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Meet the 10 New Write A House Finalists
August 17, 2015 Write A House is delighted to announce ten finalists for the second round our groundbreaking writing residency, in which we renovate a formerly vacant home in Detroit and give it to one talented writer—for keeps. We will celebrate the winner on October 2 at a showcase event featuring the celebrated author Matt Bell, whose new novel, Scrapper, is draws inspiration from Detroit. We will welcome the winning writer into their new house soon afterward.
We received about 220 applications in fiction, nonfiction, and poetry from all over the United States and abroad. Many of our best applicants came from right here in Detroit. There were a number excellent and inspiring submissions, and if we could give a home to every talented writer who applied, we would. In fact, if you'd like to help us give out two, or five, or ten houses each application round, you can do so here.
Finalists come from diverse backgrounds, personally and creatively. They were chosen foremost for the quality of their writing by judges Toby Barlow, Matt Bell, Billy Collins, dream hampton, Major Jackson, Nancy Kaffer, Sean MacDonald, Michael Stone Richards, and Tamara Warren. Write A House's application director and board also vetted candidates for their ability to contribute to the neighborhood and the literary culture of Detroit. Each finalist will participate in video interviews with Write A House's co-founders before the final winner is chosen.
See renovation progress on the house we're giving to the winner -- an adorable two-room bungalow -- in our photo gallery. Follow the journey of poet Casey Rocheateau, our inaugural Write A House recipient, at her blog.
Every one of the 2015 finalists deserves your notice. We are excited about their writing, and we know you will be too. We expect to open applications for our next house in 2016.
Liana Aghajanian Tujunga, CA Nonfiction http://www.lianaaghajanian.com http://www.ianyanmag.com @LianaAgh
Liana Aghajanian is an independent, Armenian-American journalist whose work explores the issues, people and places that remain hidden and on the fringes of society. Her work has appeared in the New York Times, The Guardian, Foreign Policy, BBC, Al Jazeera America, GOOD and The Atlantic among other publications. Reporting from Kenya, the UK, Germany, the South Caucasus and across the West Coast of the U.S., she covers issues at the intersection of culture, immigration, social justice, displacement and identity. She edits Ianyan Magazine, an independent-online journal on Armenia and its diaspora and authors a column for L.A. Times Community News on under-reported issues. Her work has received support from the Metlife Foundation Journalists in Aging Fellowship, the California Health Journalism Fellowship and the International Reporting Project at Johns Hopkins University.
Selected by dream hampton.
Glendaliz Camacho
Glendaliz Camacho New York, NY Fiction http://becomenzando.com@Glendaliz
Glendaliz Camacho is a 2013 Pushcart Prize nominee, 2014 Jentel Foundation Artist in Residence, and 2015 Caldera Arts, Kimmel Harding Nelson Center for the Arts, and Hedgebrook Artist in Residence. Glendaliz is an alum of the Voices of Our Nations Arts Foundation Fiction Workshops. Her work appears in All About Skin: Short Fiction by Women of Color (University of Wisconsin Press), The Female Complaint: Tales of Unruly Women (Shade Mountain Press, 2015), The Butter, and Kweli Journal, among others. Glendaliz is currently working on a short story collection, fantasy novel, and essay collection.
"This piece surprised me the most of any of the submissions—it quickly drew rounded portraits of its characters and pulled me into their sure-to-be-tense relationship. More than any of the other pieces, I would have happily kept reading more." Sean MacDonald
Katie Chase
Katie Chase Portland, OR Fiction www.katie-chase.com
Katie Chase's short fiction has appeared in The Missouri Review, Five Chapters, Narrative, Prairie Schooner, ZYZZYVA, Mississippi Review, and the Best American Short Stories and Pushcart Prize anthologies. A graduate of the Iowa Writers' Workshop, she was the recipient of a Teaching-Writing Fellowship, a Provost's Postgraduate Writing Fellowship, and a Michener-Copernicus Award. She has also been a fellow of the MacDowell Colony and the Center for Steinbeck Studies at San José State University. Born and raised outside Detroit, she lives currently in Portland, Oregon. Her first book is forthcoming from A Strange Object in 2016.
"Devil's Night is an oft-explored theme and yet this felt fresh, compelling, and true." Toby Barlow
Allison Hedge Coke
Allison Hedge Coke Arcadia, OK Poetryhttp://www.hedgecoke.comhttp://allisonhedgecoke.comhttp://www.poetryfoundation.org/bio/allison-adelle-hedge-co
Allison Adelle Hedge Coke's authored books include Dog Road Woman, Off-Season City Pipe, Blood Run, Streaming, and Rock Ghost, Willow, Deer (memoir), and anthologies she edited, including: Sing: Poetry of the Indigenous Americas, Effigies and Effigies II. She also performs with the band Rd Klā. Hedge Coke came of age working fields, factories, and waters, and serves as an alternative field mentor. Awards for her work include an American Book Award, a Paterson Prize, a Sioux Falls Mayor's Award, and residencies with MacDowell, Black Earth Institute, Hawthornden Castle, Weymouth Center, Center for the Great Plains, and Lannan at Marfa. Hedge Coke directs the annual Literary Sandhill Crane Retreat and is currently at work on an environmental documentary film, "Red Dust: resiliency in the dirty thirties."
"(In her work), there is seriousness and ambition and scope for growth. It is densely packed and is mostly story-telling, anchored in a myth of blue-collar world. This is worth exploring." Michael Stone-Richards
Nandi Comer
Nandi Comer Detroit, MI Poetry @NandiComer
Nandi Comer is the lead writer for Techno Poetics, a collaboration between Detroit music makers and writers. She has received fellowships from Indiana University, Bread Loaf Writers' Conference, Cave Canem, Callaloo, and Virginia Center for the Creative Arts. Her poems and essays have appeared or are forthcoming in To Light a Fire: 20 Years with the InsideOut Literary Arts Project (Wayne State University Press, 2014), ADetroit Anthology (Belt Publishing, 2014), Another and Another: An Anthology From the Grind Daily Writing Series (Bull City Press, 2012), Callaloo, Crab Orchard Review, Green Mountains Review, Southern Indiana Review, and Sycamore Review. She lives and works in Detroit.
"This poet plays with poetic form and verbal music in such a way that art amplifies social consciousness, violence, and cultural inheritance. This is the hallmark of literature that aims high, a kind of redemption song … I admire the maturity evident in this poets' work." Major Jackson
Jaquira Díaz
Jaquira Díaz Miami, FL Fiction http://www.jaquiradiaz.com@JaquiraDiaz
Jaquira Díaz is the recipient of a Pushcart Prize, a Florida Individual Artist Fellowship, the Carl Djerassi Fiction Fellowship from the Wisconsin Institute for Creative Writing, a Bread Loaf waitership, and an NEA Fellowship to the Hambidge Center for the Arts. She's been awarded fellowships or scholarships from the Sewanee Writers' Conference, The MacDowell Colony, Summer Literary Seminars, and the Tin House Writers' Workshop. A finalist for the Richard J. Margolis Award in journalism, her work is noted in Best American Essays 2012 and 2014, Best American Nonrequired Reading 2014, anthologized in Pushcart Prize XXXVII: Best of the Small Presses, and appears in Ploughshares, The Kenyon Review, The Sun, The Southern Review, Salon, Five Chapters, TriQuarterly, The Rumpus, and The Los Angeles Review of Books, among other publications.
"The author has a strong sense of voice and language that drives these three short pieces. Even in the single paragraph that is 'December', the language has a natural cadence and sense of urgency that propels the narrative in two lyrical sentences. 'Seasons of Risks' captures the adolescent appetite for danger." Tamara Warren
Matthew Fogarty
Matthew Fogarty Columbia, SC Fiction www.matthewfogarty.com @ThatMattFogarty
Born and raised in the square-mile suburbs of Detroit, Matthew Fogarty has an MFA from the University of South Carolina, where he was editor of Yemassee. He also edits Cartagena, a literary journal. His fiction has appeared or is forthcoming in such journals as Passages North, Fourteen Hills, PANK, Smokelong Quarterly, and Midwestern Gothic. His short story collection, Maybe Mermaids and Robots are Lonely, will be published in Fall 2016 by Stillhouse Press, a publisher based at George Mason University.
"The first two shorts in this packet were the most interesting, in part because they're so different. The first tells of a man obsessed with telling and retelling the story of Pope John Paul II being elected, but the story varies wildly depending on the day, and 'depending on what we'd eaten and how much he'd had to drink.' The second is a more absurd story about two con artists staging fake accidents for cash, while traveling under the names of characters from The Legend of Zelda. There's a lot of varied imagination here, and I appreciated the range." Matt Bell
J.M. Leija
J.M. Leija Detroit, MI Nonfiction @j3mleija
J.M. Leija is a Detroiter at heart and proud to claim all the accompanying trials, travails, and joys that accompany such a statement. By day she is a teacher/disguised superhero who tries to convince her students that reading is cool. On nights and weekends, she turns into a writer who tortures herself over whether writing about things that have really happened and people who really exist can ever be truly ethical. She then proceeds to write about them anyway. Her work has previously been featured in A Detroit Anthology, Motif's Seeking It's Own Level anthology, and Pithead Chapel Magazine, and she has work forthcoming in the 3288 Review.
"This is a person who has something interesting to say, and in saying it, she exercises complete command of the language. The words do exactly what she wants them to at all times. This is no mean feat. There's an ease and authority here that was unmatched in any of the other submissions I read. … this #1 lady is a writer. There is an instinctive understanding of how words fit and rhythm and le mot juste. This is the thing that can't be taught." Nancy Kaffer
M. Sophia Newman
M. Sophia Newman Homewood, IL Nonfiction http://www.msophianewman.com @msophianewman
M. Sophia Newman is a writer whose work has been published in the US, UK, Bangladesh, and Japan. She writes a column on global health, Health Horizons, for Next City. She's reported on infectious disease in West Africa via a crowd-funded project forPacific Standard Magazine and on violence in South Africa and America withthe Pulitzer Center for Crisis Reporting. She received a 2014 Shannon Fellowship from Bellarmine University's International Thomas Merton Society to report on environmentalism, and continued this work with a 2015 retreat at Collegeville Institute for Cultural and Ecumenical Studies. Prior to journalism, she completed a Critical Language Scholarship in Bangla (2011), followed by a year ofhealth researchas a Fulbright fellow in Bangladesh (2012-2013). She holds a bachelor of science in cell and molecular biology (Tulane, 2009) and a master's degree in public health from University of Illinois (2012). Sophia is a Bangla speaker who hopes to attain fluency for journalism and to translate Bangla-language literature. She has also won admission to a short program on global mental health at Harvard, and intends to complete a nonfiction book expanding on the violence prevention she explored via the Pulitzer grant.
Katie Nichol
Katie Nichol Fayetteville, AR Poetry http://www.nwaprisonstories.com/
Katie Nichol is a poet, educator, and activist based in Fayetteville, Arkansas. Recent work has appeared in Cream City Review, St. Petersburg Review, and Cannibal. She is the Creative Writing Director for Prison Story Project, and was a 2014 finalist for the Wisconsin Institute Creative Writing Fellowships. Prior to receiving her MFA from the University of Arkansas, Katie worked as an advocate with homeless youth in Minneapolis/St. Paul.
"Like many of the manuscripts, this one deals with strong subject matter—notes from a rough life—but here the matter is balanced with literary grace and a knowledgeable sense of form. The manuscript includes a ghazal and a rather amazing poem that reads forwards and backwards." Billy Collins
tagged with Write A House, write a house finalists, write a house second house, write a house winners


The Cobalt is a big game powerhouse of a reel packed with technical breakthroughs that'll change the game on the flats and into the deep. Cobalt features a dual-axis machined frame that dramatically strengthens the side that bears the most load. The foot is embedded—rather than perched—atop the reel to effectively transmit force and distribute weight. The large arbor spool is also machined with many subtle asymmetries that bring perfect balance without a counterweight.


text:
OBR: Tumbling Oil, Gas and Transport Tax Receipts Mean UK Government Needs Extra Cash
July 10, 2014 12:53 BST
Britain's government will have to find extra cash to fund itself in the future because tax revenues will fall much more quickly than thought, off the back of declining oil and gas production and increasingly fuel efficient transport.
The Office for Budget Responsibility (OBR), the UK's independent watchdog for government finances, gave the warning in its annual Fiscal Sustainability Report.
Lower tax receipts will put extra pressure on UK public finances, particularly given the fiscal challenges of an ageing society and rising population.
"We have updated our assessments of the outlook for oil and gas receipts and transport tax receipts," said the OBR.
"In both cases we expect revenues to decline over the long term – and to be lower on average over the next few decades than when we last examined them.
"This suggests that governments will need to find additional revenue streams simply to maintain total revenues as a share of GDP, let alone to meet the additional spending pressures implied by an ageing population."
It added: "Long-term projections such as these are highly uncertain and the results we present here should be seen as illustrative, not precise forecasts."
The OBR also said its long-term forecasts should not be taken to mean that the current austerity programme of public spending cuts by the UK government, which has seen billions trimmed from budgets such as welfare, should be extended before it is due to end in 2018/19.
According to the OBR's projections, state pension costs will jump from 5.5% of GDP in 2018/19 to 7.9% in 2063/64 as the population ages. Long-term social care costs will rise from 1.2% of GDP to 2.3% over the same period.
But revenues from oil and gas production in the North Sea will produce just £40bn for the Treasury between 2019/20 and 2040/41, said the OBR, a quarter lower than predicted in 2013's Fiscal Sustainability Report.
The OBR was cautious about its own projections.
"It is important to note that oil and gas receipts are the most volatile revenue streams in the UK public finances and forecasting them over even short horizons is extremely difficult," said the body.
"The same factors that make North Sea receipts volatile on a year-to-year basis make it very hard to predict the pace of the long-term trend decline with any confidence."
As for greater fuel efficiency, the OBR said it "reduces fuel duty receipts by reducing the volume of fuel consumed for a given number of miles travelled and reduces fuel duty and vehicle excise duty receipts because most rates paid are graduated according to fuel efficiency".
"Both are forecast to fall as a share of GDP in our latest medium-term forecast and our long-term projections show that trend continuing."
IFS: No Guarantee George Osborne Can Finish Painful UK Austerity Plan
UK Just Half Way Through Age of Austerity as Spending Cuts Set to Deepen
Scottish Independence Campaign Hit by Plunging North Sea Oil Profits
UK Government Hails \'Strong\' North Sea Oil and Gas Applications Despite Dwindling Production

redpajama_set_name: RedPajamaCommonCrawl


Philippines President Rodrigo Duterte warned his American counterpart on Monday to stop criticizing his country for extrajudicial killings as part of the Filipino war against drug cartels and terrorist organizations threatening to "swear" at President Obama.
"Son of a b---- I will swear at you" yelled Duterte when the two leaders met in Laos for a regional summit and blasted President Obama for intervening in the Philippines domestic affairs.
"Who is he to confront me?" Duterte exclaimed before reminding the world that the Philippines still has not received an apology for America's colonization of the country.
"I am a president of a sovereign state and we have long ceased to be a colony. I do not have any master except for the Filipino people, nobody but nobody," said Duterte. "You must be respectful. Do not just throw questions. Putang ina I will swear at you in that (G20) forum," he said using the Tagalong term for "son of a b----."
President Obama quickly moved to cancel the planned meeting with his Filipino counterpart on the sidelines of the G20 summit based on the disrespectful content of Duterte's tirade. The rebuke by the American President stands in stark contrast to prior government statements regarding the foul-mouthed Filipino leader who has been dubbed the "Donald Trump of the Philippines."
Duterte remains adamant that his violent war against the drug cartels that has resulted in the extrajudicial killing of several thousand people since he assumed office nine weeks ago is a just effort that should not be questioned by the international community or the West who are not in touch with the realities faced by the regime on the ground.
Last week, Duterte threatened to leave the United Nations over criticism of the effort and mocked Secretary of State John Kerry as an idiot saying that he should have argued with the top American diplomat more because the United States probably would have given his country more money.
The potential instability of the Duterte regime in the Philippines may be a major geopolitical danger for the United States who are bound by a mutual defense treaty to come to the aid of the island nation in the event that they are attacked by a foreign power – a potential that exists as tensions continue to mount between the Philippines and China over the Scarborough Shoal in the South China Sea.


Well guys, I'm movin' on out. And up. I'm 13 days away from turning 30, and I'm SUPER excited to say this age will bring a brand new transition in not only my life but in my future business life–I'm closing up shop here on the blog, A Novel Quest.
I read somewhere that consistency pays off and it does. I'm so happy to share with you two posts I recently got published, and some news about a new writing gig I've landed for a print magazine!
There are a TON of places to connect with bloggers on the web. I know a handful, but have only had success with 3 so far, so if you know a bunch of places to connect with bloggers, here are three more to add to your list!
One of the things I'm asked most often from friends and family is how to start a blog. I get so excited when people want to start blogs, because they're such great creative outlets, and anyone can set one up in no time.
This wasn't a subject line I could have ever crafted, because it's a horrible thing to see as a blogger, but it's one I received today.
You've published no new content this week.
Right there in the inbox. It was an email from CoSchedule, a calendar plug-in I use to organize my blog posts. At first I thought wow, thanks CoSchedule, for reminding me that I'm the most slovenly human in the blogosphere.
But then I thought well, this might actually be a sign from the Universe, giving me a nudge, because I've been really sad about not having written anything this past week.
My method for coming up with blog post ideas is a mess. Hell, a lot of things in my life are a mess, but of course, it doesn't make me love them any less.
I thought I'd share with you my disorganized way for coming up with blog post ideas because most articles about blogging are about being organized, and let's face it, where my blog and writing are concerned, I am anything but.
A fellow blogger friend of mine asked me how to stay motivated to keep blogging the other day. So I thought, why not blog about it?
Blogging saved me because I needed an outlet. It's fun to think about starting a blog, because it gives you your very own personal space in the web world. But as we all know, the upkeep can be tough. And that's not the only problem.


text:
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namespace M6Web\Bundle\WSClientBundle\Adapter\Request;

use GuzzleHttp\Message\RequestInterface;
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/**
 * Adpater pour une requête Guzzle
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redpajama_set_name: RedPajamaGithub


text:
Tag: Sports films
The Nickelodeons: The Poor Man's Elementary Course in the Drama
Source: Joseph Medill Patterson, 'The Nickelodeons: The Poor Man's Elementary Course in the Drama' The Saturday Evening Post, 23 November 1907, pp. 10-11, 38.
Text: Three years ago there was not a nickelodeon, or, five-cent theatre devoted to moving-picture shows, in America. To-day there are between four and five thousand running and solvent, and the number is still increasing rapidly. This is the boom time in the moving-picture business. Everybody is making money- manufacturers, renters, jobbers, exhibitors. Overproduction looms up as a certainty of the near future; but now, as one press-agent said enthusiastically, "this line is a Klondike."
The nickelodeon in tapping an entirely new stratum of people, is developing into theatregoers a section of population that formerly knew and cared little about the drama as a fact in life. That is why "this line is a Klondike" just at present.
Incredible as it may seem, over two million people on the average attend the nickelodeons every day of the year, and a third of these are children.
Let us prove up this estimate. The agent for the biggest firm of film renters in the country told me that the average expense of running a nickelodeon was from $175 to $200 a week, divided as follows:
Wage of manager $25
Wage of Operator 20
Wage of doorman 15
Wage of porter or musician 12
Rent of film (two reels changed twice a week) 50
Rent of projecting machine 10
Rent of building 40
Music, printing, "campaign contributions," etc. 18
Total $190
Merely to meet expenses then, the average nickelodeon must have a weekly attendance of 4000. This gives all the nickelodeons 16,000,000 a week, or over 2,000,000 a day. Two million people a day are needed before profits can begin, and the two million are forthcoming. It is a big thing, this new enterprise.
The nickelodeon is usually a tiny theatre, containing 199 seats, giving from twelve to eighteen performances a day, seven days a week. Its walls are painted red. The seats are ordinary kitchen chairs, not fastened. The only break in the red color scheme is made by half a dozen signs, in black and white, NO SMOKING, HATS OFF and sometimes, but not always, STAY AS LONG AS YOU LIKE.
The spectatorium is one story high, twenty-five feet wide and about seventy feet deep. Last year or the year before it was probably a second-hand clothiers, a pawnshop or cigar store. Now, the counter has been ripped out, there is a ticket-seller's booth where the show-window was, an automatic musical barker somewhere up in the air thunders its noise down on the passersby, and the little store has been converted into a theatrelet. Not a theatre, mind you, for theatres must take out theatrical licenses at $500 a year. Theatres seat two hundred or more people. Nickelodeons seat 199, and take out amusement licenses. This is the general rule.
But sometimes nickelodeon proprietors in favorable locations take out theatrical licenses and put in 800 or 1000 seats. In Philadelphia, there is, perhaps, the largest nickelodeon in America. It is said to pay not only the theatrical license, but also $30,000 a year ground rent and a handsome profit.
To-day there is cutthroat competition between the little nickelodeon owners, and they are beginning to compete each other out of existence. Already consolidation has set in. Film-renting firms are quietly beginning to pick up, here and there, a few nickelodeons of their own; presumably they will make better rates and give prompter service to their own theatrelets than to those belonging to outsiders. The tendency is early toward fewer, bigger, cleaner five-cent theatres and more expensive shows. Hard as this may be on the little showman who is forced out, it is good for the public, who will, in consequence, get more for their money.
Who the Patrons Are
The character of the attendance varies with the locality, but, whatever the locality, children make up about thirty-three per cent. of the crowds. For some reason, young women from sixteen to thirty years old are rarely in evidence, but many middle-aged and old women are steady patrons, who never, when a new film is to be shown, miss the opening.
In cosmopolitan city districts the foreigners attend in larger proportion than the English speakers. This is doubtless because the foreigners, shut out as they are by their alien tongues from much of the life about them can yet perfectly understand the pantomime of the moving pictures.
As might be expected, the Latin races patronize the shows more consistently than Jews, Irish or Americans. Sailors of all races are devotees.
Most of the shows have musical accompaniments. The enterprising manager usually engages a human pianist with instructions to play Eliza-crossing-the-ice when the scene is shuddery, and fast ragtime in a comic kid chase. Where there is little competition, however, the manager merely presses the button and starts the automatic going, which is as apt as not to bellow out, I'd Rather Two-Step Than Waltz, Bill, just as the angel rises from the brave little hero-cripple's corpse.
The moving pictures were used as chasers in vaudeville houses for several years before the advent of the nickelodeon. The cinemetograph or vitagraph or biograph or kinetoscope (there are seventy-odd names for the same machine) was invented in 1888-1889. Mr. Edison is said to have contributed most toward it, though several other inventors claim part of the credit.
The first very successful pictures were those of the Corbett-Fitzsimmons fight at Carson City, Nevada, in 1897. These films were shown all over the country to immense crowds and an enormous sum of money was made by the exhibitors.
The Jeffries-Sharkey fight of twenty-five rounds at Coney Island, in November, 1899, was another popular success. The contest being at night, artificial light was necessary, and 500 arc lamps were placed above the ring. Four cameras were used. While one was snapping the fighters, a second was being focused at them, a third was being reloaded, and a fourth was held in reserve in case of breakdown. Over seven miles of film were exposed, and 198,000 pictures, each 2 by 3 inches, were taken. This fight was taken at the rate of thirty pictures to the second.
The 500 arc lamps above the ring generated a temperature of about 115 degrees for the gladiators to fight in. When the event was concluded, Mr. Jeffries was overheard to remark that for no amount of money would he ever again in his life fight in such heat, pictures or no pictures. And he never has.
Since that mighty fight, manufacturers have learned a good deal about cheapening their process. Pictures instead of being 2 by 3 inches are now 5/8 by 1 1/8 inches, and are taken sixteen instead of thirty to the second, for the illusion to the eye of continuous motion is as perfect at one rate as the other.
By means of a ratchet each separate picture is made to pause a twentieth of a second before the magic-lantern lens, throwing an enlargement to life size upon the screen. Then, while the revolving shutter obscures the lens, one picture is dropped and another substituted, to make in turn its twentieth of a second display.
The films are, as a rule, exhibited at the rate at which they are taken, though chase scenes are usually thrown faster, and horse races, fire-engines and hot-moving automobiles slower, than the life-speed.
How the Drama Is Made
Within the past year an automatic process to color films has been discovered by a French firm. The pigments are applied by means of a four-color machine stencil. Beyond this bare fact the process remains a secret of the inventors. The stencil must do its work with extraordinary accuracy, for any minute error in the application of color to outline made upon the 5/8 by 1 1/8 inches print is magnified 200 times when thrown upon the screen by the magnifying lens. The remarkable thing about this automatic colorer is that it applies the pigment in slightly different outline to each successive print of a film 700 feet long. Colored films sell for about fifty per cent. more than black and whites. Tinted films – browns, blues, oranges, violets, greens and so forth – are made by washing, and sell at but one per cent. over the straight price.
The films are obtained in various ways. "Straight" shows, where the interest depends on the dramatist's imagination and the setting, are merely playlets acted out before the rapid-fire camera. Each manufacturing firm owns a studio with property-room, dressing rooms and a completely-equipped stage. The actors are experienced professionals of just below the first rank, who are content to make from $18 to $25 a week. In France a class of moving-picture specialists has grown up who work only for the cameras, but in this country most of the artists who play in the film studios in the daytime play also behind the footlights at night.
The studio manager orders rehearsals continued until his people have their parts "face-perfect," then he gives the word, the lens is focused, the cast works rapidly for twenty minutes while the long strip of celluloid whirs through the camera, and the performance is preserved in living, dynamic embalmment (if the phrase may be permitted) for decades to come.
Eccentric scenes, such as a chalk marking the outlines of a coat upon a piece of cloth, the scissors cutting to the lines, the needle sewing, all automatically without human help, often require a week to take. The process is ingenious. First the scissors and chalk are laid upon the edge of the cloth. The picture is taken. The camera is stopped, the scissors are moved a quarter of an inch into the cloth, the chalk is drawn a quarter of an inch over the cloth. The camera is opened again and another picture is taken showing the quarter-inch cut and quarter-inch mark. The camera is closed, another quarter inch is cut and chalked; another exposure is made. When these pictures so slowly obtained we run off rapidly, the illusion of fast self-action on the part of the scissors, chalk and needle is produced.
Sometimes in a nickelodeon you can see on the screen a building completely wrecked in five minutes. Such a film was obtained by focusing a camera at the building, and taking every salient move of the wreckers for the space, perhaps, of a fortnight. When these separate prints, obtained at varying intervals, some of them perhaps a whole day apart, are run together continuously, the appearance is of a mighty stone building being pulled to pieces like a house of blocks.
Such eccentric pictures were in high demand a couple of years ago, but now the straight-story show is running them out. The plots are improving every year in dramatic technique. Manufacturing firms pay from $5 to $25 for good stories suitable for film presentation, and it is astonishes how many sound dramatic ideas are submitted by people of insufficient education to render their thoughts into English suitable for the legitimate stage.
The moving-picture actors are becoming excellent pantomimists, which is natural, for they cannot rely on the playwright's lines to make their meanings. I remember particularly a performance I saw near Spring Street on the Bowery, where the pantomime seemed to me in nowise inferior to that of Mademoiselle Pilar-Morin, the French pantomimist.
The nickelodeon spectators readily distinguish between good and bad acting, though they do not mark their pleasure or displeasure audibly, except very rarely, in a comedy scenes by a suppressed giggle. During the excellent show of which I have spoken, the men, woman and children maintained steady stare of fascination at the changing figures on the scene, and toward the climax, when forgiveness was cruelly denied, lips were parted and eyes filled with tears. It was as much a tribute to the actors as the loudest bravos ever shouted in the Metropolitan Opera House.
To-day a consistent plot is demanded. There must be, as in the drama, exposition, development, climax and denouement. The most popular films run from fifteen to twenty minutes and are from five hundred to eight hundred feet long. One studio manager said: "The people want a story. We run to comics generally; they seem to take best. So-and-so, however, lean more to melodrama. When we started we used to give just flashes- an engine chasing to a fire, a base-runner sliding home, a charge of cavalry. Now, for instance, if we want to work in a horse race it has to be as a scene in the life of the jockey, who is the hero of the piece – we've got to give them a story; they won't take anything else – a story with plenty of action. You can't show large conversation, you know, on the screen. More story, larger story, better story with plenty of action- that is our tendency."
Civilization, all through the history of mankind, has been chiefly the property of the upper classes, but during the past century civilization has been permeating steadily downward. The leaders of this democratic movement have been general education, universal suffrage, cheap periodicals and cheap travel. To-day the moving-picture machine cannot be overlooked as an effective protagonist of democracy. For through it the drama, always a big fact in the lives of the people at the top, is now becoming a big fact in the lives of the people at the bottom. Two million of them a day have so found a new interest in life.
The prosperous Westerners, who take their week or fortnight, fall and spring, in New York, pay two dollars and a half for a seat at a problem play, a melodrama, a comedy or a show-girl show in a Broadway theatre. The stokers who have driven the Deutschland or the Lusitania from Europe pay five cents for a seat at a problem play, a melodrama, a comedy or a show-girl show in a Bowery nickelodeon. What in the difference?
The stokers, sitting on the hard, wooden chairs of the nickelodeon, experience the same emotional flux and counter-flux (more intense is their experience, for they are not as blase) as the prosperous Westerners in their red plush orchestra chairs, uptown.
The sentient life of the half-civilized beings at the bottom has been enlarged and altered, by the introduction of the dramatic motif, to resemble more closely the sentient life of the civilized beings at the top.
Take an analogous case. Is aimless travel "beneficial" or not? It is amusing, certainly; and, therefore, the aristocrats who could afford it have always traveled aimlessly. But now, says the Democratic Movement, the grand tour shall no longer be restricted to the aristocracy. Jump on the rural trolley-car, Mr. Workingman, and make a grand tour yourself. Don't care, Mr. Workingman, whether it is "beneficial" or not. Do it because it is amusing; just as the aristocrats do.
The film makers cover the whole gamut of dramatic attractions. The extremes in the film world are as far apart as the extremes in the theatrical world- as far apart, let us say, as The Master Builder and The Gay White Way.
If you look up the moving-picture advertisements in any vaudeville trade paper you cannot help being struck with this fact. For instance, in a current number, one firm offers the following variety of attractions:
Romany's Revenge (very dramatic) 300 feet
Johnny's Run (comic kid chase) 300 "
Roof to Cellar (absorbing comedy) 782 "
Wizard's World (fantastic comedy) 350 "
Sailor's Return (highly dramatic) 535 "
A Mother's Sin (beautiful, dramatic and moral) 392 "
Knight Errant (old historical drama) 421 "
Village Fire Brigade (big laugh) 325 "
Catch the Kid (a scream) 270 "
The Coroner's Mistake (comic ghost story) 430 "
Fatal Hand (dramatic) 432 "
Another firm advertises in huge type, in the trade papers:
LIFE AND PASSION OF CHRIST
Five Parts, Thirty-nine Pictures, 3114 feet Price, $373.78
Extra for coloring $125.10
The presentation by the picture machine of the Passion Play in this country was undertaken with considerable hesitation. The films had been shown in France to huge crowds, but here, so little were even professional students of American lower-class taste able to gauge it in advance, that the presenters feared the Passion Play might be boycotted, if not, indeed, indeed, in some places, mobbed. On the contrary, it has been the biggest success ever known to the business.
Last year incidents leading up to the murder of Stanford White were shown, succeeded enormously for a very few weeks, then flattened out completely and were withdrawn. Film people are as much at sea about what their crowds will like as the managers in the "legitimate."
Although the gourdlike growth of the nickelodeon business as a factor in the conscious life of Americans is not yet appreciated, already a good many people are disturbed by what they do know of the thing.
Those who are "interested in the poor" are wondering whether the five-cent theatre is a good influence, and asking themselves gravely whether it should be encouraged or checked (with the help of the police).
Is the theatre a "good" or a "bad" influence? The adjectives don't fit the case. Neither do they fit the case of the nickelodeon, which is merely the theatre demociatized.
Take the case of the Passion Play, for instance. Is it irreverent to portray the Passion, Crucifixion, Resurrection and Ascension in a vaudeville theatre over a darkened stage where half an hour before a couple of painted, short-skirted girls were doing a "sister-act"? What is the motive which draws crowds poor people to nickelodeons to see the Birth in the Manger flashed magic-lanternwise upon a white cloth? Curiosity? Mere mocking curiosity, perhaps? I cannot answer.
Neither could I say what it is that, every fifth year, draws our plutocrats to Oberammergau, where at the cost, from first to last, of thousands of dollars and days of time, they view a similar spectacle presented in a sunny Bavarian setting.
It is reasonable, however, to believe that the same feelings, whatever they are, which drew our rich to Oberammergau, draw our poor to the nickelodeons. Whether the powerful emotional reactions produced in the spectator by the Passion Play are "beneficial" or not is as far beyond decision as the question whether a man or an oyster is happier. The man is more, feels more, than the oyster. The beholder of the Passion Play is more, feels more, than the non-beholder.
Whether for weal or woe, humanity has ceaselessly striven to complicate life, to diversify and make subtle the emotions, to create and gratify the new and artificial spiritual wants, to know more and feel more both of good and evil, to attain a greater degree of self-consciousness; just as the one fundamental instinct of the youth, which most systems of education have been vainly organized to eradicate, is to find out what the man knows.
In this eternal struggle for more self-consciousness, the moving-picture machine, uncouth instrument though it be, has enlisted itself on especial behalf of the least enlightened, those who are below the reach even of the yellow journals. For although in the prosperous vaudeville houses the machine is but a toy, a "chaser," in the nickelodeons it is the central, absorbing fact, which strengthens, widens, vivifies subjective life; which teaches living other than living through the senses alone. Already, perhaps, touching him at the psychological moment, it has awakened to his first, groping, necessary discontent the spirit of an artist of the future, who otherwise would have remained mute and motionless.
The nickelodeons are merely an extension course in civilization, teaching both its "badness" and its "goodness." They have come in obedience to the law of supply and demand; and they will stay as long as the slums stay, for in the slums they are the fittest and must survive.
Comments: Joseph Medill Patterson (1879-1946) was an American journalist and newspaper publisher, founder of the New York Daily News. Nickelodeons (a nickname given in America to the shop-conversions that preceded purpose-built cinemas) came to the interest on general newspapers and magazines in 1907. The illustrations come from the original publication.
Copy at Hathi Trust
Transcribed copy at The Silent Bookshelf (archived site)
Luke McKernan April 15, 2020 Leave a comment
Impressions of America
Source: T.C. Porter, Impressions of America (London: C. Arthur Pearson, Limited, 1899), pp. 193-194
Text: At dinner, some printed notices laid by our plates reminded us that the kinematoscope was at work in the town, showing in several separate scenes the fight between Fitz-Simmons and Corbett. Wishing to see how such exhibitions in America compared with those at home, I took a seat, perhaps rather too near the screen, and witnessed the struggle between the two athletes. The flicker was unpleasant throughout, which means that somehow or other more pictures should be thrown on the screen per second; and what is more trying to the eyes is the want of correct register in successive views, which causes the whole view on the screen to wobble up and down through a small distance, perhaps two or three inches. This often made it impossible to follow any rapid action, and I should think might be partly due to the nature of the film on which the pictures are taken. On the whole, I do not think this particular show was nearly so good as the "Biograph" entertainment in London.
One thing interested me a good deal. I noticed that a man sitting next to me viewed the pictures through two small holes, cut out in a sheet of dark-coloured paper. He told me it notably lessened the flicker. I tried the plan, and found it work, as my informant said: but it cut off too much light to my mind, so I did not use it long. Several of the scenes which happened just after the wrestling were shown. A man passing in the foreground looked up for an instant towards the audience with a tragically woe-begone expression, whilst the conductor or expositor, whichever he should be called — simply remarked, "That is Mr. So-and-so; he has just lost 70,000 dollars!" Perhaps that is not the exact sum mentioned; in any case it was large enough to provoke most unfeeling mirth on the part of the spectators.
Comments: Thomas Cunningham Porter (1860-1933) was a British physicist and Eton schoolmaster, member of the Royal Astronomical Society and the Physical Society of London. The world heavyweight boxing championship between James Corbett and Bob Fitzsimmons was held at Carson City, Nevada on 17 March 1897. The full fight was filmed by the Veriscope company using a 63mm-wide film format and was widely exhibited, the full film being 11,000 feet in length and lasting around an hour-and-a-half. There was no projector called a 'Kinematoscope'. The screening took place in Colorado.
Luke McKernan February 1, 2020 Leave a comment
Ghosting
Source: Jennie Erdal, Ghosting: A Memoir (Edinburgh: Canongate, 2004), pp. 110=111
Text: In September 1992, a few weeks after her ninetieth birthday, Leni and Horst came to London to mark the publication of her memoirs in English. I picked them up at Heathrow and took them to their suite in the Mayfair Hotel. She had agreed to do a number of interviews – against Horst's advice. He was cynical about journalists and very protective of her. 'They're all against her,' he said. 'They will destroy her.'
She got a mixed reception, and the questions were tough and often offensive. But she answered them sensitively and with dignity, especially on the subject of the responsibility of the artist. She insisted she was ignorant of atrocities and pleaded guilty only to irredeemable naïvety. By the end of the week she was exhausted, and during an interview at the BBC, on being asked yet again about the nature of her friendship with Hitler, and if they had been lovers, she broke down and wept. When we left the studio Horst was waiting outside, clearly furious about the grilling. He took her gently in his arms and held her till she recovered.
The launch party was held at the Museum of the Moving Image on the South Bank, an appropriate venue for someone who had changed the face of film-making. Earlier at the hotel she had laid out clothes on the bed and wanted me to help choose an outfit for the evening. 'Wie sehe ich aus? – How do I look?' she asked when I went to pick her up later. She was wearing a silk dress in black and gold, a fur-trimmed jacket and sensational stilettos. 'Stunning!' I said. 'The most elegant ninety-year-old I've ever seen.' We had been laughing and I had meant it lightly, but she turned serious and told me that her longevity was a sort of curse: though she lived to be a hundred she would never be free of the burden of the past. 'I'm too vain to wear my glasses,' she said, so she held onto my arm as we went up the steps to the entrance of the Museum of the Moving Image. 'Count out the steps for me – I want to hold my head high.' As she entered the crowded room under piercing lights, there was a hushed silence. Adulation was in the air. For one evening at least she was among friends, people who simply admired her artistic excellence and had come to pay tribute. Tiger, resplendent in a blue silk suit with gold lining, made a theatrical salaam before her and kissed her jewelled hand. All round the walls there were giant screens playing Olympia, her film of the 1936 Berlin Olympics: breathtaking black and white shots of runners, pole-vaulters, and long exquisite sequences of divers flying through the air against a darkening sky, one image after another in slow motion like a tone poem. Artistic genius, or fascist celebration of the body beautiful? Whatever the truth – and we can never be absolutely certain – it is unlikely that she fully appreciated the significance of those moments in history in which she played such a prominent part. Perhaps she knew not what she was doing, only how to do it.
Comments: Jennie Erdal is a Scottish writer. Ghosting is a memoir of her time spent as ghostwriter to the publisher Naim Attallah (lightly disguised in the book as 'Tiger'), whose Quartet Books published the memoirs of the documentarist and propaganda filmmaker Leni Riefenstahl, The Sieve of Time. The Museum of the Moving Image, located in London, closed in 1999.
Luke McKernan December 29, 2017 February 8, 2018 Leave a comment


text:
Q: Google Forms Apps script - randomly missing choices This bug has me completely confused. I am auto-creating a google form (quiz). Periodically (but quite often) the multiple choice items are missing choices, this often happens once the page is refreshed. That is, the answer options look like they are created correctly on screen, but, once you refresh they disappear. Oddly (and interestingly) there are no errors in Stackdriver.
Visually this is what is happening. Both of these images were created when running the same script with the same input for two different forms:

As you can see, the first one is created and has 4 options, the second is created and has just 1 option.
It happens frequently, but not all the time. Seems like it almost has to be a Google bug, but, I've searched their tracker and no one has reported anything.
I'll show our "choice creation code" in case it points to anything, but, the fact that we get different results with exactly the same input suggests there's something else going on.
I'm just showing one part of a loop, but like I said, the code isn't erroring at all. Is there an approach to creating large (30 question) Google forms which is better than running an apps-script plugin? I wish there was an API :(
Anyway, if this is a know issue, or there's a workaround, I'd love to hear it.
      var item = form.addMultipleChoiceItem();
      item.setPoints(points);

      if (data.answer_sheet) { item.setTitle("Question " + position) }

      var choices = [];

      for (var i=0; i < question.count; i++) {
        choices.push(item.createChoice(String.fromCharCode(65 + i), i+1 == question.correct));
      }

      item.setRequired(required);
      item.setChoices(choices);

Edit - minimal reproducible error
If you copy the following script into a google-apps-script environment and run the script, it should import a 30 problem multiple choice document. It will look as if everything has been imported correctly, then refresh the form and you will find that choices are missing.  The code is below, I have also made a gist of it on github
function onOpen(e) {
  FormApp.getUi()
    .createAddonMenu()
    .addItem("Add Questions to Blank Quiz", "processUpload")
    .addToUi();
}

function onInstall(e){
  onOpen(e);
};

function processUpload() {
  var form = FormApp.getActiveForm();
  var ui = FormApp.getUi();

  // Delete all items in the form
  var items = form.getItems();

  while(items.length > 0){
    form.deleteItem(items.pop());
  }

  createTest("ignored", true);
}

function questionUrl(url) {
  if (url.lastIndexOf("https:", 0) !== 0) {
    return "https:" + url;
  } else {
    return url;
  }
}

function fetchImages(questions) {
  let urls = questions
              .map(q => questionUrl(q.url))

  let imageResponses = UrlFetchApp.fetchAll(urls);

  return imageResponses.map(e => e.getBlob());
}

function createTest (url, required) {
  var data = sampleData();

  var form = FormApp.getActiveForm();

  form.setIsQuiz(true);

  form.setTitle(data.title)

  // don't want shuffling since image items are separate from answers
  form.setShuffleQuestions(false);

  let questionImages = fetchImages(data.quiz.questions);

  data.quiz.questions.forEach(function(question, index) {
    var position = question.position || index + 1;
    var points = question.points || 1;
    var title = "Question " + position;

    if (!data.answer_sheet) {

      form.addImageItem()
        .setImage(questionImages[index])
        .setTitle("Question " + position)
    }

    if (question.type === "mc") {
      var item = form.addMultipleChoiceItem();
      item.setPoints(points);

      if (data.answer_sheet) { item.setTitle("Question " + position) }

      var choices = [];

      for (var i=0; i < question.count; i++) {
        choices.push(item.createChoice(String.fromCharCode(65 + i), i+1 == question.correct));
      }

      item.setRequired(required);
      item.setChoices(choices);
    } else {
      var item = form.addTextItem();
      if (data.answer_sheet) { item.setTitle("Question " + position) }
      item.setPoints(points);
      item.setRequired(required);
    }
  });
}

function sampleData() {
  return {
    "answer_sheet": false,
    "quiz": {
      "questions": [
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 1,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 2,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 3,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 3,
          "count": 4,
          "points": 1,
          "position": 4,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 2,
          "count": 4,
          "points": 1,
          "position": 5,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 6,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 1,
          "count": 4,
          "points": 1,
          "position": 7,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 8,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 3,
          "count": 4,
          "points": 1,
          "position": 9,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 10,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 3,
          "count": 4,
          "points": 1,
          "position": 11,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 1,
          "count": 4,
          "points": 1,
          "position": 12,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 2,
          "count": 4,
          "points": 1,
          "position": 13,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 2,
          "count": 4,
          "points": 1,
          "position": 14,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 15,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 1,
          "count": 4,
          "points": 1,
          "position": 16,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 17,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 18,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 19,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 3,
          "count": 4,
          "points": 1,
          "position": 20,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 3,
          "count": 4,
          "points": 1,
          "position": 21,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 22,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 2,
          "count": 4,
          "points": 1,
          "position": 23,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 3,
          "count": 4,
          "points": 1,
          "position": 24,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 25,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 2,
          "count": 4,
          "points": 1,
          "position": 26,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 2,
          "count": 4,
          "points": 1,
          "position": 27,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 3,
          "count": 4,
          "points": 1,
          "position": 28,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 4,
          "count": 4,
          "points": 1,
          "position": 29,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        },
        {
          "correct": 2,
          "count": 4,
          "points": 1,
          "position": 30,
          "type": "mc",
          "url": "//via.placeholder.com/468x100"
        }
      ]
    },
    "title": "30 problem doc"
  }
}

A: Actually I have the same problem, I found a hacky way around it.
Its complexity is high O(n^2), but it works.
Basically, I'm double checking every question got it's choices correctly.
const items = [];
for(var i=0;i<questions.length;i++) {
    items.push(form.addMultipleChoiceItem());
}

for(var j=0;j<questions.length;j++) {
    for(var i=0;i<questions.length;i++) {
        var item = items[i];
        if(item.getChoices()[0].getValue() === "A") continue; // already set question with choices, ignore it
        item.setPoints(points);

        if (data.answer_sheet) { item.setTitle("Question " + i) }

        var choices = [];

        for (var i=0; i < question.count; i++) {
            choices.push(item.createChoice(String.fromCharCode(65 + i), i+1 == question.correct));
        }

        item.setRequired(required);
        item.setChoices(choices);
    }
}

A: I encountered the same thing for my add-on, I think I managed to fix mine, what I did was - I moved the setChoices after setTitle before any other properties. Previously, my code similar to yours where I add the setChoices last (after setRequired etc).
Google Form AppScript - Item choices disappear when viewing, however it's showing in editing view?
I don't know how to explain, but it seems to work for me after a few tests.

A: I had the same problem, but I managed it. The server needs some time to create the item. Thus, let your script wait for an item to be completed. Put this line after item creation tasks.
SpreadsheetApp.flush();

A: Had the same issue.
Simple fix. Instead of this:
  var form = FormApp.getActiveForm()
    const students = ['Han S.','Luke S.','Yoda']

    var pickYourName = form.addMultipleChoiceItem()
        // RISK OF EMPTY CHOICES: DON'T SET CHOICEVALUES LAST
        pickYourName.setTitle('Choose your name:')
        pickYourName.setChoiceValues(students)

Simply swap the order of operations and set the title last., like this:
    var form = FormApp.getActiveForm()
    const students = ['Han S.','Luke S.','Yoda']

    var pickYourName = form.addMultipleChoiceItem()
        // HAD NO ISSUE DOING IT THIS WAY: CHOICES FIRST, THEN TITLE
        pickYourName.setChoiceValues(students)
        pickYourName.setTitle('Choose your name:')

redpajama_set_name: RedPajamaStackExchange


text:
Q: ADODB PHP MS-SQL SERVER SAVE() problems after a lot of research I can connect ADOBD mssql y free tds, but now I have another problem, I tried to use Active record , an insert intruction  but I can't do it, the ado didn't send me any errors... this is my script:
include('adodb/adodb.inc.php');
include('adodb/adodb-active-record.inc.php');

$db = ADONewConnection('mssql'); # eg 'mysql' or 'postgres'
$db->Connect('*********', "*********", '**********', "**********");
ADOdb_Active_Record::SetDatabaseAdapter($db);
ADODB_Active_Record::$_changeNames = FALSE;
$db->debug = true;
#the following example use a table that was created with this statement
$rs = $db->Execute("select top 3 * from banks order by 1 desc");
print "
";
print_r($rs->GetRows());
print "
";
#create an empty class to work with our new table
class banks extends ADOdb_Active_Record {}  $banks2 = new banks();
$banks2->desc_bank = 'Banco '.date("H:i:s d/m/Y");
$banks2->save(); // this save() will fail on INSERT as favorite_color is a must fill...

echo "
 Guarde: el id = '$banks2->id_bank - $banks2->desc_bank ".date("H:i:s d/m/Y")."'";
$ok = $banks2->Save();

if (!$ok) $err = $banks2->ErrorMsg();
echo "
 Error= $err";
unset($banks);
// $rs = $db->Execute("insert into banks values('".'Banco '.date("H:i:s d/m/Y")."')");
$rs = $db->Execute("select top 3 *  from banks order by 1 desc");
print "
";
    print_r($rs->GetRows());
print "
";
echo "
 Acabe: ".date("H:i:s d/m/Y");

If I uncomment the normal insert it did, but that's not Active record
This is the response:

> (mssql): select top 3 * from banks order by 1 desc

Array
(
    [0] => Array
        (
            [0] => 26
            [1] => Banco 10:54:29 26/04/2012
        )

    [1] => Array
        (
            [0] => 25
            [1] => Banco 10:54:18 26/04/2012
        )

    [2] => Array
        (
            [0] => 23
            [1] => BANSEFI 2
        )

)

(mssql): select c.name,t.name,c.length,c.isnullable, c.status, (case when c.xusertype=61 then 0 else c.xprec end), (case when c.xusertype=61 then 0 else c.xscale end) from syscolumns c join systypes t on t.xusertype=c.xusertype join sysobjects o on o.id=c.id where o.name='banks'   (mssql): select distinct k.column_name,ordinal_position from information_schema.key_column_usage k, information_schema.table_constraints tc where tc.constraint_name = k.constraint_name and tc.constraint_type = 'PRIMARY KEY' and k.table_name = 'banks' and k.table_catalog like 'tss_dev%' order by ordinal_position   (mssql): INSERT INTO banks(id_bank,desc_bank) VALUES (?,?)   [ (0=>null) (1=>'Banco 11:05:42 26/04/2012') ] sp_executesql N'INSERT INTO banks(id_bank,desc_bank) VALUES (@P0,@P1); select SCOPE_IDENTITY()',N'@P0 CHAR, @P1 NVARCHAR(25)',@P0=NULL, @P1=N'Banco 11:05:42 26/04/2012'
(mssql): select SCOPE_IDENTITY()   (mssql): select max(id_bank) from banks
Guarde: el id = '26 - Banco 11:05:42 26/04/2012 11:05:42 26/04/2012'
Error= (mssql): select top 3 * from banks order by 1 desc

Array
(
    [0] => Array
        (
            [0] => 26
            [1] => Banco 10:54:29 26/04/2012
        )

    [1] => Array
        (
            [0] => 25
            [1] => Banco 10:54:18 26/04/2012
        )

    [2] => Array
        (
            [0] => 23
            [1] => BANSEFI 2
        )

)

Acabe: 11:05:42 26/04/2012

And this is the Table banks
    USE [tss_dev]
GO

/****** Object:  Table [dbo].[banks]    Script Date: 26/04/2012 11:17:08 ******/
SET ANSI_NULLS ON
GO

SET QUOTED_IDENTIFIER ON
GO

SET ANSI_PADDING ON
GO

CREATE TABLE [dbo].[banks](
    [id_bank] [smallint] IDENTITY(22,1) NOT NULL,
    [desc_bank] [char](30) NOT NULL,
 CONSTRAINT [PK_banks_id_bank] PRIMARY KEY CLUSTERED
(
    [id_bank] ASC
)WITH (PAD_INDEX = OFF, STATISTICS_NORECOMPUTE = OFF, IGNORE_DUP_KEY = OFF, ALLOW_ROW_LOCKS = ON, ALLOW_PAGE_LOCKS = ON) ON [PRIMARY]
) ON [PRIMARY]

GO

SET ANSI_PADDING OFF
GO

EXEC sys.sp_addextendedproperty @name=N'MS_SSMA_SOURCE', @value=N'tss_sales_demo.banks' , @level0type=N'SCHEMA',@level0name=N'dbo', @level1type=N'TABLE',@level1name=N'banks'
GO

Thanks for you help Guys..!!!

A: I use this override class, to fix the MSSQL save method using adodb active record
class MSSQL_Active_Record extends ADOdb_Active_Record {
    // The fix for default save method which is error in MSSQL
    function Save($pk = 'id')
    {
        $db = $this->DB();
        $db->Execute("SET IDENTITY_INSERT {$this->_table} ON");

        $this->$pk  = $this->LastInsertID($db, $pk) + 1;
        parent::Save();

        $db->Execute("SET IDENTITY_INSERT {$this->_table} OFF");
    }
}


text:
WWE Lands Exclusive IGT Licensing Rights, Expands Gaming Portfolio
Eric Jackson
The WWE is betting big by getting into the lottery business.
The wrestling powerhouse plans to roll out branded lottery games nationwide, thanks to a new multi-year deal with gaming company International Game Technology (IGT). The agreement gives IGT exclusive licensing rights to develop and distribute WWE scratch-off tickets and other lottery products.
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This is the latest move for WWE (NYSE: WWE) in the gaming space after inking a partnership with DraftKings (Nasdaq: DKNG) last spring. IGT (NYSE: IGT) will also use licensing rights to create various promotional programs that highlight WWE talent and events, like WrestleMania in Arlington, Texas, this year.
Terms of the agreement were not disclosed, but WWE, which already has partnerships with gaming companies such as Scopely and Take-Two Interactive, hopes the IGT deal will bolster its overall omnichannel strategy. Data show that WWE followers over-index into gaming, so this is a way for the Connecticut-based company to meet fans as close as their local convenience store.
Lottery channels will include physical tickets like scratch-offs, as well as mobile and interactive games. Scratch-offs and other lottery games are expected to launch in select markets later this year. London-based IGT, which recently partnered with Sports Illustrated owner Authentic Brands Group to develop Marilyn Monroe-themed games, will leverage WWE assets to reach new and existing demographics.
WWE also is potentially opening the path into the casino business with this IGT deal, as some markets are expected to offer online casino-style lottery games. It wouldn't be the first time, as WWE (then known as the World Wrestling Federation) previously had plans of opening a hotel and casino in Las Vegas, but it never got through the proposal stage and the company sold the property in 2000.
WWE, which reported $255 million in revenue in the third quarter, nonetheless continues to look for new ways to expand and attract a younger fan base. The wrestling giant most recently launched an NIL program to create a new talent pipeline. In October, WWE signed an exclusive trading-card deal with The Panini Group and a toy-licensing deal with manufacturing company Mattel (NASDAQ: MAT).
WWE president and chief revenue officer Nick Khan has been involved in several major changes since he left Creative Artists Agency (CAA) in 2020. This latest deal with IGT speaks to the organization's continued mission to spread the brand across multiple areas of gaming.
(This article has been updated in the last paragraph to clarify Nick Khan's role at WWE.)
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A host of issues could make filing your taxes more complicated this year. Here's what you need to know
The National Association of Tax Professionals is warning of the "most grueling year yet" for preparers and predicts many taxpayers may need extra help
Sri Lanka looking to attract forex through new policies
COLOMBO (Reuters) -Sri Lanka will introduce new laws to attract investments over the next three years while policies to develop exports, tourism and remittances will be fast-tracked in a bid to rebuild foreign exchange reserves, President Gotabaya Rajapaksa said on Tuesday. In a speech to parliament, Rajapaksa also said a debilitating shortage of forex was inevitable in the South Asian island nation unless expenditure was managed well. "If we fail to control our spending, there will be a foreign exchange problem in the near future," Rajapaksa added.
MyPillow CEO Mike Lindell says he's 'disgusted' with 2 banks he claims are cutting ties with him over 'cancel culture' after his phone records were subpoenaed by the January 6 committee
Lindell told Insider he wonders why they kept him after he was at the White House "running around with papers from a lawyer that said martial law."
GOBankingRates
7 Easy Ways Every Boomer Can Catch Up on Retirement Savings
Given that the future is always uncertain, planning for it can seem a little daunting. Or worse, something you can keep putting off indefinitely. However, this is all valuable time that could be spent...
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Sarasota-headquartered company has big year in 2021 certifying collectibles
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Ukraine bonds sink into distress, Russia drops as tensions mount
LONDON (Reuters) -Ukrainian sovereign dollar bonds tumbled into distress territory and Russian bonds suffered sharp falls on Monday as fears of another Russian military foray into Ukraine showed no sign of easing. The premium investors demand to hold Ukraine bonds over safe-haven U.S. Treasuries as measured by the JPMorgan EMBI Global Diversified index surged past 1,000 basis points for the first time since the COVID-19 pandemic emerged in March 2020. Less than a dozen countries in the 70-plus strong index have quadruple-digit spreads, including Venezuela, Zambia, Lebanon, Sri Lanka and Ghana which are all either in default or deep debt distress.
Is Beam Therapeutics a Good Stock to Buy Now?
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First Mover Asia: Bitcoin Continues Its Sluggishness Amid Darkening Economic Signs
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text:
Watch This: Trailer for The Hundred Foot Journey
The Hundred Foot Journey will be released in theaters in August. The film stars Helen Mirren, Manish Dayal, Om Puri, and Charlotte Le Bon.
Helen Mirren in The Hundred Foot Journey
The plot centers around Le Saule Pleureur, a Michelin starred, classical French restaurant run by Madame Mallory (Helen Mirren). Across the street from this magnificent place an Indian family headed by the father (Om Puri) opens the Maison Mumbai. Young Hassan (Manish Dayal) has the magic touch with food. Maison Mumbai attracts attention and hungry diners. You can imagine the reaction from the icy Madame Mallory. Add a love story, and you've got the perfect combination for a great tale.
Here's the first official trailer.
The Hundred-Foot Journey is based on a novel written by Richard C. Morais. Steven Spielberg will produce the film with Oprah Winfrey and Juliet Blake. Lasse Hallström is the director.
Dreamworks and Harpo Studios are producing the film.
Anything with Helen Mirren involved captures my attention, even goofy films where she's jumping over cars and shooting machine guns. But this film promises to be warmer and more human, a tale about opening the heart and senses to embrace the unknown.
I'm definitely looking forward to it. What about you? Think it looks good?
Movies, News
Charlotte Le Bon, Helen Mirren, Juliet Blake, Lasse Hallström, Manish Dayal, Om Puri, Oprah Winfrey, Richard C. Morais, Steven Spielberg, The Hundred Foot Journey, trailers
Review: The Hundred-Foot Journey
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Woman in Gold: Tatiana Maslany will be Young Helen Mirren


text:
Henrietta Miriam Ottoline Leyser Day ( conocida como Ottoline Leyser, es una botánica y fisióloga vegetal británica; y, profesora de Desarrollo Vegetal en la Universidad de Cambridge; y, directora del Sainsbury Laboratorio, Cambridge.

Educación
Leyser se educó en Newnham College, Cambridge donde obtuvo un Bachelor de Artes en 1986, y un PhD en Genética en 1990 por la misma Universidad, donde investigó bajo la supervisión de Ian Furner.

Investigaciones
En 1990, realizó la defensa de su tesis An analysis of fasciated mutants of Arabidopsis thaliana and the role of cytokinin in this phenotype (Un análisis de mutantes fasciados de Arabidopsis thaliana y el papel de la citoquinina en este fenotipo).

Sus intereses de investigación se encuentran en la genética del desarrollo de las plantas y la interacción de las hormonas vegetales con el ambiente.

Premios y honores

Membresías
 2012: elegida asociada extranjera de la Academia Nacional de Ciencias de Estados Unidos.

 2007: de la Organización de Biología Molecular Europea.

 2007: elegida, de la Sociedad Real (FRS) en 2007. En su nombramiento se lee:

Honores
 2009:  Comendadora nombrada del Orden del Imperio británico (CBE) en los Honores de Año Nuevo 2009. Es actualmente miembro del Nuffield Consejo en Bioética y miembro del Consejo Laborable de Biocombustibles (2009-2011).

 2017: nombrada Dama Comandante de la Orden del Imperio británico (DBE) en el 2017 Año Nuevo Honores por servicios en botánica, sociología e igualdad y diversidad en ciencia.

Vida personal
Leyser es hija de los historiadores Henrietta y Karl Leyser. Se casó con Stephen John Day en 1986; y, tienen un hijo y una hija.

Referencias

Enlaces externos

Botánicas del Reino Unido
Fisiólogos vegetales
Botánicos de Inglaterra del siglo XXI
Escritoras de Inglaterra
Escritores de Inglaterra del siglo XXI
Escritores de divulgación científica
Escritores en inglés del siglo XXI
Científicas del Reino Unido
Alumnado del Newnham College (Cambridge)
Damas comendadoras de la Orden del Imperio Británico
Miembros de la Organización Europea de Biología Molecular
Miembros de la Academia Nacional de Ciencias de Estados Unidos
Miembros de la Leopoldina
Inglesas del siglo XX
Inglesas del siglo XXI

redpajama_set_name: RedPajamaWikipedia


In order to achieve the potential benefits offered by terminology management, it must be incorporated into a company's day-to-day operations. To be successful, you must develop standard processes, acquire efficient tools, and provide adequate training. But these tasks are daunting, and the initial investment is sometimes prohibitive. So, is terminology management worthwhile, and what are the consequences of not implementing terminology management?
Learn more about this important component of content localization in this interesting white paper from Jonckers Translation and Engineering.


Don't throw them at anybody, k?
Pokémon's been around and we've been fans for 20 years, but especially with the recent craze everyone's baking up Poké Ball cupcakes. But not all of us are as gifted in the kitchen as we are in the Pokémon gym. For those of you who are like us and use your ovens mainly to reheat pizza and tell the time, we've created a way for you to make flawless Poké Ball cupcakes without all the culinary expertise.
This two-part Poké Ball Cupcake Pan cleverly snaps together to ensure your cake batter stays put while baking. First you're going to grease the pan, including the rim around the opening at the top of each Poké Ball - that's important for later. Then you fill in the little Poké Ball shaped molds with a single cake batter or go wild and layer one color of dough on top of a second. Bake it in the oven according to your batter's instructions, and voila. We predict you'll have tasty little Poké Balls in less than half an hour. Excess batter will bake out the hole on top, and as long as you remembered to grease around the opening you can easily trim it away. In fact, we suggest you cut that spot flat to keep your tasty Poké Ball from rolling when you serve them. Just don't throw them at anybody, k?
Stabilize pan by placing it on a cookie sheet.
Coat baking surfaces and also surfaces around exterior of hole with non-stick cooking spray. This will help remove dough cleanly if batter overflows.
Ensure two mold parts are completely sealed before filling.
Fill to almost full in order to make batter take up all the space in mold as it bakes.
To make dual-colored, fill to almost halfway with white batter and rest of the way with colored batter.
Allow cakes to cool completely before removing from pan.
Bake according to recipe's instructions, but keep an eye on it in case you need to adjust.
Use yeast recipes for best results.


text:
Visually impaired driver jailed after knocking down cyclist
Visually impaired driver from Potters Bar jailed after knocking down cyclist
By Court Reporter
A MOTORIST whose sight was so bad he should not have been driving has been jailed for eight months after ploughing into the back of a cyclist.
Michael Elliott, 64, of Willow Way, Potters Bar, left the scene of the accident after the collision with cyclist Patrice Gougam on the A1000 Barnet Road near the junction with Wagon Road, at 7.15pm on November 12 last year.
Rather than pulling over, Elliott continued to his camera club, where he spent two hours, before stopping at the scene on the way home.
Mr Gougam, a keen cyclist and head coach at Enfield Chase Tennis Club, was out on his bike to meet members of the cycling club, but due to the wet weather no one else turned up.
It was while cycling back to his Barnet home that Mr Gougam was struck by Elliott's red Land Rover.
At St Albans Crown Court on Friday, Mr Gougam was described as "very popular" at the tennis and cycling club.
In part of a statement read to the court, Mr Gougam's wife Virginia said the incident meant her life was "falling apart" and was experiencing financial difficulties as her husband was unable to work and in need of constant care.
Retired Elliott should not have even been on the road that night as he had been receiving treatment for glaucoma and cataracts.
He pleaded guilty to dangerous driving for driving with a medical condition, as well as leaving the scene of an accident and failing to notify the DVLA of his eyesight problem.
Gavin Erwin, defending, said single Elliott was maintaining the few social contacts he had by driving to the camera club that night.
Despite the contents of a pre-sentence report indicating otherwise, he was remorseful, the court heard.
Initially Elliott thought he had hit the curb, but decided to check the scene of the incident on the way home and when he saw the police, handed himself in.
Mr Erwin said: "He was in a panic. At first he thought he had clipped the curb. Then he realised he had connected with a human being."
Recorder Philip Brook-Smith QC jailed Elliott for eight months, of which he will serve half in prison.
He was banned from driving for three years and had nine points put on his licence.
Mr Brook-Smith said there were three "aggravating factors" to the offence; driving knowing he had poor eyesight, failing to stop and the serious injuries Mr Gougam sustained.
He said: "One can particularly imagine the catastrophic effect, emotional and financial, on Mr Gougam's family.
"I accept you do feel remorse for the injuries you caused and accept it will stay with you for the rest of your life, the same as it will for Mr Gougam's family.
"I am satisfied this is so serious neither a fine or community penalty can be justified."


The Campbell family prides themselves on their West Coast open-mindedness – from pot to political resistance, nothing is off the table. But when their daughter Clara comes home and announces she's become a Christian, their tolerance is put to the test.
Danny is an ambitious Jewish defense lawyer who believes in the common good. When he is assigned the case of an unrepentant neo-Nazi accused of murder, Danny finds himself defending the life of a man who wishes him dead.


PROMiXX protein shaker bottles were designed for mixing powdered supplements, specifically whey protein shakes. The PROMiXX, world class vortex mixers are long standing favourites among athletes, bodybuilders and health and fitness professionals but, in more recent years, the sports nutrition community has seen a surge in new and varied users of whey protein.
FACT: 'Undenatured Whey Protein' refers to whey proteins that are processed directly from milk and NOT from whey that derives from the by-product of the cheese-making process.
Unfortunately, many brands falsely claim that their products are made with native whey because it has come directly from the milk of cows. That does not mean that it is 'undenatured'. Although the whey derives directly from cows, commercial manufacturing processes and heat treatments damage the delicate structure of the whey protein and cause irrevocable damage. This leads to empty promises from insipid products.
The medicinal properties of undenatured whey have been recognised for centuries. Here at PROMiXX, we are keen to inform that whey protein carries a multitude of significant health benefits and should be a staple of a healthy diet for everyone.
The rigid and common misconception that whey is something used only for the purpose of athletic development or for bodybuilders to build muscle is slipping away. More and more people are adding a daily whey protein into their diets and are reaping the health enhancing benefits.
Whey protein is no new-fangled product. The dairy protein has been used for hundreds of years to promote health and physical wellbeing. Here at PROMiXX, we know that there are several misconceptions when it comes to whey. Whey is considered, by most, to be no more than an ergogenic aid and something used for muscle recovery and lean tissue synthesis. While this is somewhat true, the health benefits of whey protein go far above and beyond that. When the delicate structure of whey is upheld during the manufacturing process, its full potential is unlocked.
The vast majority of whey proteins on supermarket shelves are commercially manufactured. Essentially, this means that commercial whey protein is the byproduct of the cheesemaking process.
Milk is collected, often from cows that have been fed on hormone-treated animal feed.
The milk is processed at a cheese plant where it is pasteurised. This involves heat treatments and exposure to additives.
The byproduct of the cheesemaking process is put through a high-temperature heat process. This process damages the delicate structure of the protein removing some of the most nutritional properties.
The Whey is then dried at high temperatures to become powder form.
Milk is sourced directly from grass-fed, non-hormone treated cows.
The protein is carefully extracted directly from the milk and is treated at a lower temperature preserving the nutritious properties.
The latest filtration techniques are used to remove unwanted fat and lactose while maintaining the protein's delicate structure.
The protein is gently dried without using chemicals ensuring that the end product is an 'intact' whey protein.
Protein shaker bottles are essential when using whey protein shakes. Whey protein comes in the form of a powder to be mixed with water or a milk substitute. Conventional shaker bottles were designed (as the name suggests) to be shaken. They are straightforward products to use, simply add the powder and the liquid to the bottle, put on the lid and shake vigorously. Although these products serve their purpose, they aren't overly effective. Often, a conventional shaker bottle will leave the user with a lumpy shake and an inconvenient mess from leaks.
PROMiXX Vortex Mixers were created with a view to providing a solution to the problems posed by cheap shaker bottles. If you are to add a whey protein shake into your diet or fitness regime, a PROMiXX iX or PROMiXX iX-R is the best, even the only choice! A quality product with a carefully considered design. PROMiXX Mixers are the evolution of the shaker bottle, utilising vortex mixing to create a smooth, creamy and overall, better tasting shake.
Part of what makes the PROMiXX vortex mixers so revolutionary is the patented X-Blade designed to preserve the micronutrient integrity of whey protein. PROMiXX bridges the gap between a shaker bottle and a traditional kitchen blender. A blender will undoubtedly leave you with a smooth, lump free shake but, the problem with a blender is the metal blades. Metal blades with cut through the delicate sub proteins within any high-quality, undenatured whey and cause irreversible damage. This damage will deprive you of some of the most nutritious and health enhancing properties of whey. Not only that, but home/kitchen blenders are not usually portable. PROMiXX Protein Shaker Bottles will keep your whey protein in tact and you can have a smooth, lump-free shake in seconds and on-the-go!
RENGENATIVE, supported and approved by PROMiXX, is 100% natural and derives directly from the milk of grass-fed, non-hormone-treated cows.
A daily dietary whey protein shake, REGENATIVE contains the purest ingredients and boasts a wealth of health enhancing benefits for all. REGENATIVE contains 16 times the lactoferrin content of most commercial whey protein holding disease-fighting and immune-modulating abilities. Lactoferrin uses its affinity with iron to deny harmful bacteria and pathogens that they need to thrive. It is this that limits their chance of survival within our bodies. When lactoferrin binds with iron, preventing bacteria, yeast cells and parasites from it, the growth or reproduction of these microbes is constrained. In addition to this, lactoferrin and it's immune enhancing properties work to prevent age-associated tissue damage and promote bone health.
REGENATIVE has been scientifically proven to provide the body with precisely what it needs to unlock the power of the most powerful antioxidant, Glutathione. The whey protein shake is a safe and effective source of potent, natural Glutathione precursors. It is not merely enough to take a glutathione supplement. Glutathione status must be improved at a cellular level to have positive effects on health.
Elite athletes and fitness professionals will benefit from enhanced Glutathione levels as strenuous exercise can cause Glutathione depletion. The support of REGENATIVE in the production of intracellular Glutathione can increase strength and endurance and even shift metabolism from fat production to muscular development.
Oxidative Stress - Oxidative stress happens when the production of free radicals is out of balance with the antioxidants in our bodies. The free radicals (a molecule with an impaired electron) cause damage and stress to our cells. Oxidation can become worse if and when we are dealing with physical or emotional stress. It is the crucial role of antioxidants to protect our bodies from such pressure.
Vitamin C and Glutathione - Antioxidants are the answer to oxidative stress. The role of an antioxidant is to provide the free radical with one of its spare electrons. One of the most commonly known antioxidants is Vitamin C. We are all aware of Vitamin C, and yet the majority have never heard of Glutathione. Interestingly, Vitamin C has just five spare electrons to satisfy the free radical whereas Glutathione has 1 MILLION extra electrons, making it 200,000 times more effective!
Glutathione and Vitality - Glutathione levels diminish with age, and our bodies find it more difficult to cope with environmental stressors. Promoting glutathione levels is one of the best ways to protect ourselves from disease and support healthy ageing. Glutathione precursors within the REGENATIVE formula give your cells what they need to increase levels of Glutathione offering several healthy ageing benefits including a boost in energy and immunity.
Whether you are planning on taking pre and post workout shakes to help improve performance and improve recovery, or you plan to add undenatured whey protein into your healthy diet, it is important that you opt for a PROMiXX Vortex Mixer. The World's most advanced protein shaker bottle with no shaking required.


Know that the library was very important to him as one of his safe havens as he was growing up, Gloversville Public Library Director Barbara Madonna said. It a testament to what public libraries can do for a community and its children, and I glad we have been here for him throughout his life. Only met Persico once, at an event the library co sponsored at the Glove Performing Arts Center in 2004..
Through her love, generosity, and radiant spirit, she taught her family and all those who knew her to laugh easily, live life joyfully, and have faith in God. Survived by son Rick and wife Stefani Perez of Irving, daughter Denyc Perez, sisters Emily Chefchis and Roseann Cuellar Valdez, niece Cecilia and husband Wesley Witty, nephew Bob and wife Maggie Chefchis, and niece Liza Rozann Valdez, all of Dallas. She was to five grandchildren: Alicia and husband Dale Komarek of Haslet, , Julie and husband Mark Ross of Tyler, Ailea Sneller and husband Marshall Dispenza of Rockville, MD, Rico Sneller of Dallas, Gabe Sneller of New Orleans, LA; eight great grandchildren: Avery, Tyler, Drew, Jake, Katherine, Olivia, Samantha, and Audrey, whose birth brought Tina great joy just hours before her death; great nephews Zach Esparza of Dallas, and Byron and wife Lori Witty of Wylie; great great nieces and nephew Thomas, Caroline and Allison, and many other family members and friends who have very fond memories of the many family events hosted by Tina.
Modern mountain style and a friendly welcome await you at Stoke Stash. Located just off Highway 1, Mount Revelstoke is our back yard. 3 rooms to choose from; Cabin Room featuring a log cabin with queen bed and mini cabin with 2 single pull outs (en suite bathroom); Revy Bunkroom sleeps up to 4 people in a bunk bed with queen on the bottom (shared bathroom), twin up top and a separate twin bed; Forest Room with a cosy queen bed (shared bathroom)..
Nashville seems to be a favorite with the SEC Tournament selection committee as the locale, just 100 miles north of Madison, will host the tournament in 2015, 2016 and 2019. Next year, the Georgia Dome in Atlanta will be the host site for the weeklong event. The years of 2017 and 2018 have yet to be determined..
They were very showy, and I wondered about them because no other part of the Greenbelt sported white flowering shrubs at that time of year. North and South were united. It has not always been a smooth alliance. Impressive as the products are, in order for them to work to their fullest potential, first time customers are urged to visit a licensed Dermalogica skin therapist. Because their products are created with very specific skin care needs in mind, it is very important to allow a Dermalogica therapist to "prescribe" the right products for you. Finding a great deal on a Dermalogica product online is no deal at all if it's not formulated to meet the actual needs of the user.


But, if you are printing images that are grainy to begin with, such as ancient ceramics, the dot pattern matches the grain pattern of the thousand year old ceramics. This Encad wide format printer is part of the FLAAR museum program for the Museo Popol Vuh, on the campus of the Universidad Francisco Marroquin (Guatemala, Central America).
Since Encad is the first printer that we had in-house first (before we moved into fine art giclée and got a ColorSpan and HP DesignJet 5000), Encad is the printer that we show here. The new Encad printers are twice as good, that's right, the 600 dpi Encad 700-series and Encad 850-series are productive workhorses for any sign shop. Downside is the grainy, dotty pattern of the printing. The obvious ink dots in light colored areas of the image are what make the Encad inappropriate for fine art reproduction.
The samples here are posters for a recent museum exhibit on 6th-12th century Maya and Tiquisate figurines which were hollow and thus used as flutes, ocarinas, and ceramic whistles (yes, they make lots of noise!).
Why send your precious photos outside to some unknown copy shop? You can do the work more economically and definitely more quickly (and probably at a higher quality) if you do them in-house. Its easy, just get a wide format printer, hook it up to a RIP, and print exhibit-quality art for your museum.
Now that we have the HP DesignJet 2800 we don't use the Encad as much. And now that the newer HP 5000ps is available, it's another leap in quality for photo-realistic images. We have been doing test prints on the HP 5000ps and did more extensive tests during summer 2001. Our ColorSpan DisplayMaker XII was installed by late June.
Last checked Jan. 15, 2003.
Previously updated June 9, 2001.