Abstract: IGR J08408−4503 is a supergiant fast X–ray transient discovered in 2006 with a confirmed association with a O8.5Ib(f) supergiant star, HD 74194. We report on the analysis of two outbursts caught by Swift/Burst Alert Telescope (BAT) on 2006 October 4 and 2008 July 5, and followed up at softer energies with Swift/X-ray Telescope (XRT). The 2008 XRT light curve shows a multiple-peaked structure with an initial bright flare that reached a flux of ∼10[superscript: −9] erg cm[superscript: -2] s[superscript: −1] (2–10 keV), followed by two equally bright flares within 75 ks. The spectral characteristics of the flares differ dramatically, with most of the difference, as derived via time-resolved spectroscopy, being due to absorbing column variations. We observe a gradual decrease in the N[subscript: H], derived with a fit using absorbed power-law model, as time passes. We interpret these N[subscript: H] variations as due to an ionization effect produced by the first flare, resulting in a significant decrease in the measured column density towards the source. The durations of the flares as well as the times of the outbursts suggest that the orbital period is ∼35 d, if the flaring activity is interpreted within the framework of the Sidoli et al. model with the outbursts triggered by the neutron star passage inside an equatorial wind inclined with respect to the orbital plane.
Rights: This article has been accepted for publication in Monthly Notices of the Royal Astronomical Society ©: © 2008 The Authors. Journal compilation © 2008 RAS. Published by Oxford University Press on behalf of the Royal Astronomical Society. All rights reserved. Deposited with reference to the publisher's open access archiving policy.


The state legislature in the central state of Michoacan has designated substitutes for eight mayors arrested in May for providing protection to the drug cartels. The appointees, who will serve out the remainder of the ousted mayors' three-year terms until 2011, face some of the same problems and challenges that dogged their predecessors, namely how to counter the overreaching influence of the regional drug-trafficking cartel known as La Familia. Other politicians have been caught in the cartel's web, including Julio Cesar Godoy Toscano, who was elected to serve in the 2009-2012 session of the Congress. Godoy's alleged involvement with the drug cartels has put his half-brother, Michoacan Gov. Leonel Godoy Rangel, in a very difficult position. Leonel Godoy has taken extraordinary steps to root out drug-related corruption, including replacing several members of the state's security forces.


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Can we change behaviour through medical education?
We often attempt to change our behaviour throughout our lives: we try to stop smoking, adopt a healthier diet and/or improve our fitness. Sometimes it works, other times we are less successful. But what can be even more difficult is when we try to alter someone else's behaviour. This is the whole idea behind medical education.
When embarking on a new medical education programme, considerable time is spent brainstorming new ideas and methods to deliver key messages. But is this approach always successful? Instead, wouldn't it make more sense to explore the factors that dictate behaviour then use these as the basis for medical education?
New disciplines within psychology are being used to help predict health behaviour. This is supported by a wealth of peer-reviewed evidence that has identified the factors that are likely to trigger behaviour change. This growing interest has been driven by the fact that chronic diseases account for 60 per cent of the global disease burden and so it is imperative that we become more successful in changing attitudes to the risk factors associated with these diseases. Could some of this experience be used to help predict whether or not medical education programmes are likely to change behaviour?
Research by health psychologists has resulted in a number of theories and models. It is interesting to see if these can be applied to single projects or across an entire medical education programme. There is a range of theories to choose from including the health belief model; protection motivation theory; social cognitive theory; and theory of planned behaviour.
Lessons can also be learnt from cases where there has been a successful and unsuccessful approach to changing behaviour. Such as the two listed below.
The BSE crisis in the 1980s is an example of an unsuccessful attempt to change behaviour. Initial concerns, then evidence suggested that BSE or `mad cow disease' could spread to humans through the consumption of contaminated beef. At the time, the British public was subjected to a whole range of conflicting and confusing messages. The Minister of State for Health famously recommended beef burgers to his grandchildren on national television. Other messages advised people to avoid biscuits and gelatine capsules, because they contained gelatine from processed beef; and beef on the bone was banned.
The public was confused and the result was a range of random behaviour changes. Some people defiantly continued to eat their T-bone steaks supplied by `renegade' butchers. Others became vegetarians and avoided all meat. The plan, if there was one, did not succeed because of the lack of co-ordinated evidence, peer endorsement and infrastructure.
- Evidence In the Karelia case, there were clear information-based strategies that highlighted the evidence between risk factors and cardiovascular disease. The information phase also provided compelling evidence showing that changing behaviour could improve health outcomes.
- Peer endorsement The evidence was backed up and supported at a national level by the medical community and at an international level by endorsement from the World Health Organisation. The communities were asked to disseminate the information through public meetings co-ordinated by local organisations. Television and radio were used to reinforce the messages at local and national levels.
- Infrastructure Perhaps the most important aspect of behaviour change is to ensure that a supportive infrastructure is in place. For example, in North Karelia, local food manufacturers were involved to help develop low-fat dairy produce. New sausages were formulated to replace beef with mushrooms. Farmers were involved in education and training programmes to reinforce the need for increased production of berries and vegetables. There were community-based classes on preparing economical and healthy foods, and families were invited to these classes to create social reinforcement. There were `quit and win' competitions between villages to help smoking cessation as well as competitions at youth and school level.
Since the North Karelia programme was launched, the annual mortality rate of coronary heart disease among men under 65 has been reduced by 65 per cent. Men in this area now have their life expectancy improved by seven years and women by six years.
So what does this mean for medical education?
Ogilvy 4D learnt lessons from both the BSE and North Karelia Project then adapted the `theory of planned behaviour' to make it work in business. A toolkit was devised based on the three key drivers in the North Karelia Project: evidence, peer endorsement and infrastructure. This toolkit is used to create new medical education programmes designed to change behaviour, plus it can audit existing programmes to identify any gaps.
- 85 per cent of the target audience recognised that the new product had advantages over its competitors.
- There was a 10 per cent increase in the breadth of prescribers within one month and a 40 per cent rise in prescribing within three months of the programme.
- Participants in the programme were twice as likely to prescribe the new medicine compared to those that did not participate.
There is a wealth of peer-reviewed evidence relating to behaviour change that can be use to drive medical education programmes. There are also some stark examples of best and worst practice to help guide success. It is this evidence that has helped shape Ogilvy 4D's toolkit and, as a result, its medical education programmes have benefited from more predictable outcomes on behaviour.


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Nouvelle, a leading provider of post surgical bras and compression wear, reports latest ASPS findings on extensive health outcomes following breast reduction surgery. Nouvelle's compression wear and post-surgical garments are distinguished by superior workmanship, and hand-crafted by a team of professional healthcare garment designers.
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Remaya Square, Giza Governorate, Egypt
About Giza
Giza or 'Al Giza' is a tourist hotspot and the site of some of Ancient Egypt's most famous landmarks, including the largest pyramid on Earth.
Giza is home to the pyramids of kings Khufu, Khafra and Menkaure. The largest pyramid in Giza, and in the world, belongs to the second king of the Fourth Dynasty, Khufu or "Cheop".
Khufu's pyramid is Giza's oldest and, at its great size of 145 metres, became known as "The Great Pyramid". In fact, Khufu's pyramid was once the tallest structure in the world as well as being one of the Seven Wonders of the World.
The second largest pyramid in Giza belongs to Khufu's son and fourth king of the Fourth Dynasty, Khafra (or Khephren). In fact, the elevation on which Khafra's pyramid is built is deceptive, making it appear larger that his father's.
The smallest of these three kings' pyramids belongs to the sixth king of the Fourth Dynasty, Menkaure and is one tenth the size of Khafre's.
A UNESCO World Heritage site, Giza is also where one finds the Great Sphinx. Estimated to date back to 2528–2520 BC, some Egyptologists believe that this majestic half man, half lion is modeled on Khafra.
Several other tombs and Queens' pyramids pepper Giza's landscape, some of which are open to the public, most notably, the tomb of Seshem-nefer IV. This site also features as one of our Top 10 Tourist Attractions in Egypt.
Egypt Historic Sites
Top 10 Egypt
Egyptian Sites
World Pyramids
Dahshur
Dahshur in Egypt is home to the famous 'Bent Pyramid' and the Red Pyramid of Sneferu. Explore
Saqqara
Saqqara was the burial ground of the ancient Egyptian city of Memphis and home to numerous pyramids and tombs. Explore
Hawara Pyramid
The Hawara Pyramid in Egypt was built by Amenemhat III. Explore
Abusir Pyramids
The Abusir Pyramids near Cairo, Egypt belonged to the Fifth Dynasty pharaohs. Explore
Alternative Name
Al Giza
Pyramid, Egyptian Pyramid
Pharaoh Khufu
3000BC - 2001BC
Must See, 1 National Treasure
Empires & Civilisations
Outside the front of the Mena House Oberon Hotel, Cairo (known as Pyra
The pyramids open at 8am and entry to the Giza Plateau is LE 60. A further fee of LE 30 payable for entry to the Pyramid of Menkaure and LE 100 for the Great Pyramid of Khufu. Students receive a 50% discount upon showing their student ID.
Either take a taxi (ask your hotel) or, by public transport from central Cairo, bus routes 355 or 357 take you to the Pyramids. Alternatively, on Metro Line 2, alight at Giza Station (not the terminus).
http://whc.unesco.org/en/list/86
http://www.bbc.co.uk/history/historic_figures/khufu.shtml
http://www.egypt.travel/?flashinstalled=2
http://www.ancient.eu.com/giza/
Just as empires rise and fall so do entry fees and opening hours! While we work as hard as we can to ensure the information provided here about Giza is as accurate as possible, the changing nature of certain elements mean we can't absolutely guarantee that these details won't become a thing of the past. If you know of any information on this page that needs updating you can add a comment above or e-mail us.


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Takatà: The Unknown Barcelonan Beach Sport
Written by Dylan
by Dylan
Sports are equally, if not more important, to a civilization's culture as music, arts and food. As a form of entertainment, sports evoke a unique passion in people that gives them a sense of pride, belonging, identity and especially, patriotism. Whether it's soccer, rugby, tennis, horse racing or athletics, people love to follow and support local teams. Some areas, however, are home to local sports which are often not played on a widespread scale but have a limited following.
Takatà
Photo credit: photoloni via Visual hunt / CC BY
Takatà is one such sport. It is a traditional beach sport which is played exclusively in Barcelona. The sport is not well known anywhere else in the world apart from here and even then it is a case of who you meet. It is played along the Barceloneta Beach and often attracts Barcelonans and tourists who enjoy the excitement of the unheard-of game.
There are 2 official clubs that play the sport, the Barcelona Swimming Club and Club Athletic Barcelona. Both clubs have permanent facilities which enable the sport to be played year round. Barcelona's largest Takatà competition is the Torneo Vicenç Batlle which can have quite a large following.
Conceived in 1914 by Barcelonan beach goers, Takatà is a variation of beach volleyball, played with a tennis ball. Typically, it is played in pairs but it can also be played in singles and even triples. Played in the sand on the beach, the field measures 6 metres wide and 14 metres long with a net spanning across the centre at 1.6 metres high.
Photo credit: A. Serra via Visual Hunt / CC BY-NC-SA
Similarly, to volleyball, the objective of the game is to hit the ball into the other team's court but with the palm of your hand. If the team overshoots the court or hits it wide, the point goes to the other team. A repeat serve occurs if the ball hits the net, and the ball must be hit in an upward direction and not slammed down onto the other team's court as this will not permit a point. Catching the ball and double hitting are also not valid. A game can be played up to 22, 40 or even 60 points, depending on the organisers or the competition and must be won by a difference of 2 points.
With the weather getting warmer, be sure to keep an eye out along Barceloneta for any locals playing Takatà in the sand and try to get involved. Or you could organise your own game on the beach and instead of a net just draw a court in the sand with a line across the middle. All you need is a tennis ball, which you can find at Decathlon.
Help keep the sport alive.
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Dylan is a freelance writer in Barcelona, enjoying the Spanish culture and weather along with the incredible opportunities life has to offer.


Home » australia , awesome duuuuuuude , connie laurie , fishing , sports » 85-year old grandma reels in 849 pounds of marlin!
85-year old grandma reels in 849 pounds of marlin!
An 85-year-old Australian woman said she "didn't feel 85" when she reeled in a 849-pound marlin off the north coast of Queensland.
Connie Laurie, a grandmother who said she has been fishing all her life, said she was on a fishing charter trip during the weekend off the coast of Cooktown when she caught, and then released, the hefty marlin, the Australian Broadcasting Corp. reported Monday.


Today's recipe: The classic Italian spinach gnocchi [pronounced NYOAK-ee, or, read on, there's a musical mnemonic too for my fellow Word Dancers], what you might call a dumpling but light and airy and slightly cheesy. Gnocchi are not difficult to make but do take some time. The results, however, are worthy of a special occasion or a relaxed weekend meal. Y'know, like Valentine's maybe?
So I like to joke that there's an Unofficial Alanna Kellogg Fan Club and that it has exactly one member. That's our new friend Charlie and given his long-standing encouragement, I've appointed Charlie president.
Laugh if you will but it's true. Some years back and long before we'd met, Charlie read and liked Kitchen Parade when it was published in the local newspaper. He's a volunteer poll worker too so one election, Charlie watched for me and put out his hand to introduce himself. Fast forward to 2011 and Charlie and and his wife Jan's introductions to the Missouri Mycological Society and a smaller culinary group, the Incurable Epicureans.
Both warmly welcome new faces. They're good good people and they don't just like mushrooms, they love good food! Four times a year, they prepare a 'theme meal' for forty or fifty people. On Sunday, we attended our first, a feast of Marcella Hazan recipes. What a meal! There are at least two, maybe three recipes I'll make to post here on A Veggie Venture, simple, fresh and seasonal, you know, the recipes we like best!
For this particular meal, the menu was already set and assigned by the time we were invited so it was important that our recipe fit into the existing menu. The list of requirements was long: a recipe from Marcella Hazan; a vegetarian recipe; no rice or pasta since those were already assigned; no cold salads since they too were covered; no desserts or appetizers which there were plenty of. So I went hunting for something vegetable-y but heartier than a side dish – once I spied the Spinach Ricotta Gnocchi, perfetto, perfect!
The gnocchi take some doing, nothing hard really, just a little time-consuming – though I may be biased since we did FOUR batches, enough for 45, that's a pile of gnocchi. When I started cooking on Sunday morning, I worried for just a second that a test batch might have been smart. But Marcella Hazan's recipe was absolutely perfect, easy to follow, perfectly balanced, just the right amount of instruction.
What are Spinach Ricotta Gnocchi like? Think spinach dumplings, light and airy, substantial but not heavy, slightly cheesy but really all about the spinach. The tomato sauce contrasts beautifully color-wise and taste-wise. I will definitely make these again!
PRONUNCIATION GUIDE How do you pronounce gnocchi? Try [NYOAK-ee]. Or if you're musical like my favorite CountryBoy, try this, Merle Haggard style, "I'm Proud to Be AnGnocchi from Muskogee ...".
MANY THANKS to my friend Karen from FamilyStyle Food for lending me her beautiful chafing dish and copies of Marcella Cucina and The Classic Italian Cookbook by Marcella Hazan. I liked these two cookbooks so much, I purchased Essentials of Classic Italian Cooking for my own cookbook library!
If using the same saucepan for the sauce and cooking the spinach, you'll want to cook the spinach before starting the sauce.
In a heavy saucepan, melt the butter, then stir in the onion, carrot and celery and stir to coat, then stir in the tomatoes. Bring to a boil, then adjust the heat to maintain a slow-slow simmer and let simmer uncovered for 3 to 4 hours, stirring often with a wooden spoon, breaking up the tomatoes as they become soft. Let cool.
To make the sauce, process in a food processor until smooth. Gently rewarm to sauce, then stir in the cream. Do not allow to boil or the sauce will 'break'.
HOW MUCH TO MAKE? This makes a LOT of sauce, more than you'll probably want/need for a single batch of the gnocchi.
THAT SAID For an ultra smooth sauce, press the cooled mixture through a chinois or a food mill. This is what I did and it yielded 1-3/4 cups silky sauce (without cream, see TIPS) plus about 1/2 cup of buttery-tasting solids which I saved for tomato soup. This strikes me as about the right amount for a single batch of gnocchi.
PLAIN OR CREAMY? I loved the plain sauce so much, I left half plain and added 1/4 cup cream to the other half. This would make for an especially dramatic presentation for a small group.
MAKE-AHEAD TIP To make ahead of time, make the tomato sauce but don't add the cream, then cover and refrigerate. When ready to serve, gently rewarm the sauce, add the cream and heat through but do not allow to boil.
TODAY'S VEGETABLE RECIPE INSPIRATION Adapted from Essentials of Classic Italian Cooking by Marcella Hazan.
Bring the water to a boil. Add the spinach, let the water return to a boil and then cook for five minutes or until the raw taste of the spinach is gone. Let drain in a colander. Press the spinach with the back of a spoon, removing all the excess liquid.
In a large skillet, melt the butter, then add the onion and cook gently until the onion is cooked but not brown. Add the spinach and stir to coat with fat. Let the spinach cook, stirring occasionally, until the spinach is hot throughout and all the liquid is gone. Let cool.
Meanwhile, in a large bowl, whisk the egg yolks, then whisk in the ricotta, flour, Parmesan, nutmeg and salt. Stir in the cooled spinach. Cover and refrigerate for a couple of hours to firm up slightly.
To cook the gnocchi, bring the water to a boil. With your hands, form balls about the size of a golf ball, compressing slightly. Make enough to fill the pot without crowding, our four-quart Dutch oven held about 10 at a time. Drop in all ten (or so) balls at once, they'll drop to the bottom and then, after two or three minutes, float to the top. Transfer to a dish to keep warm, continue until all the gnocchi are cooked.
To serve, pool some warm Creamy Tomato Sauce on a plate, arrange several gnocchi on the plate, sprinkle with Parmesan cheese if desired.
FROZEN SPINACH BRANDS I'm having great luck with the frozen spinach from Trader Joe's, few stems, very fresh tasting. I've had trouble with the house brand from Schnucks here in St. Louis, even the Birds Eye brand. I've learned that it's best to let frozen spinach thaw in a dish in the refrigerator overnight rather than to defrost in the microwave where it starts to cook and can get tough.
You might want to experiment cooking a single gnocchi to get the hang of it, to watch how the gnocchi is heavy and then lightens in the water until it then actually floats to the top.
The nutmeg was a little subtle for my taste. Next time I think I'll try lemon zest.
For our Marcella Hazan Dinner for 45 people, we made four batches of the Spinach Ricotta Gnocchi (the perfect amount for a side dish in a full meal) and three of the Creamy Tomato Sauce (next time, I'd do just one).
Cooking this much takes awhile, even with two people cooking, especially cooking the gnocchi themselves. It took some strategizing, too. For example, I was able to cook 40 ounces of spinach in a four-quart Dutch oven, then used the same pot to make the sauce, then later to cook the gnocchi.
To break up the cooking, make the sauce and assemble the gnocchi mixture one day, cook the gnocchi another.
When mixing the gnocchi mixture, be sure to mix in each ingredient well before adding the next. It's hard to evenly distribute all the ingredients when there's so much volume.
Because our gnocchi were being (1) cooked at home, layered in a chafing dish, left at room temperature, warmed in a low oven and then (2) transported, kept warm in a chafing dish with bunsen burners for a good 90 minutes, we chose to cook the gnocchi in the boiling water first, then to drop into a hot buttered skillet to firm up a bit. This was a good idea, I think, because the gnocchi didn't squoosh together into a big blob but the extra step did add to the calories. A few got slightly brown and developed a thin crust, this actually added to the texture, a good thing.
MORE FAVORITE SPINACH RECIPES – CONSIDERABLY SIMPLER!
The gnocchi look so tender and lovely...and I love how you made the sauce half creamy and half not. Pretty and a very clever way to lighten up the recipe. Brava!
I've never tried gnocchi and it definitely looks intimidating. But I think my love of spinach and cheese will trump the intimidation. Thanks for posting!
I've never made gnocchi but I saw someone demonstrate it recently on a cooking show, and it actually looked like a lot of fun! I've never heard of spinach gnocchi, and that potato-dough could use a little veggie love!
Alanna, this looks fantastic! Any thoughts on freezing?
Kris ~ Y'know, I thought about that. I think they might freeze, the trick would be freezing them in a way that they don't get freezer burned. I'll try this next batch!


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Comparison Search:
Title Director Year Country Company/Distributor Edition
Alpha and Omega [Blu-ray]
Blu-ray A - America	- Lions Gate Home Entertainment
Review written by and copyright: Anthony Arrigo (9th April 2011).
I remember seeing the trailer for "Alpha and Omega" (2010) in front of "Toy Story 3" (2010). Aside from the fact that it looked truly horrendous, all I can remember is the constant reminder that you could experience the film in "EYE-POPPING 3D!". It told me this, over and over and over until I wondered if they were putting more stock into reaping the (assumed) benefits of charging more for a 3D picture than in actually crafting a worthwhile story. Now that I've seen it, I'm convinced it's the latter. What happened to kids movies? When I was growing up, it seems like we had all the coolest live-action films and cartoons that people still heap tons of praise upon today, even without the added benefit of viewing them through rose-tinted glasses. The majority of kids' films today feel devoid of emotion, produced only to cash in on the undisputable fact that parents will likely be dragged to anything that's animated and/or features some cuddly, fluffy CGI creations. Whatever happened to giving kids a truly fantastic ride when they go to the movies? Seems these days, those behind the movies know kids are usually easy to please, so they aim for the lowest common denominator. Luckily, there's a bit of a backlash being felt via parents' pocketbooks, and a lot of these unworthy films (this one included) aren't performing as well as distributors are undoubtedly hoping for. Maybe they'll start to get the message that just because a film is animated and presented in 3D, that doesn't preclude it from sucking a big one.
According to the film, there are two distinct classes of wolves: Alpha and Omega. Humphrey (Justin Long) is an Omega wolf who's in love with an Alpha wolf, Kate (Hayden Panettiere). The problem is that Kate is set to marry Garth (Chris Carmack), a wolf who's part of the enemy Eastern pack. Just before they're set to mate, however, Kate runs off, runs into Humphrey and the both of them are shot with tranquilizers and shipped off to Idaho, where researchers are attempting to rebuild the wolf population there. Miles from home, and with no assistance in sight, the two wolves set out to get back home, falling in love in the process… yadda, yadda, yadda. Honestly, anyone with kids who watches this (because I can't imagine anyone other than parents or reviewers would voluntarily sit through this) will be able to telegraph the plot and character moves well in advance. I suppose I could let it slide a little more if I look at this as a film for toddlers and young children who need to learn the basics of life, but on the same note I don't think I'd want my children to have fond memories of watching something so patently terrible that it killed Dennis Hopper.
Ok, ok… maybe (and I stress that word) this film didn't kill one of Hollywood's greatest actors, but it stings like a shot to the gut that this was the last film he left us. At least it was only his voice doing the work, so he doesn't have to be facially shamed in this final outing. I wish I could say his pipes lent some gravitas to this underwhelming production, but even the great Hopper couldn't do anything to salvage this wreck. I'd say I'm amazed at the voice cast a production like this was able to secure – Danny Glover, Christina Ricci, Justin Long - but I don't think it's such a hidden fact that actors love doing this kind of work. They usually get a big pay day, and they don't spend more than a week or two shuffling around a soundbooth in their jammies. There isn't much to it. I'm in the camp that still has a minor problem with big, recognizable celebrities lending their talents to animated movies. It tends to take me out of the film in the sense that, when I hear Danny Glover's wolf speak, all I can picture is Danny Glover sitting in an ADR booth somewhere. Unless you're someone like Christopher Lee, who has one of the best voices in cinema, then I think many of these productions would be better off using no-name actors who have great character voices. They're out there – lots of 'em – and these are the people who should be bringing these characters to life. Not a tired, old Danny Glover who sounds like he really is – to quote his most famous character - "too old for this shit".
The 1.78:1 1080p 24/fps AVC MPEG-4 encoded image looks about as remarkable as I've come to expect from an animated film these days. That's not to say it's eye-poppingly fantastic or anything; just that it's technically proficient and free from deficiencies. I'm not a fan of the animation style – at all. I think it looks clunky, poorly rendered, archaic and blocky, like some ancient cut screen from a Playstation video game. The original Playstation. I can't complain about the sharply defined animation lines or the color scheme, both of which are exemplary. How could they not be? A computer handled all the work, so I'd figure on both looking as sound as possible.But the animation looks so unrefined, like everything is painted in broad strokes. I can't complain about the lack of fine detail because there really isn't any. There's nothing subtle or nuanced about this presentation.
Of course, the English DTS-HD Master Audio 5.1 surround sound mixed at 48kHz/24-bit fares much better. The soundtrack is perfectly balanced in regard to dialogue and sound effects. There's a scene early on where a group of wolves is near a waterfall, and the crushing fury of the water pounding onto the rocks below had my subwoofer drowning in bass. The surround speakers are given more to do than in most children's films, filling out the track with many of the typical sounds you'd expect to hear in a forest environment. I'd hesitate in saying that the track possesses incredible dynamics or impressive soundscapes, but it's certainly much more robust and engaging than I would have expected.
Spanish and French Dolby Digital 5.1 surround sound tracks are also included. Subtitles are available in English for the hearing impaired and Spanish.
There's not a whole lot worth getting excited over here. We get some featurettes, a deleted scene, a couple of interactive games for the kiddos and way, way, way too many bonus trailers. There's also a second disc containing a DVD copy of the feature film sans any bonus features.
DISC ONE: BLU-RAY
"The Making of Alpha & Omega" (1080p) contains some behind-the-scenes featurettes on the making-of the film. They can be watched together using the "play all" feature or they can be watched individually:
- "The Alpha of Animation" runs for 7 minutes and 23 seconds.
- "Voicing the Wolves" runs for 8 minutes and 2 seconds.
- "From Alpha to Omega" runs for 6 minutes and 26 seconds.
"Wolves in the Wild" (1080p) featurette runs for 13 minutes and 10 seconds. Not wanting to skimp of authenticity, the filmmakers immersed themselves in all things wolf – watching wolves, filming wolves, studying wolves, eating wolves. Ok, maybe not the last one so much but you get the point.
A single deleted scene (1080p) runs for 1 minute and 6 seconds. The movie was already terrible and ran under 80 minutes. Did this really need to even come out?
"Animal Fun Facts" is an interactive feature that plays during the film, popping up with little factoids about various woodland creatures. The education this provides easily outweighs the entertainment of the film.
"Log Sliding Game" interactive active is something for kids. Everyone over the age of 3 will find it as terrible as I did.
"Are You an Alpha or Omega?" interactive active is a personality test to determine which class of wolf you belong to. I'm in the class that thought this was too boring even for kids.
Bonus trailers (1080p… some for films that look so offensively bad I actually got angry) are included for the following:
- "Thor: Tales of Asgard" runs for 1 minute and 43 seconds.
- "Timmy Time" runs for 1 minute and 38 seconds.
- "Fred: The Movie" runs for 1 minute and 51 seconds.
- "Thomas & Friends: Misty Island Rescue" runs for 1 minute and 7 seconds.
- "Leap Frog: The Amazing Alphabet Amusement Park" runs for 58 seconds.
- "Wolverine & the X-Men" runs for 1 minute and 12 seconds.
- "The Spy Next Door" runs for 1 minute and 45 seconds.
- "Battle For Terra" runs for 1 minute and 11 seconds.
- "Love the Dance" runs for 1 minute and 31 seconds.
- "Bratz: Pampered Pets" runs for 57 seconds.
- "Leap Frog: Numbers Ahoy" runs for 1 minute and 12 seconds.
- "Shaun the Sheep: Off the Baa!" runs for 1 minute and 20 seconds.
The disc is also equipped with Lionsgate's bookmarks feature.
DISC TWO: DVD
This is a DVD copy of the feature film. There are no bonus features, but the disc does have all of the godawful bonus trailers found on the Blu-ray.
The film's digital copy can be redeemed be going to a website listed on the insert inside the case. It is only compatible with iTunes.
The 2-disc set comes in a standard amaray keepcase with matching, embossed cover art.
Unless you feel like torturing your child, or giving him fond memories of a movie that should be forgettable, don't bother. There are far more intelligent and interesting animated films to watch than this one.
Support us by purchasing this disc online at Bluraysforeveryone.com, they specialize in store exclusives and limited editions both new and used, plus have a wide range of new releases and catalogue titles. Join their reward program and earn points towards your purchases. Best of all for overseas customers they are customs friendly and offer great cost-saving shipping options. Check them out for some cool limited editions.
The Film: D- Video: B Audio: B+ Extras: C Overall: C-
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text:
Extinct races, Goa'uld military units, Ancient technology, Engineered Races
Advanced musculature
Anubis, Ba'al (formerly)
"Evolution, Part 1"
"You are the instruments of my conquest."
―Anubis[src]
Kull warriors were a race of artificially-created life-forms designed by Anubis to be the ultimate super-soldier. They were referred to as Orak, meaning "unspeakable", in the Goa'uld language.
Kull warriors are genetically-engineered humanoid hosts implanted with a Goa'uld symbiote and given a full-body suit of energy-dissipating black armor. This armor makes the warrior virtually impervious to both energy and projectile weapons. It also allows the warrior to pass through force fields without resistance. Mounted on each wrist is a Plasma repeater, an energy weapon similar in principle to a Ma'Tok staff but with less power and a much higher rate of fire.
The face of a Kull Warrior.
The humanoid host is artificially grown, then granted life through use of the Ancient healing device, the technology upon which the Sarcophagus is based. The host has vaguely human features but possesses a more skull-shaped face, white, translucent skin, and white eyes, along with their teeth showing. The hosts were grown to be the perfect soldier. To this end, the host has physical capabilities well beyond those of a normal human. They have great physical strength, endurance, and stamina, as well as a high degree of resistance to toxins and sedatives, even compared to that of Jaffa. They can also survive without oxygen for nearly ten minutes, because of a Breathing filtration system and their own natural lung capacity.
Dead Kull warrior with the mask removed.
The many benefits the host has come at the cost of longevity. In making the host so physically powerful, it results in major organ failure within a short period of time. Selmak described it as the muscles being so strong that the heart was strained to keep up with supplying enough blood and oxygen to the body, resulting in cardiac arrest after a short lifespan.
The Goa'uld symbiote is implanted to prolong the life of the host, but even the symbiote's healing powers cannot fully compensate for the deficiencies in the host's body. While normal symbiotes possess genetic memory that would make them unreliable as footsoldiers, the Queen that spawned the symbiotes used did so without imparting her genetic knowledge, granting the Kull warriors all the benefits of a symbiote, while leaving the warrior a "blank slate" to be programmed to Anubis' liking.
A Kull Warrior at a maintenance chair.
Kull warriors were single-minded and persistent, completing their tasks with lethal efficiency. They would defend themselves if attacked during the execution of their mission, but only until there was no longer any threat being presented. They lacked initiative, and ignored anything that was not a clear threat or was not part of their mission parameters. Furthermore, the removal of any personality meant that the warriors do not fear anyone and were relentless in their goals. If it fell towards an attack that did not kill it in the process, it would simply rise up and continue on its assigned goal.
Due to their armor and impressive physical abilities, the Kull were almost unstoppable in battle. The Tau'ri and Tok'ra developed the Kull disruptor to negate the energy used by the Ancient healing device, thereby killing the drone within the armor without actually defeating the armor itself. Aside from that, only a tremendous amount of kinetic energy, such as a bomb, would have any hope of penetrating the armor. (SG1: "Evolution, Part 1", "Evolution, Part 2", "Death Knell")
"I... serve... Anubis."
―Kull Warrior[src]
"Hail Anubis! Hail Anubis!"
―A group of Kull Warriors pledging their loyalty to Anubis.[src]
One of Anubis' Kull warriors.
Using the knowledge he had gained along with information he had retrieved from Jonas Quinn's mind, Anubis began the process of creating a new type of foot soldier that would serve him as the Jaffa Rebellion had shown that these former servants that Anubis and other Goa'uld had depended on had grown increasingly unreliable.
Enticing a Goa'uld Queen to serve him, Anubis began the task of using the Ancient healing device to create a breed of super soldiers known as the Kull Warriors.
Anubis would make use of both the Goa'uld Thoth and the base on Tartarus to serve as the primary breeding facility for these warriors. Once completed, the soldiers were sent through the Stargate into the territory of minor Goa'uld, where they would rampage through the Jaffa ranks to kill their Goa'uld Lord. Once the Lord was slain, his armies would be incorporated into Anubis' ranks which greatly increased his power.
Kull warrior being neutralized by a Kull disrupter blast.
SG-1 would eventually discover one of these warriors on its assigned task and learn of its creation. They would successfully capture one, after much effort, and discover where the creatures were being bred. A mission was sent out on Earth to find the Ancient healing device uncovered by the Goa'uld Telchak, in order to create an effective countermeasure. Anubis would learn of this and sent an attack fleet along with Kull Warriors to assault the Alpha Site, in order to prevent the development of the weapon but this ultimately failed although it resulted in the Ta'uri-Tok'ra-Jaffa alliance being dissolved due to all three races suspecting that the other was guilty. (SG1: "Evolution, Part 1", "Evolution, Part 2", "Death Knell")
After the Battle of Antarctica, the Kull were taken over by Ba'al, who used them in his own mission of conquest, killing several major System Lords, but Anubis' return effectively brought them back under his control. Most were wiped out during the Replicators invasion of the Milky Way galaxy. After Anubis and Oma Desala engaged each other in eternal struggle, the Free Jaffa were able to wipe out all of the remaining Kull warriors in the galaxy. (SG1: "Lost City, Part 1", "Lost City, Part 2", "New Order, Part 1", "Avatar", "It's Good to Be King", "Reckoning, Part 2", "Threads")
A phantom Kull warrior on M1B-129.
Major Leonard of the Atlantis expedition, who had previously faced Kull warriors in battle, experienced hallucinations of them when affected by a Wraith mind manipulator on M1B-129. These eventually became so intense that Leonard mistook his own team members for enemy soldiers, hunting down and killing them all. Continuing to see himself surrounded by super-soldiers, he chose to commit suicide by holding one of his fragmentation grenades to his chest and detonating. (SGA: "Phantoms")
Kull warrior in a heart attack
Stargate Wiki has a collection of images related to Kull.
Kull Warrior in Kathleen Ritter's Lexicon.
GateWorld's article on Kull warriors in The Stargate Omnipedia
Stargate SG-1 Solutions' article on Kull Warrior in The StargateWiki
Retrieved from "https://stargate.fandom.com/wiki/Kull?oldid=372207"
Extinct races
Goa'uld military units
Engineered Races


3 apps I use for IG stories!
I get asked about 50 times a day on Instagram stories what filter I used on my videos, how I add music, and how to achieve this 'vintage' video look and FINALLY I am sharing the 3 apps I use to achieve this! I hope this helps you guys if you've had any questions about stories and enjoy!!!
My most asked and most used app is likely 8mm! This app is how I create the 'vintage' look and I typically use the 2 strip filter. I think it is 1.99 in the App Store, but def worth it as it's a great app and is how I achieve this look.
I also ALWAYS get asked how I add music to my videos or boomerangs! The app I use for this is Hype Type and you don't need to pay for any of the songs to use a short clip of them! IG stories does have it set up now that you can connect with Spotify, but I find it doesn't work well at all so I still use Hype Type! I love using music to create a video mood and this app is super easy to use! You can also use their fonts to have some text over your videos too- super fun!
A lot of people don't realize but VSCO actually has filters for video! When you open the app you click the plus sign on the right and then tap over to videos! You then can add any of the filters you have purchased over onto your videos! I absolutely love filtering my videos and my favorite filter for IG videos is M5!
These are really the only 3 apps I ever use for stories and I use these 3 pretty much daily! I hope this finally helps you with any questions you may of had about my stories and comment below if you had any other ones!
I love this! Ive al won what apps you use So this was very hElpfuL!
Thanks for sharing! will definitely use these apps in the future!!!!
Thank you! That was really useful. Your videos always look great. I just wish there were more free/for non apple users options.
Thanks for the app reqs! I also loved your vintage style of the bideos and now i cAn do it too!
I use VSCO too! Def easy for videos and phoTos.
I love watching your stories, the filTer makes them 10x cuter. Cant wait to try these apps!!
Thank you! You have such an eclectic and great Style!
Your Ig stories is one of the few i actually watch BecAuse of your vintage theme & background music. Thank you for what you do & how you do it.
I genuinly look forward To your posts Every day. So thanks for making everything feel so relatable and For giving pointers. It makes my day.
I've been playing around with VSCO for a little while, I'm going to try some more filters now!
love your style both in fashion and editing. Such a great aestheTic.
Woo! Good to know! Thanks!
Your posts are always so cheery and happy! I love your content and your joy you exude. Its refreshing!
I love the old school filters, they're my favorite! Good taste!
Thank you for the amazing tips! Im always looking fir ways to make my stories more interesting, especially as ive started ti branch at more into clothes marketing! This will be super helpfuL and fun!
Thank you For this! I have been wondering about that vintage film app. This was very helpful!
Your blog and posts have the Dreamiest VINTAGE vibe to them!
I love how adding music can change the vibe of your videos!
Thank you!! This is great info!
Ive been curIous about all these filters that ive been seeing on yoir stories and IG so thank you for finally writing about it!! Definitely interested in downloading some!!
DoWnloading hype type as we speak. Great post!
Yesss! LOve your style. & i love vsco too.
YeSsss i love vSco! Your videos are the best girl!
Thanks for sharing! Love you IG stories!
Cant wait to try these aPps! I love the way your videos lOok!
Wow, i didnt know vsco had videos! Thanks for the tips, thats awesome.
This makes me want to try them now.
Thanks for the info. I Love trying new EDITING apps.
ThaNks for being you and For sharing your secrets with all of us so we caN be cool too haha.
I love vscO! I will have to try your other recs!
Ohhh love your stories, so thanks for your tips and Apps! I use VSCO too, but only foR photos so now I will Try it with videos!
thanks for sharing! your stories always look really nice and put together and i appreciate the obvious effort you put into them and everything you do!!
Thank you!! I did not realize that I could edit videos on VSCO! So cool! Love your blog!
Thanks for sharing the VSCO TIP! I use it all the time, but I had no idea you could apply presets tO videos too!
This is actually so helpful, thank you!!!
I love the Vintage look! Keep slAyin it girl!
I think im one of the many who texted you. Thanks for sharing.
I was trying to decide the other day if VCSO WAS WORT PAYING FOR…YOU MAY HAVE CONVINCED ME. Thank you for your post!
THank you flr sharing theSe! I downloaded and started using 8mm and hype time, love tHem! Your stories are always some of my fav.
I'm jUst starting a blog myself, and all your tipS are so helpful!
Thank you for the advice. I've had these apps but didn't know all of this!
I have never heard of these. Will have to give them a try!
These apps are so helpful! I have always Had an interest in blogging etc. and i Am finally gEtting around to creating CONTENT. Thank you for making your corner of the interneT full of love and sunshine!
Thanks for sharing! I only used vSco but now my selfieS can be better!!
I have been fol you for abOult a year now and I love how Real you are and i love your viNtage modern feel. You have a kind heart i can tell and you inspire me.
Thann you so much for sharing these appS! Cant wait to try them out!
Im a big fan of vsco and 8mm. I have never used hype type before so i am yet to try it!
Im so going to need these apps now! Love your content!
Thank you for the tips! Cant wait to try thEM for myslef!!
excellent tips !! Love tHe bloG from the Uk !
I'm coming to New york next month!
8mm looks so cool! I really like iNsta stories. Maybe now that I know about these apps, i'll post on mine more! Thanks for this post!
Your videos remind me Of old parisian movies loVe them!
I love all of yoir photos abd instastorIes, so i love that you are Giving the behind the scEnes Tricks!
I alWays wondered how you get the music in your stOries! Thank you!
Your entire IG Is so aestHetically pleasing and joyful!! I really love your whole vibe!!
Thanks for the tips. 🙂 I love using stories as a way to get creative about everyday life.
I started to follow you on Instagram because I love your stories! Thanks for the tips.
yes! Ive been wonder what you use! Thanks for the info, going to try this out! You are the sweetest btw!
Woo! I have been curious about The music on your insta stories… thanks so much for sharing! 8mm is one of my faaaaavorite apps. I'm a nanny and use it to take cute little videos of the kiddos to send to their parents for a mid-day update. I need to use it more during my free time. Love the effects it offers!
This was super helpful thank you!!
This was super helpful thank you sO much!!
So coOl to know what Apps you use! Thanks for shAring!!
i've Always wondered what Apps you used. Thanks for finally sharing! Definitely going to check these out.
Thank you for sharing! I'm always looking for great new apps to try!
So Great!! Thanks for sharing!!
Thanks for inspiration ♥. Ao mAny others just want to keep it to themsElfs !
YESSSS!! This is so helpful! Thank you so much for sharing! Now to go download and edit everything!
Helpful tip! Love the blog and your amazing style !
Thank you so much for writing this post!! I'm super excited to film more videos now!
i love the vintage filters. Thanks for showing us the way!
This is super helpful! I just downloaded hype type and loVe it!
Thank you! I was struggling with how to get music on my stories. The spotIfy thing doesn't work very well at all.
Idk why its in all caps. Promise i'm not yelling.
Love your blog always goals!!!
I use VSCO too for my day to day posts on ig, will Def need to try the vintage look for my storIes!
I Love the vintage Look of your photos! Keep on being you.
Ooh i didn't realize you could edit videos on VSCO, will definitely have to do that in the future!
Hi NoelLe!! I love your blog and always learn the most useful things 🙂 Have a good weekend!
I didnt even think about third party Apps. You eDit so well, I Always love following you on IG!
Thank you for sharing ❤ Always love your ig stories!
This was my first time ever reading a blog. Thank you, i enjoyed it!
I love your style ans your curves! Too many of the "Big" insta accounts are women who are tiny and skinny and thats just not realiStic for the world we live in! We love our curves!
Oh my goodness i never realized vsco has filters for Videos! Game. Changer. Thanks always for ypur helpful tips positive outlook and happy style! I love following along.
Thanks for sharing your tips & tricks !! Im excIted to dowNload hype type !!!!
Super HelpfUl! I feeL like im always lost on stuff like this. Is there a post On your blog about what editing app or filter you use for your Instagram posts?? I love tHem!
omg thank you for this! I was always wondering about the music on your IG Stories. Mega helpful!
Love VSCO! Ill have to try 8mm! Thank you for sharing this!
woah this is so interesting and helpful! Thanks for the tips!
woah this is so interesting and helpful! Thanks for the tips! I love all the music On your insta and you have finally shared your secret!!! This is incredibley helpful!!
This is so helpful! I have so much to learn to yp my instastory game!
This is ReAlly helPFul!! ❤ Will definiTely use those, i especially love vsco, Such a great app!
Been dying for the video app for ages!
Love all of these apPs and have always wondered the cool antiquey look you give to your posts and photos!
I always enjoy learning other people's blogging process. The differences is what make us wonderful. Love catching your stories!
Thanks you for the tips !!
I honestly needed this post bc im the furthest thing from hip and my instas are boring.
Love both 8mm and vsco!


text:
Pantà de Santa Anna är en reservoar i Spanien.   Den ligger i provinsen Província de Lleida och regionen Katalonien, i den nordöstra delen av landet,  km öster om huvudstaden Madrid. Pantà de Santa Anna ligger  meter över havet. Arean är  kvadratkilometer. Den högsta punkten i närheten är  meter över havet,  km norr om Pantà de Santa Anna. I omgivningarna runt Pantà de Santa Anna  Den sträcker sig 3,1 kilometer i nord-sydlig riktning, och 1,1 kilometer i öst-västlig riktning.

Kustklimat råder i trakten. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är december, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är november, med i genomsnitt  mm nederbörd, och den torraste är augusti, med  mm nederbörd.

Kommentarer

Källor

Insjöar i Katalonien
Insjöar i Spanien större än 1 kvadratkilometer

redpajama_set_name: RedPajamaWikipedia


text:
Mohtarama
Are You Listening!
We Want (U) to Know
Gold Underground
South of the Clouds
To Sing To Live
Raging Land 3: Three Valleys
In-Between Days
Denok & Gareng
The End of the Special Time We Were Allowed
The Targeted Village
Summer Days in Bloom
Two Meters of This Land
Ex Press
War Is a Tender Thing
Tondo, Beloved: To What Are the Poor Born?
Jalan Jati—Teak Road
Mrs. Bua's Carpet
New Asian Currents Special Invitation Film / Special Screenings
The Last Moose of Aoluguya
Aoluguya, Aoluguya . . .
Yuguo and His Mother
Philip Cheah
Takashi Toshiko
[CAMBODIA]
CAMBODIA / 2011 / Khmer, English / Color / Blu-ray / 54 min
Directors: Ella Pugliese, Nou Va, People of Thnol Lok Village
Script: Ella Pugliese, Judith Strasser, Shanti Sattler
Photography: Jens Joester
Editing: Jens Joester, Max Kähni
Sound: Bophana Audiovisual Resource Center, Gianluca Stazi
Music: Cambodian Living Arts (CLA)
Producers: Khmer Institute for Democracy (Phnom Penh), Gregor Matuschek (bildsturz.tv, Berlin)
Source: Ella Pugliese
An estimated two million people died in Cambodia from 1975 to 1979, under the Khmer Rouge. While an international tribunal in Phnom Penh hears cases of the massacres of the former Pol Pot regime, the directors carry cameras into the village of Thnol Lok, near the killing fields. Together with the villagers, they unearth the memories of those who survived. They hold workshops to share them with the young generation, and surpassing the expectations of the directors, the villagers reenact bitter memories to create a film.
[Director's Statement] In 2008 I was charged with realizing a film in co-operation with psychologists and social workers on behalf of the population who survived the Khmer Rouge regime in Cambodia. I decided to reverse the usual perspective and transform this from a project "on behalf of" others to a participatory experiment with direct involvement from the rural population. To me, the real experts in the field were the survivors that experienced the Pol Pot regime. My young colleague Nou Va officially held the role of Cambodian mediator, but I involved him in the production process from the very beginning as co-director. Together we worked to get the survivors involved. They decided how to use the medium of film that we were offering them, and which stories we were going to tell together. We Want (U) to Know is the result of an astonishing process of exchange and mutual learning—it is the filmed documentation of this process.
"We want to know, but we also want you to know," the villagers said. "We, the protagonists of this film, the protagonists of this terrible story, need to reconstruct what really happened in Pol Pot's Cambodia. But we also need our young generation to know what we have been through, and we want the outside world to acknowledge our story."
The very special way they have found to confront and re-define their own tragic past has surprised, touched and irritated audiences in Cambodia and around the world. We hope that this film may inspire collective action towards reconciliation at the community level and introduce video storytelling and art workshops into the public discourse––not only in Cambodia, but also in similar post-conflict contexts elsewhere.
Ella Pugliese
(From the left)
Born in Rome in 1974, Ella Pugliese holds a degree in Languages and a Master's in Migration Studies with a focus on audio-visual anthropology. She lives and works in Berlin as a freelance author and filmmaker. In recent years she has collected field experiences in refugee and Romani camps from Naples to Algeria. She has worked for international research institutes dealing with migration issues and has collaborated with film schools, as well as television networks. She conducts workshops with NGOs in primary and high schools, where she applies participatory practices with youth, as well as seminars about audio-visual anthropology, auto-ethnography, and filmmaking practices.
Nou Va
Born in Pursat in 1979, Nou Va holds a Bachelor of Arts in Law and another in Education, and has been working for years with NGOs dealing with Human Rights in Phnom Penh. In recent years he has collaborated on and coordinated outreach projects regarding the Khmer Rouge Tribunal and Victims Assistance and Protection. He has been training volunteers all over the country to become "citizen advisors," citizens aware of the Cambodian legal system.
Home > Publications > YIDFF 2013 Official Catalog > New Asian Currents


This recipe came to me via my amazingly talented cousin. Because it's so good, I'm sharing it with you! You can make this delicious dessert in a snap! This is my favorite dessert for Spring and Summer. I hope you like it too!
Heat oven to 375°F. Separate biscuits. Dip tops of each biscuit in 1/4 cup sugar. Place on greased cookie sheet. Bake 13 to 17 minutes or until golden brown. Cool 5 minutes.
In a medium bowl, mix strawberries and 1/3 cup sugar. Set aside.
To serve, split biscuits; place on individual dessert plates. Top with whipped cream and strawberry mixture. Enjoy!
Yum Yum!! It looks delicious! And easy! Thanks for sharing.
This sure are going to love my granddaughters and also are going to want to making them! I can just see them! Thank you for sharing dear Brandy! You always have such goodies!
There you go making me want more dessert!! It's not enough that I already had cheesecake and then some cookie dough ice cream! I always love some buttery flakiness!
Thanks ! Im doing this for our next Saturday evening treat!
Hope you've had a great weekend, sweet Brandi!
YUMMMMY Brandi, that looks so good. My husband would think he died and went to heaven if I made this for him. He loves desserts especially cake and pie. If he's good I'll make it for his B-Day.
You always have the best-looking desserts! I'm bookmarking this one too....my husband LOVES strawberry shortcake!
Oh my! Do we have a sweet tooth or what? This recipe is going in my file!
Oh how I would just love to sit down and have your wonderful dessert sitting in front of me. I would really enjoy this awesome looking treat! Thank you so much for sharing with Full Plate Thursday and hope to see you next week!
Wish you were here to join us!
Strawberry shortcake is so fun for summertime and this is such a great shortcut idea.


Ernest S. Kuh, dean and professor emeritus at UC Berkeley's College of Engineering and an internationally renowned expert in electronic circuit theory, died on June 27. He was 86.
Ernest S. Kuh, on his 80th birthday in 2008.
Kuh joined the Berkeley faculty in 1956 and made pioneering contributions in active and passive circuit theory, electronic design automation of integrated circuits and engineering education. He served as chair of Berkeley's Department of Electrical Engineering & Computer Sciences from 1968 to 1972 and then as dean of the College of Engineering from 1973 to 1980.
Ernest Shiu-Jen Kuh was born in 1928, in Beijing, China. His father was working as a government official and then in private business. With the political instability in the region prior to World War II, the family moved frequently, eventually to Shanghai in 1937. Kuh left China for the United States in 1947, on a slow ocean freighter carrying other students, to continue his education.
Kuh began studying electrical engineering at the University of Michigan in the winter of 1948. He endeavored to improve his English by taking a literature course, which he found more challenging than his mathematics and physics courses. He received his B.S. degree in 1949.
He then earned a master's degree in electrical engineering from MIT in 1950, where he met circuit theorist Charles Desoer. The two would later work together and were frequent collaborators.
Kuh started a Ph.D. program at Stanford in 1950, pursuing research in network theory. He completed his degree in 1952, after just six quarters, and saw his thesis published in the Journal of Applied Physics, a rare place to find student work, especially in electrical engineering.
In 1952, Kuh went to work for Bell Laboratories in Murray Hill, New Jersey. It was the only place he applied to work, and he was the second Chinese employee there. At Bell Labs, Kuh worked in the transmission development division on issues related to telephone infrastructure, specifically transmission repeater designs and submarine cable design. His work was incorporated into the first trans-Atlantic telephone cable, which was laid in 1956.
Kuh's friend from MIT, Charles Desoer, joined Bell Labs the year after Kuh was hired. For a year, the two, along with other Bell Lab colleagues, would meet after work for a study group, discussing new ways to write the differential equations that form the mathematical basis of electronic circuit function.
1944: Ernest Kuh (in glasses, front center) at the family home in Shanghai.
Shortly after moving to Berkeley, Kuh met Bettine Chow at a party. They were married in 1957. Son Anthony was born in 1958, followed by Theodore in 1960.
Kuh took his first sabbatical from Berkeley in 1962, and held six-month appointments at Imperial College in London and then at the Technical University of Denmark.
By 1967, Kuh was completing a widely used book, Basic Circuit Theory, with Desoer (who had also joined the Berkeley faculty), and was asked to head the electrical engineering department, which had just recently integrated computer science. Kuh's appointment as chair of Berkeley's Department of Electrical Engineering & Computer Sciences began in 1968.
The newly defined EECS department explored new domains of research under Kuh's leadership, including bioelectronics, which laid the foundation for the future bioengineering department. Kuh credits his predecessor in the department chair position, Lotfi Zadeh, as being a valuable mentor throughout his career.
While department chair, Kuh also began reaching out to companies and research organizations, such as Bell Labs, GE and IBM, to develop relationships. He held industrial liaison meetings, establishing a model that would be replicated elsewhere at the university and beyond.
Kuh was asked to be the college's dean in 1973. He quickly established an assistant dean in charge of interdisciplinary studies, recognizing (this was during the energy crisis) that collaboration was key for finding solutions to big problems. Kuh also wanted to establish a larger engineering library, which at the time was in cramped quarters on O'Brien Hall's fourth floor.
Out of the fundraising efforts, Kuh realized that in order to grow, the College of Engineering would need stable funding, so he formalized the Berkeley Engineering Fund and expanded the industrial liaison program he had started as EECS department chair.
For the first time since leaving in the 1940s, Kuh returned to mainland China with his family in 1973, as part of a delegation of professors from Berkeley. The month-long trip was hosted by the Chinese Academy of Sciences. Kuh visited China many more times after that first trip. This was the beginning of over 40 years of collaboration and consultation with Chinese universities on improving engineering education throughout China.
In 1975, Kuh became a member of the National Academy of Engineering. At the time he was also working to recruit and retain more women and people of color to the engineering program.
When he returned to Japan on sabbatical in 1977–78, he took up the emerging field of electronic design automation (EDA), which would become a second, more applied, research interest.
By 1980, Kuh decided to step down from the dean's position to focus more time on EDA research questions. His work laid the intellectual foundations for computer-aided design (CAD) and computer-aided manufacturing (CAM), which had numerous academic and industrial uses.
Throughout his academic career, Kuh mentored several generations of graduate students. In total he supervised 40 Ph.D. students, who today occupy leadership positions in academia and industry.
In 1992, Kuh became a professor emeritus, continuing to maintain an active schedule. In addition to his duties at Berkeley, he was also a sought-after adviser and consultant. He served, in varying capacities, for numerous companies and organizations throughout his career. Most notably, he held leadership positions on committees for the Institute of Electrical and Electronics Engineers (IEEE), the National Research Council, the National Institute of Science and Technology and on the National Science Foundation's Advisory Committee.
He also advised other engineering schools and served on Berkeley's budget committee. With his wife, Bettine, he endowed the Ernest S. Kuh Distinguished Lecture Series to bring notable scientists and engineers to campus.
Kuh received honorary doctorate degrees from Hong Kong University of Science and Technology in 1997 and National Chiao Tung University in Taiwan in 1999. In addition, he was named honorary professor at six universities in China.
Kuh authored or co-authored six textbooks and several hundred research papers. He also delivered countless technical talks and presentations. At the time of his retirement from the Berkeley faculty, he held the William S. Floyd Jr. distinguished chair. Numerous awards, including the Communication and Computer Prize awarded by Japan in 1996, the 1998 Phil Kaufman Award given by the Electronic Design Automation Consortium and the IEEE Centennial and Millennium Medals recognized his impact on engineering education and the field of electrical engineering.
Kuh loved to travel and explore the world with his wife; they were patrons of classical music and opera. In addition he was an avid sportsman and enjoyed playing tennis and swimming. "My father also thoroughly enjoyed Cal athletics, particularly the football games, which he attended with his family and friends over many decades," said son Theodore Kuh. He also liked to read, particularly books about China and biographies of prominent people.
Kuh is survived by his wife of 58 years, Bettine; their sons Anthony and Theodore; and grandsons Matthew, Jason and Evan.
An event to celebrate the life of Ernest Kuh is being planned for September 2015. The family requests that memorial gifts be directed to the Berkeley Engineering Fund, College of Engineering, 201 McLaughlin Hall #1722, Berkeley, CA 94720-1722, designated to the Ernest S. Kuh Distinguished Lecture Series. Donations may also be made to the California Alumni Association's Professor Ernest Kuh Alumni Scholarship, sent to 1 Alumni House, Berkeley, CA 94720-7520.


text:
Girvan är en ort i Skottland i Storbritannien. Den ligger i kommunen (council area) South Ayrshire i sydvästra Skottland. Antalet invånare uppskattades till  vid mitten av 2012.

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Källor

Externa länkar

Orter i South Ayrshire
Kontrollbehov inkommande wikilänkar


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text:
<?php

/**
 * Ruleset
 *
 * @package Less
 * @subpackage tree
 */
class Less_Tree_Ruleset extends Less_Tree{

	protected $lookups;
	public $_variables;
	public $_rulesets;

	public $strictImports;

	public $selectors;
	public $rules;
	public $root;
	public $allowImports;
	public $paths;
	public $firstRoot;
	public $type = 'Ruleset';
	public $multiMedia;
	public $allExtends;

	public $ruleset_id;
	public $originalRuleset;

	public $first_oelements;

	public function SetRulesetIndex(){
		$this->ruleset_id = Less_Parser::$next_id++;
		$this->originalRuleset = $this->ruleset_id;

		if( $this->selectors ){
			foreach($this->selectors as $sel){
				if( $sel->_oelements ){
					$this->first_oelements[$sel->_oelements[0]] = true;
				}
			}
		}
	}

	public function __construct($selectors, $rules, $strictImports = null){
		$this->selectors = $selectors;
		$this->rules = $rules;
		$this->lookups = array();
		$this->strictImports = $strictImports;
		$this->SetRulesetIndex();
	}

	public function accept( $visitor ){
		if( $this->paths ){
			$paths_len = count($this->paths);
			for($i = 0,$paths_len; $i < $paths_len; $i++ ){
				$this->paths[$i] = $visitor->visitArray($this->paths[$i]);
			}
		}elseif( $this->selectors ){
			$this->selectors = $visitor->visitArray($this->selectors);
		}

		if( $this->rules ){
			$this->rules = $visitor->visitArray($this->rules);
		}
	}

	public function compile($env){

		$ruleset = $this->PrepareRuleset($env);

		// Store the frames around mixin definitions,
		// so they can be evaluated like closures when the time comes.
		$rsRuleCnt = count($ruleset->rules);
		for( $i = 0; $i < $rsRuleCnt; $i++ ){
			if( $ruleset->rules[$i] instanceof Less_Tree_Mixin_Definition || $ruleset->rules[$i] instanceof Less_Tree_DetachedRuleset ){
				$ruleset->rules[$i] = $ruleset->rules[$i]->compile($env);
			}
		}

		$mediaBlockCount = 0;
		if( $env instanceof Less_Environment ){
			$mediaBlockCount = count($env->mediaBlocks);
		}

		// Evaluate mixin calls.
		$this->EvalMixinCalls( $ruleset, $env, $rsRuleCnt );

		// Evaluate everything else
		for( $i=0; $i<$rsRuleCnt; $i++ ){
			if(! ($ruleset->rules[$i] instanceof Less_Tree_Mixin_Definition || $ruleset->rules[$i] instanceof Less_Tree_DetachedRuleset) ){
				$ruleset->rules[$i] = $ruleset->rules[$i]->compile($env);
			}
		}

        // Evaluate everything else
		for( $i=0; $i<$rsRuleCnt; $i++ ){
			$rule = $ruleset->rules[$i];

            // for rulesets, check if it is a css guard and can be removed
			if( $rule instanceof Less_Tree_Ruleset && $rule->selectors && count($rule->selectors) === 1 ){

                // check if it can be folded in (e.g. & where)
				if( $rule->selectors[0]->isJustParentSelector() ){
					array_splice($ruleset->rules,$i--,1);
					$rsRuleCnt--;

					for($j = 0; $j < count($rule->rules); $j++ ){
						$subRule = $rule->rules[$j];
						if( !($subRule instanceof Less_Tree_Rule) || !$subRule->variable ){
							array_splice($ruleset->rules, ++$i, 0, array($subRule));
							$rsRuleCnt++;
						}
					}

                }
            }
        }

		// Pop the stack
		$env->shiftFrame();

		if ($mediaBlockCount) {
			$len = count($env->mediaBlocks);
			for($i = $mediaBlockCount; $i < $len; $i++ ){
				$env->mediaBlocks[$i]->bubbleSelectors($ruleset->selectors);
			}
		}

		return $ruleset;
	}

	/**
	 * Compile Less_Tree_Mixin_Call objects
	 *
	 * @param Less_Tree_Ruleset $ruleset
	 * @param integer $rsRuleCnt
	 */
	private function EvalMixinCalls( $ruleset, $env, &$rsRuleCnt ){
		for($i=0; $i < $rsRuleCnt; $i++){
			$rule = $ruleset->rules[$i];

			if( $rule instanceof Less_Tree_Mixin_Call ){
				$rule = $rule->compile($env);

				$temp = array();
				foreach($rule as $r){
					if( ($r instanceof Less_Tree_Rule) && $r->variable ){
						// do not pollute the scope if the variable is
						// already there. consider returning false here
						// but we need a way to "return" variable from mixins
						if( !$ruleset->variable($r->name) ){
							$temp[] = $r;
						}
					}else{
						$temp[] = $r;
					}
				}
				$temp_count = count($temp)-1;
				array_splice($ruleset->rules, $i, 1, $temp);
				$rsRuleCnt += $temp_count;
				$i += $temp_count;
				$ruleset->resetCache();

			}elseif( $rule instanceof Less_Tree_RulesetCall ){

				$rule = $rule->compile($env);
				$rules = array();
				foreach($rule->rules as $r){
					if( ($r instanceof Less_Tree_Rule) && $r->variable ){
						continue;
					}
					$rules[] = $r;
				}

				array_splice($ruleset->rules, $i, 1, $rules);
				$temp_count = count($rules);
				$rsRuleCnt += $temp_count - 1;
				$i += $temp_count-1;
				$ruleset->resetCache();
			}

		}
	}

	/**
	 * Compile the selectors and create a new ruleset object for the compile() method
	 *
	 */
	private function PrepareRuleset($env){

		$hasOnePassingSelector = false;
		$selectors = array();
		if( $this->selectors ){
			Less_Tree_DefaultFunc::error("it is currently only allowed in parametric mixin guards,");

			foreach($this->selectors as $s){
				$selector = $s->compile($env);
				$selectors[] = $selector;
				if( $selector->evaldCondition ){
					$hasOnePassingSelector = true;
				}
			}

			Less_Tree_DefaultFunc::reset();
		} else {
			$hasOnePassingSelector = true;
		}

		if( $this->rules && $hasOnePassingSelector ){
			$rules = $this->rules;
		}else{
			$rules = array();
		}

		$ruleset = new Less_Tree_Ruleset($selectors, $rules, $this->strictImports);

		$ruleset->originalRuleset = $this->ruleset_id;

		$ruleset->root = $this->root;
		$ruleset->firstRoot = $this->firstRoot;
		$ruleset->allowImports = $this->allowImports;

		// push the current ruleset to the frames stack
		$env->unshiftFrame($ruleset);

		// Evaluate imports
		if( $ruleset->root || $ruleset->allowImports || !$ruleset->strictImports ){
			$ruleset->evalImports($env);
		}

		return $ruleset;
	}

	function evalImports($env) {

		$rules_len = count($this->rules);
		for($i=0; $i < $rules_len; $i++){
			$rule = $this->rules[$i];

			if( $rule instanceof Less_Tree_Import ){
				$rules = $rule->compile($env);
				if( is_array($rules) ){
					array_splice($this->rules, $i, 1, $rules);
					$temp_count = count($rules)-1;
					$i += $temp_count;
					$rules_len += $temp_count;
				}else{
					array_splice($this->rules, $i, 1, array($rules));
				}

				$this->resetCache();
			}
		}
	}

	function makeImportant(){

		$important_rules = array();
		foreach($this->rules as $rule){
			if( $rule instanceof Less_Tree_Rule || $rule instanceof Less_Tree_Ruleset || $rule instanceof Less_Tree_NameValue ){
				$important_rules[] = $rule->makeImportant();
			}else{
				$important_rules[] = $rule;
			}
		}

		return new Less_Tree_Ruleset($this->selectors, $important_rules, $this->strictImports );
	}

	public function matchArgs($args){
		return !$args;
	}

	// lets you call a css selector with a guard
	public function matchCondition( $args, $env ){
		$lastSelector = end($this->selectors);

		if( !$lastSelector->evaldCondition ){
			return false;
		}
		if( $lastSelector->condition && !$lastSelector->condition->compile( $env->copyEvalEnv( $env->frames ) ) ){
			return false;
		}
		return true;
	}

	function resetCache(){
		$this->_rulesets = null;
		$this->_variables = null;
		$this->lookups = array();
	}

	public function variables(){
		$this->_variables = array();
		foreach( $this->rules as $r){
			if ($r instanceof Less_Tree_Rule && $r->variable === true) {
				$this->_variables[$r->name] = $r;
			}
		}
	}

	public function variable($name){

		if( is_null($this->_variables) ){
			$this->variables();
		}
		return isset($this->_variables[$name]) ? $this->_variables[$name] : null;
	}

	public function find( $selector, $self = null ){

		$key = implode(' ',$selector->_oelements);

		if( !isset($this->lookups[$key]) ){

			if( !$self ){
				$self = $this->ruleset_id;
			}

			$this->lookups[$key] = array();

			$first_oelement = $selector->_oelements[0];

			foreach($this->rules as $rule){
				if( $rule instanceof Less_Tree_Ruleset && $rule->ruleset_id != $self ){

					if( isset($rule->first_oelements[$first_oelement]) ){

						foreach( $rule->selectors as $ruleSelector ){
							$match = $selector->match($ruleSelector);
							if( $match ){
								if( $selector->elements_len > $match ){
									$this->lookups[$key] = array_merge($this->lookups[$key], $rule->find( new Less_Tree_Selector(array_slice($selector->elements, $match)), $self));
								} else {
									$this->lookups[$key][] = $rule;
								}
								break;
							}
						}
					}
				}
			}
		}

		return $this->lookups[$key];
	}

	/**
	 * @see Less_Tree::genCSS
	 */
	public function genCSS( $output ){

		if( !$this->root ){
			Less_Environment::$tabLevel++;
		}

		$tabRuleStr = $tabSetStr = '';
		if( !Less_Parser::$options['compress'] ){
			if( Less_Environment::$tabLevel ){
				$tabRuleStr = "\n".str_repeat( '  ' , Less_Environment::$tabLevel );
				$tabSetStr = "\n".str_repeat( '  ' , Less_Environment::$tabLevel-1 );
			}else{
				$tabSetStr = $tabRuleStr = "\n";
			}
		}

		$ruleNodes = array();
		$rulesetNodes = array();
		foreach($this->rules as $rule){

			$class = get_class($rule);
			if( ($class === 'Less_Tree_Media') || ($class === 'Less_Tree_Directive') || ($this->root && $class === 'Less_Tree_Comment') || ($class === 'Less_Tree_Ruleset' && $rule->rules) ){
				$rulesetNodes[] = $rule;
			}else{
				$ruleNodes[] = $rule;
			}
		}

		// If this is the root node, we don't render
		// a selector, or {}.
		if( !$this->root ){

			/*
			debugInfo = tree.debugInfo(env, this, tabSetStr);

			if (debugInfo) {
				output.add(debugInfo);
				output.add(tabSetStr);
			}
			*/

			$paths_len = count($this->paths);
			for( $i = 0; $i < $paths_len; $i++ ){
				$path = $this->paths[$i];
				$firstSelector = true;

				foreach($path as $p){
					$p->genCSS( $output, $firstSelector );
					$firstSelector = false;
				}

				if( $i + 1 < $paths_len ){
					$output->add( ',' . $tabSetStr );
				}
			}

			$output->add( (Less_Parser::$options['compress'] ? '{' : " {") . $tabRuleStr );
		}

		// Compile rules and rulesets
		$ruleNodes_len = count($ruleNodes);
		$rulesetNodes_len = count($rulesetNodes);
		for( $i = 0; $i < $ruleNodes_len; $i++ ){
			$rule = $ruleNodes[$i];

			// @page{ directive ends up with root elements inside it, a mix of rules and rulesets
			// In this instance we do not know whether it is the last property
			if( $i + 1 === $ruleNodes_len && (!$this->root || $rulesetNodes_len === 0 || $this->firstRoot ) ){
				Less_Environment::$lastRule = true;
			}

			$rule->genCSS( $output );

			if( !Less_Environment::$lastRule ){
				$output->add( $tabRuleStr );
			}else{
				Less_Environment::$lastRule = false;
			}
		}

		if( !$this->root ){
			$output->add( $tabSetStr . '}' );
			Less_Environment::$tabLevel--;
		}

		$firstRuleset = true;
		$space = ($this->root ? $tabRuleStr : $tabSetStr);
		for( $i = 0; $i < $rulesetNodes_len; $i++ ){

			if( $ruleNodes_len && $firstRuleset ){
				$output->add( $space );
			}elseif( !$firstRuleset ){
				$output->add( $space );
			}
			$firstRuleset = false;
			$rulesetNodes[$i]->genCSS( $output);
		}

		if( !Less_Parser::$options['compress'] && $this->firstRoot ){
			$output->add( "\n" );
		}

	}

	function markReferenced(){
		if( !$this->selectors ){
			return;
		}
		foreach($this->selectors as $selector){
			$selector->markReferenced();
		}
	}

	public function joinSelectors( $context, $selectors ){
		$paths = array();
		if( is_array($selectors) ){
			foreach($selectors as $selector) {
				$this->joinSelector( $paths, $context, $selector);
			}
		}
		return $paths;
	}

	public function joinSelector( &$paths, $context, $selector){

		$hasParentSelector = false;

		foreach($selector->elements as $el) {
			if( $el->value === '&') {
				$hasParentSelector = true;
			}
		}

		if( !$hasParentSelector ){
			if( $context ){
				foreach($context as $context_el){
					$paths[] = array_merge($context_el, array($selector) );
				}
			}else {
				$paths[] = array($selector);
			}
			return;
		}

		// The paths are [[Selector]]
		// The first list is a list of comma seperated selectors
		// The inner list is a list of inheritance seperated selectors
		// e.g.
		// .a, .b {
		//   .c {
		//   }
		// }
		// == [[.a] [.c]] [[.b] [.c]]
		//

		// the elements from the current selector so far
		$currentElements = array();
		// the current list of new selectors to add to the path.
		// We will build it up. We initiate it with one empty selector as we "multiply" the new selectors
		// by the parents
		$newSelectors = array(array());

		foreach( $selector->elements as $el){

			// non parent reference elements just get added
			if( $el->value !== '&' ){
				$currentElements[] = $el;
			} else {
				// the new list of selectors to add
				$selectorsMultiplied = array();

				// merge the current list of non parent selector elements
				// on to the current list of selectors to add
				if( $currentElements ){
					$this->mergeElementsOnToSelectors( $currentElements, $newSelectors);
				}

				// loop through our current selectors
				foreach($newSelectors as $sel){

					// if we don't have any parent paths, the & might be in a mixin so that it can be used
					// whether there are parents or not
					if( !$context ){
						// the combinator used on el should now be applied to the next element instead so that
						// it is not lost
						if( $sel ){
							$sel[0]->elements = array_slice($sel[0]->elements,0);
							$sel[0]->elements[] = new Less_Tree_Element($el->combinator, '', $el->index, $el->currentFileInfo );
						}
						$selectorsMultiplied[] = $sel;
					}else {

						// and the parent selectors
						foreach($context as $parentSel){
							// We need to put the current selectors
							// then join the last selector's elements on to the parents selectors

							// our new selector path
							$newSelectorPath = array();
							// selectors from the parent after the join
							$afterParentJoin = array();
							$newJoinedSelectorEmpty = true;

							//construct the joined selector - if & is the first thing this will be empty,
							// if not newJoinedSelector will be the last set of elements in the selector
							if( $sel ){
								$newSelectorPath = $sel;
								$lastSelector = array_pop($newSelectorPath);
								$newJoinedSelector = $selector->createDerived( array_slice($lastSelector->elements,0) );
								$newJoinedSelectorEmpty = false;
							}
							else {
								$newJoinedSelector = $selector->createDerived(array());
							}

							//put together the parent selectors after the join
							if ( count($parentSel) > 1) {
								$afterParentJoin = array_merge($afterParentJoin, array_slice($parentSel,1) );
							}

							if ( $parentSel ){
								$newJoinedSelectorEmpty = false;

								// join the elements so far with the first part of the parent
								$newJoinedSelector->elements[] = new Less_Tree_Element( $el->combinator, $parentSel[0]->elements[0]->value, $el->index, $el->currentFileInfo);

								$newJoinedSelector->elements = array_merge( $newJoinedSelector->elements, array_slice($parentSel[0]->elements, 1) );
							}

							if (!$newJoinedSelectorEmpty) {
								// now add the joined selector
								$newSelectorPath[] = $newJoinedSelector;
							}

							// and the rest of the parent
							$newSelectorPath = array_merge($newSelectorPath, $afterParentJoin);

							// add that to our new set of selectors
							$selectorsMultiplied[] = $newSelectorPath;
						}
					}
				}

				// our new selectors has been multiplied, so reset the state
				$newSelectors = $selectorsMultiplied;
				$currentElements = array();
			}
		}

		// if we have any elements left over (e.g. .a& .b == .b)
		// add them on to all the current selectors
		if( $currentElements ){
			$this->mergeElementsOnToSelectors($currentElements, $newSelectors);
		}
		foreach( $newSelectors as $new_sel){
			if( $new_sel ){
				$paths[] = $new_sel;
			}
		}
	}

	function mergeElementsOnToSelectors( $elements, &$selectors){

		if( !$selectors ){
			$selectors[] = array( new Less_Tree_Selector($elements) );
			return;
		}

		foreach( $selectors as &$sel){

			// if the previous thing in sel is a parent this needs to join on to it
			if( $sel ){
				$last = count($sel)-1;
				$sel[$last] = $sel[$last]->createDerived( array_merge($sel[$last]->elements, $elements) );
			}else{
				$sel[] = new Less_Tree_Selector( $elements );
			}
		}
	}
}

redpajama_set_name: RedPajamaGithub


Polls | Lavoce: We Are People Too, Inc.
I cannot come across your email address, so I considered I might just leave a message here.
We are currently making a book, and we would like to include your write-up in it. We might be glad to receive a response form you in regards to this.
My name is not David Latrobe, but if you would like my write-up that would be fine.
My email is lavoce.wap2@gmail.com. You can send write-ups there or request write-ups.


text:
Tickets & Help
Download/view listings as PDF
Gráinne Cotter
15 May 2019 (20:00) at Róisín Dubh
€5 (€5 members)
Galway-based singer-songwriter and multi-instrumentalist Gráinne Cotter releases her new single 'Shadows' in March 2019. 'Shadows' is a meditation on disconnection, on what it means to be alone, on the beauty of nature and in particular the sea. Gráinne's ethereal vocals, at times reminiscent of Florence Welch and Natasha Khan, are interspersed with jazz flute, harpsichord, and soaring strings. This creates an unmistakably original and idiosyncratic sound, a singular fusion of jazz and folk which Gráinne has been refining for years.
Gráinne Cotter is originally from Co. Clare and grew up in a musical family where she was encouraged to play the violin. She discovered a love of jazz and singing in college and was given the opportunity to study in Berklee College Boston for a summer. This combined with some time spent living in Paris greatly influenced Gráinne and set her on the road to finding and honing her own individual sound.
Gráinne moved to the cultural hub of Galway where she assembled some collaborators who worked with her on her debut album Tides, released in 2018. Tides was well received by Irish media and lead to slots at The Electric Picnic, Other Voices and Féile na Bealtaine, as well as several of her tracks being added to RTÉ 1's playlist.
To celebrate the release of 'Shadows' Gráinne is embarking on an Irish tour and hopes to play further dates in Europe this summer.
The talented Pa Reidy will also be performing on the night.
https://www.facebook.com/grainnecottermusic/
https://www.youtube.com/watch?v=k7U_KWI6TlY
https://www.instagram.com/grainnecottermusic/
https://soundcloud.com/gra-cotter/shadows
https://open.spotify.com/artist/12IbJ1QmJlqPK0cF1tWWsj
https://www.facebook.com/PaReidyMusic/
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If you are unfamiliar with the works and thoughts of Kerry James Marshall, writer Randy Kennedy provides us with more than a brief read. Mr. Marshall speaks about the absence of African-American artists in most major Museums and their presence in the future.
You can read the entire article here The New York Times, September 6, 2016 article "Kerry James Marshall, Boldly Repainting Art History" gives us all of the reasons to see this exhibition before it closes January 29th.


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"Journalism under attack in Kenya"
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January 20, 2016 2252 views	Africa, Democracy, Kenya, media freedom, media independence
In this guest contribution, Ajibola Adigun of Nigeria outlines concerns about legislation threatening freedom of the media, an institution that has been described as the guardian of democratic rights.
In a desperate attempt to avoid criticism, members of the Kenyan Parliament have resorted to attacking the press.
Kenyan journalists are being forced to endure costly lawsuits or withhold the truth, and as a result, the Kenyan press is gradually being suppressed.
A report by the Committee to Protect Journalists (CPJ) provides an insight into the current situation in Kenya. After interviewing more than a dozen journalists, and reviewing published accounts, the CPJ found that Kenyan reporters, editors, and publishers are exposed to threats of violence, prosecution, imprisonment, and the withdrawal of crucial advertising revenue. The media is manipulated by dominant corporations, and news outlets are subject to the whims of their politician-owners, and the publishers who want to cozy up to power.
The government's overbearing influence and its continual intrusion into newsgathering and dissemination has hindered the progress that a free press could have brought to the country.
The government also appears to exercise influence over Kenyan newsrooms through the major commercial companies that control the advertising market. Murithi Mutiga, a freelance journalist and Nation columnist verified this when he stated: "We remain a society where the government is still the dominant player, the biggest advertiser, and wields control through this influence".
Standard Group's David Ohito adds that major corporations can plant stories, influence editorial decisions, and even ask that stories be dropped. "You will now see things I never saw in my first decade of journalism—a group of CEOs walking into the editor's office," he said. "That sort of formalizing intimidation of newsrooms has become normal."
The Kenyan government continues to deny its invasion into press matters. However, since the start of President Uhuru Kenyatta's Jubilee coalition in 2013, several laws have been drafted and some passed that undermine the media's self-regulation. These laws allow for heavy fines, restrict the handling of classified information, and will impede reporters' access to Parliament. They have been passed despite the provisions of Kenya's 2010 constitution, which specify that the state shall not "exercise control over or interfere with any person engaged in broadcasting, the production or circulation of any publication or the dissemination of information by any medium," or "penalize any person for any opinion or view or the content of any broadcast, publication or dissemination."
The bill passed on October 15, 2015, is a case in point. Section 34 of the Powers and Privileges Committee dictates that a person who publishes any false or scandalous libel on Parliament, its committees or its proceedings, or speaks words defamatory of the House is liable to a fine or jail term. It also states that a person convicted of an offence under the Act for which no penalty is provided shall be liable on conviction to pay a fine not exceeding 5,000 US dollars, or a term of imprisonment not exceeding two years, or both.
Members of the Parliament have claimed that they are only protecting themselves from being publicly ridiculed in the media. But destroying press freedom is not the answer. As Winston Churchill once said, "A free press is the unsleeping guardian of every other right that free men prize; it is the most dangerous foe of tyranny".
The repressive laws enacted by the Kenyan Parliament will promote corruption, and enable widespread impunity for those in power. Compromising access to information in Kenya will damage democracy and provide politicians and media-controllers alike with a powerful instrument of injustice.
If government finds itself annoyed by criticism from the press, it should examine its own conduct. Because without a free press, there can be no free society.
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This guest article was contributed by Ajibola Adigun. He is a Young Voices Advocate, and an Executive Board Member of African Students For Liberty.
Opinions expressed in this article are those of the author and do not necessarily represent the views of the Commonwealth Youth Programme. Articles are published in a spirit of dialogue, respect and understanding. If you disagree, why not submit a response.
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A Dismal Year For Books?
By Gillian Reagan • 12/17/07 2:28pm
Being in the book business hasn't been an easy game this year. Store shutterings, profit nose-dives, the folding of book review sections, and even literacy itself is on the decline. Harry Potter couldn't save them this year either.
"It's one of those years — they come along every once in a while — where everyone worries and pulls their hair," said Marie Arana, editor of the Washington Post Book World, to Scott Timberg of the Los Angeles Times.
Is any of the unease justified? Some of it clearly is, but it depends on whom you ask.
The uncertainty around technological change is responsible for both hopes and fears within the industry, said Jonathan Galassi, editor in chief of Farrar, Straus & Giroux.
"The delivery of the content of a book in different forms and formats is making people nervous," he said, not quite uttering the name "Kindle." "So we're trying to publish in a lot of different formats because we don't know where the readers are going to be. A lot of us in the publishing industry started out when we still used carbon paper and manual typewriters."
With book sections diminishing at publications all over the country, John Freeman, president of the National Book Critics Circle, said his group is asking: How do we continue having literary discussions at a high level, accessible to a lot of people, as newspapers change and the way that people get their news changes?
To Freeman, part of the problem is the way bookselling is becoming a winner-take-all game, with the lion's share of promotion going to a few bestselling authors, leaving the rest to fend for themselves in an ever-more-crowded publishing environment. (Roughly 200,000 titles were published this year.)
"It's a constant high-stakes game for the front-list," he said. "That means anxiety levels will always be very high."
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