act of creating an original piece of art makes it yours and yours alone. That unique beat, the words to a song, steps to a dance, or outline to a TV pilot: It's your intellectual property. This property, like real estate or a bank account, holds value and you should protect it. Certainly, if someone is to become famous from your musical ideas or reap vast profits from their sale, it should be you and not the person who ripped your ideas off.
In an ideal world, no one would steal intellectual property and claim it as theirs. Even in a perfect world people can still innocently and independently create works of art that are functionally identical. Proving that you created the work of art first would be a difficult task at best. Nevertheless, just like there are vaults to protect your money and deeds to prove you own land, the law provides a simple way to protect your intellectual property: registering a copyright. With due apologies to David Letterman, and in no specific order, here are the 10 Ten Reasons to Register a Copyright:
A registered copyright puts the rest of the world on notice. It's your legal proclamation to the world that you own certain intellectual property and unauthorized copies are illegal. Registration warns would be thieves that any larceny of your ideas is at their own risk.
A registered copyright protects your intellectual property from innocent, but unauthorized, reproduction. A famous example of this occurred when David Bowie sued Vanilla Ice for copyright violation over the hook to "Ice, Ice Baby." Even though Vanilla Ice claimed he innocently copied the beat (later retracted), he still owed David Bowie compensation for its use without permission.
A registered copyright gives credit where credit is due. This is a legal, public record that you are the author of a work of art, not someone else. Registration vindicates a very important principle beyond issues of money.
A registered copyright let's you sue for 'statutory damages' and attorney fees. In simple terms, suing for statutory damages means you don't have to prove that you actually suffered harm from a copyright violation. A typical lawsuit requires proving harm. You can sue for up to $150,000 for an intentional violation and up to $30,000 for an unintentional violation. CAUTION: you must register your copyright within 3 months of making it public to be able to sue for statutory damages.
A registered copyright, in a copyright infringement lawsuit, provides clear evidence that you own certain intellectual property. This means that the defendant in the lawsuit has the burden of proving that no violation occurred or they lose.
A registered copyright allows you to record the copyright with U.S. Customs. U.S. Customs in turn will protect you against the importation of illegal copies from other countries.
A registered copyright let's you stop someone from making illegal copies. You can obtain a court order that forces an infringing party to cease and desist from their infringement. This is what occurred when record labels sued Napster.
A registered copyright is necessary to sue for copyright infringement. In order to take advantage of the system, you need to be a player. You gain significant legal protection by registering your copyright under the laws of copyright.
A registered copyright provides legal protection beyond death. U.S. Copyright laws often create a situation where your copyright can still be enforced after you're long gone. Although you can't take riches to heaven, this would be important for someone who wants to provide for loved ones after they're gone.
A registered copyright saves time and money. It's certainly possibly to sue someone for stealing your intellectual property even without a registered copyright, it's just not a good idea. For some reason, waving a certificate of copyright, rather than lyrics scribbled on a napkin, just seems to go over better in court. Registering a copyright makes this legal process much more simple and cost effective when an attorney is necessary.
This is my list of the top 10 reasons to register a copyright. It doesn't mean that there are only 10 reasons, though, or that we can agree these are the 10 most important reasons. What other reasons are there to register a copyright or why do you think one reason is more important than another?


We have been advised by our Quality Assurance Department of a safety concern with this product.
The construction of the product could potentially lead to an electric shock.
Please could you STOP USING the product immediately and return the product to store for a refund.
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text:
Constructed: 9th century C.E.
King/Patron: Jayavarman II
Style: Kulen
The Kulen Mountain or Phnom Kulen is declared as a National Park. It is an isolated mountain massif located in Svay Leu District and some 48km from Siem Reap. Its highest point is 487 meters.
This is widely regarded as the birthplace of the ancient Khmer Empire. During the constructional period of the ancient temples in the nineth century, sand stones were brought from this sacred mountain to Angkor. It was here at Phnom Kulen that King Jayavarman II proclaimed independence from Java in 802 A.D.
The site is known for its carvings representing fertility and its waters hold special significance to the people of Cambodia. Just a few inches under the surface of the water, over 1000 carvings of Yoni and Linga are etched into the sandstone riverbed. The waters are regarded as holy, given the sacred carvings which also include a stone representation of the Hindu god Vishnu lying on his serpent Ananta, with his wife Lakshmi at his feet. A lotus flower protrudes from Vishnu's navel bearing the god Brahma. The river then ends with a beautiful waterfall. Phnom Kulen is regarded highly by Cambodian people as a sacred location and has developed into a great tour destination.
Impressive laterite and sandstone pyramid. The lack surviving carvingleaves it artistically uninteresting. But it


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The Death Train (alternately titled Death Train) is a 1978 Australian made-for-television horror thriller film directed by Igor Auzins, and starring Hugh Keays-Byrne and Max Meldrum.

It was produced by Robert Bruning's Gemini Productions.

Plot

A dead man is discovered at the bottom of his garden. It appears he has been hit by a train even though no train has run along those tracks for years.

Cast
 Hugh Keays-Byrne as Ted Morrow
 Ingrid Mason as Vera
 Max Meldrum as Johnny Loomis
 Ken Goodlet as Sergeant McMasters
 Brian Wenzel as Peter Murdoch
 Colin Taylor as Herbert Cook

Production
The film was shot in Sydney. Shooting started September 1977.

Reception
Don Groves of the Sydney Morning Herald said "Bruning has made some terrific thrillers, but this isn't one of them. After an intriguing opening, The Death Train simply runs off the rails... the script is given such tongue-in-cheek treatment, it's little more than a farce."

Charles Tatum from eFilmCritic rated the film a negative two out of five stars, criticizing the film's script, and editing.

Dave Sindelar from Fantastic Movie Musings and Ramblings gave the film a positive review, stating that the film's overall quirkiness (from its bizarre mystery, offbeat characters, and surreal humor) worked in its favor.

References

External links

 The Death Train at Screen Australia
 Death Train at AustLit (subscription required)

1978 horror films
1978 television films
1978 films
1970s horror thriller films
Australian horror thriller films
Australian television films
Horror television films
Films directed by Igor Auzins
1970s English-language films


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"La Gran Caverna" on Wayna Picchu
Cave, Gran Caverna, Huayna Picchu, Temple of the Moon, Wayna Picchu
July 17, 2019 September 22, 2020 Micheal PalmerGran Caverna, Huayna Picchu, Temple of the Moon, Wayna Picchu
What is now labelled the Gran Caverna (Great Cave) on the far side of Wayna Picchu from Machu Picchu is actually a shallow opening under a large stone outcrop. It is "gran" (great) only in the sense of the amazing stonework found inside. The space is actually quite small. The mortarless walls with tight-fitting stones have endured earthquakes with minimal damage, standing in place for hundreds of years.
What appears to be a doorway in the picture below is actually a large niche probably used to place some item of value. Notice the double-jambed design. I will have more to say about this below.
Close-up of Late Inca Era Stonework in the Gran Caverna
Such high quality stonework is only found in ancient Inca-era sites of great significance. It is no wonder, then, that over time people began to refer to this spot as the "Temple of the Moon", even though Bingham never called it that, and there is no good reason to associate it with moon worship. The site must have had a very high status, but we don't really know what its real purpose was.
Getting to this location requires a large time commitment and a solid level of fitness. And there's really not much else to see on the multi hour hike other than jungle-like vegetation, an occasional view of the surrounding mountains, and a lot of stairs.
When you arrive at the check-point for entrance to Wayna Picchu, you will see a large map showing the route to the summit and a much longer route to the "Gran Caverna." Because the direction of traffic is now controlled, you have to climb to the summit first in order to reach the Gran Caverna. The hike / climb to the summit of Wayna Picchu should take you about an hour (two hours round trip if you return the same way you came).
The map below is not the one displayed at the checkpoint. It is my own adaptation of Google Earth's image of the area, but it shows the location of the cave in relation to the ruins at Machu Picchu (the citadel), two nearby peaks, and the town of Aguas Calientes.
Satelite map showing the location of the cave
The stated estimate for the Gran Caverna hike is four hours, an hour to reach the summit, and three more hours to visite the cave. I was sixty years old—I turned sixty-one a few days later—and I made the entire hike with three friends in just under three hours.
Sign-in Book, Wayna Picchu
To climb Wayna Picchu (including the visit to the Gran Caverna), you have to sign in. Having you sign in and out helps locate any unfortunate hikers who get into difficulty. I signed in at 7:38 am and signed out at 10:27.
I have to admit, though, that the trek was far harder for me than the last time I did it. The years have taken a toll on my fitness.
I have discussed the climb to the summit of Wayna Picchu elsewhere (see Climbing Wayna Picchu), so here I will focus on the descent from the summit to the Gran Caverna and the climb back to the checkpoint at Machu Picchu.
Stairs protected by a wall
From the summit of Wayna Picchu, you hike down the face of the mountain away from Machu Picchu, going quite a bit lower than the level of the ruins in the citadel there. Three friends and I began this descent at about 9:15 in the morning on July 4. The hike begins on a well preserved path and staircase that has the remains of a wall on the side opposite the cliff.
Curving staircase with metal cable for support
As we began the descent we did not know how long it would take us to reach the Great Cave, and the longer we walked, the more we became convinced that we had chosen the wrong path. I certainly did not remember it taking so long the last time I had been there, and much of the journey looked unfamiliar. In hindsight, I think the lack of familiarity was due to a lot of careful restoration having been done on the trail. In 2004 and 2006 the beginning of the descent looked different.
At many points along the way, the descent becomes quite steep. Metal cables now provide handholds at some of these points.
At others there is no railing of any kind. If the steps are steep enough it is sometimes temping to turn around and go down them backwards, holding onto the steps above you for added stability.
The trip from the summit to the cave consists mostly of working your way down flights of steps.
As you approach the site of the "Great Cave" you will see a small structure that may have served as a control station guarding access to the site.
This small structure may have served as a guard station, controlling access to the site, or it may have been a storage facility for crops grown below the site.
The Gran Caverna / Great Cave
Turning the corner to your left after passing the small structure, you will encounter what Bingham called the "Great Cave", a very small space under an overhanging rock containing high-quality stonework.
Image from Wikimedia Commons
The stonework beneath this overhanging rock raises numerous questions. Why was such sophisticated work done at this remote site? What could be its intended use? To make the reasons for these questions clear, I took an image from Wikimedia Commons and labeled some of the puzzling features. (None of my own images included them all.)
Four puzzling features of the stonework in the "Gran Caverna"
This small enclosure has five large double-jammed niches (four visible in the image above, one hidden just around a corner). Double-jammed doorways, windows, and niches are features found only at the highest status sites from the Inca Period. They typically appear in palaces and temples, but not in common residences or other buildings for common use. This feature suggests that the small cave had some quite important status.
In the bolder in middle of the floor two intriguing features have been carved. The one to the left is often referred to as the "throne". It has a curved bottom, making it a comfortable place to sit, but not very useful for other purposes.
On the right side of the boulder a set of steps carved into the rock. This is somewhat puzzling given that it's quite easy to walk around the other side of the boulder to get to the same place. Does this imply that the steps once led to a structure that is no longer there, or that the site was still under construction when it was abandoned? There is no evidence of a former structure at that location. Turning right at the top of these steps leads within a few steps to the end of the "cave".
The return to the checkpoint from here is not as steep as the descent, but it is a serious climb at lest as far as the western ridge. Since you do not have to return to the summit, you only have to climb about half as far as you descended, but by this time I was quite tired, and the climb became more difficult.
Unless you are much more fit than I am, you will need to stop to rest often. I often lagged behind my three companions, having to stop a little more often than they did.
As you can see from in the pictures, the vegetation is heavy on the way back. While it frequently obstructs the view of the surrounding mountains, it provides welcomed shade.
Only a short distance along the trail, you will run into more ruins. A structure resembling a house will appear on your left. It has particularly large windows facing the trail. Could this have been another access control station? While traffic is directed in a single direction now, meaning you find this structure upon leaving the Great Cave, this traffic pattern was imposed only recently. In ancient times it is likely that this structure, like the one on the other side of the cave, could have controlled traffic heading to the cave.
Once you reach the western ridge of Wayna Picchu you will be able to see the ruins at Machu Picchu again in the distance to the south. You will then begin a steep descent along the southern face of the mountain.
View of Machu Picchu from the western ridge of Wayna Picchu
Along the southern face the path will descend and rise in alternating stages. On one of the earliest of these transitions the ancient builders included a protective wall on the side of the trail opposite the cliff face, like the one we saw on the way from the summit to the cave. Only a few of the flights of stairs are protected in this way.
In the picture the younger two of our group of four look back at me waiting for me to catch up.
Modern hikers have to duck to walk these stairs under a rock outcrop.
The overhanding rock in the picture above is somewhat uncomfortable for hikers of my height, but ancient travelers on this trail would have had little trouble passing beneath it.
At one point on your return journey you will have to climb a wooden ladder. By the time you reach this point you do not have much further to go.
Can you think of a reason the ancient builders would have left a section of the trail impassable? We don't know, of course, what means ancient travelers used to connect the upper and lower portions of this trail. It could have been a ladder, but straight segments of wood long enough to build the sides of a ladder would have been difficult to procure in this region. Another possibility is a "rope" made of vines, which would have been plentiful. In any event, some temporary structure was required here. Why?
Although I didn't mention it while discussing the descent from the peak to the cave, there is also a section like this in that trail—a point at which a temporary means of completing the trail was necessary. Could this have been yet another means of protecting access to the cave? Removing the temporary structure would quickly complicate access.
After passing this temporary structure you will soon rejoin the trail that took you to the summit at the beginning of your hike, cross the narrow strip of land connecting Wayna Picchu to Machu Picchu, and return to the control station near the sacred rock at Machu Picchu.
For my group ranging in age from fourteen to sixty, the entire hike up Wayna Picchu, down to the Great Cave, and back to Machu Picchu took just under three hours. If you decide to make the hike yourself, you can comfortable take a bit longer!
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Mobility is often associated with flow and freedom; nonetheless, it is also about power and government. While mobility studies have shown how interpersonal social relations are increasingly supported by mobile technologies, it seems less clear how mobilities are involved in governing societies. Inspired by Michel Foucault's concept of governmentality and his 1978 lectures on security, territory and population, this article suggests that societies are increasingly governed through mobility, rather than there being government of mobility. If circulation has become a producer of, rather than an obstacle to, societies, then governmobility is a meaningful concept relating to how societies are ruled through connections. In conclusion, the article asks: what are the implications of governmobility for border studies, and more broadly, what are the powers of mobility studies?


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