There are areas of our lives that many of us keep in the dark recesses of our minds—those fears, those places of ancient wrongs. When we are young, we are shaped by what we've experienced. As children we see ourselves at the center of the Universe, and things revolve around us. When something goes awry, as children we may see ourselves as powerful beings that caused those events. So, inadvertently, we emerge from childhood with these distorted ideas that turn, over time, into core issues. We all have had them.
Overcoming is what evolution is about. Stuck in the rut of limits doesn't allow for growth, like a plant in a pot that is root-bound. Our core issues bonsai the expression of what we truly are—beings of love, creativity, energy, compassion and light. While overcoming is part of the human condition, when we do overcome, it creates a torsion that propels us into the next level of awareness—a more joyful one. These levels continue as long as we are consciously seeing the limits and working, in the face of our childhood fears, to prove them wrong.
There is a big problem when the adults we've become are still held prisoner by those core issues—like big babies walking around in adult bodies that still want to have things in a way that is familiar, where we are not afraid. Within most adults is the fear or fears of not being enough in some way—not smart enough, beautiful enough, good enough, skinny enough, or not . . . whatever. There are many variations on a theme, but they all boil down to "not enough" in some way. And in the world one can find many ways to convince oneself that those fears are founded in reality. If you are seeing yourself as not enough, you are lacking and looking to fill that void—and the matrix of money and power makes a profit from it over and over. I've worked most of my adult life to let go of those hyenas of "not enough" nibbling at my consciousness, my sense of self.
I've come to a place where I am at the core of the core of those issues, after tilting and vanquishing those little fear hyenas that attached themselves to that core. This core is the seed of them all, and I see it. I know it, and I'm tired, oh so tired, of it. I've looked at where it began. And while seeing it is a big part of the journey of letting go, I'm seeing that the magic of really saying goodbye and liberating myself is in forgiveness. Deep, authentic forgiveness—of others, myself and the Source of all things. When I allow myself to know that all the players were all doing the very best they could at the time with what they had or understood—really know that deeply in my heart, I begin to truly forgive—saying it in my heart and mind and really meaning it. Knowing it. There floods in the place where the darkness was, a deep and exuberant love. Love that is so satisfying and joyful that there are no words for it. Love that bring tears of joy. Love that makes you feel clearer, purer, freer.
The "players" involved in the beginnings of these issues need never know about one's forgiveness, and please don't communicate it. The forgiveness is in your heart and mind. Your increased ability to love and the light that fills you is all that will be seen. Forgiving oneself is a part of the puzzle, too. Letting myself be jerked around by this core issue for decades is something that I've worked on to forgive myself for—the lost opportunities for joy or to express love and creativity.
I used to not get this one—why forgive the Source of all things? I used to think, "The Source or Creator is perfect. What is to be forgiven?" I finally understand why I needed to forgive Source. My perspective in human form cannot see the endless ways that things work out for the highest good. The detours that things must take sometime (due to my own freewill and the freewill of others) to reach that destination are necessary. I've seen that without overcoming, I could not know what true freedom and peace feels like. I wouldn't be as compassionate. And without overcoming I wouldn't know how it was done, and for a teacher that skill is absolutely necessary. So I'm grateful for what helped bring me to where I am.
Forgiveness is not just thinking of a person, situation or thing and saying, "I forgive." It's deeper and more profound than that. I found most days, I set aside a quiet time and space of about 30 minutes to ask the Universe to gently show me for my highest good, what I need to forgive and to help me heal it with forgiveness so that the light of love can stream into the situation, persons, me, etc. It's magic, and I am not alone in this process. Right now is one of the most powerful, liberating times of my life.
Our world can be chaotic and have many distractions, and it's easy to get stressed and even feel depressed. I have to slow down and find the time to create a quiet place in my world every day. I've found that it isn't hard to create that quiet place, and I'm always glad when I do. Unplugging for a while–no computer, cell phone, television, radio, social media, podcasts, etc. for an hour (or more, if I can fit it in) is really helpful. Paying attention to my breathing and slowing it down and getting so quiet that I can feel my heart beat brings me to a place where I can hear that still, small voice within, the voice of the heart, spirit or soul.
Slowing down and listening is something that most people don't do. It's so easy to be distracted by all the activity in the world.
It's a day-to-day thing, but listening to that loving, still, small voice within is always helpful. It opens me up more and more to what is needed in my life and how I can be of more service in the world.
Undoubtedly we all face multiple demands each day, such as a heavy workload, experiencing stressful events in the world, caregiving for a family member, or concerns about making ends meet. When we are in a state of stress or overwhelm, our bodies release chemicals like cortisol. The hypothalamus responds to stress or perceived stressful situations by setting off nerve and hormonal signals sending messages to the adrenal glands that release a cascade of hormones, including adrenaline and cortisol. Being in a state of stress regularly can result in cortisol toxicity, and it places a lot of wear and tear on the body. This increases the risk of numerous health problems like, digestive disorders, headaches, heart disease, weight gain, sleep problems, memory and concentration impairment and depression.
Slowing one's breathing down and breathing more deeply begins a process of changing your body's physiology. Breathing more deeply and slowly and adding a renewing emotion like gratitude or love will bring about very positive change within your heart, your autonomic nervous system and your brain. You can reach a state that neurocardiologists call "coherence." Coherence is when your heart, autonomic nervous system and your brain are in sync and a state of balance. When in coherence, chemicals like DHEA are released that help you feel good, enhance health, and give you energy.
Try this technique anytime you are experiencing stress, before attending meetings, and beginning and ending your day. The Quick Coherence® technique is practical and can easily be used during a busy day. At first you may wish to do the technique with your eyes closed. As you get familiar with using it, try the Quick Coherence® technique daily with your eyes open; you'll likely use the technique more often.
Mary Claire O'Neal is a HeartMath® Certified Trainer and Coach, communication and leadership consultant, and author of the award-winning book, Becoming What You Want to See in the World.
Being the change you wish to see in the world.
This is the beginning of a series of articles designed to be read quickly during your busy day with at least one practical tip for you to try. I always remind my clients that there is no one way to do anything. You might find that this article series sparks off some ideas of your own to be more aware of how you are focusing your thoughts, emotions and energy. If you would like to share them with others, please do in the comment section below this article.
Awareness of our thoughts is at least 95% of making a change in what and where we are focusing our energy. Functioning in "automatic pilot" is one of the largest obstacles in the way of creating positive experiences like success, fulfillment and balance on a daily basis. It's easy to lose passion for something that has become a rut because we are no longer bringing our awareness and, therefore, creativity to it. In each moment is the opportunity to make it magnificent.
Slowing down just enough to listen to that still, small voice within will help connect with the inner compass of one's unique talents and values (instead of taking them for granted). Brilliance, happiness and balance can follow when making aware choices in the moment of what thoughts we choose to entertain and navigate us through life.
Tip#1: Instead of starting the day with the news or getting online, try planning first thing into your morning 20 to 30 minutes of time to get your day focused in a positive frame of mind. I found that getting up 30 minutes earlier was what I needed to have that quiet time to meditate, write down gratitudes and review my "to do" list, prioritizing items for work, home/family, and service in the world (volunteer work for my favorite non-profit or in the community, for example). Doing this first–even before exercising and breakfast really gets the day off to a positive, clear, energetic start. I feel ready and prepared for my day.
Mary Claire O'Neal is a certified coach, communication/leadership consultant, Heartmath® Certified Trainer and Coach and is the author of the award-winning book, Becoming What You Want to See in the World.
Mindfulness training to reduce stress has been around for a long time, and is now, at work, considered to be a highly effective, results-based practice that is becoming mainstream. Aetna, Intel and Keurig Green Mountain have all started to incorporate mindfulness as a leadership practice and have seen benefits to both the company and the individual employees in improvements in employee health, productivity and job satisfaction.
According to the World Health Organization, stress costs American businesses an estimated $300 billion annually, and the costs to the U.S. healthcare system might be even higher, particularly with heart disease, high blood pressure and diabetes.
The principals and self-regulation techniques are based on over 20 years of scientific research in the field of neurocardiology. Among a few of the organizations that have invested in this resilience training with excellent results: US Navy; Fortune 500 companies worldwide; Stanford Graduate School of Business; hospital systems; and the US Army.
Every day should be a day for listening.
Being a communication consultant for over 15 years, I know that listening (I have to work at this, too) is probably one of the most challenging parts of good communication. Good communication is an important element in building resilience and balance in life and creating positive and meaningful relationships of all kinds.
Not everyone is a good listener. In fact, really good listeners are, unfortunately, rare. But those who are good listeners are appreciated, respected and loved by those who know them.
The brain works by association, and it is very easy for your thoughts to make connections to either your own experiences that relate to what is being said or something that has an associative connection in some way with what is being said. But the problem with that is it takes our thoughts out of the moment with that person and brings the focus in our minds to ourselves instead of the other person. So, good listening is not a passive activity but rather a very active one–one in which intent and focus (to keep bringing ourselves back into the moment with that person) are required. A few of the things needed for good listening are: awareness, focus, compassion, generosity, patience, and mindfulness.
Stay in the moment with that person and what they are saying. If your mind wanders for a moment, bring your focus back to that person, breathe slower through the area of your heart with the intent to really hear the other person.
Listen compassionately. Suspend judgement, and listen with your heart. Look for what you may have in common instead where you may not agree. The more judgmental one is, the shorter the conversation may end up being, and will leave an impression of separation instead of unity with the one who was sharing with you.
Try to be aware of talking less and listening more. Avoid turning the conversation around to make it about you. If you find yourself using "I" and "me" a lot, try using them much less and make the conversation about the person you are listening to.
It can help to enrich a conversation by using the answer to a question you may ask the other person as a basis for the next question. When what you are saying is connected to what you are hearing, it will assure the one who is talking with you that you're really listening and encourage more sharing.
Please try to avoid relating their experiences to yours, "I've experienced that, too!" While this can be an attempt to relate to the other person and show understanding (and have good intentions behind it), it can turn the conversation around to be focused on you. If you find you have done that, turn the conversation back to the other person as the focus.
Try not to offer solutions or help, at least not right away. Wait to be asked for your opinion. If you aren't asked, don't offer it or ask them first if they want your perspective before giving it. Many times people just want to be heard. They don't need someone to rescue them or solve their problem.
Be encouraging and patient. Please don't interrupt.
Give the gift of your undivided attention to others, they will appreciate your gift from the heart!


* This post explores the setting of initial values with the ML command.
* There are several reasons you may be interested in doing this.
* you are having a problem with your initial values being unfeasible.
* Let's first start with a simple data set.
* Let's say we are interested in estimating the three parameters in our data.
* Our estimates look reasonable. We iterated 4 times and converged quickly.
* This is our benchmark.
* though it does give a more precise estimate of the coefficients.
* Unfortunately, perhaps this simple setup is too easy to solve.
* There is no noticable difference in convergence rates using the OLS estimates as starting values.
* Alternatively let's see if things improve if we use the true values.
* The results are pretty much the same as above.
* did not converged but gave valid standard errors.


In 2010, Nara (now the hometown of what is perhaps Japan's largest tea gathering) celebrated the 1,300th anniversary of its ascension as Japan's imperial capital. Nara was Japan's capital during the Heian period (710 to 794) before it was moved to Heian-kyō, what is nowadays known as Kyōto. Contemporarily, Nara city is the capital of Nara prefecture, and still houses some of the greatest and oldest Historic Monuments of Ancient Nara. Specifically Tōdai-ji, Saidai-ji, Kōfuku-ji, Kasuga Shrine, Gangō-ji, Yakushi-ji, Tōshōdai-ji, and the Heijō Palace are noteworthy.
The people of Nara take pride in their cultural heritage and actively seek to maintain the ancestry that lies at the origin of this country's wide range of traditions. These customs include traditional rituals and processions conducted at the old temples and shrines, arts and crafts practiced and performed at the court, etc.
The rite of tea (Tea ceremony) is believed to have its roots with Murata Shukō (1423 to 1502), who preferred implements of native manufacturing for the consumption of tea. This style later became known as 'wabi-cha'. It is said that he first came in contact with tea through attending 'tōcha' gatherings (or blind tasting contests) by tea connoisseurs. The competitive aspect however held no appeal, and he rather looked to tea as a stimulant to stay awake during his studies.
It is this episode in Shukō's life that is featured in this epic tea gathering. As the progenitor of Japan's most culturally revered praxis – even abroad – it is strongly felt by the people of Nara that the tradition of Tea also has its roots in the old capital. This grand tea gathering seamlessly combines Nara's most ancient cultural sites with the tradition of the rite of Tea.
Every year during the second week of February – and this year for the 5th year, the Juko Tea Gathering: Nara Tea Congress is held. The event extends over the span of one whole week, and is hosted throughout Nara city at a total of 8 different temples and shrines. To be precise, the event is hosted at Kasuga shrine, Gangō-ji, Tōdai-ji, Saidai-ji, Daian-ji, Yakushi-ji, Tōshōdai-ji, and Hokkei-ji.
At these grand venues, some of which are protected as national and international cultural heritage sites, 7 different schools of tea ceremony collaborate to provide a whole week of tea gatherings. In between the venues busses are laid in to smoothen the transfer from one venue to another, and thousands of tea adepts and aficionados come from throughout the country to participate in this event.
Tyas Sōsen and Stephen Sōshun serving tea to Arima Raitei, Chief incumbent of the golden pavilion in Kyoto.
I, together with my tutor Stephen Sōshun participate in this gathering every year and serve tea at sessions hosted by our school of practice, Enshū-ryū. During the second and third edition of this event, we served at thick-tea sessions hosted at Yakushi-ji and thin-tea services at Gangō-ji. The image at the top of this post is from 2017's service at Yakushi-ji.
Last year the grand master of the Enshū tradition was invited to conduct a ceremonial offering of tea for the opening of the event, which was on February 7th. In succession, two services, one of thick-tea, and one of thin-tea were held to regale the attendees. Sōsen and Sōshun served thin-tea in the large meditation hall at Gangō-ji, where they employed the tenrai desk in a chair-seated service (see image above).


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Mar 07, 2007· Having a manual draft door that cant shut down automatically and a closed system would have led me away from that whole deal in a heartbeat, a disaster waiting to happen, cant believe they can sell such crap.
View and Download Energy King 35EKB installation, operation & maintenance manual online. 35EKB Boiler pdf manual download. Also for: 45ekb, A40ekb.


text:
McGOVERN & CO SHORTLISTED FOR THE NE BUSINESS AWARDS
McGovern & Co are delighted to announce that we have been shortlisted for the Small Business Award at this year's North East Business Awards.
Managing Director, Andrew Pickersgill, said "it is fantastic that all the hard work the team are putting in is being recognised with this nomination and shortlisting. We're proud to be named alongside FOOTY.COM and Kelly's Heroes Private Tuition Ltd. As a business we've invested heavily in people and systems to achieve record growth numbers and the awards night will be a great way to celebrate some of that no matter what the result."
A total of 82 companies from across the entire region have been nominated in nine categories with sub-regional awards dinners taking place over the next two months before a Grand Final in September.
The Northumberland and Tyneside heat will take place on May 26 at the Hilton Newcastle Gateshead; the Durham, Sunderland and South Tyneside heat will be taking place on June 9 at Ramside Hall Hotel. A separate Teesside heat will be taking place at Middlesbrough College on June 23.

redpajama_set_name: RedPajamaCommonCrawl


A massive hit game app in East Asia, now available worldwide!
A traditional Japanese masterwork about Onmyoji during Heian period. As an 'onmyoji', players could summon and control 'shikigami', and protect Kyoto from evil spirits.
4 player characters and over 75 collectible characters, each has unique side story.
Built in a real-time commentary subtitle system that displays user comments, creating a chat room experience in which users feel like watching and playing together with others.
Beautiful pebble gardens, shrines and cherry blossom trees. Picturesque scenes all around, bring you back to Heian period's Kyoto.
Original soundtrack written by famous film composer Shigeru Umebayashi.
Stories are fully voiced by all-star voice cast, including Aki Toyosaki, Akira Ishida, Mamiko Noto, Marina Inoue, Rie Kugimiya, etc.


text:
Greatest Hits is a second greatest hits album by American rapper Kool Moe Dee. It was released in 1993 through Jive Records, making it his first compilation album on the label. The album collects Kool Moe Dee's most popular singles recorded from 1986 to 1991 during his career with Jive Records and also contains four newly recorded songs: "Gimme My Props", "Look At Me Now", "Whosgotdaflava" and "Can U Feel It", which was also released as a single.

Track listing

Sample credits
"Whosgotdaflava" contains elements from "Think (About It)" by Lyn Collins (1972) and "Scenario (Remix)" by A Tribe Called Quest (1992)
"Gimme My Props" contains elements from "Russian Dressing "Adorno Ruso"" by Walter Murphy (1976)
"Look at Me Now" contains elements from "Sing a Simple Song" by Sly & the Family Stone (1968)

Personnel

Mohandes Dewese – vocals, producer (tracks: 1-4, 6-7, 9-15)
Carlton Douglas Ridenhour – vocals (track 13)
Lawrence Parker – vocals (track 13)
Lamar Hula Mahone – backing vocals (track 5), producer (tracks: 5, 8)
Craig Simpkins – backing vocals (track 5), producer (tracks: 5, 8)
Maurice Joshua – backing vocals (track 5)
Ardria Pittman – backing vocals (track 8)
Walter Phillips – backing vocals (track 8)
Bryan "Chuck" New – producer (tracks: 1-2, 9-10, 14), mixing (tracks: 1, 9, 14)
LaVaba Mallison – producer (tracks: 1-4, 6, 9-11, 14), mixing (tracks: 4, 11)
Edward Theodore Riley – producer (tracks: 2, 4, 7, 10, 11, 14)
Peter Brian Harris – producer (tracks: 1-2, 4, 9-11, 14)
Robert Wells – producer (tracks: 2, 10)
Gerrold Holmes – producer (track 3)
Fred Craig MacFarlane – co-producer (track 6)
Keith Spencer – co-producer (tracks: 12, 15)
Dale Hogan – co-producer (tracks: 12, 15)
George Karras – mixing (track 4, 11), recording (track 3)
Stephen George – mixing & recording (tracks: 5, 8)
Chris Trevett – mixing (tracks: 12, 15)
Barbera Aimes – mixing (track 3)
Eric Gast – mixing (track 3)
Tim Latham – recording (tracks: 12, 15)
Tom Coyne – mastering
Barron Ricks – scratches (track 3)

References

External links

Kool Moe Dee albums
1993 greatest hits albums
Jive Records compilation albums

redpajama_set_name: RedPajamaWikipedia


Tried searching here to see if there are any posts about page break if text exceeds the first label onto the 2nd label. Not having much luck. Anyone can provide some insights? I am on version 11.0.6.3141.
In my label, I have a textbox that can extend to another label. However, whenever I print, the label would cut off after the first label print and does not extend to the next label. I tried looking at the Page Setup-->Media Handling and there's a Page Break option there. Then you can select the occurrence, but no matter what I change, it doesn't seem to be doing anything. Am I missing something?


Consumers continue to prefer different payment forms, depending upon the type of purchase.
Security remains an important factor to consumers.
Mobile payments are growing, and are expected to continue to do so.
Rewards continue to be a powerful incentive, and were once again ranked as the most attractive card feature on consumers' most preferred credit cards.
Mobile add-on services and the use of digitalcommunication methods also scored high marks in this year's study.
How to reduce your payment processing costs?


text:
The Invisible Medium: Comics Studies in Australia – Kevin Patrick
The term 'graphic novel' was popularised by Igor Goldkind, a publicist employed by UK publisher Titan Books in 1985 to promote comic books to an adult audience.[1] 'My job,' he said, 'was to develop a semantic the general public and the book trade could understand' (quoted in Sabin, 1993: 87). Goldkind exceeded his client's brief beyond their wildest imaginings; the literary allusion built into the term 'graphic novel' dispelled the childish connotations associated with 'comic books', thereby granting critics and readers the cultural permission required to evaluate comics in the same manner as literature, cinema and music.
This trend has only recently become evident in Australia, where, ever since Shaun Tan's wordless fable, The Arrival (2006), was selected as Book of the Year for the New South Wales Premier's Literary Awards in 2007, graphic novels have enjoyed heightened media attention. Tan's high-profile publication was swiftly followed by Nicki Greenberg's comic adaptation of F. Scott Fitzgerald's The Great Gatsby (2007), Mandy Ord's meditation on Melbourne's cityscape, Rooftops (2007), and the first volume of Bruce Mutard's projected World War II trilogy, The Sacrifice (2008). The near simultaneous appearance of these works, all of which received positive reviews,[2] suggested that Australia's mainstream book publishers were 'catching up' with international trends.
Such concentrated media coverage created the false impression that the Australian graphic novel was an entirely new phenomenon, thereby ignoring earlier Australian examples of the graphic novel[3] and bypassing any mention of Australia's post-war comic book industry, the scale and diversity of which easily eclipsed the modest output of present-day graphic novel publishing activity.
Yet just as Australian publishers, readers and journalists have lagged behind their overseas counterparts in their critical reappraisal of comics and graphic novels, it would appear that Australian academe has been equally tardy in giving this medium serious consideration. David Walker's introduction to the landmark 1979 study, Australian Popular Culture, conceded that, despite the breadth of topics covered therein, 'there remains a wealth of magazine stories, serials, comics [and] cartoons … which also merit analysis' (1979: 13). Nearly a quarter of a century later, it appeared that few Australian scholars had taken up Walker's suggestion; as Adam Possamai observes, of the dozen major surveys of Australian popular culture published during 1987-2001, none of them made any reference to comic books or graphic novels (2003: 110). Comics, it seems, remain an invisible medium.
It is difficult to fathom why this remains the case, given that comic book publishing once occupied a significant, and often controversial space within Australia's media landscape. At comics' peak of popularity, estimated sales had reached 60 million copies in 1952, generating revenues of A₤2.4 million (Fitzpatrick, 1956: 50). Even as the industry's fortunes declined throughout the latter half of the 1950s, largely due to competition from television broadcasting and the readmission of imported American comics onto the Australian market,[4] annual sales of locally-published comics nonetheless totalled 14 million copies in 1959 (National Archives of Australia [SA]: D596; 1959/6965).
Despite such impressive statistics, comic books are noticeably absent from most histories of Australian print media. Although published shortly after World War II, Frank Greenop's History of Magazine Publishing in Australia makes no reference to pre-war and wartime comic book publishing activities (1947: 255-275). Two early academic media studies texts, Henry Mayer's The Press in Australia (1964: 178-79, 190) and J.S. Western and Colin Hughes' Mass Media in Australia (1971: 20), make only cursory reference to magazines, with neither mentioning comic books at all. Patricia Edgar and Hilary McPhee's analysis of media representations of women, Media She, remains a notable exception for its critique of Australian romance comic books (1974: 19)
By contrast, political caricature, editorial cartoons and newspaper comic strips have enjoyed privileged status in published accounts of comic art in Australia because of their association with the 'legitimate press'. Newspaper cartoons have been examined as both signposts in the evolution of print media in colonial-era Australia (Mahood, 1973) and as historical documents in their own right (King, 1976). Newspaper comic strip characters who have achieved rare instances of national recognition, such as Ginger Meggs, have been the subject of commemorative volumes (Horgan, 1978; Foyle, 1996). Barry Andrews (1982: 211-233) wrote an insightful analysis of Ginger Meggs' changing status in Australian popular culture, making it arguably the first sustained cultural studies analysis of an Australian comic strip. Vane Lindesay's visual survey of Australian newspaper cartoons and comic strips, The Inked-in Image (1979), omits any reference to comic books, a situation only partly redressed by his nostalgic survey of Australian children's magazines (1983: 119-129). This mistakenly lumps children's papers (which featured illustrated text stories), together with comic books (which were comprised entirely of comic strip serials), without acknowledging that each form of periodical represents a quite distinct publishing tradition, each boasting its own history and stylistic conventions.
Children have historically been identified as comprising the bulk of Australian comic book audiences. Children's avid consumption of comic books, coupled with societal concerns about their engagement with the medium, has generated some of the most interesting research into comic books in Australia.
Martyn Lyons and Lucy Taksa's oral history of reading in Australia canvasses respondents' memories of children's periodicals (1992: 91-93), but, concluding as it does in 1930, their survey actually precludes the debut of locally-published comic books in Australia by several years. [5] Like Vane Lindesay, Lyons and Taksa mistakenly conflate the illustrated story papers cited by their subjects (such as Gem and Magnet) with comic books.
W.F. Connell, E.P. Francis and Elizabeth Skilbeck's survey of Sydney adolescents, Growing up in an Australian City (1957), remains the most detailed empirical survey of Australian children's comic book reading habits yet published (1957: 155-172). Framed as a sociological snapshot of post-war Australian adolescence, the study examines Sydney teenagers' attitudes towards such popular media as radio, cinema, newspapers and books. Not only does this survey provide statistical data about Australia's comic book market during the early 1950s, it also outlines gender and age-group preferences for specific comic book genres. [6]
The passage of Australian state government censorship and obscenity laws explicitly targeting comic books, and the politics of the anti-comics' campaigns that led to their creation, have been the focus of exemplary research by John Docker (1984: 183-212), Augustine Brannigan (1985: 53-69; 1986: 23-42), Mark Finnane (1989: 220-240) and Graeme Osborne (1999: 155-178). Comic books, as Esther Faye points out, were but one element of the 'distinct atmosphere of anxiety and panic' about the behaviour of Australian adolescents generated by 'a range of social commentators in the post-war period' (1998: 347). While teenagers' predilection for rock 'n' roll, horror movies and delinquent behaviour were of equal concern to contemporary commentators (Faye, 1998: 347), comic books provoked the harshest legislative response.
Yet, despite the perennial popularity of comic books amongst Australian children, the medium receives no coverage whatsoever in key histories of Australian children's literature (Saxby, 1971, 1993; Niall, 1984; Nieuwenhuizen, 1994). John Foster, Ern Finnis and Maureen Nimon's survey, Australian Children's Literature (1995: 187-88), identifies comic books and juvenile magazines as an integral part of children's overall reading patterns. Indeed, John Foster remains one of the few Australian academics to have written consistently about the medium, focusing on how indigenous (i.e. locally-drawn) comic books reflect social changes in Australian society (1992: 55-66; 1999: 139-152) and their depiction of the Australian landscape and its people (1990: 11-23).
The persistent disjuncture between the 'official' histories of Australian children's literature and the actual documented reading preferences of Australian children has only begun to be redressed by practitioners in the educational and public library sectors, where there is renewed interest in the role that comics and graphic novels can play in appealing to reluctant readers (See: Bentley, 2006: 49-54; Snowball, 2006: 18-22; Murray, 2007a: 19-21; and Walton, 2007: 41-49).
Given the sporadic attention paid by Australian academics to comics generally, recording the history of comic books in Australia has been largely left to fans and collectors themselves. They performed the 'heavy lifting' of discovery, documentation and research which, in any other field of print culture inquiry, would normally have been the preserve of academics. This is especially true of John Ryan, who wrote extensively about Australian comics for US and Australasian fan magazines (aka 'fanzines') throughout the 1960s and 1970s.[7] This work formed the basis for Ryan's pioneering study of Australian newspaper comic strips and comic books, Panel by Panel (1979) which is routinely cited as the standard history of the medium. That it remains largely unchallenged as the single best reference on the subject some thirty years after its publication is a telling comment in itself about the present-day status of comics studies in Australia.[8]
Nonetheless, a handful of monographs have appeared in Ryan's wake which deal, wholly or in part, with Australian comic books.[9] Phil Pinder's Down Underground Comix (1983) attempts to place the evolution of Australia's 'underground comix' movement during the 1960s and 1970s against a backdrop of political and social upheaval, but is essentially an exercise in detailed textual analysis, rather than a sociological study of the medium.[10] Toby Burrows and Grant Stone's eclectic anthology, Comics in Australia and New Zealand: The Collections, The Collectors, The Creators (1994), intersperses textual analysis of selected Australian comic strips (King, 1994: 41-56), with personal recollections by comic book fans (McGee, 1994: 99-103) and overviews of public library collections of Australian comics (Stone, 1994: 71-85; Dickinson, 1994: 87-97). Despite its piecemeal editorial approach, this collection does yield occasional valuable insights into Australian comic book culture.
While beautifully illustrated, Bonzer: Australian Comics 1900s-1990s (Shiell, 1998), is an ultimately disappointing contribution to Australian comics studies literature. Designed to accompany the touring Australian Comic Exhibition staged during 1995-96 (but only published some years after the exhibition's closure), Bonzer assembles a collection of essays which strive to offer a sustained textual and cultural analysis of Australian comics, but with decidedly mixed results. John Foster (1998: 15-47) and Mark Finnane (1998: 49-53) use their contributions to present their respective research interests in Australian comic book genres and comic book censorship to a mainstream audience, but Ingrid Unger's essay, 'Women: Drawn and Drawing', scrambles to find sufficient examples of Australian women comic artists and female comic book characters to sustain her argument, while overlooking key examples of both (1998: 69-79).[11]
Many of these works are noticeably reliant on contributions from different spheres of Australia's comic book community, including industry practitioners (Stuart Hale, 1998: 95-109), collectors (John Clements, 1998b: 81-94) and retailers-cum-publishers (Richard Rae, 1994: 5-24).[12] Charles Hatfield's observations about present-day comics studies in the US are equally applicable to the Australian context. While cautioning that the 'pool of fan literature [devoted to comic books is] of variable quality and trustworthiness,' Hatfield nonetheless acknowledges that 'academic study draws from, and to a degree, depends on, this enormous fund of fan material' (2006: 368). US cultural studies academic Henry Jenkins, remarking upon his own personal involvement with science-fiction/television fandom, argues that studying popular culture from a fan's perspective provides a unique opportunity to combine understanding of relevant theoretical frameworks and critical literature with firsthand 'access to the particular knowledge and traditions of [fan communities]' (1992: 5).
The disproportionate reliance on 'fan scholarship' evident in Australian academic comics studies literature becomes understandable once the latter is measured against the voluminous output of scholarly monographs, refereed journal articles and popular histories of the comic book emanating from the US (Hatfield, 2006: 360-382). By contrast, the body of scholarly literature devoted to Australian comic books appears paltry; a cursory search of the Australian Public Affairs Information Service (APAIS) database yields just 49 articles published during 1978-2009 dealing wholly, or even in part, with Australian comic books and their creators. [13]
The historic reluctance of Australian academics to engage with comic books surely stems from the medium's longstanding 'illegitimate' cultural status. This was only gradually recast through the emergence of cultural studies during the 1960s and 1970s, which frequently championed despised media forms. Yet even early (British) cultural studies practitioners could not conceal their distaste for this particular popular medium; Richard Hoggart dismissed comics as 'bad mass-art geared to a very low mental age' (1971 [1957]: 201). Nonetheless, contemporary cultural studies remains eminently well-disposed towards investigating comic books, given the discipline's 'marked preference for popular book genres such as … romance, crime, westerns and science fiction' (Murray, 2007b: 14), each of which are abundantly evident in the history of Australian comics, together with the genre most associated with the medium – the costumed superhero (Coogan, 2006).
Perhaps the greatest challenge confronting the development of a comics studies discipline in Australia is that comic books themselves have, as Adam Possamai points out, long ceased to be part of most Australians' everyday 'practical consciousness' (2003: 118). This is in stark contrast to Australian cinema, literature and popular music which have, Possamai argues, enjoyed varying levels of government intervention and support that have enhanced their popular standing amongst Australian audiences (2003: 115-116). Ironically, the diminished cultural status of comic books in Australia throughout the 1970s and early 1980s can be partly attributed to the emergence of Australian comics' fandom during this same period. The subculture of comic fanzines and specialty comic shops became an insular, clandestine social phenomenon, intent upon cordoning-off comic books from what fans perceived to be a hostile or, at best, indifferent general public.
Nonetheless, there have been encouraging signs of progress. The University of Melbourne hosted the first Australian academic conference dedicated to comic books, Holy Men in Tights, in June 2005.[14] Australian scholars have, in recent years, made significant contributions to international comics' scholarship, including Ian Gordon's Comic Strips and Consumer Culture, 1890-1945 (1998); Angela Ndalianis' critical anthologies, Super/Heroes: From Hercules to Superman (Haslem, Ndalianis & Mackie: 2007) and The Contemporary Comic Book Superhero (2008); and Toni-Johnson Woods' Manga: An Anthology of Global and Cultural Perspectives (2010). A brief scan of ComicsResearch.org (http://www.comicsresearch.org) and Australian Research Online (http://research.nla.gov.au) reveals growing numbers of Australian undergraduate and postgraduate students engaged in research about comics and graphic novels. These developments are indicative of the type of initiatives emanating from tertiary institutions in Australia seeking to create credible, rigorous fora for the study of comic books and graphic novels.
Australia was once home to a vibrant, prosperous comic book industry that enjoyed widespread support amongst mainstream audiences. While the medium's cultural status has fluctuated wildly during the post-war era, there is cause to hope that the present-day vogue for Australian 'graphic novels' will rehabilitate comic books – and comics studies – in the eyes of readers and scholars alike.
(An abridged version of this paper was previously published in Scribble: Graphic Novel Collective Vol.1, University of Newcastle, NSW, in 2010)
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1. Titan Books published the UK editions of Watchmen (Moore & Gibbons, 1987) and Batman: The Dark Knight Returns (Miller, Janson & Varley, 1986), two of the 'big three' titles which heralded the critical breakthrough of graphic novels in the USA and the UK during the 1980s (Sabin, 1993: 93). The third title was Art Spiegelman's Holocaust family memoir, Maus (1986).
2. For recent examples, see: Castles (2007); Cassin (2008); Shirrefs (2008); and Dunford (2009).
3. These include Dave Hodson and Greg Gates' Tattoo Man (1991), Talnon's Tale-Trader: The Legend of Twarin (1994) and Peter Foster's graphic adaptation of Marcus Clarke's 1874 novel, For the Term of His Natural Life (1996).
4. Import licensing restrictions imposed by the Commonwealth Government at the outbreak of World War II effectively prohibited the importation of comic books (and other printed matter) from non-sterling currency areas (i.e. USA and Canada), in order to preserve currency reserves required for the war effort (for a detailed overview, see: Johnson-Woods, 2006:103-119). Import licensing restrictions were abolished on 21 February 1960 (Glezer, 1982: 67-76), which reopened the Australian market to the direct importation of comic books from the USA after a twenty-year absence.
5. The first 'genuine' comic book to be published in Australia, The Adventures of Buck Rogers, was issued in November 1936 by Fitchett Bros. (Melbourne), publishers of The New Idea (Patrick, 2007).
6. Connell's subsequent 1970 survey of Sydney youth's leisure habits merely highlighted an overall decline in comic book consumption amongst teenagers, without providing any contextual information, such as preferred genres/titles, or frequency of comic book reading. See: Connell, Stroobant, Sinclair, Connell & Rogers (1975: 175-176).
7. John Ryan (1931-1979) not only published Australia's first comic fanzine, Down Under, in 1964, but his article, 'Down Under—with the Comics', earned him an American 'Alley Award' for Best Article (Fan Category) in 1965. Ryan subsequently wrote entries on several Australian comic artists and comic characters for The World Encyclopedia of Comics (Horn, 1976).
8. Picking up where Ryan's work left off in the late 1970s, I wrote a series of articles on the history of Australian comic books since 1980, which were published in Australian Book Collector throughout 1999 (See: Patrick, 1999a, 1999b, 1999c, 1999d, 1999e). These articles formed the partial basis for Heroes & Villains: Australian Comics and their Creators, the catalogue publication which accompanied the exhibition of the same name that I curated for the State Library of Victoria during 20 October 2006 – 25 February 2007 (Patrick, 2006a).
9. The MUP Encyclopaedia of Science Fiction & Fantasy examines the cross-fertilisation between Australian science-fiction literature and Australian comic strips and comic books (Dito, 1998: 37-40), whilst John Loder's Australian Crime Fiction: A Bibliography 1857-1993 (1994) cites the comic book adaptations of several pulp fiction series, including Marc Brody (1994: 30), Carter Brown (1994: 33) and Larry Kent (1994: 135).
10. Much of the visual content of Pinder's book appears to have been drawn from The Wild & Woolley Comix Book (Woolley, 1977), a largely overlooked anthology that was nonetheless the first such book devoted to Australian 'underground comix'.
11. These include the Australian version of the American comic strip heroine, Brenda Starr, which was illustrated for comic books by Yaroslav Horak, and the work of Joan Robey, a jazz singer who drew the Australian comic book adaptation of the British radio serial, Dick Barton Special Agent Comic (Clements, 1998a: 22-23). Similarly overlooked is the contribution of expatriate American publisher, Pat Woolley, who was a driving force behind many Australian underground comix titles throughout the 1970s (Woolley, 1977; Just, 1983: 32-35).
12. Richard Rae was emblematic of the new generation of Australian comic book fans-cum-entrepreneurs during the 1980s. He was proprietor of Sydney's Comic Empire store, wrote and published a range of Australian superhero comics during the early 1980s, briefly drew comic book covers for Murray Publishers, and staged a major comic book convention at the Sydney Opera House during 17-19 January 1986 (See: Rae, 1983; Patrick, 2006b).
13. Literature search for the term 'comics' on the Australian Public Affairs Information Service (APAIS) database (http://www.informit.com.au/indexes_APAIS.html) conduced on 07/01/2010.
14. Holy Men in Tights: A Superhero Conference, 9-12 June 2005. Hosted by Cinema Studies Program, School of Art, History, Cinema, Classics & Archaeology, University of Melbourne (http://www.ahcca.unimelb.edu.au/Superheroes/).
Kevin Patrick was recently awarded first-class Honours for his dissertation, Comic Books, Australian Society and Cultural Anxiety: 1956-1986, in the School of English, Communications & Performance Studies at Monash University (2009). A prolific freelance journalist, magazine editor/publisher and one-time communications policy researcher, he also curated the exhibition, Heroes and Villains: Australian Comics and their Creators, at the State Library of Victoria (2006-2007). He will commence his PhD at Monash University in 2010.
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Nat Karmichael says:
Lovely work, Kevin!
Paul Mason says:
Mr Patrick's article illustrates the very problem I have found myself in trying to research Australian comics- The lack of analytical articles regarding comic book art in general or the current landscape in comic books in this country. This 'drought' seems to make any of my arguments or opinions in comic book matters seem weak, with my research lecturers often stating "Your extensive bibliography consist mainly of comic book fan histories"… Is art theroy not derived from fans of art? More gentlemen with credentials such as yourself will make achieving my doctorate a much easier journey.


This is a show that at first seems like it shouldn't be a show based on the factors that its based off a manga. That and the fact that I got this on one of my anime forums as my lottery pick so yay for that. Spoilers may be in this review so be warned on that front.
Oh, how I can say this is in a nice way. It's like a basketball hoop with it being too many holes and confusing to understand where is everyone is and doing at that particular episode.
The plot that it's trying to sell seems "interesting" and you do see a variety of games that are played throughout the 12 episode run so I will commend them for that. But a big negative is that it seems to be the only positive in a badly written show. This is for two reasons, the first one being the fact that it has kept changing who we are following in a certain scene. The jumps between these scenes are something that I can only cringe at.
The second reason is their "plot twists" which can be easily seen from a mile away with the second half being all about seeing dominance over everyone that has an SCM and some stupid characters which easily fall into putting it on. Like how can you fall for that trap that is so easy to not fall in.
I don't have much to say as I am not really one for animation purposes. But the animation in this show is something that you don't really want to put your time in. Basically what I am saying here is the fact that the animation is nothing special at all compared to other shows that are in this season of shows.
I am a person who doesn't mind watching the full OP/ED as I know what is coming up. But compared to some of the other shows in this season, the OP song just felt flat compared to some of the others. The ED was a little bit better but was the same thing as I didn't really feel like it was a good way to end that episode. Maybe that could have been because I was relieved that the episode was over or something completely different like almost falling asleep.
Before you go and attempt to try and murder me let me explain on this area. Doing a quick little search on the sites shows that there are 20 characters in the show. Now for some shows, this works in their favor but for others, it doesn't. This is one of those shows which is of the former with the fact that there is really no characters which I could fill in the shoes. In fact, if you wanted to me to name my favorite character of the show I couldn't give one.
This also didn't help the fact that they thought that introducing a character in almost every episode (barring the last one) which just add to the character pool that I need to keep track. By the time, the second half of the show started, I gave up on keeping track of characters and where they were and what they were doing. With a limited period, these characters don't get screen time to fully introduce themselves before falling victim to the SCM or being annoying as a cat on your lap.
Overall my experiences for this show was something that I want to forget very easy as I said earlier in this review, the show as a whole is something that could easily be forgettable and not many (if any) will be talking about this show in a years time or even six months time. That is how forgettable this show is to the audience that watched it.
Do I recommend this show to the people that are reading this review? The simple answer to that is no. There are other shows that came out in this season that is worth your time more than this one.
I make it short. The whole idea is pretty good. But unfortunately the story is full of holes. I just couldn't bear to watch it anymore, because too many things was irritating me. Droped this show after 5 episodes.
I dont hate this show. Granted I am a sucker for anime that revolve around "high stakes games"
The way this is made does not suit once a week viewing. It'll intorduce a charter then forget about them for a few episodes and there aren't really enough episodes for the charters to grow on the viewer. The animation is average and sound sup par.
Watch them carry out questionable activities.
Have a hamfisted monologue on why they did it.
I feel like everthing was wrapped up buy the end of the series even tho tying up charter archs was hamfisted.
If you like this sort of show try it. But if you haven't watched danganronpa, baccano! Or marai nikki or similar (shows that this reminds me of) Id watch them first.


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This entry was posted on June 16, 2014, 9:46 pm and is filed under Thoughts & Vents. You can follow any responses to this entry through RSS 2.0. You can leave a response, or trackback from your own site.
This is absolutely beautiful, Arwa. Absolutely beautiful.
While researching on the piece Time orders old age to destroy Beauty, I chanced on your writing. I'm glad that Art has brought to you so much reflection and comfort.
Continue to appreciate beauty in Art and Music and everything else. Hope to read more of your writing.
Thank you for bringing me back to my own writing. I haven't been writing for a long time and your comment is really refreshing. A lovely surprise indeed.


text:
Millennium Hotels MEA names new VP technical services
Millennium Hotels & Resorts MEA has promoted Mohanad AlHuniti to the role of vice president technical services. AlHuniti will ...
Mohammad Abdulaziz Al Rajhi and Sons plans new hotels in Saudi Arabia
Mohammad Abdulaziz Al Rajhi and Sons Investment Co. celebrated its contribution towards the major boost in Saudi Arabia's burgeoning hospit...
Chinese New Year celebrations at Al Maryah Island
Al Maryah Island, Abu Dhabi's business and lifestyle destination, will once again host its renowned Chinese New Year celebrations, welcomin...
Centara welcomes new corporate director of revenue
Centara Hotels & Resorts, Thailand's leading hotel operator, has appointed Stefan Wolf as corporate director of revenue and distribution....
Farnborough Airport announces record air traffic movements for 2019
UK's Farnborough Airport has announced record air traffic movements for a third consecutive year, surpassing the previous record from 2018 fo...
16 floating hotels planned for World Cup 2022
Qetaifan Projects, a Katara Hospitality owned company, has signed a memorandum of understanding with Admares for the construction and operation...
Etihad Aviation Training wins approval to train Boeing pilots
Etihad Aviation Training, the specialist training division of Etihad Aviation Group, has become the first aviation company in the Middle East to ...
Dubai receives 16.7m visitors in 2019
Dubai welcomed a record 16.73 million international overnight visitors in 2019, which is an increase of 5.1 per cent and surpassing the growth fo...
Emirates is looking for cabin crew in the UAE
Emirates is looking for candidates in the UAE to join its multinational cabin crew team. Candidates are required to register online on the Emirat...
Hilton to quadruple Saudi portfolio by 2025
With its rapidly developing pipeline in Saudi Arabia, Hilton expects to quadruple its portfolio in the kingdom throughout the next five years to ...
Regional News & Features
Riyadh Season draws millions
While Saudi Arabia's bold reforms are hitting headlines across the world, at home the new-to-the-nation entertainment, sports and soci ...
A tryst with luxury at ILTM Cannes
As ILTM heads towards its 20th anniversary in 2021 and the new decade, its latest edition has hit the spot for everyone who contributes to a high net wort ...
What the Mideast traveller wants
In 2020, the world's most demanding travellers will increasingly focus on the why and how of their travel before they even consi ...
The Mall Sanremo offers retail respite
IF YOUR clients are regular visitors of the French Riviera, they will certainly be excited at the prospect of a newly opened outlet shopping about an hour ...
Marhaba extends global presence, announces refurb
MARHABA, dnata's airport hospitality brand, is expanding one of its flagship lounges in Dubai, and opening an additional facility in Geneva. The expansio ...
Amadeus reveals the GCC's favourite destinations
ACCORDING to Amadeus, the top destinations for travellers from the UAE, and travelling between November 2019 to January 2020, are India, the Philippines a ...
HYATT Hotels Corporation has announced the official opening of Andaz Dubai The Palm. Joining Andaz hotels in top destinations around the world, such as Amsterd ...
Taiwan Tourism Bureau hosts Mice evening
LAST month, Taiwan Tourism Bureau (TTB) in the Middle East organised a Mice evening in Dubai as part of its strategy to welcome Mice and business travellers fr ...
What to expect from 2020
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Travel & Hospitality Partners
Taj opens in JLT, Dubai
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Centara enters 2020 on a high
TIME adds two more UAE hotels
Sky's the limit with Sky Princess
Etihad Airways, together with its partners Abu Dhabi Airports and WHILL personal electric vehicle supplier have completed guest trials of their innovative autonomous wheelchairs at Abu Dhabi International Airport. The trials ran between December 2 to 6 and involved over 60 guests with restricted mobility, who self-drove the wheelchairs, navigating crowded areas and lounges before safely arriving at their gate. The wheelchairs returned autonomously back to the docking station without requiring any human interference.
London Marriott Hotel Park Lane partnered with luxury British perfume house Penhaligon's to launch their Suite Scents experience, offering guests staying in their Premier Suites access to a collection of the brand's most iconic fragrances to use during their stay. The Suite Scents by Penhaligon's package included a luxurious suite for up to two guests for one-night, British breakfast for two in Lanes of London, a hand delivered Penhaligon's Fragrance Trolley delivered by fragrance butler and one Penhaligon's fragrance to take home.
Saudi Arabia's Diriyah Season saw a month-long celebration of diverse sports such as Formula E, world-class men's tennis, Olympic qualifying elite equestrianism and heavyweight boxing. Bujairi, a shopping district in Diriyah, hosted 'The Bujairi Experience' a four-week showcase of Saudi designers. The season began on November 22 and was complemented by iconic concerts, cultural festivities, food and retail experiences.
Warner Bros. World Abu Dhabi, the world's first-ever Warner Bros. branded indoor theme park, was named by the Themed Entertainment Association (TEA) as the winner of last year's Thea Award for Outstanding Achievement - Theme Park. The TEA Thea Award, which is regarded as an internationally recognised symbol of excellence in the themed entertainment industry, will be formally presented at the 26th Annual TEA Thea Awards Gala on April 18, 2020 in Anaheim, California.
Last month, the Embassy of Malaysia in Bahrain hosted an event to present "Visit Truly Asia Malaysia 2020" to travel agencies, airline companies and media in Bahrain. The presentation was done by His Excellency Agus Salim bin Yusof, Ambassador of Malaysia to Bahrain. The year 2020 was declared as the Malaysia Year of Healthcare Travel. Malaysia has been named as "Destination of the Year" for healthcare travel for three straight years by the International Medical Travel Journal. In 2018, Malaysia received over 1.2 million healthcare travellers.
Abu Dhabi's Qasr Al Watan, part of the 380,000-square-metre Presidential Palace, is quickly gaining ground as a key tourism attraction in the UAE capital. It reflects centuries of Arabian architectural design and tradition in a palace built for the 21st century. More than a traditional palace, Qasr Al Watan is an exquisitely crafted tribute to the region's Arabian heritage and artistry; the architectural and interior design echo the significance of the exhibits housed within its walls and the function of its most iconic rooms.
Four Seasons Resort Orlando at Walt Disney World Resort celebrates the launch of a whole new land at Disney's Hollywood Studios, called Star Wars: Galaxy's Edge. Kids For All Seasons, the resort's complimentary kids' camp, now offers related activities like inflatable moon-bounce obstacle challenge, space-themed crafts, relay races. A highlight of the resort is a five-acre water park, including a winding lazy river complete with a rapids section, two water slides, and an interactive splash zone.
HYATT Place Dubai/Jumeirah, the fourth property under Hyatt's modern essentials brand portfolio in the UAE, has opened its doors in the heart of Jumeirah. Consisting of 204 guestrooms and 84 fully furnished residences, the new hotel features the Hyatt Place brand's intuitive design, casual atmosphere and practical amenities. Guests can avail of free high-speed wi-fi throughout the property, complimentary breakfast, as well as use of the fitness centre and Rooftop temperature-controlled swimming pool. "We are pleased to open the doors to Hyatt Place Dubai/Jumeirah, the flagship property of the Hyatt Place brand in Dubai and the fourth operational property in the region. The opening of this hotel will allow Hyatt Place to continue taking the guest's experience to new heights – through style, innovation and 24/7 conveniences that ensure a seamless experience for today's multi-tasking traveller," said Fathi Khogaly, cluster general manager, Hyatt Place Dubai.
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For Sophomore Inspire week we had many stations to go through that were to help us get ready for college and college preparation as well as applying for colleges next year. For one of the stations, we were coached on how to make a good resume and what makes up a good resume. We went through what you should have and what you should not have on a resume. We also went through how long it should be. A resume should contain your successes related to the job that you are applying for as well as some that are not as related but could still help you get the job. If it is to get to a school you should list your greatest achievements as well as things that you do outside of school and how you do in school. This includes GPA your current and past schooling and your classes. A resume should not be more than 2 pages long because you will lose the readers attention quickly. You want to make it please to the eye and use bullet points and minimal paragraphs. We also learned that a resume only gets looked at for an average of 6 seconds before being thrown into a yes or no pile. We went through good and bad resumes and then talked about them afterwards and how we would change them. In the end, we all created our resumes with the new information we had learned that week.


Come on, you gotta admit it's pretty cool when you get your name up in lights!
It wouldn't be right to say hello to Skid without taking a moment to say good bye to Nessie. Nessie, our German Shepherd was the only non border collie at Alta-Pete. .
She did a little herding andplayed a guard dog on a couple tv shows, but her main job was as my companion and protector. She'd been trained to do attack work as a young dog and she always had my back. We had to say good bye to Nessie at the beginning of our spring trip. It was her time. The tumor in her belly was giving her trouble so we released her from her pain, and buried her ashes in our flower garden.
Enter Skid. We met Skid six weeks later as we returned from our trip. He had just flown out of the back of a pickup truck going 90 mph plus on a wide open highway. The truck never stopped and Skid skidded to a stop on the side of the road. After our truck and camper trailer skidded to a stop we ran down the road expecting to find a dead dog. He wasn't dead. He was sensless and on his back. Scott sat him upright and I grabbed a towel so we could take him to the nearest vet. We couldn't see any external injuries but we were sure a vet would tell us to put him to sleep. A half hour later, he got up and sarted to walk around the cab of the truck. An hour later he was playing with our border collies at a pit stop. You would never know anything had happened. He had no tags and wasn't neutered. We questioned ourselves. What do we need with a cute little mutt? Is he of any use? We decided we did have a use for him. Nessie left a big hole in our heart and Skid could fill a little bit of that. So he stayed and we haven't regretted it one bit.
Pete has an official title, it's "barn cat" but actually, Pete runs the place. No, the name Alta Pete has nothing to do with Pete (shhh, don't tell him). Scott picked that name long before Pete came around. Pete and Scott met 5 1/2 years ago when Pete was just a youngster and they both lived in Buffalo, Alberta. Every night in the winter, Scott would leave a heat lamp with a tarp over it on the quad so that it would keep the engine warm enough to start. In the morning, Scott would go out and take off the tarp and see a small streak as it took off to shelter elsewhere. When he figured out it was a feral kitten, he started leaving a bowl of food under the tarp too. Eventually, the kitten started hanging around to meet Scott and they became tentative friends. Both of his ears and the tip of his tail had been frozen off but it didn't seem to bother him.
When it came time to move, Scott caught Pete, neutered him and released him to the new barn in New Dayton where Pete took over his daily duties. Petey, now quite friendly, feels it is very important to supervise all dog work done on our farm and you will often hear his comments (non stop meowing) on the video tapes we do of the dogs in training. Recently, Pete begrudgingly aquired an apprentice. When our neighbors moved and left their farm house vacant, Cali came over to see what we had going on. Between the two of them the farm mice live in fear and never dare to get in to our grain storage.
Aug 1, 2007: DUCK, DUCK, GOOSE Once upon a time there were 3 ducks. OK, to be truthful, there were 6 ducks but most of them didn't stick around for long. We originally purchased 6 ducks to help us train a couple of goose dogs but when the first 3 were left alone to enjoy their new pond - they left. I don't know if they waddled the long walk to Tyrell lake (a couple of acres away) or what, but I'm sure they've gone down in pet duck lore as the ones that escaped to freedom.Anyway, so now we were down to 3. I was more careful with these and made sure they were comfortable in their new surroundings before I left them without supervision. They were a happy trio and went everywhere together that summer. They swam all day and then learned to walk to the barn at night to get their dinner. All was well until the pond froze... When the temperature dropped and the snow started, I ushered them into the barn for shelter, but when I came out the next morning, there was only one. Sometime during the night they had wandered back out to their beloved frozen pond and were eaten by a fox or stray dog when they couldn't get back into the saftey of the water.
The remaining duck was in a state of shock. He was clearly depressed and spent the rest of the winter alone,huddling under his heat lamp in the barn or swimming when the pond unfroze. When the spring came, he seemed to enjoy the company of the wild ducks that came to visit so we decided to get him a buddy during the summer.
Enter the goose. Bought at an auction where we were selling our sheep we eagerly let him out to swim in his first pond and meet the duck. Unfortunately, we had just bought the only goose in Western Canada who didn't like to swim. He wanted to follow me or most often, the sheep. I put him in the water and he'd panic and run back to the sheep.


it's a good thing punkins love hot weather. Things are growing like crazy here at the patch. Here are a couple of goosebumps, a unique, warty novelty variety, that is a fun one. Pretty soon I will be able to do the personalized pumpkins that are very popular. Let me know if you would like to have one done for a person, a wedding, or a business. I can personalize on a variety of punkins but my favorite little pie punkin works best. They are bigger than a softball and smaller than a volleyball.


Budget Mideast carrier flydubai says it recorded $US60.7 million ($A68.38 million) in profit last year out of total revenue of around $US1 billion.
The airline on Monday said earnings were up 47 per cent from 2012.
Dubai International, where flydubai is based, handled 66.4 million passengers in 2013, making it one of the busiest airports in the world.
Flydubai says demand for travel within a five-hour flying radius of Dubai in the United Arab Emirates resulted in an increase of nearly 40 per cent in passenger numbers to 6.82 million last year.
The airline is among the Gulf's fastest-growing airlines. It has committed to buying up to 111 Boeing 737 aircraft.
Flydubai operates an average of 1,100 flights a week and flies to 66 destinations.


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Брази́льский кроха́ль () — птица семейства утиных (Anatidae).

Распространение
Встречается на небольших реках в первичных тропических лесах северо-востока Аргентины, востока Парагвая и юга Бразилии.

Общая численность вида составляет менее 250 птиц.

Бразилия. Наибольшая популяция находится в Бразилии в национальном парке Серра-да-Канастра, в штате Минас-Жерайс. Исследования 2006 и 2013 годов обнаружили примерно 140-200 взрослых особей. Несколько птиц были обнаружены в 2012 году в муниципалитете Патросиниу этого же штата. В штате Гояс общая численность составляет около 50 особей. В 1995 году небольшая популяция была обнаружена на реке Тибажи (Tibagi), в штате Парана (Анхос др., 1997), но поиски в 1998 году были неудачными. В 2002 году, ещё одна небольшая популяция была обнаружена на Рио Ново Рио Национального парка Jalapão в штате Токантинс, и шесть экспедиций в 2007 и 2008 годах обнаружили там 7 гнездящихся пар. Считается, что птица вымерла в штатах Мату-Гросу-ду-Сул, Рио-де-Жанейро, Сан-Паулу и Санта-Катарина.

Аргентина. В провинции Мисьонес 12 особей были найдены на реке Арройо Уруз в 2002 году. Это первая регистрация вида в стране за 10 лет, несмотря на многочисленные исследования.

Парагвай. В Парагвае вид зарегистрирован в 1984 году. Тем не менее, есть местные отчеты, которые показывают, что несколько особей все ещё возможно выжили.

Описание
Вид немного меньше среднего крохаля, но с таким же тонким красным клювом и чёрной с зеленоватым отливом окраской головы и шеи, имеет длинный хохол. Верхняя часть тела у него тёмная, зеленовато-бурая, низ серый, исчерчен бурыми и белыми пятнами. Тело взрослой птицы достигает в длину 49-56 см, весит 600—700 г.

Образ жизни
Единственное найденное гнездо бразильского крохаля располагалось в дупле высокого дерева прямо над водой. В кладке 6 яиц. Живут эти птицы отдельными парами, питаются преимущественно рыбой.

Сохранение
Ареал этого оседлого вида имеет явно реликтовое происхождение, а спорадичность распространения в малоисследованных тропических лесах не позволяет судить об истинной численности популяции. Однако вид, несомненно, редкий, встречи его за последние 50 лет единичные, а места проживания интенсивно разрушаются из-за вырубки лесов. Формально эта птица находится под охраной только в Бразилии.

Примечания

Литература
 Janet Kear (Hrsg): Ducks, Geese and Swans. Oxford University Press, 2005, ISBN 0-19-854645-9

Ссылки
BirdLife Species Factsheet.
ARKive – Изображения и видео бразильского крохаля (Mergus octosetaceus)
Brazilian Merganser on postage stamps

Птицы Южной Америки
Крохали
Животные, описанные в 1817 году


text:
Are Flame Retardants in Your Sofa Killing You?
The Grenfell Tower Fire
BBC's "Rip-Off Britain", May 10th, 2017
Whistleblowing case
The Code of Practice Scam
The lies of the British Furniture Confederation
The Full Facts
The Government's 2016 Consultation Sham
Consumer Guide to Buying Furniture
The Full Facts Extra
The Case Against Flame Retardants
Why the Furniture Regulations Do Not Work
DARK CLOUDS, DARK THOUGHTS
Extracts from my journal, 15th June 2017
Grenfell Tower, a huge housing block in Kensington, caught fire last night and is still burning. About a dozen people so far have died, and around 40 injured. A reporter I know phoned today to talk about it and said he thought the timing might be suspicious.
The clouds of dark smoke pouring out of the tower are that colour mainly because of flame retardants - and that smoke will include hydrogen cyanide. And yet not one single person has mentioned this in the media, even though hundreds of people, including firefighters have been breathing it in for hours. Which may or may not be a great sleight of hand act on the part of the FR industry. On which point, there was an article in the Guardian yesterday by Dr Malcolm Tunnicliff, who dealt with 12 casualties from the fire. He says:
"We knew in advance that it was a fire in an enclosed space so we also knew there was a real risk of cyanide poisoning from foam in older furniture burning. So we had lots of cyano kits – which contain the antidote to cyanide poisoning – ready and waiting to give people. Happily tests shows that none of them had; that was a relief."
I find this suspicious - first that he would be talking at all to the press and offering views on the fire before there's been any kind of investigation. Second, that he mentions burning furniture foam as a possible source of cyanide poisoning but does so wrongly, i.e. while foam in older (by which I suspect he means pre-1988 when the Regulations came in) was toxic when burned, modern foam is far more toxic because it contains FRs. Third, he claims victims were tested for cyanide but I thought that diagnoses of blood for cyanide poisoning takes quite some time. [We also learned later blood tests were taken from none of the survivors. I wrote to Dr Tunnicliff about his statements but he did not reply.]
Some possible issues/factors:
Richard Hull has just given a talk at BFR 2017 on his work that proves a sofa treated with FRs is more toxic than an untreated sofa. The FR industry as usual was present; also present, and not usual, was Dave Sibert of the FBU.
The Fire Safety Order 2005 removed the requirement upon the 'responsible person' to get a professional fire risk assessment made of his property - which is part of the general issue of industry gradually weakening safety requirements.
TV says that every one of the survivors suffered from smoke inhalation; none from fires/burns, which means we need protection from toxic smoke produced by burning FRs more than from fire. When I mentioned this to Steve Owen earlier today he said, "Well, obviously," but it's not obvious to most of the population and those who advise them on fire safety.
The reporter who phoned me wants to do a big story on toxic smoke and furniture, bringing in Richard Hull's research, showing that the Furniture Regs can be used as a good/bad example of failing fire safety requirements, i.e. they don't work; don't increase escape time; produce highly toxic fumes.
I also have some dark thoughts that I do not want to fully express, even in this journal. But I'm concerned that if BEIS finally decides to implement a new match test that will hugely reduce FRs in furniture cover fabrics, which in turn may lead to getting rid of them altogether (as in the US and rest of the EU), then, thinking backwards, the FR industry will do anything to make sure that doesn't happen. It's a BEIS move that might be triggered by Richard Hull's BFR talk and forthcoming paper on the same subject. The FR industry lost its US market then failed in its attempts to gain the EU market, and is at risk of losing its main supporter, the UK - at a time when it is trying to build new markets in India, Africa and Asia. And if it transpires that FRs killed many if not most of the people in Grenfell Tower when they and the Furniture Regs don't work, well, that would be very seriously damaging. Not just for the FR industry itself but also for those who get paid to promote it, including fire services officials and at least one BEIS official. In this respect, it will be very interesting to see if attention regarding the Grenfell fire remains everywhere but on burning furniture.


In this powerful debut, William Burcher is willing to explore unique and fantastic themes with realism and grit. The GAIAD boldly poses big questions. What do we lose, as we separate ourselves from the earth and each other? What would the future hold, if suddenly something changed with that most fundamental of relationships—the one we have with our own planet?


It was extremely cold and lightly snowing during most of our tour of the Town of Stratford. I guess that was not completely unexpected as it was December 27th, and as we all know now, our 2017-2018 winter was indeed a snowy one. The snow, and the cold, did not deter our level of interest as we were chauffeured around by Town Supervisor, Allicia Rice.
If anyone has never visited Stratford before, you are not alone. This was my first trip to the northwestern part of Fulton County and I have spent the majority of my life here. It is a pretty ride – just what you would expect as you drive into the southern Adirondack Park. Ron and I met Allicia at the Town Hall, which is just off the main road through town, Route 29A. She started our drive along the back roads until we reached the entrance to Ferris Lake Forest Preserve. The tour was enhanced by Allicia's extensive knowledge of all things Stratford. She not only knows these rural roads well, she also knows her neighbors well – and yes, we did see her house along our way. I couldn't help but to feel like I was in a different era. People today just don't normally know their neighbors like this. I think of myself as a friendly person – I talk to random people at the grocery store, waiting rooms, on airplanes (yes, I am one of those people) – but for some reason, there are certain neighbors that I have had for YEARS that I just never got to know. So this was refreshing to me.
After a tour of the store, and a quick cup of coffee, we journeyed south of town to Stewart's Landing; a dam located on Sprite Creek which is a popular swimming site in the summer months. We drove along the road that follows the Creek. Allicia, of course, knew many of the year-round residents here and talked about getting to know the people in her district. She and her husband are originally from New Jersey. They used to vacation here and decided to relocate when they retired from full-time secular work. Wanting to make a difference in her new home town, Allicia ran for Supervisor. Her passion for the area is evident in her abundant knowledge of local history and the needs of the community.
When I asked if there were any places for snowmobilers or other travelers to stay in Stratford, Allicia said that there currently is not a hotel or anything of that kind in Stratford. While not a large town, perhaps a bed and breakfast or some cozy cabins might do well for the area. For those who love the outdoors, there is plenty to get excited about in Stratford, whether in winter or summer. I for one am looking forward to a return trip sometime. Perhaps in warmer weather when my fingers won't freeze while taking pictures.


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The Sopwith Dolphin and Pfalz D.IIIa kits are the subjects for our seventh WNW Special. Over 300 photos,model and full size, with all-new colour profiles,rigging notes, walkaround images,detailed appendices and more.
The perfect companion to the very latest Wingnut Wings release of April 2018! Detailed builder's log;scale plans;colour profiles and special sections on WNW modelling for beginners. Plus archive photos ,sketches and more.
Our fourth Windsock Modelling Special is laden with detailed build notes accompanied by dozens of step-by-step model photos, great archive material, new Ronny Bar profiles, a 1918 facsimile report on a captured AEG and much more!
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text:
IEC Celebrating 50th Anniversary
April 22, 2016 | IEC Electronics Corp.
IEC Electronics Corp. will mark its 50th anniversary with several events throughout 2016, including Founder's Day recognition at the Company's corporate headquarters in Newark, New York as well as celebrations later this year at each of its facilities in Newark and Rochester, New York, and Albuquerque, New Mexico.
Founded by Roger Main in 1966, IEC Electronics began as an original equipment manufacturer (OEM), designing and selling products such as frequency counters and portable transceivers. Today, IEC specializes in providing electronic manufacturing services (EMS) for life-saving and mission critical products such as encrypted satellite communication systems, automated external defibrillators, and ruggedized industrial controls. Employing over 800 people within the US, the company utilizes its vertical manufacturing and advanced engineering capabilities to solve complex challenges and minimize supply chain risk for its customers.
Jeffrey T. Schlarbaum, president and CEO, commented, "As we celebrate our 50th year in operation, we are making an effort to not only commemorate IEC's history, but also its evolution and its path for the future. IEC was started as an OEM in the communications and instrumentation field and entered into the EMS industry supporting home entertainment and computers. Over the last 10 years we have transformed the business by focusing on the high reliability, advanced technology segments that demand a sophisticated level of manufacturing. Today, the Company is well-positioned with an extremely talented employee base, state-of-the-art technology and a blue chip customer base. I am excited for our future and feel confident in the strength of our team to continue to uphold IEC's reputation as a leader in the complex electronics industry."
It's Time to Retire ROSE Testing
06/27/2018 | Joe Russeau, Precision Analytical Laboratory, and Mark Northrup, IEC Electronics
Over the last two to three years, there has been considerable discussion within various IPC committees about the role of the ROSE test in today's assembly environment. The transition from predominantly water wash processes to "no clean" has meant the advent of very different flux compositions. The question has been posed as to whether the ROSE test is still a viable option for evaluating PCB and PCBA cleanliness.
Top 10 Most-Read SMT Articles of 2017
Every year, we like to take a look back at the most popular SMT news and articles. These are the top 10 most-read SMT articles from the past year.


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