text:
IFAF RULE 7 – Snapping and Passing the Ball
SECTION 1. The Scrimmage
ARTICLE 1. Starting with a Snap
The ball shall be put in play by a legal snap unless the rules provide for a legal free kick. (A.R. 4-1-4:I and II)
No player shall put the ball in play before it is ready for play (Rule 4-1-4). (A.R. 4-1-4:I and II)
[a-b] Dead-ball foul. Five yards from the succeeding spot [S7 and S19].
The ball may not be snapped in a side zone (Rule 2-31-6). If the starting point for any scrimmage down is in a side zone, the ball shall be transferred to the hash mark.
ARTICLE 2. Shift and False Start
Shift. After a huddle (Rule 2-14) or shift (Rule 2-22-1) and before the snap, all Team A players must come to an absolute stop and remain stationary in their positions without movement of the feet, body, head or arms for at least one full second before the ball is snapped. (A.R. 7-1-2:I)
False Start. Each of the following is a false start by Team A if it occurs prior to the snap after the ball is ready for play and all players are in scrimmage formation:
Any movement by one or more players that simulates the start of a play.
The snapper moving to another position.
A restricted lineman (Rule 2-27-4) moving his hand(s) or making any quick movement. Exceptions:
It is not a false start if a Team A lineman immediately reacts when threatened by a Team B player in the neutral zone (Rule 7-1-5-a-2) (A.R. 7-1-3:V)
It is not a false start if the snapper takes his hand(s) off the ball, provided this does not simulate the start of a play (Rule 7-1-3-a-3).
An offensive player making any quick, jerky movement before the snap, including but not limited to:
A lineman moving his foot, shoulder, arm, body or head in a quick, jerky motion in any direction.
The snapper shifting or moving the ball, moving his thumb or fingers, flexing his elbows, jerking his head, or dipping his shoulders or buttocks.
The quarterback making any quick, jerky movement that simulates the beginning of a play.
A back simulating receiving the ball by making any quick, jerky movement that simulates the beginning of a play.
The offensive team never coming to a one-second stop prior to the snap after the ball is ready for play. (A.R. 7-1-2:IV) This is an illegal shift that converts to a false start.
After a huddle or shift, all Team A players come to a stop and remain stationary for one second. Then, before the snap, two or more simultaneously change their positions. RULING: All 11 Team A players must again stop for one second before the snap, otherwise it is a live-ball foul at the snap for an illegal shift. Penalty — Five yards from previous spot (Rule 2-22-1). [Cited by 2-22-1-a, 7-1-2-a]
Ten Team A players shift while A1 remains stationary. A1 then starts moving backward before one second elapses and the ball is snapped. RULING: If A1, who moved, did not halt with the other Team A players for one second before the snap, it is a dead-ball foul at the snap for a false start. Penalty — Five yards from the succeeding spot [Cited by 2-22-1-a]
After the Team A players have stopped for one second, end A88 runs wide and stops, and before one second elapses, back A36 starts moving backward. RULING: Legal. But if back A36 starts before end A88 stops, the simultaneous movement of two players constitutes a shift, and all Team A players must be stationary for one second before the snap (Rule 2-22-1). [Cited by 2-22-1-a]
Team A is in a no-huddle offense and is moving to the line when the ball is made ready for play. Although some players settle into their positions and stop, at least one player never stops and is still moving when the ball is snapped. RULING: Dead-ball foul — false start, since Team A never satisfied the one-second rule before the snap. Officials should shut the play down and penalise Team A five yards. [Cited by 2-22-1-a, 7-1-2-b-5]
ARTICLE 3. Offensive Team Requirements — Prior to the Snap
Each of the following (a-d) is a dead-ball foul. Officials should blow the whistle and not allow the play to continue. After the ball is ready for play and before it is snapped:
Snapper. The snapper (Rule 2-27-8):
May not move to a different position nor have any part of his body beyond the neutral zone.
May not lift the ball, move it beyond the neutral zone or simulate the start of a play.
May take his hand(s) off the ball, but only if this does not simulate the start of a play.
Nine-Yard Marks.
Each Team A substitute must have been between the nine-yard marks. Team A players who participated in the previous down must have been between the nine-yard marks after the previous down and before the next snap. (A.R. 3-3-4:I)
All Team A players must have been between the nine-yard marks after a charged team timeout, an injury timeout, a media timeout or the end of a period.
Encroachment. Once the snapper is established, no other Team A player may be in or beyond the neutral zone [Exceptions: (1) Substitutes and departing players; and (2) offensive players in a scrimmage kick formation who break the neutral zone with their hand(s) to point at opponents].
False Start. No Team A player may commit a false start (Rule 7-1-2-b) or contact an opponent. (A.R. 7-1-3:III)
[a-d] Dead-ball foul: Five yards from the succeeding spot. [S7 and S19 or S20].
A21 is legally on the end of the line of scrimmage next to A88, who is in a three-point stance. Team A stops for one second while A21 and A88 are in the above positions, and then A21 moves to a legal backfield position and stops. Then A88 shifts to a wider position on the line. RULING: Legal if both A21 and A88 are stationary at the snap (Rules 2-22-1 and 7-1-4). [Cited by 2-22-1-a, 7-1-4-c]
A21 is legally on the end of the line of scrimmage next to A88, who is in the stance of a restricted lineman. Team A has stopped for one second when A21 leaves the line of scrimmage and goes in motion into the backfield. A88 shifts to a wider position on the line. RULING: A88 may break his three-point stance since he is now on the end of the line of scrimmage, but Team A must stop again for one second before the snap to make the play legal (Rule 7-1-4). [Cited by 2-22-1-a, 7-1-4-c]
B71 crosses the neutral zone into the Team A backfield and does not threaten any Team A player. A23, legally in the backfield, intentionally reaches to contact B71. RULING: Team A foul, false start. Penalty — Five yards from the succeeding spot. [Cited by 7-1-3-d, 7-1-4-c]
Snapper A1 lifts or moves the ball forward before backward motion of the snap. B2 bats the ball, causing it to roll loose with B3 recovering. RULING: Team A foul, illegal snap, ball remains dead. Penalty — five yards from succeeding spot (Rule 4-1-1). [Cited by 4-1-1]
A66, a restricted lineman between the snapper and the player on the end of the line, or A72, a restricted player on the end of the line of scrimmage:
Lifts a hand or hands from the ground immediately when threatened by B1, who is in the neutral zone. RULING: Blow the whistle immediately. Team B dead-ball foul, offside. Penalty — Five yards from the succeeding spot.
Lifts a hand or hands from the ground upon initial charge by B1, who (a) does not enter the neutral zone or (b) enters the neutral zone but does not threaten the position of A66 or A72. RULING: In both (a) and (b), blow the whistle immediately. Team A dead-ball foul, false start. Penalty — Five yards from the succeeding spot. [Cited by 2-18-2-d, 7-1-2-b-3-a, 7-1-5-a-2]
NOTE: Before the snap, a team B player who enters the neutral zone may threaten a maximum of three Team A linemen. If the Team B player enters the neutral zone directly toward a Team A lineman, then that Team A player and the two adjacent linemen are considered to be threatened. If the Team B player enters the neutral zone directly toward a gap between two Team A lineman, then only those two Team A players are considered to be threatened.
A80 on the end of the line, a non-restricted interior lineman or a back, misses the snap count and makes a casual movement that is not abrupt, misses the snap count and makes a casual movement that is not abrupt, quick or jerky and does not simulate the start of a play. RULING: No foul by Team A.
ARTICLE 4. Offensive Team Requirements — At the Snap
Violation of each of the following (a-c) is a live-ball foul; the play is allowed to continue.
Formation. At the snap, Team A must be in a formation that meets these requirements:
All players must be inbounds
All players must be either linemen or backs (Rule 2-27-4). (A.R. 7-1-4:VIII)
At least five linemen must wear jerseys numbered 50 through 79 (Exception: When the snap is from a scrimmage kick formation, paragraph 5 below.)
No more than four players may be backs.
In a scrimmage kick formation at the snap (Rule 2-16-10) Team A may have fewer than five linemen numbered 50-79, subject to the following conditions:
Any and all linemen not numbered 50-79 who are ineligible receiver(s) by position become exceptions to the numbering rule when the snapper is established.
Any and all such numbering-exception players must be on the line and may not be on the end of the line. Otherwise, Team A commits a foul for an illegal formation.
Any and all such players are exceptions to the numbering rule throughout the down and remain ineligible receivers unless they become eligible under Rule 7-3-5 (forward pass touched by an official or a Team B player).
The conditions in 5(a)-5(c) are no longer in effect if prior to the snap a period ends or there is a timeout charged to the referee or one of the teams.
Man in motion.
One back may be in motion, but he may not be moving toward his opponents' goal line.
The player who goes in motion may not start from the line of scrimmage unless he first becomes a back and comes to a complete stop.
A player in motion at the snap must have satisfied the one-second rule — i.e. he may not start his motion before any shift has ended (Rule 2-22-1-c).
Illegal shift. At the snap, Team A may not execute an illegal shift (Rule 7-1-2-a). (A.R. 7-1-3:I-II)
PENALTY – [a-c] Live-ball foul: Five yards from the previous spot [S19 or S20]. For live-ball fouls occurring when or after the snap starts during scrimmage kick plays other than field goal plays: Five yards from the previous spot or five yards from the spot where the subsequent dead ball belongs to Team B [S19 or S20].
A30, lined up legally as a back, starts in motion legally. He then turns so that he still is legally in motion but is facing his line of scrimmage using a "side-step" motion. At the snap, A30 is bent slightly forward at the waist and is either continuing his "side-step" motion or is "marking time" in place. RULING: Legal.
A30, lined up legally as a back, starts in motion legally. He then turns so that he still is legally in motion but is facing his line of scrimmage using a "side-step" motion. At the snap, A30, still behind the neutral zone, is moving slightly forward from the waist up or his "side-step" motion has veered slightly toward the line of scrimmage. RULING: Live-ball foul at the snap for illegal motion. Penalty — Five yards from the previous spot.
Team A's formation at the snap includes only 10 players: five players on the line of scrimmage numbered 50-79, one player on the line wearing number 82, and four players in the backfield. RULING: The formation is legal because Team A has no more than four players in the backfield and the required number of players (five) on the line wearing 50-79.
Team A, with fourth and eight, sends two substitutes numbered 21 and 33 into the game as exceptions to the mandatory numbering, and they are positioned legally on their line of scrimmage between the end players on the line of scrimmage. After the ball is snapped, a Team A player, 15 yards deep in a scrimmage kick formation, throws a legal forward pass to an eligible receiver for a 10-yard gain. RULING: Legal play (Note: The same play from a field goal formation is legal). [Cited by 1-1-1-b-2]
A33, an exception to the mandatory numbering rule, assumes a position on the line of scrimmage next to end A88. Before the snap, A88 shifts to a backfield position with the flanker on the opposite side of the line shifting to an end position on the line. RULING: Illegal formation. Since A33 is now an end, he is thus in an illegal position at the snap (live-ball foul). Penalty — five yards from the previous spot. [Cited by 1-1-1-b-2]
A33, an exception to the mandatory numbering rule, assumes a position on the line of scrimmage to the left of snapper A85, who is on the end of the line. All other Team A players on the line are to A33's left. After a one-second stop, all players on the line except A85 legally shift to the other side of the ball, with A33 now positioned as an end. RULING: If the ball is snapped with A33 in this position, it is a foul for an illegal formation. Penalty — five yards from the previous spot. [Cited by 1-1-1-b-2]
At the B-45, Team A is in a formation in which the snapper A88 is on the right end of the line. The linemen on his left are numbered 56, 63, 72, 22, 79, and 25. There are four players in the backfield. A44 is ten yards directly behind the snapper, and the other backs are to his left a few yards behind the line of scrimmage. No player is in position to hold for a place kick. After the snap, A44 completes a pass to snapper A88 for a touchdown. This happens on (a) first or second down; (b) third or fourth down. RULING: Because there are only four offensive linemen numbered in the 50-79 range, the legality of the play depends on whether Team A is in a scrimmage kick formation. One of the requirements for such a formation is that "it is obvious that a kick will be attempted." (a) Illegal formation: on first or second down, a team is very unlikely to punt, so it is not obvious that a kick will be attempted. (b) Legal play: touchdown. On third or fourth down a team may be likely to kick. (Rule 2-16-10)
Team A lines up with A11 ten yards directly behind the snapper. The other three backs are split wide, all outside the tackle box. Only four Team A linemen have uniform numbers between 50 and 79. A11 receives the backward pass from the snapper with Team A in this formation. RULING: Live-ball foul. Illegal formation, not enough players numbered 50-79 on the line of scrimmage. Team A is not in a scrimmage kick formation, because in this alignment it is not obvious that a kick will be attempted. (Rule 2-16-10) [Cited by 7-1-4-a-2]
Team A lines up with six players on the line of scrimmage, five of whom are numbered in the range 50-79. A seventh player, A88, is in the normal location of an end, but he is positioned so that his feet and shoulders are clearly at a 45-degree angle with the line of scrimmage. The other four players are clearly in the backfield. The ball is snapped with Team A in this alignment. RULING: Live-ball foul, illegal formation. Every Team A player must be either a lineman or a back; A88 is neither.
ARTICLE 5. Defensive Team Requirements
The defensive team requirements are as follows:
Each of the following (1-5) is a dead-ball foul. Officials should blow the whistle and not allow the play to continue. After the ball is ready for play and before the ball is snapped:
No player may touch the ball except when moved illegally as in Rule 7-1-3-a-1, nor may any player contact an opponent or in any other way interfere with him. (A.R. 7-1-5:I-II)
No player may enter the neutral zone threatening an offensive lineman and causing him to react immediately, or commit any other dead-ball offside foul (Rules 2-18-2 and 7-1-2-b-3 Exceptions). (A.R. 7-1-3:V) (A.R. 7-1-5:III)
No player shall use words or signals that disconcert opponents when they are preparing to put the ball in play. No player may call defensive signals that simulate the sound or cadence of, or otherwise interfere with, offensive starting signals.
Player(s) aligned in a stationary position within one yard of the line of scrimmage may not make quick, abrupt or exaggerated actions that are not part of normal defensive player movement. (A.R. 7-1-5:IV)
No player may cross the neutral zone and without making contact continue his charge toward any back.
[1-5] Dead ball foul. Five yards from the succeeding spot [S18 or S21].
When the snap starts:
No player may be in or beyond the neutral zone at the snap.
All players must be inbounds.
Live-ball foul. Five yards from the previous spot [S18].
Snapper A1 lifts the ball before backward passing it, B2 bats the ball away and B3 recovers the ball. RULING: Team A dead-ball foul, illegal snap. The ball remains dead because it was not put in play by a legal snap. Penalty — Five yards from the succeeding spot. Team A retains possession. [Cited by 2-23-1-b, 2-23-1-f, 4-1-1, 7-1-5-a-1]
Snapper A1 legally begins the snap, but B2 bats the ball before A1 completes the snap, and B3 recovers the ball. RULING: Team B foul and the ball remains dead. Penalty — Five yards from the succeeding spot. Team B may not touch the ball until it has been snapped. Team A retains possession. [Cited by 2-23-1-b, 2-23-1-f, 4-1-1, 7-1-5-a-1]
Before the snap, a Team B player crosses the neutral zone and, without making contact, continues his charge behind a Team A lineman and directly toward the quarterback or kicker. RULING: A Team B player who is on team A's side of the neutral zone and is moving in a direct path toward the quarterback or kicker while he is behind an offensive lineman is considered to be interfering with Team A's formation. Penalty — Team B dead-ball foul, offside. Five yards from the succeeding spot. [Cited by 2-18-2-e, 7-1-5-a-2]
Linebacker B56 is stationary within one yard beyond the neutral zone. As the offense is calling its snap signals, B56 feints toward the line in an obvious attempt to induce a false start by the offense. RULING: Dead-ball foul, delay of game. Five-yard penalty at the succeeding spot. [Cited by 7-1-5-a-4]
ARTICLE 6. Handing the Ball Forward
No player may hand the ball forward except during a scrimmage down as follows:
A Team A back may hand the ball forward to another back only if both are behind their scrimmage line.
A Team A back behind his scrimmage line may hand the ball forward to a teammate who is on his scrimmage line at the snap, provided that teammate leaves his line position by a movement of both feet that faces him toward his own end line and is at least two yards behind his scrimmage line when he receives the ball. (A.R. 7-1-6:I)
PENALTY – Five yards from the spot of the foul; also loss of a down if by Team A before team possession changes during a scrimmage down [S35 and S9].
Eligible receiver A83 is on the end of his scrimmage line and adjacent to the snapper in an unbalanced "T" formation. Quarterback A10 receives a handed snap and immediately conveys the ball to A83. RULING: If the movement of the ball is forward and it left A10's hand before having been touched by A83, it is a legal forward pass. A83 may have turned sufficiently to receive a backward pass or handoff (legal); but if the action immediately followed the snap, it is not likely that a handoff would have had time to comply with the "turn" and "two yards behind the line" requirement. [Cited by 7-1-6-b]
ARTICLE 7. Planned Loose Ball
A Team A player may not advance a planned loose ball in the vicinity of the snapper.
Five yards from the previous spot and loss of down [S19 and S9].


text:
Paratropidia is a subgenus of hoverflies from the family Syrphidae, in the order Diptera.

Species
Orthoprosopa alex (Thompson, 1972)
Orthoprosopa bilineata (Walker, 1849)
Orthoprosopa margarita (Thompson, 1972)
Orthoprosopa multicolor (Ferguson, 1926)
Orthoprosopa pacifica (Hippa, 1980)

References

Diptera of Australasia
Eristalinae
Taxa named by Frank Montgomery Hull
Insect subgenera

redpajama_set_name: RedPajamaWikipedia


Move with freedom in these men's Combat Prime MMA shorts. From cardio to technique-based work, an interior silicone grip panel is designed to stay put, helping keep precision on point. You'll love the bonded seams for their lay-flat, chafe-free comfort. The internal drawcord cinches to fit just right.


We have a requirement to development a widget and we need to test the widget on Jive 5.0.2 Instance.
I'm using the below script to create a project but its giving the following error. Can anyone help me to get 5.0.2 instance.
5.0.2-SNAPSHOT' in repository jive.snapshots (https://maven-secure.jivesoftware.
The name of the archetypeVersion stays the same through version changes, you don't modify it to match your version.
I tried with following mvn command and it worked.


text:
http://dx.doi.org/10.1136/ebm.8.1.32-a
Terms used in therapeutics
Allocation concealed: deemed to have taken adequate measures to conceal allocation to study group assignments from those responsible for assessing patients for entry in the trial (e.g., central randomisation; sequentially numbered, opaque, sealed envelopes; sealed envelopes from a closed bag; numbered or coded bottles or containers; drugs prepared by the pharmacy; or other descriptions that contain elements convincing of concealment.
Allocation not concealed: deemed to have not taken adequate measures to conceal allocation to study group assignments from those responsible for assessing patients for entry in the trial (e.g., no concealment procedure was undertaken, sealed envelopes that were not opaque, or other descriptions that contain elements not convincing of concealment).
Unclear allocation concealment: the authors of the article did not report or provide us with a description of an allocation concealment approach that allowed for classification as concealed or not concealed.
Blinded: any or all of the clinicians, patients, participants, outcome assessors, or statisticians were unaware of who received which study intervention. Those that are blinded are indicated in parentheses. If "initially" is indicated (e.g., blinded [patients and outcome assessor initially]), the code was broken during the trial, for instance, because of adverse effects.
Blinded (unclear): the authors did not report or provide us with an indication of who, if anyone, was unaware of who received which study intervention.
Unblinded: all participants in the trial (clinicians, patients, participants, outcome assessors, and statisticians) were aware of who received which study intervention.
WHEN THE EXPERIMENTAL TREATMENT REDUCES THE RISK FOR A BAD EVENT
RRR (relative risk reduction): the proportional reduction in rates of bad events between experimental (experimental event rate [EER]) and control (control event rate [CER]) patients in a trial, calculated as |EER—CER|/CER and accompanied by a 95% confidence interval (CI).
ARR (absolute risk reduction): the absolute arithmetic difference in event rates, |EER—CER|
NNT (number needed to treat): the number of patients who need to be treated to prevent one additional bad outcome; calculated as 1/ARR, rounded up to the next highest whole number, and accompanied by its 95% CI.
WHEN THE EXPERIMENTAL TREATMENT INCREASES THE PROBABILITY OF A GOOD EVENT
RBI (relative benefit increase): the increase in the rates of good events, comparing experimental and control patients in a trial, also calculated as |EER—CER|/CER.
ABI (absolute benefit increase): the absolute arithmetic difference in event rates, |EER—CER|.
NNT: calculated as 1/ABI; denotes the number of patients who must receive the experimental treatment to create one additional improved outcome in comparison with the control treatment.
when the experimental treatment increases the probability of a bad event
RRI (relative risk increase): the increase in rates of bad events, comparing experimental patients to control patients in a trial, and calculated as for RBI. RRI is also used in assessing the effect of risk factors for disease.
ARI (absolute risk increase): the absolute difference in rates of bad events, when the experimental treatment harms more patients than the control treatment; calculated as for ABI.
NNH (number needed to harm): the number of patients who, if they received the experimental treatment, would lead to one additional person being harmed compared with patients who receive the control treatment; calculated as 1/ARI.
Confidence interval (CI): the CI quantifies the uncertainty in measurement; usually reported as 95% CI, which is the range of values within which we can be 95% sure that the true value for the whole population lies.
Terms used in diagnosis
Sensitivity: the proportion of patients with the target disorder who have a positive test result (a/[a + c]) (Figure).
Specificity: the proportion of patients without the target disorder who have a negative test result (d/[b + d]) (Figure).
Pretest probability (prevalence): the proportion of patients who have the target disorder, as determined before the test is carried out ([a + c]/[a + b + c + d]) (Figure).
Pretest odds: the odds that the patient has the target disorder before the test is carried out (pretest probability/[1 — pretest probability]).
Likelihood ratio (LR): the ratio of the probability of a test result among patients with the target disorder to the probability of that same test result among patients who are free of the target disorder. The LR for a positive test is calculated as sensitivity/(1 — specificity). The LR for a negative test is calculated as (1 — sensitivity)/specificity.
Post-test odds: the odds that the patient has the target disorder after the test is carried out (pretest odds × LR).
Post-test probability: the proportion of patients with that particular test result who have the target disorder (post-test odds/ [1 + post-test odds]).
Comparison of test results with a diagnostic standard.
Copyright 2003 by the ACP-ASIM and BMJ Publishing Group for Evidence-Based Medicine and by the ACP-ASIM for portions reproduced from ACP Journal Club

redpajama_set_name: RedPajamaCommonCrawl


text:
Фортитјуд Вали () је предграђе Бризбејна у Квинсленду у Аустралији. Према подацима из 2006. у њему је живело 4.469 становника.

Спољашње везе

Градови у Аустралији
Википројект географија/Насеља у Аустралији
Квинсленд


text:
<?php

use Illuminate\Database\Schema\Blueprint;
use Illuminate\Database\Migrations\Migration;

class CreateAnalystClientTable extends Migration
{
    /**
     * Run the migrations.
     *
     * @return void
     */
    public function up()
    {
        Schema::create('analyst_client', function (Blueprint $table) {
            $table->increments('id');
            $table->integer('analyst_id');
            $table->integer('client_id');
        });
    }

    /**
     * Reverse the migrations.
     *
     * @return void
     */
    public function down()
    {
        Schema::drop('analyst_client');
    }
}

redpajama_set_name: RedPajamaGithub


The conference, which will take place during the PHARMATechExpo trade show (from 17th to 19th October), will host the session entitled "Industry 4.0: Trends and Solutions in Pharma packaging" and will include a Roundtable on Track&Trace (Serialization and Marking). Speakers at the event will be Elena Stupatska, Product manager of the Neri Division of the Marchesini Group and Matteo Barbieri, R&D Product Manager of SEA Vision.
It will be an important opportunity to listen to what experts of the sector, the Ukraine regulatory bodies and pharmaceutical companies, have to say. Topics will include standards on Track&Trace in ex CIS states (especially Ukraine and Belarus, where there is always a growing demand for serialization and aggregation technologies for pharmaceuticals) and the deadlines to uniform the various relevant European laws. During the event, the Marchesini Group will illustrate the benefits offered by its serialization machines, among which the BL A309 and BL A415.
The BL A415 labelling machine is one of the solutions bought by InterChem Odessa - one of the top Ukrainian producers of pharmaceuticals and pharmaceutical substances - a customer of the Marchesini Group that will be attending the conferences. In May 2016, InterChem opened a new industrial complex to develop and produce modern and top quality pharmaceuticals, which a growing market such as Ukraine strongly needs. The plant worth 40 million Euro has quadrupled its production capacity and added capsules and powders in sachets to InterChem's range of products. One of the lines that InterChem bought is indeed made up of a BL A415, one of the models belonging to the large BL A family: machines for labelling and tracking cartons, whose features of versatility and reliability are their key strongholds.
SEA Vision's serialization system installed on the BL A415 can manage Level 1 devices, thus managing printers and performing the physical inspection of serialized codes or variable data printed on the cartons (lateral flap or on top side). However, this is only the emerging surface of the serialization solution. SEA Vision's Track&Trace complete solution covers from level 1 to level 3 and is composed by a Site Server, HMI Supervisor, beyond vision systems for serialization and aggregation equipped on the packaging machines. Thanks to a strong and configurable structure, this solution satisfies the needs related to the ever-changing traceability regulations that are coming into force throughout the globe.


Filter Media covers a wide variety of products. Aquarium Carbon, GFO reactors, BioPellets, Chemi Pure, and other useful additives for your aquarium. We also sell all the filter media reactors that you would need for your aquarium to properly use carbon, gfo, or any other filter media. If your thinking of getting some filter media or a media reactor for your aquarium, make sure it is properly sized for your tank. Be sure to follow the recommendation for all the aquarium GFO and filter media we sell.
Having such a large selection of aquarium filter media, we have actually started to carry the Simplicity brand of carbon and gfo media. Simplicity is a high quality filter media with a cheaper price tag. Make sure to check this section for all your gfo reactors, aquarium carbon, and reef supplies.


Instead of suitcases, foster youth are often given trash bags to transport their belongings from placement to placement. For one youth, garbage bags evoke memories of shame. "The clear ones were the worst, because you could see through them." She remembers holding her most prized possessions tightly in her arms, so they wouldn't get damaged or lost if the bag ripped.
A hospital gown can become an institutionalized youth's entire wardrobe. This thin garment served as a foster youth's daytime clothing, robe, and pajamas. Teen years are characterized by an acute attention to fashion and clothing. Imagine the impact on a teenager's self-image after being forced to only wear a hospital gown day after day, week after week.
This woman has broken the cycle of trauma that is so prevalent in foster youths' lives. She broke that cycle for her daughter and is now a proud mother and abuelita (grandmother). Her daughter is now in law school.
His tattoo represents his belief that you should never give up on yourself, and that you can succeed no matter what. It was inspired by Immortal Technique, an urban activist rapper. Gilbert was especially struck by the lyrics, "Every saint has a past, every sinner has a future", as he felt they defined him. Gilbert was able to graduate high school; and since then, he has gone on to learn multiple languages, supports himself, and is an accomplished barber.
Anastasia and her twin sister Aja were the only infants to survive a birth of quintuplets. The two twins were born with their hands fused together. Although the sisters were placed in different foster homes, thereby separating them for a number of years, it is not surprising that the two sisters have reunified and established an incredibly close relationship.
This photograph is of Sade at one of her favorite places in the world: a library. Sade grew up defending herself, fighting back and knowing how hard it is to survive in Oakland. Libraries were a safe space for her—a place to let down armor and explore new worlds. Sade went on to attend a historically black college and is now in graduate school at the University of California at Berkeley.
This youth once had a goal to be high every day. His tattoo, "forever faded", was his commitment to that goal. Many foster youth use drugs and alcohol to self-medicate for emotional pain, confusion and the feeling of being lost. It is important for youth to receive comfort, support, love and attention. When this happens, the need to fade out ...fades out.
Due to lack of support and affordable housing alternatives, many youth who emancipate from care find themselves outdoors and homeless. Sleeping bags that provide adequate protection are usually beyond the budget of a homeless youth. Youth are left to use cheaper sleeping bags that leave them exposed to harsh environmental conditions. There is also a strong stigma to being homeless and police harassment is common.
Throughout her life, Marcy was able to confront and overcome many difficulties, such as addiction and sexual abuse. Even when faced with these challenges, Marcy sought to focus on the positives. Her firm belief that everything happens for a reason and that her life has a bigger purpose gave her the strength to keep fighting. Getting her tattoo, which reads: "I'm not afraid I was born to do this", was a way for her to validate her ability to survive. Although her tattoo sometimes prevents work opportunities and causes her to experience judgement from others, Marcy would never consider removing it.
Throughout Russell's life he lacked a sense of structure and permanence. Until he was 9 he lived a carnie lifestyle with his biological family. After which, he bounced between living on the streets and in foster care. Many foster youth struggle with not having a space to call their own, and for Russell, he found that getting tattoos was a way for him to create a space that no one could take away from him. His tattoos became a permanent structure, a spiritual home that he could hold on to. Having found a sense of stability, Russell realized that he was not living up to his full potential and it was time to reexamine his life. At 43 years old he was able to get his GED and enrolled in UC Berkeley, double majoring in Anthropology and East Asian Studies. He plans to apply to law school and continue his education to eventually earn his PhD.
Teddy bears are often a source of comfort for children throughout different life events and transitions. A youth's biological sister, who lived in a different residential facility, gave her this bear as a tangible connection to her sister and source of comfort as she transitioned from placement to placement.
After running away from kinship care at the age of 13, Valentino was living in shelters and working the streets of Los Angeles. Becoming victims of CSEC (Commercial Sexual Exploitation of Children) is a common scenario for many foster youth because of the lack of stability and support in their lives. However, Valentino was able to find strength in his relationship with God and his desire to create a better life for himself. Valentino's tattoo was inspired by the story told in Memoirs of a Geisha; as the idea of being taken away from your home and being forced to entertain men, resonated with him. The tattoo serves as a reminder of his former life.
Ipo's chest piece was a way for her to release pain and come to terms with her identity. The skull, bouquet, and four names symbolize the women in her life that provided her both heartache and love; and ultimately made her the woman that she is today. The dates were added after Ipo attended a conference where she experienced truly seeing herself for the fist time and began to build her chosen family, with whom she is still very close to today.
While Julia's swing story includes the experience of loss and sorrow, it also can be interpreted through the lens of joy. Julia, now 48, still remembers the elated feeling she had while swinging that morning. Identifying joy and freedom in life is an essential part of healing, health and embodiment.
A common narrative in a youth's entry into foster care includes alcohol and drugs. This is particularly true if their parents are habitual users. For some youth, the use of drugs and alcohol can become a coping mechanism to deal with trauma, grief and loss. Being faced with breaking the cycle of generational addiction is an enormous burden to inherit.


The Cantabrian Discus: now available from Stackhouse.
After more than half a century of proven performance in track and field competition, Cantabrian is back. Stackhouse is proud to announce their offering of these excellent products, starting with the Cantabrian line of discus. Commissioned to design and supply the equipment for the 1948 Olympic games in London, Cantabrian has since seen their implements used in every Olympic and Commonwealth Game, and at most international competitions. Now, Cantabrian is once again the discus of choice for beginning throwers and Olympic medal-winners alike.
It's no secret that Stackhouse products are used by top athletes in professional competition, with award-winning results. Our "Stackhouse by ATE" line of discus, shots and hammers, and our Newton starting blocks are consistently chosen by accomplished athletes, worldwide. And we maintain the same dedication to quality in our volleyball, football, field marking, soccer and baseball equipment.
No matter the sport, at Stackhouse, product value means more than a great price. Consider the quality, performance and insight that comes from over 60 years of equipping athletes and organizations. Add dedicated customer support and same-day shipping service, and you have a winning combination assembled for your complete satisfaction.


posted this and the group where it was posted.
First, when Lawrence McCurry appears to be the rational person in the discussion, that says a great deal about the character of the other person. Second, what?!?!
Probably because the attack was perpetrated by someone more in line with Brazau's ideological viewpoints.
What is clear is that Brazau is anti-Muslim and that he views every Muslim as an extremist.
But don't for a moment think that he rejects religion playing a primary role in government decisions so long as it is the religion that he subscribes to.
Saga is a white nationalist singer from Sweden.
This is her cover of a RaHoWa song.
Lana Lokteff is a white supremacist who is found on YouTube.
Kevin Johnston and Ron Banerjee: "Hallmarks of Hate"
Back in August 2017, Kevin "Poodle" Johnston and Ron Banerjee (Islamophobic, misogynistic, and racist bigots who have been featured on these pages several times already) were sued by Mohamad Fakih, the owner of Paramount Fine Foods, falsely claiming that Mr. Fakih had ties to extremism. Since then Johnston has continued his vendetta posting more videos attacking the integrity of Mr. Fakih and Banerjee hasn't let up either.
Fakih sued for defamation; Johnston and Banerjee wrote in their defence statements that they were exercising their freedom of expression and raising issues of public interest — namely, their objection to the federal government's $10.5 million settlement paid to Guantanamo Bay detainee Omar Khadr.
But before the case has even gone to trial, a Superior Court of Justice judge has already delivered a preliminary victory for Fakih, ruling Banerjee's videotaped comments "involve hallmarks of hate" and do not relate to a matter of public interest.
This also means his statements are unprotected by a 2015 Ontario law designed to stop nuisance lawsuits aimed at silencing free expression over matters of public interest. Banerjee invoked the law to try to quash the suit but the judge ruled that allowing him to justify his comments by claiming public interest would be "trivializing" the law's objectives.
Both Banerjee and Johnston have denied the allegations against them in their statements of defence. Banerjee said he has never promoted hatred against any group or people; Johnston — who is also currently facing hate crime charges — said any allegation that he "ever promoted hate is a fabrication." With respect to his statements that Paramount Fine Foods only served people who are "jihadist" or raped their wives, Banerjee said the comments were "satirical"and published by Johnston, not him.
The ruling can be found here in its entirety.
ARC has already published articles that connect the Progressive Conservative Premier-designate Doug Ford to a host of white nationalist groups and individuals.
White Nationalist Ronny Cameron: Canada' Biggest Problem? Asian Immigration.
The three people who were praying inside had left the mosque and were still in the parking lot when a fire started at the building's south entrance at around 11 p.m. on June 16.
Surveillance footage recorded by the mosque's security cameras captured the flames as well as a person in a dark hoodie leaving the property with what appears to be a red jerrycan shortly after 11 p.m.
"It was quite brazen," Baterdouk said. "Typically you would think that someone who wants to commit arson or vandalism, if they see people ... they probably would change their mind. But this individual, it does not seem to be a concern for him.
"That makes it a little bit more scary to see the fact that the individual knows that there's people on the property, whether they're inside or not, and he still went ahead with it."
"Our doors are always open," Pettitt said. "If there is any concern or feelings of malice or confusion about our faith and our religion, come talk to us or any member of the Muslim community at the mosque. We have plenty of information and they're always willing to answer questions."
These are the reactions that one would hope to see from everyone.
It has been an interesting week in the news. Donald Trump attacks traditional allies including Canada (specifically the Canadian prime minister) and his supporters in this country eat it up. Some of them have openly advocated for the invasion of the country to remove the Liberal government by force. Others "merely" want him to impose punitive tariffs on the country so that Canadians are made to suffer for the folly of electing the Liberals. Most of those self-described "patriots" ARC keeps an eye on unironically continue to refer to Justin Trudeau as a traitor. In the meantime these same "patriots" celebrate when Trump refers to a man who inherited his dictatorship from his father and grandfather and who's government is responsible mass execution of dissidents and the imprisonment of anyone who is believed to oppose the regime as being "tough" but who still "loves his people."
Really though, none of this is at all surprising as these elements of the far right in Canada, the United States, and many other countries have openly embraced ethnic nationalism and authoritarianism despite still claiming to favor democratic freedoms.... so long as those democratic freedoms are only afforded to people who look and think like they do.
POLL: 52% of Republicans would support postponing the 2020 presidential election if President Trump called for it.
Miller and Davis' paper quotes alt right, neo-fascist leader Richard Spencer, who in a 2013 speech declared: "We need an ethno-state so that our people can 'come home again'… We must give up the false dreams of equality and democracy." Ethnic cleansing is impossible as long as marginalized people have enough votes to stop it. But this roadblock disappears if you get rid of democracy. Spencer understands that white rule in the current era essentially requires totalitarianism. That's the logic of fascism.
Yeah, I know the last few articles have been a bit Myatt-centric. Just hear me out on this one.
We can laugh (and I did) about the clumsiness of Myatt talking about running "in politics" as well as the fact that this is a position that is so patently unconstitutional the courts would strike such a law down immediately (this assuming that Myatt would ever find himself in a position to enact such a law which seems less likely than me beating Justify in a footrace). It would also ironically disallow the first two prime ministers of the country from being involved in politics as well as numerous other Canadians who have emigrated from somewhere else.
Well, when it comes to the House of Commons and the Senate federally, there were a total of 56 who are citizens of Canada through naturalization. However it is more clear that Myatt thinks that some people "look" Canadian and others don't. Considering he had 46 people seemingly agreeing with him, it seems that there are others who feel the same way.
On the archived website, Chitcott had published articles with titles such as "Wholistic Racialism", "Please Rise and Sing", and "The Native Conflict" as well as some really horrible poetry.
Congratulations Steven. Tyler Chilcott likes the cut of your jib.
The first person who posted "Blood and Earth" hearkens to the "Blood and Soil" ethnic nationalism heard at the Charlottesville rally last summer and, even more prescient, was a slogan used by the Nazis (Blut und Boden).
Yeah, I know. I sort of beat a dead horse at the end with all the video clips. I had a little too much fun with it, but it did serve as a reminder of the awesomeness of Fatboy Slim.
In any case, this was the second of two videos Gallant posted on the same day. ARC posted that first video in the article detailing the Northern Guard's falling out with Steven Myatt; Gallant was very blunt, specific, and kind comically over the top in describing his beef with Myatt while also strongly implying that others who have been critical of Gallant are also leaving what is increasingly looking like a shrinking ship.
I can only imagine that Myatt read about the KKK link to the Northern Guard through ARC's article on the subject. This, and all the other times that these far-right dotards provide links to ARC articles (including the Canadian Combat Coalition, La Meute, and many others) in order to inform their membership sort of hurts their claim that ARC is "fake news."
Next I expect Gallant to post a video warning Myatt that he's going to be put on notice.... but not actually do anything because Nick Gallant is sort of a weak leader.
You know who isn't weak though?
Steven Myatt and Northern Guard: Friends Off!
You know, it really is funny how quickly the individuals and groups we cover on the blog fall out with each other often over incredibly petty things.
Yeah, you do have to be on the page to see it.
That was rather interesting to say the least.
There was no response from any of the three posting on Cameron's board, however just a few days ago Nick Gallant decided come out of his hole after not seeing his shadow and respond to the question.


It's springtime, and here in New England that means short sleeves and runny noses. In the absence of sleeves, runners must master the technique of the snot rocket. Also called the farmer's blow, it's a great way to effectively clear the nasal passages and breathe better on the run. Once mastered, you will join the ranks of grizzled veterans and other runners that don't mind being gross as much as they mind suffering politely with clogged airways.
1. Hold your index finger to the side of your nose a push one nostril shut.
4. Close your mouth and forcefully blow out your nose.
6. Carry on as if nothing happened while covertly checking your shirt and chin for evidence.
You can do this as you stand, walk, or run. When moving, a clean release becomes incrementally more difficult to achieve. And, if you have long hair or a beard, use caution. While considered normal running behavior, this move will get you thrown out of most respectable establishments and shouldn't be attempted if a handkerchief or tissue can be used instead. However, it's perfectly acceptable behavior by both men and women on the run.
Closely related to the snot rocket is the spit-on-the-run move. This is a good way to get rid of excess mucous and energy gel residue. As with the snot rocket, be sure to lean away from the body and spit forcefully. Be aware of your surroundings and the physics of wind, force, speed and viscosity. You'll need several feet of open space behind and to the side of you, to successfully perform this maneuver.
Practice makes perfect. Try these techniques during solo training runs before using them on race day. For visual learners, Mark Remy has produced an excellent video on the art of the Framer's Blow.
This blog was posted with permission from Saltmarsh Running. Check out the original post and more from Jason Saltmarsh at Saltmarsh Running.
Results Are In: Running Girl Wins Brooks Emoji Madness!
Results are in! The running girl beat out the track emoji in Brooks' Emoji Madness and is our official winner!


An ocean-view villa with four spacious ensuite bedrooms with spectacular views of Jimbaran Bay.
A fully equipped luxury family villa overlooking Jimbaran Bay.
This wonderful property offers spacius indoor and outdoor living, and only a few minutes away from fine Canggu and Seminyak dining spots.
This beautiful four-bedroom freehold property sits on 2,000m2 with a build size of 1,064m2 overlooking Jimbaran Bay.
A villa set on over 1400 square metres of tropical garden with four private bedrooms in Bali's Berawa Beach.
A four-bedroom freehold villa in sought-after Seminyak, Bali.


text:
SSongCast University
SongCast University / Interviews with Industry Professionals: Meet Musician and Producer Chris Cubeta
Interviews with Industry Professionals: Meet Musician and Producer Chris Cubeta
Mike Wright
Aug 24, 2011 , SongCast University
In this installment of interviews with industry professionals, we will get the inside scoop from musician and producer Chris Cubeta, owner of GaluminumFoil Productions in Brooklyn, and lead singer of the band Chris Cubeta and the Liars Club.
Over the course of his career, Cubeta has worked with the likes of John Hammond Jr., Tony Levin, Golden Earring, Ahmad Jamal, Bob Johnston (Bob Dylan, Willie Nelson) Eddie Kramer (Led Zeppelin, Jimi Hendrix), Augie Meyers, David Hidalgo and Oz Fritz.
At his Williamsburg-based full-service recording, mixing, and mastering facility (which he constructed himself!), GaluminumFoil, he has produced records for dozens of amazing up and coming artists. Among them, Wakey!Wakey!, who charted on iTunes at #1 in the singer/songwriter category.
His band, Chris Cubeta and the Liars Club, released their third studio album this summer and are preparing to embark on a tour of Germany this Fall.
Q. What are three things indie musicians should know before their first recording session at your studio?
A. 1. We like to have fun. But you should come to our studio prepared to work hard.
2. Bringing the engineer coffee, vodka or tacos from across the street will make your recording sound better.
3. Don't show up early! We are booked pretty tightly.
Q. What should indie musicians look for in an engineer?
A. Someone who really cares about what they are doing and treats you and your music with care.
Q. What's more important: fancy cutting edge equipment or the people using it?
A. The people using it. I have heard many amazing records made on very modest equipment and I have also heard really lousy recordings made at million dollar studios.
Q. What are some pros/cons about working with a smaller studio vs. a larger studio?
A. I don't think the size of the studio matters much. I think people should work wherever they feel comfortable, both artistically and financially. Pick a studio that you believe you can be at your best while recording. Listen to recordings that were made at the studio and decide if the sound is what you're looking for.
It's an on-going process that I don't think I will ever fully understand. I'm constantly learning and trying to better myself as a musician, producer, engineer and most of all as a person.
www.chriscubeta.com
http://www.galuminumfoil.com
Tell us what you think! Any other tips you'd add about the recording process and the pros and cons of working with a professional producer?
Up next: How bands can benefit from Google+.
The SongCast Crew
Your Guide to Indepent Music Festival – Nashville
What is an 'Indie' Record Label?
How to Land a Gig at a Music Festival


For preventing unwanted movement or spillages, nothing beats Dycem non-slip mats. Non-slip on both sides, the mats grip a wide range of surfaces, whilst providing an unbeatable grip for any item. Try using your Dycem non-slip mats in the kitchen to prevent crockery and appliances from sliding, or place on trays when serving food and drink. You can even use them to secure items in vehicles and prepare food on boats. Objects have been proven to grip up to a 45 degree angle.


text:
This week on Revenge of the 80s Radio, we play new music from Andy Prieboy, The Stray Cats and Wang Chung plus classics from Mental As Anything, Doug & the Slugs, Kids in the Kitchen, A Flock of Seagulls and more
Josie Cotton is back with us this week; she has a new album coming in the fall, a new single out soon and gearing up for a re-release of her 2011 Pussycat Babylon.
Our Jan 25-31 show with J. C. Carroll of The Members is up
J. C. Carroll, longtime Members member and multi-instrumentalist, talks with host Chris Cordani on the next Revenge of the 80s Radio. We start with Carroll's early days working with then-future star Graham Parker, joining the Members, his business acumen, solo work, movie scores and his newest album: West Byfleet Selfie.
Our Nov 30-Dec 6 show is up: A Nash the Slash documentary in the works
Chris talks with Kevan Byrne, a producer working on the upcoming documentary about classic alternative musical innovator Nash the Slash titled So You Think You Were Normal?
Our Nov 16-22 show with Devon Buchanon is up
Devon Buchanon joins Chris once again on this week's Revenge of the 80s Radio. We discuss some of his work with video producer David Rose, look back at his music, pdfs, his fight against Stage 4 Cancer and a possible cure in a special drug trial.
Our Nov 2-8 show is up
This week's Revenge of the 80s Radio will feature new music from Paul Collins and Julian Cope plus tracks from The Divinyls, Icehouse, The Flirts and more.
Our Oct 12-18 show with Color Songs is up
This week's Revenge of the 80s Radio is up. We play music with colors in the title, featuring tracks from The Stranglers, Midnight Oil, Visage, Toni Basil, The Pogues and more.
Our Sept 28-Oct 4 show is up
This week's Revenge of the 80s is up: an encore broadcast of our German Music Special: During Hour 2, we play music from German New Wavers of the 80s, many of them part of the Neuve Deutshe Welle movement, featuring tracks from Nena, Trio, The Spider Murphy Gang, Spliff, Hubert Kah, Alphaville and many more.
Our June 22-29 show is up: Midge Ure on "Orchestrated"
Midge Ure is back with us on Revenge of the 80s Radio. The acclaimed musician has a new album out, one that was two years in the making: Orchestrated.
Our June 15-22 show podcast/synd edit is up
This week, we play new music from Midge Ure, Squeeze and Blaine L. Reininger plys classic from King, The Clean, Mental As Anything, Adam and the Ants, Taco, The Motels and more.
Our June 1-7 show is up: 80s songs with the artists' names in the titles:
This week's Revenge of the 80s Radio is dedicated to songs with the artists names in the titles, featuring music from Immaculate Fools, Dog Police,Dominatrix, Falco, Madness, Tear Garden, Book of Love and more
Our May 18-24 show is up
This week on Revenge of the 80s Radio, we play new music from Gang of Four and Kim Wilde plus tracks by Shonen Knife, ABC, The Saints, Falco, Q-Feel and more
Our 80s Movie Soundtrack Special is up
This week on Revenge of the 80s Radio, we play music from iconic (and some not-so-iconic) 80s movie soundtracks featuring cuts from Kid Creole & The Coconuts, The Divinyls, The Stems, Hazel O'Connor, Deborah Harry, E. G. Daily, David Bowie and more.
Our April 20-26 show is up with New England classic-alt artists
In hour 2, we feature classic alternative artists from New England with music by Robin Lane and the Chartbusters, The Del Fuegos, Jonathan Richman, The Fools, Til Tuesday and many more.
Our April 13-19 show is up
This week's Revenge of the 80s Radio premiers tonight. We play new tracks from Kid Creole & the Coconuts and Blaine L. Reininger plus classics from Men Without Hats, The Beloved, Prefab Sprout, The Time Bandits, Amazulu and more classic alternative artists.
Our week of Feb 9-16 show podcast/syndication edit is up
This week on Revenge of the 80s radio, we play new tracks from Simple Minds, Paul Kelly and Orchestral Maneuvers in the Dark plus classics by Julian Cope, The Hoodoo Gurus, Icicle Works, The Cramps, Rational Youth and more.
Our Feb 2 show with Steven Jones and Logan Sky podcast/synd edit is up
Steven Jones and Logan Sky are back with us again on Revenge of the 80s Radio with a new album, Hans Und Lieselotte. The music is inspired by their recent trip to Estonia
Our first show of 2018 podcast/synd edit is up
Our first show of 2018 premiers tonight as we soon approach our 10th anniversary. We kick off the year with a New Wave Dance Party in Hour 2 featuring club tracks and extended remixes from Re-Flex, Peter Godwin, Fad Gadget, Ivan Doroschuk, Alphaville and many more.
Please support our new Patreon Page
Please visit and support our Revenge of the 80s Patreon page
Our Oct 6-12 show is up: Songs with artists' names in the title
This week is dedicated to songs with the artists names in the titles, featuring music from Immaculate Fools, Dog Police,Dominatrix, Falco, Madness, Tear Garden, Book of Love and more
Our week of 12-30 show premieres tonight
As we prepare for the 2017 season of Revenge of the 80s Radio, we will air an encore broadcast of our German music special: During Hour 2, we play tracks from German New Wavers of the 80s, many of them part of the Neuve Deutshe Welle movement, featuring tracks from Nena, Trio, The Spider Murphy Gang, Spliff, Hubert Kah, Alphaville and many more.
Our week of 7-29 show featuring German new wavers is up
During Hour 2, we play music from German New Wavers of the 80s, many of them part of the Neuve Deutshe Welle movement, featuring tracks from Nena, Trio, The Spider Murphy Gang, Spliff, Hubert Kah, Alphaville and many more.
Our 2.19 show with Willie Nile is up
Willie Nile is our guest this week. His new album, "World War Willie," will be released on April 1, 2016.
Our 7/11 show is up
This week, we play new music from Camper Van Beethoven. Plus, classics from Wall of Voodoo, Tracey Ullman, The Fall, REM, Kate Bush, Immaculate Fools and more.
Our 3/7 show podcast/syndication edit is up
This week, we feature new music from Coati Mundi & Ron Rogers, plus classics by Tracey Ullman, XTC, Dexy's, Jeff Lynne, Alan Vega, The Lords of the New Church, Missing Persons and more.
Our 2/7 show podcast/synd edit is up: The Ladies of New Wave
This week on a new Revenge of the 80s Radio, we salute the ladies of the classic alternative era. We play tracks from many of the women who shaped and influenced the music of the time
Our 1/10 show podcast/synd edit is up
The podcast/synd edit for this week's Revenge of the 80s is up – with a new remix of a Peter Godwin classic and music from Ultravox, George Kranz, The Waitresses, New Order, The Hoodoo Gurus, Midnight Oil, Blancmange and more.
Our 1/3/14 show podcast/synd edit is up
This week, we ring in 2014 with a new track from Coati Mundi and Ron Rogers. Plus, we play some of the best new releases fro 2013 and classics. We will have music by Andy Prieboy, David Bowie, Adam Ant, The Pogues, Mental As Anything and more.
Our 11/16 show podcast/syndication edit is up
This week, we play music from Stan Ridgway, Immaculate Fools, Noiseworks, Tears For Fears, Yaz, The specials, Wang Chung and more.
Our 9/21 show podcast edit is up
This week: music from Robin Lane, Icehouse, Josie Cotton, Wall of Voodoo, Mondo Rock, The Alarm, General Public, Ultravox and more…


text:
class VKChatInfo : public QObject
{
    Q_OBJECT
public:
    explicit VKChatInfo(QObject *parent = 0);

    bool            isChat() const;
    int             userId() const;
    int             chatId() const;
    QVector<int>    activeMemberIds() const;
    int             adminId() const;

    void            parseChatInfo(QJsonObject &message);

signals:

public slots:
private:
    bool            m_isChat;
    int             m_userId;
    int             m_chatId;
    QVector<int>    m_activeMemberIds;
    int             m_adminId;
};

#endif // VKCHATDATA_H


text:
Full service law firm in Billings, MT
John R. Christensen
John was born in Townsend and raised in Stanford, Montana. He received a Bachelor of Arts degree from the University of Montana in 1971 and his Juris Doctor from the University of Montana School of Law in 1976. During law school, John was inducted as a member of the Phi Delta Phi legal fraternity. John has been engaged in the private practice of law since 1976. He was elected County Attorney of Judith Basin County, serving in that position from 1978-1984. He was also elected as District Court Judge for the Tenth Judicial District Court of the State of Montana in 1995 and served in that position until 2000.
John focuses his practice in the areas of agricultural law, personal injury, real property disputes, commercial litigation, water law, trust and estate litigation, estate planning and probate and mediation. He represents individuals, small business owners and farmers and ranchers across the State of Montana. John is admitted to practice law in the state courts of Montana, the United States District Court for the District of Montana and the United States Court of Appeals for the Ninth Circuit. He is a member of the State Bar of Montana, the Yellowstone County Bar Association and the Montana Trial Lawyers Association.
Plaintiff's Personal Injury
Real Property Disputes
Trust and Estate Litigation
Montana, 1976
University of Montana School of Law, Missoula, Montana, 1976
Honors: Phi Delta Phi
University of Montana, 1971
Call me or click the button to contact me.
Copyright © 2016 by Christensen Fulton & Filz, PLLC. All rights reserved. This website is a form of advertising and information contained herein should not be relied on for legal advice. You may reproduce materials available at this site for your own personal use and for non-commercial distribution. All copies must include this copyright statement.
Christensen Fulton & Filz, PLLC19 36th Street West, Suite 3, Billings, MT 59102
Tel : (406) 248 3100Fax : (406) 248 7908


text:
Home › Thoughts and Perspectives › Historical Perspectives, Cultural Readings, and Abraham Lincoln: Vampire Hunter (2012)
Historical Perspectives, Cultural Readings, and Abraham Lincoln: Vampire Hunter (2012)
By Dr. Andrew Joseph Pegoda on June 16, 2013 • ( 5 )
Last night I watched the 2012 Abraham Lincoln: Vampire Hunter (hereafter, ALVH) for the second time. As a historian, I always unavoidably see movies with a somewhat different set of eyes. After all, everything has a history and involves history; therefore, movies, consciously or unconsciously, unavoidably touch on historical issues, and involve political agendas, and other concerns for the scholar. In an ideal world, movies would get history accurate, but no one really expects this. How these films present history, though, is worthy of comment. Substitute "history" for "science" in this meme, and it pretty much sums up the situation perfectly.
Image 1: From Facebook
Of course I realize movies are basically made and watched for entertainment purposes. I actually do enjoy movies. ALVH is no exception. ALVH is full of exciting, suspenseful, and generally unique events; albeit, it has a bit too much violence and blood – but isn't that what killing vampires is all about? On two occasions, the plot suddenly jumps froward a decade or more. There are creative cuts, too. The accompanying music is enjoyable, too (although Linkin Park is certainly far too modern for the Civil War). ALVH recasts the United States Civil War, a war lasting from 1861-1865 and basically fought between the North and South over the issue of enslavement, as a war basically between Lincoln in the North and vampires in the South.
If you haven't seen the film or need a refresher, take a look at the trailer. There are also plenty of other good clips on YouTube.
Obviously, the vampire part is fictional. Likewise, neither silver nor Lincoln's superhero fighting skills were in any way necessary to win the Civil War. Numerous other inaccuracies also exist. Enslavement is almost never mentioned, except for a few brief and inaccurate scenes sprinkled here and there. At the beginning of the film, set in the late 1810s, Lincoln sees William H. Johnson, a black child who is not enslaved, being beaten and despite objections from his father Lincoln runs to save him; thus, Lincoln is shown from the very beginning, even as a child, to be a hero and destined for greatness. Johnson is a life-long friend and personal assistant of Lincoln's in ALVH. In reality, the historical Johnson and Lincoln met in the early 1860s and Johnson was hired as a personal servant for Lincoln. This error gives a false impression about the possible relationship and corresponding acceptability and equality between a white and black man at this time, especially one between the President and another man who was radicalized as black. We also know from evidence that Lincoln was far from perfect in his ideas – he was a product of his time. In ALVH, it is really as if racism does not exist.
Inaccuracies also include Lincoln's mother boldly announcing to the enslaver attacking Johnson and her son: "Until every man is free we are all slaves." Lincoln's mother then dies from a Vampire attack, rather than from a mysterious illness as in reality. ALVH, as does popular culture, portrays the Emancipation Proclamation as having freed enslaved peoples. (I'll be making a post about the problematic nature of saying "Lincoln freed the slaves" in a few days.) The film mistakenly says Africans sold other Africans–while this is "correct" no shared concept of being African existed. The film also says that slavery only ever existed in the South. Errors also relate to when Lincoln met his wife, the number of children they had, etc.
More than just counting the inaccuracies, though this is indeed important and fun, as this Twitter user says, we also need to figure out what they mean.
Image 2: From Twitter
A cultural studies/American studies analysis of ALVH, consist of countless possible readings, including the following. But, first a definition of vampire.
Image 3: From Google
In ALVH, vampires serve as a metaphor for all things said to be evil and everything bad or unfortunate. Vampires receive such blame. Vampires are responsible for the death of both Lincoln's mother and son, as well as other innocent people. Vampires are also responsible for the rise of enslavement in the South and for its distinct political identity. Although vampires could possibly represent obstacles broadly, ALVH makes it clear who vampires specifically are. Vampires are enslavers in the South in ALVH, and Lincoln fights them his entire life, in one way or another.
A few different readings come to mind:
On one hand, it could be said that vampires in ALVH demonize southerners or at the very least in an odd way hold them responsible for their actions. Southerners receive blame, though metaphorically, for their firm insistence on maintaining enslavement-although enslavement is never mentioned or dealt with in any meaningful, accurate way. For example, at one point a character in ALVH briefly mentions that the presence of enslaved people kept vampires (i.e., southerners) from being even more evil. Demonizing southerns, however, is problematic because such southerners are "othered" and made into something besides human. It also perpetuates the false notion that problems of racism were limited to the South. This does little to historicize and honor the agency of anyone.
Image 4: Southern Vampire, From Google Image Search
Another take: At the end of ALVH, we hear Lincoln in voiceover saying that the enemies (i.e., vampires) fled for Europe, South America, and Asia because they knew America was forever a land of free and living men and that as a result all problems ended with the war. Thus another and equally problematic possible take on the film's Civil War message is that since vampires were responsible for enslavement and left the nation after the war, those living here today really don't have ancestors who were enslavers and guilty of racism and thus, aren't in any way responsible or associated with past racism. Moreover, this would tend toward perpetuating very false arguments found across southern literature (most notably, Gone with the Wind) that say the Civil War was not about enslavement when it absolutely was. On another note, history tells us that racism was far from over after the Civil War. Many would say, it only grew worse across the nation for many decades. History also indicates over and over that the United States is in no way a land for everyone. Finally, if all vampires and thus all things evil left the nation after the war, then the film tends to demonize the rest of the world and perpetuate the equally false idea the the United States is uniquely better than all other nations in the history of the world.
And as vampires stand for all things evil, except for the one good vampire, Lincoln, the star of ALVH, stands for all things good and noble in something akin to "great men history." Simultaneously the film has a much more negative depiction of Lincoln than typically found anywhere. From a very young age, Lincoln has an extremely strong hatred of vampires and has the goal to kill them. Indeed he does kill many. It is never really explained why the vampires are not dangerous until they are provoked. As Lincoln has this vampire-hunitng side-life, ALVH also paints him as a very mysterious man who lies all the time throughout his life in order to keep his secret. As tension rises toward the end of ALVH, Lincoln fights on the front lines and his efforts are what win the war single-handedly. Even though he receives help along the way, Lincoln receives and takes full credit in ALVH. In ALVH, this would parallel historical interpretations that say, "Lincoln freed the slaves." The movie also oddly places full blame for the war and its progression on Lincoln. Lincoln is regularly told it is all his fault, especially, the continued vampire attacks. In this sense, ALVH takes responsibility away from southerners and ignores all of the real issues. Some interpretations elsewhere suggest Lincoln is presented as something like a "Superman" or "Spiderman" for the United States – noble, yet mysterious.
Image 5: the ALVH Lincoln before he kills more vampires, from Google Image Search
Ultimately, then, by using vampires as a substitute for Southern enslavers, and Lincoln's absolute hate and desire to murder vampires as a substitute for all of the real political and social issues of the mid-1800s, ALVH eliminates any responsibility for enslavement from anyone and "otherizes" all of the issues and people at hand.
Regardless of other readings, the use of vampires as a substitute for slavery is very concerning and significant considering a long tradition in Southern literature that removes direct responsibility from all individuals, in the North and South, for the Civil War. Gone with the Wind (1939) being the most important and famous example.
Again, yes, the vampire part is ultra fictional, as is virtually all of the story (except the strong use of historical characters, names, places, and issues), but the writers didn't pick the Civil War without deeper reasons and agendas. Lincoln, of course, is a natural box-office attraction, but there is more to it than that. The movie could have easily involved all fictional people and settings, especially given the on-going popularity with all things vampire, zombie related. That vampires were transposed onto the Civil War is interesting and deserves analysis, but if we can peel away the vampire story and read what the vampires stand far, important insights can be revealed. Such subtle messages are important in terms of historical memory.
Probably the most accurate and powerful parts of ALVH come at the beginning and end. They speak to interesting and important larger historical truths.
At the beginning, ALVH's Lincoln in voiceover says:
History prefers legends to men. It prefers nobility to brutality, soaring speeches to quiet deeds. History remembers the battle, but forgets the blood. Whatever history remembers me, if it remembers anything at all, it shall only remember a fraction of the truth. For what ever else I am, a husband, a lawyer… a President… I shall always think of myself as a man who struggled against the darkness…
These are not the historical Lincoln's actual words, but these works speak to truths. ALVH even is a perfect example of this being true.
And then ALVH concludes with this powerful and odd image and Lincoln Park song Powerless. When I see it, I think of all the actual blood, much of it from enslaved individuals kidnapped from the continent of Africa, involved in building the United States and perhaps the blood that remains on our nation's hands, to use the cliché.
Image 6: Image created from Image Capture
You hid your skeletons when I had shown you mine
You woke the devil that I thought you'd left behind
I saw the evidence, the crimson soaking through
Ten thousand promises, ten thousand ways to lose
And you held it all but you were careless to let it fall
You held it all and I was by your side, powerless
I watched you fall apart and chased you to the end
I'm left with emptiness that words cannot defend
You'll never know what I became because of you
[Chorus x2]
Powerless [x3]
Altogether ALVH has an usual mix of thought-provoking metaphors, accurate and inaccurate information, packaged in a seemingly harmless film. The concern from a moral, historical, and political standpoint, however, relates to the continued inability for people to face important historical events head-on. We, as a society, need to be careful to give the memory of Lincoln, the Civil War, enslaved peoples, and all the others justice.
Please "follow" this blog if you are a WordPress user, and/or please sign up for email updates at the top right of the homepage. Thanks for reading. Check out my other articles, too. 🙂
‹ Is social media creating forces to end racism?
15 Things I Wish I Knew Before Starting Graduate School ›
Tags: culture, films, historical memory, history, politics, racism, slavery
January 7, 2014 • 8:50 pm
Hey there! I've been reading your weblog for some time now and finally
got the courage to go ahead and give you a shout out from Lubbock Texas!
pegodaaj
January 7, 2014 • 11:18 pm
Important Conversations: What Does it Mean to Come to Terms With the History of Slavery? « Andrew Joseph Pegoda, A.B.D.
Stop. Right. There. And Go See "Boyhood" (2014) | Andrew Joseph Pegoda, A.B.D.
"DANGER": Comments about Black Men, White Women, and Science in "The Amazing Spider-Man 2" (2014) | Andrew Joseph Pegoda, A.B.D.


I KEEP SAYING THIS.... This coming week I hope to have my 6 finished Dachshund Dogs rows sashed and have the borders added.... And now you can see how close I am to being ready to quilt it. The backing is such a pretty light blue wideback fabric.
Last week I showed you the Rainbow Paintbrushes.... Which I made in both sizes.
And now I have batting, backing and bindings ready to go for both!
In this post, I showed you my sewing room when I first moved into this new place. Shown in that post was another top I finished before moving here that will also need to be quilted.
But now my sewing stuff has been relocated - down to the main level dining room - now known as the sewing studio! Yay! I love the wide open room, the hardwood floor and all the space!
These are the new Hedgehogs - my distraction from last week.
All sewed up and ready for quilting also!
I love your re located sewing room, so big and bright, it must be such a pleasure to sew there. Who needs a dining room anyway? You have made so much progress this week, I'm looking forward to seeing the batch quilting stage.
I love the hedge hog quilt, so cute! I see you have an Elna machine, I do too! I love mine. Happy stitching.
The hedgehogs are just too adorable! (That's not too say that your other animal creations aren't adorable!) Congrats on the new sewing studio, this lovely space will definitely inspire you to make more beautiful stuff.
Love all the quilts you have on-the-go! The colours just make me smile! Your new sewing space is lovely, and just off the kitchen which is handy. Have fun sewing :)!
Whoa...look at all that sewing room goodness! All that wall space, wowee!! You could "paint" those "hotdogs" across the whole room! hahaha!
What a great! Fresh Room! Happy Sewing! Your projects are always so amazing!
I'm green with envy; what a lovely sewing space! Love the paint brushes, hedgehogs and all! Thanks for hosting the party!
You new sewing location looks so open and bright! All the color from your quilts is just beautiful. You've been a busy lady lately!!
I just love to look at your adorable quilts Lorna. All three of the quilts you shared this week look like a lot of fun to make. Isn't it fun to move into a new space, to plan the arrangement and have more space. It too will seem smaller soon. We always seem to fill the room. Happy sewing.
THose hedgies are just delightful. Looks like you have a great space! I am trying to figure out a bit more maximizing of space for a midarm! Enjoy your new studio.
Your quilt studio is fabulous... so much open space and a window for natural light... lots of magical things are going to happen there!!!
They´re all cute but I really Love the Hedgehogs!
So love the wiener dogs. Can't wait to make that one!
I LOVE the new sewing space! Lots of room and it looks like it has amazing lighting. You are starting to sound like me...lots of tops begging to be quilted :) Hope you have a great sewing week!
I love your relocated sewing office. Perfect. I have hardwood floor too and it is so nice to swiffer the dust and find a few pins too.
Some of your Giraffe patterns were being sold in the vendors market at a quilt show I went to last weekend.


text:
IntroMembersCertificationDocumentsPeopleLogoOcean ObservingMerchandise
Ocean Observing has become a system for observations, modeling and analysis of marine and ocean parameters that support operational ocean activities such as fisheries, recreational boating, natural hazards warnings, search and rescue operations, and marine operations, as well as scientific inquiry. Through an ocean observing system these diverse user groups can receive accurate descriptions of the present state of the oceans including living resources, continuous forecasts of future sea conditions, and forecast indicators for climate change.
A Coastal Ocean Observing System is designed to produce and disseminate ocean observations and related products in a common format and according to sound scientific practice. The Coastal Ocean encompasses the region from the head of the tide to the seaward boundary of the Exclusive Economic Zone or EEZ, which is a seazone where states have special rights over the exploration and use of marine resources.
Coastal regions including the Great Lakes form a partnership that's linked to users via an interactive flow of data and information, which is first measured and transmitted, then organized, cataloged, and disseminated, and finally translated into products that meet users' needs and requirements. A management oversight system insures the continued and routine flow of data and information as well as the ongoing adaptation to user groups with the development of new technologies.
Scientists use a number of different methods to collect data depending upon the data they need, the location they're sampling, and the available platforms. The long-term data collected from buoy sensors, shore stations, or HF radar can be used in computer models that simulate the ocean environment. Here are many of the methods scientists use to collect data:
Floating buoys are anchored to the ocean floor and hold many sensors that measure both air and water conditions. Common sensors found on a buoy that measures air conditions include: barometric pressure, wind direction, wind speed and gust, and air temperature. Sensors that measure water conditions are located on the buoy at the surface of the water as well as suspended from the buoy down into the water column. These sensors can measure conditions including: wave height, wave period, direction of wave propagation, currents speed and direction, water temperature, salinity, turbidity, chlorophyll, nutrients, pH, and dissolved oxygen. Buoys typically get their power from a solar panel attached to the float, and they transmit their data at regular intervals through satellites.
HF Radar
The speed and direction of ocean surface currents can be determined using data collected from high-frequency (HF) radar. Radio signals are sent out from land-based radio antennae to bounce off the ocean's waves. How these radar signals reflect off the waves and are received back by radar antennae enable researchers to determine the speed and direction that surface water is moving. This information is displayed as surface currents maps.
Meteorological stations measure atmospheric conditions, including air temperature, wind speed, wind direction, relative humidity, barometric pressure, solar radiation, and rainfall. These stations are located in many places like the tops of buildings, at airports, lighthouses, and schools.
Shore Stations
Instruments / sensors placed on piers, docks, pilings, and jetties measure water conditions, such as temperature, salinity, chlorophyll, turbidity, and water level.
Scientists onboard research vessels conduct research cruises to gather physical, chemical and biological information on ocean conditions along the cruise route. Some sensors are mounted on the ship and take regular measurements of water and atmospheric conditions. Researchers also deploy other instruments to gather information on conditions throughout the water column. Water samples and samples of organisms caught via nets are brought onboard for further testing and analysis.
Vessels of Opportunity
Many ships at sea including cargo ships, tankers, ferries and cruise boats have sensors that measure atmospheric and water conditions including temperature, salinity, wind speed and direction, precipitation, and currents speed / direction.
Satellites can measure ocean conditions including sea surface temperature, ocean color, and sea surface height. Satellites are orbiting the Earth at an altitude of 500 to over 20,000 miles high, passing over the Pacific Northwest many times a day.
Autonomous Underwater Vehicles (AUVs)
AUVs are small, free-swimming underwater vessels often used for research. Some AUVs use density and wings for forward motion, whereas others use propellers and rudders. Seagliders (SG) (shown here) contain a battery pack that moves fore and aft to change the glider's pitch, and then rotates, causing SG to roll, which produces a turn. An external bladder inflates and deflates causing a change in buoyancy. SGs can gather conductivity-temperature-depth (CTD) data from the ocean for months at a time and transmit it to shore in near-real time via satellite data telemetry. AUVs greatly reduce risk and costly ship time since they can be packed with sensors and are able to easily sample the entire water column.
Scientists attach satellite tags on animals such as sharks, whales, seals, and sea turtles. These sensors can record data such as the animal's position, depth, and the surrounding water's salinity and temperature. Transmitted back via satellite, this valuable data can help researchers understand the animals' migratory routes and habitat. Such data can be used to protect endangered species like the Leatherback Turtle, Black-footed Albatross, and Blue Whale, plus better manage fisheries such as Bluefin Tuna, Yellowfin Tuna, and Swordfish.


text:
If you work in the film industry join the Cinema Jam community Click here!
A Magazine for All Things Film
Site NavigationHomeMovie ReviewsFeaturesEvents & NewsInterviewsJammersOpportunitiesAbout Us
Christine Hooper interview - "On Loop" director - The Spread
Home / Interviews / Christine Hooper interview – "On Loop" director
Categories: Interviews
The London-based filmmaker and artist discusses her unique, insomnia-inspired RCA grad film.
Christine Hooper is a London-based director, artist and animator known for her 2013 film On Loop, which was her MA graduation film from the Royal College of Art. A medium-bending experiment in visual design, it expresses the effects of insomnia on a woman (voiced by Radio 4's Susan Calman) who experiences progressively wilder visions after waking up in the middle of the night.
With a unique collage animation style inspired by the work of David Hockney, On Loop is a visual treat, mixing live action and animation to explore the effects insomnia has on those who suffer from it. And it's got a sense of humor, too, with Calman's narration continually injecting a lot of fun into the madness.
Since On Loop, Christine has worked on another short, as well as numerous other projects in various media, including a children's book. I spoke with her to find out more about her impressive film, and how her career has progressed since then.
Tell me a little about your background in animation so far – what first made you want to become an animator?
I studied graphic design, and within graphic design I ended up doing experimental video. Then, after my degree, I went into working in TV, but I wanted to go back and do more creative stuff, so I went to the Royal College of Art to do an animation Master's. Live action didn't really appeal; I was always inspired by people like Michel Gondry and I like the idea of mixing mediums rather than just straight animation, so that excited me.
What draws you to mixed media as opposed to pure animation?
I think I lack the patience to do proper animation. I like the speed of doing live action. I just started doing some illustration work – I've been doing a kid's book, and with that I've been doing collage. And I think it's the same with my film work – I enjoy collaging lots of aspects together. I was always excited by Michel Gondry, and the film Amélie, as well, that you could convey parts of the things that you couldn't necessarily do with live action through incorporating [animation] in the film. Like capturing someone's imagination. And I really liked Michel Gondry's music videos, how he'd use a different medium for each film depending on what he wanted to convey.
I'm just finishing off another short, but it's actually more stylized live action using sets, and it has got elements of animation in it, but only a few elements, so it was more picking the mediums that fit the subjects well.
"On Loop" centers on the theme of insomnia – was it personal experience that inspired that theme?
I actually did my dissertation on documentary animation, which I thought was really interesting, and it was off the back of that that I thought I'd do something that was a personal subject – taking a real-life experience and then using animation to convey that, so I think that's why I chose it. When I get quite stressed, then I suffer from [insomnia]. So everything in the film is basically my experiences or other peoples' experiences, but then exaggerated and mashed together, and heightened. I'd gotten [insomnia] during my degree cause I was extremely stressed, but I can go through periods of sleeping soundly and then having periods like that. Interestingly I've just started doing meditation and I've slept like a baby. It works, it's been really good.
What were some of the other main themes you wanted to explore through this story?
I wanted to make something that other people could watch and think "oh, I do that too – I'm not the only person who goes insane at four in the morning." Make something that people could identify with. And in large amounts I've had quite a lot of people say "ah, that's what it's like for me!" I've had a lot of people who've watched it and enjoyed it but don't get insomnia, but it's more made for people who have insomnia, really, because it's such a lonely experience, and for me I do feel quite irrational, so I thought if I poke fun of it it makes it a bit easier, and hopefully someone might remember it when they're going through it and it'll make them feel better.
Have there been any specific reactions that have been especially memorable?
My tutor at college was really sweet and said something like "that's my experience every night," and he just seemed like he identified with it. And my current job – I think my boss identified with it because he saw it and then wanted to help me develop my work. Another nice comment from someone else who gave me a job was that I'd managed to make light of something quite dark, and that first-time animations often tend to be quite dark, to be about death, so that was something I hadn't really thought about before.
It's such a lonely experience, and for me I do feel quite irrational, so I thought if I poke fun of it it makes it a bit easier."
So would you say you're more gravitated to more light-hearted stories?
Yeah, probably. I appreciate dark humor, but it's not really so much what I'm into.
A few images in the film were especially interesting to me and I'd like to hear your ideas behind them. Firstly, what's the significance of the "woman at the door"?
[Laughs.] She was an exploration of that feeling where you've had a conversation during the day, and someone is giving you a "complisult" – an amalgamation of a compliment and an insult – so it was that feeling where I'll have a conversation and I'll be replaying it in my mind trying to figure out if the other person was trying to compliment or insult me, and I think that one key word the English use a lot is "interesting" when you mean you don't actually like it, but you can't think of what else to say. So it was more reflecting on someone complimenting my work, and insisting "it's interesting," and you think what did she mean by that? So it's that, replaying conversations from the day.
And there's a woman coming in and stealing things from inside of the room – what's the significance there?
That was the idea of the paranoia you get from noises you hear during the night, where you think that someone's in your room. I've had it before, where if there's a dark shadow in the room I think that there's a burglar.
What were some of your key sources of inspiration for the film?
David Hockney's photo montages – I've always been a massive fan of his work, and when I was doing my B.A., I did a bit of my thesis about cubism, and he looked into cubism and his photo montages were a different way of linking time up, so I thought that was an interesting idea to explore in my B.A. film work as well. First I did a documentary that was more of an experimental film about my family, and that was sort of filming on the fly, and then [with On Loop] I thought that that kind of split-screen thing worked well for A. having a fractured mind and also B. having that layer of time where it's all sort of mishmashed and you don't know what's going on, and thoughts are going round in your head. So it was quite influenced by him.
How did you plan out the nine different sections you have connected in the film?
It's funny, cause I said I don't have the patience to do animation, but I've got the patience to do nine screens and to do something quite complicated. I was in the basement of the RCA and the edit site was one floor up, so I kept going back and forth and dropping loads of footage in, and I had a camera in a fixed position and then I moved it around. But what I did initially was I made a plan, and I'd split it up into nine screens. I was using this program called Dragonframe Stop Motion so I could line the camera up again. So I had this formula, and then I went through every scene and did it again. It was quite time-consuming, but I liked exploring different ways of using things, it was quite satisfying.
Susan Calman did the narration for the film – how did she get involved with the project?
I'd read quite a lot about how she suffers from insomnia pretty badly, and because it was a bit of a sad voice over, I really wanted a comedian to do it so it could get the comic side. And she's got a fantastic voice – I love her accent – and I'm an avid fan of Radio 4, so that's how I found her. So I got in touch with her agent and she was super kind and came in for me to do it when she was down doing some other radio work, and it was really great to work with someone who was such an expert at doing voice over.
The voiceover has a real sense of rhythm to it – was make the narration poetic important to you?
Yeah, definitely. I'd been to a festival – years ago – and when it was raining we stumbled across the poetry tent, sheerly for shelter, and then we ended up listening to loads of spoken word poets, and stand-ups doing poetry like Phil Jupitus, and I just thought that they were wonderful.
[And since], there's a woman called Holly McNish – I love her work, she talks about being a mother and breastfeeding in public, and she talks about a lot of feminist issues, and I think she's fantastic. Both her and Harry Baker [another favorite] have a real humor to their work that I think is really powerful.
Originally I asked a poet to help me write [On Loop], but he was too busy so I ended up writing it myself, along with help from a friend, Victoria Manifold. But I wanted to give it that sort of rhythm, because your thoughts are sort of repetitive and it felt like it suited it. I've sort of done the same with the next film – for some reason I just find it easier to write like that.
This current film – The Last Time – is about quitting smoking, and with that I tried to write straight first and it just didn't really work, and when I tried writing it like a train of thought again it fit together. So I've started to think I'd like to write a bit more like that. I really like playing with words – there's words that have very specific meanings, like in On Loop I quite liked using the word "nob" a lot; it's quite a funny word cause it's not that harsh, but it reminds me of being young and it feels like a really British word to use.
What else can you tell me about "The Last Time"?
I'm just in the post part now. It's live action, really inspired by 1950s cinema, and it's actually got actors in it this time. Because it's about smoking I really felt it was important to have people in it, and it's quite highly-stylized, the same color palette an On Loop, and it's a comedy again, about the unhealthy love affair with cigarettes and trying to get away from them.
So I'm finishing the sound off for that, and I've finished all the visuals for it. It's exciting cause I've worked with a big team this time, whereas with On Loop I was on my own. With this one I had a DoP and a full crew, which was really a great thing to learn. It'll hopefully be done in the next few months.
Between On Loop and The Last Time, how have you changed as a filmmaker?
I've learned quite a lot – I'd been working for a kid's program for a while, and that really sparked an interest in it. And then I've also been working for a company called Blinkink in Soho, who do commercials and have also started doing their own programs as well – entertainment. I've learned a heap from them. I probably more specifically know what I'd like to make now, and I've learnt a lot more about the industry.
What's your most important advice for aspiring animators?
Keep making stuff, and don't be scared to get stuff wrong – that's just how you learn. You've just gotta keep doing stuff, and you get better. What I realized from looking at people from my B.A. and my Master's is that it wasn't so much based on talent, it's much more based on how much time you put into things. So keep making stuff. And try stuff out – you can surprise yourself sometimes. Don't worry too much about failing – that's just working out what you can do and how to get better. And using other people's expertise is a really good thing; in the film I'm making at the moment it was amazing to have other people who were experts in their field to help me, such as the DoP. But it's also quite valuable to do some things on your own and work stuff out.
Don't worry too much about failing – that's just working out what you can do and how to get better."
Do you have any favorite films of recent memory?
Anomalisa. That was amazing, especially because animation can be used so many times when there's not really a reason for it, whereas he really used the medium to get across the message of the film, and it's also very funny.
Find out more about Christine's work at christinehooper.com.
How Virtual Reality Is Changing the Entertainment Industry
How Millennial Preferences Are Changing Movies
How to Keep It Real in Military Films and Why You Should
The Horror, The Horror: The 5 Worst Horror Remakes Ever Made
The Top 5 Most Realistic Combat Scenes in Movies
"Harry Potter" and "Casino Royale" sound editor Eddy Joseph to give "Bite-Size Course" at Cinema Jam
"Still Alice" and "Fish Tank" editor Nicolas Chaudeurge on his craft
Sam Johnson interview - "Billy the Kid" director
Please I don't understand how to use the internet video...
[…] Download Image More @ cinemajam.com […]...
By I've found your article very interesting but I wondered would you reco...


Comment, analysis, news on the Israel-Palestine conflict; Holocaust studies; the human rights situation in the Occupied Palestinian Territories.
9 quazaa.sourceforge.net - Quazaa | The multi-network cross platform file sharing software.
Quazaa! The multi-network cross platform file sharing software.


Don't be put off by the tropical location and long-haul flight: Thailand is a fabulous place to bring your family. We asked the i-escape team and some of our favourite hoteliers for their tips on exploring the Land of Smiles with kids in tow.
Browse our full collection of family-friendly hotels in Thailand.


With its straw color and some orange highlights, this champagne offers you a nice, frank nose, with floral notes of lilac, white fruits and a hint of sandwich loaf. On the palate, it presents a good balance, a good freshness with a nice character on buttered bread, toasted. Final frank and straight.
This excellent champagne is an exclusive Nicolas selection, discovered by our oenologists.
It's a cuvée offering a great value for money.


Did you know a new boiler could save approximately £350 per year!
We can now offer our customers a new Ariston combination boiler, supplied and fitted with a 5 year warranty for as little as £1680 inc VAT.
A recent study by the Energy Saving Trust shows that you could be saving approximately £350 per year with a new combi boiler deal. As heating accounts for about 60 per cent of what you spend in a year on energy bills, a more efficient, modern boiler is going to make a big difference to your monthly spend.
WHAT'S IN THE NEW COMBI BOILER DEAL?
HOW CAN I GET THE NEW COMBI BOILER DEAL?
Stay up to date with all the latest news from District Services.