'Thugs of Hindostan' is one of the most awaited films of all time in the history of Hindi cinema for various reasons. Aamir Khan is coming back just after delivering the biggest hit of Hindi cinema by the name of 'Dangal' and has the most astounding fan following of all time in his career. Amitabh Bachchan and Aamir will be working together for the first time ever and in such a massive film. This is definitely one of the biggest budgets of all time ever put on celluloid in India which is a severe thrill.
Aamir and Katrina Kaif have worked together only once in the past and it became one of the most successful film of all time that goes by the name of 'Dhoom 3'. Victor directed Dhoom 3 for Yash Raj Films and makers are all the same for this one as well. Thugs is a story of a gang of thugs who posed a challenge to the British Empire in India between 1790 and 1805. Thugs is not a real life story but based upon a novel which takes fiction in account to tell the narrative.
Makers are going really back in time as this one as this one takes place before Mangal Pandey who was the first revolutionary against the British Empire in 1857, which is a man played by Aamir previously. By the genre this one is an action-adventure and Fatima Sana will be coming back to big screen after her phenomenal performance in Dangal. Thugs of Hindostan is already in production and will be released on 7 November, 2018 to monetize the occasion of Diwali. Aamir is known for giving the biggest hits in the history and break his record with each passing one but it will be real task to break the mountain of money acquired by Dangal on global box office.


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Stan Coleman
Entertainment Intellectual Property Digital Media
A shareholder in the firm's entertainment department, Stan Coleman represents writers, directors, actors and producers in motion pictures, television and on the legitimate stage. Many of his clients have been nominated for or have won Oscars, Emmys, Tonys and Pulitzer Prizes, among numerous other awards.
Stan was a pioneer in the development of the home video industry, and in the convergence between Hollywood and the Silicon Valley. In addition to his practice representing artists, Stan also represents leading publishers and distributors in print, home video and electronic entertainment.
Outside the office, Stan was one of the founders of the annual UCLA Entertainment Symposium, and has spoken or lectured at UCLA, the University of Southern California, Cornell University, the National Association of Broadcasters Convention, the American Bar Association, and the American Film Institute, among others. He has also been featured on television and in numerous periodicals, including the Hollywood Reporter where he was chosen as one of the entertainment industry's "Power Lawyers."
He received his Bachelor of Arts degree with honors from Cornell University in 1966, and his Juris Doctor degree with honors from the Columbia University School of Law in 1969 where he was a Barney Jaffin Scholar and a Harlan Fiske Stone Scholar.
J.D., cum laude, Columbia University School of Law, 1969
B.A., cum laude, Cornell University, 1966
Weintraub Clients and YouTube Sensation, Anthony Padilla and Ian Hecox of Smosh Fame, Will Premiere Movie in July at VidConWeintraub Tobin Raises Money for American Heart AssociationClient News: Diane Lane to Star as Hillary Clinton in four-part NBC mini-seriesWeintraub Tobin Client David Mamet Receives his First Emmy NodWeintraub Tobin Client Tracy Letts Wins Tony Award
Beverly Hills, Los Angeles County and American Bar Associations
State Bar of California
UCLA Entertainment Symposium
Named "Power Lawyer" by the Hollywood Reporter
Named "Legal Impact Award" Winner by Daily Variety

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You are here: Home / MidEastGulf / Putin's Plan in Syria and its chances of success
Putin's Plan in Syria and its chances of success
Russia's intentions in Syria seem to be finally getting clearer thanks to Moscow's current diplomatic and military moves on the ground.
Russia, understandably, left all options opened within a specific space of movement. The limits of this space extends from the minimum default objective of carving out a mini Syria for Assad and his regime, to the maximum objective of reaching a political deal and waging a multi-party war against the opposition including the non-ISIL non-Nusra groups. The minimum here is similar to the current situation in Ukraine-Freezing the conflict in a way that gives Moscow the utmost leverage for a minimum investment. The problem of Assad is that he is short in boots. And in this, the Russians can't help. The Iranians and Hezbollah sent several thousand of ground forces to be stationed on the north and south of the Assad-Alawi mini-Syria in the western part of the country. They may be involved in clearing a buffer zone around the Assad mini-Syria if the Russian project of keeping Syria in whole under a friendly government is not fulfilled.
The current Russian moves and contacts tell us that Mr. Putin is aiming at this "comprehensive" solution while bombing the road into the future of Syria.
There are reports that Moscow has reactivated its contacts with the moderate opposition figure Mouaz Al Khatib (Former head of the Syrian Coalition) in an attempt to put together pieces for a political solution. There are also speculations among Syrian opposition leaders that Russia is moving on the political track along specific lines:
* The formation of a Syrian transitional government based on a combination of moderate opposition (will get back in a minute to the Russian definition of that term) and regime figures (Like Manaf Tlas). Tlas, who belongs to a prominent Sunni family, was a Brigadier General in Assad's elite Republican Guard and a trusted member of Assad's inner circle. His father was the defense minister of former President Hafez Al Assad, the father of Bashar. Tlas defected in 2012 and has been living quietly in Paris ever since. He did not join any opposition group.
* Offering a cease fire around Aleppo and in some other hot spots along the war lines in parallel with the UN conference called for by Special Envoy Staffan de Mistura
* Reaching a deal in the proposed Geneva-3 with some groups of Syria's opposition. (The alternative to Geneva-3 would be talks hosted by Putin in the Russian capital)
* Telling opposition groups that Assad intends to leave Damascus either conditional on holding elections or as a "concession" from the Syrian President to "save the country". (The second is mostly what is on the table now).
* Demanding a participation in the transitional government and a declaration, by cooperative opposition, that the crisis is over and that it is time to cleanse Syrian territories of "all terrorists".
This is how President Putin will appear to the world as the champion of both, the war track and the political solution track. How will that make President Obama looks in the eyes of a watching world does not need any comment. It is not even important in this context.
If this solution would not work, the Syrian army backed by around 10,000 Iranian and Iraqi Shia soldiers, and Hezbollah fighters, the Assad militias and Russia's air force will start a fight of multiple phases to end the armed opposition existence where relevant and force the population into submission.
The Russian definition of "moderate" opposition will be attached generally to the acceptance of this political initiative. Sorting out the opposition will be presented through a specific narrative: If you are opposed to Assad, now he is gone (or will certainly go). Come on and join in. If you want the rule of Sharia or if your cause is dictated by countries other than Syria, you would be radical and deserve to be bombed.
The timing of Assad's departure is left undetermined. But President Putin hinted to the Turkish President and to some opposition leaders in unambiguous terms that a deal of that kind will definitely include the departure of Assad at a point to be agreed upon, and that if things go as planned he guarantees personally the departure of Assad.
Furthermore, First Deputy of General Staff of the Russian armed forces General Nikolai Bogdanovsky met October 6 with Israel Deputy CGS General Yair Golan. Israeli media predicted that the issues of arms supplies to Hezbollah through Syria and the freedom of movement for the Israeli air forces to attack hostile moves in Syria topped the talks. Also assurances that no attacks will be allowed against any Israeli location from Syrian territories while the Russians are there.
The general logic of Putin's approach is clear. He aims at splitting the opposition along the line of accepting his political plan. That will guarantee to Moscow a wide international support, particularly if Assad steps down or announces his intentions to do so. A refusal by any party, Syrian or non-Syrian, will be presented as a manifestation of the existence of hidden agendas. If these agendas are Jihadist, therefore the world will side with Putin. If they are strategic, like for example driving the Iranians out of the east Mediterranean, the Syrians will be told that foreign (regional) powers are trying to achieve their own goals at the expense of Syria, and that Assad will be leaving, therefore all should back the transitional government and turn their back to regional powers who want to fight the Iranians until the last Syrian.
While Putin tries to improve his options, he already has guaranteed the minimum of his objectives through stationing his forces in the west of Syria.
Two questions remain: What are the forces that will stand against Putin's plan? And to which extent they may succeed?
To answer these two questions, we have to go back to what is actually happening on the ground.
Fifty five Saudi Ulamas (religious scholars) in the General Authority of Muslim Ulamas (AMU) issued a communique October 4 condemning both Russia and the US. "How similar Today is to Yesterday. Thirty six years ago the USSR invaded Muslim Afghanistan to support the communist party and prevent its collapse. And today, its inheritor, the Christian Orthodox Russia invades Syria to support its Nasiry (a branch of Shia) regime and prevent its collapse. The West claims that Bashar (Assad) is illegitimate but none buys that. It was them who prevented the Syrian people from having anti-aircraft defenses to protect themselves, and it was them who blocked declaring a safe haven in the north (of Syria). And without their approval neither Assad could remain nor could the Russians interfere. They wanted to deceive the people by saying they fight Daesh (ISIL), but Daesh was hurt a little by them".
The communique called for all Syrians to fight. "All able men should join Jihad. This is your day. All Muslims are behind you with all they can and victory is close with the will of God".
While the communique stopped short from calling upon "all Muslims" to join Jihad, a veiled invitation for mobilization is illicit in the language. The first paragraph of the communique was a plea for the unification of all opposition groups in Syria "under the flag of Jihad". The Muslim Brotherhood-Syria branch issued a separate communique calling Jihad in Syria "an Islamic duty for all Muslim adults". Many leaders of Islamic trends and groups said the same.
The impact of these important statements in the "operational" sense is not only related to the Syrian opposition. Those who know the weight of the names which appear on the communiques understand that the real impact will be evident soon. It will come on the form of a mobilization of Islamists on the ground in Saudi Arabia and other countries to join the "Holy War" against the new "Crusaders". The unwise declaration of Russia's Church that the military effort in Syria is a "Holy War" is widely echoed in the Islamic world. It is obvious that the Church was trying to garner public support to Putin's otherwise unpopular decision to go to Syria.
In the meantime, Arab countries and Turkey are moving ahead with a plan to supply the opposition with qualitative arms, including anti air craft and anti-armor weapon systems. The Obama administration made itself too irrelevant to be able to have any final say about this plan. Putin is taking care of what is left of the US ability to shape anything in the crisis. He, under sanctions, moved forces to Syria and is currently preparing for another surprise-the political solution.
Following the current debate among the opposition and its backers we may detect a specific narrative emerging slowly. This narrative is significant inasmuch as it reflects the real intentions of the "other side".
The argument says that Russia considered all Islamic groups, even those that have never got involved in terrorism, and even those who fought ISIL and lost hundreds of men in that fight, as terrorists. They believe that Russia's real intentions are indeed anti-Islamic per se, and has nothing to do with ISIL. They provide the examples of Moscow's attacks against non-ISIL opposition as a clear evidence of their assertions.
Furthermore, Iranian presence on Syrian territories, according to the "other side" narrative, is not refused only by the Arab backers of the opposition, but also by the vast majority of Syrians who suffered on the hands of Iranians, Hezbollah and Assad forces. The question asked by one opposition figure is: How does anyone expect us to accept the presence of Assad or Iran-Hezbollah forces on our land? Even if Assad goes, who gave the Iranians and Hezbollah that right to remain in Syria? The Russians?!
It is obvious, regardless of the extent of coherences of the opposition's argument, that in most part they are determined to carry on their fight. Now, they will be fighting Assad, Iran, Hezbollah and the Russians. The regional backers of these groups seem to be determined as well to carry on, regardless of Moscow's political games.
A chain of meetings took place last week in regional capitals ended with a decision to go ahead and fight. Every side of the confrontation has his own narrative. But in reality it is not a war of narratives.
When we step backward and examine Mr. Putin's approach thoroughly we find out that in fact it does not change the dynamic of the Syrian crisis. This dynamics is defined by two specific dimension-the Syrian political-military stalemate and the regional conflict between the Arabs and the Iranians. Mr. Putin addressed the Syrian dimension in a limited manner and not only neglected the second, but is heading to using the first in order to preserve and deepen the second.
The manner in which the Russians will deal with the Syrian dimension of the crisis will definitely lead to the radicalization of the opposition. Russia's expected impact of the solution will not materialize in any significant way if the Iranian and Hezbollah forces remain in Syria.
The problem of Mr. Putin's approach is that it address certain sides of how the crisis appears to us or how it is described by the warring parties in the world of narratives and speeches. The Russian leader did not deal with the real essence of the crisis, not because he does not understand it, but because his strategic calculus takes him where he is heading right now.
Two questions deserve to be raised here:
* From where will Mr. Putin get the necessary ground forces to fight ISIL?
If we do not assume that ISIL could suddenly raise the olive branch, it will continue to expand until it comes face to face with the Russian troops in the west of Syria and the allies of these forces. Is that a solution at all?
* How does Mr. Putin see the impact of a political solution signed between Assad and some irrelevant and ineffective opposition on the actual configuration of the crisis? In other words, if the pressing aspect of the manifestation of this crisis is military, how is it possible that some urban intellectuals in Syrian cities can really make a difference on this acute aspect of this crisis?
Mr. Putin will bleed in Syria. Badly. And the world will end up with a bigger Jihadi problem. Can anyone please tell us who is winning in this mad mess? It would not work Mr. Putin. Handling the crisis should be collective and international, and it should deal with the two tracks-the Syrian and the regional. If you do not, you are simply creating a bigger problem, not only to yourself, but to everyone else. Everyone.
mebriefing.com


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Rough House 3
In my ongoing effort to read all the books in my unread "pile" (more like "unread shelves"), I just read Rough House 3 which was published in 2015. I don't know how long I've had it--a good long while, I think. That said, they haven't published one since 2015 so now I'm all caught up.
The idea behind Rough House has been to be an Austin-based anthology, but by volume 3, contributors come from all over--Dallas, Seattle, Chicago, New York, Tel Aviv, Croatia, etc. And it's the best volume yet--the drawing is varied and wonderful. I love the drawing of Shawn Eisenach who contributed 4 mysterious silent one-page strips.
Shawn Eisenach
Another artist whose visual style I liked very much was Lea Heinrich. She had what I would call a very "Nobrow" style after the English publisher--a very designy illustrational style that seems extremely well-suited to the risograph. Her highly stylized drawing is layered with brushy blue tones. For her story "5 Finger Discount", she is adapting a poem by Lynn Gentry.
Lea Heinrich
Keren Katz's "The Man on Floor 319" is a little fable of the dangers of separating yourself from real life as well as the very real dangers of embracing life. It is drawn in black and white (not using the spot color capacities of the risograph printing) in a funny, clean cartoony style.
Keren Katz
Sarah Welch's untitled wordless story switches between a sleeping woman (drawn in blue and black) and a truck driving through what appears to be a dry, West Texas landscape, depicted in black and an intense shade of pink. There's not really a story here--there's nothing obvious to connect the two parts, and nothing much happens. It's really just a sequence of evocative images forming the barest hint of a narrative.
Sarah Welch--for some reason, my scanner didn't scan the hot pink truck, so you'll just have to imagine them
The book is printed on a risograph (with various spot colors) and is really well designed. However, the table of contents just lists the names of the artists and it is slightly confusing to figure out who did what story. Page numbers would have helped!
Posted by Robert Boyd at 2:06 PM 0 comments
Yellow Negroes and Other Imaginary Creatures
Yvan Alagbé published Les Nègres jaunes et autres créatures imaginaires in 2012, collecting stories that were originally published in Le Chéval sans tête, which Yvan Alagbé co-edited in the early 1990s. The longest story is Les Nègres jaune, which was originally published in 1994. It is widely considered a modern classic of French comics. The New York Review of Books has in recent years been publishing comics, many translated from French and belonging to Alagbé's generation and general style--experimental, artistic and somewhat oblique.It's taken more than 20 years for the USA to catch up with this masterpiece, with New York Review Comics publishing Yellow Negroes and Other Imaginary Creatures in English with a new story as an afterward.These stories of migrants from third world countries seem more urgent than ever, although for Americans the situation is a little different. We didn't have, as France did, a vast African empire. Alagbé was born in Paris in 1971 of Beninese parents, and lived for three years as a child with his family in Benin. His stories are often about undocumented workers from Africa who end up in France. However, the stories don't exist to make a political point, even if such points are inherent in the stories. Alagbé is not a polemicist. His work is too subtle and inflected with modernism to be propaganda.
At first glance, his drawing seems very sketchy. He likes to slather black ink on the page. He has an expressionist style. perhaps related to José Muñoz, an artist whose work he published through Amok, a boutique avant garde comics publisher in France. But he sometimes lays off the heavy blacks and uses fairly delicate line work or even a humorous, cartoony style. It all depends on the needs of the story at a particular place. This willingness to change the art to suit the story recall's Muñoz's teacher, Alberto Breccia. But Alagbé's drawing style is not what sets him apart--it's the structures of his stories.
Yvan Alagbé, page from "Yellow Negroes" featuring the charcters Mario and Martine, 1994-95
"Yellow Negroes" has the most conventional structure. The story of Alain, Claire and Mario--Alain is an undocumented Beninese man, Claire his white French girlfriend, and Mario, a former Algerian policeman who worked for the colonial government repressing the Algerian revolutionaries, making him a persona non grata in Algeria and an embarrassment to the current French police. Mario's awkward place between two worlds, neither of which want him, make him the most interesting character in the story. As an elderly retired policeman, he continually tells Alain and his sister Martine (who works as a housekeeper) that he can use his "connections" to help them get papers. But he is mainly a lonely man, who uses their abject state as a way to insinuate himself into their lives.
Yvan Alagbé, panel from "Postcard From Montreuil", 2012
But a totally different structure is used in "Postcard From Montreuil". Here each panel shows a view of the street in Montreuil where the "Hommage à la Résistance 1939-1945" monument is. This abstract sculpture pops up in some of the panels, which otherwise mostly depict ordinary street scene--buildings, pedestrians, etc. Meanwhile, each panel has a caption below that describes how this was the site of a months long occupation of an employment agency by undocumented Malian workers. This jobs protest goes on for almost a year until the agency is moved without warning. It is not explained if the protest followed or not, nor are the protesters depicted in any way. Except for a few images of job notices pinned to a wall, almost every panel could indeed be a postcard of picturesque Montreuil and its "curious sculpture." Alagbé quotes the base of the monument: "If the echo of their voices weakens, we shall perish." The quote is attributed to Paul Éluard. In a way, the story itself shows that the echo of the voices of the protesters is weakened by the abrupt relocation of the jobs agency, but in a sense Alagbé's story itself becomes an echo, preventing the protest from perishing from memory.
Yvan Alagbé, two pages spread from "The Suitcase", 2012
"The Suitcase" is a good example of how Alagbé changes his drawing style to fit the work. The barely there story is about Jeanne Martine Egbo returning from her "native land" to "France/Hollywood", carrying fish in her suitcase. The style is very abstract and symbolic, except for a few images of Egbo dealing with her suitcase, which are depicted in a completely different, comedic manner.
Yvan Alagbé, panels from "Sand Niggers", 2017
The new story "Sand Niggers" was drawn in 2017. Alagbé directly addresses the issue of "migrants" fleeing their homes to Europe, comparing their plight to another classic French comic from the 1990s (which I hope The New York Review translates)--Demonic Tales by Aristophane. The text is a meandering first person essay about migrants and refugees and survivors, as well as the dead. The images have an oblique relationship to the text. (Indeed, Donald Trump appears in one in one of his trademark signing ceremony poses.) "Sand Niggers" will perhaps help the American readership to make sense of what they just read.
Posted by Robert Boyd at 9:52 AM 0 comments
Labels: Yvan Alagbé
Outsider Art in Texas: Lone Stars
Outsider Art in Texas: Lone Stars (cover art by Charles Dellschau)
Jay Wehnert has been writing about outsider art, specifically Texas outsider art, since 2011 on his blog, Intuitive Eye. And now he has taken his research and put it together in one very handsome volume, Outsider Art in Texas: Lone Stars . He's not an academic, but the level of research here is impressive. In addition to learning what he could about each artist (and that varies with each one--in some cases, their biographies are well-documented, in others not so much), he bases a lot of what he writes on the ideas of Jean Debuffet and Roger Cardinal. Debuffet created the category with his essay "L'Art Brut préféré aux arts culturels" (1949) and Cardinal's book, Outsider Art (1973) which coined the term now in common use. But writing since 1973 has called the terms Art Brut and Outsider Art into question, although the basic ideas are still valid in my opinion. For me, the go to book on the subject is Everyday Genius: Self-Taught Art and the Culture of Authenticity by Gary Alan Fine, which I wrote about here. Fine was a sociologist so he was not just interested in the work of these artists and the artists themselves but the whole world in which the existed--the artists, but also the people interested in outsider art (collectors, scholars, etc.).
Key to that world is how the work was "discovered"--how the work of an isolated artist not working within a particular folk tradition is found by someone who sees that this work is something that the art world might find interesting. The classic example of this was when photographer Nathan Lerner discovered Henry Darger's art in his apartment shortly after Darger's death. Lerner was sophisticated enough to realize that Darger's work was something special--one shudders to think what would have happened if Darger's landlord had been almost anyone else other than Lerner. Similar stories can be told for any number of great "outsider" artists.
And these discovery stories become part of what Wehnert writes about. The complicated story of how the notebooks of Charles Dellschau (1830-1923) were discovered and preserved is a miracle of several people coming across his notebooks which were thrown out by his family in 1967. If any of these people hadn't stumbled across them, they might have been lost. But the stories of Ike Morgan, Felix "Fox" Harris and Vanzant Driver are more typical. In each case, one person discovered the art and brought it to the attention of the art world.
Ike Morgan, George Washington, 2004, acrylic on poster board
Ike Morgan was locked away in a state mental hospital when he was 19 in 1977 after murdering is grandmother. He was diagnosed with chronic schizophrenia, and like many mental patients turned artist, drawing for him started as a form of therapy. In 1983, Jim Pirtle, a budding young artist, got a job as an orderly at the Austin State Hospital and met Morgan. He befriended Morgan and saw his drawings. After Pirtle moved to Houston and took on his vocation as an artist, he showed Morgan's work to people and began selling the pictures, sending the money back to Morgan. Morgan has developed a small, devoted following. (Long time readers will know that I'm a big fan of Morgan's portraits--I used one of them on the cover of a magazine I published called Exu, which can be ordered here.) He is currently represented by the Webb Gallery in Waxahachie, Texas. They provide Morgan (who is no longer institutionalized) with high-quality art materials for his work. And Pirtle is now a well-known performance artist in Houston.
Vanzant Driver, Untitled (Church), not dated, broken glass, mirror and wood
Vanzant Driver started building churches out of shattered pieces of glass. (Indeed one of the things one finds with many of the artists described here is a deep, traditional religiosity. They often ascribe their work to a religious impulse.) Once he began making his churches, he brought them to various art institutions in Houston, which showed no interest. But he lucked out at the Contemporary Arts Museum when his work caught the eye of Sheila Rosenstein, director of the museum bookstore. Wehnert doesn't describe the meeting, but it seem reasonable to assume that he went to the bookstore because it was one part of the museum that is always open to the public. It's not like the director or head curators are out and available to any random person who comes in. But not surprisingly, Rosentstein was, and she had connections that made it possible for Driver's work to be seen by collectors and curators.
Keith Carter, Homestead, Felix Fox Harris, 1983, photograph
Felix "Fox" Harris is one of those artists who takes to decorating his lawn. Like Driver, he was a visionary artist, inspired by God to create his elaborate yard art. This is one example where the "outsider" label seems false. This sculpture garden approach has a long tradition. It's known as a "yard show", and Wehnert points out that some writers suggest the tradition goes back to "Angola-Kongo influence". So while it might not be a folk art in the sense of a traditional craft passed down through practitioners over generations, it is something that continually pops up. In fact, I was surprised that Wehnert left out Cleveland Turner, the "Flower Man" of Houston who decorated his house in a similar fashion. To me, this kind of tradition suggests that "outsider art" might be a bad term, particularly for certain kinds of African-American vernacular art. I prefer the term "self-taught", but that is also inadequate fior the entire range of such art.
In any case, part of the reason we know about Fox Harris is that an excellent Beaumont photographer Keith Carter stumbled across Harris's house and started recording it in photographs. Harris's yard show was acquired by the Art Museum of Southeast Texas after Harris's death in 1985. Without the "discovery" of the work by Carter, it would probably be gone.
Wehnert gets to claim his status as a "discoverer" of an outsider artist. Richard Gordon Kendall was a homeless man who drew obsessively detailed drawings of buildings in Houston that he could see from the streets where he lived. Wehnert found him through a friend who mentioned seeing a homeless man in downtown Houston, where Wehnert subsequently found him in 1995. Unfortunately, in 1998, he "disappeared"--or at least stopped hanging out at his usual haunts in downtown Houston. He was quite old at the time (68), and I doubt if living on the street was doing his health any good. So he may have died. In any case, Wehnert was never able to find out.
The book rather inexplicably leaves out Cleveland Turner and Jeff McKissack, creator of the Orange Show. It may be that Wehnert felt like those artists have been discussed in detail elsewhere, but in any case, they are both prime examples of outsider artists in Texas. However, it does cover the work of eleven artists, with ample information (where it's available) about each and lovely reproductions of their artwork. This is an illuminating book.
I, René Tardi, Prisoner Of War In Stalag IIB
Jacques Tardi encouraged his father, René Tardi, to write down his memories of being a POW in a Nazi prison camp during World War II in the early 80s. Some 30 years later, Jacques drew it as a two part graphic novel. I, Rene Tardi, Prisoner Of War In Stalag IIB part 1 has just been published in English.
Not surprisingly, given the ongoing excellence of Jacques Tardi, it's superb. Tardi draws it as a dialogue between himself and his father--drawing himself as a boy in shorts and his father as a young man. But aside from the narrative structure (a father telling his son about what happened to him during the war), it is drawn as a narrative of the war and the camp, Stalag IIB. So while René Tardi engages in a tank battle or starves in a barracks in Pomerania, Jacques, depicted as a boy, is always standing nearby, as if he were there. This surreal touch made me think of David B, a much younger cartoonist but one who has had a fairly profound effect on French Comics.
The first volume takes us approximately to the end of the war. The next volume covers Rene's trip home and postwar life. (Interestingly, this mirrors the structure of Primo Levi's classic If This Is a Man and The Truce, the first covering his time before and during his internment at Auschwitz, and the second covering his liberation and circuitous trip home). Undoubtedly people will compare this book to Holocaust narratives like Levi's. Especially to Maus by Art Spiegelman, which is likewise a story told by a father to his son and then turned into comics. Tardi must have had Maus in mind as he worked on this book.
In the introduction, it is pointed out that French POWs did not exactly receive a warm welcome when they returned home from their long internment. They were a reminder of the failure of the French to successfully fight the Nazi invaders. They could not be lionized, like Resistance fighters, nor condemned like Vichy collaborators, nor pitied like the small number of Jewish survivors who made it back. But the Stalags were obviously no picnic, as René Tardi's account shows. While the American prisoners had it OK, that was not the case for the French or other prisoners from conquered countries. America had plenty of German POWs, and it was in Germany's interests to treat the Americans well because of it. In fact, different nationalities got different levels of treatment. Those that got it worst were the Russians, who died in appalling numbers in German captivity, as was described in harrowing detail in Timothy Snyder's book, Bloodlands: Europe Between Hitler and Stalin . The French traded laborers for POWs, which was how one of Rene's friends got out of the Stalag early. But Rene endured all the way to the end of the war. The Stalags were not a great crime against humanity like the Nazi extermination camps were (unless you were a Russian POW), but their story deserves to be told. We Americans get a bizarre notion of them from seeing such entertainments as The Great Escape. This book is at a corrective for that impression of the Stalags.
René Tardi is an acerbic, cynical person and an unforgettable character. His voice is half the story here (and think a lot of his words are direct transcriptions from the narrative he wrote for his son Jacques Tardi in the early 80s). Without having read the original (I can't read French anyway), I do want to praise the translator Jenna Allen. Previous volumes of Tardi's work from this publisher were translated by the late Kim Thompson, co-publisher and a man fluent in several languages, including French. But of all the Tardi books I've read from Fantagraphics, this is my favorite in terms of the language, and that has to be attributable in large part to Allen's translation.
I highly recommend this book.


If Usama bin Laden and his comrades headed for Somalia, they could find it even less comfortable than Afghanistan. American and French ships patrol the coastline and blockade some ports. There are reports of German troops joining them, a deployment unprecedented in modern times. Bossasso port in Puntland is a particular target. The unrecognised but de facto state is already at war. Heavy fighting broke out on 21 November between supporters of the deposed President, Colonel Abdullahi Yussef Ahmed, and backers of Jama Ali Jama, elected President by the Garowe conference of elders last week. Intelligence sources spoke of an Ethiopian invasion. Washington backs neighbouring Ethiopia, which is itching to defeat Islamists and Oromo rebels, and to settle old scores. Muslim Somalia itself, while plagued by its own Islamists, overflows with anti-Islamist militias with no love for Usama. So why is Somalia widely perceived as Usama's next base and an upcoming target for the US-led Coalition against Terrorism? So fragmented is the state, with its new Transitional National Government (AC Vol 42 No 22) forming only one authority among several, and such is the military experience of the numerous clan militias, that it would seem rash to seek refuge there. Yet the anti-terror warriors are interested for three reasons.


FBS supports all the victims of Laos flood and sends humanitarian aid to victims' shelters.
On July 23, the Laos Dam collapsed and sent a terrible flood through six villages in Attapeu province. We couldn't remain indifferent to such a tragedy, so we immediately sent trucks of humanitarian aid to support the victims. Despite the rains and destroyed roads our team delivered bags full of blankets, food, drinking water and clothes to two shelters.
People of Laos! FBS Team supports you and wishes you strength in front of the raging nature! FBS is always by your side!


text:
of Manchester
Ancoats district looking towards Manchester city centre
Aerial photo Image provided courtesy of Webb Aviation © 2008.
www.webbaviation.co.uk – all rights reserved.
The Old English name for the district of Ancoats
was "ana cots" which meant "old cottages".
By the beginning of the thirteenth century it was already known as
Elnecot . Land in Ancoats was bequeathed in the 14th century
by Henry de Ancotes. Alas, the old cottages have long disappeared
and the ravages of the Industrial Revolution have left a more significant
impact upon the district.
Before the late 18th century, Ancoats had still retained a semi-rural
aspect, but by 1800 it had been transformed into an effective industrial
suburb, dominated as it was by the new steam driven Murray Mill by
1789 and the recently completed Ashton Canal which provided material
and goods transportation in and out of the city. Many other mills
followed, including the Decker Mill (also by the Murray brothers),
the New Mill, Beehive Mill, Little Mill, Paragon Mill, Royal Mill
and Pin Mill.
Apart from textile spinning and weaving, Ancoats was also a major
hat manufacturing district , and the William Plant Hat Works continued
to operate from their location on Great Ancoats Street until the early
The district of Ancoats was the setting for several novels by Howard
Spring, including "Fame is the Spur" , as well
as Isabella Banks' novel, "The
Manchester Man" .
In many ways, it was the back-to-back slum dwellings of Ancoats textile
workers that typified outsider's views of Manchester, and which were
instrumental in forming Friedrich
Engels views on the need for revolution – it was Ancoats which
he described in his book "Conditions of the Working Class
in England" in 1844. Immigrants (Jews, Poles and Italians)
came in great numbers from continental Europe. The Italians especially
formed a virtual colony in the district became known as "Little
Italy. For most of the 19th and early 20th centuries an Italian presence
would be concentrated in Ancoats around George Leigh Street, Jersey
Street, and Sanitary Street. For many years it was easier to order
a pint of beer in local pubs in Italian than in English.
Ancoats was not, however, all slum dwellings. Ancoats Old Hall is
said to have been as fine a house as any in Manchester in its day
– its imposing black and white timber structure dominated the corner
of Every Street for many years.
The 1860s saw the arrival of the railways in Ancoats, as the Midland
Railway chose the district in which to build its goods yard on a site
which once house over 3000 people. Ardwick and Ashburys Railway Stations
were also created as suburban stops on the Manchester-Sheffield and
Lincolnshire line.
Residents have long been of a cosmopolitan mix – Polish, Irish and
Italian communities all settled in the area, as in its heyday it was
an excellent place to find work. Many of the mills which formed its
most recent character have long disappeared – the best remaining are
now listed Grade II buildings. New plans are in hand for a significant
regeneration of the area and the creation of a new urban village in
the district.
Some 50 acres of Ancoats have now been declared a Conservation Area
and a dozen or more listed buildings are located within the Area –
mostly mills and associated buildings. The Ancoats Buildings Preservation
Trust (ABPT), a registered charity based at the old Beehive Mill in
Bengal Street/Jersey Street, has been set up to preserve the neglected
historic and architecturally significant buildings in the Conservation
Area and to find new uses for these old buildings. Various Lottery
Heritage Projects are under way in the district, including a £7
million grant for the restoration of of the Grade II Listed Murray
Mills. See also Manchester
Mills.
The Ancoats Urban Village Company has also been recently established
to promote the district and to foster the sympathetic development
of its historical buildings and cultural architectural heritage. More
info at: https://www.ancoatsbpt.co.uk.
of City Boundaries in 1838
of Greater Manchester Place Names
We have made reference to several sources in compiling this web page,
but must make special mention of the Breedon Books' "Illustrated
History of Manchester's Suburbs" by Glynis Cooper, of which we
made particular use. Information about this book can be found on our
Books About Manchester webpage.
to: Suburban Districts of Manchester
Ardwick follows
This page last updated 16 Nov 12.


Pemba is a historical city on the third largest bay in the world where the experience of the setting sun is impossible to photograph.
There are unique beauties that need to be encountered. This is the largest and most touristic city in the province of Cabo Delgado. The magnificent beaches and varied hotel options are a safe bet on quality of service that will make you want to always return.
Quirimbas Archipelago: with its beautiful white sandy beaches, you can also find the Quirimbas National Park, with species like sea turtles, dolphins, dugongs, elephants, leopards, etc.
The diving along the coral reefs attracts many visitors as well as fishing on the bank of São Lázaro (St. Lazarus), about 42 nautical miles from the coast. It attracts many fishermen by allowing catches either by size or by species.
Hunters can find hunting concessions in Lugenda and Negomano and the opportunity to try your hand and get some trophies.
Great local handicraft of great artistic quality can be found in Pemba and Ibo Island in bazaars or outdoor markets, places most frequented by visitors.
Nightclubs and bars provide moments of interaction with other visitors and locals.
Diamonds Mequfi Beach Resort is a 5 star resort based in Mecufi and it is one of Mozambique's most beautiful beaches, with unspoilt natural beauty and natural landscapes.
At Diamonds Mequfi Beach guests have the option to book the area's main sporting activities and experience them in Mozambique's unspoilt environment of wild nature, unexplored ocean and open beaches. It is also possible to watch the spectacular whale along the Pemba coast, as well as horse riding.


text:
Pubblicato da Karen Gandini il 7 agosto 2020 24 settembre 2020
The Garden City
Have you ever been to Varese? Varese is my city; the city where I was born and the city where I live. This little town is ubicated close to the Switzerland border: it is not a big city but it has a lot of places to visit; are you ready to explore? Let's go.
Varese city centre
The city centre, with its historical buildings, starts from Piazza Montegrappa: here there are a big fountain and bars with terraces; there is also the "Torre civica" (city tower) and, sometimes, it is open to the pubblic. Very close to the square there is the pedestrian way "Corso Matteotti". The Corso has a lot of famous stores and historical cafeterias and at the end of the street, you will reach the Piazza Carducci and via Carlo Cattaneo: here starts the "nightlife street", a place with a lot of pubs and bars, very full of people during the weekend.
Palazzo and Giardini Estensi
Palazzo Estense was the residence of Duke d'Este; the inspiration to built the palace and the gardens, came from the Schonbrunn Palace in Wien. Giacomo Leopardi, an italian writer, called this place "the little Versailles". The gardens were finished around 1787 and nowadays are open to the pubblic; on the contrary the palace is closed because inside there are the city Hall's offices. All over the gardens there are places to relax, bars, a lake with swans and there is also a museum: the archeologic museum of Villa Mirabello; the museum contains historical finds from from neolitic age to bronze age. Villa Mirabello has also a bar with terraces with the view on the gardens.
The Sacro Monte (sacred mount) was built from 1604 to 1623; the itinerary is composed by 2 km of sacred streets and 14 chapels telling the mistery of the rosary. At the top there is Saint Mary's Sanctuary; to reach the top there are also railways (funicolare) and buses. Funicolare is not always open: be sure of it by checking the web site. The Sacred Mount is a Unesco site. From the top the view is amazing: when the sky is clean, it is possible to see the lakes and also the city of Milan on the horizon.
Parco Campo dei fiori
Campo dei fiori is a regional park very close to the Sacred Mount. Inside the park, there are something like 30 caves and also six natural reserves:
Lake Ganna reserve,
Lake Brinzio reserve,
Torbiera Pau Majur,
Torbiera del Carecc,
Mount Campo dei Fiori reserve,
Martica-Chiusarella reserve
Into the woods, is not difficult to find wilds animals like boars, red foxes, squirrels, deer, roes, falcons and more…At the top of the mountain there is also the "Grand hotel" but unfortunately is now abandoned. There is a project for a restoration but nothing more at the moment. (Photo by Varesenews)
The Villas and the parks
Around the city there are a lot of historical villas with parks. Is for this reason that the city has been surnamed "the garden city". Here the most beautiful Villas open to the pubblic.
Villa Toeplitz
Villa Toeplitz was built in 1901 and is ubicated in Sant'Ambrogio, close to the Sacred Mount. The villa has a big park with different species of plants and a lot of fountains. (Photos from La Prealpina and InLombardia)
Inside the park there are two villas: Villa Andrea Ponti, built in 1858 in venetian style and Villa Fabio Ponti, the Napoleonic Villa, built around the XVII century. The park is pubblic and the entry is free but the villas are open only for weddings or meetings. Ville Ponti are ubicated in Biumo, very close to the Varese city centre. (Photos from La provincia di Varese and Matrimoni e nozze.com)
Villa Litta Panza
Situated in front of Ville Ponti, Villa Litta Panza was built around 1600 and has a big park with a little lake. Inside the villa there is a magnificient neoclassic room and also an art collection donated by Giuseppe Panza: there are pieces from precolombian art, african art and contemporary art. The Villa is now managed by FAI. (Photo by fondo ambiente italiano).
Villa Torelli Mylius and Mylius Cafè
Another splendid villa with its amazing park, Villa Torelli Mylius was built around XVIII century. Nowadays the villa is not open to the pubblic but the park it is: you can enjoy a drink in the Mylius cafè in the middle of a relaxing atmosphere. (Photos from Varesenews and wikipedia).
Castello di Masnago
The castle is formed by different buildings upright in diffents ages: from middle age to 1700. The tower and the internal frescoes make the castle more similar at a noble residence than a defensive castle. The castle is surronded by Mantegazza park and a little botanic garden. Today, inside the castle, there is a museum. The entry ticket for the museum is 4 euros per person. (Photo from Vareseturismo.it).
Torre di Velate
The tower was part of a military fortress and it was built aroud XI century; close to the tower it was a connection route between Switzeland and Milan. The tower can be visited only by outside. (Photos from italiansway.com and flickr).
Lake Varese and Isolino Virginia
Lake Varese is one of the lake of the city: there is a 28 km bicycle lane all around the lake and from Biandronno (a little hamlet close to Varese) is it possible to take a boat and reach the Virginia island. Virginia island was the first preistorical site with stilts in this area; nowadays this place has becomed an UNESCO site. To have more info about lakes, read the article Lombardy and the lakes.
Well, there is more and more to visit, like the other little cities around Varese as Luino, Angera, Laveno Monbello etc…hope you like it and that you can come for a visit. For more information about cities, lakes, museums and palaces, check also on Vareseturismo.
HistoryInformationInformazioniMuseumsParksSacromonteTravelViaggiVillas
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Sheree ha detto:
I have indeed been to Varese, it's a lovely place. I first stayed here in September 2008 when I worked as a volunteer in the Accreditation Centre for the UCI Road World Championship. I have friends who live nearby (in Lugano) so have been back a number of time though not recently. Your lovely photographs were a wonderful reminder of the town and its many attractions.
TimeToTravels ha detto:
Thank you very much. I'm happy you liked the city. Lugano is very nice too. 🙂
TBH, I prefer Varese


Back when I lived in the countryside, one of my neighbors pointed to a fence post on the low side of his property that stood 6 in. higher than the other posts. "I drove that post back down three years in a row," he said, "but it still keeps popping up." It wasn't a persistent woodchuck at work. It was the annual work of winter-time frost.
Frost, the same light, delicate stuff that periodically coats your window glass in winter, is a surprisingly powerful natural force. It lifts the soil, cracks rocks and snaps trees, altering the landscape in almost every neighborhood that has freezing weather. Sidewalks crack and pop up like logjams; concrete driveways, front stoops, and steps rhythmically rise, fall or begin to creep away from houses or garages; and decks and patios begin to tilt. Fences lean to the side and retaining walls crack too.
Unfortunately, you won't notice the effects of frost until the damage is done. Frost usually works slowly but steadily, year after year, lifting and shifting a wall or driveway until hairline cracks become gaping chasms. Or you'll suddenly notice that the 1/4-in. gap between the house and porch has grown to a full inch, or the patio door won't open because the concrete slab outside has risen and pushed up the sill.
In this article, you'll learn how frost works, why it's so powerful, and what you can do to limit its damage.
The frost that can lift and shift an entire building is no different than what forms on your window, but it's more mysterious because it occurs underground. Fig. A gives you a gopher's eye view of frost in action.
Frost pockets called "lenses" can form in the wet ground when it freezes. As a lens thickens, it thrusts the overlying soil or foundation upward. Frost can also latch onto the side of foundations and lift them.
When the outdoor temperature drops below 32 degrees F, the moisture in the ground begins to freeze, starting at the top. As you know, the upper level of soil gets rock hard, so that you need a pick to chip through the top layer if you have to dig a hole. Frost gradually works its way down as persistently cold weather cools the soil at ever deeper levels. If the soil is well-drained and contains little moisture, frost spreads evenly through the soil and won't cause trouble. But if the soil is wet, the water will often freeze in a paper-thin sheet, called a lens." Imagine a huge, thin contact lens buried underground.
When water freezes, it expands about 9 percent in volume (which is why, of course, ice cubes float in your lemonade rather than clunking to the bottom). So when water freezes against the lens, it expands, thickens the lens and compresses the soil, eventually thrusting the soil upward along with everything on top of it. This uplift is called "frost heave."
Usually, the heave is slow, creeping only a fraction of an inch over days. Yet the power of a frost heave is virtually unstoppable, because the expansive force of freezing water is huge, somewhere around 50,000 lbs. per sq. in. A frost heave can lift a seven-story building or collapse massive, steel-reinforced concrete walls. So foundations, garages, decks, patio slabs and just about everything else around your house won't have much of a chance if a frost heave gets ahold of them.
When temperatures rise and the frost lens melts, the damage is already done. The cracks remain, and foundations, once heaved, never quite settle back to their original place. Each year they move a bit farther astray until you've got major problems.
People who live in the Southern Gulf States and on the Pacific Coast, where frost rarely penetrates the soil more than an inch or two, don't need to worry about frost heaves. But the rest of us would live in topsy-turvy neighborhoods if builders didn't design homes to prevent frost heaving in the first place.
Frost heaves commonly occur in two ways. Most often, a frost lens forms beneath a foundation or footing and heaves it upward. But ice crystals can also grab onto the rough or porous surface of a foundation or footing and lift it from the side (Fig. A).
A shifting foundation will quickly ruin a home and cost the homeowner big bucks, so builders don't take chances. When they build a house, they give it a "frost footing" made up of foundation walls or piers that extend below the "frost line" so a frost lens can't form beneath it and lift the house. The frost line is the depth in the ground beyond which frost is not likely to penetrate (Fig. B).
The map shows approximate frost depths during a colder-than-average winter. The actual depth varies widely due to different soil types, the moisture content of the soil, and the ground cover (bare soil, turf, snow, etc.). The building code in your area specifies a frost line depth that all local building foundations must meet or exceed.
Your local building inspector will tell you the frost line depth for your area. It ranges from zero in much of California where little or no frost occurs, to 10 in. in parts of Kentucky, to 60 in. in frigid International Falls, MN.
Frost won't usually latch onto the side of a house's foundation because even a small amount of heat from the interior drives moisture in the soil away from the walls. However, frost sometimes grabs onto the foundation of an unheated structure.
Frost can work its mischief on porches, garages and decks too. If these "secondary" structures are connected to a house, building codes require that they have frost footings as well. That's because these connected structures will damage the house if they heave. This may seem like a pain if you're adding a deck or front porch, but porch floors can heave up under doors. and tilting decks can pull house walls outward. The cost of repairing a frost heave's damage can easily exceed the original cost of a porch or deck.
It's usually not economical or necessary to put frost footings under secondary structures, including garages, decks, sidewalks, patios and retaining walls, if they're not connected to the house. With proper precautions, these structures can safely "float" on top of the soil without frost footings.
But a mistake here can cause trouble — just ask my father-in-law. The concrete floor of his garage is steadily turning to rubble as it annually shifts, lifts and cracks (more on this later). You may encounter other common problems, such as concrete patio slabs that lift under door sills and jam the doors, and deck posts that shift and pull a deck away from the house.
To successfully prevent frost damage to floating structures, you have to take a close look at the soil you're building on.
Frost heaving doesn't occur automatically whenever the weather turns cold. It requires a certain amount of moisture and a "frost-susceptible" soil. Soils that contain coarse particles of gravel and sand drain well and won't usually heave, because they don't collect and hold enough water to form frost lenses. They're called "non-frost-susceptible" soils. Soils with finer particles like clays and silts, on the other hand, don't drain as well and hold a lot of water. They're called "frost-susceptible" soils.
Of course, most soils are mixtures of sands, clays, and silts, so you're not likely to recognize any one type when you dig a footing hole for your deck. Unless you hit gravel or pure sand, it's usually best to assume that your soil is somewhat frost susceptible.
But don't despair. Even frost-susceptible soil usually won't heave if you provide good drainage (assuming the water table is far enough underground). Good drainage would solve my father-in-law's problem. His garage sits near the house in a slight depression that stays wet longer than other parts of the yard. Unfortunately, there's no easy way to provide drainage now without major digging. Rather than scraping away the topsoil and putting the concrete slab on grade level, the garage builder should have dumped a foot or two of clean sand or gravel on top of the grade to build up the site. (Builders stipulate "clean" because even a 10 percent contamination by silts or clays can change the character of sand or gravel and make it frost susceptible.) This would have provided enough drainage and stability to keep the concrete slab intact.
To prevent frost heaves, the easiest and least costly solution is to plan in advance for good drainage away from walks, patios, garages, decks and other floating structures (Fig. C).
A layer of clean sand or gravel under a concrete slab, combined with good drainage, will eliminate most frost heaves. The more frost-susceptible your soil, the thicker the bed of sand or gravel you'll need. Piers wrapped in plastic, waxed tubes or PVC plastic pipe will resist frost heaving from the side.
And a bed of sand or gravel underneath improves drainage and decreases frost susceptibility.
Don't hesitate to discuss soil conditions with your local building inspectors. They should be familiar with local conditions and able to warn you of potential trouble.
It's not always feasible to provide good drainage in frost-susceptible soil for post footings for decks. Even if you put the footing down to the frost line, frost can still grab the side of the post or footing and push it up. In these cases it's best to surround the post or concrete with a smooth surface of plastic, a waxed tube or plastic pipe (Fig. C) to keep frost from bonding to the sides and jacking up the footing. Refill the hole around the post or tube with the soil you dug out, making sure to tamp it down solidly in 6-in. increments as you fill the hole. Solidly packed soil, mounded at the top, will keep water from saturating the soil around the fooling and causing potential heaves. It's tempting to fill the hole with sand or gravel, thinking you'll provide good drainage that way. However, unless you also provide underground drainage, you'll actually create a catch basin for water around the footing, making the potential for frost heaving even greater.


A little while ago we were contacted by a theatre technician who thought the current visual patching system in Chameleon took up a lot of time if, like a theatre, you need to patch new shows on a frequent basis. Until then my own personal use for Chameleon has been part of the installation work I carry out in fixed venues. Hence its a patch once and most of the time use the same patch for different show files.
We have now, as of version RC8, added a powerful command line patching facility into Chameleon. It not only implements the features you will be already be familiar with, but some additional ones as well. The on screen keyboard does not have a [Patch] key show, but you can simply hit the 'p' key on your keyboard. As with the GUI patching you will need to be in 'Record Mode' for any patch commands to be valid.
© Vanilla Internet 2019 - All rights reserved worldwide. All prices quoted are exclusive of VAT.
Vanilla Internet is a company registered in England and Wales with company number 3728703. VAT Number: 735 5198 15.


text:
Vrsar (wł. Orsera) – miasto w Chorwacji, w żupanii istryjskiej, siedziba gminy Vrsar. Leży w zachodniej części półwyspu Istria. W 2011 roku liczyło 1771 mieszkańców.

Na terenie miejscowości znajdują się:
 kościół św. Marcina,
 kościół św. Foska,
 historyczna brama romańska.

Miasta partnerskie
  Csurgó

Przypisy

Miasta w żupanii istryjskiej

redpajama_set_name: RedPajamaWikipedia


Window tint is often used to provide privacy or protection from the sun, but you may find you want to remove the tinting. Since the tint is applied with removable adhesive, you can easily remove it, with the exception of the rear window. The only problem with the rear window is the delicate defrost lines that run across the window, under the tinting. If any of the tint breaks off, you can't use any sort of tool to remove it. You need to remove the entire piece of tint in a single piece but don't worry; there is a simple trick that you can do to get the job done.
Cut open a thick, black garbage bag so you have a large plastic sheet. The sheet needs to be at least as big as your rear window.
Spray the exterior side of the window with water and lay the bag on top. Smooth the bag down against the glass and trim the edges until the plastic is the same shape as the window.
Peel the plastic off the outside of the window and reapply to the inside so it is touching the tint. Spray the window heavily with water before putting the plastic on and use a squeegee to make sure the plastic is securely against the tint.
Turn on the heat in your car to the highest setting and park it with the rear window directly in the sun. You also need to turn on the rear defroster and leave the car for one hour.
Peel back one of the top corners of the tint using a razor blade. Work slowly so that you end up lifting the entire corner off instead of shredding it into pieces.
Pull the tint and the plastic down and away from the window using long, firm motions. Work slowly to avoid tearing the tint away from the adhesive.
Wipe down the inside of the window with a cloth once the tint is completely removed from the glass.
If the tint shows any resistance, leave the heater and defroster running for more time, until the adhesive is softer and easier to manipulate.
Never touch the defroster lines with a razor blade or you will damage them.


The BCA is a nationally consistent technical document that represents the level of safety that meets community expectations. Compliance with the BCA is the responsibility of local government authorities.
The BCA provides a classification system for a building or part of a building and is determined by the purpose for which it is designed, constructed or adapted to be used.
in which not more than 12 persons would ordinarily be resident, which is not located above or below another dwelling or another Class of building other than a private garage.
Class 2 a building containing 2 or more sole-occupancy units each being a separate dwelling.
Class 5 an office building used for professional or commercial purposes, excluding buildings of Class 6, 7, 8 or 9.
Class 6 a shop or other building for the sale of goods by retail or the supply of services direct to the public, including?
market or sale room, showroom, or service station.
Class 8 a laboratory, or a building in which a handicraft or process for the production, assembling, altering, repairing, packing, finishing, or cleaning of goods or produce is carried on for trade, sale, or gain.
Class 10b - a structure being a fence, mast, antenna, retaining or free-standing wall, swimming pool, or the like.
Class 10c — a private bushfire shelter.


text:
package org.apache.camel;

/**
 * Represents a node in the {@link org.apache.camel.model routes} which is identified as a route.
 */
public interface NamedRoute {

    /**
     * Gets the route id.
     */
    String getRouteId();

    /**
     * Gets the route endpoint url.
     */
    String getEndpointUrl();

    /**
     * Gets the route input
     */
    NamedNode getInput();

}


Thanks to fresh venues and pros working behind the scenes, the concert atmosphere in OKC sounds better than ever.
One writer's humorous open letter in reply to the people you meet in your spam folder.
Pensacola Dam in northeastern Oklahoma remains quite impressively big … but not record-setting.
A look back at the glory days of an OKC restaurant where good-natured bad manners were part of the show.
Stockyards City's new Rodeo Cinema aims to broaden the range of options for OKC cinephiles.
Whether you're a recent relocation or a lifelong resident, here's what you need to see, taste, know and experience in OKC.


text:
Lucy Garvin Officially Nominated as USTA Chairman of the Board and President
The USTA Nominating Committee has announced the nomination of Lucy S. Garvin as USTA Chairman of the Board and President to serve a two-year term beginning January 1, 2009.	Garvin, who has served on the USTA Board of Directors for eight years and is currently completing a two-year term as First Vice President, is a staunch volunteer who has dedicated more than 30 years to growing the sport of tennis at every level around the country.	She will become the third female Chairman of the Board and President in USTA history.
In addition to her USTA Board responsibilities, Garvin, will continue to serve as a member of the Compensation and International Committees, and represent the USTA on the Grand Slam Committee and the ITF Junior Competitions Committee. She will also remain on the Board of USTA Serves – Foundation for Academics, Character, Excellence, as well as the National Public Parks Tennis Association. Garvin was recently elected to the International Tennis Hall of Fame Board of Directors.
A former President of the USTA Southern Section, Garvin was inducted into the USTA Southern Tennis Hall of Fame in January 2005.	In 1996, the South Carolina Tennis Association established the Lucy Garvin Volunteer of the Year Award in her honor, and she was inducted into the South Carolina Tennis Hall of Fame in 1998.
Garvin previously served as Board Liaison to the USTA Sections, to the Tennis in the Public Parks Task Force and to the Administration Division. She has been a member of the board's Strategic Planning and Compensation Committees, the Budget Committee and the Diversity Guide Team. She also served as Council Co-Chair of the Community Development Division and chaired the USTA Section Presidents and Adult/Senior Recreation Committees. She was the USTA Southern Section Delegate and the Chairwoman of the USTA Delegates Assembly.
After attaining her degree in Nursing, she made a major career change in 1975, when she began working within the tennis industry at a facility in Greenville, S.C., and then established a consulting business for the management and marketing of tennis facilities throughout the South. During her lengthy tennis career, Garvin has fostered a stronger working relationship between the USTA and its tennis industry partners.	A Certified Referee for the past 31 years, Garvin also serves as the referee for the Southern Junior Designated Tournament as well as the Girls' 12 National Open. She played sanctioned tournaments from 1976 to 1990 and won a number of doubles titles at the local, state and sectional levels.
Lucy and her husband, Bob, also an avid tennis player, have two children, both of whom were ranked junior and collegiate players. The Garvins reside in Greenville, South Carolina, where they are all members of the USTA Southern Section.
In addition to the Garvin nomination, the following people have also been nominated in the new slate of elected Officers and Directors of the USTA Board:
Jonathan Vegosen, of Chicago, Ill., and the USTA Midwest Section, is currently a Director at Large of the USTA and has been nominated as First Vice President.	He serves as Board Liaison to the Player Development Council and as a member of the Budget Committee. Vegosen was Chair of the USTA Collegiate Committee, as well as Vice President and Board member of the Midwest Section, and Vice President of the Midwest Youth Tennis and Education Foundation. He currently serves on the Board of Directors of the International Tennis Hall of Fame and is a member of the Board of Directors of USTA Serves.	Vegosen received his B.A. from Northwestern University, where he was captain of the varsity tennis team, and his J.D. from Northwestern University School of Law. He now practices law in Chicago.
Joseph A. Grover of Richmond, Va., and the USTA Mid-Atlantic Section, is re-nominated to his current position as Vice President of the USTA.	He is Chair of the Audit Committee, Vice Chair of the Strategic Planning Committee, a member of the Compensation Committee and serves as a Board Liaison to the USTA Sections.	During his two-year term as Director at Large of the USTA Board of Directors, Grover served as Board Liaison to the USTA Sections and to the Adult/Senior Council, and was a member of the board's Audit Committee.
David A. Haggerty, of Pennington, N.J., and the USTA Middle States Section, is currently a Director at Large on the USTA Board of Directors and has been nominated as Vice President. A member of the Strategic Planning Committee and Budget Committee, he also serves as Board Liaison to the Community Tennis Council-Green Group. A six-year member of the USTA Middle States Section Board, he began a two-year term as Tennis Industry Association President in January 2007. Since 2003, Haggerty has served as the CEO and President of Head USA and Penn Racquet Sports.
Donald L. Tisdel of Lake Oswego, Ore., and the USTA Pacific Northwest Section, is renominated to his current position as Secretary-Treasurer on the USTA Board of Directors.	He is Chair of the Budget Committee, Vice Chair of the Investment Committee, a member of the Audit and Compensation Committees, and is a member of the Board of Directors of USTA Serves. Tisdel is co-founder of the Northwest Capital Appreciation equity firm, and was previously CEO of the Far West Federal Bank and Orbanco Financial Services.
Karin J. Buchholz, of Westchester County, N.Y., and the USTA Eastern Section, has been nominated for her first term as a Director at Large of the USTA Board of Directors.	Currently Vice President of Community Relations and Fan Development with the New York Knicks, Buchholz has a rich history with tennis, leading a national industry initiative to grow the game by exposing it to new audiences. She served as the Executive Director and head tennis professional for the Harlem Junior Tennis Program, which was honored as one of President George Bush's 1000 Daily Points of Light.	She was a scholarship player at the University of Arizona, and spent three years playing professionally.
Steven K. Champlin, of Wayzata, Minn., and the USTA Northern Section, is nominated for his first Director at Large term with the USTA Board of Directors. He has served the USTA in numerous capacities on a sectional and national level since the early 1980s, most recently on the Grievance Committee and as Vice Chair of the Board Strategic Planning Committee. Champlin is a partner of the Dorsey & Whitney LLP law firm.
Hon. David N. Dinkins of New York City and the USTA Eastern Section, is nominated for his sixth term as Director at Large of the USTA Board of Directors.	The 106th	Mayor of New York City, Dinkins is a former Board member of the International Tennis Hall of Fame and a current board member of the New York Junior Tennis League (NYJTL).	He serves as Board Liaison to the Advocacy Task Force and is a member of the Board of Directors for USTA Serves.
Walter E. Massey, of Chicago, Ill. and the Midwest Section, is nominated as a Director at Large for the USTA Board of Directors. A renowned physicist and former director of the National Science Foundation, Dr. Massey has excelled as a leader in science, business, and education. The former President of Morehouse College (1995-2007) serves or has served as a board member to several of America's leading companies, including Bank of America, BP Oil, Motorola, and McDonalds.
Pamela J. Sloan, of Stockton, Calif., and the USTA Northern California Section, is nominated for her first term as Director at Large of the USTA Board of Directors. Currently Vice Chair of the USTA Tennis in the Parks Committee and the Sectional Delegates, Sloan has served on countless USTA committees at the local, sectional and national level.	She is currently the Director of Parks and Recreation for Stockton, where she plans, develops, operates and maintains all of the City's parks, landscape districts and recreation facilities.
Carol J. Welder, of Austin, Texas, and the USTA Texas Section, is nominated as a Director at Large of the USTA Board of Directors for a first term.	She currently serves as Chair of the USTA Membership Services Committee, on the Executive and Management Committees for the Texas Section and on the Board of the Austin Sports Commission.	Welder spent nine years as the Executive Director of the Capital Area Tennis Association in Austin, and has been an integral part of the growth of tennis in Texas, as an instructor, leader and child advocate.
Katrina M. Adams of White Plains, N.Y., and the USTA Eastern Section, is nominated for a third term as Director at Large of the USTA Board of Directors.	A television analyst for Tennis Channel, Adams played on the WTA Tour for 12 years and achieved a career-high doubles ranking of No. 8 in 1989.	In 2008, she was inducted into the Chicago District Tennis Association Hall of Fame. She was a USTA National Coach and served on the USTA Executive, and Player Development Committees.	She serves as a member of the Budget Committee as well as a member of the Board of Directors of USTA Serves.
Tommy Ho, of Houston, Texas, and the USTA Texas Section, is nominated for his first term as Director at Large of the USTA Board of Directors.	At 15, Ho was the youngest player to ever compete at the U.S. Open, but was forced to leave the game at age 24 due to a chronic back injury in 1997. He achieved a career high ranking of 85 in singles and 13 in doubles.	Ho is currently a Senior Associate at Korn Ferry International.
Patrick J. Galbraith, of Bainbridge Island, Wash., and the USTA Pacific Northwest, is nominated for a second term as Director at Large of the USTA Board of Directors.	He is a member of the Investment Committee and Board Liaison to the Professional Tennis Council. Previously, Galbraith served two years as a member of the ATP Player Council.	A professional tennis player from 1989-2000, Galbraith is a two-time winner of the US Open Mixed Doubles Championship. He ended 1993 as the No. 1-ranked men's doubles team with partner Grant Connell, and went on to win the World Doubles Championship in 1995. Galbraith was a member of the 1996 Davis Cup team and finished his career with 36 doubles titles. He is currently Vice President - Investments for UBS Financial Service, Inc.


text:
package com.vrane.metaGlacier.gui.archives;

import com.vrane.metaGlacier.Main;
import com.vrane.metaGlacier.gui.GlacierFrame;
import com.vrane.metaGlacierSDK.APIException;
import com.vrane.metaGlacierSDK.SDKException;
import com.vrane.metaGlacierSDK.ArchiveMetadata;
import com.vrane.metaGlacierSDK.BasicFileMetadata;
import com.vrane.metaGlacierSDK.SignInException;
import java.awt.BorderLayout;
import java.awt.Dimension;
import java.awt.GridLayout;
import java.awt.event.ActionEvent;
import java.awt.event.ActionListener;
import java.util.ArrayList;
import java.util.logging.Level;
import java.util.logging.Logger;
import javax.swing.BorderFactory;
import javax.swing.BoxLayout;
import javax.swing.JButton;
import javax.swing.JDialog;
import javax.swing.JLabel;
import javax.swing.JOptionPane;
import javax.swing.JPanel;
import javax.swing.JTextField;

class ArchiveMetadataDialog extends JDialog{

    private final static String[] HEADER_COLUMNS
            = {"", "Name", "Size", "Last Modified", "Type"};
    private final static Logger LGR
            = Main.getLogger(ArchiveMetadataDialog.class);

    private int listSize;
    private byte pageSize = 10;
    private int min = 1;
    private int max = 10;
    private ArchiveContentPanel acp;
    private JPanel headerPanel = new JPanel(new BorderLayout());
    private JPanel subHeaderPanel = new JPanel(new GridLayout(0, 2));
    private final JButton next = new JButton("next");

    ArchiveMetadataDialog(final ArchiveMetadata amd) {
        final ArrayList<BasicFileMetadata> metadataContents = amd.getContents();
        final JPanel listContainer = new JPanel(new BorderLayout());
        final JTextField awsID = new JTextField(15);
        final JPanel awsIDPanel = new JPanel();
        final JPanel topSubHeaderPanel = new JPanel(new GridLayout(1, 2));
        final JButton delMeta = new JButton("delete metadata");
        final JPanel delMetaPanel = new JPanel();

        listSize = metadataContents.size();
        if (listSize > 0) {
            if (listSize > pageSize) {
                JPanel paginationPanel = new JPanel(new GridLayout(1, 2));
                listContainer.add(paginationPanel, BorderLayout.NORTH);
                final JButton prev = new JButton("previous");
                prev.setEnabled(false);
                paginationPanel.add(prev);
                prev.addActionListener(new ActionListener(){

                    @Override
                    public void actionPerformed(ActionEvent ae) {
                        if (!prev.isEnabled()) {
                            return;
                        }
                        prev.setEnabled(true);
                        min -= pageSize;
                        int minToSet = min;
                        if ( min < 2 ) {
                            minToSet = 1;
                            prev.setEnabled(false);
                        }
                        max -= pageSize;
                        if (max < listSize) {
                            next.setEnabled(true);
                        }
                        listContainer.remove(acp);
                        acp = new ArchiveContentPanel()
                                .withList(metadataContents);
                        acp.setMin(minToSet);
                        acp.setMax(max);
                        acp.setHeaders(HEADER_COLUMNS);
                        acp.init();
                        listContainer.add(acp, BorderLayout.CENTER);
                        ArchiveMetadataDialog.this.pack();
                    }
                });
                paginationPanel.add(next);
                next.addActionListener(new ActionListener(){

                    @Override
                    public void actionPerformed(ActionEvent ae) {
                        if (!next.isEnabled()) {
                            return;
                        }
                        if (listSize < max) {
                            return;
                        }
                        max += pageSize;
                        int maxToSet = max;
                        if (max >= listSize) {
                            maxToSet = listSize;
                            next.setEnabled(false);
                        }
                        prev.setEnabled(true);
                        min += pageSize;
                        listContainer.remove(acp);
                        acp = new ArchiveContentPanel()
                                .withList(metadataContents);
                        acp.setMin(min);
                        acp.setMax(maxToSet);
                        acp.setHeaders(HEADER_COLUMNS);
                        acp.init();
                        listContainer.add(acp, BorderLayout.CENTER);
                        ArchiveMetadataDialog.this.pack();
                    }
                });
            }
            acp = new ArchiveContentPanel().withList(metadataContents);
            acp.setMin(min);
            acp.setMax(max);
            acp.setHeaders(HEADER_COLUMNS);
            acp.init();
            listContainer.add(acp, BorderLayout.CENTER);
        }

        awsIDPanel.setMaximumSize(new Dimension(20, 10));
        awsIDPanel.add(awsID);
        awsID.setText(amd.getArchiveId());
        topSubHeaderPanel.add(awsIDPanel);
        delMetaPanel.setMaximumSize(new Dimension(20, 10));
        delMetaPanel.add(delMeta);
        delMeta.addActionListener(new ActionListener(){

            @Override
            public void actionPerformed(ActionEvent ae) {
                int selection = JOptionPane.showConfirmDialog(null,
                        "This will not delete any thing from AWS.\nProceed?",
                        "What does this button do?",
                        JOptionPane.YES_NO_OPTION);
                if (JOptionPane.YES_OPTION != selection) {
                    return;
                }
                boolean success = false;
                try {
                    success = amd.rid();
                } catch (SDKException | APIException | SignInException ex) {
                    LGR.log(Level.SEVERE, null, ex);
                }
                if (success) {
                    ArchiveMetadataDialog.this.dispose();
                } else {
                    JOptionPane.showMessageDialog(null,
                            "Failed to delete metadata");
                }
            }
        });
        topSubHeaderPanel.add(delMetaPanel);
        headerPanel.add(topSubHeaderPanel, BorderLayout.NORTH);
        final JTextField clientArchiveIDLabel
                = new JTextField("" + amd.getClientArchiveId());
        headerPanel.add(clientArchiveIDLabel, BorderLayout.WEST);
        headerPanel.add(
                GlacierFrame.makeLabelWithLength(amd.getFileName(), (byte) 30),
                BorderLayout.EAST
                );

        JPanel jp= new JPanel();
        jp.setBorder(BorderFactory.createEmptyBorder(10, 10, 10, 10));
        jp.setLayout(new BoxLayout(jp, BoxLayout.PAGE_AXIS));

        final JTextField fileCountLabel = new JTextField(amd.getFileCount());
        final JTextField userLabel = new JTextField(amd.getCreateUser());
        final JTextField computerLabel = new JTextField(amd.getComputerId());

        subHeaderPanel.add(new JLabel("Count"));
        subHeaderPanel.add(fileCountLabel);
        subHeaderPanel.add(new JLabel("Upload user"));
        subHeaderPanel.add(userLabel);
        subHeaderPanel.add(new JLabel("Computer id"));
        subHeaderPanel.add(computerLabel);

        JTextField[] allLabels
                = {computerLabel, awsID, clientArchiveIDLabel, userLabel,
                    fileCountLabel};
        for (final JTextField _jt: allLabels) {
            _jt.setEditable(false);
        }
        headerPanel.add(subHeaderPanel, BorderLayout.SOUTH);
        jp.add(headerPanel);
        jp.add(listContainer);

        add(jp);
        setLocationRelativeTo(null);
        setResizable(false);
        pack();
        setVisible(true);
    }
}


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text:
Help Wanted: Hilton Head Island faces worker shortage
Updated: 3:12 PM EDT Aug 8, 2016
Help Wanted signs are posted across South Carolina's Hilton Head Island and employers say it's harder than ever to find good employees. The Island Packet of Hilton Head reports the shortage began to be a problem about a decade ago. But this year the shortage was so acute one hotel delayed the opening of a pool bar because it could find no one to staff it. Another hotel resort says it could use 50 more workers. An estimated 8,400 workers are needed to serve a tourism industry that attracts about 2.6 million visitors yearly, The newspaper reports the worker shortage is expected to get worse as rents on the island increase and new job opportunities are created on the mainland.
HILTON HEAD ISLAND, S.C. (AP) - —
Help Wanted signs are posted across South Carolina's Hilton Head Island and employers say it's harder than ever to find good employees.
The Island Packet of Hilton Head reports the shortage began to be a problem about a decade ago. But this year the shortage was so acute one hotel delayed the opening of a pool bar because it could find no one to staff it. Another hotel resort says it could use 50 more workers.
An estimated 8,400 workers are needed to serve a tourism industry that attracts about 2.6 million visitors yearly,
The newspaper reports the worker shortage is expected to get worse as rents on the island increase and new job opportunities are created on the mainland.