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Old Saltair: Ruins are all that remain of "Coney Island of the West"
The following originally appeared in the August 13, 2009 edition of the Tooele Transcript Bulletin.
The approach to Saltair I (left) near the turn of the century (source unknown), and the same view today (Clint Thomsen)
by Clint Thomsen
It's early morning at the Lake Point railway station. The sun has yet to fully emerge from behind the Oquirrhs, but the dry August heat has already announced its arrival. You sit with your siblings in the cramped seat on an eastbound rail car. Scores of your neighbors and townspeople pack the aisles and platforms.
It's August 15, 1903: Official Tooele County Day at Saltair Pavilion. The county's entire population, it seems, has boarded the train's ten passenger cars to visit the most thrilling resort in the west. Try as it might, the blistering heat can't spoil the excited spirit aboard the crowded coaches this morning. The train lurches forward. You're finally on your way.
You watch out your window as the train rounds the mountain and approaches the legendary edifice. Rising from the lake at the end of a mile-long trestle, Saltair seems fascinatingly out of place. The sight of its onion domes and ornate archways against the lake's bare backdrop startles your senses.
You'll spend the day swimming in the lake's salty waters, trying—but failing—to sink. You'll watch the sunset from the narrow bathhouse arcs. By the time you board the train again, the pavilion will be ablaze in lights and awash with the scents of corn dogs and popcorn.
Happy swimmers pose at Saltair (date, source unknown)
It's not difficult for me to imagine this scenario. I felt that same excitement as a kid every time our family drove the current version of Saltair. Known in historical circles as "Saltair III" (since it's the third incarnation), the pavilion sits roughly 2 miles southwest of the original site. While an outing to Saltair III in the 80's may not has been as grand as a trip to the famed original, there was something enchanting about the lakeside resort and the notion of the lake as a getaway spot.
A traffic incident during my commute last week closed I-80 at the Saltair exit, giving me several hours to kill in the area. Many of my fellow sidelined commuters parked at the Saltair III pavilion to grab a Coke and some salt water taffy from the gift shop. I turned south on the frontage road and drove to the entrance to the original site.
Saltair I was built in 1893 under the direction of the LDS Church. Intended as a wholesome alternative to the rowdier resorts springing up along the lakeshore, it was the most ambitious lakeside project to date.
For the edifice's design, Saltair planners tapped architect Richard Kletting, who had already designed the Lake Park resort and who would later design the State Capitol. Saltair was built over the water on a platform supported by 2500 pine pilings, nearly a mile offshore and accessed via railroad trestle.
The multilevel pavilion had a bizarre Moorish-Victorian appearance. Crescent "arms" lined with bathhouses extended from each side. Kletting's goal was to overwhelm visitors and transport them to a world of "escape and pleasure."
The resort boasted various rides, shows, and dining options. Its signature attraction was the Giant Racer, a massive roller coaster that sent riders screaming through drops and turns over the water.
On one occasion, Orville and Wilbur Wright demonstrated their "heavier than air machine" at Saltair, making short, low flights above the pavilion. Often billed as "The Coney Island of the West," Saltair enjoyed considerable success until a fire destroyed the pavilion in 1925.
A larger, more colorful version was built in its place a year later. "Saltair II" added even more attractions, focusing less on swimming and more on entertainment offerings as water levels receded. High maintenance costs combined and nation-wide economic woes strained the resort, but another lucky generation of Utahns grew up dancing in its massive ballroom and relaxing on its potted palm walkways.
Saltair II was abandoned in the 60's and was destroyed by fire 1970. Saltair III was built in 1982 at I-80 exit 104 for more convenient access. Knowledge of the original site and its legacy faded from collective memory as the years passed. Few prominent sources adequately address its history.
A charred pile-on lies on the site of the old Saltair II pavilion. A 1970 arson fire destroyed the structure (Clint Thomsen)
Old Saltair's most visible remnants today are the cinderblock exterior of the power substation that served it, and the old rail car, which was an original Saltair coach. Around these are strewn various parts and pieces of Saltair III attractions that were destroyed in the 1983 flood.
This property is privately owned, but the train car has recently found wide popularity with bridal photographers. Trespassing photographers stage almost daily shoots there during the warm months. The actual pavilion site is on public land, but should only be accessed via the Lee Creek Area directly to the east.
Significant remains still lie along the overgrown trestle that leads to the pavilion site. I followed it, stopping periodically to examine the original salt-crusted pilings that supported the boardwalk. Pilings marking the Giant Racer's route also remain along with half-buried strips of metal that the bulldozers missed. The site of the old Ship Café is littered with ceramic fragments of plates, cups, and saucers. Anything completely intact was scavenged long ago.
As I traced the outline of the pavilion, I pondered the strange dichotomy this site presents. Here, two mindsets have always coexisted at odds with each other: the easy-going beach groove that Saltair attempted to harness, and the harsh desert environment that eventually did it in.
This dichotomy is best illustrated by album art from a 1967 Beach Boy's record. Photos show the band hanging out at a decaying Saltair II. My favorite shot is of the boys balancing atop a tall collection of pilings that once served as a dock. Those pilings still stand, and given their isolation, they probably will forever.
I returned to my car thirsty and exhausted. On these flat beaches, one can easily lose track of distance. The freeway had reopened, and it was time to make my way home. Were I around in 1903, I wouldn't have missed that first Tooele County Day for anything. At least I made it in time for the outing's 106 year anniversary. Old Saltair's remains may be scant, but out there on those flats, it's spirit is as vibrant as ever.
Posted by bonnevillemariner on August 19, 2009 in Ghost Towns, Great Salt Lake, History, Saltair, Tooele Transcript Bulletin, Trip Reports
24 responses to "Old Saltair: Ruins are all that remain of "Coney Island of the West""
Michelle Powell
I recently read this article in the Tooele newspaper. My parents live in Lakepoint, and saved it for me because I LOVE hearing about the history of Utah, ESPECIALLY around the 1920s and such, and ESPECIALLY Saltair! My hubby and I met at Saltair at a dance in 1997, and I have always been intrigued by it! Thanks for writing such a great article! 🙂
bonnevillemariner
Michelle, thanks for the comment! Saltair is definitely an interesting chapter in our history. Have you been able to read my other Saltair-related pieces here on the blog? Just click the 'Saltair' category in the sidebar. And stay tuned…more neat Saltair stuff is coming later this week…
Ruth Nichols
Great article. I'm looking for someone that can tell me what the colors were on the Salt Air II roofs and buildings. I would like to do a large scale painting – all of the photos are black and white of course and the postcards that I've seen are of the first Salt Air. Any information would be great.
wonderful, happened upon this by way of about 3 articles…of which i wasn't even interested in but great little bit of info. Good job!
Thanks, Susie. Stop by again some time!
Dan Veith
Thank you for the great article. I am an avid 3D modeler(computer)and I fell in love with Saltair I from an old Photograph on the Shorpy photo-archive site. I am currently attempting to model the pavilion and piers with a realistic background. Your comparison shot really helped me as far as orienting the model. Looks like the trestle was pointed just northwest of Antelope Island. Very enjoyable read. Thanks again.
Thanks, Dan! I'd love to see your model when you're finished.
Thank you! Will do. I'd be honored.
My friend and I are doing a research project on the Saltair and would love it if you could give us some more information on it. We would be very grateful to you. Please email us, and we would be grateful if we could send you some questions or have an over-the-phone interview with you. We would really appreciate it! Thank you!
Do you know anything about the old rollercoaster at the Saltair? Or about the train going to the Saltair? We would love it if you emailed us back. Thanks!
Sally, I do know a thing or two about the Giant Racer and a little about the train. I actually emailed you a few days ago. If you didn't receive it, feel free to try me at bonnevillemariner at gmail.com
ClassicCoasterFan
I just came across your web site and was also wondering if you could share some of the history of the famous Giant Racer coaster? I primarily research old parks and coasters in the Pacific Northwest but recently acquired a great photo of Saltair's GR coaster that I want to post on my web site. I have visited the RC database and other Saltair resource related sites and found the history to be a bit construed. So, I am very interested in any historical info you might have to share. I also need your help in identifying the year of my photo. Thanks so much. ~Lisa
Hey! Great Article, very interesting and full of information. I'm a photography student up at the university and wondering how to get to the old pavilion site so I can take a few pictures for a project. I noticed two roads that lead out towards the lake and was curious if you have directions and instructions. Many Thanks! – Albert
Albert, thanks for stopping by and commenting! Getting out there is fairly straightforward. Take I-80 to the Saltair exit, then follow the frontage road east for about 2 miles. The old pavilion site is located at the end of the spit straight out from the cinder block building. Take note, however, that the building and train car are on private property. You'll need to enter the beach area at the turnoff a few hundred feet east of the cinder block building, and walk to the spit diagonally from there.
Excellent! Many Thanks! 😀
Cordo Lan
I found an animation of Saltair Resort here. Enjoy….
I have some interior pictures of Saltair II during a costume party in the late 1920's if you are interested. Would you like me to email you a copy ?
Bridger
Most definitely! I'll shoot you an email and you can respond.
My grandfather was in charge of running the giant roller coaster and both my parents worked at Saltair
Big See
I recently watched a home movie from about 1940 that I found on the Internet Archive. It featured a family of 3 doing the "Circle Tour" of southern Utah/Arizona (Zion/Bryce/Grand Canyon). About 3/4 of the way through (the 27:00 minute mark), they are shown bathing at a resort in Salt Lake City called "Saltair", complete with images of a train with that logo as well as a ride to/from the bathing area on a small rail car. I wanted to learn more about this place and I found your website. Not sure if you have watched it, but here is the link in case you are interested. I found it fascinating, especially since the film quality is excellent (full color) for a home movie of that era:
https://archive.org/details/0685_HM_Medicus_Collection_West_1940_09_01_00_00
Trace Bakelar
I live in the Salt Lake area and about 40 years ago I was nosing around the old pylons from the original Saltair and found a china coffee cup. it is white with blue decorations. I have tried to find out if it was from the restaurant. Do you have any pictures or information about the china or coffee cups that were used at Saltair?
Steven O. Steele
The cup you have is from the Old Ship cafe which was located next to the Hippodrome on the south side of the SALTAIR pavilion. I have some china I dug up in 1967. This was from the 1st SALTAIR that burned down in 1925 but was rebuilt for the 1926 season.
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After nearly seven years, L/L Research would like to announce a new Archetypes Workshop!
Friday, April 11. 6:00 PM eastern.
Sephira, a career philosopher and mystic, has taken the last four years away from the academy to study The Ra Material for the purpose of teaching the Law of One. In addition to his primary role developing the upcoming encyclopedic glossary of terms from the Ra Material, his work has revolved around the archetypes as presented in Book IV. Having focused upon filling the gaps left by the unexpected end of the Ra contact, Sephira has developed a system of study which he is now prepared to share with the broader community of seekers in the hope that he can assist in rendering the abstruse into the common, the muddy into the clear.
The event will begin Friday evening with a home-cooked dinner, followed by a "Round Robin" wherein we go around the circle and share a bit about ourselves. Weather permitting, we will be able to do this around a bonfire near the pond.
The study portion of the weekend begins Saturday morning, with a series of discussions and lectures designed to assess the participants' level of study and to put us all upon the same page. Later on Saturday, the primary method of the workshop will commence: guided meditations into the hearts of the energies of collectively chosen archetypes, followed by small-group and large-group discussions. This activity will continue on Sunday morning, when greater participation will be gradually encouraged.
Finally, the event will close midday on Sunday with a presentation on tools for further study and a Q & A session.
A recent reading of Book IV is strongly encouraged, though it is not an absolute necessity, as the purpose of the workshop is to move beyond Ra's difficult terminology into the pure energies of the archetypes themselves and their manifestations in everyday life.
Each participant will also be given an early draft of Sephira's upcoming book on the archetypes to take home.
L/L's good friend, Fox H., has graciously offered her homestead as the venue for the Archetypes Workshop. Fox and her husband Steve built a beautiful cedar-clad home on a 70 acre piece of property in the rolling hills of rural Kentucky near the small town of Perryville. Their humble abode streams lots of sunlight throughout and feels about as comfortable and at-home as one can get on this planet.
There will be a tuition charge of $180, and a meal charge of $30, totaling $210.
The meal charge includes two home-cooked dinners, two breakfasts, one lunch, and multiple snacks.
There are a number of great hotels in Danville, Kentucky, about a 15 minutes drive from the Archetypes Workshop.
· Send an email to Gary or Austin using the "contact" address on this page: http://llresearch.org/contact.aspx.
As of the posting of this announcement, we have ten seats remaining.
If you would like to discuss the upcoming event with other seekers and perhaps look into the possibility of carpooling and/or room sharing, please visit the thread for the Archetypes Workshop in the "Meet-Up Area" forum here.


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WTVF - Nashville Scripps
Nashville explosion survivor: 'I feel very lucky on this Christmas to be here'
Buck McCoy lived across from where Friday's explosion in downtown Nashville took place. He says he wasn't sure he would "make it through."
The official account promoting the vaccine tweeted the latest development on Wednesday, moving it a step closer for approval as countries across the world plan massive vaccine rollouts to stem the pandemic. The Sputnik V vaccine has been approved in Argentina, Belarus, Serbia and several other countries. The Sputnik V and European Medical Agency (EMA) teams held a scientific review of the vaccine on Tuesday, the Sputnik V account said, adding the EMA will take a decision on the authorization of the vaccine based on the reviews.

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Is Superman an iPhone person, or more of an Android person, you think?
This entry was posted on Friday, October 23rd, 2015 at 12:00 am and is filed under Comics. You can follow any responses to this entry through the RSS 2.0 feed. Both comments and pings are currently closed.
Feels like Clark Kent would be an iPhone person for it's simplicity, but Lois Lane probably prefers Android for it's customization.


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text:
Q: How to fix this issue I'm a very new user to Ubuntu. Recently I was trying to upload my PHP project on my Ubuntu server, but every time I try to complete it shows error messages.

A: You do not have write permission to the /var/ folder. With Linux, you should install your software as "sudo".
If installation is a GUI app, the software should be execute with pkexec.
Example
pkexec installMyPHP

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text:
Home » Drama Over DOT Head's Departure; Stipulated Agreement Dictates Terms
Drama Over DOT Head's Departure; Stipulated Agreement Dictates Terms
Over the last 24 hours, there's been a lot of drama as details start getting released over the departure of the Connecticut DOT Commissioner last week. Did he really resign? Was he pushed out?
Late yesterday, Governor Rell released a new statement that suggested that she sought the resignation after allegations of inappropriate behavior were raised. Several news outlets are reporting that the allegations were of harassment. In short, it appears that he resigned when faced with a possible dismissal. (I should note that there have no formal charges of harassment against the employee, merely unspecified allegations at this point.)
Although the news outlets are trying to make much of this, from a legal perspective, these types of "resignations in lieu of dismissal" happen with some frequency by companies. They are done so, for example, in cases were employers suspect something fishy is going on but can't prove it to a certain degree.
In many cases, it is in both parties interests to use these types of "resignations". From an employee perspective, it allows them to "save face" and tell future employers that they resigned and were not fired. For employers — although they will still have to pay unemployment compensation in many cases — having an employee leave "voluntarily" reduces the risk of a lawsuit arising from a dismissal.
In this case, it appears that the desire to avoid future litigation played some role in the negotiated departure. The CT Mirror has posted a copy of a signed "Stipulated Agreement" between the state and the DOT official which you can download here. It suggests that any claims that the employee may have against the state are "extinguishe[d]" by the agreement.
Again, reviewing that agreement from a legal perspective, the most unusual part of is the non-disparagement provision.
Typically, the parties merely agree not to disparage one another. In this case, if the DOT employee is critical of the state, "such resignation in good standing shall be changed to a dismissal indicating that the services of [the employee] no longer pleased the Governor due to inappropriate behavior by [the employee]."
Resignations in lieu of dismissals, however, are tricky. Some might interpret it as a coverup when it may be done for other reasons. Regardless, human resources personnel should consider consulting with counsel to ensure that the departures don't create additional issues down the road.
Tags: department of transportation, dismissal, DOT, firing, in lieu of, marie, non-disparagement, resignation, stipulated agreement, termination


text:
Q: How to retain default Zend route I am trying to setup meaningful URLs such as http://www.site.com/company/department however it hammers my existing URLs which are in the Controller/Action shape.
In my bootstrap, I create my new route as follows:
$frontController = Zend_Controller_Front::getInstance();
$router = $frontController->getRouter();
$route = new Zend_Controller_Router_Route(":company/:dpt", array('controller'   => 'browse'));
$router->addRoute("browse", $route);

When I browse to http://www.site.com/ABC_Co/dry_goods it routes me to IndexAction in BrowseController.  Great!  The problem is that my other admin-related URLS - such as /company/create, etc - are directing there too.
Is there some way to get Zend to do its default Controller/Action matching first, and revert to the Browse route only on failure?
Thanks!

A: Routes are handled on LIFO, you'll need to do something like this:
$router->removeDefaultRoutes();
//add your routes
//add in the default route:
$route = new Zend_Controller_Router_Route(":module/:controller/:action"

Instead, you may just want to sonsider adding a "static" component to your "browse" route. That would make is more specific:
$route = new Zend_Controller_Router_Route("browse/:company/:dpt", array('controller'   => 'browse'));

IMO, the second one is the better option


The President of the Family Division handed down the following Practice Direction on 18 March 2005 which is to be read in conjunction with the Practice Note.
This Practice Direction is reported at  2 FLR 120.
This direction applies to any application in the Family Division, including those founded on Convention rights, for an order restricting publication of information about children or incapacitated adults.
Orders can only be made in the High Court and are normally dealt with by a Judge of the Family Division. If the need for an order arises in existing proceedings in the county court, judges should either transfer the application to the High Court or consult their Family Division Liaison Judge. Where the matter is urgent, it can be heard by the Urgent Applications Judge of the Family Division (out of hours contact number 020 7947 6000).
Section 12(2) of the Human Rights Act 1998 means that an injunction restricting the exercise of the right to freedom of expression shall not be granted where the person against whom the application is made is neither present nor represented unless the court is satisfied (a) that the applicant has taken all practicable steps to notify the respondent, or (b) that there are compelling reasons why the respondent should not be notified.
Service of applications for reporting restriction orders on the national media can now be effected via the Press Association's CopyDirect service, to which national newspapers and broadcasters subscribe as a means of receiving notice of such applications.
The court will bear in mind that legal advisers to the media (i) are used to participating in hearings at very short notice where necessary; and (ii) are able to differentiate between information provided for legal purposes and information for editorial use. Service of applications via the CopyDirect service should henceforth be the norm.
The Practice Note (Official Solicitor: Deputy Director of Legal Services: CAFCASS: Applications For Reporting Restriction Orders) 18 March 2005 and issued jointly by the Official Solicitor and the Director of Legal Services, CAFCASS ( 2 FLR 111) provides valuable guidance and should be followed.


text:
Q: How to create backup of ms access in folder? I want to create backup of ms access database with .bk extension with c# code And the backup should automatically save in Day Wise folder like If I click on backup today, then it should automatically create back in Wednesday Folder. How to do this?

A: Backup of MS Access database is a file copy.
Starting from a baseDirectory, with Path.Combine you can build a fullDirectory name containing the baseDirectory and the day. After that you can copy the file (File.Copy) to that directory (eventually using Path.Combine to build a fullPath of the file).
Don't forget to Dispose the connection before copying the file and be sure the no one is using the file when you make the copy.
EDIT
using System;
using System.IO;

public class Program
{
    public static void Main()
    {

        string baseDirectory = "C:\\Insert\\Your\\Base\\Directory";
        string mdbSourceFilePath = "C:\\Directory\\Of\\mdb\\MyAccessDb.accdb";
        string mdbTargetFileName = "MyAccessDb.bk";

        string fullDirectory = Path.Combine(baseDirectory, DateTime.Today.ToString("dddd"));
        if (!Directory.Exists(baseDirectory))
            Directory.CreateDirectory(baseDirectory);
        if (!Directory.Exists(fullDirectory))
            Directory.CreateDirectory(fullDirectory);

        string mdbTargetFilePath = Path.Combine(fullDirectory, mdbTargetFileName);

        File.Copy(mdbSourceFilePath, mdbTargetFilePath);

    }

}


An opportunity to roam through some wonderful scenery and enjoy some panoramic views from the mountain tops.
which can be exchanged en route for Real Ale or other liquid refreshment.
Waymarked route from 12 to 20 miles.
There will also be shorter guided routes for the less hardy walkers.
The walks commence from between 08.00 and 09.30 am from the Town Square.
Contact telephone: 01591 610666 Call to check latest times or cancellations.


text:
F > FRANKLIN > PC 5000, 6000, 8000
PC 5000, 6000, 8000
Before Apple forced Franklin out of the desktop computer market entirely, the company released three PC compatible systems, the PC-5000 (picture), PC-6000 and PC-8000.
Both were quite similar, based on the Intel 8088. Depending on the versions, they had 512 to 640 KB of RAM, one or two 360 KB floppy drives, standard serial and parallel ports, but also built-in game port, composite video and audio outputs.
With the loss of its desktop computer business, Franklin concentrated on its handheld line, which was introduced in 1986. In the years since, Franklin has sold handheld computers that acted as personal organizers, word processors and dictionaries.
NAME PC 5000, 6000, 8000
MANUFACTURER Franklin
END OF PRODUCTION 1988
KEYBOARD PC style with numeric keypad and 10 function keys
RAM 512 KB to 640 KB
TEXT MODES 40 or 80 columns x 25 lines
GRAPHIC MODES 640 x 200 dots - CGA mode
COLORS 16
SOUND 1 channel speaker
I/O PORTS Serial, Parallel, composite video, sound
BUILT IN MEDIA 1 or 2 5.25'' 360 KB floppy drives
OS MS-DOS 3.1
PERIPHERALS All IBM and compatible expansion cards
PRICE $949.99 - PC-8000 with dual FDD and video card
see more Franklin PC 5000, 6000, 8000 Ebay auctions !


text:
Main Street America Programs
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Locally Powered. Nationally Recognized.
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Lindsey Wallace
Director of Strategic Projects and Design Services
lwallace@savingplaces.org
Lindsey has fifteen years' experience in historic preservation, community engagement, and project management. As Director of Strategic Projects and Design Services, Lindsey leads a variety of projects and partnerships, including the NPS Main Street Façade Improvement Grant Program, NPS Community Disaster Preparedness and Resilience Program, and the Historic Commercial District Revolving Loan Fund Program. She teaches the Advanced Principles of Quality Design course through the Main Street America Institute, and, as part of the field staff team, she focuses on design-related and placemaking initiatives and content. Prior to joining NMSC in 2014, she previously worked at the National Trust for Historic Preservation in Washington, DC, and in Chicago. She received her M.A. in Historic Preservation Planning from Cornell University and her B.A. in History from the Ohio State University. She currently serves on the board of the National Preservation Partners Network, on the ULI Chicago Resilience Initiative Task Force, and as the Co-Chair of the Preservation Priorities Task Force Climate Change Working Group.
EMAIL LINDSEY
mainstreet@savingplaces.org
The National Main Street Center, Inc.
53 West Jackson Blvd., Suite 350
Main Street America has been helping revitalize older and historic commercial districts for more than 40 years. Today it is a network of more than 1,200 neighborhoods and communities, rural and urban, who share both a commitment to place and to building stronger communities through preservation-based economic development. Main Street America is a program of the nonprofit National Main Street Center, Inc., a subsidiary of the National Trust for Historic Preservation.
Privacy Policy | Terms of Use | © 2022 The National Main Street Center. All Rights Reserved.


text:
Special Report: Super Bowl
See Dove Men's Super Bowl Ad Celebrating Dads
Unilever Brand Kicks Off 'Real Strength Campaign'
By Jeanine Poggi. Published on January 20, 2015.
Advertising Age Player
Unilever's Dove Men + Care released an extended 60-second version of its upcoming Super Bowl commercial, "Real Strength," on Monday, putting dads in the spotlight. A shorter, 30-second spot will air during the big game. The ad was created by The Marketing Arm.
The "Real Strength" commercial is similar to a recent Dove Men + Care Father's Day film, featuring a new voiceover with Mike Greenberg of ESPN's "Mike & Mike" show.
The brand, which is returning to the Super Bowl for the first time since its U.S. introduction in 2010, is using the ad to kick off a "Real Strength" campaign with the tagline, "Care makes a man stronger." Other elements include a study about masculinity and a hashtag, #realstrength, to curate photos depicting the caring side of men.
Dove's messaging continues to challenge traditional stereotypes, and with the Super Bowl commercial celebrates men who embrace their caring side.
"We know that men today are embracing their caring roles more than ever, and that these experiences are fulfilling and strengthening them," Jennifer Bremner, director of marketing, Unilever, said in a statement. "This inspired us to share a film that shows what strength truly looks like today. Especially at a time when fans are overwhelmingly hearing about physical feats on the football field, we wanted men (and women) to hear at least one voice saying, 'Care Makes a Man Stronger.'"
Jeanine Poggi
Jeanine Poggi covers the TV industry and how broadcast and cable networks and distributors are adopting to the changes in the world of TV advertising. She joined Ad Age in 2012, following six years covering the retail and media industries and other financial sectors for Women's Wear Daily, Forbes and TheStreet.
Doritos Super Bowl teaser stars Jimmy Kimmel and Mindy Kaling
See Ashton Kutcher's Cheetos Super Bowl teaser
Super Bowl Alert: Newbies find Big Game opportunities in the pandemic
Scotts Miracle-Gro, in first Super Bowl commercial, encourages people to 'keep growing'
Vroom reveals Super Bowl commercial showing pains of car buying
Cheetos and Doritos are set to return with Super Bowl commercials
Freelance platform Fiverr to air first Super Bowl commercial


text:
Home > Panther
The Russian Federation MoD today issued a set of images of soldiers on patrol in Syria in the north-eastern province of Al-Hasakah....
PANTHER Protected Command Vehicle
The PANTHER CLV, covered in my previous article, had hardly entered service before part of the fleet was modified as the PANTHER...
PANTHER Command and Liaison Vehicle In Service
In my previous article on the PANTHER Command and Liaison Vehicle we looked at the prototype in 2003 but the 2008 in-service...
PANTHER Command and Liaison Vehicle
The UK Forces vehicle now known as the PANTHER Command and Liaison Vehicle was born out of a late 1980s study on...
UK Future Command and Liaison Vehicle
On the cusp of the 21st Century the UK Ministry of Defence announced a future requirement for a lightly armoured wheeled Command...


We get their thinking. We get their ambition. We even get their wanting to capitalize on the unique "skills" of their brother. But do we really get Jesus' response? "Now is not the right time for me to go, but you can go anytime." (John 7:6 NLT) It is not the first time in John's Gospel that Jesus questions the timing of the demands and requests of others on His ministry (check out His mother at the wedding at Cana). And we could argue the idea of Messianic fulfillment and the self-awareness of Jesus in all that. But in this passage, could it be much simpler than that? Check it out! The brothers head up to the feast. Jesus says, "No, you go!" But when they are out of sight, he sneaks up there. Why did He wait?
Whenever we use Jesus for our purposes our timing will be off. Jesus played by a whole different set of rules. The rules of engagement were not fame and success, power and position, the spectacular and the fantastic! He engaged the world on His terms in His time for His purposes. Could it be that the timing was bad because the focus was misplaced? Could it be true of me as well?
Lord, I'm not free – but who wants to be?
You're all that matters in my life.
I don't want to be free of my hunger for your bread.
I don't want to be free of my thirst for your word.
I don't want to be free of my desire to do your will.
I don't want to be free of my longing for your presence.
I don't want to be free of my need to be taken up, taken over, joined to you.
Lord, may I never be free from wanting you.


text:
Lavras – miasto i gmina w Brazylii, w stanie Minas Gerais. Znajduje się w mezoregionie Campo das Vertentes i mikroregionie Lavras.

Przypisy

Miasta w stanie Minas Gerais

redpajama_set_name: RedPajamaWikipedia


GREAT OPPORTUNITY TO LEASE A NICE INSIDE GROUP TOWNHOME AT A APARTMENT PRICE!! FRESHLY PAINTED THROUGH OUT WITH ALL NEW WALL TO WALL CARPET.....,, PRIVATE BACK YARD WITH GRASS AND CONCRETE PATIO AREA...GALLEY KITCHEN WITH SEPARATE DINNING ROOM FOR GREAT ENTERTAINING.. PARTIALLY FINISHED BASEMENT WITH OUTSIDE REAR ENTRANCE!! HOME IS READY FOR MOVE IN NOVEMBER 1, 2017..
I am interested in 748 Arncliffe Road, Essex, MD 21221.


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text:
package pt.trycatch.javax.sound.midi;

import java.io.File;
import java.io.IOException;
import java.io.InputStream;
import java.util.ArrayList;
import java.util.Collections;
import java.util.HashMap;
import java.util.HashSet;
import java.util.Iterator;
import java.util.List;
import java.util.Map;
import java.util.Set;

import android.content.Context;
import android.hardware.usb.UsbConstants;
import android.hardware.usb.UsbDevice;
import android.hardware.usb.UsbDeviceConnection;
import android.hardware.usb.UsbEndpoint;
import android.hardware.usb.UsbInterface;
import android.hardware.usb.UsbManager;
import android.util.Log;

/**
 * MidiSystem porting for Android USB MIDI.

 * Implemented Receiver and Transmitter only.
 *
 * @author K.Shoji
 */
public final class MidiSystem {
	static List<DeviceFilter> deviceFilters = null;
	static Set<UsbMidiDevice> midiDevices = null;
	static Map<UsbDevice, UsbDeviceConnection> deviceConnections;
	static OnMidiDeviceAttachedListener deviceAttachedListener = null;
	static OnMidiDeviceDetachedListener deviceDetachedListener = null;
	static MidiDeviceConnectionWatcher deviceConnectionWatcher = null;
	static OnMidiSystemEventListener systemEventListener = null;

	/**
	 * Find {@link Set<UsbMidiDevice>} from {@link UsbDevice}

	 * method for jp.kshoji.javax.sound.midi package.
	 *
	 * @param usbDevice
	 * @param usbDeviceConnection
	 * @return {@link Set<UsbMidiDevice>}, always not null
	 */
	static Set<UsbMidiDevice> findAllUsbMidiDevices(UsbDevice usbDevice, UsbDeviceConnection usbDeviceConnection) {
		Set<UsbMidiDevice> result = new HashSet<UsbMidiDevice>();

		Set<UsbInterface> interfaces = UsbMidiDeviceUtils.findAllMidiInterfaces(usbDevice, deviceFilters);
		for (UsbInterface usbInterface : interfaces) {
			UsbEndpoint inputEndpoint = UsbMidiDeviceUtils.findMidiEndpoint(usbDevice, usbInterface, UsbConstants.USB_DIR_IN, deviceFilters);
			UsbEndpoint outputEndpoint = UsbMidiDeviceUtils.findMidiEndpoint(usbDevice, usbInterface, UsbConstants.USB_DIR_OUT, deviceFilters);

			result.add(new UsbMidiDevice(usbDevice, usbDeviceConnection, usbInterface, inputEndpoint, outputEndpoint));
		}

		return Collections.unmodifiableSet(result);
	}

	/**
	 * Implementation for multiple device connections.
	 *
	 * @author K.Shoji
	 */
	static final class OnMidiDeviceAttachedListenerImpl implements OnMidiDeviceAttachedListener {
		private final UsbManager usbManager;

		/**
		 * constructor
		 *
		 * @param usbManager
		 */
		public OnMidiDeviceAttachedListenerImpl(UsbManager usbManager) {
			this.usbManager = usbManager;
		}

		/*
		 * (non-Javadoc)
		 * @see jp.kshoji.driver.midi.listener.OnMidiDeviceAttachedListener#onDeviceAttached(android.hardware.usb.UsbDevice)
		 */
		@Override
		public synchronized void onDeviceAttached(UsbDevice attachedDevice) {
			deviceConnectionWatcher.notifyDeviceGranted();

			UsbDeviceConnection deviceConnection = usbManager.openDevice(attachedDevice);
			if (deviceConnection == null) {
				return;
			}

			synchronized (deviceConnection) {
				deviceConnections.put(attachedDevice, deviceConnection);
			}

			synchronized (midiDevices) {
				midiDevices.addAll(findAllUsbMidiDevices(attachedDevice, deviceConnection));
			}

			Log.d(Constants.TAG, "Device " + attachedDevice.getDeviceName() + " has been attached.");

			if (systemEventListener != null) {
				systemEventListener.onMidiSystemChanged();
			}
		}
	}

	/**
	 * Implementation for multiple device connections.
	 *
	 * @author K.Shoji
	 */
	static final class OnMidiDeviceDetachedListenerImpl implements OnMidiDeviceDetachedListener {
		/*
		 * (non-Javadoc)
		 * @see jp.kshoji.driver.midi.listener.OnMidiDeviceDetachedListener#onDeviceDetached(android.hardware.usb.UsbDevice)
		 */
		@Override
		public void onDeviceDetached(UsbDevice detachedDevice) {
			UsbDeviceConnection usbDeviceConnection;
			synchronized (deviceConnections) {
				usbDeviceConnection = deviceConnections.get(detachedDevice);
			}

			if (usbDeviceConnection == null) {
				return;
			}

			Set<UsbMidiDevice> detachedMidiDevices = findAllUsbMidiDevices(detachedDevice, usbDeviceConnection);
			for (UsbMidiDevice usbMidiDevice : detachedMidiDevices) {
				usbMidiDevice.close();
			}

			synchronized (midiDevices) {
				midiDevices.removeAll(detachedMidiDevices);
			}

			Log.d(Constants.TAG, "Device " + detachedDevice.getDeviceName() + " has been detached.");

			if (systemEventListener != null) {
				systemEventListener.onMidiSystemChanged();
			}
		}
	}

	/**
	 * Listener for MidiSystem event listener
	 *
	 * @author K.Shoji
	 */
	public interface OnMidiSystemEventListener {
		/**
		 * MidiSystem has been changed.
		 * (new device is connected, or disconnected.)
		 */
		void onMidiSystemChanged();
	}

	/**
	 * Set the listener of Device connection/disconnection
	 * @param listener
	 */
	public static void setOnMidiSystemEventListener(OnMidiSystemEventListener listener) {
		systemEventListener = listener;
	}

	/**
	 * Initializes MidiSystem
	 *
	 * @param context
	 * @throws NullPointerException
	 */
	public static void initialize(Context context) throws NullPointerException {
		if (context == null) {
			throw new NullPointerException("context is null");
		}

		UsbManager usbManager = (UsbManager) context.getSystemService(Context.USB_SERVICE);
		if (usbManager == null) {
			throw new NullPointerException("UsbManager is null");
		}

		deviceFilters = DeviceFilter.getDeviceFilters(context);
		midiDevices = new HashSet<UsbMidiDevice>();
		deviceConnections = new HashMap<UsbDevice, UsbDeviceConnection>();
		deviceAttachedListener = new OnMidiDeviceAttachedListenerImpl(usbManager);
		deviceDetachedListener = new OnMidiDeviceDetachedListenerImpl();
		deviceConnectionWatcher = new MidiDeviceConnectionWatcher(context, usbManager, deviceAttachedListener, deviceDetachedListener);
	}

	/**
	 * Terminates MidiSystem
	 */
	public static void terminate() {
		if (midiDevices != null) {
			synchronized (midiDevices) {
				for (UsbMidiDevice midiDevice : midiDevices) {
					midiDevice.close();
				}
				midiDevices.clear();
			}
		}
		midiDevices = null;

		if (deviceConnections != null) {
			synchronized (deviceConnections) {
				deviceConnections.clear();
			}
		}
		deviceConnections = null;

		if (deviceConnectionWatcher != null) {
			deviceConnectionWatcher.stop();
		}
		deviceConnectionWatcher = null;
	}

	private MidiSystem() {
	}

	/**
	 * get all connected {@link MidiDevice.Info} as array
	 *
	 * @return device informations
	 */
	public static MidiDevice.Info[] getMidiDeviceInfo() {
		List<MidiDevice.Info> result = new ArrayList<MidiDevice.Info>();
		if (midiDevices != null) {
			for (MidiDevice midiDevice : midiDevices) {
				result.add(midiDevice.getDeviceInfo());
			}
		}
		return result.toArray(new MidiDevice.Info[0]);
	}

	/**
	 * get {@link MidiDevice} by device information
	 *
	 * @param info
	 * @return {@link MidiDevice}
	 * @throws MidiUnavailableException
	 */
	public static MidiDevice getMidiDevice(MidiDevice.Info info) throws MidiUnavailableException {
		if (midiDevices != null) {
			for (MidiDevice midiDevice : midiDevices) {
				if (info.equals(midiDevice.getDeviceInfo())) {
					return midiDevice;
				}
			}
		}

		throw new IllegalArgumentException("Requested device not installed: " + info);
	}

	/**
	 * get the first detected Receiver
	 *
	 * @return {@link Receiver}
	 * @throws MidiUnavailableException
	 */
	public static Receiver getReceiver() throws MidiUnavailableException {
		if (midiDevices != null) {
			for (MidiDevice midiDevice : midiDevices) {
				Receiver receiver = midiDevice.getReceiver();
				if (receiver != null) {
					return receiver;
				}
			}
		}
		return null;
	}

	/**
	 * get the first detected Transmitter
	 *
	 * @return {@link Transmitter}
	 * @throws MidiUnavailableException
	 */
	public static Transmitter getTransmitter() throws MidiUnavailableException {
		if (midiDevices != null) {
			for (MidiDevice midiDevice : midiDevices) {
				Transmitter transmitter = midiDevice.getTransmitter();
				if (transmitter != null) {
					return transmitter;
				}
			}
		}
		return null;
	}

	public static int[] getMidiFileTypes(Sequence sequence) {

		Set allTypes = new HashSet();

		// gather from all the providers

		MidiFileWriter writer = new StandardMidiFileWriter();
		int[] types = writer.getMidiFileTypes(sequence);
		for (int j = 0; j < types.length; j++ ) {
			allTypes.add(new Integer(types[j]));
		}

		int resultTypes[] = new int[allTypes.size()];
		int index = 0;
		Iterator iterator = allTypes.iterator();
		while (iterator.hasNext()) {
			Integer integer = (Integer) iterator.next();
			resultTypes[index++] = integer.intValue();
		}
		return resultTypes;
	}

	public static int write(Sequence in, int type, File out) throws IOException {

		int bytesWritten = -2;

		MidiFileWriter writer = new StandardMidiFileWriter();
		if( writer.isFileTypeSupported( type, in ) ) {

			bytesWritten = writer.write(in, type, out);
		}

		if (bytesWritten == -2) {
			throw new IllegalArgumentException("MIDI file type is not supported");
		}
		return bytesWritten;
	}

	public static Sequence getSequence(InputStream stream)
			throws InvalidMidiDataException, IOException {

		Sequence sequence = null;

			MidiFileReader reader = new StandardMidiFileReader();
			try {
				sequence = reader.getSequence( stream ); // throws IOException
			} catch (InvalidMidiDataException e) {
				e.printStackTrace();
			}

		if( sequence==null ) {
			throw new InvalidMidiDataException("could not get sequence from input stream");
		} else {
			return sequence;
		}
	}

	public static Sequencer getSequencer(boolean connected)
			throws MidiUnavailableException {
		Sequencer seq = new RealTimeSequencer();

		if (connected) {
			// IMPORTANT: this code needs to be synch'ed with
			//            all AutoConnectSequencer instances,
			//            (e.g. RealTimeSequencer) because the
			//            same algorithm for synth retrieval
			//            needs to be used!

			Receiver rec = null;
			MidiUnavailableException mue = null;

			// first try to connect to the default synthesizer
			// CHANGED DANGER
//			try {
//				Synthesizer synth = getSynthesizer();
//				if (synth instanceof ReferenceCountingDevice) {
//					rec = ((ReferenceCountingDevice) synth).getReceiverReferenceCounting();
//					// only use MixerSynth if it could successfully load a soundbank
//					if (synth.getClass().toString().contains("com.sun.media.sound.MixerSynth")
//							&& (synth.getDefaultSoundbank() == null)) {
//						// don't use this receiver if no soundbank available
//						rec = null;
//						synth.close();
//					}
//				} else {
//					synth.open();
//					try {
//						rec = synth.getReceiver();
//					} finally {
//						// make sure that the synth is properly closed
//						if (rec == null) {
//							synth.close();
//						}
//					}
//				}
//			} catch (MidiUnavailableException e) {
//				// something went wrong with synth
//				if (e instanceof MidiUnavailableException) {
//					mue = e;
//				}
//			}
			if (rec == null) {
				// then try to connect to the default Receiver
				try {
					rec = MidiSystem.getReceiver();
				} catch (Exception e) {
					// something went wrong. Nothing to do then!
					if (e instanceof MidiUnavailableException) {
						mue = (MidiUnavailableException) e;
					}
				}
			}
			if (rec != null) {
				seq.getTransmitter().setReceiver(rec);
				if (seq instanceof AutoConnectSequencer) {
					((AutoConnectSequencer) seq).setAutoConnect(rec);
				}
			} else {
				if (mue != null) {
					throw mue;
				}
				throw new MidiUnavailableException("no receiver available");
			}
		}
		return seq;
	}

}

redpajama_set_name: RedPajamaGithub


text:
The book __Programming in Haskell__ by [Graham Hutton](http://www.cs.nott.ac.uk/~pszgmh/) has a second edition,
released in 2016-09-01 and is available in Kindle format for about 28 Euro.

The book has been revised, has support for the latest version of GHCi and explains the Foldable and Traversable type (classes).

Its a must read for anyone who is serious about learning Haskell and/or Scala + Scalaz. I would advice first reading this book and learning Haskell
and then learning about Scala + Scalaz. I have done it the other way around...


text:
England's Elite XV gave Touch a go!
Nottingham's Chris Simon and Cambridge's Ben Creese were lucky enough to experience the mighty Twickenham in August, when they rallied to the call for some last minute refereeing and coaching help at the Maximuscle Touch Comp at the RFU's headquarters.
The lads took charge of a 8-team comp on the hallowed turf and ended up refereeing seven games each and 'dualling' the final.
As the day progressed, the amateur clubs who won the chance to compete at Twickenham, were joined by some of the senior England squad who were to act as 'Player-Coaches' for the day. Some fared better than others as Creese and Simon applied a fairly strict policy on playing to the official touch rules.
As expected , stepping over the mark, the offside rule and touch and pass, proved somewhat challenging for several of England's main men. At one point, Christian Wade was seen to chip ahead on the 5th touch!
That said, they joined in with the spirit of the game and they all avoided being disciplined, even Dylan Hartley!
The final was ' fought out' between Newcastle University and a London Cornish representative team. Newcastle's slightly better grasp of the touch rules came out on top as they edged the final 6-4.
For your chance to represent England at Touch, find all the info here: Open Trials


In 2013, the south and east of Germany have been affected by another major flood event. The German Committee for Disaster Reduction (DKKV) interprets this as a "test for the flood risk management in Germany" and gives a good overview by its report. The report is not available in English, yet.
The report is available on the DKKV website.


In the media materials released when Soolantra was announced, Galderma told us that Soolantra is based on their Cetaphil Moisturizing Cream.
Soolantra (ivermectin) Cream, 1% is a new, antibiotic-free, prescription topical treatment for the bumps and pimples of rosacea.
Soolantra Cream may provide visible results as early as week two.
Cetaphil Moisturizing Cream is the basis for Soolantra Cream and its fragrance-free mild, non-irritating formula avoids common rosacea irritants.
This seems to be a nice tie in with the Cetaphil range of products and shows how Galderma is pursuing their goal of owning the market for rosacea treatments.
If you have been able to tolerate Cetaphil Moisturizing Cream then you might also be able to use Soolantra.
Do you like Cetaphil Moisturizing Cream ? Have you tried it ? See Cetaphil Moisturizing Cream User Reviews for more information.
Since this post was created, Soolantra has been released and in the several years since has garnered quite a good body of positive reviews. Have a read of the Soolantra User Reviews for many comments from users.
soolantra ,is on sale yet?
It will be on sale in the new year, it has only just just been approved so expect a couple of months before it is generally and easily available.
I asked my derm to prescribe it for me. I had to wait two weeks for insurance approval. I' use it every few days. It does irritate my skin so I can only leave it on an hour or so. Soolantra seems to be working although I still have a spot or two…smaller.
Proacea , sulfur works well. Ttree oil w/laventor is effective. My skin is much better using soolantra, Procea, T-tree oil w/lanvender.
Sun or spicy foods do not bother me.
I have just started using Soolantra every evening and have noticed an improvement in a week. I was wondering now what moisturiser to apply during the day?
I've been using Soolantra for 3 weeks now after my shower and noticed an improvement within 10 days. The blotchy angry redness has greatly reduced and the small red spots have gone. I tried Mirvaso to no effect – in fact it aggravated my condition!
I don't think the rosacea will ever completely go but this creme, used sparingly (it's over $60 a tube) works for me so far.
PS: Anne, Cetaphil moisturiser works well for me – very mild but effective and non greasy.
I wonder if I have acne rather than rosacea (or both?) and therefore the cream is exacerbating this. I've tried the Cetaphil moisturisers and they seem to zit me up too. Any non-comedogenic, gel-based moisturisers you recommend?
I know you cannot diagnose my condition, but I live in an Asian country in which the derms are by-the-(local)book, are mostly blind to the patient's mental state or questions (they are the DOCTORS, not you!), and have usually never even heard of the condition.
Therefore, what do you think?
I'm 45, Caucasian, have a history of acne (rosacea?) since my teens (two courses of roaccutane then, and kids nicking naming me 'Rudolph' for my red nose.) Dalacin T solution (clindamycin) kept things in check throughout my 20s, then BAM, whiteheads and pimples galore around the central area of face when I hit my 30s. Tried BluLite to some success, but things are getting worse again.
I only have spots on my nose and occasionally surrounding area and on chin (at the corners of my mouth). My nose and surrounding skin is definitely red, but not terrible (yet). I never get blackheads (and never have since my teens), just small, pin-head sized yellow pimples that can come up from nothing within a matter of hours, or red bumps that usually pimple up after a day or two.


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Visit Maria's greatest Tiny Kitty collection.


text:
Posted on November 13, 2017 November 13, 2017 by danny_g
Dan Watched Inhumans and Wow But You Shouldn't
Comic book TV is everywhere these days, and it's happening all year. So I'll hand out awards and rankings in June, but in the meantime, we'll be reviewing shows one by one as they wrap up.
This instalment: what happens when the showrunner of Iron Fist doesn't try so hard.
Short version: If you are watching Inhumans, then stop.
Behold, the Inhumans! Created centuries ago by the Kree (this is not specifically explained on the show), the Inhumans live on the far side of the moon, safe from the prying eyes of the humans below. Well, except for all of those Inhumans that lived in the secret village we saw in season two of Agents of SHIELD, who are never mentioned, and all of the new Inhumans that have been springing up in seasons three and four of Agents of SHIELD, who are begrudgingly acknowledged and a couple of whom even make appearances… but no mention of the government agency that worked so closely with them before ending up in space at the end of their last season.
So, like season two of Agent Carter, Inhumans continues the trend of other ABC shows being the only Marvel properties willing to very, very vaguely reference events on Agents of SHIELD. As little as they can get away with. Which… you know, Agents of SHIELD has been Marvel's best TV show since Daredevil stopped trying halfway through season two, so maybe… whatever.
The Inhumans use a process called Terrigenesis to unlock their true selves, which sometimes just grants a power, sometimes causes a physical transformation (good or bad… just ask Eldrac, who got turned into a wall), and sometimes does diddly-squat, in which case welcome to the Moon Mines, you genetic failure.
The Inhumans are ruled over by Black Bolt (short for Blackagar Boltagon… not a joke) and his royal family. Black Bolt's voice has incredible destructive power: speaking at a whisper hits like a cannon ball, and normal volume can obliterate a person. His wife, Queen Medusa (Serinda Swan, who in better days was Zatanna on Smallville, yes I just called Smallville better days, that's where we are with this), has prehensile hair. I don't know how to describe it to make it seem more dignified. Karnak (Ken Leung, of many things, one of which was Lost), one of the top warriors, can see and exploit the flaws in anything, and precisely plan any scenario in seconds. Gorgon… has hooves for feet and can stomp on things like super hard. Crystal is cute but boring. That is… she can, like… control the elements and whatnot, fire and air and… I mean she looks good in jean shorts but she basically adds nothing to this show except being the closest one to Lockjaw, the adorable giant teleporting bulldog.
And Maximus (Game of Thrones' Ramsay Bolton, Iwan Rheon), Black Bolt's brother, has no powers, but a serious lifelong case of throne envy. Which is where we find ourselves in the first episode.
They were really banking on us being on board with the apparent protagonists right from the top, because we open with Maximus staging a coup to seize the throne. The royal family retreats to Hawaii (sure), gets split up, and attempts to regroup so that they can retake their home from Maximus.
Maximus, by the way, won the support of the royal guard through his platform of "Maybe we shouldn't take everyone who didn't get powers in Terrigenesis and force them to work in the Moon Mines, maybe a rigid caste system based on genetic accident isn't cool." Black Bolt, therefore, is pro genetic-caste-system, which is problematic, but they compensate for Black Bolt being on the wrong side of history by ensuring that Maximus is the sleaziest sleeze in Sleazetown, dripping malice and creepiness every time he's on screen.
Okay, let's break this thing down.
The big teleporting bulldog is pretty cute.
He's a good boy who doesn't get the pets he deserves.
And it's short.
Where. To. Start.
Every character is made the least interesting version of themselves possible, whether for budgetary reasons or just utter lack of vision from showrunner Scott Buck, who just a few months ago also failed to deliver an even slightly interesting take on Iron Fist. That he was given a second Marvel show demonstrates flawed leadership at Marvel's TV branch, even if going from Netflix to network is the equivalent of being sent down to the minors. Right, the characters…
Medusa has super-strong prehensile hair, so of course that's taken away from her immediately as Maximus shaves her down to a buzzcut. Sure her CG hair couldn't have been cheap, and it looked bad, but the fact remains that they swiftly took away her most notable feature, and made it really rapey when they did it, and goddamn you guys that wasn't cool. Karnak is a master strategist, so by the end of episode one, he walks off a cliff, I say again the master strategist walks off a cliff, and suffers a head injury that compromises his power. Black Bolt, king of Attilan, is overthrown inside of half an hour. Maximus, in the comics, is an insane genius, brilliant but untrustworthy, and here he's just a power-mad douche incapable of thinking anything through. Eldrac is a person who got turned into a wall that can open portals and they barely even touch on that. Crystal… I don't know much about comics-Crystal but she must have had more going on than looking cute in shorts. She couldn't have less going on than she does here.
Look, every comic book show eventually does "Are they still a hero without their powers," but a) it's always a drag, and b) they don't make it the whole first season. But this is just where our problems start.
Every single aspect of the show is punishingly bland at best. The dialogue is bad, the acting mediocre, the effects cheap, the characters uninteresting, and while Maximus is insufferably terrible it's hard to ignore that fact that he seems to be right about everything. He doesn't want to live under a genetic-lottery caste system and thinks maybe forcing 1400 people to live in cramped hiding on the moon isn't the best call, and he's right on both fronts. It takes 10,000 individuals to maintain genetic diversity. With 1400 people in Attlian it's amazing that the Inhumans aren't as inbred as an Austrian duke by now.
Sure, there's apparently another reason they live in hiding, some larger danger hinted at repeatedly in the finale, hints almost assured to never be paid off, but it's the Kree. They were hiding from the Kree, the aliens who created them, and in season two of Agents of SHIELD made it clear they thought that was a mistake worth erasing, that's the deal, fuck you for making a show this bad and thinking you could lure us in to wanting a second season with such obvious cliffhanger-bait.
Medusa and Black Bolt keep wanting to give Maximus one more chance to turn things around despite him taking every opportunity to not be worth it. It gets old.
And it's not a recent development, either. A flashback to Maximus and Blackagar's youths shows young Blackagar moping about not wanting to be king, while his brother keeps shouting "I do! I'll be king!" And when their father says no, it has to be the elder brother, Maximus literally says "But if he dies, I get to be king, right?" And Father-of-the-Millennium lets it slide. Sure, pal, nothing to worry about there.
The human scientist who teams up with Medusa is trying so hard to channel Arrow's Felicity Smoak that I can only think of her as Faux-licity. Also she might be in love with Medusa. A more interesting show would have run with that.
My only theory is this. Head of Marvel Entertainment, Ike Perlmutter, has been desperate to introduce the Inhumans to the MCU as a replacement for the Fox-owned mutants (even though the Inhumans are terrible replacements for the X-Men, do not work as metaphors for oppressed minorities, and Fox's The Gifted is proving why mutants do it better on a weekly basis). He tried to force Kevin Feige to make an Inhumans movie, only for Feige to break away from the rest of Marvel Entertainment and cancel the movie the second he didn't have to report to Perlmutter anymore. So Ike made it into a TV series. Maybe, maybe Jeph Loeb, head of Marvel TV, knew that the only way they were going to shut Ike up about the damn Inhumans was to make the show, but make it Fant4stic bad so that the concept would lose appeal. And so they hired the Iron Fist guy to write it.
I mean that's the only explanation that makes sense to me. They screened the pilot on IMAX. They read the script, saw the dailies, and then still felt comfortable putting the worst thing Marvel Studios has ever, ever done onto the largest screens possible and charged people money. I don't see how that happens unless they are actively trying to fail.
…Um… "Make Way For… Medusa," maybe? They finally managed to add a character I enjoyed, even if he's one of the bad guys.
"…And Finally: Black Bolt." The season (and gods willing series) finale managed to be just as excruciatingly bland and pointless as the pilot while delivering a thoroughly unsatisfying conclusion (seriously, the final scene was entirely dull) and spending too much time setting up a second season that I cannot imagine anybody actually wants at this point.
Lockheed the giant dog, I guess.
Tips for next season
Fuck you. I shall think of this show as cancelled until ABC's May upfronts confirm it as so, and then I will think of it no more.
Overall Grade: F
Like, it's not even fun bad.
Gonna have to finish series five of Doctor Who just to wash that crap-fest out of my brain.
CategoriesDan on TV TagsAre you even trying?, Comic TV, Dan on TV, Geek rants, Marvel Comics
3 Replies to "Dan Watched Inhumans and Wow But You Shouldn't"
Bizarrely, the head-shaving scene was what got me really interested. Well, that and the Dog, obvs. But after so many needlessly rapey moments in comic-book and other geek media, the choice to use a brutal, mutilating, dehumanizing attack that isn't ACTUAL rape, or even a direct rape analogue was about my favorite thing ever. It was a practically unprecedented show of creativity in violence against female characters. Also, it seemed very much written to actually further HER story, not BB's. Which was nice. I liked the characters (mostly Karnak and Gorgon) well enough to actually derive enjoyment from the series, although obviously I recognize that it's not actually Good. Runaways is much better so far, IMO.
danny_g says:
I'll get to Runaways. It looks better from the trailers, at any rate.
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text:
using namespace ENGINE;
void RotateObject::Update()
{
	GetCurrentGameObject()->transform.rotation.y += 0.01f;
}


Home Miscellaneous What does the word occult mean in relation to the Bible?
What does the word occult mean in relation to the Bible?
The dictionary defines the occult as "hidden, secret and mysterious, particularly pertaining to the supernatural." Occult practices include astrology, witchcraft (Wicca), the black arts, fortune telling, magic, Ouija boards, Tarot cards, spiritism, parapsychology, and Satanism.
"And the soul that turneth after such as have familiar spirits, and after wizards, to go a whoring after them, I will even set my face against that soul, and will cut him off from among his people" (Leviticus 20:6).
"When you come into the land which the LORD your God is giving you, you shall not learn to follow the abominations of those nations. There shall not be found among you anyone who makes his son or his daughter pass through the fire [an ancient occult practice], or one who practices witchcraft, or a soothsayer, or one who interprets omens, or a sorcerer, or one who conjures spells, or a medium, or a spiritist, or one who calls up the dead. For all who do these things are an abomination [detestable] to the LORD" (Deuteronomy 18:9-12).
-Astrology (Jeremiah 10:2; 27:9-10; Daniel 2:1-4; 4:7; 5:7-9).
-Witchcraft and sorcery (Deuteronomy 18:10-12; 2 Kings 21:6; Micah 5:12; Isaiah 47:12; Ezekiel 13:18, 20; Acts 8:11-24; Leviticus 20:27; Exodus 7:11; Revelation 9:21; 22:15).
-Divination, fortune-telling, mediums, necromancy, wizardry, clairvoyance, (Deuteronomy 18:9-14; Isaiah 44:25; Jeremiah 27:9; 2 Kings 21:6; 23:24).
And in the New Testament, believers were also warned that the occult will be one of the signs of the end "The [Holy] Spirit clearly says that in later times some will abandon the faith and follow deceiving spirits and things taught by demons" (1 Timothy 4:1).
Therefore, Christians today are exhorted to "Be sober, be vigilant; because your adversary the devil, as a roaring lion, walketh about, seeking whom he may devour" (1 Peter 5:8). They are to put on the "full armor of God" to reject all occult practices and be holy people (Ephesians 6:10–18).


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text:
Activist Crisscrosses U.S. Doing 'Jobs Most Americans Won't Do'
Published February 2, 2010 at 7:00 AM HST
MICHEL MARTIN, host:
I'm Michel Martin, and this is TELL ME MORE from NPR News.
Coming up in our weekly Moms conversation, we talk about the sensitive issue of adopting children from Haiti in the aftermath of that devastating earthquake. That is later.
But first, back here in the U.S., we want to talk about jobs. In President Obama's proposed budget for next year, some $100 billion are slated for job creation to reduce the 10 percent unemployment rate. But those figures got us thinking about the jobs that are always available - like harvesting produce and processing chicken parts. Those are not the jobs most people take for a summer.
On the other hand, there's a long tradition of writers going and living for a time completely different lives than their own so they can write about it, like John Griffith. He darkened his skin and traveled through the segregated South to write "Black Like Me." And more recently, Barbara Ehrenreich described life as a waitress, cleaning lady and nursing home aide in "Nickel and Dimed: On (Not) Getting By in America."
Following in that tradition, Gabriel Thompson is a journalist and labor activist who spent a year working a handful of jobs that he says most Americans will not do. And he's written a book about it called "Working in the Shadows: A Year of Doing the Jobs (Most) Americans Won't Do." And he's with us now in our New York bureau. Welcome. Thank you for joining us.
Mr. GABRIEL THOMPSON (Author, "Working in the Shadows: A Year of Doing the Jobs (Most) Americans Won't Do"): It's great to be here. Thank you.
MARTIN: Among other jobs, you picked lettuce, and it turns out picked is not quite the right term. And I'm sure you'll tell us more about that. You processed chicken parts on the graveyard shift, worked at a flower shop, made deliveries for an upscale restaurant. Now you make it clear what you were not trying to do. You weren't doing a story about the economy, like Ehrenreich. You weren't trying to pass yourself as Latino, although you do speak Spanish. So what were you trying to do?
Mr. THOMPSON: You know what I really wanted to do is explore what it was like to do these types of jobs, that I think most Americans have very little idea. You know, some Americans might have more experience doing retail or working at Wal-Mart or waitressing. But when you look at a lot of the jobs that we depend on, you know, the jobs that feed us - cutting lettuce, meat packing, all this work - we're very disconnected from it.
And so I thought what a great project to just go in and do these jobs, not only to have a great access to be able to write about this, because a chicken plant - you know, there's a reason why chicken plants don't have windows. They're not going to welcome me in as a journalist. So there's an access thing. And also, what a great way to get to know my coworkers - not in a context of asking them formal questions in a sit-down interview, but really getting to know them as we're working together.
MARTIN: You know this kind of project often inspires two conflicting responses, sometimes in the same person. One is, oh, that's cool. And the other is: Why do we need you to tell us about this when there are plenty of people who do this all day long who presumably could speak for themselves? So how do you respond to both of those?
Mr. THOMPSON: Yeah, I've got both of those, you know. I mean, part of it, for me, is that's cool. That was my initial reaction when I had this idea, is what a fun sort of adventure - fun and also, you know, nasty and gross and challenging. I mean, also, it's fraught with sort of possibilities of overstepping your - what you're doing, and I try to make this clear upfront.
There's a huge difference between me and the low-wage, mostly undocumented workers I'm working with. And I'm not telling you what it's like to be an undocumented immigrant. I'm trying to give readers an idea of what it's like to do these jobs and introduce them to a whole host of characters that they otherwise wouldn't know about.
MARTIN: Is part of it that the work itself is intrinsically interesting to you? Is part of it that you feel that the physical work is not appreciated for its own value? It's somehow just not respected anymore, as more and more people have gotten away from physical work?
Mr. THOMPSON: It's partly that, and I think it's partly just it's so easy to say, oh, yeah, immigrants do hard work, and then to they go on and demonize them, because it's just sort of this passing comment. Yeah, they do hard work, and it's - there's not much reflection or acknowledgment of the ways in which their hard work benefits all sorts of people that have, you know, had callus-free hands since the day they were born. So part of it is that, and part of it is just that I think some of the most interesting stories and interesting lives are the lives and stories that you're not going to see on TV shows or in a lot of books.
And so I sort of - I've written about immigrants before, and this seemed like a great way to delve into very complicated lives and very complicated workplaces. I went into it thinking, you know, I knew - no job is unskilled, but I went into it not knowing how complicated every workplace is. And I - it's stupid that I was so ignorant, thinking about even when I used to work in an office. Anyone that works in an office can tell you how complicated office dynamics are and all the different characters. So, I think those were some of my motivations.
MARTIN: In fact, that - your opening chapter about your time in the lettuce fields makes clear how what seems simple from the outside - like you're driving on the road and you see people in the fields and you think, oh, yeah. Well, okay. That's what - I get that. When you get up close to it, it's much more complicated. It requires much more skill than one might think from the outside. But I'm wondering if the people you worked with also had that desire to have the beauty of their work to be appreciated.
And you write: I see them, my crew members, knives in hands, wiping sweat off their brows, taking a break as they hover over our plates and bowls to proudly whisper, enjoy. I cut that, you know.
And the reason I say I cut that, you know, is that one of the things that we learn is one does not pick lettuce. You cut it, which is close to the ground, and that's not that easy to do. But did you feel that - a sense from your -from the people you worked with that they would like their work to be more appreciative for its own sake?
Mr. THOMPSON: Yeah. I tell their story towards the end of my two months cutting lettuce where a woman, you know, there's frost on the lettuce. So we had to wait. It's early in the morning. We had to wait for the sun to come and defrost the lettuce before we start cutting. And she walks around selling little candies to the workers while we're waiting. And she asked me what I was doing there, and I just gave a very bland answer, that I - learning how to cut lettuce. And she said, you know, that's great, but you should go back and tell all your friends just what it's like to do this work.
People didn't know I was writing a book, but they knew I was a sort of connection to this general - for them, like, you know, the one white guy who speaks English they know, to the broader American world. And they would tell me often, you should go tell your paisanos, your fellow white people what it's like to do this work. So there was a real sense of pride, and it wasn't just the pride that they're tough enough to do the work, because the work - you know, I will go to my grave having one of my proudest physical accomplishments being sort of having two months in the lettuce fields. But it is unbelievably skilled work. If after two months, I was - I would say I was a novice after two months.
MARTIN: If you're just joining us, you're listening to TELL ME MORE from NPR News. I'm speaking with Gabriel Thompson about his new book, "Working in the Shadows." It documents his year working in some of the toughest jobs that he says most Americans won't do.
I want to read a quote from you, where you talk about a particularly hard day in the lettuce fields. And we won't...
(Soundbite of laughter)
MARTIN: ...go into why - some of your own bone-headed maneuvers that led to it being such a hard day. But you said my feet are still wet, my left hand is bloodied and swollen, but the sky above is turning brilliant shades of pink and purple. A cool breeze is blowing at my back, and I've got 12 hours to recuperate. I've survived the hardest day thus far in the fields, the hardest work day of my life, but I have a new bag(ph) to show for it, and driving home admiring the gashes on my hand as it rests on the steering wheel, I feel oddly triumphant. Why triumphant?
Mr. THOMPSON: There is definitely something sort of satisfying - and I think after a while, it would have become less satisfying, but for me it was new - of just being exhausted at the end of a night and having these challenges that were much greater than any challenges I had faced before and sticking - you know, I wasn't a great lettuce cutter, but I didn't give up. And so there is a real sense of accomplishment. And, you know, and what feeds into that as well is a recognition that this work is really important, very challenging work. You know, I went to college. There's no way anything I did in college was close to this difficult.
MARTIN: So what was your worst job?
Mr. THOMPSON: Well, lettuce was the physically most difficult. Chicken was mentally sort of the hardest to get through. But I would say the worst job that I couldn't imagine going back to was actually in the flower district at a flower shop...
MARTIN: How come?
Mr. THOMPSON: ...in Manhattan. Well, what I found is that in the other jobs with these big, multinational corporations, the work was punishing, but the managers sort of acted as technocrats. So they just made sure you did it and, you know, they weren't going to yell at you or anything. They were just going to if you didn't keep up, you'd be fired. In the flower shop, I was excited. It was kind of like a mom-and-pop operation in Manhattan's flower district, which is a cool sort of anachronistic area where you have all these wholesale flower dealers and an largely immigrant workforce. And I thought, well, how fun. Now it's going to be, you know, more small-scale.
What I discovered was that the flower shop was run by two owners who, from the very moment you walk in, start yelling at you. And most of the workers are immigrants. You're not given anything. No overtime. I was paid less than the minimum wage, no food breaks and this very psychologically unhealthy work environment. It's a lot of work to be insulted, I learned, and not say anything back - you know, not even like something passive-aggressive. You just sort of nod...
MARTIN: Well, why was it that way? I mean, you're saying the work at the poultry plant was deadening, and in part that was because - what? You couldn't talk as much. Like in the lettuce fields, for example, it was physically tiring, but there was some camaraderie. And what was it at the poultry plant? You're saying it was kind of emotionally or mentally debilitating - why? Because - what? You were indoors all the time? It was so boring, and - what?
Mr. THOMPSON: So, imagine that it's 40 degrees in there. So it's cold. And your job is to stand in one place and do one motion over and over again. And since it's loud, you have earplugs in in the plant. So you can't talk to anyone. So one of my jobs is you're standing in one place, and you're doing this for eight hours a day - or night, because I worked the graveyard shift. And chicken breasts come by, they're whole, and you tear them in half with your hands. I would tear apart, you know, seven, 8,000 chicken breasts.
So what happens, you're standing there not moving, you're freezing. You can't talk to anyone, and all you're doing is looking down your hands and you tear chicken breast after chicken breast. The way I looked at it is, you know, humans have this incredibly evolved brain that likes challenges. And to sit -put humans into that sort of position is just it's an awful job. There's no, no real other way to...
MARTIN: It's just awful, sort of soul deadening in a way that you didn't expect. And not because people are being mean to you. But it's just the work itself is so boring.
Mr. THOMPSON: And it's not, it's not on human scale. I mean, some of those jobs where you're cutting chickens, they could make 18,000 cuts, one person, in a single shift. That's not the kind of work that you can do without having serious problems with your hands and wrists, and I met people with multiple surgeries. You know, you can't make those jobs better without really slowing them down.
MARTIN: So what do you want people to draw from this book? Because there is some advocacy involved here. So I think it's fair to ask exactly what would you like to see?
Mr. THOMPSON: I think one can draw from it two things. One, the immense value that immigrants give to this country in terms of all the benefits and services that we all use, but don't often reflect upon. And two, I think it points to the need for immigration reform. I think it points to the need to move these millions of workers who have done so much for the country, to move them en masse out of the shadow.
MARTIN: Gabriel Thompson, author of "Working in the Shadows: A Year of Doing Jobs (Most) Americans Won't Do." The book is just out. You can listen to him reading an excerpt from the book by going to our Web site. Just go to npr.org. Click on Programs, and then on TELL ME MORE. Gabriel, thank you so much for speaking with us.
Mr. THOMPSON: Oh, thank you, it has been great. Transcript provided by NPR, Copyright NPR.
Juliana Kim
People can experience symptoms of PTSD after being exposed to videos with violence and death. Those symptoms can show up immediately or weeks later.


text:
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    }
}


text:
/*
 * This function finds the number of times a given number occurs in a
 * linked list of numbers. For more information about this problem, please
 * refer to the following link:-
 * http://www.geeksforgeeks.org/write-a-function-that-counts-the-number-of-times-a-given-int-occurs-in-a-linked-list/
 */
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#include<stdbool.h>

/*
 * Structure of the linked list node
 */
struct node {
    int data;
    struct node *next;
};

/*
 * This function allocates and new linked list node and sets the 'data' field
 * in the node to be equal to 'value'.
 */
struct node* makeNode(int value)
{
    struct node* data_node;

    data_node = (struct node *)malloc(sizeof(struct node));

    /*
     * If the node allocated was NULL, then return null.
     */
    if (!data_node)
        return(NULL);

    data_node->data = value;
    data_node->next = NULL;

    return data_node;
}

/*
 * This function adds the 'value' passed to it to the front of the linked
 * list (pointed to by 'head'.
 */
void push (struct node **head, int value)
{
    struct node *new_node = makeNode(value);

    /*
     * If the system in not able to allocate a new node for 'value',
     * then we need not add anything to the linked list.
     */
    if (!new_node) {
        return;
    }

    /*
     * If the heaad of the list is NULL, then set head to point to
     * new node otherwise set node's next to head and point head to
     * point to the node.
     */
    if (!(*head)) {
        *head = new_node;
    } else {
         new_node->next = *head;
         *head = new_node;
    }
}

/*
 * This function returns the number of occurrences of a given number in
 * a linked list. If the number doesn't exist within the linked list, then
 * this function returns zero. The time complexity of this function is O(n),
 * where 'n' is the number of elements in the linked list. The space
 * complexity of this function is O(1).
 */
int get_num_occurrences_in_linked_list (struct node* head, int num)
{
    struct node* current;
    int count;

    /*
     * If the head of the linked list is NULL, then return zero
     */
    if (!head) {
        return(0);
    }

    current = head;
    count = 0;

    /*
     * Iterate over the elements in the linked list
     */
    while (current) {

        /*
         * Check if the node's data value matches with
         * 'num'. If so, increment 'count'.
         */
        if (current->data == num) {
            ++count;
        }

        current = current->next;
    }

    /*
     * Return the number of occurrences of 'num'
     */
    return(count);
}

int main ()
{
    /*
     * Test 0: Head of the list points to NULL. Searching a number
     *         in an empty list should return zero.
     */
    struct node* head0 = NULL;
    assert(0 == get_num_occurrences_in_linked_list(head0, 0));

    /*
     * Test 1: There is only one node in the list. Searching a
     *         number is this list should return one.
     */
    struct node* head1 = NULL;
    push(&head1, 1);
    assert(1 == get_num_occurrences_in_linked_list(head1, 1));

    /*
     * Test 2: Test a case with multiple nodes in the list. Test two
     *         cases:-
     *         a. Case when a number exists in the list. The function
     *            should return the number of times that number occurs in
     *            the list.
     *         b. Case when a number does not exists in the list. The
     *            in this case should return zero.
     */
    struct node* head2 = NULL;
    push(&head2, 0);
    push(&head2, 1);
    push(&head2, 2);
    push(&head2, 1);
    push(&head2, 3);
    push(&head2, 1);
    push(&head2, 3);
    push(&head2, 1);
    push(&head2, 4);
    push(&head2, 2);
    push(&head2, 1);
    push(&head2, 1);
    push(&head2, 0);
    assert(6 == get_num_occurrences_in_linked_list(head2, 1));
    assert(0 == get_num_occurrences_in_linked_list(head2, 10));

    return(0);
}