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HomeMoore Lovecraft Comics Annotation IndexNeonomicon 3
Cover of Neonomicon issue #3, art by Jacen Burrows
Below are annotations for Neonomicon, No. 3 "The Language at the Threshold" (25 pages, October 2010)
Note: some of this stuff is obvious, but you never know who's reading this and what their exposure is. If there's stuff we missed or got wrong, let me know in comments.
General: FBI Agents raid the Salem store where Brears and Lamper were last seen, but find nothing. In a room deep underground, Brears is raped by the Deep One. Ultimately the Deep One breaks the cage door, and the two escape underwater.
WARNING: SPOILERS
The cover depicts the Deep One heading toward Agent Merril Brears.
Again, there is a lot of playing with perspectives here. The focus of the page is on whomever is talking, but it shifts back and forth to show the perspective on both sides of the table. As with the interrogation of Sax in issue #1, there's a sharp delineation between the two sides.
The standing man with the prosthetic hand is Carl Perlman. His missing hand is explained in issue #1, P11,p2-4.
The woman is FBI Agent Barstow, a very minor character from the last few pages of issue #1.
"Mary" – see p2 below.
"Her and her partner" is grammatically incorrect – should be "She and her partner." Similar to issue #1, P8,p1, AM is establishing the FBI agents as somewhat illiterate, narrow-minded.
As would be standard protocol, "Randolph Carter" has had her facial piercings removed.
The woman being interrogated is Mary Ann Stubbs, a singer who goes by her stage name Randolph Carter. Carter appeared briefly in The Courtyard, and both prior issues.
"The Statement of Randolph Carter" is a story by H.P. Lovecraft "that writer freak that Brears was talking about" on the first pages of issue #2.
As in panel 1 above, "I hope her and Lamper are okay" should properly be "she and Lamper."
Perlman, preoccupied over the disappearance of his subordinates Brears and Lamper, continues to trip over his grammar – speaking unclearly, repeating, and using "ain't."
"That fucking bookstore" is Whispers in Darkness, introduced in issue #2, P8,p1.
The language is Aklo, central to The Courtyard. See explanation Neonomicon #1, P6,p3.
"Y'golonac" is a Cthulhu Mythos entity created by British horror writer Ramsey Campbell, first mentioned in his short story "Cold Print." Aldo Sax mentions Y'golonac in The Courtyard #2 (P23, panels 1 and 2) and in Neonomicon #1 (P7,p1).
"Dho-na" and "Wza-Y'ei" is among the Aklo that Carcosa gives Sax in The Courtyard #2, see pages 13-15.
"Rhan Tegoth" is a Cthulhu Mythos entity created by H. P. Lovecraft in his story "The Horror in the Museum."
"Chaugnar Faugn" is a Cthulhu Mythos entity created by Lovecraft's friend and correspondent Frank Belknap Long; it featured in his story "The Horror in the Hills," which includes a long dream-excerpt from one of Lovecraft's letters. Moore probably borrowed the entity from a mention of it in "The Horror in the Museum."
"Tsathogua" is probably supposed to be "Tsathoggua," a Cthulhu Mythos entity created by Lovecraft's friend and correspondent Clark Ashton Smith.
The chapter title "The Language at the Threshold" recalls August Derleth's Mythos novel The Lurker at the Threshold (written after Lovecraft's death, this novel includes two fragments from Lovecraft and was billed as a "posthumous collaboration") as well as the Aklo language; more symbolically it may hint at the profound use of language in this chapter, and Brears' transition from one side of the table to the other.
Randolph Carter's face, twisted in shadow, recalls of all things the character of Two-Face from the Batman comics; with the Aklo text of her "confession" this image helps underscore her loss of sanity.
The holes for Randolph's facial piercings can be seen in the shadowed half of her face.
Commenter Gamote points out that there is no one behind Carter; she is looking through the fourth wall at us, the reader.
Left to right are: FBI agent (unnamed), Charley, FBI Agent Lopez, Leonard Beeks, and FBI agent (unnamed.)
"Glaaki" is a Mythos entity created by Ramsey Campbell.
The captions continue Barstow's reading of Carter's Aklo statement.
The panels go from the surface, lower and lower, deeper into the earth, following Agents Brears' and Lamper's trajectory on P15-18 of issue #2. The descent is reminiscent of the comic adaption of Moore's "Zaman's Hill" in Yuggoth Creatures.
The transitions from p1 to p2 and from p3 to p4 are zoom sequences, used often by AM including on P1 of Watchmen. In each case, the "camera" moves lower as it zooms.
"Ia" (more normally spelled "Iä") is an exclamation used by cultists in several of Lovecraft's works; "Yog-Sothoth" and "Azathoth" are two of his Cthulhu Mythos entities.
For "Lloigor," see issue 1, P7,p2.
The FBI is unaware of the trap door shown in issue #2 P14-15.
The lower panel border is the floor of panel 2 and the roof of panel 3.
The "Tcho-Tcho" are a fictional race from August Derleth's story "The Thing That Walked On the Wind," also mentioned in Lovecraft's "The Shadow Out of Time."
"Shaggai" refers to a planet in Cthulhu Mythos fiction, first mentioned by Lovecraft in "The Haunter in the Dark" and later used by Ramsey Campbell as the origin of the Insects from Shaggai.
"Jack Boggs 1781" is hand-carved into the beam of the tunnel. Lovecraft included several tunnels in his work, most notably those in "Pickman's Model," based on the old smuggler's tunnels of Boston's north end. "Jack Boggs' tunnels" were referred to by Leonard Beeks in issue #2, P15.
Notable for its absence is any trace of blood from the murder of Agent Lamper. Combined with Perlman's comment about Brears and Lamper being missing for three days, this suggests that the cultists have cleaned up. The open door suggests that they feel no need to secure Brears by any other means.
"Yig" is a Cthulhu Mythos entity created by H. P. Lovecraft, and included in his stories ghostwritten for Zealia Bishop, particularly "The Curse of Yig" and "The Mound."
"Dzan" may be a reference to The Book of Dyzan; reputedly, this is an ancient text which formed the basis of Helena Blatavasky's The Secret Doctrine, a foundation text of Theosophy. Lovecraft would include the Book of Dyzan among other real and fictional texts in stories like "The Haunter in the Dark." Dyzan was also the name of an alien race in Edgar Allan Poe's The Narrative of Arthur Gordon Pym of Nantucket, which was a seminal influence on Lovecraft, particularly his novel At the Mountains of Madness.
"Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn." is the chant of the Cthulhu cultists in Lovecraft's "The Call of Cthulhu," which was translated as "In his house at R'lyeh, dead Cthulhu waits dreaming." The change that Moore makes – substituting rnglw'nafh for mglw'nafh – suggests the change in emphasis that is the culmination of Neonomicon. Perhaps "In his house at R'lyeh, unborn Cthulhu waits dreaming."
(Commenter alexxkay points out that difference might not be intentional. In most lower-case fonts, "rn" and "m" look very similar, even more-so in italics, as this phrase usually appears. It is possible that Moore or a collaborator mistranscribed it.)
"Hrroungh" is the voice of the Deep One, whose appearance has not been revealed yet.
The object on the ground, in p1-2 (most clear on the left in p2) is the wig that Agent Brears wore as a disguise. She donned it on P7 of issue #2.
Like Page 3 above, the transitions from p1 to p2 and from p3 to p4 are zoom sequences. The transition from P3,p4 to P4,p1 is more-or-less a zoom sequence too.
The human hand belongs to FBI Agent Merril Brears.
The webbed hand belongs to the Deep One. In "The Shadow over Innsmouth" it was noted: "[…] their long paws were webbed."
You can just see that Brears' has been laid on a towel of some kind.
Brears' eyes are notably dilated, suggesting she is possibly drugged or in an altered state.
The location (revealed on P7, p4 below) is presumably R'lyeh, the sunken city of monolithic stone blocks where Cthulhu was said to dwell, based in part on the real-world ruins of Nan Matal, which featured in A. Merritt's novel The Moon-Pool, which Lovecraft read. From "The Call of Cthulhu": Without knowing what futurism is like, Johansen achieved something very close to it when he spoke of the city; for instead of describing any definite structure or building, he dwells only on broad impressions of vast angles and stone surfaces—surfaces too great to belong to any thing right or proper for this earth, and impious with horrible images and hieroglyphs. The hieroglyphs and carvings depicted tend toward a nautical theme, with images of tentacles and nautiloids dominating; on the left are sun-images over a cone, possibly a reference to the Great Race of Yith.
For this more-or-less dream/hallucination sequence (P5-P9) the panel borders, which are elsewhere rough hand-drawn lines, become perfect straight lines. This reflects the Cthulhu existing on a higher, clearer plane of existence. The straight line borders reappear in issue #4, P22-23.
Neonomicon #3, Page 6, panel 1, art by Jacen Burrows – note the straight line panel borders.
The character approaching is Jonny Carcosa, from The Courtyard and issue #1.
Carcosa's walking on water aspect may reference Jesus' miracle (or similar accounts in other religions or mythologies); or it may emphasize the nature of this as a dream-space where the normal rules don't apply.
Panels 1-4 are a fixed-camera sequence, though as Carcosa approaches, they feel like a zoom sequence.
The winged statue on the pillar on the right may be a representation of Cthulhu.
Mister Sax (in Carcosa's lisp "Mithter Thax") is Aldo Sax the protagonist of The Courtyard who appears in issues #1 and #4.
Sex/Sax Affliction/Addiction – Brears is conflating and mixing words, and appears disoriented; this could be the result of being drugged – or simply a result of the trauma from her rape.
"I really am a dirty fucking whore." recalls Brears' earlier statement about her sex addiction from issue 2, where "Usually, it was about hating me." The implication is that at least part of Brears' psychological issues is registering disgust with herself, or degrading herself, for her compulsive sexual behavior.
"[S]omething'[s] [s]crewing you… it'[s] the Deep One." is the continuing rape, discussed at length on this page.
The Annunciation – painting by Fra Angelico – image via Wikipedia. The angel Gabriel (left) is telling the Virgin Mary (right) that she will become pregnant with the son of god, Jesus Christ.
"What thith ith, ith you're a nun, thee, athian Merry?" is Alan Moore cloaking a massive spoiler deeply, by breaking words up, and using Carosa's lisp. He does go on to repeat it with a hint ("I had to repeat it to myself a few times before I got it") on the third-to-last page of Neonomicon #4. Without the lisp, this is "What this is is you're a nun, see, asian Merry" which, if you repeat it a few times, is "What this is is your annunciation, Mary."
The Annunciation (or the Annunciation to the Blessed Virgin Mary), in Christian tradition, is when the angel Gabriel appears to tell the virgin Mary that she will conceive a child who is the son of God, i.e.: Jesus Christ. In this case, Carcosa, who is the "avatar of Nyarlathotep" (see P8,p3 below), is analogous to the angel Gabriel. Merril is Mary. She will bear the god-like child of the Deep One.
Due to Carcosa's accent, Brears mishears him as "You're a nun, see, Asian, Merry?" hence her reply about being neither Asian nor having been called "Merry" (short for "Merril") since school.
The reference to Catholic nuns is possibly a deliberate reference to the Virgin Mary (in reference to their vows of chastity), or to the vows which "wedded" nuns to God, paralleling Brears' own relationship with the Deep One.
The idea of cosmic miscegenation crops up a few times in Lovecraft's work, most notably in "The Dunwich Horror" which almost literally parallels the conception and death of Jesus (with Yog-Sothoth standing in for the Holy Spirit); "The Dunwich Horror" in turn is a pastiche of Arthur Machen's "The Great God Pan," which more directly references the Annunciation.
"Thi[s] i[s] R'lyeh. R'lyeh i[s] in you" – In HPL's "The Call of Cthulhu" R'lyeh is a lost city where "dead Cthulhu waits dreaming" – but in the context of the Neonomicon, it is literally Agent Brears' womb. In a more symbolic sense, and again tying in with issue #4, "R'lyeh" may be as much a state of mind or consciousness as a physical location. That is, Brears is dreaming, and in her dreams she is in R'lyeh.
"He [Lovecraft] made mistake[s], like with the book of dead name[s]." – Lovecraft never actually referred to the Necronomicon as "The Book of Dead Names" in his writing; this is a reference to the Hay Necronomicon, which was subtitled "The Book of Dead Names," which rather stuck in the popular consciousness, although etymologically speaking Necronomicon does not translate as "The Book of Dead Names."
"Tho[s]e name[s] aren't dead, that can eternal lie…" recalls the first line of the famous couplet from the Necronomicon "That is not dead which can eternal lie," in "The Call of Cthulhu."
Brears' finishes off Carcosa's quote with the other half of the couplet "…and in strange aeons, even death may die."
"Tho[s]e f[u]cking Dagon culti[s]t[s], man, they ain't nothing to do with u[s]" – "Dagon" is an entity from Lovecraft's stories "Dagon" and "The Shadow over Innsmouth," in the latter of which he was served by a cult, the Esoteric Order of Dagon. Carcosa's statement suggests different, possibly opposing or unassociated cults. Although given that Carcosa used to sell "cock rings from Innsmouth," and was known at the Whispers in Darkness store, he at least had some association with them.
"Sister" is a common title for women in initiatory groups, such as the Hermetic Order of the Golden Dawn and co-ed Masonic orders.
"Your nakedne[ss] i[s] the glory of the [s]ecret [s]tar[s]" – Possibly an occult reference; Aleister Crowley's sex magick was known to exalt a female participant as his "Scarlet Woman," but the "glory of the stars" recalls 1 Corinthians 15:41:There is one glory of the sun, and another glory of the moon, and another glory of the stars; for star differs from star in glory.
Carcosa's claim to be "an avatar of Nyarlathotep" recalls Lovecraft's "The Haunter in the Dark," where he wrote:Is it not an avatar of Nyarlathotep, who in antique and shadowy Khem even took the form of man?"Avatar" is a concept from Hindu religion, an incarnation of a deity in earthly form. Nyarlathotep is the "Messenger of the Outer Gods" in The Dream-Quest of Unknown Kadath.
Possibly a reference to the "holy kiss" in the New Testament of the Bible (as opposed to the "osculum infame" of witches and Satanists); it makes a part of the transition to page 9.
Continuing from page 8, panel 4, the same image is rotated to form panel 1 on page 9, which then transitions to panel 2 where Brears is "kissing the ground."
"Awl hook, she scum in ground" is "Aw, look, she's coming around." Brears beginning to become conscious of what Joanie Beeks is saying. As commenter alexxkay points out, Brears hearing "she scum" reinforces her self-deprecation.
Same position as page 4, panel 3, sans Deep One.
The "blushing bride" comment reinforces the "nun" (mis)interpretation from page 7, panel 3, emphasizing Brears has been "wedded" to the Deep One.
Confirmation that Brears' was drugged, which helps to explain both the dilated eyes and dream-state.
Brears' wig has been removed.
Beeks' looking off-panel and Brears donning her contact lenses prepares us for the reveal on the next page.
Brears gets her first good look at the Deep One. The reader still hasn't had a good full look yet.
The scars on the Deep One are suggestive of a violent life; perhaps similar to whales that emerge from deep dives bearing the scars from conflicts with large squids. There are also suggestions of what might be barnacles around the elbow and dorsal fin.
Now that Brears is apparently no longer drugged, Beeks is being careful to keep facing her at all times, with the revolver pointed at her, and closes the door so that Brears doesn't escape.
Similar to Pages 3 and 4 above, panel 1-2 and panel 2-3 show similar settings with the "camera" lowered.
This is the reader's first good look at the Deep One's face.
This is the reader's first look at the layout of the pool underwater; notably there is a platform for bathers to stand on, and then a ramp or dip into the deep end. This forms an effective, if terrible, visual symbol: Brears is being dragged into the deep end.
The head recalls the description of Deep Ones from "The Shadow over Innsmouth": I think their predominant colour was a greyish-green, though they had white bellies. They were mostly shiny and slippery, but the ridges of their backs were scaly. Their forms vaguely suggested the anthropoid, while their heads were the heads of fish, with prodigious bulging eyes that never closed. At the sides of their necks were palpitating gills, and their long paws were webbed.
The caption "When he was a child…" and continuing through panel 4 is, on P14, revealed to be FBI agents recounting the life of H.P. Lovecraft. The account of Lovecraft being dressed as a girl by his mother was true; like many children he went unbreeched (i.e. did not wear pants) the first few years of his life. His mother, Susan Phillips Lovecraft, is generally agreed to have been neurotic and preoccupied with her son, especially after her husband's death.
"Raised by two prudish aunts" – After his mother's death in 1921, Lovecraft lived with his aunts Annie Phillips Gamwell and Lillian Clark, when he was not living on his own.
"Sonia" is Sonia Haft Greene, later Sonia Lovecraft, wife of Lovecraft. They were married from 1924-1926, although they cohabitated for only a relatively brief period of time, as Sonia was incapacitated in a hospital for a period and then forced to travel for work. The couple did not actually live on Clinton Street, but moved to Sonia's apartment in Flatbush.
The rumor about Lovecraft insisting on having sex while clothed is unsubstantiated – and like all rumors, difficult to trace. Certainly it has its origins in similar legends attributed to Hasidic Jews and others considered "prudish." While Lovecraft was probably asexual, there is no indication from any of his wife's surviving writings that he insisted on sex fully clothed.
"Strongest gesture of affection he could manage was in touching his own fingtertip to hers and grunting softly, once." – This is a slightly exaggerated version of an anecdote in Sonia's memoir "Memories of Lovecraft: I.""One way of expressions of H. P.'s was to wrap his 'pinkey' finger around mine and say, 'Umph!'"
The Chinese (?) storefront lettering and "[Pachin]KO" arcade repeat the details of the Red Hook neighborhood from The Courtyard.
The speech balloons are coming from the FBI's temporary basement headquarters, featured on P10-13 of issue #1.
Many critics have argued for sexual elements in Lovecraft's fiction, as examined in depth in Sex and the Cthulhu Mythos.
The black cat may possibly recall Lovecraft's black cat from "The Rats in the Walls," based on an actual black cat he used to have as a pet as a child. Pointed out by commenter Carson, a black cat appears in issues #1 (P17,p4), #3 (P14,p1), and #4 (P14,p2).
On the right is Carl Perlman, in the middle is Agent Barstow the other two FBI agents are unnamed.
The book cover belongs to the Lovecraft collection At the Mountains of Madness and Other Tales of Terror.
Cover to At the Mounts of Madness and Other Tales of Terror, cover art by Michael Whelan.
"Sax" is Aldo Sax, protagonist of The Courtyard, who appears in Neonomicon #1 and #4.
"[D]yke singer" is Randolph Carter, who appeared in The Courtyard, and issues #1 and #2. Using "dyke" emphasizes Perlman's homophobia.
"Dunwich Horror where Lovecraft mentions 'Aklo letters'" – This, of course, refers to Lovecraft's story "The Dunwich Horror"; Aklo itself was first mentioned by Arthur Machen in "The White People."
The book cover belongs to the Lovecraft collection Bloodcurling Tales of Horror and the Macabre. Coincidentally.
Bloodcurdling Tales of Horror and the Macabre, cover art by Michael Whelan
Kenneth Grant, as mentioned in issue 2, was a British occultist who believed that Lovecraft's fictional entities were real – or corresponded to actual extradimensional entities within his magickal system.
"Wasn't he a kind of rationalist?" Accurate; Lovecraft was a staunch materialist, and never believed in his own artificial mythology. As he wrote to Robert E. Howard in 1930:Regarding the solemnly cited myth-cycle of Cthulhu, Yog-Sothoth, R'lyeh, Nyarlathotep, Nug, Yeb, Shub-Nigguroth, etc., etc.–let me confess that this is all a synthetic concoction of my own, like the populous and varied pantheon of Lord Dunsany's Pegāna. (Selected Letters of H. P. Lovecraft 3.166)
"They say he didn't know he was intuiting the truth." Also accurate. In Kenneth Grant's article "Dreaming Out of Space" in Man, Myth, & Magic vol. 23:Lovecraft approached the very core of the matter in a way only possible to an artist of extreme sensitivity to occult forces, though the conscious part of him protested strongly against the belief in their validity. He protested in vain, for his work reveals in every line the fear-imbued phantom of the vast and ancient memories that haunted him. (3215)
They do indeed have Cthulhu beanie hats, although Moore was probably referring to Cthulhu plush dolls and getting them confused with Beanie Babies.
There are several Cthulhu-based roleplaying games, including The Call of Cthulhu Roleplaying Game, Delta Green, The Laundry Roleplaying Game, Yellow Dawn, Call of Cathulhu, Cthulhu Dark, etc.
The "shitty vampire novels" probably refer to the Twilight series; some Twilight fans apparently have engaged in blood drinking. Although this could arguably be a call back to the Vampire Chronicles of Anne Rice. Interestingly, in The Necronomicon Files by Harms and Gonce, the one known case of a murder associated with a copy of the Necronomicon was affiliated with the "Vampire Clan."
Book covers visible on the table appear to include At the Mountains of Madness and Other Tales of Terror (in the unnamed agent's hand), a copy of the Simon Necronomicon (in Barstow's hand), Dreams of Terror and Death (a collection of Lovecraft's dream cycle stories), and The Watchers Out of Time (a collection of August Derleth's "posthumous collaborations" with Lovecraft). The other book is too obscured to tell, but it could be The Dunwich Horror and Others with a cover by Santiago Caruso.
At the center of their "web" is Johnny Carcosa. Lines leading away from him include his dealings with the drug DMT (detailed in The Courtyard), Aldo Sax, the confidential informant (CI) Face, Carcosa's mother (ruled a suicide), and from her to the Whispers in Darkness shop and its employees (Charley).
The Deep One is shown seated on the edge, its (unengorged) penis visible – another benefit of writing for Avatar Press, is that Moore can get away with this kind of shot. Beyond that, however, it emphasizes that despite superficial similarities to a fish, the Deep One is definitely much more closely related to homo sapiens.
Brears is situated in the corner, back to the wall, as far from the Deep One as possible. Due to the perspective lines of the pool, the wall, and the floor, this drags the reader's attention toward her, even though she is far from the center of the composition, while also exacerbating the sense of distance between Brears and the Deep One.
This is the first nearly full-body depiction of the Deep One. The figure is incredibly lean – no noticeable body fat – dispaying his scaly skin, musculature, and almost flat, skull-like face and lamprey-esque jaw.
Panels 2-4 comprise a fixed-camera sequence. This conveys Brear's posture becoming dejected. The back-spines of the Deep One, also become slightly more erect from panel to panel, perhaps conveying that he is becoming sexually aroused.
Again, there is a dividing line between Brears and the Deep One – this time, the edge line (corner) where the walls meet completely bisects the panels, with neither character crossing the line.
Another fixed-camera sequence, showing the Deep One approaching, and Brears backing away. Its penis in panel 2 appears to be erect.
The stooped, top-heavy stance of the Deep One recalls Zallinger's "The Ascent of Man," perhaps accentuating the "primitiveness" of the Deep One, or how divergent it is from humanity.
Zallinger's "The Ascent of Man"
Possible causes of pain include intertrigo and dyspareunia; Brears might have been somewhat desensitized while drugged, but now that she is awake and clear-headed, the physical and mental pain are probably much more keenly apparent.
Another fixed-camera sequence, probably to illustrate the male and female postures in the course of an uneasy hand-job. Symbolicly, it's interesting to see that Brears has "crossed the line" both in an artistic sense (e.g., she and the Deep One are no longer separated by the line created by the bricks denoting the corner) and in an action sense, since she is now actively engaging the Deep One on her own terms rather than being the screaming or unconscious victim.
Again, emphasizing the similarities between humans and Deep Ones – although for the record, fish do not have menstrual periods, only mammals.
Cetaceans are marine mammals like dolphins and whales.
Brears is engaging in speculation. In Lovecraft's works, the Deep Ones are functionally biologically immortal. Their rarity is a supposition on Brears' part, possibly Moore's effort to help explain why Deep Ones are not common knowledge, due to rarity.
The amount, frequency, and force of the ejaculation all emphasize the virility of the Deep One; the exaggeration of sexual characteristics is typical of escapist erotic literature.
Again, there is the exacerbation of distance, as Brears sets herself apart – in a vulnerable position. However, this time when the Deep One closes, his pose is much less threatening.
Brears' statement "I can't complain. I've had worse" emphasizes the lack of satisfaction and negative emotional consequences of her past sexual encounters, probably associated with or exacerbated by her sex addiction. Although it's unclear what could be worse in this context.
"Was it good for you too?" refers to a cliché of male/female sexual satisfaction, where the male is satisfied with their orgasm (which is often accomplished more quickly) without regard for the orgasm of their female partner (which often requires more work), particularly the male's lack of interest in continuing after achieving their own orgasm.
The four-limbed crouching gait recalls "The Shadow over Innsmouth": They hopped irregularly, sometimes on two legs and sometimes on four.
The Deep One is tasting Brears' urine, from which he can discern that she is already pregnant by him. In reality, pregnancy is neither automatic nor immediate after sex, and can take up to a week for the egg to be fertilized, and pregnancy tests are usually only accurate after implantation (8-10 days after ovulation). Chalk this up to narrative impetus over science.
The Deep One says "rryrrl-yurr" which, revealed next page, is "R'leyh," where Cthulhu lies dreaming. In Lovecraft's "The Call of Cthulhu" R'lyeh is a lost city – but in the context of the Neonomicon, it's Agent Brear's womb. Compare also the Deep One's rather inexpressive face with its speech, as in "The Shadow over Innsmouth": Their croaking, baying voices, clearly used for articulate speech, held all the dark shades of expression which their staring faces lacked.
The Deep One repeats Brears' "Cthulu fhtagn R'leyh" as "Kuh'lurr'lurr fuh-taah rrurrl-yurr" and pronounces "Ia!" as "Iuh!"
The distance between Brears and the Deep One is bridged, by the simple act of holding hands, nicely framed by the doorway. This leads into panel 3, where the central focus is still on them holding hands, only the perspective is changed so that Brears is being led.
The Deep One repeats "dhurr-nurrh" which is "dho-hna." In The Courtyard (#2, P13-15), "dho-hna" is one of the initial Aklo words that Carcosa tells Sax. There (P14) it's described as "a force which defines; lends significance to its receptacle as with the hand in the glove; wind in mill-vanes, the guest or the trespasser crossing a threshold and giving it meaning." The Deep One is using the Aklo term "dho-hna" to tell Brears that she's pregnant; that his seed lent significance to her receptacle.
Brears is on to something stating "unless Lovecraft had heard of you, then…" This is similar to issue 2, P6,p4 ("… maybe he [Lovecraft] based his… [stories on their/cultists rackets.]) The thread is stated fairly conclusively by Brears in issue #4, P7,p1 ("it was the other way around [H.P. Lovecraft was mimicking these guys/cultists stuff.])
"Geeghs kurrlh yurh" is "Beeks kill you" made clear on the next page.
"Geeghs" equals "Beeks" – Deep Ones must have a hard time pronouncing English without lips.
"Aagluh luhng-wujj" is "Aklo language."
The grid formed by the bars echoes that of the panels on the comics page.
In some sense, the Deep One has "broken the fourth wall" here. Somewhat analogous to Carcosa's escape through the gutters in issue #1 (see P17,p4) the black area outside the pool room ("festival hall") is the black area of the comics gutters. The characters that are Cthulu-based (Carcosa and the Deep One) can break out of panels, because they are aware of and operate in a higher realm of existence, than mere humans.
For translation of what the Deep One is saying, see above, beginning on P21,p4.
Brears perceives herself in the limited human realm "I can't do this. I can't go under there." She doesn't (yet) operate in the higher barrier-breaking realm of the Deep One.
The black walls blend into the black comics gutters, in some sense making the blackness infinite, like a comics bleed. The missing chunk of wall in the center resembles the broken courtyard wall in issue #1, P25,p2
The underwater portion of the panel is solid black, extending the black comics gutter, creating a claustrophobic setting.
>Go to Neonomicon #4 annotations
18 thoughts on "Neonomicon 3"
Carson says:
I noticed the Black Cat from page 14 seems to show up in other issues as well. In the first issue there is a cat on the wall on page 17, panel 4 and in issue 4 on page 14, panel 2 it is sitting on a trash can in the background. Maybe there is one in issue 2 that I missed?
Aha! Good catch… I just scanned #2 and didn't find one…
The change in the chant *might* be intentional, but it also might not. In most lower-case fonts, "rn" and "m" look very similar, even more-so in italics, as this phrase usually appears. (OCR programs make this mistake very frequently, so it leaped out at me.) It's possible that Moore, when refreshing his memory on the phrase, misread it. That said, I much prefer your Watsonian explanation to my Doylist one 🙂
"in what is almost literally parallels" This seems stuck between two separate phrasings, and a bit incoherent.
It may be worth pointing out how "she scum" reinforces the theme of Brears' self-hatred.
Typo: "not" should be "now"
While it is true that pregnancy can, at times, happen considerably after the sex, it can also happen quickly. And the Deep One's first intercourse with Brears was apparently 3 days earlier. And while modern scientific tests only react after implantation, there is enough folklore of women "knowing immediately" that they conceived, that I'm quite willing to concede a Deep One's senses picking up on it after three days.
Great catches – thanks! Updated, credited.
Pete Von Sholly says:
I think the Deep One's "iuh" is his way of sayng "yes". In context that makes sense? When she asks him a question he replies in the affirmative "iuh! iuh!)
greyirish says:
Iä! vs. "Yuh!" … hard to tell.
Fuzzy B says:
This may be a joke on the Northeastern fisherman accent, which famously turns "Yeah" into "Yuh" or, as constantly used in Stephen King's stories, "Ayuh." Given that the Deep One is probably either an Innsmouthian who returned to the sea in old age, or just a creature that spent a lot of time in Innsmouth, it could have picked up a bit of a New England accent.
A Regina Cantatis says:
Page 8, panel 2: It makes sense that an avatar of Nyarlathotep, who in turn is affiliated with Cthulhu, wouldn't think much of the Dagon cultists. After all, in Lovecraft's mythos, Dagon is sort of a dimestore version of Cthulhu. He's like the embarrassing cousin you pretend isn't related to you.
Page 17, panels 1-4: I don't see this sequence as being so much about Brears' dejection as about her beginning to take control again. She has her real hair, her contact lenses, and something to cover her body – and this gives her the strength to try talking to the Deep One instead of just screaming helplessly. From this point onward, she begins to assert herself, and the the Deep One responds by treating her with deference. He does this even before he realizes she's pregnant. She has defined herself to him as being more than just prey.
Gamote says:
Maybe is completely obvious… but Randolph Carter in P2 turns to look at the reader. There is no one behind her. It is looking at us and preparing us to turn the page and guide us with her AKLO back to the horror we've been expecting since last issue
Worth noting, thanks!
Thank you! These notes are amazing. Cheers!
This look to the reader is referenced again in Providence #8. In Neonomicon #3, Randolph Carter, singer for The Ulthar Cats, looks at the viewer. In Providence #8, it's Raymond Carver's (the analogue for HPL's Carter) black cat that looks directly at the viewer.
Something about "cats" being able to see things no one else can see. Very cool.
I don't buy that that cat is necessarily looking at us. Certainly not in the same way that Carter was, facing an obviously blank wall.
bornmedicated says:
This is brilliant and you are brilliant. I do have a question about one of the covers for this comic. It depicts a guy in a robe in a cave surrounded by a bunch of spiders as big as the guy and a giant mother spider. I'm stumped and someone like you would totally know I hope you see this lol
I think that spider wrap cover annotations you're looking for are here: https://factsprovidence.wordpress.com/moore-lovecraft-comics-annotation-index/wraparound-variant-covers/
Nice thank you! I was pretty sure it was supposed to be Atlach-Nacha but I knew you would know you're getting another shout out in my new video


text:
Friday A.M. Friday P.M. Saturday A.M. Saturday P.M.
9:00–9:30 AM
Paper: "The Creation of a Festival Orchestra: The Performer's Field Guide to Music Festival Foundation"
Larkin Sanders (Taneycomo Festival Orchestra)
Paper: "Salomé: The Fetishization of the Veil and the Power of the Gaze."
Kaitlin Zardetto (Florida State University)
Paper: "Secular Monophony in the Middle Ages: Women Composers in the North and South of France."
Victoria Choin (Central Michigan University)
Paper: "A Model of Triadic Post-tonality for a Neoconservative Postmodern String Quartet by Sky Macklay"
Zane Gillespie (A New Contemporary Endeavor)
Lecture Recital: "New Music for Viola by Victoria Bond and Chih-Chen Wei"
Hsiaopei Lee (The University of Southern Mississippi)
Lecture Recital: "You Score Like a Girl! The Current Plight of Female Film Composers"
Ross Smith (Centenary College of Louisiana); Assisted by Michaela Brantley, Gabriela Giamalva, Chelsea Glaspie, Brittany Wagner.
Lecture Recital: "Libby Larsen's 'Me: Brenda Ueland'"
Dorothy Maddison (James Madison University)
Paper: "The Choral Works of Queen Lili'uokalani: Indigenous Feminism, and Performance Practice"
Jace Saplan (University of Miami)
Lecture Recital: "The Art Songs of Rachel DeVore Fogarty: An Analytical Approach to Performance Practice and Prosody."
Sabrina Laney Warren (The University of Memphis/Union University)
Lecture Recital: "The Flute Music of Anna Bon di Venezia: A Lecture-Recital"
Mary Matthews, Flute; Nicole Chamberlain, Flute; Edith Widayani, Piano
Panel: "The Emotional and Intellectual Impact of Singing Art Songs by Women Composers: A Pedagogical Perspective"
Anne Wick (Mary Baldwin College)
Lecture Recital: "For Lisa: Finding Answers to Challenging Questions"
Holly Roadfeldt (Lafayette College)
"A Mother's Voice". . . . . . . . . . . . . . . Gail Steward, piano (Jacksonville State University, AL)
I. August 28, 1963
II. 1966
III. July 20, 1969
Teresa Stricklin, soprano
Gail Steward, piano (Jacksonville State University, AL)
"Works for Unaccompanied Clarinet" . . . . . . . . . . . . . Shulamit Ran, Alexandra Gardner and Kaija Saariaho
"Agitato". . . . . . . . . . . . . . . Shelby Rawlings Blalock
Shelby Rawlings Blalock, piano (Belmont University, Student)
"Living in the Body". . . . . . . . . . . . . . . Lori Laitman (b. 1955)
1. Burning the Woods of my Childhood
2. Living in the Body
3. Not for Burning
4. Lost at Table
5. Bring on the Rain
6. Crossroads
Matthew Roehrich, saxophone (Valdosta State University)
"Music for Woodwind Trio by American Women Composers"
Douglas Owens, oboe (University of Tennessee – Martin)
Charles Lewis, flute
Elizabeth Aleksander, clarinet
Paper: "Gendered Nationalism and Female Agency in Amy Beach's Eskimos"
Sabrina Clarke (University of Delaware)
Lecture Recital: " Forgotten Voices: An examination of Black Louisiana Creole Folk Songs through the Works of Maud Cuney-Hare and Camille Nickerson"
Jessica Long (Shenandoah University)
Lecture Recital: "The Legacy of Harpist and Composer Henriette Renié (1875-1956)"
Sarah Crocker (Middle Tennessee State University and Lipscomb University)
Paper: "The Black Swan: The Life and Career of Singer Elizabeth Taylor Greenfield"
Elizabeth Momand (University of Arkansas - Fort Smith)
Lecture Recital: "Clairières dans le ciel by Lili Boulanger: An historical and analytical study"
Marika Kyriakos (Arkansas State University)
Lecture Recital: "Four-Handed Literature by Women Composers"
Joann Marie Kirchner (Temple University), Carla Mariani
Paper: "From Piano to Percussion: Vivian Fine, Zita Carno, and Gitta Steiner Compose for Paul Price and the Newly Emerging Percussion Ensemble"
Haley Nutt (The Florida State University)
Lecture Recital: "Songs of the Boulanger Sisters"
Dana Zenobi (Southwestern University)
Lecture Recital: "Thea Musgrave's Auxiliary Woodwind works: Piccolo Play and Threnody for English Horn"
Elizabeth Sullivan (University of North Carolina at Charlotte);
Rebecca Johnson (Eastern Illinois University)
"Burning Bush Variations". . . . . . . . . . . . . . . Krystal Folkestad Grant
Krystal Folkestad Grant, piano (Lancaster Bible College)
"Enter Ghost". . . . . . . . . . . . . . . Judith Bingham
Brittany Hendricks, trumpet (Ball State University)
"Sonatina". . . . . . . . . . . . . . . Eurydice Osterman
Leslie Spotz, piano (Tarleton State University)
"Quiet Heart: A Kaddish, written for saxophone". . . . . . . . . . . . . . . Marilyn Shrude
Gail Levinsky, saxophone (Susquehanna University)
"Virgie Rainey-Two Narratives for Soprano, Mezzo Soprano, and Piano". . . . . . . . . . . . . Judith Lang Zaimont
Lester Senter Wilson, mezzo soprano
Janette Sudderth, piano
"Three Colors: Chamber Music for Oboe". . . . . . . . . . . . . . . Deena Grossman
"Two Halves of a Whole". . . . . . . . . . . . . . . Robin McLaughlin (University of North Carolina, Greensboro)
Amy Hardison Tully, flute (Coastal Carolina University)
Oana Potur, viola
Daniel Hull, guitar (Coastal Carolina University)
"Hoff nunc". . . . . . . . . . . . . . . Olga Harris (Tennessee State University)
Hoff nunc
Drei Steine
Unglück und Glück
Die Grossen Lügen
Bevor Ich Sterbe
Janet Hopkins, mezzo soprano (University of South Carolina)
"The Law of Floating Objects". . . . . . . . . . . . . . . Elena Ruehr (M.I.T.)
Wendy Bergin & Flute Ensemble (Praire View A&M University)
Flute 1/Piccolo - Allan Theodore; Flute 2 - Thaddeus Chatman; Flute 3 - Raven Blaylock
Flute 4 - Steven King II; Flute 5/Bass & Alto - Dominique Jordan; Alternate – Anastacia Smoot
"Pieces Romantiques Op. 55". . . . . . . . . . . . . . . Cécile Chaminade
1. Primavera (Spring)
2. La Chaise a Porteurs (The Chair with Porters)
3. Idylle Arabe (Arabian Romance)
4. Serenade d' Automne (Autumn Serenade)
5. Danse Hindoue (Indian Dance)
6. Rigaudon (Rigaudon)
Julia Mortyakova & Valentin Bogdan, piano duet (Mississippi University for Women)
"Veni Redemptor Gentium". . . . . . . . . . . . . . . Donna Wickham (University of Denver)
Esther Jane Hardenbergh, soprano (University of Miami)
Hope Thacker, mezzo soprano (Texas A&M University- Corpus Christi)
"Rain Waves for Clarinet, Violin, and Piano". . . . . . . . . . . . . . . Joan Tower
Kathryn Nevin, clarinet (University of Redlands)
Jeanne Skrocki, violin
Lara Urrutia, piano
"Through the Ages: Music for Women by Women"
Feminine Musique, Tammy Hensrud (Hofstra University) and Korliss Uecker
"Quintet for Winds". . . . . . . . . . . . . . . Rebecca Remley (Birmingham-Southern College)
Jessica Banks, flute (Mississippi State University)
Jessica Haislip, oboe (Mississippi State University)
Sheri Falcone, clarinet (Mississippi State University)
Denise Rowan, bassoon (Mississippi State University)
Matthew Haislip, horn (Mississippi State University)
Paper: "Mastering Atonal Voice Leading as an Undergraduate: Utilizing Standard Curriculum in Learning Atypical Repertoire"
Elizabeth Bemis (University of South Alabama)
Paper: "Women Composers in Choro"
Pyero Talone
Lecture Recital: "Musgrave's Programmatic Contribution to the Solo Oboist: Niobe"
Jessica Robinson (Ball State University)
Lecture Recital: "Duft by Kaija Saariaho: Creating Harmony within a Solo Voice"
Kathryn Vetter (University of Oklahoma)
Lecture Recital: "The Sonata for Viola & Piano by Marcelle Soulage"
Adam Paul Cordle (Eastman School of Music)
Paper: "Gisela Hernandez & Olga de Blanck: Pioneers in Cuban Music Education"
Paper: "Singer, Composer, Pedagogue: The Life and Works of Pauline Viardot"
Lecture Recital: "Female Poets Featured in Japanese Art Song Anthology Volumes I and II"
Chad Payton (Capital University); Kumiko Shimizu (Delta State University)
Lecture Recital: "Jocelyne Binet's Cycle de Mélodies: Unearthing a Forgotten Song Cycle"
Joshua Pifer, piano (Auburn University)
Lecture Recital: "The Clever Artifice of Harriet and Margaret From the Script to the Score: How to Write a Libretto, Score, and Produce a New Opera"
Emily Martin (Bucknell University); Ann Marie Daehn (Missouri State University)
Leanna Kirchoff (composer); with performers from Missouri State University
Paper: "'Tentative and Feminine': Viola Sonatas by British Women"
Emma Cifrino
"Try Me, Good King: Last Words of the Wives of Henry VIII". . . . . . . . . . . . . . . Libby Larsen
Heather Hawk, soprano (Tarleton State University)
"Playground Suite". . . . . . . . . . . . . . . Annette Kruisbrink
Amy Donaldson, guitar (Mississippi University for Women, Student)
Laura Claire Moore, guitar (Mississippi University for Women, Student)
Michael Patilla, guitar (Mississippi State University)
"No Longer Very Clear for Solo Piano". . . . . . . . . . . . . . . Joan Tower
"For My People". . . . . . . . . . . . . . . Eurydice Osterman
April Golliver-Mohiuddin, mezzo soprano (Oklahoma State University)
Martha Saywell, piano (Texas A&M University - San Antonio)
As Biddeth Thy Tongue . . . . . . . . . . . . . . . Kati Agócs (2006)
Unrememberd Wings. . . . . . . . . . . . . . . Andrea Clearfield (2001/2008)
Jonathan Hulting-Cohen, saxophone (University of Massachusetts)
Nicholas Shaneyfelt, piano (Luther College)
Paper: "Amy Beach's Cabildo: An American Opera"
Nicole Powlison (Florida State University)
Paper: "Anne Boleyn in Libby Larsen's Try Me, Good King: Last Words of the Wives of Henry VIII"
Emily Milius (Stephen F. Austin State University)
Lecture Recital: "Saving Our Own Lives: Art Songs by African-American Women Composers"
Eleanor McClellan (University of North Alabama, Walk With Me Foundation)
Lecture Recital: "The Inspiration of Western Canada on Three Distinctive Women Composers"
Carolyn Hart (Wheaton College)
Lecture Recital: "The Music Salon of the 19th Century and its Importance in the Lives of Women Composers"
Feminine Musique, Tammy Hensrud and Korliss Uecker (Hofstra University)
Lecture Recital: "Being Part of the Solution: A Guide to Commissioning New Music"
Nicole Riner
Paper: "Holocaust Representation in Marta Ptaszynska's Holocaust Memorial Cantata"
Ania Stachurska
Lecture Recital: "Women's Words: Selected Songs by Josephine Lang, Amy Beach, and Libby Larsen"
Elizabeth Ducey Moss (McMurry University)
"Love Songs for Soprano and Oboe". . . . . . . . . . . . . . . Jenni Brandon
Amy Yeung, soprano (University of Tennessee at Martin)
Douglas Owens, oboe (University of Tennessee at Martin)
"Three Invocations". . . . . . . . . . . . . . . Sun Mi Ro (University of Central Florida)
Olivia Boatman, flute (Florida State University)
"On Wings of Hope". . . . . . . . . . . . . . . Diane Tuiofu
I. Bird of Hope
II. The Darkling Thrush
III. What Lips My Lips Have Kissed
IV. Hope Is The Thing With Feathers
"Monterey Letters". . . . . . . . . . . . . . . Nicole Piunno
I. Seeking
II. The Voice of One Crying Out
III. Grace and Prescott Ave.
James Zingara, trumpet (University of Alabama at Birmingham)
"The Lord's Prayer". . . . . . . . . . . . . . . Rebecca Remley (Birmingham-Southern College)
Anne-Marie Condacse, soprano (Oklahoma State University)
Valentin M. Bogdan, piano (Mississippi University for Women)
"Han No. 3". . . . . . . . . . . . . . . Marie Pelletier
"Angst". . . . . . . . . . . . . . . Alice Ping Yee Ho
Janice Jackson, soprano
"Two Duets from the opera Wading Home" - Mary Alice Rich (Texas Winds Musical Outreach)
Bronwen Forbay, soprano (McLennon Community College)
"Transition". . . . . . . . . . . . . . . Haley Woodrow (Texas Christian University)
Martha Saywell, piano (Texas A&M University – San Antonio)
"Sonata for Clarinet and Piano". . . . . . . . . . . . . . . Olga Harris (Tennessee State University)
Tim Bonenfant, clarinet (Angelo State University)
Margaret Songs. . . . . . . . . . . . . . . Libby Larsen (b. 1950)
Bright Rails
So Little There
Beneath the Hawthorne Tree
Elizabeth Ducey Moss, soprano (McMurry University)
"Representative Woodwind Chamber Works". . . . . . . . . . . . . . . Thea Musgrave
Jessica Lindsey, clarinet
"Nostalgia-Variations on a Theme Dark Eyes". . . . . . . . . . . . . . . Olga Harris (Tennessee State University)
"Alone Together". . . . . . . . . . . . . . . Katherine Bergman
Lisa Perry, clarinet
Brian Rodesch, saxophone
"Quartet for Violin, Clarinet, Bassoon, and Piano". . . . . . . Shandy Phillips (Mississippi State University)
Shandy Phillips, violin (Mississippi State University)
Rosângela Sebba, piano (Mississippi State University)

redpajama_set_name: RedPajamaCommonCrawl


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Bollywood couples who have a big age gap between them
Features by Kajol Mathur | Jul 3, 2018
As I begin to write this, Rihanna's song 'we found love in a hopeless place' starts playing on my mind. And then when I think of love in Tinseltown, it's easy to say that our favourite Bollywood stars found love in an ageless place. Going down in the history of cinema, not just in Bollywood but Hollywood too, we have seen romances which never saw numbers. These love sagas were just all about their own happy space, feel-good cheeky romance and every ingredient that's needed for a happy relationship.
Today, we bring for you 7 such Bollywood celebrity couples who chose love over everything else and had the world talking.
1. Dilip Kumar – Saira Banu
Some love stories are eternal and such is of Saira Banu and Dilip Kumar. Saira Banu always calls Dilip Kumar her 'Kohinoor' and it just reminds us of their ageless romance. Saira Banu fell in love with Dilip Kumar when she was 12 and he was 34 and it was after a few years of their increasing fondness for each other when the two tied the knot. The veteran queen married the man of her dreams in 1966 when she was 22 and he was 44. Even today, the world seems to be in love with this evergreen couple. With an age difference of 22 years, Saira Banu and Dilip Kumar showed us once again that true love has no boundaries whatsoever.
2. Aamir Khan – Kiran Rao
Aamir Khan, who's 53 now, married the love of his life Kiran Rao, who's 44 now. The two tied the knot in the year 2005 and have an adorable little son who they have named, Azad Rao Khan. The age difference between the two of them is of 9 years.
3. Saif Ali Khan – Kareena Kapoor Khan
He's the Nawab and she's his begum. Saif Ali Khan and Kareena Kapoor Khan dated for almost 4 years post which they got married in the year 2012. As they're lovingly called by their fans, #Saifeena have always been one of Bollywood's most adored and talked about couple. Married for almost 6 years now, Saif is 47 years old and Bebo 37. Their true love surely survived the age gap of 10 long years. Saif and Kareena even have a little cute son, Taimur Ali Khan who's an internet sensation already.
4. Shahid Kapoor – Mira Kapoor
Shahid Kapoor and Mira Kapoor tied the knot in July, 2015 and in no time had the world talking about their romance. Unlike other couples, Shahid and Mira met in an arranged marriage set-up and what happened after that was witnessed by one and all. Shahid and Mira have an age gap of 14 years with the latter being 23 year old and Shahid 37 years. Shahid and Mira already have a daughter who they have named Misha and the two are currently expecting their second child.
5. Riteish Deshmukh – Genelia D'Souza
Now this one may come as a surprise to you because even we never guessed that this good-looking couple has such a big age difference. Riteish and Genelia got married in 2012 and have 9 years of gap. The two have even starred in several movies together in which they played each other's love interest.
6. Priyanka Chopra – Nick Jonas
Now this one is new and super steamy. Priyanka Chopra and Nick Jonas had the global paparazzi behind them when the news of them dating each other broke out. Priyanka and Nick have been together for almost two months now and their major social media PDA has got everyone's attention. 35-year-old Priyanka was joined by boyfriend Nick (25) on her India tour recently and the two were seen spending time together in Goa. The internet is ablaze with rumours of them getting engaged this month already! Ah, that's fast!
7. Ranbir Kapoor – Alia Bhatt
This turned out to be the most exciting news we had been waiting for when Ranbir Kapoor confirmed being in a relationship with Alia Bhatt. Back then, Ranbir was quoted saying, "It's really new right now, and I don't want to over speak. It needs time to breathe and it needs space." After this statement, RK had the world convinced about his feelings for his Brahmastra co-star. Alia Bhatt too went on record and said that she might get married before she even turns 30. Speaking of numbers here, Ranbir is 35 and Alia is 25 RN and even with 10 years of age gap, #Ralia seem to be growing more and more perfect!
More on: Dilip KumarSaira BanuAaamir KhanKiran RaoSaif Ali KhanKareena Kapoor KhanTaimur Ali KhanShahid KapoorMira KapoorMisha KapoorRiteish DeshmukhGenelia D'SouzaPriyanka ChopraNick JonasRanbir KapoorAlia Bhatt
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With the top-access housing, the XGBM is easy to install and requires virtually no service. Recognizing the importance in saving energy, the XGBM features a number of energy-control options such as dimming, bi-level switching, integral motion sensor and LSI's wireless control and information systems to allow you to best manage the light and energy consumption in your parking lot.


Stumbled into the Yoshitaka Amano section after a friend of mine pointed out one of his artbooks while we were at Japantown & I must say 0_0 . So I went and made a wall with one of his images ::not that they need tweaking:: I saw this scan >> [Contemplation] and thought it looked like she was...blossoming. Ergo I gave her wings from another Amano scan ::idea inspired by Amano's many fairy images:: Added a couple of charcoal swirl brushes in her hair and some purple/textured overlays for a more fairytale look. There are probably a thousand things I should tweak...but am too lazy ^_^' .
Reason: Asahi blends 3 scans in this wall, and it looks like it was meant to be.
nice brush work. the purple hue is most interesting.
I like the texture overlays. Gives it the older painting look. I find that rather enchanting with this wall. Very nicely down.
really beautiful. there are a few walls from this scan and this has to be my favourite of them. i really like how you added the wings and the pastel feel of the colours.


text:
Is there an in-canon explanation for how "manual" hyperspace exits are possible?
"Traveling through hyperspace ain't like dusting crops, boy! Without precise calculations we could fly right through a star or bounce too close to a supernova, and that'd end your trip real quick, wouldn't it?"
Something I've never really understood is how Han can seemingly manually pull out of hyperspace at exactly the right instant. You see him moving the controls back to pull out of hyperspeed.
In The Force Awakens:
Han pulls out of hyperspace seemingly manually at the exact moment to get within a planetary shield, without crashing into the planet. This is an incredibly small margin of error.
Is there even an in-canon explanation for how this is possible?
Hyperspeed in Star Wars is fast and it seems, even for someone such as Han Solo, it'd be impossible to successfully time the exit correctly. I understand that it looks cooler to see Han move a control to exit (than just a computer controlled exit) but it really seems implausible.
star-wars the-force-awakens hyperspace
enderlandenderland
Not that I could find so far. Just legendary Solo luck :) – DVK-on-Ahch-To Dec 24 '15 at 16:03
@DVK "In my experience, there is no such thing as luck." – enderland Dec 24 '15 at 16:04
Dupe of scifi.stackexchange.com/questions/113081/… – Valorum Feb 11 '16 at 18:57
He... erm ... pre-programmed it.
As the wide-eyed Finn scrambled for a seat and harness and found himself wishing for a number of very large, soft pads, Chewbacca groaned his readiness. Han studied the readouts before him. The Wookiee raised a hand over his own console. "And…" Han followed the declining fractions intently. "Now!"
Human and Wookiee hands flew over the main console, supplementing as best they could the approach and landing information they had preprogrammed into the Falcon's instrumentation. Not unexpectedly, more than one last-second override was required in order to make the ship do something that was against its nature and perform maneuvers for which it had never been designed.
SW: The Force Awakens - Official Novelisation
Most of his work at the console seems to be aimed at stopping the ship from aborting the approach rather than actually timing the landing.
ValorumValorum
I am not aware of any canon source explaining the manual exit from hyperspace, but I have an answer:
Manual hyperspace exits at a precise moment aren't as difficult as it looks. The movie never showed that Han didn't do pre-jump calculation. Han just needed to manually override during last seconds.
The manual exit should be computer-aided. Starships use famous Fly by Wire technology of 60s. When Han Solo pulled the controls, it wasn't like he pulled a lever which was connected to engine with gears, ropes and pulleys. The pulling of control signalled the computer to start the procedure of exiting hyperspace. So, it shouldn't be thought that Han Solo pulled the control just after the Falcon passed the shield.
As for how Han Solo was able to pull the trigger precisely during the last seconds (even with computer aid, the margin of error is high), the answer is gut feeling. Here, experience matters and this is what movie tried to show. What's special about Han Solo? He has got lots of experience with reckless things.
Baby YodaBaby Yoda
This would be like me telling you "see that 0.1mm long wide spot on the road up there? make sure to shift exactly as your front tire crosses that spot as you travel at 70mph" -- I don't care how good of a car driver you are, you will never consistently accomplish this. – enderland Jan 18 '16 at 1:51
@enderland The cars you are talking about don't have Fly by Wire technology. Read the answer again. He never needed to pull the controls after crossing the shield. – Baby Yoda Jan 18 '16 at 17:48
The pulling of control signalled the computer to start the procedure of exiting hyperspace <-- I fail to see how that's any different. Whether you press a button or pull a lever, it's nearly the same reaction time needed.. – enderland Jan 18 '16 at 17:49
@enderland In case of lever, you need to pull it exactly when ship crosses the shield (so reaction time is unachievable). But, in case of computer aided control, you'll talk in last seconds thing. Although this will be difficult, it won't be impossible. You can see such reactions in baseball or cricket. Nobody sees the coming ball during the last seconds (due to limitation of eye coverage area), but they hit it anyway. – Baby Yoda Jan 18 '16 at 17:56
Try hitting a baseball traveling at lightspeed. Quora suggests a ship traveling at lightspeed is traveling at 6 quintillion meters/hour. This means... that the ship is traveling at 10^18/60/60/1000 km/second (277,777,777,778 km/second). I think it's pretty clear that there is no chance he can time an exit of maybe 1000km or less correctly. Even if the quora answer is off by many orders of magnitude it's still impossibly precise for Han to trigger. – enderland Jan 18 '16 at 18:03
There hasn't been any explanation in Legends or canon why manual start/stop controls for hyperspace travel exists. However, a few possible reasons for why Han used manual mode in the Millenium Falcon can be inferred through analysis.
I trust my fate only to my own hands and to luck: That's a very smuggler-like mentality. Don't be fooled - Han was never confident in can survive - that's why he never elaborated to Leia why crazy he is up to now. He only proceeded with this almost-definitely-suicidal approach because he can't think of any other way to bypass Starkiller Base's shield alive and undetected.
The galaxy isn't at the pinnacle of technology yet: The hyperdrive is only 4 millenia old. Ever faster hyperdrives are being developed all the time, and interdiction technology is still in its infancy. What's to say automatic controls are still in development or expensive like all new inventions?
Han Solo is an expert pilot who prefers everything manual and customised: This seems most likely to me. Think of it like a F1 driver where the vehicle is stripped down to the barest essentials for speed and the driver is responsible for handling much more controls of the vehicle that aren't automated. The same can be said of the Falcon - he stripped away parts for speed and for smuggling cargo space, and he probably prefer to have the controls being manual in the first place. Don't forget, he is the fastest pilot on record for the Kessel Run, a hyperspace route that involves a lot of jumps and very fine-tuned navigation. Don't underestimate Han. It IS possible he is really able to manually do what he did.
Most importantly, HAN IS NOT HUMAN. He is a different species which we, the viewers, call humans out of convenience to our popular culture. In-universe, he isn't one of us. I have personally seen a toddler win tower defence games on smartphones these days - What makes you think space-faring species can't evolve to adapt to the demands of hyperspace-dependent civilisation?
thegreatjedithegreatjedi
Han Solo is an extremely good pilot.
If you have ever drive a manual gear car, you "know" that is impossible to change gears without pressing the clutch, isn't it? Well, in fact it is possible to do it, if you are a really good pilot. You only have to guess the right speed in which the gears are sincronized and boom, you have a clutchless change that seem like magic to the ones who only drive automatic.
Space is not as full of stars and supernovas as somebody could think. A good pilot know that and he can pull the trick of his hat with a lot of wishful thinking, a little lack of moral and no fear of death, which are known qualities of Han Solo. The fact that he can do it is not a validation of his ability, but just a confirmation of his good luck... so far.
David QuiroaDavid Quiroa
Yes, the Solo family is also strong with the force, they just didn't ever produce a Jedi.
It explains why Han Solo is constantly able to get out of sticky situations.
Athena Widget
EscoceEscoce
But isn't Kylo Ren son of Han Solo?! – user54256 Dec 24 '15 at 17:12
And doesn't that help reinforce that the force is strong with the Solo's as well? – Escoce Dec 24 '15 at 17:13
Yes, but your statement "they just didn't ever produce a Jedi" is false – user54256 Dec 24 '15 at 17:16
@NicolaBastianello He wasn't really a Jedi though, was he? Also how do we know Kylo's affinity for the force came in part from Solo? Could it not have wholly come from Leia? I mean HER family sure does have a strong connection to the force. – Keeleon Dec 24 '15 at 17:21
My assertion comes from Han's ability to get out of trouble. Ben is not a Jedi. – Escoce Dec 24 '15 at 17:25
Not the answer you're looking for? Browse other questions tagged star-wars the-force-awakens hyperspace or ask your own question.
How did the Millenium Falcon get so close to Starkiller at light speed?
Why do calculations need to be made before jumping into hyperspace?
How Many New Official Canon Books are there?
How are hyperspace lanes mapped?
How many possible destinations can a hyperspace travel have?
Is it known if there are non-Interdictor tactics to stop ships in hyperspace?
Is there any evidence in Canon for how long specific hyperspace trips actually take in the Star Wars galaxy?


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GTKYF Foundation Inc
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Activism . fyi
Here at GTKYF Foundation Inc we are fully aware of the attack on a FREE and Open Internet by the powers that be. Whether that be big business (selling your information) or our Government (censoring free speech). Both have demonstrated a clear and open attack on a open and Neutral Internet, aka "Net Neutrality". These things work in tandem to harm our core mission as it relates to "Farms, Food, Families, and Freedom".
So, in the typical fashion of our founder and the key people behind our organization from the early days. We set out to use the tools, resources, and systems that the opposition have used to attack, control, and censor us to build a…
FREE and Open system of
Technology to offer
"positive alternatives"
…to the things we see as wrong with the current atmosphere in the world of Tech. Throughout our intensive investment in intellectual property, programs, software, and other aspects related to tech we strive to provide FREE Access. The use of the platforms to facilitate:
FREE SPEECH,
Access to Information,
Strong LOCAL Economies,
Healthy Communities,
and Accountability for Government, and Big Business alike.
"let us never be silent in the face of tyranny and the destruction of freedom."
*Ethan The Farmer, Founder GTKYF Foundation Inc
We do NOT agree with the current Governmental and big Business approach of Complete and total control over all types of Media and Tech. As a direct result of these beliefs:
WE DO NOT MINE, or SELL your DATA EVER!
Our GTKYF Tech Group works closely with our Farm Fresh Media Organization to provide content. In addition, GTKYF Media sells marketing services and bill board / banner ads, sponsors, and affiliate marketing.
Here are the main platforms and a brief description as to why we are involved in them:
Organization Sites: Our GTKYF Tech Group is responsible for the Tech aspects of the websites, domains, and applications for all of the programs currently offered or in development under the GTKYF Foundation Inc umbrella.
Our Farm Fresh Media Organizations websites, domains, and other tech needs. We here at GTKYF Foundation Inc believe that a FREE and Open Press is vital to our core beliefs. We also believe that the access to information provides for a knowledgeable world. As well as we firmly adhere to the philosophy of "those who do not study history, are destined to repeat it". Leading to our striving to provide information as it relates to historical events, and aspects. All content we produce, including articles, e-books, books, hand books, podcasts, videos, and programs for the tech group are produced, and copy right Farm Fresh Media, llc or FFM llc. Farm Fresh Media LLC or FFM llc, GTKYF TECH Group, GTKYF Media Group, as its known is the legal owner of most of our trademarks, domains, and copyrights.
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Our Relationship Platform: Now, some would refer to this platform as "dating" but we want to strive to go beyond that and provide a place where people can meet LIKE MINDED people as they relate to a variety of issues we are involved with on many levels. For a community and a society to be strong enough to weather the storms of life, there has to be people in the community who have relationships. This platform is designed to provide a place to meet, get to know others, and build those relationships. Thereby creating a dynamic strong LOCAL community.
Our Social Media Platform: As we all know the big GIANT in the room when it comes to "Social Media" has become a great censor, and in fact propaganda machine controlled by the powers that be. Not to mention the intensive DATA MINING, and even the scores of BOTS that run rampant. Well, we had enough and we set out to create a family of topic / community specific social media sites that are designed to facilitate healthy discourse, and freedom.
Our Email Platform: Since we all know about the great and mighty "alphabet", the all knowing and all intrusive company that sells ALL of our information to the highest bidder. You can only imagine what led us to set out on the path to build an Email, Calendar, and Search platform that DOES NOT SELL OR MINE YOUR INFORMATION. That being said this platform is still in development and we hope to have live in 2020
Our Fund Raising Platform: Many of you are familiar with the various fundraising sites availible. Many of these sites charge a ton of money to those who truly need it and some are rampant with scams. Some even censor those from different beliefs of views from raising funds on their site. We believe there is a better way, and so we set out to build a new kinda fund raising platform. This platform is still in development. We hope to have it LIVE in Spring 2020
The Applications platform: The many sites and aspects of our diverse Tech Group leads to the fact to maintain a competitive edge we are building Applications for many of our sites, and programs. Look for more of these in 2020.
So, as you can see our TECH Group is very busy taking on the many issues as they relate to TECH and providing positive alternatives to what is currently a mess in our world and on the internet.
Historical Post from Ethan The Farmer, Sept 5th 2018
tm on Historical Post from Ethan The Farmer, Sept 5th 2018
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Exocentrus ruficollis is een keversoort uit de familie van de boktorren (Cerambycidae). De wetenschappelijke naam van de soort werd voor het eerst geldig gepubliceerd in 1892 door Lameere.

ruficollis

redpajama_set_name: RedPajamaWikipedia


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FeaturesMcCall/W. Central IdahoService
Tamarack Resort set for new owner: how it plans to kickstart development
Skier Jim Carlson of Boise takes a break at Tamarack Resort in 2017, with the unfinished Tamarack Village Plaza in the distance. Photo: Joe Jaszewski for BoiseDev.
Project: Tamarack Resort
BELOW: Interview with new Tamarack owner & president. Timeline of Tamarack Development
Tamarack Resort in Donnelly, Idaho has a new owner, with a deal set to close by the end of this month.
The new ownership group hopesto get back to developing the resort after several years of stasis, with final buildout of the long-stalled Village Plaza by 2019.
Newly-formed company Tamarack Resort Holdings is backed by Imperium Companies, MMG Equity Partners and Blue River Family Office Partners under the Imperium Blue banner. Imperium Blue currently or formerly owns or operates commercial property at a number of well-known resorts, including Whistler Blackcomb in British Columbia, Mammoth in California and Copper in Colorado.
The group says it wants Tamarack for its potential as an all-season resort, more than just the real estate.
"I think the experience we have as a team is really important," Imperium Blue principal Kyle A. Mowitz told BoiseDev. "When you look back at experience of former owners, it was more of a real estate play for them. For us we are driven by operations. When you are driven by operations, you act differently, you do things differently. That's where the success of the ski resort happens.
TRH says it is "purchasing all key assets necessary to operate the resort now and accommodate future expansion plans." That includes a raft of items, including mountain property, ski lifts, lodges, lakefront equipment, sewer and water bonds, parts of the golf course and the Village Plaza. It says it will close on the resort sale on November 30th.
The already-planned ski season will still take place under Imperium Blue ownership. Opening date is targeted for December 14th or earlier as snow allows. TRH saidit "is assessing all aspects of the resort to determine where investment is needed most to improve the guest experience" ahead of next month's ski season.
This story broke FIRST on BoiseDev after several months of poking around, and our email subscribers got it in their inbox. Join the list!
"We are going to increase and enhance the guest experience, we are going to build out Village Plaza – we are going to start that somewhere around the January to March time frame," Mowitz said. "In early summer you will see us install the Wildwood lift that was taken out by Bank of America previously to get to more of that advanced terrain and really open up more of the mountain, and we are going to start working on the mid-mountain restaurant and lodge."
[After 2011 disappearance, Tamarack developer resurfaces in the U.S. ]
A spokesperson said a large portion of the assets are being bought from Tamarack Homeowners Acquisition Company, which sprung up to get the ski lifts running and keep the resort on life support. It bought portions of the resort from a bank-controlled entity in 2016.
Land board approves lease
The Idaho Land Board approves the lease transfer Tuesday morning. Photo: Don Day/BoiseDev
The Idaho Land Board voted unanimously Tuesday to approve the transfer of the state leases to THR. The new ownership group would take over the remaining eight years on the current lease, and options to renew.
The Board placed a number of conditions on assignment of the lease:
Complete the mid-mountain lodge by 2024, or remove it.
Also by 2024, restore or remove the Wildwood ski lift which Bank of America seized and removed.
Provide annual updates on the construction plans for the resort.
Various requirements around taxes, insurance and bonding.
The current Tamarack staff will remain in place, including general manager Brad Larsen. The resort will be overseen by Jon Reveal, whose past credits include stints at Aspen Skiing Company, Yellowstone Club and others.
Long, troubled history
An all-season resort on West Mountain in Valley County has been considered since the early 1980s, under names including Valbois and Westrock. After a first try failed without any development, the project that became Tamarack started construction in 2003. It hosted a president, attracted celebrities, sold out a condo sale – and then hit tough times during the 2008 financial crisis. The resort entered bankruptcy in 2008 and closed in 2009. In its wake, a large village plaza development still stands, unoccupied and unfinished a decade later.
In 2010, a group of homeowners pulled together to restart ski operations and has been running the resort on a limited basis.
Rendering of Belvedere Ridge, a 300-unit hotel/condo project once proposed for Tamarack by a development team that headed by tennis stars Andre Agassi and Steffi Graf. The project never came to fruition.
Most of golf course not part of sale
Imperium is only acquiring three holes of the former golf course, which is no longer maintained. The other 15 holes, about 200 acres, are owned by Idaho Pacific Investments, LLC.
"To bring the golf course back we need to work together as the remaining three holes are part of the ski lease with the state," TJ Angstman who represents Idaho Pacific said. "It isn't a question of whether we will work together to bring golf back to Tamarack, but how."
Angstman said a number of options are on the table, including development of a private club, redevelopment of the course or a sale to Imperium Blue.
A Google Earth view of the Tamarack golf course shows its current state after regular maintenance was halted in 2016.
Transcript: new owner & operator on why Tamarack
BoiseDev chatted with Imperium Blue co-founder Kyle Mowitz and new Tamarack Resort president Jon Reveal about why the are tackling Tamarack, what people can expect, and what sold them on the resort.
Don Day: Tell me what happened today, and what you're hoping to do next.
Kyle A. Mowitz, via LinkedIn
Kyle Mowitz: Today the Land Board approved the state lease assignment to our group which is a subsidiary of Imperial Blue called Tamarack Mountain Operations and it's going to allow us to operate the state lease and the mountain operations up at Tamarack Resort.
Don Day: What can people expect from a guest experience and from that kind of a development standpoint?
Kyle Mowitz: "We are going to increase and enhance the guest experience. We are going to build out Village Plaza and we're trying to start that somewhere around January to the March timeframe, depending on permits. We are going to move pretty quickly. Then in early summer you'll see us install the Wildwood lift that was taken out by Bank of America previously to get some more of that advanced terrain and really open up the mountain. We're also going to start working on the mid-mountain restaurant. You'll start to see hot beds like condos and some limited hotel type of services start to go up in the Village and around it and really get places for people to stay. Not just for a day event, but for several days and weeks at a time, which they don't really have to a degree right now.
Don Day: When you hear people talk about ski resorts, you hear them say they have to go bankrupt two or three times before people make money. What makes your team go 'you know, we can do this, we're the ones that are going to propel this forward and be the ones that are successful'?
Kyle Mowitz: I think the experience that we have as a team is really important. When you look back at perhaps the experience of former owners it was more of a real estate play for them for us we're driven by operations. When you're driven by operations you act differently. You do things differently. That's what where the success of a ski resort happens and that's where Jon (Reveal, new Tamarack president) comes in. We are buying the majority of all the real estate so that is part of the play. But we feel that's secondary to the mountain operations. And also think basis is very important. There were very grand visions especially on the last go around for the resort. I think we have much more tempered visions: still a great experience an offering and that's what we'll focus on to the guests but more tempered expectations on how we'll build that out. We're going to be very prudent in the scale and the pace and how we're building out the resort to really go with the demand versus get the supply and then the demand we're going to have the demand and provide the supply.
Don Day: How does this fit within your portfolio?
Kyle Mowitz: We do own a lot of resort assets and particularly cold-weather like this we're experienced in the ownership of that the operations of the actual hospitality, retail, and all the components that go into that. But I'd love for Jon to maybe give you a little background on operations.
Don Day: What makes you want to come to Tamarack and tackle this challenge.
Jon Reveal via LinkedIn
Jon Reveal: I enjoy very much being an operations guy and I enjoy the idea of making sure that the operation is what is going to drive the real estate rather than the other way around. If you go back to develop Sun Valley or Aspen or anywhere else, it is it was always real estate generating all of the money and then you would put up some lifts and hopefully there would be some money left over for the owners. Certainly, this is going to be a complete opposite track that the building is going to be much more precise in how much comes onto the market at any one particular time. Looking at the experience because we know very well that marketing only brings people once and operations brings them back again and again and again. Our idea is to get as much on the mountain that we can to please the people that are going to be coming up there. We really look at this to begin with as a pure Idaho play. We want to provide outdoor recreation for Idaho us so that we've got something they are going to be telling their friends about.
Don Day: Where do you where do you folks see this in the landscape then? We have Sun Valley which doesn't focus on Idaho primarily but then you have things like Brundge and Bogus Basin which are more hometown mountains. Do you see this on the scale of those, or Vale or Aspen or is it more in between?
Jon Reveal: The first thing that we what we want to do is we want to be the best that we can possibly be. We want to be the best that's closest to Boise so that people have another choice along the way they are going to be purely at Brundge or just here close to town. I think that we can we can provide something that will probably grow into something bigger and better, but trying to set your eyes on a target like trying to mirror Sun Valley, you're not going to do it.
Don Day: I've heard from some nervous homeowners; people who are like 'we've been down this road before.' What do you tell the homeowners or people who have interest up there about what you hope to do and what that would mean for them?
Kyle Mowitz: I think what's important to note is we've been at this for 24 months and really active for 18 months and not many people really know (about it). I think that is providing some of the consternation. But it was purposeful because there's been so many attempts and people try to make press releases to get momentum and raise money. For us it's not about that. And as you've noticed we don't reach out to the press we're not very public people. That's very purposeful because we're executors. We're not dreamers, we're not going out there raising money. We don't raise money. For us this is an internal deal which I think is really important. It's our money. We don't raise we don't manage. We're not a fund and that's a really interesting thing I think for the homeowners is that this is our money at stake and that should give them a lot of comfort because we're going to protect that money, and we're going to act accordingly. You know for that money and I don't want to just make it about monetary because it's not but certainly that part aligns all of our interest, because raising the value of the resort is going to raise the homeowner's values and we're going to do the right things to do that.
I think what's different is, this is a very complex deal and why it took us so long to put together as one. When we looked at the deal everybody (in the past) tried to go and buy the real estate. And put very little effort into what we're doing here, like getting the lease. Maybe that would come along (for others) but there was very little effort into that. In addition, there's been a lot of bond delinquencies up there for the sewer bonds of water bonds. We now control all of the bonds. "We'll literally control just about everything. We think that control is really important for the homeowners to know because if you didn't buy the bonds someone could come in and buy those and make a play and foreclose and all of this. By owning the infrastructure, the real estate and the operations – that's a very very important thing and that's what we've done.
Don Day: What attracted you to this project and what does it mean to you to be involved with this?
Kyle Mowitz: We found out about this project you always had heard things about Tamarack and rumors and so it was interesting when it came across our desk because it was one of those you kind of look at and go "ehh, I don't know if I want to do anything with that.' What sold me is when I came out. We said 'hey, what the hell, let's take a look.' We came out, and you get to the place and it is pretty magical. The setting, the nature did what it was supposed to do and the nature is doing most of the work for us. We're just enhancing experiences in nature, so we really fell in love with that part of it. We are turnaround guys so we really focus on taking something that's broken or needs enhancement, and that's our game as investors. That was very attractive to us just coincidentally my father used to work for Joe Albertson so I had a lot of ties to Idaho, so I thought that was really cool that's just a personal side note. My father ran a lot of the real estate for Albertsons for many years and so Idaho holds kind of a special place for me. And so that's again not why we invest but it certainly was nice to come back to Idaho. But from a business standpoint it just really matched everything we're doing right now in the cold weather space and how our investing into bankrupt projects and turnarounds and that all just sort of fit this and really came together when we came and saw it. We all said, 'wow this place is special.' So that was important for us.
Jon Reveal: There's an extremely good mountain associated with this. I think the mountain is something that we can enhance and make better. But I think our real opportunities are during the summertime and I think if you go to most of the mountain resorts now is that they are looking at summer as a much bigger generator. If you take a look just locally, Bogus said I think they made over a million dollars this summer on just their (mountain coaster). There's an opportunity because all the infrastructure is there. You don't have to go someplace and put up something for the summer with all of the infrastructure like the lodging and sewer and the water and all the rest of that stuff. So I think that's going to be really the big part of what we what we're doing next is the summertime and building up the summertime.
Don Day: Anything else I should know here?
Kyle Mowitz: I think you know two things that was really interesting to us that when you go up there, we've had limited conversations with a lot of homeowners because we're involved in buying it from them. What you don't see everywhere is the buy-in from the homeowners. The homeowners are very strong. What they've done with you know through this 10 years what they've gone through and all of that that is a big deal for us because having that buy-in from the homeowners is a big deal. And you can just feel it and see it up there.
And to add one thing to what Jon said about the summer, the first time I went up there was the summer and someone asked me if I want to go waterskiing on the lake. I said, 'no, I don't like cold water,'.
Jon Reveal: He's a Florida guy!
Kyle Mowitz: They said, 'it's not cold.' It's not cold and that, as little as that sounds, when I jumped in 79-degree water whatever was it was, I was shocked, in a great way going 'wow this is really different from a lot of ski resorts.'
Tamarack Resort timeline
1988: Valbois Resort first announced on West Mountain in Valley County. It is to have seven chairlifts, a 250-slip marina, an 18-hole golf course and more. Buildout would cost $61.6 million, according to the Associated Press at the time. The project eventually went bankrupt.
1998: Mexican businessman Alfredo Miguel Afif purchases the Valbois assets and renames the project Westrock. It is now proposed to have 20 chairlifts, 3,460 housing units and a mountaintop village, according to the Wall Street Journal. The project is now estimated to cost $563 million.
2002: The project is renamedTamarack Resort. Jean-Pierre Boespflugis brought in as CEO
2003: Construction begins.
2004:The ski resort officially opens at Christmas. Seven chairlifts are in operation, plus a hotel and other amenities.
2005: President George W. Bush visits during the summer at the invitation of Secretary of the Interior and former Idaho Governor Dirk Kempthorne. A trail system is later named in his honor.
2006: The Osprey Meadows golf course opens. The Robert Trent Jones II-designed course opened and closed several times over the next decade.
2006: Tennis stars Andre Agassiand Steffi Graf announce plans to develop a Fairmont hotel at the resort, with construction to being in 2007.
2007: The resort's condo offeringsells out in one day, generating $140 million.
2008: Bankruptcy is filed on February 20th.
2009: On March 4th,Tamarack closes down.
2009: The Agassi/Graf-backed hotel project is canceled.
2010:The Tamarack Municipal Association begins operating the resort on a limited basis.
2012: Bank of America removes one of the resort's chairlifts.
2016: The Tamarack Municipal Association acquires much of the land for the resort and the lease with the State of Idaho.
2016: The golf course is allowed to go back to nature.
2018: Deal is reached by Imperium Blue to purchase assets of the resort.
Subdivision with large, 'estate sites' planned by lake near McCall
McCall, Valley Co. hope to bring new fast, affordable internet option to mountain communities
Ski resorts around Idaho announce upgrades ahead of winter season
Tamarack hopes to open for Thanksgiving, announces upgrades for 2021-22 season
CCDC could expand urban renewal area to build affordable housing near Julia Davis Park
Boise Downtown


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Thursday Three: The Blessed Isles - The High Learys - Animalia
The Blessed Isles - Caroline.
Background promo - They say good things come to those who wait, and in the case of Brooklyn's The Blessed Isles, the adage bears out. After five years of recording in studios across four states, the band stands poised to inject a much-needed dose of substance into the shoegaze bloodstream with their debut LP, Straining Hard Against the Strength of Night. Not satisfied to merely recreate the genre's trademark textures, vocalist and guitarist Aaron Closson (The Hourly Radio) and multi-instrumentalist Nolan Thies (N?TIONS) put a premium on songcraft, fashioning melodies that seamlessly reinforce the tell tale shoegaze soundscape. At their core, these are finely wrought pop songs that would shine in any genre, but are fully realised in the gossamer intricacies and stentorian pulse of Straining.
Lead track "Caroline" encapsulates everything distinctive about the resurgent genre, featuring a tidal wave of guitars that propels the chorus into the stratosphere. In contrast, "Chase Away the Sun" is a study in measured restraint, conjuring a desolate terrain of heartache before breaking into a lush and expansive refrain. The record manoeuvres deftly between aggressive figuration's and cathartic release, a tension that compliments Closson's plaintive vocals and evocative lyrics.
Completed while Closson finished graduate studies at Yale and between Thies' busy tour schedule, Straining manages to sound effortless and fresh, making an essential contribution to Saint Marie Records' already impressive roster. This is a record for anyone who is susceptible to the charms of sonic dreamscapes but who is unwilling to sacrifice the fundamentals of songwriting that connect listeners to the music they love. It's sure to become a mainstay in the genre for years to come.
The Blessed Isles "Straining Hard Against the Strength of Night" (Saint Marie Records), Release Date: May 20th, 2016.
The forthcoming album is a collection of ten songs and kicks off with the featured track 'Caroline'. The song gives a good feel for what is a very breezy and refreshing album, not necessarily two words I would normally associate with Shoegaze orientated music. Indeed the album drifts in differing directions from the core style, with indie rock along the lines of New Order being one reasonable reference point. As a whole this is a pleasingly good collection of songs, that are, coherently and tightly delivered.
The High Learys - Cabinet.
Background promo - The High Learys are a four piece inspired rock band from Perth, Western Australia consisting of Jamie Turner (lead vocals/bass), Michael Nutt (keys/vocals), Matt Williams (guitar) and Mitchell J Benson (drums). Forming in 2011, they have released one album, and a number of singles. In 2013 the band went over to Europe to play shows in Germany, France, Italy, Spain and England. In August 2014 the band went back into Poons Head Studios to record their next single "Clear My Mind" with producer Rob Grant. It was then released on 7" vinyl through Soundflat Records in late October. Shortly after it's release the single was used in both a Bose Headphones and Sportscraft commercial.
During November and December 2014 the band embarked on a second European tour, playing shows in Germany, Spain and England. Their single "Clear My Mind" charted at no. 1 in the AMRAP charts in 2014. the band have released multiple records and have two European Tours under their belt, 2016 finds them causing quite a stir overseas as well as on their home soil.
The making of new single, "Cabinet", was the first time the band had ventured into recording entirely by themselves. Produced and engineered by the band's keyboard player Mike Nutt and recorded over the summer of early 2015 at various houses and studios. The finishing touches where added at Blackbird Studios with Dave Parkin. "We'd been talking for a while about recording ourselves so we decided to knuckle down and give it go. We found that doing it this way gave us a lot more creative control in our recording process and enabled us to take our time with tracking to make sure it was exactly how we all wanted it to sound," says the band.
"Cabinet" explores the insecurities of a young mind. Someone who feels lost in their ways, but at the same time shares the burdens of adolescents with their other half. Look out for national touring from The High Learys later in 2016!
Sunday 27th March - Babushka **Single Launch**
Saturday 21st May - Mojo's Bar
'Cabinet' is a catchy song, with distinctive vocals and a really good musical soundtrack. Somehow the band manage to sound both very modern and fresh, whilst I'm certain I am also hearing a sixties vibe throughout the piece. Whatever... it's a great song!
Animalia - Face On.
Biography - Animalia is a dark electronic artist based in Toronto, Canada, producing high-energy shows with live drums. Her music sways with the use of thumping beats and astral synths. Her quirky voice belts out haunting melodies, while she takes up the stage with her aggressively intimate performance.
Jill Krasnicki started performing music as a bassist at the age of 17 in her hometown of Tasmania, Australia. For 10 years, she played various venues and festivals and toured around Australia, Ireland and parts of Europe, eventually landing in Toronto, in 2009.
At the start of 2012, Animalia was born as a dark folk acoustic act and saw the release of her DIY first EP "To the Waking, the Shaking and the Volatile". Her second EP "A Wave to Wash the World Away", incorporated beats and by the start of 2014, Animalia had left her guitar-based songs behind and had become a fully electronic act.
Her debut album "Mouth Full of Teeth", was released in June 2014 and was featured in NOW Magazine, Noisey and Exclaim!, charting at number 3 on the national college electronic charts.
Animalia will release her second album "(dissonance)" in early 2016 with the singles "Little Earth" and "Paradise" coming shortly before. In 2015 she performed CMW, NXNE, SummerWorks and POP Montreal among other shows in and around the Toronto and Montreal area.
And to quote Animalia - The world seems to toy with your emotions, picking you up and then dropping you back down just as quickly. 'Face On' plays with the idea of being in an actual relationship with the world – the world being the collective of life and it's events – and in a moment of hopelessness I ask it how and why can it be so cruel and yet, how can I remain so deeply in love with it at the same time.
One of eight songs on 'Dissonance' the song 'Face On' helps the listener anticipate what to expect from the album. Both vocals and music are highly distinct in nature, with each song so very well crafted with extreme attention to detail. It's music as art, without self indulgence, but with considerable passion and intent. I have to say, as 'dark electronic' artists go, Animalia really does shine a light (oops), this is one of those albums that I can't help but want to play again (& again).
2016 New Music Animalia The Blessed Isles The High Learys


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Discover Your Best Smile at Lakeshore Family Dentistry
Finalist for White Bear Lake's Best Dental Practice seeks to make people comfortable at the dentist.
istock.com
Dental hygienist Janelle Albert has worked at Lakeshore Family Dentistry (LFD) for several years.
"Imagine if you will, finding your dream job—finding the right job where you go and feel at home, where even on a Monday morning, work is great. That's what I found 17 years ago at [LFD]," says Albert.
Albert began her work at LFD as a dental assistant intern in 2002. Shortly after, she was hired on as an assistant. After several years in that role, she went to dental hygiene school. After she graduated in 2007, she returned to LFD as a registered dental hygienist and has been working there ever since.
"Helping people be comfortable in a dental atmosphere is important to me and the team," Albert says. "Working with patients to discover and create their optimal smile is so rewarding."
Albert values the team's compassion in the office. "[We have] compassion for our patients and for each other," she says. Albert says that the team's commitment to providing a high level of quality care is another important aspect of her work.
Albert was inspired to pursue the dental field while working with elderly patients in a skilled nursing facility. "Seeing the connections between a patient's confidence, overall health and their oral health was enough for me to want to create healthy smiles," Albert says. "I look forward each day to have the opportunity to help people create a healthier smile."
Best of White Bear Lake
[Sports]
[Health & Wellness]
Naturally Well White Bear Wellness Collective is 'Self-Care Central'


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Q: Polynomials that gives us the affine piece of a projective algebraic set So it has been shown that projective algebraic sets are locally affine, ie. at every point $x\in X \subset P^n$, there is a open neighborhood (open in $X$) that is isomorphic to a affine algebraic set (closed set in A^n).

Now for the highlighted part, it turns out we even know the polynomials whose vanishing ideal is in fact that set, but why is it actually enough to just substitute $x_i=1$ ?

A: I think this should be enough:
Recall that the sets $U_i$ are defined as follows:
$$
U_i= \left\{ P \in \mathbb P^n \vert x_i \neq 0  \right\}
$$
Because $\lambda \cdot P = P$ ($\lambda \neq 0$) for all points $P \in \mathbb P^n$, we get the familiar isomorhphism $U_i \simeq \mathbb A^n$ like this:
$$
P = \left(x_0, \ldots, x_i, \ldots, x_n\right) = (x_0/x_i , \ldots, 1, \ldots, x_n/x_i) \mapsto (x_0/x_i, \ldots, 1, \ldots, x_n/x_i) \mapsto  (x_0/x_i, \ldots, x_n/x_i)
$$
(the last isomorphism is dropping the i'th coordinate). We're essentially saying that $U_i \simeq \mathbb A^{n+1} \cap H$, where $H$ is the hyperplane in $\mathbb A^{n+1}$ defined by $x_i=1$.
Now for your question: an algebraic variety in projective space is defined by a set of homogeneous polynomial equations in $n+1$ variables. But to see how the same equations looks on $U_i$, we can use the isomorphism above to consider the equations in $\mathbb A^n$ instead. But the isomorphism is essentially just seeing the all points in $U_i$ can be written with the i'th coordinate equal to 1, so we can forget it.
Edit: I see now that your question is basically answered by the parenthesis in the screenshot, which is what I tried to explain. Did this help?

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