Who do you think the first AEW Champion will be?
They haven't even hired a complete roster yet and you want me to pick the first champion? OK, I'll try. I would go with Adam Page, who I think has all the potential in the world and who has consistently improved all aspects of his game since he debuted. To me, he's the guy to build and invest in.
I saw that you wrote that 205 Live would be better off taped, but doesn't it make more sense to put them on live TV so they are prepared for PPVs, Raw, etc.
I see your point, but when I wrote that, it was specifically because the crowd reactions for what were two really entertaining matches this week were so flat because it was being broadcast after Smackdown went off the air, when the live crowd had seen all the 'big stars.' I think if you go and compare the crowd reactions to when they taped before Smackdown. Understand, the quality of the show will be the same no matter what (and I think the show is great) but as a viewer, it's certainly going to be more exciting if the crowd isn't sitting there nonplussed.
Where is King Kong Bundy these days?
Bundy is retired and living in New Jersey. He still makes appearances at conventions locally.
Why would Vince McMahon want Hulk Hogan on Raw?
He was there to pay tribute to Gene Okerlund and when he dropped character, I thought he did a heck of a job paying tribute to someone who was important to pro wrestling and to himself. I didn't have any issue with Hogan tributing Okerlund, although I totally understand why others felt differently. To me, it was about Okerlund and WWE has done a really wonderful job of paying tribute to him.
I attended Ring of Honor at the former ECW Arena for the first time and I can't figure out where the old stage and entrance was when ECW ran there. Any ideas?
Yes. The side of the venue where the ROH ring entrance was is where the old stages and bathrooms used to be. They were ripped out and torn down when the building was stripped down to the nuts and bolts during a renovation (and in the case of the bathrooms, that was a mercy killing, I assure you). ECW's old ring entrance would have been all the way to the right of that wall, near where the concession stand is now.


German Manual on the Sd.Kfz.223 armored scout car.
Feedback or comments are welcome.
Thak You for sharing all these docs! I appreciate that very much and looking forward to next docs you are providing.
Best regards to whom it may concern.
thanks for the comment and i am glad you liked the documents.
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text:
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CALLIE CROWDER
Callie Crowder is a Co-Director with a focus on community outreach and diaper bank operations at the Maker's Place. Born and raised in Trenton, Callie is passionate about building relationships with people, especially those impacted by the political economy of racism and oppression. Callie is a businesswoman, entrepreneur, and a compassionate leader. She has a MDiv/MACEF from Princeton Theological Seminary, and has worked for over 18 years as a CPA. She lives and works in Trenton, NJ, and is the mother of two young adults.
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ALYSSA RUCH
Alyssa Ruch is a candidate for Deacon ministry in The United Methodist Church, and a Co-Director of the Maker's Place with a focus and passion for relational and institutional development. She is passionate about social justice matters and equitable relationships, especially in terms of journeying with and educating individuals and communities. Alyssa is an advocate, entrepreneur, and a compassionate bridge-builder. She has an MDiv from Drew Theological Seminary, and a Bachelor of Science in Psychology with a minor in Behavioral Health from Alvernia University. Alyssa is married to Rev. Jesse Ruch. Together with their dog, Kevin, they enjoy exploring and traveling to new places.
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Rev. Susan Victor is an ordained Deacon in the United Methodist Church. She is passionate about using her theological expertise and social work training to be a bridge between the church and the world. She is an appointed minister with the Maker's Place, while serving full-time at Womanspace, a not-for-profit agency in Mercer County that serves those impacted by domestic violence and sexual violence. Susan and her husband Vasanth live in the greater Trenton area, and enjoy life as the parents of three adult children.
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redpajama_set_name: RedPajamaCommonCrawl


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Snapchat Social App
By Michael Kwan Professional Technology Writer
While Snapchat is often included in the same social media conversations as those which involve Twitter, Facebook and Instagram, it is better described as a photo and video messaging application for mobile devices. It just happens to have a significant social aspect to it, as well as a unique self-destruct feature that sets it apart from other mobile messaging apps.
What Is Snapchat?
Originally launched exclusively for iOS devices through the Apple App Store in September 2011, Snapchat is a messaging application where users can take, customize and send images and short videos to people on their contact list. These images and videos are known as "Snaps," and users can define how long the content can be viewed by the recipient before it is deleted from Snapchat's servers and hidden from the recipient's device.
How to Use the Birthday Filter on Snapchat
What Is the Snapchat Score?
Snapchat is particularly popular among young people and has become the third most popular social app for this demographic behind Facebook and Instagram. According to a comScore report, approximately one in three millennials uses Snapchat. This means the video messaging service and social app is more popular for this group than Twitter, Vine, and Tumblr. The adoption rate is particularly pronounced among users aged 18 to 24 years at about 50 percent.
Many businesses and corporations have begun to capitalize on this growth and penetration by increasing brand marketing through Snapchat. It has been said that media companies and advertisers are obsessed with Snapchat because it provides them with access to the lucrative 18-34 demographic.
Snapchat boasts an increasingly robust set of features.
It's available for both iPhone and Android.
Users can maintain a contact list, similar to friends and followers on other social networks.
Users can share photos or videos privately or publicly.
Sent content can be configured to auto-delete after anywhere from one to ten seconds.
Captions, effects, filters and handwritten text can be added to visuals.
Snapcash
Users can send private messages to friends.
"My Story" lets users create personal montages that are broadcast to friends and available for viewing for 24 hours.
"Here" allows real-time video chat between users who are both currently online.
"Snapcash" allows users to send money to friends through the app, powered by Square payments and funded by the user's debit card.
"Discover" enables users to view clips from multiple media properties at the same time.
As more features are added to Snapchat, the user interface becomes more complicated. However, the process for using the most basic, core function of Snapchat, which is sending a self-destructing photo or video to a friend, has remained largely unchanged.
Open the Snapchat app on your phone.
Create an account if you haven't already done so.
The main screen of the app is the viewfinder on your camera.
Snapchat captions and text
Toggle between the front and rear camera by tapping the camera button in the top-right corner.
Enable and disable the camera's flash by tapping the flash button in the top-left corner.
Tap the large camera shutter button near the bottom to take a photo or hold the button down to record a video. This is similar to how Instagram works.
Optionally, add captions, handwritten text, hand-drawn pictures, filters and effects to the photo or video. You can also adjust the Snap length and other options.
Define how long you would like the message to appear, from one to ten seconds.
Tap the arrow-shaped "send" symbol on the bottom right of the preview screen.
Choose your recipients on the "Send to" screen.
Tap the arrow button to send.
Additional functions can also be accessed via the main screen of the Snapchat mobile app.
Pressing the Snapchat logo button at the top reveals notifications about who has added you to their contact list, which enables you to find friends.
The square Notification button in the bottom-left shows how many unread Snaps you have.
To create a Story, tap the Story button on the preview screen instead of choosing to send to individual recipients.
Snapcash is accessed through the chat feature.
Discover is found by swiping from the left on the main screen and tapping the Discover icon in the top right of the resulting Stories screen.
Legal and Privacy Concerns
One of the most pressing concerns about Snapchat has to do with safety and privacy. Since Snapchat is designed to delete photos and videos from its servers and remove access from the recipient's device after a prescribed period, many users assume that the content has been deleted forever. However, the recipient can take a screen shot or otherwise record the content before it is deleted and create a more permanent copy.
This concern led to changes in the app listing in both the iTunes App Store and the Google Play Store to reflect this possibility. It is also cited in the official Snapchat page on safety.
Parental Concerns
Many parents are notably afraid for their children's safety and privacy since Snapchat has become a popular channel for sexting among teenagers. The sexually suggestive photos and videos can be captured by the recipient and potentially by other Snapchat users and be used for blackmail or circulated on the Internet through other channels.
The problem is further exacerbated by the fact that Snapchat has been hacked in the past, and it only received a one-star rating from the Electronic Frontier Foundation (EFF) regarding its customer privacy policy.
The EFF also only gave Snapchat a score of 2 out of 7 on its secure messaging scorecard because:
The messaging app does not provide end-to-end encryption.
Contact identities cannot be verified.
Past communications are not secured.
The security design has not been properly documented.
The Permanence of Snaps Online
Snapchat can be a fun social networking and video messaging application. The user base continues to grow and many brands are capitalizing on the opportunity to market to a very lucrative demographic. While the initial appeal of Snapchat is the temporary nature of photo and video "Snaps," users must also recognize that anything that has been posted on the Internet at any time can be saved, archived and shared. In other words, a fleeting Snap can exist forever.
What Do the Ghost Faces on Snapchat Mean? By Amy Holmes
Social Networking Abuse By Sue-Lynn Moses


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The Santa Fe Railway Historical and Modeling Society
Conventions & Mini-Meets
Society Information
Officers & Contacts
Restoration and Education Projects
Your Member Profile
Register Online Membership
The Society and its predecessors have been publishing information about the Santa Fe since 1969. The Society offers exceptional publications on the history and modeling of the Santa Fe. From its flagship quarterly magazine, The Warbonnet, to its comprehensive books on history, motive power, rolling stock and modeling, the Society is the definitive and authoritative source on all things Santa Fe.
The Warbonnet
Running Extra
Supporting the Society's publication efforts
Check here for news on the newest books and materials released by the Santa Fe Railway Historical and Modeling Society! We are the definitive source for complete, accurate information on the Santa Fe Railway.
Vol. 9. Santa Fe Hoppers & Gondolas: 1960-1995. By Charles Slater. This volume on Santa Fe's hoppers and gondolas will cover everything in the Ga class that Santa Fe owned from 1960 to the BNSF merger in 1995. It picks up where Richard Hendrickson left off in his excellent book Santa Fe Open-Top Cars: Flat, Gondola and Hopper Cars 1902-1959, Rolling Stock Reverence Series volume seven. Also included are two cars, one gondola, and one ore car, that were listed in that book but were not shown, the Ga-76 class 65-foot mill gondola and the Ga-107 class Hurley ore car. 107 classes featured, with roster and painting and lettering guide. Soft cover 256 pages with a coil last-flat binding, color images throughout. Available.
Live Stock Operations: History, Equipment, Facilities & Modeling by J. Stephen Sandifer. Before The Atchison, Topeka & Santa Fe drove its first spike, it was understood that the shipping of live stock would be critical to its success. One of the first actions was to intercept the Chisholm Trail 65 miles south of Abilene near Newton where over 40,000 head were shipped in 1871. By the end of the 1872 the majority of the rail cars owned by Santa Fe were stock cars. As the Santa Fe continued to move west, it caught more cattle at Great Bend, Dodge City, and Granada, Colorado. In 1884, Santa Fe shipped 800,000 head of cattle from Dodge City alone. The railroad maintained a Live Stock Department catering to cattlemen, ranchers and packers. But live animals were trouble to ship. Damage claims were higher than any other commodity, and government regulation were stronger. The shipping of live stock peaked in the 1920s, but by 1930 things had begun to change. Trucks proved to be more convenient and often faster transportation for small shippers and short distances. In the end, Santa Fe loaded just 62 cars of stock in 1972, the last year of live stock operations. But for over a century, live stock, birds, fish, and a myriad of other animals went on Santa Fe all the way. Painstakingly researched and liberally illustrated, this is the story of Santa Fe's live stock operations, from its history, to equipment, to infrastructure—such as stock yards and feeding stations required to maintain the business. Along the way this volume touches on the rules and regulations governing the traffic, rodeo and circus trains, Railway Express shipping, as well as modeling this fascinating part of Santa Fe's legacy. This book combines features of both the rolling stock reference series and the commodity series. 256 pages 11×8½ soft cover, over 300 black & white photos and diagrams and over 140 color photos, appendix, roster, plus modelers notes. Available. Supplemental information on Santa Fe live stock operations is available to individuals who purchase this book. The password is the first word of the second paragraph of the second chapter.
Santa Fe's New Mexico Division: Varnish, Coal, Copper and Cattle by Robert D. Walz. This volume continues the author's divisional histories. As is usual, the territory of the New Mexico Division changed over time. This volume covers the history of the territory of the New Mexico Division from 1877 to 1995 as it was constituted in 1942. At this time, the division had a main line with associated branches that ran from La Junta, Colorado, to El Paso, Texas. The Division was unique in that passenger traffic was five times greater than freight traffic through most of its history. Almost all of the Santa Fe's famous passenger trains traversed the division at one time or another. Coal and copper, zinc, and iron ore constituted the bulk of online freight traffic throughout the history of the division. The division was one of the more scenic stretches of railroad on the Santa Fe's system and attracted photographers such as Otto Perry, Richard Kindig, Preston George, Stan Kistler, Steve Patterson and Joe McMillan, all of whom provided photographs for the book. 196 pages, 240 photos 70 in color, maps, charts, tables, appendices, and bibliography. Available.
The Society's flagship quarterly magazine, The Warbonnet, offers lavishly illustrated articles on the history and modeling of the Santa Fe and its affiliated companies. Each issue is at least 40 pages, often more, typically includes articles by noted authors, often accompanied by full color photos, maps and drawings; modeling articles with useful "how to" tips; letters from Society members contributing additional information on past articles, and product reviews. Issued in March, June, September and December of each year. Under its current editor, John R. Signor, The Warbonnet has never missed an issue or a publication window! Members receive The Warbonnet at a discounted rate.
To purchase past copies of The Warbonnet, click here
To see individual issue indices for The Warbonnet for each year from 1996 to present, click here
To see a partial index of all publications of the Society from 1969 to 2001, click here
To learn about the evolution of The Warbonnet, click here
To learn how to submit an article to The Warbonnet, click here
The Society's quarterly newsletter, Running Extra, features Society news to keep members up-to-date on new books, products, minimeets and other aspects of Society operation. It also features the Santa Fe Challenge – an opportunity to test your knowledge of Santa Fe history against other members, Questions and Answers collected from the Society's forums but judged of general interest, and an ever changing mix of short articles on research, history and employee anecdotes of their lives on the Santa Fe. The Running Extra is typically 8 pages issued quarterly in conjunction with The Warbonnet. Members receive the Running Extra as part of their membership.
The Society Book Project
Each year, the Society strives to bring out one to three books about the history or modeling of the Santa Fe or reprints of significant company documents. The Society has published these books in several series of interest to both railfans and modelers alike. Members receive these books at a discount, typically 20 percent. The major series are:
Rolling Stock Reference Series. This series of eight books provides an overview of Santa Fe work equipment, refrigerator cars, boxcars, tank cars and open top (hopper, flat and gondola) cars. A supplemental book is the invaluable Listing of Freight Cars by Class and Number 1906-1991. Future books in this series will cover covered hoppers and gondolas (1959 to present), flats, stacks and autoracks and the Santa Fe's intermodal equipment.
Passenger Car Reference Series. This series of five books covers the Santa Fe's head end cars, coaches, chair cars, dining, parlor and beverage cars, business and special purpose cars, and sleepers. Supplemental materials provide lists of passenger consists.
Painting and Lettering Guide Series. This series of three books aimed at the modeler provides a comprehensive overview of the Santa Fe's painting and lettering practices over the years. Volumes are available on freight cars, steam locomotives and diesel locomotives.
Regional History Series. This series of books provides an in-depth look at different sections of the Santa Fe, with a focus on divisional histories and highlights on lines and areas of particular interest.
Commodity Series. This series of books examines the different lines of business that the Santa Fe pursued, with a focus on the interaction of business needs with rolling stock and operational requirements. Perfect for the general historian or operations oriented modeler.
General History Series. This series of books provides a general overview of Santa Fe operations and history, including personal stories.
Reprint Series. The reprint series reproduces critical documents that help tell the story of the Santa Fe in its own words. It includes time tables and other materials.
Click here to learn more about the Society's Book Project and the individual books that comprise each series.
Click here to browse and purchase Society books, and much more!
The Society depends upon members, scholars, modelers and interested members of the public to support its publications by sharing manuscripts, photographs and historic documents that bring to light the history and legacy of the Santa Fe and its modeling. If you can support these efforts please contact:
Jonathan Signor, Editor of The Warbonnet
Eric Hiser, Editor of Running Extra
Robert Walz, Publications Coordinator
Requests for permission to reprint Society materials should be directed to Eric Hiser.
Please register for the Website
Register Your Online Membership
Official SFRH&MS Facebook Page
Official SFRH&MS Facebook Group
Official BNSF Facebook Group
sfrhandms@mindspring.com
The Santa Fe Railway Historical and Modeling Society Copyright 2021 · Website by Silver Rockets · Privacy Statement
The Santa Fe Railway Historical & Modeling Society has no direct relationship with the BNSF Railway nor does it receive financial support from the BNSF Railway.
Santa Fe and BNSF trademarks are used with the permission of the BNSF Railway Company.


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Home Fear of Fear
Fear of Fear
Chazen Museum of Art 750 University Ave., Madison, Wisconsin 53706
press release: West Germany | 1975 | 35mm | 88 min. | German with English subtitles
Director: Rainer Werner Fassbinder; Cast: Margit Carstensen, Brigitte Mira, Irm Hermann
In one of Fassbinder's most potent depictions of middle-class German angst, housewife Margot (Carstensen) experiences a number of physical and nervous ailments after the birth of her second child. Facing indifference from her husband and friends, Margot turns to alcohol and drugs to ease her pain.
Our Sunday afternoon series at the Chazen Museum of Art this fall will provide an opportunity to view 15 features by Rainer Werner Fassbinder, a founder of New German Cinema and one of the most controversial filmmakers of his generation. Fassbinder's prolific oeuvre includes examples of virtually every genre, and while he drew inspiration from the melodramas of Douglas Sirk and the French Nouvelle Vague, Fassbinder's own movies have influenced a whole generation of filmmakers including Todd Haynes, Quentin Tarantino and Todd Solondz. All screened on 35mm prints, the selections in this series conclude with Fassbinder's trilogy of post-War German life (The Marriage of Maria Braun, Lola and Veronika Voss). The series will provide ample evidence of Fassbinder's genius, reminding us of the miracle of his short career as well as the tragedy of his early demise, in 1982, at the age of 37.
All Cinematheque screenings are free and open to the public.
Location Chazen Museum of Art 750 University Ave., Madison, Wisconsin 53706 View Map
Event Categories Movies


Most common way to sufficiently cool the modern day components is by using air flow provided by the stock fans that come with your CPU & GPU. These fans run at a very high RPM & are very loud. Water cooling can get rid of loud fans and compared to air water is much better at transferring heat from components.
Liquid cooling systems use thermodynamics – moving heat from warmer objects to cooler objects. If it helps you can think of a liquid cooling system for your PC like a cooling system for your car. As the cooler objects heat up the warmer objects gets cooler. The heat & energy is transferred away from the critical components as quickly and effectively as possible. This is usually done by dissipating heat through the radiators.
By removing installing water block for cooling you can change the graphic card into a single slot component which can allow double computer power in the same cubic footprint. By installing liquid cooling system into your PC you can turn your regular hardware into a work of art. You are able to create something custom that not only works significantly more efficiently it looks cool too!
Hover over each image to find out what each component of a liquid cooling system does & how they work together to allow your PC to perform at such high capacity.
Main function is to cool down the liquid flowing inside the loop.


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The 23rd Parallel
Wine tales from Hong Kong and beyond
What We've Been Drinking Recently
Grape Guide
How To Taste
When Napa Headed Way East: The Wine Stash
On February 21, 2016 February 26, 2016 By dave@the23rdparallelLeave a comment
Despite a change in consumption habits taking place, a consistent theme from The 23rd Parallel's first few Q&A sessions was that Hong Kong, as a wine-loving city, still has some way to go before it can say it has collectively embraced vinous diversity.
Two things stick in my mind about wine consumption here. Firstly, according to Michael Palij MW, 77% of all wine sold is French red. Then, according to Watson's Wine (our largest physical store-front retailer), in their stores in Cantonese-heavy areas, the sales contribution of non-French wine can often come in at less than 10%.
So what hope for everyone else? As you'll see in future articles, there are clear moves by restaurants, hotels and independent retailers to put interesting and exciting wines from non-traditional areas into our glasses. In an attempt to gauge the degree to which this movement is being received, 10 days ago The 23rd Parallel joined forces with boutique Napa producer The Wine Stash to put together a tasting.
Started by two brothers, what could be described as a "garagiste" operation by the French, The Wine Stash now has its wares on offer in the some of the city's leading eating houses, such as Blue Butcher. The aim of the tasting was to challenge people's preconceived ideas of quality from traditional wine-growing areas, and whether these modern-looking offerings can offer something new.
Without further ado, the scene at Nights on Peel Street before the crowd arrived…
Getting the notes down early; was a good exercise in rapid-fire tasting!
Time to kick things off. Starting with a rosé and the whites…
(1) 2014 Rosé
Blend of 90% Pinot Noir from Carneros, 10% Grenache
Are we in a bar in Hong Kong, or at Wimbledon in the Summer time? A nose of pure fresh strawberries and cream. Very pleasant and appealing. Refreshing acidity delivered dried candied raspberries and cherries, but its body was the most surprising: with the addition of oak, it had genuine weight, without being unbalanced or awkward
(2) 2013 Sauvignon Blanc
100% Sauvignon Blanc from Calistoga
Fairly neutral in character. Some citrus and green apple out of the glass, with a small amount of vanilla from the oak. Refreshing and simple, nothing memorable
Interesting contrast with the above. Much more about it, and very much in keeping with a Bordeaux-style dry white: not an overly expressive nose but excellent on the palate. Mouthfilling with fresh acidity, to go with a stony seam it had satisfying finish of lemon and pear. Good wine
(4) 2010 White Blend
Blend of 60% Roussanne, 30% Viognier, 10% Sauvignon Blanc
An idiosyncratic wine with a construct based heavily on northern Rhone. Funky and aromatic, plenty of citrus, going with a musky/mineral note. Reasonably pleasant to taste, again citrus but also a touch of toffee popcorn courtesy of the new wood. Lack of balance
Blend of 60% Roussanne, 30% Viognier, 10% Picpoul de Pinet
Very different to the '10, with the marginal PdP grape replacing the Sav Blanc. Rich and complex on the nose, first up it was stewed apples and raisins (slightly reminiscent of vintage Champagne), followed by stone fruit and a soil-led funkiness. Really interesting palate; mealy and rich, although fruit not so prevalent, with a long finish
And on to the reds…
(6) 2012 Cabernet Sauvignon
100% Cabernet from Rutherford
Good solid varietal character of blackcurrant, cherry and plum, accompanied by milk chocolate and sweet spice from the oak. Simple but really enjoyable, this fruit-forward offering is versatile enough to be paired with most foods, or fine to be drunk on its own
(7) 2012 Red Blend
Blend of 75% Syrah, 10% Merlot, 5% each Zinfandel / Viognier / Petit Syrah
An interesting, rustic style of wine, with its dark fruit (black cherry/plum), savoury notes and earthy minerality. Quite powerful and one which will definitely benefit from further ageing
(8) Wine Stash Mystery Blend
Blend of 2005 Zinfandel, 2006 Syrah, 2007 Cabernet Sauvignon, 2007 Merlot
The crowd favourite, and markedly different to the other reds on offer. Given the age of grapes in the blend, its garnet tinge was immediately apparent when compared to its ruby-coloured stablemates. Lovely mature nose of ripe plum and blackberry, leafiness (probably from the Cab) and nutmeg/cloves. On the palate it was dry, linear and clean with a long fruit-based finish. Excellent wine
(9) 2013 Reserve Red Blend
Blend of 85% Merlot from Mt. Veeder, 10% Cabernet Sauvignon, 5% Petit Verdot
You could see why Merlot is behind the wheel of this car: plump red fruit, rich and full-bodied with velvety soft tannins. It had excellent balance on the palate although needs time for the tannins, while enjoyable, to fully integrate with the fruit and alcohol. In 3-5 years it should be in fine fettle
(10) 2012 "Summer" Red Blend
Blend of 95% Syrah, 5% Viognier
A big ol' wine at 14.7% abv, it is designed to be given a bit of fridge or ice bucket time, then drunk in the sunshine. Another northern Rhone mimic through the addition of white grape Viognier, first up it had a leathery/savoury nose with only a hint of that trademark Syrah pepperiness. A lack of balance as that alcohol hits you between the eyes, although the black fruit flavour was decent
(Bonus) 2010 Cabernet Sauvignon in Magnum format
Useful to compare to its younger (and smaller) brother; almost identical aroma and taste profile to the 2012, this one has plenty of life left in it despite its drink-young appeal. Again very enjoyable, that nice blackcurrant and red cherry was accompanied by a milk chocolate note from the wood
The evening went well, and the crowd enjoyed running through the line-up. But what did everyone think? They loved the Mystery Blend, which to my mind spoke to that hard-wired enjoyment of good vintage Bordeaux. The Rutherford Cab hung on to its coat-tails, with understandable and excellent varietal character: no wonder this is becoming a go-to house pour for a number of restaurants.
The rosé was well received (due to our hot climate?), but what people struggled to accept were the funkier blends on offer: taking the White Blend for example, to put a twist on what is already a not-widely-drunk wine from the Rhône Valley, it could be considered a gamble, not to mention a stretch when it comes to a consumer's comfort zone.
And the "Summer" red wine, although well constructed, may not be appropriate for our food as well as local palates (remember what José Alba said about Cantonese tolerance to alcohol levels last year).
My conclusions? In their own right, The Wine Stash produces well-made, solid wines, and there is definitely a space for them in the Hong Kong market. But care needs to be taken as to how they are marketed and placed into our bars and restaurants. The diversity movement is in full (albeit slow) swing now, so pricing will be a huge advantage, but an awareness of the current market is vital too. Taking their Sauvignon Blanc for example, could it really compete with the herbaceous Kiwi style, already very well established here, or the more traditional take from France's Loire Valley? Unlikely to my mind.
Where it could create a point of difference though is a modern fresh look that highlights their geographical origin. For a sommelier at a restaurant to recommend a HK$100-120 [US$13-15] glass of 100% Napa Valley Cabernet Sauvignon that offers superb early drinking can be a strong message; then, further up the price curve, a blend of older fruit that reflects what's being done in Napa right now, showcases an exciting philosophy of experimentation that Hongkongers could undoubtedly buy in to.
Let's hope we see more from the likes of The Wine Stash in years to come.
Huge thanks to The Wine Stash team for this collaborative effort. You can find out more about their wines via their website. Special mention also to James and the team at Nights, our gracious host.
If you like the article, please share by using the links below…and if you're a fan of Twitter, you can follow me here. I also have a Facebook page you can like here.
The 23rd Parallel Q&A: Jennie Mack, AWSEC
In the third in a series of interviews for Grape Collective, I talk to Jennie Mack, Founder and Managing Director of the Asia Wine Service & Education Centre in Hong Kong. She has blazed a trail for wine education in Asia for over two decades now, and talks about the city's early wine scene in the context of her own journey, the differing factors that have led to growth, and what the future holds for the field.
Jennie, every year at the Hong Kong International Wine & Spirits Fair, it's hard not to be impressed not only by our wine-loving population's sheer level of interest, but by their desire to learn about it in a deeper, more technical sense – rather than just luxuriate in the event itself. Set the stage for us by winding the clock back 20 years: what was the wine scene like in HK, how did you start out, and what were people's attitudes towards learning?
In the early 1990s, the wine scene here was actually non-existent: it was limited to the elite. It was the preserve of CEOs and Managing Directors – the wealthy. The general public just didn't buy wine, let alone want to learn about it. That really was it.
For my first job I worked for the Quebec Government, so because they were consular it meant any wines bought were free of taxes [duty stood at 80% at the time]. I got exposure there, but when I started working for a software firm, my interest really started. The company would entertain important people in Macau and the like – I was invited along to dinners and was given responsibility to understand what we were drinking!
My husband Stephen was originally a sommelier in the UK when we first met, working for the Hong Kong Government so spoke Cantonese. Due to my background I spoke French. As we got to know each other he took me to Bordeaux: I still really knew nothing about wine but could speak the language so I acted as his interpreter. We enjoyed ourselves so much there, along with subsequent trips, we decided to set up a company.
So you fell in love in wine, but what was the genesis of the idea to educate people about it, as opposed to import and distribute, like many others have done subsequently?
Originally there were only a few wine shops in Hong Kong; we would go to private tastings and have fun just casually talking about what we were drinking. As people heard more about our knowledge of the subject, Stephen and I received offers to talk at events, give informal classes, that sort of thing. So we almost fell into it. Things started very slowly though; there was no grand plan to become some huge wine school!
Once the business had been set up, the clincher if you like was WSET. Right at the start of the 2000s, there was only one approved course educator in the city. He was retiring and WSET asked us if we would like to be involved. We jumped at the chance.
What were the main catalysts for the growth of your business then?
Three factors really. Firstly, WSET was obviously a huge deal for us: we suddenly had an internationally-recognised accreditation as our calling card, and it gave us a great advantage as the popularity of wine grew. The business was also repeat in nature, due to people's desire to go from one level to the next.
Strangely, the SARS outbreak in 2002 helped us. We saw a real increase in the amount of people enrolling for courses during the crisis. It is hard to put my finger on exactly why, but it seemed to be happening because people quite literally had to stay off the streets: they needed things to do so wine education was one of them!
But honestly, the biggest help was the Government's decision to reduce, and then remove, duty on wine [it went from 80% to 40 to zero in the 2000s, meaning Hong Kong is the only duty-free wine domicile among major economies globally]. By 2008, when it went to zero, it suddenly became so much cheaper for the general population to purchase wine, so it was no surprise when the scene just exploded. The HKIWSF you mentioned at the start – the format you know today was born that year for example.
Everything happens for a reason! As you know our city has seen a huge rise in the quality and quantity of wine-focused restaurants and bars this past 5-7 years; as fashions have changed, how has that manifested itself in how AWSEC has educated industry professionals?
As consumers have become more knowledgable, the F&B industry has had to keep up. In terms of what's popular, after a slow start I think people are generally moving away from Bordeaux and Burgundy now, so as they explore the New World more, it feels like there is a good mix between the high-end (which will probably always be there due to a strong sense of brand awareness) and the everyday.
This shift in fashion, especially from Hong Kong's younger generation of drinkers, has provided impetus to the education movement, most notably via WSET which of course has such a wide-ranging syllabus. The restaurants and bars know they have to train their staff to stay relevant.
Right. And on the other side of the same coin, to what degree are you seeing demand for courses from people that do not work in traditional F&B roles?
There is huge demand! In fact, the amount of people we teach that are not directly in the industry are in the majority. When we first started, I would say around 80% of people who enrolled in our courses were normal, everyday consumers. Nowadays, F&B industry participation is much higher than 20%, but the private consumers still take up 60-70%. It's great to see.
How do you think wine education will evolve in the next decade for you?
For starters, we are going to expand our offering to augment the core WSET courses. WSET is fantastically popular, and we love teaching it, but the courses are very broad in scope. We already do dedicated Burgundy/Bordeaux and Australia classes, but more tailored supplementary courses for areas such as Chile and New Zealand – also Saké – will provide great opportunities for people going forward.
We'll also continue our heavy involvement with company-specific education. As the lifestyle scene continues to grow in Hong Kong, we are getting more and more requests to do bespoke training for a specific group of people. It's an exciting area.
Travel-based education will be another offering for the serious wine enthusiast. For example we have done professional immersion programs in places like Champagne and Alsace. Things like this will be a great alternative for people who don't necessarily want to climb the WSET ladder, instead developing a specialism, and so on.
Finally our push into the mainland: we have opened offices in Guangzhou and Shanghai in recent times, and now offer a full suite of courses. We hope this will really drive growth for us, because although wine in China is popular now, we really are only scratching the surface.
Most of all though, we just want to continue to educate people and stir their passion for wine. An anecdote my educators like to share – perhaps slightly tongue-in-cheek – is that Asia has more Masters of Wine in the pipeline than any other part of the world. If we can help start even more people off on their journey, that's good enough for us.
How about yourself though? Given you hold a WSET Diploma, wouldn't you like to go on to qualify as an MW?
I'd love to, but I don't think I have the time!
This interview was originally published on Grape Collective, the current front cover of which can be seen below.
You can find out more about AWSEC, and the courses they offer, via their website.
If you like this article, please share by using the links below…and if you're a fan of Twitter, you can follow me here. We also now have a Facebook page here.
The 23rd Parallel is now on Facebook!
On February 7, 2016 By dave@the23rdparallelLeave a comment
A happy Sunday to all, and indeed a wonderfully sunny one here in Hong Kong. The scene in Stanley was a mighty pleasant one earlier today…
Just a quick note over our late-weekend glass of red: The 23rd Parallel now has its own Facebook page. Just go to the following:
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Please click on the Like button to receive all the latest posts (and more) direct to your feed. Some cool interviews and articles to come over the next few weeks.
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Enjoy the rest of your weekend…and Kung Hei Fat Choi!
The 23rd Parallel Q&A: Michael Palij MW, Vino Veritas
On February 2, 2016 By dave@the23rdparallel1 Comment
Achieving Master of Wine status at the age of 29, UK-based Canadian Michael Palij is the figurehead of Vino Veritas, a boutique importer and distributor of Italian wines in Hong Kong. A leading authority on the country, he writes the Italian section of WSET's core textbooks. While on a whistle-stop tour of the city in which he used to live, he took a breather to talk to me about cultural shifts, Prada and Gucci, electrical analogies…and why he's just one of the guys.
Michael, talk to us about the wine scene in Hong Kong from your perspective: the brand awareness argument is fairly well understood now, and although we hear a lot about the wine-buying population exploring new areas outside classical France, in your experience at what speed is this actually playing out?
To sum it up in one word: slowly. The statistic that sticks in my mind is that 77% of all wine sales here are still French, and red. Of the remaining 23% up for grabs, Italy is trying to grab the proverbial 1% of the 1% at the moment. So that tells you everything you need to know!
If you look at where Hong Kong is, in a historical sense there are interesting parallels with other markets: if you take the UK in 1995 for example, 10% of all wine sales were Italian, and of that, 9.9% came from Lambrusco. Why am I telling you this? Because in any country, the wine-consuming population often portrays itself as a collection of sophisticates, but the reality is something very different when you look at actual sales numbers.
The city is going through exactly the same process right now. We've been through a phase where, fuelled by mainland China I have to say, a large demographic who suddenly had access to disposable income were guided by Robert Parker or whomever; having looked at a wine that had been rated with 100 points, they would say "I have the money, so I'll buy the Mouton". You can't really blame people for that.
Per capita sales in Hong Kong are around 7.5 litres of wine per year. As a comparison Italy is around 10 times that, the UK 3-4 times bigger. But here's the rub: the difference between what Hong Kong buys, and what Hong Kong consumes, is enormous. They only drink around 2.5 litres each per year, so where does that extra 5 litres go? It either gets exported, or stored ad infinitum at Crown Cellars [one of the city's most renowned wine storage facilities] or wherever.
What you don't see yet is a culture of drinking – and I mean generally, not just wine – by the adult population here; unlike in Europe and the States, where it is socially acceptable to say have a bottle of wine with lunch, people drink tea. For the most part, wine is still about "face": at most demographic points it's about gifting, it's about being seen to be carrying out a ritual which is associated with sophistication.
Some interesting perspectives there, not to mention numbers. In the context of Vino Veritas being a niche provider of artisanal Italian wines though, how are things playing out for you given what you've just said?
My view is that once people get a bit of social confidence, they don't have to wear Prada or Gucci everyday, if you know what I mean. You can get to a point where they open wine just because it tastes damn good.
This will help us, and that is where Hong Kong is going to get to: now I don't know if it's going to happen tomorrow, or the next day, but that doesn't matter to me. We're here for the long term, by being focused on education, changing mindsets, brand building – all the things that will establish us as a leader in Italian wine.
Specific to Italy then, as people shift out of France, they look to Piedmont, they go to Tuscany; to what degree will that in turn shift into a case of, "well I know Piedmont, how about trying something different to a Barolo; how about we go across to the Marche, up to Veneto, or down south to Campania to try a big Taurasi?" Do you think we are years away from that, or are the seeds firmly sown already?
Well, I'm not sure the pathway is quite like that. I don't think Hongkongers will instantly move away from France – to start they'll move away from Bordeaux and Burgundy. They might move to another part of France, or they'll try Bordeaux Supérieur instead of Classed Growth.
But here's where it gets interesting. At exactly the same point we could short circuit that change and say to people, "instead of trying that different Bordeaux, how about giving our Taurasi a go?" I'm not entirely sure we're quite yet at the point where Italy lives in a box called "experimentation" though; at the moment it still lives in a box called "not France". We'll get there though.
So have there been any notable short circuits up to this point?
When we first started Vino Veritas, the first thing everyone would say to us was, "don't try to sell white wine. People don't drink it in Hong Kong". In our first year of operation though, our biggest-selling wine was a white wine from a grape called Timorasso. By the look on your face [a blank one], I'm pretty sure that's a varietal you've never heard of [I hadn't].
So how did that happen? It was one of those rare occasions where I got up on my hind legs and said, "you really need to try this, here's the story, I genuinely think you'll like it". People tasted the wine, listened to the story, and it all made sense to them. People are open to experimenting, but they are not open to being made a fool of – so you need to get this stuff right. It can work.
You make an interesting point on recommending wine: seeing as MWs are so thin on the ground in Asia, to what degree can you bring that influence, that caché, to bear on a commercial enterprise? Because of your position, how do you use it in the right way for the betterment of your business, and in order to promote Italian wines?
I honestly don't think I've ever stood up and spoken solely about Vino Veritas. I'm not wired like that. If you – anyone – are getting up and talking about wine, it ultimately helps our business. The more MWs we get in Hong Kong, the more people that talk about wine through events, the better. Education, and the respect people have for teachers, is huge here, so wine can and will really take advantage of this.
Aligned with the social and thematic changes we've talked about, I'm sure Italian wine will go from strength to strength in the coming years. It doesn't need me to get on my soapbox to achieve that.
On a lighter note, you must find it interesting when you go to events in Hong Kong, witnessing people's reactions when they find out your background. Presumably they're falling at your feet because of your two little letters!
Honestly, the deification of MWs is very silly, and it's definitely worse in this part of the world. I know there aren't many of us who have achieved the qualification, but there are so many people who know a heck of a lot about wine, without having the letters after their name. I just happened to have a decent palate from a young age, and have managed to make a living out of promoting wine in a positive way. I'm still a normal bloke, who likes going out with his mates and having a few beers!
This article was originally published on Grape Collective, the latest cover of which is shown below. You can find out more about Vino Veritas via their website.
If you like this article, please share by using the links after the image…and if you're a fan of the Twittersphere, you can follow me here. Thanks!
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Important - how to Fix missing pets: How to get missing pets back that were lost after buying the Tyranosaur pet from item mall.
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text:
Wiser Than We Know
A book by Bob Clay
Short Intro
Long Intro
← 29. There will now be a short intermission
30. The spine is alive →
30. The Smile Between Us
I will begin with a few observations about our eyes and about seeing. Eyes move; they move to compensate for the body's movements, to keep the world still. This all happens thanks, in the human being, to the subtle connection between our organ of balance, in the inner ear, and involuntary movements of the eye. One way of describing the Alexander Technique is to do with maintaining the sensitive communication between the muscles of the eyes and the canals of the inner ear. Because we can see, and form images, therefore we can move freely, and we need to move freely, if we are small and edible, if we are being seen. The path from basic light detection by some simple creature to a detailed view of the world is the path of becoming more independent and in charge of our responses. Our eyes are, typically, ahead of our movement: they are directed to where the ball is estimated to be going to bounce, or pass by our body, preparing the motion necessary to hit it, anticipating. Anticipation goes along with pattern and predictability of response.
There are often hares on a stretch of road I drive home on. They behave in the daftest way, seemingly unable simply to run away but, rather, stopping, doubling back etc. This is typical of animals who are chased. They behave unpredictably in order to confuse the chasing animal, leading it into a tiring and muddling sequence of stops and starts. On one level the extremes of unpredictability of the human being are a way we express our freedom – this is unpredictability that lies, somehow, even if not consciously, in our control. On another level, our unpredictability can be, or can become, an enactment of a basic uncertainty regarding our environment, a chaotic reactivity with a fundamental fear unrecognised as the trigger.
When we come to the intensely human business of looking at another person's face I can recognise the reciprocal connection between my attention to the other person's face in order to gain an understanding or impression of what they are interested in, or feeling, and the rich potential our faces have to express and reveal our emotions. I look where meaning is to be found. This reciprocal subtlety can be linked back both to our uprightness and to the flatness of the human face. It is not, first and foremost, a muzzle pointing as a continuation of a horizontal spine. The face of another faces us. We take in the gaze, a word, originally, which could mean the thing looked at as much as the act of looking. This crucial encounter, the meeting face to face, brings home to me the enigma of how the eye, and vision, are so important in our attentiveness, in our ability to give or pay attention – to move freely through the world.
The Alexander Technique, if it has a question at its heart, is asking how we focus our attention. When we wish to see, or to act, how is that desire related to the things or the processes we are seeing or engaging with? The more I interest myself in these questions the less satisfactory is any mechanical view of perception or attention. Simon Ings, in his thorough and thoughtful book The Eye : A Natural History, quotes the nineteenth century philosopher scientist Ernst Mach – "Bodies do not produce sensations but complexes of elements (complexes of sensations) make up bodies" (ENH, p 263). Our identity is not in substance – this, vision and attention tell us.
Daniel Dennett, the severe physical materialist of the nature of consciousness, encourages us to want to get backstage behind the "theatre of experience" in order to understand what we saw, or thought we saw, onstage. If we wish, as I do, to stay with the truth of the performance we will rely on insight, not biochemistry. Insight distracts us, for Daniel Dennett, from the attempt to describe our experience solely in terms of usefulness, in helping us to survive. Experience does not feel that calculating. But I am more interested in how knowing our own states of mind, and recognising what is going on for other people, belong together. Insight develops, thanks to the richness of our experience of the world through our vision. So I think we come at the question from an unhelpful direction when we only ask how does consciousness get generated, how does it get going? I want to accept it as a given and live with it as the agent of flexibility, of creative unpredictability – back to the hare in my headlights.
Before we go further into the world of experience I want to place a couple of anatomical features before your attention. First, the sub-occipital muscles: these are relatively short muscles which connect the skull to the top of the spine and lie quite deep below bigger, longer muscles. They are the hidden treasure of the Alexander Technique, very sensitive to stretch and intimately connected to movements of the eye and the balance of the head. They have a strong influence on the whole musculature of the spine: a tumbling cat lands on its feet thanks to the responsiveness of the sub-occipitals. The almost universal retraction of the head, which is the most basic habit the Alexander Technique aims to unearth, involves disabling these muscles. At root this retraction is a reaction of fear. The smallest movement of the eye brings about, or would want to bring about, adjustments in these sub-occipital muscles. However, they may have no possibility to perform these subtle adjustments, due to the retraction of the head. This restriction and tension feed back into the eyes and thence into the face. Developmentally, the skull is formed from two sources – the cranium belongs with the spine but the complex bones of the face and the jaw belong to the visceral development below, or, for us, in front of, the spine. The influence of tension in the neck, reaches the face through the restrictions in the sub-occipital muscles affecting the eyes. Tension in the face, tension which blocks the expressiveness of the face and the mobility of the eyes, is an almost universal consequence of the disturbances in the neck which come with effort and fear. Face and neck, muscles belonging to the two parts of the head, end up grappling with one another. The blockage in our expressiveness, I believe, goes with a loss of sensitivity to the feelings of others. It is one of the holy privileges of being a teacher of the Alexander Technique to see a person's face become mobile, responsive both inwardly and outwardly, set free.
Staying with embryonic development the eye too is not simple in its origin. There is a process of growing out from the young brain towards the skin which forms the cup of the retina. From the skin is formed the beautiful lens and then the two elements combine and differentiate so that the lens lies as an opening into the world. The outgoing, limb-like gesture of the developing organ, coupled with the structural clarity of the organ itself, helps me to recognise that the act of seeing is not performed by the eye, but by me. Without the experience of my bodily self, through proprioception, the sense of balance and touch, I would not be able fully to grasp objects in space around me, to continue that centrifugal gesture of the actual nerve tissue of the eye as an experience, as attention, as recognition. Through the eye I am led out into the world: contrast this with the gesture of the ear, deep within the bone. I turn inward, draw inward in my experience, through my listening. Both these processes need our restraining, our modulating – they require our engagement to be kept balanced so that we are not drawn too far out nor act inwardly in an overemphatic way.
In the first course of lectures which Rudolf Steiner gave to doctors, in March and April 1920, he speaks of the value of enlarging our activity as self-conscious beings, within ourselves, so that we are present in our whole selves – the full experience of vision and hearing, among other things, helps us feel that our sensory experience is not something that happens in the brain. Here are words which for me directly comment on what we are cultivating in the Alexander Technique: "Why can we remain calm when something exciting occurs around us? It is because we have the ability to send our reason into our guts, because we are in a position to engage the whole person instead of remaining only in the brain. While we are thinking we cannot do this. While we are busy in a one-sided intellectual way that comes from the brain, the inner part of the body is engaged in its own movements: we are then extremely susceptible to stressful stimuli" (IAM, p 211). Here Rudolf Steiner talks of our "labile" I, meaning mobile, slippery, unstable. That instability is essential to our health, it allows constant readjustment of where we're giving our attention. But it also means we can go to an extreme in many directions. This work of lighting up or enlivening the whole of our organism with self-conscious and self-unconscious activity is, I believe, necessary for us to become individuals.
From inner mobility to social, interpersonal mobility: vision is reciprocal. I'm going to be talking about the great French photographer Henri Cartier-Bresson later, but now it is, I think, helpful to appreciate how liberating photography has been. We have escaped the conventions of Western art which had expressed the conventions of Western experience – personal, social, political. The camera can allow our sense of awareness to be mobile, creative, active, reciprocal, a matter of my responsibility for what I'm seeing. The old conventions of perspective, of the picture being like a window, led us to be passive spectators, stuck, isolated, puzzling over questions of reality and appearance.
Underlying the exploration so far has been the duality of the gaze as connection and the gaze as (interpreted as) threat. Coming closer or running away. We use our gaze, our experience of another's face, to enter into their feelings and thoughts. This is the purest expression of our need to relate to others which began with our birth and the oneness of mother and baby. What would lead someone to avoid such a basic activity or state of being as the sharing of a gaze, of meeting face to face? I think fear has a place here and also surprise, recognising surprise and coping with change, unpredictability. Jonathan Cole, a neurophysiologist and writer, has written a stimulating and compassionate book about the face, About Face, in which he tells of his extended contact with Donna Williams. She has had a huge influence through her ability to convey the ways of being and seeing for someone described as being autistic, a life which had seemed to be beyond articulate communication. She gives Jonathan Cole an immensely detailed response to his inquiries by fax, and eventually in a direct interview, from which I want to extract a few points which definitely lose meaning by being divorced from the totality of the picture she gives of her experience.
She lives very strongly with the sense of connection, or lack of it, between a person's face, their eyes and what she calls soul. Her difficulties in understanding who or what she is seeing when she looks into another person's face (which difficulties lead her to avoid gazing at faces) connect with her own lack of a clear body image of herself, a sense of herself as a whole. She writes of being able to tell another's mood "from a foot better than from a face". Faces have too much stored in them and she could only cope with, only see, fragments, and this fragmentary quality means that the parts jar against each other and create confusion, mistrust. But this all goes back to her sense of her own fragmentedness. Her relationship with her partner, who is also autistic, she describes as working because they can both live in the fragmentary self, expressed in the other's face (and behaviour), because this experience matches their own sense of themselves. Her partner does not extinguish her. She talks, in the actual meeting with Jonathan Cole, about her difficulties with images of faces, both moving and static (she finds static images easier to deal with) but goes on to say, "I choose to spend time with statues". She doesn't elaborate this remark but I think the solidity of the statue, together with its fixedness, helps her to gain more of a lasting connection and to mean she doesn't need to assert herself or react to the image. As a girl she had spent hours looking at her reflection, giving her image a name not her own, hanging on to the elusive sense of feeling herself in her body. As an adult she is happy when engaged in artistic activity – writing, music, painting – which allow her to be a whole person, to be in her body, with her body, to as great an extent as is possible for her, but without expressing firm conscious intention, or response to powerful stimuli. She likes her bodily self to be at the edge of consciousness. Similarly with paintings – her own portraits show the subjects facing away from the viewer, avoiding the sense of another person, with an intention towards you. Intention comes with a face.
Remember that the original description of what we now call autism, by Leo Kanner in 1943, referred to "autistic disturbances of affective contact" – the word is just a plain old adjective meaning 'having a self-quality, confined to the self'. Donna Williams suggested to Jonathan Cole the description "born independent", on which Cole comments that it is a "phrase which sums up their solitariness but not their vulnerability". Early descriptions, sadly, saw the autistic person's difficulties of forming relationships as being about "not bothering" – I am sure Jonathan Cole is right in seeing the basic emotion being fear, and the need being to protect oneself, to avoid the overwhelming, the invasion, the extinguishing, of the fragile fragmentary sense of self. The baby looks for the mother's face. Those who have not, for whatever reason, negotiated the complex developmental processes of separation and reconnection will find nothing more difficult to cope with in their solitariness than the face of another. We need a body in order to have a face and to gaze into a face. A body, but not eyes. John Hull, a man who became blind as an adult, wrote a book of observations which is a masterpiece of simple clarity and honest reflection, called Touching the Rock. He describes, early on, how he comes to see with his face, to be able to sense his environment, through the quality of his attention, which enables him to experience objects by a sense of physical pressure. He writes at the end of the book of the "paradoxical world" of blindness "because it is both independent and dependent. It is independent in the sense that it is an authentic and autonomous world, a place of its own. Increasingly I do not think of myself so much as a blind person, which would define me with reference to sighted people and as lacking something, but simply as a whole-body-seer… Blindness is also dependent. Somewhere along the line, at the end of the road, there is someone with eyes. Like it or not the blind are weak" (TR, p 164). He asks how the two worlds can relate without jealousy or pity. One of the most touching incidents is with his four year-old daughter Lizzie. He helps her to get dressed, and they both smile, Lizzie then puzzling over how this could have happened – "Daddy how can you smile between you and me when I smile and when you smile because you're blind" (TR, p 153). He recognises that now this "in-between smile" was a rarity, but more precious for its rarity. The emotional life he sustains and develops depends on this new state of being as a Whole-Body-Seer.
Back to the eyes, and to seeing with eyes and with cameras. Henri Cartier-Bresson speaks of the movement and change in what he sees – "We are playing with things that disappear" (DE, p 12). Staying with the moment, with action and movement, keeps us in the realm of being – which can be physical, reciprocal, social. Or it can be about play, the surreal, living on the high wire of instability. With Cartier-Bresson the immediacy has a trust in it, a sense of connection. He loves the snapshot, the subject on the move, living, unpredictable. I will give you two more quotations from the man: "For me photography is about recognition of a rhythm of surfaces, lines, or shades. The eye cuts out (he means 'defines') the subject; and the camera simply has to do its job, that is to register upon film the decision of the eye". Seeing through the eye, through the camera. And: "In photography there is a new kind of plastic art, the function of instantaneous lines, we work in unison with movement, a sort of presentiment of life, and photography must seize the expressive equilibrium of that movement" (DE, pp 80, 96).
These, for me, are remarks which fit the Alexander Technique as much as photography. Henri Cartier-Bresson spoke about his concern for geometry, by which he meant the inner apprehension which finds the connection of the main focus of one's attention with all that enhances its meaning, the wholeness of the experience of the moment. So the image is no longer an image but something opening up into everyday presence. What is magical about this concern with geometry is not only that it expresses the trust of the observer but it breeds trust in the observed. This is the love of the mother for her baby transformed into the relationship between friends. The face to face meeting is still there but it is now more playful, more multi-angled, more inclusive of a space, an environment. Donna Williams describes how careful others must be if they are not to invade her and that she cannot live in the fullness of the other: "Facial expression in my presence may be like bouncing a ball off a wall. The ball bounces back but nobody threw it". The gaze of a Henri Cartier-Bresson tells us of another possibility that we launch the ball, we use our eye, we reach out into the meaning geometry of the world and the ball comes back from the world, loaded with the trust that we will catch it. That is the living space between us, the space in which smiles arise.
This entry was posted in Essays. Bookmark the permalink.
One response to "30. The Smile Between Us"
vy | May 19, 2015 at 11:11 pm | Reply
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01. A Leg to Stand On
02. Stillness
03. The Silent I
04. Saying No
05. Empathy
06. Grace
07. Interest
08. Geometry can be more than measuring
09. Perfection
10. Inhibiting – a way to develop
11. The effort of not caring
12. Ends and Means
13. Raymond Dart
14. Anxiety and security
15. Control
16. A Sense of Responsibility – pointing at the moon
17. Giving pause for thought
18. Understanding balance
19. Attention
20. Wearing our habits
21. Touch
22. I to I
23. The human archetype
24. The human form
25. Doing less
26. Movement (mountain and lake)
27. The Present
28. What is solid about us?
29. Standing on the bridge
31. Being a doorway
32. Looking Up, Going Up
01. Feeling secure by realising you're unstable
02. Stepping Back
03. Being Direct
04. Thinking in Activity
05. Making Time
06. "Let me support you" said the chair
07. Catch it in the neck
08. You lead with your head
09. Opening out from the shoulder
10. Let your head turn freely
11. Primary control
12. Control is personal
13. An indirect method
14. Consent
15. Body techniques
16. The startle response
17. Unfamiliar movement
18. Carrier bags
19. Enjoying the ordinary
20. Sing something simple
21. Sitting Down
22. Standing Up
23. Playing our instrument
24. Fingers and precision
25. Er… er… um
26. What's inside? A golf ball
27. Laughing lets you sing
28. The space inside me
29. There will now be a short intermission
30. The spine is alive
31. Watching and doing
33. New Post


text:
Raising Neurodiverse Fans
Katherine Howell
Let me offer a fast and unnuanced definition of "fan." A fan loves a piece of media, or a character from a piece of media. Popular fandoms include My Little Pony, Star Wars, RuPaul's Drag Race, anime and manga of all kinds, both the DC and Marvel comics universes (and the associated superheroes), and Harry Potter. The fan may show her love in many ways. Usually this goes beyond reading, watching, or listening. The fan writes stories, draws pictures, goes to conventions, and/or many more activities. The fan often does these things in a group, online or offline, with other fans.
In this article I'll share some thoughts about neurodiverse individuals—including those with ADHD—who happen to be fans. But first, let's meet some fans.
A little girl at camp sits slightly separate from all the other campers. She intently draws a picture, rewriting the ending of the movie she watched over the weekend. Her focus is so intense that she has a potty accident. The camp counselors call her father at work asking how to encourage the girl to listen to her body's needs.
At bedtime, a young boy rereads a book from his favorite series. At lights out, his mother discovers him writing in the book. She scolds him for marking up his books and turns out the light. Five minutes later, the light is back on, and the boy is, again, reading and writing in his book. His mother discovers that the boy has written himself into the story. She considers calling his pediatrician, worried that this means his anxiety is getting worse.
These activities, the intense focus accompanying them, and the behavioral issues involved, may concern parents. Parents may worry about the seeming isolation of the girl, and her inability to stop drawing and use the restroom. The boy's parents may worry about defiance in defacing a book, obsessiveness when he writes himself into a story, and violation of bedtime rules. However, these activities could be first fan activities. As children grow, new ones may come. They may record songs and make videos. They may participate in costume play or "cosplay" and dress up as a favorite character. They may even attend conventions.
As a fan scholar and a mom to a young fan with ADHD, I offer a new way of viewing the fandoms of our children. Rather than thinking of children's growing fan activities as escapism, isolation, defiance, or obsessiveness, try to think of fandom as a potentially positive kind of identification.
Identification creates relationship
Identification does not simply mean a one-to-one relationship. For example, a boy's identification with the lead boy character might represent a deep, emotional, and creative process. This process involves the experiences of fictional characters and of the young fans. The girl in the first example may have been correcting an injustice done to an animal character. She might identify with the animal because she has experienced similar injustice. By entering into a relationship with that character, she may feel less alone. The boy may find the world of his book matches his imagination or his way of thinking so well that writing himself into it gives him great pleasure.
Play and pleasure
Fandom offers opportunities for play and pleasure. Raising a child with ADHD and other developmental differences can be serious business. Writing fan fiction and drawing fan art offer ways to express love and pleasure in a book, TV show, game, movie, or even a celebrity. Fans engage in playful interaction with words and pictures. We sometimes expect children's creative expressions to be free of references to things they love or "more original."
By encouraging our children's popular culture fandoms, we are not discouraging originality. Let them play first, and the originality will come. This kind of participatory play has a long history. Lawrence Lessig calls this a "read/write culture," in which young people write using elements of what they have read. Lessig places this in opposition to a more passive "read only culture," in which young people are expected to only consume the culture and not interact with it.
Fandom and focus
Although fan activities can certainly be a source of distraction, fandom can help children move beyond fleeting and superficial engagement. By nurturing play and pleasure, fandom helps deepen focus and sustain attention. Children's fan creations involve many kinds of thinking: genre knowledge, observation of drawing styles, development of story lines, and self-reflection. Fans are self-motivated to learn because they enjoy identifying with their favorite film, comic, or book.
Fandom and community
Children who participate in online or face-to-face group fandoms may perceive them as safe, welcoming communities. The results can be both heartwarming and heartbreaking. Certain fandom spaces may feel safe. Our children may identify with the characters and with the other fans. They will encounter other fan's fiction, cosplays, art, and comments. Fandoms will broaden children's exposure to differences in race, gender, sexual orientation, and disability.
Some of this content will be wonderfully positive. But like everything else on the internet, some fan discussions will contain subject matter that we do not want our children to read or see. There may be violence, explicit sexuality, racism, sexism, and/or ableism. Parents must guide children through fan-produced discussions, writing and art.
Setting good boundaries
Fandom does not cause inconsistent attention. But children with ADHD need clear rules and behavioral boundaries. For young children, supervised offline fan activities express identification with a character in playful ways, while protecting their safety. As children age, they may find peers offline that share their fandoms. Online fandoms are a whole different story. Children need parental guidance and limits as they explore the world of online fandoms.
Part of raising a neurodiverse fan will mean participating in fandom with them and setting a good example. At first, this may seem overwhelming and exhausting. Here are some suggestions.
Acknowledge that it is hard to stop the fan activity. Fans need parents to model when to let go of the beloved activity and take care of other needs, such as self-care, social, school, etc. For example, it may not be best to engage in fan activities before bed.
Learn about your child's favorite fandom communities. The details matter. For example, if your child watches streamers on Twitch, a live-streaming platform owned by Amazon that primarily focuses on games, sports, and independent creators, it may help to know that Twitch does not allow streaming of games rated Adults Only by the Entertainment Software Rating Board. Twitch moderates the chats that streamers can allow under their streams via a semi-automated tool.
However, parents should consider the following: Does the streamer have the chat function on or off? If the chat function is on, does the streamer moderate the chat beyond the built in tool? Are certain words (slurs, curse words, and misspellings of each) blocked? Limit your child to watching only those streams with chats off or heavily moderated by a human.
Most fanfiction stories are marked with a tag, similar to a hashtag on Twitter or Instagram. These tags are intended to give readers guidance to what the story contains. Stories could be marked with tags that indicate mundane content, like what characters the stories focus on. The genre of story may also be tagged. "AU" means "alternate universe," and involves changing the setting of the book or TV show. Slash, or a forward slash (/) between two character names, is sexual content. If your child reads fanfiction online, does the platform use content tags? If so, limit what tags your child can read from.Make sure safe websites stay safe. For example, if your child watches makeup tutorials on YouTube, do you have the parental controls set so that explicit channels do not come up in the recommended section? Have you watched the tutorials to make sure that the language used is appropriate? To play it safe, always watch YouTube videos with your child.
In your home, use extremely strict parental controls on all devices. Our young children have their own Apple ID. That way, anything their father and I may research, receive as a message, or email does not show up on the family iPad. When not under adult supervision, turn off internet access on the iPad. In our home, I do allow writing in books that belong to my children, but not at bedtime. Gaming stops a half hour before bedtime ritual begins.
It might seem strange that, while espousing the play and pleasure of young fandom, I also advocate such strict parental controls. As my children grow, these restrictions may relax. More freedom to navigate online spaces will depend upon each child's needs and abilities. They must prove an ability to use the internet in a safe and healthy manner.
As parents, we cannot let ourselves get "out of touch" with what platforms our children use. Our family boundaries around technology, behavior, and body needs should be held firm. At the same time, our children's fannish play can be embraced for the joy and creative capacity it brings.
Katherine Anderson Howell is an independent scholar, and the editor of Fandom in the Classroom: A Teaching Guide (University of Iowa Press, 2018). She parents a child with ADHD and a child with severe allergies, and is currently working on a monograph about fandom and disability.
ADHD & Recreational Marijuana: What's the Attraction?
ADHD and My Drug Addiction: Down the Rabbit Hole and Back Into the Light
Beyond Fight, Flight, or Freeze—the Fib
Why Can't I Do This? How Emotional Intelligence and Self-Regulation Pay Off for Adults with ADHD
What to Know Before You Head Off to College
Leaving Home, ADHD-Style
Flipping the Script on ADHD: Find Your Strength in the Workplace and Dispel the Myths Along Your Path
Studying on Fear and Caffeine
The Purpose Challenge
Young Drivers with ADHD


a prestigious ceremony is marked by an unforgettable award.
"we work with you to design and create awards which are anything but off the shelf "
Here at midton, we design a huge range of uniquely designed and crafted awards. They are markers of achievement and their design should reflect this. Part of our broader acrylic recognitions range, awards can be at an industry-wide level, or they can be smaller employee awards.
why invest in customised acrylic awards?
Maintaining the prestige of your brand and ceremony through a luxury industry or workplace award will ensure you are regarded highly and the winner leaves feeling proud and recognised. You could buy a stock award, but that may dilute the impact of having an awards ceremony in the first place.
Our in-house design studio work with you to create a unique and meaningful concept design that recognises you and your team. We may use some of the more complex acrylic shape and form or material effects if you need us to make something particularly special. Whatever you need, we always listen to our clients and include their vision into all of our designs.
We then hand craft your award design in our purpose-built UK workshop under the same roof, to the utmost quality standards.
Shipped directly to you or the people being recognised, across the world.
The boundaries, from a design point of view, simply don't exist. We are dedicated to pushing the boundaries with your award designs. Take a look at our recognition case studies for some examples of our work.
Making it a reality is our specialty, and our dedication to accurately and imaginatively representing brands, teams and individuals through our work sets us apart.
Through collaborations with clients we have consistently challenged the limits of what we thought was possible. Please get in touch if you'd like us to produce the perfect acrylics awards for your business or industry awards service.


text:
Q: PDO - Call to a member function fetch() on a non-object? I looked at all the other posts on this and none of them came up with exactly what my problem is so here we go:
$dbh stores my PDO connection, if I do a var dump on it, it returns:
object(PDO)#1 (0) { }

So I know my PDO connection is working.  I then use $sth to hold my query:
$c = 2;
$sth = $dbh->query("SELECT * FROM table WHERE ID = " . $c);

Then to make sure this is working I did:
echo $sth->rowCount();

That return a value of 6.  So I know it is grabbing some rows.  My next step of checking my problem was to fetch a single row like the following:
$row = $sth->fetch()
print_r($row);

This returned a single row (as it should) with the $row array filled exactly how I would expect it (column names as keys and column values as the array value).
So we are good up to this point.  Once I move $row = $sth->fetch() into a while loop my script fails the error it returns is: Call to a member function fetch() on a non-object
Here is my while loop:
while($row = $sth->fetch()){
    //while loop stuff here
}

I know it has something to do with the condition of the loop because even when I comment out all the stuff in the middle it still isn't working.  What am I doing wrong?  Why won't this work?  I'm beyond confused on this as it has worked in the past with all the PDO I have done but for some reason it is failing in this script.
If anyone has any tips or something that can help it would be greatly appreciated.
EDIT Since ninetwozero's post worked, I'm posting my class and basically everything I've got to get this figured out.
class html_elements {

var $units;
var $useMaps;
var $cid;
var $uid;
var $companyMoney;
var $currCity;
var $terminals;
var $termLocs;
var $cityArray;
var $cargoArray;
var $cargo;
var $tid;
var $truckArray;
var $load;
var $cityID;
var $cargoID;
var $xp;
var $gasPrice;
var $warning;

function __construct($u, $maps, $c, $userID, $cMoney, $dbh, $city, $tid, $xp){
    $this->units = $u;
    $this->useMaps = $maps;
    $this->cid = $c;
    $this->uid = $userID;
    $this->companyMoney = $cMoney;
    $this->currCity = $city;
    $this->terminals = array();
    $this->termLocs = array();
    $this->cityArray = array();
    $this->cargoArray = array();
    $this->cargo = array();
    $this->tid = $tid;
    $this->truckArray = array();
    $this->load = 0;
    $this->cityID = array();
    $this->cargoID = array();
    $this->xp = $xp;
    $this->gasPrice = 0;

    $sth = null;
    $sth = $dbh->query("SELECT * FROM tblCTerminals WHERE companyID = " . $c);
            //THIS LOOP FAILS
    while($row = $sth->fetch()){
        $this->termLocs[] = $row['Location'];
    }
}

Then in another file that has my class file included in it is:
$h = new html_element($u->get_units(), $u->get_maps(), $u->get_company(), $u->get_user_id(), $c->get_money(), $dbh, $u->get_city(), $u->get_truck_id(), $u->get_xp());

Each of those getters work, I tested them.  Also $dbh is what is used my connection file that is included before anything else.  So I know all of that is working.

A: I got to say that you've encountered a pretty interesting error, so let's try some things to pinpoint the cause:
if( $sth == null ) die('My sth is null at #1');
while( $row = $sth->fetch() ) {
    if( $row == null ) die('My row is null at #2');
    echo '
';
    print_r($row);
    echo '
';
}

Let me know what this tells you.
Edit:
$sql = 'SELECT * FROM tblCTerminals WHERE companyID = ' . $c;
if( intval($c) == 0 ) { die('Aaaaaaaaaa.......aaaaah.');
foreach ($dbh->query($sql) as $row) {
    echo '$row[\'Location\'] is: ' . $row['Location'] .'
';
    $this->termLocs[] = $row['Location'];
}

redpajama_set_name: RedPajamaStackExchange


text:
Father's Day Lottery Ticket Turns Dad Into a Millionaire
A woman in Pennsylvania has admitted that 'everybody on the street' heard her screams of delight after the lottery ticket she bought as a last-minute Father's Day gift turned her dad into a millionaire. There was only one type of ticket left in the machine at the Jeanette Rite Aid on Clay Avenue when Christina Morrah got there, for a game called $1 Million Payout, but one entry was all she needed as her father Joseph scratched off the coating to reveal that it was worth the top prize.
Joseph's wife, Debbie, has revealed that it was her idea for Christina to go to the store. "I said, 'buy a lottery ticket for him', because I didn't get him anything, and I felt bad," Debbie Morrah told the Pittsburgh Tribune. Christina slipped the ticket into her Father's Day card and Joseph recalled the excited response as they found out they had won. He said "She starts screaming her head off, 'You're a millionaire.'"
Five tickets in the state have now paid out the top prize, although the Morrahs had to wait for their ticket to be verified after driving to the Pittsburgh lottery office on Monday, as local officials are not authorised to confirm wins of such magnitude. The Pennsylvania Lottery later confirmed the ticket as a winner at their headquarters in Harrisburg on Wednesday.
Joseph Morrah, 61, now plans to bring forward his retirement plans, having already intended to stop working in the next few months. He has been a truck driver for 31 years and can now look forward to a more comfortable life, with a new car top of his shopping list. Joseph added: "It still hasn't settled in. When I see the cheque in my hand, then I'll believe it."
The success of the Morrahs has also made it a week to remember for employees at the Jeanette Rite Aid, where it is thought that nobody had previously received a payout of more than $1,000. Shift superviser Emma Young said: "Somebody told me, 'We have a winner. We sold a winner." The Morrahs have yet to visit the store, but Jeanette Rite Aid workers will no doubt be hoping that their story inspires others to snap up tickets, as there can be no doubt that this purchase turned out to be the perfect present.
Article Published: Thursday, 25 June 2015 10:18:18+01:00
Article Last Modified: Tuesday, 18 October 2016 16:22:19+01:00


The fifth day at the U.S. Junior championship was nothing like the peaceful fourth round. With all five games delivering decisive results, It was a great game to play with the White pieces as the White players accounted for a sweet 4 out of 5 wins! The two grandmasters in the field faced off, and what the analysts expected to be a long tense battle turned, out to be the first game to finish. Jeffery Xiong described his play in the 4th round as "That of 2000 player facing his first GM" but the fifth round was a smooth comeback for the Texas Grandmaster.
Akshat Chandra was looking to score his first win after 4 disappointing draws. Michael Bodek opted for the Hungarian variation in the Sicilian, and soon the players found themselves playing a position that strongly resembled a Najdorf Sicilian. The defending champion played compromising chess, sacrificing a pawn on move 11 and a second pawn on move 13. What he did not know at the time the game was played, was that all of these moves had already been tested by nobody other than Garry Kasparov! After obtaining a large advantage, the GM-elect based out of Iselin, NJ, played a couple of inaccurate moves which allowed Bodek to set up a tough defense. After shuffling around the Queen, Chandra tried to sacrifice a pawn in order to break through. Bodek couldn't find the right defense and his rooks ended up being dominated by the Chandra's Queen. A well-deserved win for the 2015 Junior Champion was the result.
Nicolas Checa opted for a classic Karlsblad structure against Awonder Liang. Awonder showed that he's studied the classics and successfully launched a queenside minority attack. Nonetheless, Checa played solidly and should have defended a slightly worse ending. After missing a tactic, the Fide Master dropped a pawn which Awonder Liang convincingly converted to a win. Another nice win by youngest participant of the tournament, who once again showed to have Grandmaster level technique.
Tournament leader Alexandr Ostrovskiy surprised his opponent with the sharp French Maccutcheon variation. The middle game position promised excitement as both Kings were deprived from castling. When the queens were exchanged Ostrovskiy saw a chance to open up the position, which temporarily cost the New York-based International Master a pawn. When the wunderkind from Idaho found a way to hold on the sacrificed pawn, things started looking grim for Black. A highly complicated endgame ensued, in which the objective evaluation switched drastically move by move. When Harmon-Vellotti found a way to draw by sacrificing his rook in order to advance his passed pawns, the draw seemed inevitable. Ostrovskiy went for an all-in winning attempt, but placed his King on the wrong square which cost him the game. With a bit of luck Harmon-Vellotti managed to win his first game, where Ostrovskiy will have to come back strong after the rest day in order to get his leading position back.
Ruifeing Li got a slight advantage out of a trendy Ruy Lopez variation. The International Master who is part of Kasparov's Young-stars program, bravely sacrificed an exchange in return for two connected passed pawns. Brown tried to hold on by sacrificing an exchange back, but Li played the resulting endgame to perfection, granting him his first win in the tournament.


At Adventure Tours, we specialize in tailor-made high quality motorbike tours in less visited parts of the Indian Subcontinent. Our aim is to provide our clients with the best experience, taking into consideration individual interests, needs, and budgets. At the same time, we design our tours in such a manner that they are environmentally and culturally sensitive , while contributing to local economies. Our philosophy is to strive to be the best rather than the biggest.
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text:
package us.kbase.kbasefeaturevalues;

import java.util.HashMap;
import java.util.List;
import java.util.Map;
import javax.annotation.Generated;
import com.fasterxml.jackson.annotation.JsonAnyGetter;
import com.fasterxml.jackson.annotation.JsonAnySetter;
import com.fasterxml.jackson.annotation.JsonInclude;
import com.fasterxml.jackson.annotation.JsonProperty;
import com.fasterxml.jackson.annotation.JsonPropertyOrder;
import us.kbase.common.service.Tuple2;

/**
 *
Original spec-file type: EstimateKResult

 *

 * note: this needs review from Marcin
 *

 *
 */
@JsonInclude(JsonInclude.Include.NON_NULL)
@Generated("com.googlecode.jsonschema2pojo")
@JsonPropertyOrder({
    "best_k",
    "estimate_cluster_sizes"
})
public class EstimateKResult {

    @JsonProperty("best_k")
    private java.lang.Long bestK;
    @JsonProperty("estimate_cluster_sizes")
    private List<Tuple2 <Long, Double>> estimateClusterSizes;
    private Map<String, Object> additionalProperties = new HashMap<String, Object>();

    @JsonProperty("best_k")
    public java.lang.Long getBestK() {
        return bestK;
    }

    @JsonProperty("best_k")
    public void setBestK(java.lang.Long bestK) {
        this.bestK = bestK;
    }

    public EstimateKResult withBestK(java.lang.Long bestK) {
        this.bestK = bestK;
        return this;
    }

    @JsonProperty("estimate_cluster_sizes")
    public List<Tuple2 <Long, Double>> getEstimateClusterSizes() {
        return estimateClusterSizes;
    }

    @JsonProperty("estimate_cluster_sizes")
    public void setEstimateClusterSizes(List<Tuple2 <Long, Double>> estimateClusterSizes) {
        this.estimateClusterSizes = estimateClusterSizes;
    }

    public EstimateKResult withEstimateClusterSizes(List<Tuple2 <Long, Double>> estimateClusterSizes) {
        this.estimateClusterSizes = estimateClusterSizes;
        return this;
    }

    @JsonAnyGetter
    public Map<String, Object> getAdditionalProperties() {
        return this.additionalProperties;
    }

    @JsonAnySetter
    public void setAdditionalProperties(String name, Object value) {
        this.additionalProperties.put(name, value);
    }

    @Override
    public String toString() {
        return ((((((("EstimateKResult"+" [bestK=")+ bestK)+", estimateClusterSizes=")+ estimateClusterSizes)+", additionalProperties=")+ additionalProperties)+"]");
    }

}

redpajama_set_name: RedPajamaGithub