Some fantasize and believe that it will also serve to phone, "smiles Eric Babolat.The boss of the family SME that bears his name, specialist in tennis equipment, prepares in fever and secrecy his next innovation: the racket Play & Connect, which will be presented on the occasion of the next Roland-Garros tournament, seemingly banal, it will be riddled with sensors and will know everything about the game played by its owner: power and number of shots, quality of strikes … And she will be able, probably by sending her wireless data, to provide the player with a summary of her training session or match. "A kind of coach in the racket," summarizes Eric Babolat.
A new illustration of the rise of electronic sensors in the world of sport. The National Institute of Sport, Expertise and Performance (Insep) has been using it for a long time with top athletes. In cycling, for example, pressure sensors placed on the pedals calculate the power developed by the trackers. And twenty years ago we measured the vibrations on the arcs of the shooters.
Today, the activities involved are multiplying, and the measures tackle the actual sporting gesture. All thanks to the Mems. These very specific electronic chips, capable of measuring acceleration, direction or pressure, are now produced in industrial quantities: 2 billion units on the French counter STMicroelectronics, market leader in front of other players such as Analog Devices, Freescale or Inversense. Because after video game controllers, like the Wii, it's the smartphones and tablets that absorb these chips with prices in free fall. "Sport is a great potential for development because it allows everyone to collect data during practice and analyze it, or even compare it with others, friends, competitors," says Fabio Pasolini, who leads the Motion Mems division at STMicroelectronics.
Yet the chip is not enough to make a sport article "smart". Mathematics, signal processing and advanced computer developments are needed to interpret the raw data provided by electronics.
For its MP3 player that attaches to the swimmer's head thanks to the elastic glasses, the brand Nabaiji Group Oxylane (Decathlon) has devised an additional function: count the pool lengths and indicate the distance traveled. This is the young company Movea, a spin-off from CEA Leti, a specialist in MEMS who has developed the algorithms. "It was very complicated because the device behaves a bit like a compass. If it's a problem, the crawl head is still moving and the signal given by the sensor is really disturbed, "says Yannis Caritu, co-founder and technical director of Movea. The next version of the product will even memorize the training plan and tell the swimmer where it is going.
Nike quickly understood. The American firm, which has been marketing the NikeiPod system since 2006, will be launching two new versions this summer, NikeTraining and NikeBasketball, which will be able to compete with its "friends" on its speed and vertical relaxation. For its part, Geonaute already offers an application for iPhone (ONmove Mobile) that allows you to view your jogging path and communicate it to your family, and will soon be coupled with sensors and a heart rate monitor. Decathlon will also launch a small device counting the number of calories burned in the day, similar to the Fuelband bracelet already marketed by Nike in the United States. Other actors focus on golf or surfing by measuring the speed or height of the waves.
But these new tools still have limits. First in terms of power consumption. Because the sensors, even if they are more and more sober, need a battery. Monday e solutions envisaged is to recharge them using the movements of the sportsman, thanks to piezoelectric elements, which have the particularity of producing energy when they are deformed. Therefore, the tracks of evolution are multiple. Capable of emitting by giving their position, the sensors will be used to locate, by the meter, each member of a team of collective sport. And in five or ten years, they'll even be … in our shirts. "Today, these sensors are like warts. Tomorrow, we will integrate them from the manufacturing stage, with electronic fibers equipped with sensors that will be woven ", predicts Sébastien Dauvé, head of a laboratory within CEA Leti, whose team is already working on the subject. Truffled with invisible sensors, a combination could even replace the expensive camera-based motion capture systems that are now used to study high-level athletes, and could also measure all kinds of parameters: body temperature, sweating, heart rate, blood pressure. And on this date, our banal smartphone will probably remain in the pocket: all this information will probably be displayed in our glasses.


text:
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MONITOR ERP SYSTEM
At the heart of manufacturing
Two Columns (standard)
This is Monitor ERP System
Åke founded the company in 1974, focusing on streamlining operations in industrial companies. In the late 1970s, Åke had an idea: why not create a computer program and enter all the processing data he had collected into his spreadsheets?
In this video you'll get an insight into the history, and future, of the company, Monitor ERP System.
An international company
Monitor ERP is a complete, market-leading ERP system optimized for manufacturing companies.
With more than 48 years' experience, we are the leading supplier of ERP systems in Sweden. The system is developed in close cooperation with our customers, and as a result, Monitor is both user-friendly and cost-effective.
Our business includes training, consulting, and support services relating to Monitor ERP. We currently have 5,000 customers, with over 300,000 daily users in over 30 countries, and the system has been translated into 13 languages.
Monitor ERP System have offices and partners in Sweden, Denmark, Germany, Finland, Norway, Estonia, Latvia, Lithuania, Poland, Malaysia, Singapore and China.
The history of Åke Persson – Monitor's founder
Åke Persson, the founder of Monitor ERP System AB, was born in a small village called Ytterhavra in the middle of Sweden. He was someone who dared to do things differently. Åke's inner drive took him from the farm in Ytterhavra out into "the world" at an early age.
The story of Åke Persson
Our Business Concept
Working for Monitor
More of MONITOR
Monitor Academy
Book a Consultant
System Recommendations
Monitor ERP System AB
Box 264 • 824 26 Hudiksvall

redpajama_set_name: RedPajamaCommonCrawl


text:
Watch the moment fire takes hold of the Shedden Hall Hotel
Firefighters fear part of the building may collapse
Jon LewisRegional Editor
Sign up for our Torbay newsletter and you'll never miss a big story again
This is the moment the fire took hold of the Shedden Hall Hotel on Tuesday morning.
The fire service received multiple calls from across Torquay shortly before 7am alerting them to the blaze at the derelict hotel, which was in the middle of a redevelopment.
Devon Live was sent a whole host of pictures and video of the incident, as the flames towered over the building.
The video above and below, sent to us by Carlos Dean, shows the true ferocity of the flames at their peak.
Other people took incredible pictures as firefighters battled the blaze.
(Image: Mike Dawson)
There are fears the hotel could collapse.
Firefighters are moving people as far away from the scene as possible because they are concerned the back wall of the hotel could fall at any minute due to structural damage caused by the blaze.
There are currently eight fire pumps on the scene of the incident.
Police and paramedics were also called, with people advised to stay away from the area, with road closures in place.
(Image: Colleen Smith)
Firefighters have not yet been into the building due to the scale of the fire, so it is not yet clear whether there were any rough sleepers inside the hotel at the time the fire broke out.
A fire service spokesperson said: "Multiple calls flooded into Fire Control this morning with people informing us of a large building fire in the Shedden Hill area of Torquay.
"The fire was found to be in a large hotel currently under renovation. At this time there are 10 pumping appliances and several special appliances fighting the fire including and aerial ladder platform attacking fire from above.
"Crews were first called at 6.53am."
(Image: Carlos Dean)
A police spokesperson added: A spokesperson said: "We had a call from fire and ambulance service at 7.35am to assist with traffic and road closures.
"A closure is in place at the bottom of Sheddon Hill Road and the crossroad."
It isn't the first time that a fire has broken out at this hotel.
(Image: Ste Steph Murphy)
In September 2017 we reported that three fire engines and police were at the hotel near Torquay seafront after smoke was seen coming from the first and second floors.
A Devon and Somerset Fire spokesman said at the time: "We were called at just after 8am.
"Three fire appliances have gone to the Shedden Hall Hotel on Shedden Hill.
In pictures: Huge fire breaks out at Shedden Hall Hotel
"Smoke was seen issuing from the first and second floors.
"Police are there because we believe the fire was started deliberately and they are also helping with traffic control in the area.
"We have broken into the premises and are still there using breathing apparatus and hose reels."
Live coverage of this breaking incident continues here.


text:
Q: Automatically escape special characters of parameter value passed to sqlcmd I have a stored procedure that accepts a script and execute it against the database:
CREATE PROCEDURE [dbo].[usp_ExecuteScript]
  @Script nvarchar(MAX)
AS
EXECUTE sp_executesql @Script;

When I call this procedure from command-line with sqlcmd Utility like:
sqlcmd -E -d <mydb> -Q "usp_ExecuteScript @Script=$(script)" /v script=my_script

where my_script is SELECT * FROM Users WHERE UserName ='John', I am forced to escape all special characters such as 'qoute' manually otherwise, it fails to execute.
This gets cumbersome when I am looping through a number of long and complex scripts to pass them as @Script argument to be executed this way.
Do you have any idea to get it work?

redpajama_set_name: RedPajamaStackExchange


text:
Registry of Interpreters for the Deaf, Inc.
Communications, Executive, Director
POSITION: Communications Director CLASSIFICATION: Director, Full-time, Salaried, Exempt SUPERVISOR: Chief Operating Officer SUMMARY: The Communications Director is the lead member of the Communications Team, which includes the Web & Media Manager and the Publications Manager. The Communications Director collaborates, develops, and designs the overarching narrative of the organization, and develops communications campaigns and initiatives with the primary aim of advancing the profession, championing the organization, and serving Deaf communities. The Director provides guidance and consultation to the Communications Team, RID staff, and volunteer leadership on projects requiring both external and internal communications. The Communications Director's primary responsibility is to promote awareness of RID and of the sign language interpreting profession's standards of excellence. As such, the Director is expected to use the tools and techniques of public relations, marketing, and professional communications to proactively engage with members and the community. Using all available resources, the Director will collaborate to develop a narrative that advances the profession, champions the organization, and serves Deaf communities. The Director will work closely with the RID Chief Executive Officer, the Chief Operating Officer and RID Board of Directors to ensure that communications are consistent with and reflects the vision of the Board and the organization, and elevates the status of RID as a professional organization, while maintaining multi-cultural competency and inclusivity. DUTIES AND RESPONSIBILITIES PUBLIC RELATIONS: Coordinates public and media relations inquiries which include writing media advisories, press releases, and other communications relevant to the profession COMMUNICATIONS: Works closely with the Communications Department and senior staff to develop communications strategies to meet the needs of the strategic plan Serves as liaison to various task groups and maintains communication with volunteer leaders for strategically aligned content Assists in the standardization and implementation of a communication strategy Assesses membership and constituent engagement with products of the communication strategy Oversees the production of the RID Annual Report MARKETING: Assists in implementing a marketing strategy to promote RID and the interpreting profession with members, with various stakeholders, and with the public Provides consultation on the alignment of web and social media channels with RID's strategic communications goals Coordinate the implementation of the RID CARES and other assigned philanthropic efforts or fundraising efforts as part of RID's outreach Work with the Communications team to implement protocol and position statements for events or activities which affect community members, specifically where malpractice is involved or in urgent/critical situations impacting interpreters and/or the Deaf community PUBLICATIONS: Provides consultation on the production of, and community engagement with, RID publications and platforms Provides support for design elements and signed videos PandoLogic. Keywords: Communications Director, Location: Annandale, VA - 22003
Director, Community and Promotions
Save Director, Community and Promotions
Director of Global Development for Democracy, Rights and Governance
Washington D.C. or Remote
Internews Network
Save Director of Global Development for Democracy, Rights and Governance
Communications Media / Journalism / Advertising jobs in Annandale
Executive Media / Journalism / Advertising jobs in Annandale
Director Media / Journalism / Advertising jobs in Annandale


text:
//////////////////////////////////////////////////////////////////
// (c) Copyright 2003- by Jeongnim Kim
//////////////////////////////////////////////////////////////////
//////////////////////////////////////////////////////////////////
//   Jeongnim Kim
//   National Center for Supercomputing Applications &
//   Materials Computation Center
//   University of Illinois, Urbana-Champaign
//   Urbana, IL 61801
//   e-mail: jnkim@ncsa.uiuc.edu
//
// Supported by
//   National Center for Supercomputing Applications, UIUC
//   Materials Computation Center, UIUC
//////////////////////////////////////////////////////////////////
// -*- C++ -*-
#ifndef QMCPLUSPLUS_LOCALENERGYESTIMATOR_HDF_H
#define QMCPLUSPLUS_LOCALENERGYESTIMATOR_HDF_H
#include <Estimators/ScalarEstimatorBase.h>
#include <QMCHamiltonians/QMCHamiltonian.h>
#include <QMCHamiltonians/observable_helper.h>

namespace qmcplusplus
{

/** Handle an ensemble average of Hamiltonian components
*/
class LocalEnergyEstimatorHDF: public ScalarEstimatorBase
{

  //typedef PooledData<T>                            BufferType;
  //enum {ENERGY_INDEX, ENERGY_SQ_INDEX, POTENTIAL_INDEX, LE_MAX};
  enum {ENERGY_INDEX, POTENTIAL_INDEX, LE_MAX};

  //int LocalPotentialIndex;
  int FirstHamiltonian;
  int SizeOfHamiltonians;

  ///save the reference hamiltonian
  const QMCHamiltonian& refH;

public:

  /** constructor
   * @param h QMCHamiltonian to define the components
   */
  LocalEnergyEstimatorHDF(QMCHamiltonian& h);

  inline void accumulate(const Walker_t& awalker, RealType wgt)
  {
    const RealType* restrict ePtr = awalker.getPropertyBase();
    //weight of observables should take into account the walkers weight. For Pure DMC. In branching DMC set weights to 1.
    RealType wwght= wgt* awalker.Weight;
    // RealType wwght= wgt;
    scalars[0](ePtr[LOCALENERGY],wwght);
    scalars[1](ePtr[LOCALPOTENTIAL],wwght);
    for(int target=2, source=FirstHamiltonian; target<scalars.size();
        ++target, ++source)
      scalars[target](ePtr[source],wwght);
  }

  /*@{*/
  inline void accumulate(const MCWalkerConfiguration& W
                         , WalkerIterator first, WalkerIterator last, RealType wgt)
  {
    for(; first!=last; ++first)
      accumulate(**first,wgt);
  }
  void add2Record(RecordListType& record);
  void registerObservables(vector<observable_helper*>& h5dec, hid_t gid);
  ScalarEstimatorBase* clone();
  /*@}*/
};
}
#endif
/***************************************************************************
 * $RCSfile$   $Author: mcminis2 $
 * $Revision: 3421 $   $Date: 2008-12-09 10:21:11 -0600 (Tue, 09 Dec 2008) $
 * $Id: LocalEnergyEstimatorHDF.h 3421 2008-12-09 16:21:11Z mcminis2 $
 ***************************************************************************/

redpajama_set_name: RedPajamaGithub


text:
Q: HTTP.SYS Kernel mode driver What is the big deal with HTTP.SYS in IIS 7?
From what I understand, it is low level which is good for security. Why?
There is no context switching which could be expensive. Why?
Please explain.
Thanks!

A: The benefits are already well documented,
http://www.microsoft.com/technet/prodtechnol/WindowsServer2003/Library/IIS/a2a45c42-38bc-464c-a097-d7a202092a54.mspx?mfr=true

By using HTTP.sys to process requests, IIS 6.0 delivers the following
performance enhancements:

*

*Kernel-mode caching. Requests for cached responses are served without switching to user mode.

*Kernel-mode request queuing. Requests cause less overhead in context switching,  because the kernel forwards requests directly to the correct worker process. If no worker process is available to accept a request, the kernel-mode request queue holds the request until a worker process picks it up.

Using HTTP.sys and the new WWW service architecture provides the following benefits:

*

*When a worker process fails, service is not interrupted; the failure is undetectable by the user because the kernel queues the requests while the WWW service starts a new worker process for that application pool.

*Requests are processed faster because they are routed directly from the kernel to the appropriate user-mode worker process instead of being routed between two user-mode processes.

http://learn.iis.net/page.aspx/101/introduction-to-iis-7-architecture/

HTTP.sys provides the following benefits:

*

*Kernel-mode caching. Requests for cached responses are served without switching to user mode.

*Kernel-mode request queuing. Requests cause less overhead in context switching because the kernel forwards requests directly to the correct worker process. If no worker process is available to accept a request, the kernel-mode request queue holds the request until a worker process picks it up.

*Request pre-processing and security filtering.


comScore released data about key trends in the Canadian mobile phone industry for September 2011. The report ranked the leading mobile original equipment manufacturers (OEMs) and smartphone operating system (OS) platforms in Canada.
In September, 20.1 million Canadians ages 13 and older used mobile devices.
Device manufacturer Samsung ranked as the top OEM with 25.2 percent of mobile subscribers in Canada, followed by LG with 20.0 percent share and RIM with 14.3 percent share. Apple ranked fourth with 12.0 percent share of subscribers, while Nokia rounded out the top five at 10.1 percent.
8 million people in Canada owned smartphones in September 2011, representing 40 percent of the mobile market in Canada -- a gain of 7 percentage points in the past six months.
RIM ranked as the top platform with 35.8 percent of the smartphone market, followed by Apple at 30.1 percent. Google Android gained ground among the competition by doubling its market share to 25.0 over the past six months. Symbian ranked fourth with 4.2 percent share, followed by Microsoft with 3.2 percent.
Canadians use their mobile devices to access a wide variety of content. In September, 67.4 percent of the total Canada mobile audience used text messaging on their mobile device, compared to 88.1 percent of the Smartphone audience.
Downloaded applications were used by 40.9 percent of the total mobile audience, compared to 84.2 percent of smartphone subscribers.
Mobile browsers were another popular way of accessing mobile content, used by 36.9 percent of the total audience and 74.8 percent of the smartphone audience. 39.5 percent of the total audience and 79.3 percent of the smartphone audience used their phones to stay up-to-date on the latest news.
Other popular mobile behaviors included accessing maps (44.4 percent of smartphone subscribers), accessing bank accounts (28.8 percent of smartphone subscribers) and scanning QR codes (18.1 percent of smartphone subscribers).


Home | Vision Air Services Inc.
Atlantic Canada's Leading Helicopter Provider!
We are a highly experienced commercial helicopter service provider with diverse aviation background in Atlantic Canada's demanding flight environment.
Our team prides itself on its proven safety record, outstanding job completion, client support and innovative approach to flight operations.
Whether you are transporting passengers, cargo or require specialty helicopter services, Vision Air will take the time to learn about your specific requirements to provide customized solutions for any project. Our team is well versed in working with clients on small and large scale projects to establish safety protocols and contingency plans.


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The first of the bigger batman miniatures from Knight Models I've tried - Clayface.
The one thing I disliked about this mini, once it was assembled, was the way it was weighted. The claw hand reaching out made the whole mini really top heavy, so the tiny base you get supplied is never going to keep it standing up!. After a bit of searching i found a nice large lava style base that i painted up as rock/liquid clay. The glossed up the mini itself to look like wet clay as well.


text:
Leonardo DiCaprio to join Squid Game?
Leonardo DiCaprio did say he's a big fan of 'Squid Game,' so maybe if time or chances allow, we can ask him to join the games, the director said.
Lee Jung-Jae becomes first Asian actor to win Emmy for Squid Game
Others who were nominated alongside Lee were Bob Odenkirk for Better Call Saul, Jason Bateman for Ozark, Adam Scott for Severance, and Brian Cox and Jeremy Strong for Succession.
'Succession,' 'Ted Lasso' top Emmys; first-time winners shine
'Succession' and 'Ted Lasso' topped the Emmy Awards in a ceremony that lauded the influence of TV and extended honours to global sensation 'Squid Game'.
Korean series 'Squid Game' to compete for Emmys history
The Netflix show is aiming to follow in the footsteps of Oscar-winning movie "Parasite" with success at TV's top prize gala.
Netflix's Korean series 'Squid Games' makes history for non-English series with 14 Emmy nominations
The series' lead actor Lee Jung-Jae is nominated for outstanding lead actor, while Jung Ho-Yeon, who made her acting debut with the series, is nominated for outstanding supporting actress.
'Succession' tops Emmy nominations, 'Squid Game' also scores
Netflix's "Squid Game," a South Korea-set drama in which the poor are fodder for brutal games, earned a best drama nomination and 13 other bids for September's Emmy Awards.
Netflix to expand 'Squid Game' universe with new reality series 'Squid Game: The Challenge'
The 10-episode competition series is a co-production between Studio Lambert (The Circle) and The Garden (24 Hours in A&E), part of ITV Studios, and it will be filmed in the UK.
Netflix officially confirms 'Squid Game' season 2
"Squid Game" was released on September 17, 2021, and soon became a global hit for the streamer, topping charts across the world to become the most-watched Netflix series of all time.
'Our Blues' about healing and hope: Korean superstar Lee Byung-hun on new Netflix drama
A collaboration between Noh Hee-kyung and director Kim Kyu-tae of "It's Okay, That's Love" fame, "Our Blues" brings together an exciting cast of some of the biggest names of Korean entertainment.
published on : 8th April 2022
Hoyeon, Renate Reinsve, Lily-Rose Depp to star in The Governesses
Filmmaker Talbot previously directed the critically-acclaimed 2019 film The Last Black Man in San Francisco.
'Squid Game' director Hwang Dong-hyuk sets 'Killing Old People Club' as his next film
The director further said he will now return to native South Korea to write the second season of "Squid Game" and hopes to have the show stream by the end of 2024.
'Squid Game' director working on film 'more violent' than global hit series
Speaking during a session at MipTV along with his producer Jun Young Jang at February Films, Dong-hyuk revealed he had already penned a 25-page treatment note about the project.


text:
Who Put the Bomp in the Sha Na Na
I need to come up with an acronym for the inspirations to Muse I get from "Buried Treasure" show on SiriusXM, because Tom Petty keeps doing it to me.
This time, what I couldn't get outta my head last week was a song called "I'm Blue," by the Ikettes. This No. 19 hit from 1962 utilizes a stylistic device found in rock and roll — non-verbal vocalizations — so much that its title includes the parenthetical "Gong Gong."
Which the single by Ike and Tina Turner's backup vocalists has a lot of, gongs. After leading off with a couple actual words — or maybe three, depending on how you count 'em, i.e., the title — you hear a bunch of ue's, some doo be doo's, and gong after gong after gong. Then there are four, maybe five actual lines that have subjects and predicates and that sort of thing. Ike took credit for writing it …
Anyway, hearing that song set me to thinking about other "lyrics" that include words that aren't really words. The technique goes back to the roots of rock, and some of the most notable examples come from artists who practiced one of the musical forms that influenced the genre, doo-wop.
Exhibit A: "Get a Job" by the Silhouettes. This 1957 hit's opening line gave a 1960 and '70s retro-rock band its name — although why wasn't it called Sha Na Na Na Na? — and follows that up with "dip dip dip dip dip dip dip dip" and "mum mum mum mum mum mum." It's a little light on the lyrical content, like Ike's masterpiece, but it at least contains some social commentarty.
The following year, we got "The Witch Doctor," recorded by David Seville before he started consorting with Chipmunks. But, truthfully, this probably needs to be in a different category, because Ross Bagdasarian Sr. — understandable that he used a stage name — is quoting the witch doctor when he sings "Oo ee oo ah ah ting tang walla walla bing bang." (This song nearly drove my parents to suicide back in the day, because their sons sang it over and over and over again on a day-long car trip to northern Wisconsin.)
1961 was perhaps the crest of the wave for the phenomenon, at least in the '60s. From the doo-wop influence came the Marcels, and "Blue Moon," with its classic "bomp-baba-bomp, dip-da-dip" opening line.
Also a big hit that year, and also by a doo-wop band, was "The Lion Sleeps Tonight." However, the repetitive "awimbawe" is not non-verbal — the Tokens' hit was based on a South African song, written in Zulu, and retained that word from that language.
Another hit that year was "Dum-Dum." The title of that Brenda Lee song is taken from its opening verse, which is repeated in the chorus, neither of which has much to do with the actual lyrics, the verses of which don't seem to have much to do with each other. Surprisingly, the songwriting is not credited to Ike …
You can't blame the non-verbal in "Breaking Up Is Hard to Do," Neil Sedaka's 1962 No. 1, on doo-wop. Like the opening line of "Dum-Dum," its "Down doobie down down down, comma comma" lead-in seems pretty random.
Back in the early and mid-60s, there were plenty of songs with non-words thrown in as a sort of vocal percussion, as in "Peppermint Twist" by Joey Dee and the Starliters (1961) and "Cherish" by the Association (1966). Sometimes writers and artists tossed in shorter, non-verbal things in between lines: "Hey la ley la" in "My Boyfriend's Back" by the Angels (1963) and "Wo-wo-wo-wo" in Bobby Vinton's "Blue Velvet" (1960)
Sometimes, the seemingly non-verbal stuff was just leading into, or extending, actual words: "Barbara Ann," the Beach Boys (1965) and "Two Faces Have I," Lou Christie (1963). And were the Beatles just being affirmative about the lady when they sang "Yeah, yeah, yeah" in 1963's "She Loves You"?
Shirley Ellis's "The Name Game" (1965) doesn't really count, because the nonsense names are part of a rhyming game that is the premise of the song. "Do Wah Diddy"? Mandred Mann in 1964 — and the Exciters, who first recorded the song the year before — had more in common with Seville Sans Chipmunks; they were just quoting some chick walking down the street. Maybe she had talked to the Witch Doctor.
Otis Redding sang "Fa Fa Fa Fa" in 1966 to represent the Sad Song (another parentheses in a title) that was all he was doing at the time. Or maybe he — hat tip to the Von Trapp Family — had a really, really, really, really long way to run.
How about "Iko Iko"? The Dixie Cups' 1965 No. 20 was a cover of 12-year-old song by Sugar Boy (James Crawford) and His Cane Cutters. Crawford years later said the words in the title, and the "Jock-a-mo fee na-na," were chants used by New Orleans Mardi Gras "Indian" tribes. But when pressed on the issue, he admitted he had no clue what they meant, and that he was just trying to write a catchy song. Like Ike …
Probably the ultimate non-verbal lyric, albeit not a '60s thing, was Pink Floyd's "The Great Gig in the Sky," from "Dark Side of the Moon." Interestingly, the woman who rendered that remarkable vocal performance, Clare Torry, sued the band for co-writing credit, because she improvised the scat-style vocal over keyboardist Richard Wright's composition. And won. Take that, Ike Turner.
But, when it comes to this phase of The Music, the $64,000 question is: "Who put the bomp/In the bomp bah bomp bah bomp/Who put the ram/In the rama lama ding dong"? Barry Mann and the Halos made that query, as a commentary about songs by the Edsels, the Marcels, the Diamonds and Chubby Checker — all released, including Mann's number, in 1961.


text:
A finn labdarúgó-válogatott szövetségi kapitányai

Utolsó elszámolt mérkőzés: 2015. október 13.

Fordítás

Finn labdarúgás
Labdarúgó-válogatottakkal kapcsolatos listák
Labdarúgó-vezetőedzők listái

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The RAWC is a membership-based university facility. The University of Toronto Mississauga, Department of Physical Education, Athletics & Recreation Facilities are available for use by all current University of Toronto Students. Click here for our regular hours of operation, holiday closures, and restricted facility hours.
In addition to our current student members, memberships are available to U of T Staff, U of T Alumni, and Community Members. These memberships are sold at Membership Services located in the lobby of the RAWC.
Access to the RAWC is available for valid membership card holders including U of T student ID card holders. Day passes are for sale at Membership Services. All members must swipe either their valid U of T student card or their RAWC membership card at the Control Counter turnstiles for access.
In addition to our General Member Conduct and Facility Rules, all members are expected to abide by the Fairplay Code when engaged in activities in the Athletic and Recreation Facilities.
The RAWC, the Recreation, Athletics and Wellness Centre opened in September of 2006. The new facility compliments our existing space and provides much needed additional facilities such as: a 25 metre, 8 lane pool, 12 person hot pool, double gymnasium with seating for 880 spectators, new fitness centre, new studio, indoor running track, and a sports medicine clinic.
The RAWC has a fitness cardio room featuring a section that can be visually isolated for women's only fitness hours. We also have a High Performance Centre that is used for strength training and conditioning programs. The running track is a 3-lane track that is close to 200 m.
UTM has 2 mutli-sport grass fields, beach volleyball courts, and 2 sportcourt surfaced tennis courts.
The RAWC now has 3 gyms. GYM C in the original South Building and GYM A/B is in the new portion of the RAWC and is a double gym that can be divided into 2 full size single gyms.
We have a 25 metre, 8-lane Myrtha pool with movable bulkhead and depth adjustable floor.
The current dance studio, formerly called the Teaching Studio, is complete with mirrored walls, wooden floor, and dance bar.
The new Fitness Studio located in the RAWC is a mondo sport floor room that overlooks the new double gym.
Formerly the old Fitness Centre, this room can be subdivided into 2 rooms. Multipurpose Room A is 36 x 55 feet or 1980 square feet, Multipurpose Room B is 24 x 55 feet or 864 square feet. Room A is used primarily for Martial Arts and Room B houses our Table Tennis tables.
UTM has one North American sized squash court and 2 international courts.
Some of the UTM athletic and recreation facilities are available to rental groups. Please see our Rental Information page for more information.


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FaSMEd is a design research project in science and mathematics education. The focus is on supporting teachers in the use of formative assessment, supported by the use of technology, with low achieving students. The project is funded by the European Union and includes nine partners from eight countries. Select the appropriate country flag to find out more about each partner and/or select the video below to find out more about the project.
FaSMEd has developed a toolkit to support teachers in using technology for formative assessment in mathematics and science. On this website you can find materials in all partner languages (English, German, Italian, French, Norwegian, Dutch) under the heading "Tools for Formative Assessment". For more about what is in the toolkit, and guidance about using it, click here.
Das EU-Projekt FaSMEd hat Materialien entwickelt, die Lehrkräften dabei helfen digitale Medien und andere Technologien für die Diagnose und Förderung im mathematischen und naturwissenschaftlichen Unterricht einzusetzen. Auf dieser Homepage finden Sie unter der Überschrift "Tools for Formative Assessment" Materialien in Deutsch und allen anderen Sprachen der FaSMEd Partnerländer (Englisch, Französisch, Niederländisch, Italienisch, Norwegisch).
FaSMEd har en verktøykasse som er laget til hjelp for lærere som ønsker å bruke teknologi som støtte i formativ vurdering innen matematikk og naturfag. Du finner materiale på denne nettsiden under overskriften "Tools for Formative Assessment". To access the Norwegian version of the toolkit, click here.
Le projet FaSMEd a produit une boîte à outils comme une aide pour les enseignants à utiliser les technologies pour faciliter l'introduction de l'évaluation formative dans la classe de mathématiques et de sciences. Dans ce site, vous trouverez des ressources dans les différentes langues des partenaires du projet (Allemand, Anglais, Italien, Français, Norvégien, Néerlandais) sous le titre "Tools for Formative Assessment" ("Outils pour l'évaluation formative"). Pour plus d'information sur l'utilisation de la boîte à outils, cliquez ici. Pour accéder à la version française de la boîte à outils, cliquez ici. To access the French version of the toolkit, click here.
Binnen het FaSMEd project is een pakket materialen ontwikkeld voor het gebruik van technologie bij het formatief toetsen bij reken-wiskundeonderwijs en onderwijs in de natuurwetenschappen. Onder het kopje "Tools for Formative Assessment" zijn deze materialen te vinden in de talen van de deelnemende partners (Duits, Italiaans, Frans, Noors, en Nederlands).
FaSMEd ha sviluppato un toolkit per supportare gli insegnanti nell'uso della tecnologia per la valutazione formativa in matematica e scienze. Su questo sito troverete materiali in Francese, Inglese, Italiano, Olandese, Tedesco e Norvegese sotto la dicitura "Tools for Formative Assessment".


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I am currently working on three projects. The first is a book that explores the ways that the environmental realities of the Canadian Shield shaped the rural identity of Muskoka, Ontario during the late nineteenth and early twentieth centuries. I examine the transformation of Muskoka from a strictly Indigenous place into a settler colonial society and the rise of tourism, and assess the ways that social, economic, and environmental changes shaped sustainability and rural identity in the past. I am also working on a new project on the history of coal in Canada during the first half of the twentieth century. This work examines the ways that efforts to connect sites of production with sites of consumption shaped communities, economies, and environments in both rural and urban Canada, as well as how coal pulled Canada into an industrialized and globalized North Atlantic world. Finally, I am engaged in research with the Sustainable Farm Systems project, which explores the socioecological transition in agriculture, from traditional, organic practices at the end of the nineteenth century to modern, industrialized processes by the end of the twentieth century. My work on this project involves tracing the flow of energy through agroecosystems on the Great Plains of the United States, and in particular the role of fossil fuel energy in groundwater irrigation on the High Plains. I am also working with Jim Clifford on a project tracing the social and ecological consequences of the flow of global commodities used by London's nineteenth-century leather industry.
Watson, A. 2016. Coal in Canada. p. 213-250 in Powering Up Canada: A History of Power, Fuel, and Energy from 1600. Sandwell, R.W. (ed.) McGill-Queen's University Press.
Watson, A. 2016. Mobility and Sustainability: Lakeside Supply Networks in the Age of Steamboat Navigation, Muskoka, Ontario, 1880-1930." In Moving Natures: Mobility and Environment in Canadian History, edited by Ben Bradley, Jay Young, and Colin Coates. (Calgary: University of Calgary Press, 2016), 79-102.


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Re: Zero Kara Hajimeru Isekai Seikatsu 2nd Season – 25 (END)
Posted by Pancakes on March 24, 2021 March 24, 2021 Final Impressions / First Impressions / Re: Zero Kara Hajimeru Isekai Seikatsu
Home Final Impressions Re: Zero Kara Hajimeru Isekai Seikatsu 2nd Season – 25 (END)
Mushoku Tensei – 11
Kaifuku Jutsushi no Yarinaoshi – 11
「月下、出鱈目なステップ」 (Gekka, Detarame na Suteppu)
"Offbeat Steps Under the Moonlight"
Kind of hard to think this was the finale for Re: Zero's latest season, yet here we are and I cannot help feeling just a tad disappointed. Rushed or not (and half an hour is still long for a weekly anime episode!), we got the culmination of everything Sanctuary: Beatrice proved her worth, Roswaal atoned (and revealed), and Subaru has been officially recognized as Emilia's one and only retainer. Also something something baby making through locked lips, but I think that meme speaks for itself. In the end it was quintessential Re: Zero with few obvious head scratchers left to rattle around the mind. And instead of delving into those rabbit holes (leave that for the inevitable third season), I'll just get right onto final impressions – cute and pouty Beatrice demands it.
Final Impressions
At the end of Re: Zero's first sequel half I held off on any overall impressions given the season's original intent on being back-to-back, and with this second half complete I'm confident knowing I made the right decision. Undeniably this was a sequel that needed both halves to truly make sense of and judge appropriately – and in it identify both the strengths and weaknesses owing in part (yet not entirely) to its unique airing schedule. This is one series you need all the relevant material to make proper sense of, especially for arcs like Sanctuary.
Arguably the biggest fault for the Sanctuary arc adaptation is that jarring split cour delay affecting its latter half. Even compared to earlier material this was an arc with many moving parts, as everything from the past and motivations of Roswaal, Beatrice, and Emilia were fully delved into while Subaru's own quirks and reasonings received their due attention – and that doesn't include stuff like the secondary cast of Otto, Ram, and Garfiel/Frederica. As a result we got a veritable maelstrom of information, with key characters often rapidly jumped between and specific developments spread out over a prolonged period. Not really an issue in isolation mind you (many information-heavy series do the same and with less writing skill), but that singular season delay led to a lot of confusion given the ease of forgetting small details or other series quirks (e.g. the Great Rabbit, the other witches). Without a doubt the best enjoyment (and the most understanding) will be had by watching both halves of Re: Zero's second season back-to-back with no interruptions.
Outside of structural issues though, this season also retained the blemishes which featured in Re: Zero's first adaptation. Subaru and Emilia for example, regardless of their major developments here, are unlikely to convert many critics; Subaru still possesses his often overbearing (and occasionally cringeworthy) personality while Emilia has yet to truly grow past her damsel in distress state (albeit to be fair only really started this season) – one need look no further than this season's divisive and likely jarring confession scene to get an idea of where potential improvements could be had. Couple it with some debatable focus at times on secondary characters (e.g. Otto, his past likely could've been handled differently in this adaptation versus the light novels) and it's not hard seeing why some would find this arc questionable at times. Re: Zero has definitely improved since its first season, but it can always improve some more.
Nevertheless, however, such nitpicks are ultimately in the eye of the beholder; this was one season I definitely do not personally regret covering or blogging and was easily one show I looked forward to watching every week. The animation quality courtesy of White Fox, the voice acting strength from the likes of Kobayashi Yuusuke (Subaru) and Takahashi Rie (Emilia), the willingness of the producers to both faithfully adapt the source material and utilize all available screen time – everything came together to yield one hell of an impressive anime and show just how far a bit of talent and dedication can go towards maximizing the potential a light novel (or manga) series can over.
Overall Re: Zero may not be the absolute best show – or even the best isekai – from this year or last, but it can undeniably lay claim to being one of the best. No matter what comes up, no matter how long the wait is, I eagerly look forward to seeing the next anime which comes out of this franchise because one way or another you can bet this isn't the last we've seen of Subaru and friends. There's just too much story left in and popularity behind Re: Zero for this to be the end, so all we can do is hope that what comes next matches the fun and excitement we have now come to expect.
What did they do with the mabeast controller girl?
sealouse
She doesn't die if that's what you're worried about. Without spoiling too much she returns in the later arcs in a less antagonistic role.
March 25, 2021 at 9:24 am 2 years ago
Looks like I was right that if Subaru lost his bet with Roswaal that he'd become Roswaal's lackey and be forced to not save everyone since Roswaal saying that he himself was laying some groundwork for the next time shows that Roswaal thought their bet would carry on into Subaru's next life, which means it is something Subaru could not undo. This was somewhat confirmed in Episode 45 when Roswaal said that because of their wager that Subaru had become an ordinary person, which shows that their bet has an effect on the soul, the only thing that doesn't reset when Subaru dies because his body fully resetting means it's his soul that retains his memories from past lives. This bet was an interesting way to add tension to the story for those who say that Subaru resetting everything kills any tension in the story.
Now I wonder how long fans will have to wait until S3
Tayo Jones
A few years at minimum I'd wager. Probably not as long as the wait for this season, but the lack of announcement means it won't be quick.
They have more than enough material for another 24/26 episodes if they want too. Infact they could probably do Arc 5 this year if they want, but will they? Probably not. The web novel is on Arc 7 and isn't that far along. I can't imagine they'll want to use up too much material as it'll limit what they can do with the anime in the future.
The published light novels are also far ahead of the anime, and are on Arc 7. If you consider that a lot of anime shows are produced to push the sales of published material there's very little reason why they can't go straight onto Season 3. I guess the money people behind the scenes will be looking at how well stuff is selling before deciding.
When Subaru doesn't end up dying or suffering in some way in the finale… Is it even RE: Zero?
Drosvia
I consider it a midday breather before getting smacked with the new suffering bat 😛
My take on this season isn't as glowing as others on youtube and the like. I don't think it's really bad, but I do think there are some flaws in this arc. The things that are bad are pretty bad.
I have issues with the material itself. This arc had a lot going on. It had so much going on that I mentioned once there were 9 things to resolve involving Garfield, Echidna, the 3 trials, Elsa, the Ma-beast girl, resolving Beatrice's position, the Rabbit and we were getting closer to the end and by episode 20 I was like "We still have like 7 things to go!"
There was a lot of information. There were a lot of flashbacks that I didn't really think were that important to the plot. There were a lot of scenes with Ryuzu that looking back I still don't really understand. It just tried to do SO much that it took 24 episodes to get through, and even at the pacing, it felt like near the end it rushed through things because the author wanted it to be over. I mean I wanted it to be over too, but I didn't think the Rabbit would be killed with a metaphorical Holy Hand Grenade that Beatrice could apparently do this entire time.
Trial 1 we spent a lot of episodes on. We spent 3 to 4 episodes with flashbacks with Emila, half an episode for Trial 2, and not even 5 minutes with Trial 3.
The Rabbit is dealt with before the opening titles…Like Smaug.
That was my issue. It did too much, it asked too much of me, it was not paced very well,
but regardless of all that there were lots of really good moments that I liked fine.
I really don't think all this should have been 24 episodes. I really felt the pacing. I really felt the drag and sometimes scenes I could tell were there to buy time.
I hope Season 3 doesn't try to do something like this again cause it's been years and I feel it man. It feels like it took years to get through this season. I still like this show and it's characters…But like I said before this Sanctuary arc felt like a side quest that overstayed its welcome by a few months. It was a gigantic Burger that left me starving afterwards.
spikerman87
Nawh I wouldn't fret too much about differing opinions, personally I liked this arc's adaptation but I'm not blind to the issues.
What I think harms the Sanctuary arc the most is that it's transitory; outside of Roswaal and the mansion there's no real threat to Subaru or his goals, it serves more as an explanation for the past and setting up the pieces for the future, particularly in terms of getting Emilia on track. As a result we get a lot crammed into a comparatively short period of time with little room to actually dwell on the details.
As I mentioned in the post I believe the split cour arrangement aggravated this issue, but even if both cours were held back to back the problem would only be muted. Regardless of praise for the faithfulness of this adaptation, in hindsight White Fox ironically might've done better with some selective pruning of material to help make a more streamlined production. It would've certainly helped flesh out and streamline some of this season's more rushed aspects.
I think I may have liked this arc if it was 3 arcs. Like you could do:
The Sanctuary Trials
The Attack on the Mansion
Dealing with the Rabbit
If Subaru could complete these one at a time and he "succeeds" and moves to the next I may have felt like he was making actual progress, but this arc feels like SpiderMan 3 where it's a few movies in one. Season 1 did something like that where they were small and when he succeeded you felt that he accomplished the loop. It may have helped the characters that were relevant to their own plots, like the witches, not feel as overwhelming. I don't know.
I agree that this was more info for later and that didn't feel good. You can for sure hint at things to come, but there still needs to be meat to what you're doing at the time.
March 26, 2021 at 10:21 pm 2 years ago
This was like the longest arc in the series to date, about 40-50 chapters longer than the others. You won't have this problem with the next few arcs which are around 70-90 chapters in length.
March 28, 2021 at 11:04 am 2 years ago
It certainly felt like the author wanted to make something grand but halfway decided to abandon it… Which left a few problems that really bother me.
– Witches went from supernatural nightmares to weird women with weird powers. Introducing them "at once" without actual plot relevance was a really bad idea.
– The show now has multiple viewpoints… which is kind of a mixed bag. Otto's backstory was one of the high points of the season, but losing focus on Subaru really hurts the show's core concepts, and slowly shifts the show to generic isekai/fantasy.
– And the worst one is how everyone is suddenly protected with plot armor (and even some plot powers). I loved this show especially because it tried to stay away from it (even if it failed sometimes).
Don't get me wrong, I still enjoyed the 2nd season, but the concept of a 3rd season sadly does not excite me as much as it should.
The good news at least is future arcs are much more focused and limited in approach. Regardless of faults, Sanctuary was necessary in the sense of filling in gaps for multiple characters and providing a suitable foundation for which to yield proper conclusions. With it complete there's now opportunity to finally start tackling some of Re: Zero's more prominent aspects, with Rem's restoration arguably being highest on the list.
Part 2 was good and had its hight points, but it had pacing issues and I probably still prefer part 1 due to the trademark despair and the interactions between Subaru and Echidna, the latter being a new character that I enjoyed the most which is why episode 8 was my favorite.
What's up with her different looking face anyways? Who's the "real" Echidna?
Anyways, no sequel announcement hurts and means that it's finally time to hit the LN if I want to find out how they manage to save Rem.
Thanks for the coverage.
boingman
I'm guessing they just want to see how they light novels are selling before announcing the third season. There's plenty of material to do another 40+ episodes if they want.
Lol, they made Puck statues.
Memorable parts:
– Even though rabbits were brutal and a remarkable enemy. Subaru combined his new gain powers and witch's scent plus cute lolly and Emilia to manage the situations.
– "I will be difficult for us the parents to raise the baby with the royal selection going on" .. "Pardon"
– I am glad to see a happy ending, no more deaths for Subaru in this season. Come on guys, he deserved it!
Eh? So Subaru and Beatrice (with an assist from Emilia) figured out a way to defeat the Great Rabbit? *Sees that only 5 minutes have passed into the episode* There's more to this, isn't there?
*Watches further for any sign of one Great Rabbit that got away, sees none* Umm… OK, then.
Other fragmentary thoughts on the season finale:
– So THAT (and the scene in the previous episode) is why Beatrice is also considered "best girl" material.
– It's good to know that Puck will return someday. In a time of great need, perhaps.
– Dat Emilia blush… Even her elf ears are red!
Subaru: "Pardon?"
Damnit, I can't hear that now without being reminded of a certain VTuber rabbit girl with a peculiar laugh and verbal tic, peko… (AH↓HA↑HA↑HA↑HA↑)
Well, that puts to rest the Sanctuary arc, though Rem is still a vegetable (or doing DomeKano's "Coma strat"–as Gigguk puts it), that Witch's Cult high priest who put Rem in a coma is still at large, and the Great Serpent is still out there… And remember that guy who attacked Echidna and her disciples (Beatrice, Roswaal, Ryuzu) while she was creating the Sanctuary? What happens if he comes back?
Man, I'm really starting to become a masochist for wanting to see what happens next on this show. Though it'll be a while before answers to those questions are revealed in anime form. The pains of being an audio-visual aniphile…
April 3, 2021 at 7:46 am 2 years ago


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Is it possible in Korea as?
It is star seed. Register your product and use it.
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Is my order shipped today? When are you expected to ship?
Please note that the invoice number will be processed around 6:00 pm tomorrow. You can expect to receive your order 3-4 days after the date of shipment.
Did you sell AirPod 2?
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Fantasia '18 Review: "CHUCK STEEL: NIGHT OF THE TRAMPIRES" is an '80s-homaging, puppet-splattering blast
Tuesday, July 24, 2018 | Fantasia International Film Festival, Review
By MICHAEL GINGOLD
Starring the voices of Mike Mort, Jennifer Saunders and Paul Whitehouse
Written and directed by Mike Mort
Animortal Studio
Just when you thought it wasn't safe to be politically incorrect, along comes CHUCK STEEL: NIGHT OF THE TRAMPIRES to blast huge holes in any and all notions of good taste, and make you crack up big time along the way. It's both gloriously rude and cleverly genre-savvy, put across with such unabashed glee that it's hard to remain offended by it for very long.
A North American premiere at Montreal's current Fantasia International Film Festival, CHUCK STEEL is an extravagant puppet-animation feature written and directed by Mike Mort, who previously did award-winning work in children's TV before making a decided turn away from that world with the 2013 short RAGING BALLS OF STEEL JUSTICE. That minimovie introduced Chuck Steel, a bad-ass/rogue/maverick/take-no-prisoners L.A. cop in the glorious tradition of 1980s action flicks. NIGHT OF THE TRAMPIRES, which is set in '86, opens with 20 minutes or so of dead-on parody of LETHAL WEAPON/Cannon Films-style cinema, hilarious sight gags and riproaring action, establishing Steel (who's been on the edge ever since tragically losing his wife) and his world. It's the kind of insanely entertaining first act that makes you wonder whether the rest of the film can keep up its crazed momentum, and though there are lulls in what follows, Mort (who also voiced Steel and a number of the other characters) does a damn good job of keeping the laughs and over-the-top mayhem coming.
The plot, of which the movie has just enough to support all the insanity, has to do with an invasion of "trampires"—alcohol-fueled creatures of the night who attack the inebriated, and are part of a conspiracy that threatens all of humanity. Steel takes on these fiends with an endless supply of weapons, a bad attitude and the help of Abraham Van Rental, an elderly veteran of the undead wars. Meanwhile, back at the precinct, Steel has to deal with his perpetually angry captain, Jack Schitt (a name out of which the film gets more comic mileage than you might expect) and the efforts of police shrink Dr. Alex Cular (Jennifer Saunders) to get the rest of his fellow cops in touch with their sensitive—i.e. feminine—sides.
The latter tangent results in the humorous bits most likely to rub certain viewers the wrong way, though NIGHT OF THE TRAMPIRES equally targets machismo along with practically everything else. Mort and his animators throw everything they can think of against the wall, and a lot of it sticks—literally, when it comes to the copious stop-motion gore that spews when the trampires get angry and/or hungry. There's the expected quotient of bodily-function humor as well, along with profane/sex jokes of every persuasion, though one of the joys of CHUCK STEEL is that while the vibe may frequently be low-rent, the production values are first-rate. Mort, who did a stint at Aardman Animations on the SHAUN THE SHEEP series, brought on board some key talent from that stable: Cinematographer Laura Howie worked on SHAUN and THE PIRATES! BAND OF MISFITS, and production designer Phil Lewis previously served that function on CHICKEN RUN and WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT. They give NIGHT OF THE TRAMPIRES a big, bold look pocked with plenty of absurd details, climaxing with a giant-monster fight that will thrill anyone who grew up on Ray Harryhausen epics.
The sonic icing on this explosive layer cake is the score by Joris de Man (whose name sounds like the kind of pun this film happily employs), a veteran of video games like KILLZONE. He perfectly blends exaggerated heroic action cues with period-perfect synth tones, augmented by a prime selection of vintage hair-metal songs. Choices like that make CHUCK STEEL: NIGHT OF THE TRAMPIRES a particular treat for viewers who spent their youths taking in Mort's vintage influences, yet it has more than enough brash energy and vulgar imagination to amuse anyone who likes their movies unabashedly over-the-top.
CHUCK STEEL: NIGHT OF THE TRAMPIRES
Mike Mort
Michael Gingold (RUE MORGUE's Head Writer) has been covering the world of horror cinema for over three decades, and spent 28 years as a writer and editor for FANGORIA magazine and its website. In addition to RUE MORGUE, he currently writes for BIRTH.MOVIES.DEATH, SCREAM, IndieWire.com, TIME OUT, DELIRIUM and others. His book THE FRIGHTFEST GUIDE TO MONSTER MOVIES (FAB Press) is out this fall, and he has contributed liner notes and featurettes to a number of Blu-ray and DVD releases. Among his screenplay credits are SHADOW: DEAD RIOT and LEECHES!, and he is currently working on THE DOLL with director Dante Tomaselli.
First photos released from Nightstream-premiering puppet horror film "FRANK & ZED" | Rue Morgue - […] THE FEEBLES to Mike Mort's (sadly still unreleased) CHUCK STEEL: NIGHT OF THE TRAMPIRES (reviewed here). Now FRANK &…


Art Pals International enables children from different nations, of different languages and backgrounds, to engage in a cross-cultural dialogue through the medium of art. To this end, we also encourage interchange between teachers and teaching artists from the communities with whom we work, across international borders. Lastly, we encourage small-scale grassroots socio-economic development for communities in need funded by the sale of professional and amateur art pieces (with permission).
Children create original art pieces, which are then sent on a multi-country trip to visit other children, who in turn create visual responses. Children develop critical thinking skills as they analyse the artwork and deduce cultural information through the art, facilitated by curriculum created by our facilitators tailered to each individual exchange.
'Cultural information packets' compiled by our local coordinators, accompany originals and are used to supplement the interpretation of originals and guide responses.
Would you recommend Art Pals International?


Milton Glaser, an icon of american graphic design and the creator of the 'I Love NY' logo. his work is characterized more by drawings. Milton Glaser drew both on contemporary culture and historic period styles for inspiration; his playful style is lively and witty, enhanced by psychedelic colors.
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Voice Acting in Indie Games: Finding Awesomeness in Yourself and in the Casting Calls
After voicing a character for the indie game Camp Sunshine, the author gives some tips on voice acting and navigating the world of indie game projects.
Jaimie Lynn Hensley
Back in the spring of 2016, I auditioned for a voiceover role in an indie retro horror game. Looking back, I hope my experience can help you enhance your own awesomeness as a voiceover artist, indie dev, or whatever it is you do and love!
Camp Sunshine: The Project, The Reception
There were some exact sentences the devs wanted, but it was for a situation that required continual feedback from the character, that could be looped or cut to the length of time the player took to figure out what to do--up to several minutes. I put myself into the mindset of the character, and improvised. (More on this below).
I have worked on a number of indie projects that have fallen through. In my experience, it seems some of these approached voiceover artists too soon. When there is no playable demo, or no script, it can be difficult to judge if the team has the committment and ability to see the project through.
Camp Sunshine was already greenlit on Steam when the casting call was posted. The developer I worked with communicated promptly and kept me updated. He sent me a video demo of the area my character was in, with the in-game effects applied to my voice. When Camp Sunshine by Fossil Games was released on Steam in late October, I have to admit I was very excited.
For me though, the biggest moment of truth was when I found a gameplay video of Camp Sunshine. How would this gamer react to my character? (Here it is--but there's plot spoilers!)
The gamer seemed to be put off. "Don't...don't whisper that way," he says. Normally it's not the reaction you hope for in regards to your own speech, but for this character, it was exactly the response we wanted! And the Steam reviews? Overall positive!
Looking back at the experience, I realized it's been a serious level-up in two areas.
Voice Acting Awesomeness
If you asked me what made this year more awesome in terms of voiceover work, the answer is easy. I took acting classes, studied with a voice acting coach, and made some serious upgrades to my home studio (iZotope RX and a new microphone).
The character I played was very anxious, fearful, and desperate for help. As a naturally anxious person, this was not a stretch for me to get in character. I thought about the times I have been extraordinarily anxious, and how my throat would pinch and my voice would become very strained and soft and high. It was combining those physical characteristics with the mindset of being trapped somewhere dark and terrifying that informed my performance.
I think I will always have a proclivity for shy, anxious, or quirky characters. They're just so natural to who I am. But I want to take on other characters as well. Strong, royal, whimsical, wild--I was able to explore many different types with my coach. And again, the physical attributes are so important. How do you stand? How do you breathe? Where is there tension? Where does your voice resonate in your body?
This is something I practice every day, and if I can sound like a strong warrior, I really believe any voice actor with determination can also change their sound for a character that might not come naturally at first. And honestly, a good coach is more than worth the money.
Indie Game Awesomeness
I think many of us breaking into the field have had the heartbreak of projects falling through. And there's really no way to be 100% sure a dev or team isn't going to go radio silence on you at some point. But looking back at my experiences so far, there are some key things I'll pay attention to when looking at jobs or casting calls:
Is there a playable demo? Doesn't have to be a full game, but a demo shows the code, the art, and the vision are cohesive enough to create a working concept. Sketches alone with no playable content, or character "ideas" versus a script ("She sounds like Triss Merigold but more sarcastic and outspoken, she will make fun of the player here") are warning signs to me that the concept might not be concrete enough at this point.
What is the state of the game? Is there a publisher? Is it greenlit, early access, in beta? In most cases you'll want the basics in place before you bring in voice talent.
Does it sound like the devs know what they want for the character? "American female, 20s, high register, whispering, fearful, desperate for help" gives me a pretty good idea of how I'm going to voice this character.
How is direction handled? A different project I worked on this year called for a number of "exertion" sounds. Upon submitting my recording, the dev had some specific feedback. The character was a soldier. Could she sound more throaty and powerful? Working with someone who can articulate what they're after is fantastic.
Is there a timeline? Of course deadlines are sometimes extended and setbacks come up. But having an overall plan that is followed as much as possible helps ensure the project does not end up in limbo.
And, of course budget and funding. Has the project been crowdfunded, is it paid for out of the devs' pockets, or something else? How will you be paid? What amount? When?
Best wishes on your upcoming projects!


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Melvin Charles Butler
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Melvin Charles Butler, 100, of Carlisle, passed away on Saturday, October 27, 2018. He was born on October 1, 1918 in Lurgan, Letterkenny Township, Franklin County and was a son of late Frank R. Butler and the late Ellen R. Bettinger Butler.
Melvin served during WWII from April 1941- May 1945 as a technical sergeant and gun mechanic in the United States Army in the South Pacific theatre. After his military service, he worked at the Carlisle Tire and Rubber Plant until 1950. From 1950 - 1972, he owned and operated Butler's Garage. He was also employed at the Twin Gables from 1969 - 1983 as a diesel mechanic. After working at Shaffer Brothers as a parts distributor for 6 years, Melvin retired in 1990.
Melvin is preceded in death by his wife of 38 years, Doris E. Dayworth Landis Butler, and first wife, May I. Calaman Butler, the mother of his children. He is also preceded in death by his brother Frank A. Butler Jr. and his daughter Evelyn R. Trimmer. He is survived by his brother Roy W. Butler of Newville; sister Doris E. Butler of Chambersburg; sons Lawrence M. Butler and family, Gerald L. Butler and family, and Dave Dick and family; daughter Diane M. Shunk and family; grandson Robert Trimmer; great-granddaughter Kirsten Trimmer; 4 great-great granddaughters; and numerous other family members, to include 3 stepsons and their families.
A graveside service will be held at 11:00 a.m. on Friday, November 2, 2018 at Cumberland Valley Memorial Gardens, 1921 Ritner Highway, Carlisle with Pastor Dale Barrick officiating. Ewing Brothers Funeral Home, Carlisle is in charge of the arrangements. www.Since1853.com.
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Melvin was a character that I learned a lot from mechanics to life. I worked for him while in high school and the summer. Every time when I came home would visit. 50 Caddilac Coupe Devile he loaned me for the prom. God bless him.
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Jim Chronister
I had the pleasure of knowing Melvin for four years. During that short time I got to know a kind hearted, funny, generous man...to listen to his stories was an honor. May God give Melvin's family and friends the comfort and peace that they seek. Thoughts and prayers to all.
April Nelson
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