Google sounds more and more like Twitter, heralding ways marketers can tap into live events for engagement.
The format can be "dynamically inserted" across YouTube, "hundreds of thousands of apps" and about two million sites across the Google Display Network, according to Tara Walpert Levy, managing director of agency sales for Google.
"It's a way for marketers to launch ads that are relevant and timely to what's happening during a live event, and connect with audiences in a deeper way," Walpert Levy said.
YouTube is productizing ways to "time" mobile, video and display ads more sequentially with what's happening on live TV. For instance, advertiser EA Games wanted to time the latest release of "Madden NFL" to live event footage.
Working with Google, it generated GIF highlights through a "Madden GIFERATOR," and pushed dynamic messaging such as, "It's halftime, go think of a way to stop me!" featuring key players across sports sites and apps in the Google Display Network.
And American Express beta tested Real-Time Ads to drive tune-in for its live concert streaming series by dynamically swapping out set lists in placements.
Google didn't divulge much about the workflow requirements for serving a Real-Time Ad, but Walpert Levy said it's the same process for an ad campaign that's running across AdWords or Google Display Network, except the content is typically "pre-planned" and inserted dynamically.
Other beta testers will tap preexisting assets – a voluminous library of video on-demand content in the case of Comcast – to time video ads sequentially to the Oscars' award show.
YouTube is also touting itself as the primary video destination for the biggest live sports event of them all: the Super Bowl.
It will aggregate all Super Bowl video ads into one central location/program called YouTube AdBlitz, allowing consumers to discuss and vote on ads. It's telling marketers that ads running against AdBlitz video content generate four times higher watch time than non-AdBlitz program content.
YouTube claims consumers viewed Super Bowl video ads more than 300,000 times on its platform during last year's game day. It also shared Pixability data that found advertisers got 2.2 times the number of views and 3.1 times the number shares when ads were published pre-game.
Real-Time Ads are presently in beta and will roll out more widely at the end of the year.


Welcome to RK's Class page. Here you will be able to find out more informaton on the topics your child will be learning about and any events that will be taking place throughout the term. Photos will be added regularly of the exciting activities that the children have taken part in, as well as any websites that you may like to visit, to support your child with their learning at home.
This term the children will be learning all about different animals from around the world and their habitats. During the first week, Reception will be reading the story of George and the Dragon and learning all about St George's Day. In our P.E lessons, we will be practicing competitive games in preperation for sports day.
This week has been very exciting for Reception! On Tuesday, an incubator with 16 eggs was brought to St Thomas' and placed in the Reception area. The children were very excited as they got to observe the chicks hatching from the eggs. This has supported their learning on the life cycle of a chicken and all the children got to take part in a range of learning opportunities. On Monday, the children prepared for the chicks hatching by writing a party invitation to celebrate their birth and created a shopping list using their phonics. On Wednesday and Thursday the children completed a diary entry and wrote about the changes they had observed inside the incubator.
Once the chicks had hatched, the children helped Miss Kelly look after them and prepare their brooder boxes. They understood that they had to be gentle with the chicks and show compassion. On Friday, it was Reception's parent event, where all the parents had the opportunity to see the chicks and look at all the wonderful work from the week. We would like to thank everyone who came to the after school event and hope you enjoyed the activities that were available.
This week the children have focused their learning based on the story `The Hungry Caterpillar` by Eric Carle. In Maths, the children have been creating their own symmetrical butterflies using paint and 2D shapes. In Literacy, we have been exploring the life cycle of a caterpillar and all the children have been taking care of our very own class caterpillars. We are looking forward to observing the changes over the next couple of weeks. For our writing activity this week, all the children had the opportunity to create their own story book in the style of `The Hungry Caterpillar`. They all chose an animal to write about and the different fruits he ate on each day of the week. After, everyone got to read their book to their friends and talk about what they liked about the stories.
All the children looked fantastic on World Book Day! On this day, the children were given three stories that they had to read and then vote for their favourite. They then had to explain their reasons why. The stories that the children had to read were: The Last Wolf, Mr Wibbles and When I grow up.
This term the children will be continuing to learn about different animals. We have started the term by reading the story of Noah's Ark. All the children have taken part in a number of activities such as retelling the story, painting their own raindrop by exploring colour mixing and writing descriptive sentences. In Maths, the children have started counting in 2s. For this the children have been counting wellies, socks and even preparing our ark with the correct number of animals. For the rest of this term, the children will continue to learn about God's creatures including minibeasts and life cycles. We will also be preparing for Easter and reading the Easter story.
On Friday the children had the opportunity to visit the Owl and Wildlife centre at Baytree Garden Centre. Everyone in Reception was very excited as it was their first class trip of the year. This week the children have been learning all about birds and took part in the RSPB Big Birdwatch. When visiting Baytree, the children learnt a lot of new information about owls and even got to stroke a baby barn owl. They then visited the other animals around the centre before coming back to school.
The Reception team would like to thank all the parents who supported during this trip!
This week the children have been learning all about Chinese New Year and finding out how it is celebrated. The children have listened to the Chinese Zodiac Story and had a go at retelling it in the small world area. We have also been exploring money in Maths and making the right amounts using different coins. The children had to put the money into the correct Chinese lucky red envelopes. On Friday, the children had the opportunity to taste chinese food and generate vocabulary to describe how it tasted, what it looked like and what it smelt like. The children then wrote about it during Big Write.
This week the children have been learning all about doubling amounts and numbers. We have started the week by identifying the bugs that are doubles by counting the spots and seeing if they have the same amount on both sides. Throughout the week, the children will continue to explore doubling by using practical equpiment and will begin problem solving.
In Literacy we have watched the video clip `Baboon on the Moon.` One of our activities this week was reading a recipe to make moonshine. The children had to think about the different ingredients which would help the moon shine and follow the instructions. Some children designed a rocket to help Baboon travel to Earth to make some friends.
The Reception Team would like to welcome all the children back to school and we hope you all had a lovely and restful Christmas break. This term, the children will be learning all about the Earth and Space. During the first few weeks we will be focusing on The Poles and the season Winter. This will include looking at the oil painting `The Magpie`, where the children will create their own representation of the picture using chalk and the smudging technique. PE willt take place on Thursday afternoons and this week the children will get the opportunity to take part in a tennis taster session with a tennis coach.
Reception have started their week making Christingles with the help from members of St Thomas' Church. The children learnt all about each part of the Christingle and why it is an important part of the church calendar. After this session, the children then prepared for their Christmas craft, which will be available for parents and family members to buy at St Thomas' Christmas Fair. This year, Reception are creating their own melted snowman biscuits and are looking forward to decorating them tomorrow.
This term the children have been very busy creating their own 3D models using wool and PVA glue. Everyone was set the task of wrapping the wool around a balloon using as much glue to help it stick. It was a very messy activity, which all the children enjoyed. RK's hoop will be hung in the main hall for everyone to see for tomorrow's lighting up assembly and the Christmas Fair.
Today Hannah from Smile Orthodontics came to visit Reception to talk about the importance of cleaning our teeth. The children discussed ways to keep our mouths healthy and how many times we need to brush our teeth a day. After the children practised brushing their teeth and used the teeth brushing tuff spot during their play.
For Road Safety Day, Reception continued their learning on how to stay safe when crossing the road and why it is important to make sure that vehicles and bikes can see us during the cold winter nights. First, we started the session by by using only our ears to identify different types of vehicles, by listening to the noises they make. After we talked about how to stay safe when riding a bike. The children were very confident with explaining the importance of wearing a helmet and why we must make sure that we are aware of our surroundings when on the road. After, the children discussed the different ways bikers can be seen when riding in the dark. We looked at the different clothes that we may wear and that bikes should always have lights on when travelling on the pavement or roads.
This week the children have been reading the story `The Enormous Turnip`. All the children have been given the opportunity to dig for turnips in the outdoor area. For this activity, the children had to find as many turnips as they could and read the words that had been written on them. Some children had to read the words and then organise the words to create a sentence.
During choosing time, the children have been practising their number formations in flour using feathers, painting pictures, writing captions about story characters and creating their christmas hoop.
On Friday Reception had a visit from two PCSOs. They discussed with the children the importance of keeping safe and why we must not speak to strangers. The children all got to ask their own questions, learn about their job role and even got to try on some police uniforms. In Literacy, Reception had the opportunity to pretend to drive police cars. All the children took in turns to play the role of a traffic warden, who had to stop the cards and read the words using their sounds.
Reception's Remembrance Wreath at The Stump!
On Thursday Mrs Eede went to see the amazing rememberance display at St Botolph's Church. Reception's poppy wreath can be seen displayed proudly with other children's work from St Thomas' Primary School. This display can still be seen until the 11th Novemember, so if you would like to see the fantastic art work by the children, there is still chance.
On Tuesday, Reception were visited by the Boston Fire Service. The children were very excited to learn all about how they keep people safe and look at the different types of machinery stored on the vehicle. At the end of the session, everyone had the opportunity to sit inside the fire engine and listen to the siren.
This week the children have been learning all about Bonfire Night. They have created some fantastic firework pictures using the printing technique. Everyone enjoyed creating their own representations and sharing experiences of firework night. In Maths we have been learning about 2d shapes and discussing their properties. As part of a guided group activity, the children were asked to discuss the number of sides and corners of a shape and create it using the ribbons. Some children went on to create their own firework pictures using the shapes. In the outdoor area, children created firework pictures in the rain using chalk and coloured water. We also talked about the different sounds they make and used our sounds to read the labels.
The children also used iPads to create their own firework pictures using the `Art of Glow` app. We are pleased to announce that the fire engine visit will now take place on Tuesday afternoon. The children are very excited about this and are looking forward to telling the Firemen how they have stayed safe during their bonfire celebrations.
Reception's topic this term is `Once Upon a Time.` This topic will involve the children listening to the traditional tales stories, such as `Goldilocks and the Three Bears`, `Little Red Riding Hood` and `Hansel and Gretel.` The children's activities will link to the stories and will include writing activities such as letter writing and character descriptions. Each story will also link into our theme, `People that help us,` where the children will learn about safer strangers and how we can identify them. This week the children will be learning all about Bonfire Night and the traditional story, `The Gunpowder Plot.` On Thursday, the children will be visited by the Boston Fire Service. Everyone will get the opportunity to sit inside a fire engine and talk about the importance of staying safe on this special night. Look out for photos on Twitter and the website.
This afternoon a tractor from Willoughby Foods came to visit Reception and all the children were very excited. This week the children have been learning all about the Harvest season and have read the story The Little Red Hen. During the tractor visit, all the children got to ask their own questions and talk about the different parts of a tractor. After, each child had the opportunity to sit inside and sound the horn.
This week the chidren have started their learning based around the season `Autumn`. We started the week by reading the story `Little Acorns` and discussed what happens to the leaves and acorns during this time of year. All the children pretended to be an acorn on the tree and discussed the different vocabulary that was used in the story. They then used actions to represent how an acorn might fall from the tree and explored the life cycle. Some children then went onto create their own giant acorn sculpture using paper pulp. This was very messy and was enjoyed by the boys in the class.
Outside the children have noticed the weather becoming colder, wetter and windier. This week, the children also created their own rainbows in the puddles using powder paint and sweeping brushes. They explored how the colours changed when mixed together.
In Maths this week the children have been exploring shapes. We all went on a shape hunt at the start of the week and some children during their child intiated went on to searching for different 2D shapes in the sandpit Some children created their own ramps to investigate which 3D shapes roll and slide.
Reception are now in school full time and the children are settling in well. The children have started learning their set one sounds and are beginning to identify the first sounds in words. They have also been taking part in different fine motor activities in preparation for writing. On Wednesday the children had their first P.E lesson in the sports hall and participated in different sporting games.


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Регургита́ция ( — обратное действие, +  наводнять) — быстрое движение жидкостей или газов в направлении, противоположном нормальному, возникшее в полом мышечном органе в результате сокращения его стенки.

Регургитация крови в сердце – процесс, который характеризуется обратным током крови из одной камеры сердца в другую при недостаточности клапанов.

Наиболее частой причиной регургитации (в ЖКТ) является нарушение функции сфинктеров или клапанов (например, в желудочно-кишечном тракте в зоне входа и выхода из желудка, к примеру при пилороспазме, пилоростенозе, кардиоспазме) или разделительных перегородок (например, клапанов сердца), либо при антиперистальтической волне сокращения мышечной стенки органа. Регургитация отличается от рефлюкса (например, гастро-эзофагиального рефлюкса, с пассивным затеканием жидкости в соседние пространства) тем, что она является следствием активного сокращения мышц.

Примечания

Патологические процессы
Эметология

redpajama_set_name: RedPajamaWikipedia


Required Licenses Almost all states require commercial siding contractors to have some type of license. Before hiring a contractor, make sure the company has a valid license in good standing. Verify the information by checking with the licensing agency for your state or county. If the contractor has any complaints on record, make sure those complaints have been resolved in a satisfactory manner.
Insurance Coverage Commercial siding contractors should carry two types of insurance coverage: workers' compensation insurance and liability insurance. If one of the contractor's employees is injured while working on your property, workers' compensation insurance covers the employee's medical expenses. Some contractors do not purchase the required insurance because it is expensive, and they feel it is better to take their chances. If your contractor does not have workers' compensation insurance, you may be responsible for paying for any injuries that occur on your property. Liability insurance covers damage to your property. It is important to hire a contractor with liability insurance in case something happens to your home during the siding replacement process. If a contractor says he has liability insurance, ask to see the insurance certificate to verify that the coverage is current.
Established History Look for commercial siding contractors that have a history of doing excellent work in your area. Avoid hiring a contractor that has only been in business for a few months, as it is difficult to determine if a new siding contractor has the skills and experience necessary to replace your siding properly.
Are they satisfied with the work performed by the contractor?
Did the contractor complete the work on time?
Did the contractor go over budget when doing a siding replacement?
Did the contractors show up on time for work each day?
Was it easy to work with the contractor?
Were there any problems with the contractor?
You should also ask the contractor to provide pictures of past projects. Although some siding problems are not immediately visible, you should be able to tell if the contractor did a good job on each siding replacement.
Communication Skills Make sure it is easy to communicate with the contractor. Contractors should be willing to answer your questions and provide the information you need to make an informed decision about your siding installation.
Enthusiasm for the Work You don't want to work with a contractor who does not really want to do your siding job. When you talk to commercial siding contractors, listen to how they talk about past projects. Do they sound enthusiastic about picking out siding materials and doing the installation? If not, you may want to pick a contractor who is more enthusiastic about siding installation.
Trained Employees or Subcontractors Ask the commercial siding contractor if his employees or subcontractors have the training, they need to do high-quality work. A lack of training increases the risk of injuries and makes it more likely that your siding will fail prematurely. The contractor you choose should have skilled employees or subcontractors available to do all the work on your siding.
Positive Reputation Talk with commercial siding contractors who have a positive reputation in your community. If none of your friends or family members can give you a personal referral, read an online review or check with the Better Business Bureau and Angie's List to make sure the company has a good reputation.
Work Plan Before a contractor does any work on your project, ask for a work plan. This plan lists all the materials to be used for your siding project, the anticipated start date of the project, the estimated completion date, and other details about your siding project, including a follow-up appointment to ensure satisfaction.
Our project consultants oversee each job from the sale to the material ordering, installation and follow up after the job is complete. Our experienced team of design specialists help you to create a mix of beauty and functionality to achieve exactly what you are looking for. It's our mission to make every builder, property manager or developer feel like they're our only customer from the day you sign with us until the day the job is done.
Straightline Exteriors uses premier commercial siding products from companies such as James Hardie and Nichiha Siding to ensure longevity and unparalleled warranty, designed to withstand the climate of the Northwest. Not only does your new siding for your business require high-quality materials, but you also need a siding contractor that can install it correctly. When we give a free estimate on your siding project, we look at aesthetic wants, climate needs, how long you're planning to own the property as well as your budget. With our selection of siding products, we're sure to fit you with a high-quality product, at a reasonable price.
Our siding products offer a minimum of a 30-year warranty. Our trims offer a minimum 15-year warranty. Additionally, we offer an unmatched 7-year full craftsmanship warranty because we do not use subcontractors, but instead, use in-house employees for all our installations. Along with all our products, we offer the option of wrapping your property an insulated blanket of polystyrene before installation of your siding of choice.


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A SPECIAL WELCOME MESSAGE
Welcome to the IAEG Connector — A Special Message From Scott Burns, President, IAEG
I am very excited to introduce to you the electronic newsletter from IAEG that we have called the IAEG Connector! For the past three years, our IAEG Executive Committee has been trying to figure out a way to increase communication with all of our 4,300 members around the world. We have newsletters come out three to four times a year, but in between there is very little connection. We have teamed up with a company called Multiview to produce a weekly newsletter that will include information on IAEG, our upcoming congress, commissions, news of national groups, IAEG awards, affiliated conferences, obituaries, deadlines and geological news from around the world! It is free to us because it will be paid for by advertisers of our profession with their logos throughout the newsletter. Starting with this issue, we will have a small section on meet your officers. We will continue with the traditional newsletter from the secretary general's office three to four times a year — that news is important and is presented in a different format. This newsletter truly connects all engineering geologists around the world. Enjoy!
Meet Your Editor — Martin Culshaw
Martin Culshaw is an independent engineering geological editor, researcher and consultant. He was Director of Environment and Hazards at the British Geological Survey (BGS) and the Survey's Chief Engineering Geologist until 2008. He is Visiting Honorary Professor in Engineering Geology at the School of Civil Engineering, University of Birmingham, and an Honorary Research Associate at the BGS. He has been involved in research into the relationship between litho-stratigraphy and geotechnical properties, environmental and engineering geological mapping, geohazard assessment, site investigation, urban geoscience and the application of geology to land use planning for over 40 years. He is a former Vice President of the Geological Society. He has published over 180 papers, books and articles and over 120 technical reports. He received the Engineering Group of the Geological Society's Award for 1989, the Geological Society's Glossop Medal in 2004 and the E B Burwell Jr Award from the Geological Society of America in 2006. In 2010 he was awarded the International Association for Engineering Geology and the Environment's Hans Cloos Medal. He is currently Editor-in-Chief of the Bulletin of Engineering Geology and the Environment. He lives near Nottingham, UK, and is married to Philippa. He has a son and a daughter, and his interests include gardening, philately, model railways and soccer.
XIII IAEG Congress - Engineering Geology for a Sustainable World
Mark your calendar to join us for the 61st AEG Annual Meeting/13th IAEG Congress in San Francisco, California on September 17-21, 2018! AEG is partnering with the International Association of Engineering Geologists and the Environment (IAEG) to host the first ever Congress in the United States in IAEG's 54-year history. The 2018 meeting will have a five-day format featuring prominent national and international keynote speakers, four days of technical sessions and symposia, and an all-day Wednesday tour of local geology for full meeting registrants and guests.
Note: You must register for the conference by the end of the week in order to get your abstract published in the program and your article (if you submitted an article to the proceedings) published in the proceedings.
Note 2: Solidarity Fund - We have set aside some money in the treasury to help young conference participants from low-income countries to attend the meeting. To apply, please email our president with the request: Dr. Scott Burns, burnss@pdx.edu. The money would be applied toward registration.
. PRODUCT SHOWCASE
MercuryGate: The Future of Delivery
MercuryGate provides powerful transportation management solutions proven to be a competitive advantage for successful shippers, 3PLs, freight forwarders, and brokers. MercuryGate's solutions are unique in their native support of all modes of transportation on a single platform. MercuryGate delivers exceptional value for users through improved productivity and operational efficiency.
7th Canadian Geohazards Conference — Geohazards 7
The Canadian Geotechnical Society is pleased to invite you to Geohazards 7, the seventh Canadian Geohazards Conference. Geohazards 7 will be held June 3-6 at the Coast Canmore Hotel & Conference Centre in Canmore, Alberta. The CGS's Geohazards conferences are the premiere forums in Canada for the sharing and dissemination of scientific and engineering knowledge related to geohazard assessment and risk management. READ MORE
Minex Europe Mining and Exploration Forum 2018
We are delighted to invite you to take part in MINEX Europe Mining & Exploration Forum we are organising in Skopje, Republic of Macedonia, 12-14 June 2018 under the theme "sustainable development of the Western Tethyan metallogenic resources." The forum will provide insights into exciting mining projects developed across the Western Tethyan regions and will highlight innovation trends for exploration and extraction, processing, waste management and mine closure across the European continent and globally. Over 200 international delegates are expected to attend the forum from the Balkans countries, EU, Canada, U.S. and Australia. READ MORE
Ancient meteorite tells tales of Mars topography
Lawrence Livermore National Laboratory via Phys.org
By looking at an ancient Martian meteorite that landed in the Sahara Desert, Lawrence Livermore National Laboratory (LLNL) scientists and collaborators have determined how and when the red planet's crustal topographic and geophysical divide formed. Northwest Africa (NWA) 7034 is the oldest Martian meteorite discovered to date, at approximately 4.4 billion years old. READ MORE
How high-latitude corals cope with the cold
ARC Centre of Excellence in Coral Reef Studies via ScienceDaily
Corals growing in high-latitude reefs in Western Australia can regulate their internal chemistry to promote growth under cooler temperatures, according to new research at the ARC Centre of Excellence for Coral Reef Studies at The University of Western Australia. READ MORE
Mappers look to chart world's ocean floor by 2030
Using data collected from underwater drones, merchant ships, fishing boats and even explorers, a new scientific project aims to map the ocean floor by 2030 and solve one of the world's enduring mysteries. With 190 million square kilometers (73 million square miles) of water — or about 93 percent of the world's oceans with a depth of over 200 meters (650 feet) — yet to be charted, the initiative is ambitious. READ MORE
Volcano 'libraries' could help plan for future volcanic crises
University of Leeds via Phys.org
Crystals from the 2010 Eyjafjallajökull eruption have demonstrated a new way to recognise pre-eruption signals at Eyjafjallajökull and potentially other, similar volcanoes around the world. A team of volcanologists from the University of Leeds, Iceland and the British Geological Survey have studied the chemistry of the crystals flung out during the early stages of the 2010 airline-grounding eruption in Iceland. READ MORE
Sterol-producing bacteria may change interpretation of geological history
Stanford University via Phys.org
Molecules called sterols linger in soils and rocks for billions of years and have served as a tell-tale sign to geologists that the plants, animals and fungi that produce them must once have lived nearby. But a new discovery could have geologists rethinking what they've learned from that rock record. READ MORE
Scientists' discovery in Yellowstone 'extremely relevant' to origin of life
Montana State University via Phys.org
Montana State University scientists have found a new lineage of microbes living in Yellowstone National Park's thermal features that sheds light on the origin of life, the evolution of archaeal life and the importance of iron in early life. Professor William Inskeep and his team of researchers published their findings May 14 in the scientific journal Nature Microbiology. READ MORE
Microbes from marine volcanic vents reveal how humans adjusted to a changing atmosphere (Van Andel Research Institute via ScienceDaily)
1st drilled sample on Mars since 2016 (NASA)
Hurricanes: Stronger, slower, wetter in the future? (National Science Foundation)
USGS tracks how hurricane floodwaters spread non-native freshwater plants and animals (USGS)
Disrupting the deep: Ocean warming reaches the abyss (Earth Magazine)
Deepest Part of the Ocean (Geology.com)

redpajama_set_name: RedPajamaCommonCrawl


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Posted in | LEDs
RayVio's New Series of Ultraviolet LEDs Could Enable Disinfection of Water, Environment
Written by AZoOpticsMay 19 2016
RayVio Corp., an advanced health and hygiene company, today announced that it has launched a new series of ultraviolet (UV) LEDs with the highest power output available from a small surface mount device (SMD) footprint. RayVio's leading technology enables the UV disinfection of water and environments by fostering a new generation of powerful and portable health and hygiene devices.
RayVio's new series of UV LEDs are among the smallest commercially available at a width of 6.5 millimeters, enabling unparalleled flexibility to incorporate into a range of products from self-disinfecting water bottles to hospital surface cleaners. The technology provides up to 40 milliwatts at 100 milliamperes continuous current operation in a single package, the most power available in that size on the market. With its wavelength in the range of 280 to 290 nanometers and its high power density, RayVio's LEDs deactivate the DNA of bacteria, viruses and other pathogens, thereby preventing disease.
"RayVio's innovative new form factor brings the protective power of ultraviolet light to a galaxy of innovative new products," said Dr. Robert C. Walker, CEO of RayVio. "We're facing serious global challenges around hospital-acquired infections and contamination of the food and water supply. This new technology marks an important step in providing peace of mind to billions of consumers around the world."
Explaining Water Anomalies with Spectroscopy
NASA's Alice Ultraviolet Spectrometer Brings View of Earth's Ultraviolet Appearance
Thirty Years of Experience in Supplying Custom LEDs
UV light is widely used to protect against germs in water, surfaces and air, and can also aid in treating skin diseases including psoriasis, eczema, rickets and jaundice. However, traditional UV light sources are bulky, fragile and contain toxic mercury. RayVio's UV LEDs are portable and compact and can be used safely across a range of applications, from cleaning water tanks in home humidifiers to disinfecting water at the faucet. RayVio is working with partners across the globe to incorporate its line of UV LEDs into a new generation of products and applications.
Coupled with a hemispherical quartz lens, RayVio's new UV LEDs provide precise beam shape, enabling uniform light distribution over a large area. RayVio UV LED emitters are offered in a range of wavelengths, power levels and easy-to-use mounting designs. They also offer industry leading thermal resistance at 6°C per watt, are RoHS (Restriction of Hazardous Substances) compliant, and are manufactured in a precision high-tech facility in Silicon Valley, with additional high volume manufacturing partners around the world to meet soaring global demand.
RayVio will exhibit its technology at the Association for Professionals in Infection Control and Epidemiology Annual Conference (APIC 2016) on June 11 through 13 in Charlotte, North Carolina. Product samples and a wide range of application support are available through [email protected].
Source: http://www.rayvio.com/
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The Imperfect Shot
The perfect gift for the imperfect Shot! A very humourous collection of experiences, faux pas and misdemeanours in the shooting field with anecdotes and tales of many light-hearted incidents from throughout the world.
It gives some novel excuses for pickers-up who have failed to find their quarry. In similar vein, during the author's years as a gamekeeper, it was often necessary to think on the hoof and deliver a plausible reason as to why a particular drive didn't go exactly as it should. Sometimes the explanations were so outrageous as to be laughable – which often diffused a potentially difficult situation – and on occasion, caused a comment such as, 'I've never heard that one before… how did you think that one up?' To which the author inevitably replied; 'The Gamekeeper's Book of Excuses… page 58'!.
A wonderful collection of shooting excuses, gaffes and blunders from the sublime to the ridiculous
'Tongue-in-cheek' advice is offered to those who have committed the minor faux pas and misdemeanours on the shooting field
Written by renowned author Jeremy Hobson
Hilariously illustrated by Oliver Preston
The perfect shooting gift
Jeremy Hobson was, for well over 30 years, employed as a gamekeeper and, for much of the last decade, as shoot captain on a prestigious West Sussex estate – as a result of which, he has seen much of what might possibly occur during a shooting day! An author and writer throughout that time, Jeremy's country-based articles have appeared in most of the relevant sporting magazines and he has had published well over 30 books – three of which: The Shoot Lunch (978-1-84689-092-5); Success with Chickens (978-1-84689-093-2) and Sporting Lodges (978-1-84689-168-7), have been for Quiller.
Shooting Excuses, Gaffes and Blunders
Jeremy Hobson with illustrations by Oliver Preston
246 x 189mm 152 pages
Colour drawings
'One to dip into and enjoy. The text and illustrations, the latter by Oliver Preston, are both integral parts of the book and I am not sure which I enjoyed the most. The jokes are not all to do with shooting and I liked the one about the Land Rovers - "They say 90 per cent of all Land Rovers manufactured are still on the road. The other 10 per cent have reached their destination".' Ray Collier, Highland News Group
'From excuses for missing, including the safety catch got stuck to ensuring your mobile phone is turned off, the author aims to guide the newby through some of the pitfalls of driven game shooting. And he makes it abundantly clear that pulling the trigger is just a small part of the overall shooting day, which should include a good lunch, fascinating repartee with fellow guns and getting all dressed up in sometimes ridiculous garb that, in any other situation, would be laughable.' Philip Bowern, Western Morning News
'This is an anthology of shooting excuses, gaffes and anecdotes which you might actually find useful during the season. Not only does it provide very easy access light reading for those moments when the Financial Times is a bit too topical and War and Peace is a bit too serious but it also contains some honest advice for game shooters who might like to kid themselves sometimes. There aren't many things he hasn't seen on shoot day - and a lot of them make it into this book.' Shooting Gazette
'The Imperfect Shot is a motley colection of curious facts, amusing anecdotes, pithy advice and historical titbits from the world of gameshooting. A good Christmas stocking filler' BASC Shooting and Conservation
'Here you will find tales of embarrassing gundogs, war cries in the beating line, lunch-stealing Labradors and wonderfully incompetent shots, not to mention outrageous shooting clothing and mad ducks. Hilariously illustrated by Oliver Preston this is clearly one for the Christmas stocking'. CLA Land and Business Magazine
'Perfect to open at any page, Jeremy Hobson illustrates, both in words and in cartoons (brought to life by Oliver Preston), a very humourous collection of light-hearted erroes, ill-judgement and misdemeanours.' Sporting Gun
'The perfect gift for the imperfect shot! A very humorous collection of experiences, faux pas and misdemeanours in the shooting field with anecdotes and tales of many light-hearted incidents from throughout the world.' Staffordshire Life
''This book provides some novel excuses and tongue-in-cheek advice for pickers-up, Guns and keepers alike for when things don't quite go as planned. Brought to life by Oliver Preston's illustration, there are, among its pages, some real pearls of wisdom.' Fieldsports


Pinchos Fridberg was born in Vilna (then Wilno, Poland, now Vilnius, Lithuania) on May 24th 1938. He graduated from Vilnius University in 1961 and completed his PhD in theoretical and mathematical physics in 1965 and an additional doctoral science degree in radio physics in 1974. From 1961 to 1978, he was Chair of the Laboratory of Theoretical Investigations at the Vilnius Scientific Institute of Radio Measuring Devices. In 1978, he joined Grodno State University, where he was named professor. In 1989 he became head of the Department of Theoretical Radio Physics at the Zondas Company in Vilnius, where he is now a pensioner.


What is in a meal or a food product are the ingredients and many are natural to some degree but there are frequently also many unnatural ingredients in heavily processed meals and or food products. Artificial additives are especially notorious for being added and later found to have adverse effects on health in the long duration.
Truth in advertising or truth in ingredients is still an ongoing battle in some areas where labeling all the ingredients would lead to many cheap knockoff products or imitations.
In the case of bad reputation GMO's there is actually lobbied US government legislation which protects companies from having to disclose that GMO's exist as a total or partial ingredient.
Labelling every ingredient should be a necessary obligation of all food companies so that customers can make wise choices when it comes to consuming food and drink.
This entry was posted in common sense, education, science, society and tagged common sense, drinks, education, food products, ingredients, language, meals, science, society, the truth about ingredients, words on September 6, 2015 by uldissprogis.


text:
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A.C. LYLES – "GENTLEMAN OF THE WEST" PART II by C. COURTNEY JOYNER
When A.C. Lyles and I sat down for our first chat, none of the budget westerns he'd made for Paramount in the 1960's had been made available on cassette (which shows how long ago this was!), despite their continued popularity on television.
The westerns he produced were a strange mixture of old-fashioned white hat v. black hat fodder, mixed with some darker elements, often brought by the casting of veterans with long histories in front of the camera, who didn't always wear their age well.
But that was part of the magic formula. We were re-visiting old friends, a little greyer or a little fatter, but still the stars who had thrilled us years before, stepping in front of the camera for the producer who valued them in the same way that we did.
In all my talks with A.C., his love of the movies was always present, in his memories, and his enthusiasm for new product. Who would guess that this traditionalist, when he was over 80, would be the consulting producer on DEADWOOD, the HBO series that shattered so many of the genre conventions.
Here, he again speaks lovingly of the greats and near-greats, like Barry Sullivan, Dana Andrews, Scott Brady, and Jane Russell that he cast, to remind us all that their talents hadn't dimmed; that beautiful Virginia Mayo was still a saloon gal to be reckoned with, and that badman Leo Gordon was still mean as a rattlesnake.
I'm sure a lot of these vets were happy for the chance to stay in front of the camera.
Everyone was always very gracious, but again, I felt like they were doing me the favor because I had so little money to work with.
Could you remember a bit on a few of your actors, and their work? John Ireland?
Well, I'd seen John, he'd worked with the biggest stars and directors in the business, Howard Hawks, all of them. And I just thought he was fine. And I had a picture with a couple parts in it that he liked. I did it the same way with Scott Brady, who was a good friend of mine. Scott could play a loving husband, as he did in one picture, or a gunslinger in another - he did it all. One of the best friends I ever had at the studio was Brian Donlevy. I came to the studio in thirty-seven, and for a number of years, Brian was the star of some of the biggest pictures made. I mean, big pictures, starting out with - so many pictures - with Preston Sturges and Bill Wellman. So we always became friends when I started making these pictures. We were having lunch one day, and he said, "I'm going to start making these pictures." And he said, "Now, I'm going to be in as many of them as you want. And you just call me, tell me where you want me, and I'll be there." And that's the way it was, he did that for me all the time. And Richard Arlen of course, was one of the stars of Wings (1929), the first picture to win an Academy Award, and when I came as an office boy, he was already a big star and befriended me very much, and did so many nice things for me, that when I started producing, Dick was in every picture that I could do. And Leo Gordon –
Leo Gordon was quite an accomplished writer, (TOBRUK, THE TERROR, ADAM-12, etc.) did he ever work on any of the scripts?
No, he didn't - he never worked on any of the scripts, he worked for me strictly as an actor. He is a good actor however. And he always made a great heavy, and he'd come aboard and do things like that. And Robert Lowery, my gosh he had - before I started making the westerns, he had appeared in some Pine-Thomas pictures that I was associated with, and I got to know him pretty well. And John Agar, I was in his wedding party when he married Shirley. I was an usher for the wedding party, and he's a good buddy of mine. And Virginia Mayo and Jane Russell, the same way. I knew both of them for a long, long time. I started making these, and I'd call Virginia, or I'd call Jane, and they were so wonderful, came right aboard, and they did a number of pictures for me. As did Dana Andrews, and Bruce Cabot was a good friend. I got to know him through John Wayne. They were good buddies, and I got to know Bruce through him. And Bart MacLane - my gosh, everybody in town knew him. And Bob Steele - I've been a big fan of Bob Steele's when he was making all those westerns, and my gosh, I just loved to watch him ride, he was such a great horseman.
It was such a great group in film after film, could you ever pick a favorite performer? That would be tough!
I tell ya, everybody I worked with did so much for me, and I was so honored to have them aboard. And I'd go on the set each morning just to see all my friends. And it was like a family reunion every day on the set. And I just had the wonderful advantage of being their pals, and they just worked so hard to make everything right for me.
YOUNG FURY – An A.C. Lyles film about "The west's first teenage gang!" meant that the kids had to slug it out with Lon Chaney and William Bendix.
You co-wrote YOUNG FURY with Steve Fisher. Could you talk about the origins of this one? It's one of your few writing credits.
I did that with Steve - we co-wrote that - and it just came about because I kept hearing about, at that time, how young gangs would get together and take over communities, or go into a store and take it over, or something like that, and I just thought that there was a story there about a group of young hellions, and invading a town when all the able-bodied men were away at war, and they took it over. And it was - the idea for it was as simple as that, and we wrote it and put a bunch of young people in it, and we had Rory Calhoun and Virginia Mayo - bless her heart - in it and people like that, and it turned out pretty well. And the title helped it quite a bit, YOUNG FURY. And it did very big on television when it came into that.
Chris Nyby was another TV veteran; of course, he also directed the original THE THING.
I knew Chris when he was a top-notch film editor (for Howard Hawks), and then by the time we worked together, he had already established himself beautifully as a director. And I was pleased when Chris could get away from his other assignments and do that picture.
You used Rory Calhoun in many pictures…
What a fine guy he was. And that was when he was in (the TV series) THE GUNMAN, and coming into that.	If I had the right scripts, with people like Rory and Dana Andrews, and so forth, where the roles are simply - it was pretty much we just would write the script, and sometimes, in my mind, I would say, "You know, Dana can do this, or George Montgomery can do it, or Smokey could do that - Smokey was a nickname we gave Rory Calhoun because of his jet-black hair - and I knew that among all of my pals, we could get someone interesting, and well-known for the lead parts. I say the lead parts, because we had so many well-known names in the cast of our pictures, almost all the people had done lead roles, and were well known. So we just got our little troupe together, and we used to call ourselves a stock company, and we'd say, "Hey, do you want to do this?" "I'll do that," "What about this?" "Oh, I'll do that one, Joe you can do -" So it was an even thing. It was like a family at a big dinner table dishing out food, saying, "Hey, I'd like some potato - " or whatever it was. It worked very, very well.
Just how tight were your budgets and schedules?
(laughs) Actually, you never reveal your budget and your schedule. And I guess I say that because we didn't have a generous amount of shooting days, or a generous budget. And I think it's whatever you get on the screen. If you make a picture for five hundred thousand, and it looks like a million dollars, you have a million dollar picture. But if you make a picture for a million, and it looks like five hundred thousand, you got a five hundred thousand dollar picture. So we did everything we could to put all our money on the screen, and I think that's why a lot of those pictures were so popular.
Linda Darnell starred in BLACK SPURS for you in 1965. That was her last film, wasn't it?
Linda Darnell had been a friend of mine from the days when she was at Twentieth Century-Fox. One of their biggest stars. And we used to go out together, and catch movies together and things, and I just adored Linda. She was a wonderful friend all the way back from nineteen - probably I met her, well, before the World War - probably forty-one or something like that. Yeah, I guess it was forty-one, maybe forty. She was a big star, and she hadn't done anything, and I talked to her about coming back, and she didn't have too much interest in coming back. I don't think she'd made a picture in five, six, seven years. And I just called her one day went out and said, "Hey, are you going to do this picture?" And I must say, she had fun, we had fun, and what a wonderful person she is.
Director R.G. Springsteen was a vet of westerns at Republic; he was one of the few older, more veteran directors you hired.
R.G. Springsteen, better known as "Bud", was out of Republic, and just did so many fine pictures there, and he was just the kind of director that I needed so much, who could do pictures well, and do it on a reasonable budget and schedule. Bud was a very quiet, interesting man who could do more than just shoot the script, he always added to the script.
TOWN TAMER was written by Frank Gruber from his novel. Did Paramount own this property and assign it to you?
TOWN TAMER was a picture that was a book first. And Frank was a good friend of mine, and we had lunch one day, and in his briefcase he had some books, and I picked up Town Tamer and read it, and I bought it the next day, and (Frank) did the screenplay. One of the best times I ever had was working with Frank Gruber. He was a master at writing, and he could write a book as fast as he could type. He was phenomenal. And he did wonderful scripts, and he developed so many properties for the screen and TV, like TALES OF WELLS FARGO and CIMMARON CITY, and all those that he did.
He was also very involved with the SHERLOCK HOLMES series at Universal.
Yeah, he was. He could do it all, and do it so well.
Lesley Selander directed; he had a very long history at Paramount, going back to the silent days.
Good old Les Selander, my gosh, (he goes) all the way back to the Buck Jones days, and the HOPALONG CASSIDY pictures. I knew him when he was doing those pictures, and I knew him when he was working with Bill Boyd on the "Hoppies."
LES SELANDER DIRECTOR – Portrait of veteran Paramount director Lesley Selander, who helmed the first A.C. Lyles productions.
He, like Bud (Springsteen), was just marvelous at making pictures, and improving on the script - and on the short schedule things, it isn't always easy to do that. But, boy, every script he got, he improved on it. He was one of the easiest men to work with, with that wonderful sense of humor, and that burst of laughter. They all had a lot of input on the scripts. They'd all come in and Bud would say, "When I did such and such a thing," and "When I did Hopalong Cassidy, we had a situation like that, and Joe Blow did that, or whatever, that might work here." And we did it.	And on the casting, they all would come and say, "A.C., you know so many people in town, you're all friends with, and I know you're going to get me good professional people and things." Or they'd come in and say, "You know who I ran into the other night? I saw Joe Blow, or Mary Smith, and they aren't doing anything. And they could do such and such a part," and I'd know them, and they'd say, "Hey, that sounds good, give them a call and say 'come in Thursday, and we're gonna start the picture.'"
APACHE UPRISING really benefits from the supporting work of Arthur Hunnicutt and Lon Chaney. They're both great and grizzled, and you had three great heavies…
Oh, yes. There was very strong supporting work from Arthur Hunnicutt, and Gene Evans, and John Russell, and DeForest Kelley, and they, too, were good buddies of mine. And Deforest Kelley, De and his wife Carolyn, last year celebrated their fiftieth wedding anniversary, and I knew them before they were married. So that's how long I've known DeForest. I knew De before he became an actor, and he was trying to become an actor. So a lot of the people in our picture, like John Russell, and Arthur Hunnicutt, I knew when he first came out of here, and Gene Evans. They were all buddies of mine over the years. So we would just call them, and say, "Hey, we're starting a picture, so come in, and we'll pick out a part."
Novelist Max Lamb was one of the writers.
Max had a writing partner, and I think the original title was WAY STATION, and it was really, really a good, tight script that had a lot of action.
The sequence in the way station is good; very claustrophobic.
That sequence had very strong tension; where the hostile Indians are outside, and they're inside, waiting for the storm to subside, thinking that there would be an attack any minute. And the scenes in there with De, and Gene Evans, and Lon, and Robert Harris, - well, it just presented itself really well, I liked that (suspense element) very much.
You were making these films on a regular basis, did Paramount expect a certain number of pictures from you per year?
Yeah, I really was expected to deliver a number of films. For about four years, five years, whatever it was, I made more than half the pictures shot on the Paramount lot. All those westerns! (laughs) And I would just make them, finish them, and ship them to New York, and we'd start right in preparing for the next one. I never had a "Make six this year," I just kept making them, and I'd say, "Do you need some more?" They'd say, "Yeah, we need another one - we need another two - to round out the schedule." Or I'd start working on the scripts for the next year.
Because you were doing so many westerns, and they were your specialty, was it ever anybody's intention for you to work with (John Wayne's company) Batjac, since they were located at Paramount at the time?
Well Batjac came in later, when Duke moved his company on the lot. As a matter of fact, he owned the picture HOSTILE GUNS, he owned the script, he and James Edward Grant. And he was going to make a picture called THE WAR WAGON, which was a little similar, I guess, and I was having lunch with Duke one day, and he told me different scripts he had, we just discussed it, and he came across HOSTILE GUNS and I knew that I could make it for a budget. And so I bought it from Duke Wayne and we did it. It had some sequences in it that were just a little expensive for me. So Steve Fisher came in and together we jumped the story - we didn't cut any scenes or anything, we just brought it down a little bit. And that's how we got a James Edward Grant piece, because it belonged to Duke, but he let me make it. And Duke was one of my best friends. He and I won the Spurs Award in nineteen sixty-six. And I admired him so much, and he was absolutely wonderful to me, he was a very, very good friend. Every place that his pictures played, we played.
Our pictures were very big in Italy, they were big in England, they were very big in Germany, and France. They played all over the world, and we had a lot of play dates, a lot of play dates. And I remember one time being in Palm Springs, and driving back, and there were three different theaters, just driving back from Palm Springs - which is a hundred and twelve miles - I had three pictures showing, and all of them were different pictures. It wasn't three prints showing of the same picture, they were three different productions, I could see on the screen and the marquis coming back. One time we had a flood of pictures out there.
JOHNNNY RENO was another Steve Fisher script. Would he come in and pitch ideas to you or would you hand him an outline or spitball ideas?
JOHNNY RENO – One sheet for A.C.'s second film with Dana Andrews, and Jane Russell as the shady lady in question.
I worked on all the scripts with Steve, and often times would come in with the idea, and Steve would nail it down, and say, "You know, you should take credit on this picture," or something. And he would suggest it, and we would do (the picture).
WACO was another Max Lamb piece. Max was primarily a western novelist, was this also done as a book?
No, it seems to me that this was an original script. Max Lamb wrote with a fellow that was very good named Harry Sanford. And Harry worked next door to Paramount, at Desilu, and I got to know him, and through him, I got to know Max Lamb.
Wendell Corey was quite good as The Preacher. I always thought he was under rated as an actor, even after THE RAINMAKER.
I knew Wendell quite well because Hal Wallis had brought him to Hollywood, and Hal was on our lot, and through Hal I got to know Wendell. And we were having lunch and talking one day, and I said, "What are you doing right now?" And he said, "Oh, I got some free time before I start doing -" whatever picture it was. And I said, "Hey, you want to come over and do a part?" And he said, "Sure." So he came in and did it. And what a fine actor, what a fine actor, Wendell Corey.
Your next production in 1967 was RED TOMAHAWK. Wasn't Betty Hutton supposed to star?
Well, she was indeed going to do it, and when Betty Hutton was on the lot, she was one of our biggest stars, and one of my closest friends. And I admire her, and have tremendous respect for her abilities, and she was going to do it. She hadn't done a picture in about five years, and she came in and saw me, and she was going to do RED TOMAHAWK, but unfortunately, she took ill on the first day of the picture she wasn't feeling well, and I re-cast her with Joan Caulfield who had been in pictures for me before, and again was a good friend. When Betty was ill, Joan happened to call me about something else, and I said, "I got a problem," and she said, "God, I'm sorry to hear that." And I said, "Could you do the picture?" She said, "Of course!" And I sent her the script and she came in the very next morning and we did it. I just talked to Betty - I talk to her every two or three months back east, and I'm very fond of her.
How did James Cagney come to narrate ARIZONA BUSHWACKERS?
ARIZONA – Poster for ARIZONA BUSHWACKERS, which was narrated by A.C.'s old pal, James Cagney.
Jimmy was up at the house one night having dinner, and near the end of dinner I had a telephone call from the editor who reminded me that we needed narration on the film. And I think it was Sunday night, and he said we have to do it Tuesday afternoon. And I said, "Okay, I'll put a note down that we have to do the narration Tuesday for the picture." And he said, "Well, who's going to do it?" And I said, "I don't know whose going to do it yet, but I'll get someone tomorrow (meaning Monday) and I'll let you know, and we'll set up a date. How about two o'clock Tuesday?" And he said, "That sounds good." And I said, "Okay, I'll let you know tomorrow who it's going to be." I went back to the table, and Jimmy said, "You got a problem?" And I said, "No, not particularly, Jimmy. We finished the show, and we need narration, and I'll have to get someone tomorrow." And he looked at me and laughed, and said, "I'm not good enough, huh?" And he looked at me, and said, "Well, you didn't ask me." And I said, "Do you want to?" And he said, "Sure." So he came and did it. But I purposefully didn't put his name on the screen, or announce that he was going to do it, because I thought that would have been taking advantage of a good friendship, and I was just grateful he wanted to do it. Of course, all the reviewers noted that he did that. Because it was well known that Jim and I were the closest of friends. So they put it in.
When the movie plays on television, TV Guide mentions it.
Isn't that wonderful? 'Cause he's so well known, and you can't help but know who it is when you hear it. But I didn't announce it, nor did I put it on the screen. But by association, our friendship, people knew about that.
Did you two ever talk about his directing one of the westerns?
No, we never did. He directed that one picture for me and I think that cured his directing bug. I thought he did a very good job, of course, but his directing never came up again.
NIGHT OF THE LEPUS is one of your more notorious credits; a sort of hybrid of western, science fiction and horror…
BUCKSKIN – The last round-up. A.C.'s final western for Paramount, although he'd soon make the notorious NIGHT OF THE LEPUS at MGM. Badmen Leo Gordon and John Russell can be seen giving Barry Sullivan a hard time.
Metro borrowed me from Paramount to do that picture, and we never made the special effects for it, there were supposed to be a lot of special effects in it, because of a change of regime and things, we never put all that in and I think the picture suffered for it. And I went to MGM, that was somewhat of a loan-out deal, because I was with Paramount - I've been always with Paramount - I just went over there, and I came right back.
You still used your stock company of DeForest Kelly and Paul Fix and Rory Calhoun.
Again, it was a case of working with friends and I always tried to do that if I could.
You've had such close relationships with your casts, yet you also used the same technical people over and over. Phil Lathrop shot many of these pictures. You were almost running a studio within the studio.
That's very nice, I love that phrase, you call it a studio within a studio.
Well, we had a good working team, and when someone joined the "family," I would just fall in love with them, and knew that they knew they were professional, they knew what they were doing, and they knew my particular needs, and my particular routine of making movies. So we just worked them together. We used cameramen, we used editors, we used assistant directors, we used grips, prop men, electricians, wardrobe people, and we had the whole little stock company of people, above the line, below the line, meaning in front of the camera, and in back of the camera. And it was indeed like a family, and everyone had only one purpose in mind, that was to make the picture, and make it as good as we could with the proponents we had. And I thought they turned out well, and they were a very, very successful series of pictures.
Every experience you've related has been a happy one, so can you pick a favorite of the westerns you made?
You know, it's tough to answer in a way, because they're all like your children. They're all a little different, they're all presented different accolades. They all presented different prides, they all presented different problems, and I had very few problems, very little to speak of. There was something in each one I liked, there was something in each one where I would say, "Gee, I wish we could do that over." Of course LAW OF THE LAWLESS was wonderful, because that was the first one I did. But so many of them, I look back over them, and going over the list of questions you sent me reminded me of a lot of the incidents, and places and things that we did, and it brings back memories.
DEADWOOD – Swearengen swears! Ian McShane was brilliant as the baddest of the bad in Lyles' shattering western series for hbo.
As a producer, you could have chosen any genre to concentrate on – gangster films, horror; what attracted you to the westerns?
I think it was a wonderful moral story to tell, with the good against the evil, and the good always winning out. And in that confine, in that framework, you could always put in a lot of action, with the good always winning out. And it's a universal story. The first movie ever made was THE GREAT TRAIN ROBBERY, a western. And you look back over the top pictures all through the years, and you'll find the western was always up there. I think people identify easily with the western also. The story transfers to all languages in the world, they all can follow the western very, very easily. Oh, sure, I'd love to do some more westerns for TNT, The Family Channel and things like that, and most of those cable shows have used the movies I've produced, the westerns. Turner has played them over and over again, and they're all over television now, and I would love to do some more. I have some very, very good scripts, and some books, I guess all told, seven, eight, ten projects - most of them in script form. And I would love to do, and maybe sometime I'll talk to somebody, and we'll do them. In the meantime, I'm at Paramount, I come in every day, I have a lot of different duties. I go out and speak a lot for the studio, I just got back from Jordan, I was at Florida State University, I was at Texas A&M. Last year I think I did fifty-seven appearances, either in front of a camera - talking about Hollywood and various people - or at dinners and luncheons and things like that. So I keep very active, and every place I go the people want to know about the westerns, and I'm always delighted to talk about them, because I'm very proud of them.
A.C.LYLES 2 – A.C. relaxing in the Paramount office he had for decades. The studio was his second home, and he was its goodwill ambassador.
PART ONE OF THIS INTERVIEW IS ARCHIVED FOR MORE GREAT READING!
Posted by Cheryl Pierson at 12:00 AM
Labels: A.C. Lyles, C. Courtney Joyner, Deadwood, James Cagney, John Wayne, Paramount Pictures, Rory Calhoun
Frank Roderus November 18, 2013 at 8:24 AM
Delightful. Thanks.
Renaissance Women November 18, 2013 at 1:11 PM
Oh my, the stories about some of the wonderful actors I so enjoyed growing up. The whole is so 'human'. I truly enjoyed you sharing your interview. Doris
Cheryl Pierson November 18, 2013 at 8:06 PM
Courtney, I have been out of pocket all day long, but I wanted to stop by and tell you how amazing these posts of yours are about the old Hollywood industry and the people who ran things. I had no idea of so much of this and it's a real awakening! Thanks for these!
Jacquie Rogers November 18, 2013 at 8:08 PM
I've really enjoyed reading both parts of this interview. What an interesting man, and encyclopedia of knowledge.
Courtney Joyner November 18, 2013 at 10:02 PM
First, thanks everybody for reading! I've been very lucky to know some wonderful folks who were part of the Hollywood we all grew up with (I know lots of people are younger than I am!), and I always loved hearing their stories, and to be able to share them is a special gift. But, as always, none of this would be possible without Cheryl's incredible work on the blog; I'm especially pleased with the use of the art, and how great it looks. Cheryl, you set the bar very high, and I thank you for it.
Cheryl Pierson November 18, 2013 at 10:32 PM
Bless your heart, Courtney! I have to say this one did take me awhile, but it was my own fault for not being more careful when I was doing the italics and bold contrasts between questions and answers. LOL Good practice, though.
I can't say enough how much I enjoy these posts of yours. There is nothing else like them. Just amazing, each and every time.
ChuckTyrell November 19, 2013 at 7:07 AM
Great stuff, Court. Really makes me want to go back and look for a bunch of those oldies. And some were goodies as well. Thanks for the backstage tour.
Tanya Hanson November 19, 2013 at 10:43 AM
Such good stuff here. I sure need to catch up on some oldies but goodies. Thanks!
Sarah J. McNeal November 20, 2013 at 5:32 PM
I remember so much of this cool stuff. Great article and I loved all the graphics.


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Captain Duncan William Grinnell-Milne MC, DFC (6 August 1896 – November 1973) pictured here likely in January 1919 in he red SEa5 names "Scheinhund". Grinnell-Milne was an English First World War pilot credited with six confirmed aerial victories, a prisoner of war who escaped from German captivity, a flying ace, and an author, initially serving with the 7th Battalion, Royal Fusiliers, he was seconded to the Royal Flying Corps before joining the Royal Air Force. Caption: Wikipedia
My wife occasionally sees an aeroplane that catches her attention. Some time ago, it was a biplane, a red biplane. I made a promise to build it for her and the following is the fulfilment of that promise.
Biplanes have always filled me with some level of trepedation; th rigging, the alignment, the open cockpit all lead to levels of detail and flat-out fiddliness that isn't my forte. I like weathering and texture, biplanes are about fine detail and accurate assembly.
This particular biplane belonged to Lt. Duncan Grinnell-Milne of No. 16 Squadron RFC. He had an adventurous war which included scoring several kills before he was forced down behind the German lines and captured. He was listed as "missing" on 2 December 1915 eventually being reported a prisoner of war in early January 1916. Two years later he escaped, made his way back to England and saw action again in the latter half of 1918. "Scheinhund" was DGM's SEa5 at the end of the war. According to his autobiography, there were three "Scheinhund" and I chose to model the third which was known to be painted red, though whether the "III" was present is unlikely – I chose some artistic license there.
https://en.wikipedia.org/wiki/Duncan_Grinnell-Milne
Building a 1/32 Scale Biplane
The following pictorial is a visual storyboard of my build, if you are interested in reading the build as it unfolded, the full build diary is logged in the Britmodeller Aircraft WIP Section.
This is a very easy kit to assemble. I found the fit to be vey good, the engineering such that it lead to an intuitive build, and the resulting airframe to look the part. The engine is very detailed considering it can't be seen in the finished model, but it is necessary nonetheless because the rocker covers are visible, and the exhausts attach to them.
I put a bit of effort into the cockpit as it's quite open – or appeared to be. As it turned out, when everything was closed up there wasn't much visible.
The colour scheme is a simple one; red fuselage, PC10 for the top sides of the wings (a green colour that elicites much debate as to its exact shade which can apparently run from a green-brown to olive green) and linen dope for the underside of the wings.
I put a bit of effort into painting the propeller and was very happy with how it came out.
The markings were derived form the kit instructions and the above photo. I designed the masks and cut on the Silhouette cutter.
It was at this point I learned that the PC10 wrapped around the wings so I needed to mask and paint that.
I used fine elasticated line for the rigging. Working methodically began with the tail and the attached all of the ing lines to the upper wing before attaching that to the struts. The top wing was then attached to the struts (which required a little pressure to align correctly) and then I methodically attached each line to its correct placement.
I used aftermarket scale shackles for the attachment but this actually incorrect for the SEa5 as it used profiled rigging wires which did not use tensioning shackles.
It wasn't as bad as I feared it would be! I actually enjoyed this much more than I though I would. The rigging wasn't as difficult as I thought it would be, and the overall result far exceeded my expectations. I wouldn't call my self a convert to WW1 or biplanes, but I will build more, that's for sure.
References and Sources
Aside from the included contemporary photo my only reference was the Wikipedia article linked below. I was also the beneficiary of some great advice and assistance from a few individuals on the forums at Britmodeller.com
If you are interested in following the build as it unfolded, the full build diary is logged in the Britmodeller Aircraft WIP Section.
This article, its text, and photos of the model is my original work and is protected by copyright in its entirety, except where noted. All research sources are listed in the References and Credits section above, including photos from official sources. All other images and quoted content were sourced from the internet and are used here under protection of fair-use. Any copyrighted content will be happily removed and/or credited forthwith upon request by its rightful owner.
Posted in General ModellingTagged 1/32 Scale, biplane, First World War, RAF, Roden, SE.5a
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Q: REST API for Complex Queries How do I implement count, group by, and other commonly used SQL constructs using GET REST API calls and still adhering to good standards? I haven't seen any documentation that describes how to do this. Are there any standards already in place? Any help would be appreciated. Thanks.

A: From the other answer, I think you are looking for this:
POST /books/search

    {
        "keywords": "...",
        "yearRange": {"from": 1945, "to": 2003},
        "genre": "..."
    }

There is nothing un-RESTful about this endpoint. It accepts data
  (entity) in the form of the request body. That data is the Search
  Criteria - a DTO like any other. This endpoint produces a resource
  (entity) in response to the request: Search Results. The search
  results resource is a temporary one, served immediately to the client,
  without a redirect, and without being exposed from some other
  canonical url.
It's still REST, except the entities aren't books - the request entity
  is book search criteria, and the response entity is book search
  results.

Look at this answer for more details: https://stackoverflow.com/a/31984477/37083
Using this structure you can easily expand the search with other complex items
POST /books/search

    {
        "keywords": "...",
        "yearRange": {"from": 1945, "to": 2003},
        "genre": "...",
        "groupby": "year",
        "countby": "keywords"
    }

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