This TX3 non-turbo was spotted on trademe NZ in October 2018, asking just $1,500 NZD. The inside upholstery is very good overall, and goes well according to the seller. Check out the others on the Laser TX3 register.
This genuine Leyland Mini 1275 LS from Maitland NSW is in great condition for such an original car, with the current owner having spent the last couple of years focusing on servicing the car's mechanical components. Recent work has included a new radiator and water pump, reconditioned alternator, new CV joints and reconditioned brakes. The car has received a full tune and runs well with the engine said to be very strong. It comes with the set of 12 inch Minilite style wheels with good tyres, as well as its original steel rims (fitted with new tyres) and LS plastic hubcaps as shown in the images. The car is currently on non-transferrable club registration, but will come with full NSW registration and "LS1275" number plates.
The seller has advised that this example has very little rust in the body, with only surface rust appearing on outer door panels. The sills, floor, gutters and A-panels are completely rust free, a product of the car being kept in storage for many years prior to the current seller's ownership. As one of an estimated 800 produced, it's not often you see such solid original LS examples come up, and this one even has its original radio still fitted. Given the age, the rare red velour trim is in good condition, with only the driver's seat having a couple of tears which would be easily repaired.
As BMC Australia's last Mini (other than the Moke), having a 1275 LS will put in you in a very exclusive club. There is a network of LS enthusiasts on Facebook, and Classic Register maintains an original vehicle register for the LS cars, along with a detailed 1275 LS information guide to assist with restoring your LS to original specifications.
For more information or to arrange an inspection, please contact Richard by telephone or email, by clicking the contact seller button above.
This very original example was spotted on carsales.com.au in September 2018, asking $18,000. There are plenty on the market far cheaper, but it's hard to come across examples with relatively low mileage and limited modifications. This one appears completely stock down to the original rims, which is what we love to see. An awesome Group A rally car, they can cost a fortune to maintain, repair and restore - this one looks to be in a condition that would'nt require much expense, particularly if you only intended to use it as a weekend or club car.
This example was advertised on carsales.com.au in September 2018, asking $65,200. This car has been meticulously restored to its original condition. The motor and gear box has been completely stripped and rebuilt by professionals. The car has been rarely driven since its restoration and clocked less than 1000 miles. The photos illustrate areas like the underbody protection coating, the new Westminster style carpet and interior, and the attention to detail with respect to original componentry. No expense has been spared in this restoration.
This S, although not a full matching numbers example, was offered at a fairly reaosnable $12,500 AUD in September 2018. It's hard to find an S of any condition under $15K these days. This one needs a lot of work to get back together, but most of its there and its a genuine Cooper S. Has all numbers matching except for engine block according to the seller Engine block is 9fsay Cooper S Block which is bare. Gearbox housing has no internals twin Carby's cylinder head complete twin tanks good floors good boot floor, and widened Cooper s wheels and aftermarket widened mudguards.
The color Atlas Green has been added, I don't know when. Original it was Viper Green.
Another TX3 from New Zealand - and another non-turbo example. This one looks in good orderm with 200,000 on the clock. The seller at the time it was offered (September 2018) noted the car had been with the same family for 20 years. Check out the others on the Ford Laser TX3 register.
Spotted advertised in September 2018, this rare TX3 non-turbo was advertised in NZ asking only 3K - relatively high mileage at 243,000, but not bad considering its age. AT the time it was ofered, the seller noted the interior is in good condition, and the exterior paint was very clean with a few minor scratches and chips present.
Check out the others on the Ford Laser TX3 register.
Datsun 200B SSS coupe - hardly see them come up anymore. This one looks to be in great condition and was spotted for sale in September 2018 in Sydney, asking $5,900.
Ckeck out the others on the 200B SSS register.


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Posted 16th of November, 2022
A Personal History of the AppSec Industry
Security Leadership application security owasp
By John Viega Share
A reflection on my journey from academia to industry over the last two decades
A few weeks ago, Jim Manico reached out to get information about the history of Application Security, in preparation of a keynote, which he will be giving tomorrow at the OWASP conference. Writing down my remembrances resulted in more than Jim was obviously going to be able to use, and we agreed that I'd post my full note to him.
Pre-history
While I was part of the birth of the industry, there is obviously a long pre-history. Certainly, the notion that software could have security flaws can be traced back to the birth of network computers. And some of the attacks in the CIAAA model (Confidentiality, Integrity, Authentication, Authorization, Availability) pre-date modern software… like the man-in-the-middle attack is well over 100 years old, going back to the ham radio network.
By the mid '60s, there were definitely known security vulnerabilities, but I've never heard anyone who knows the details. Lots of old timers have said William Matthews from MIT found a Multics bug in 1965 that allowed him to read the password file, which I'm told ultimately led to password hashing (crypt dates back to the early '70s), realizing that kind of thing could happen again.
The whole idea of setuid and setgid dates from the early '70s as well, attempting to put access control around software. That clearly was problematic by the end of the '70s.. chroot() started a slow move toward process isolation, and that I believe was late '70s.
The term "hacker" being applied to computer intrusion (as opposed to the way most of us wanted it to be used) dates back to 1983 (https://www.edn.com/hacker-is-used-by-mainstream-media-september-5-1983/). It was pretty popularized by Sneakers in 1992. Somewhere in there was the Morris Worm, which is the first time people started talking about buffer overflows, even though I'm 100% sure the problem was a known thing by the early '70s.
When I got on the Internet in the early '90s, everybody who understood anything about software knew that there were plenty of bugs. Social engineering and hacking definitely went hand in hand, and the perception many people seemed to have through the early '90's was that it was possible to get remote access via an exploit, but privilege escalation was more about getting credentials, either through password cracking or social engineering.
Still, there were already plenty of known local exploits in use. In 1994, students in my school's CS department generally were allowed root (to my recollection anyway), but when there was an issue getting it when needed (and the sysadmin wasn't around), I remember people downloading exploits to get the access they needed.
I also remember in '94 discovering quite by serendipitous accident a command injection problem in the SGI Iris login, where I could put my username as "|xterm" and get an xterm as root. Then I could start up the window manager. I'm sure command injection was a thing way before that… I'm quite sure I'd seen at least another bug like that prior, and the term was probably already a thing. But I was inspired when I learned how the login prompt actually worked!
By the mid '90s, there was plenty of awareness in tech circles that software security could have real consequences, but it wasn't yet an industry.
Birth of an Industry
Frankly, the seed of software security becoming an industry in my view wasn't the government, despite them having spent decades understanding the core problems and trying to build themselves secure computer systems (they were even using exploitation themselves no later than the mid-'90s).
I think software security started moving towards being a real commercial industry with the birth of Java in 1995. When Sun Microsystems released the original Java white paper, and they made a big deal out of security, touting it as one of the primary advantages. While they didn't charge for Java, it was immediately clear that the language would be popular for enterprise applications, and the language emphasizing security suggested that companies using the language would start taking application security seriously.
The security features in Java themselves were not anything too esoteric. Plenty of other languages of the day had bounds checking on arrays, and lacked pointers. And Java certainly (over-)emphasized untrusted code security, under the assumption that everyone would be running Java Applets in their browser all the time. For instance, they helped promote code signing and verification, sandboxing, and a lattice-based permissions model. Again, none of this stuff was new; the permissions model was based on Bell-LaPadula, which dates back to the early 1970's.
Still, it built awareness among people who built software, more than anything else who had come before it. Before Java, it seemed like people in the know assumed that getting hacked might be inevitable if you ran a system on the internet, but that it wasn't likely to be a big deal, and that getting root was far less likely, without some social engineering.
That's not to say it put most developers into a panic… virtually no developer thought about anything more than password authentication or encryption before Java. After Java launched… a few people started to care, and it ended up on the radar of a few more people.
I wasn't actually into security at that point, myself. I was into compilers and programming languages. When I got out of grad school in the fall of '98, I went to work for Reliable Software Technologies (RST, which in 2000 or so was renamed Cigital). Gary McGraw, the CTO, hired me, and he was one of those people Java had inspired. He had already been doing Java security research… when he got there, they had originally been focused on software testing, and that was still almost all of their business (they were mostly doing gov't research grants).
When I got to RST, Anup Ghosh had recently received an ATP (Advanced Technology Program) grant for NIST, but their original idea failed fast, and they needed something to replace it, that NIST would like enough to keep the funding in place. I was already interested in program analysis, and saw the opportunity to apply it to security. The code name of the project was "Mjölnir"… we focused on C code, and it was WAY WAY WAY too slow… the computational complexity of the algorithms, on the hardware of the time was an issue. And getting it working on any real C programs was a huge issue, due to the complexities of the language, and the diversity of language extensions in various compilers. It was clearly going to be a lot of work to get something practical. But, as far as I know, this was the earliest tool for static analysis for security vulnerabilities. But it was overly ambitious, and while it worked on toy programs, never could work with anything large. It certainly never would have scaled to most real software.
By early '99, it was clear to us that companies were definitely interested in getting code reviews— Gary started selling them, and two of us started delivering them… myself and Brad Arkin (long time Adobe CISO and now Cisco's Chief Trust and Safety officer). We did engagements for companies like Symantec, Visa, Schlumberger (lots of smart card work starting around that time). The most fun engagements were for online gambling and casino companies! If there were other people doing commercial code reviews by then, I wouldn't be surprised (I'd expect some people who were sharing vulns on the Bugtraq mailing list were probably getting engaged by forward thinking people who had read Bugtraq). Still, I have never seen anyone claim to be offering a commercial security code review before we were. Tons of companies popped up shortly after, though! And many of those people ended up doing work for governments… there's a secret history there that I'd personally be very interested to learn about!
The start of SAST
Sometime later in '99, Gary heard somehow that the l0pht might be for sale. I went up to Watertown, and spent time with mudge and co, where they showed me a project they'd recently been working on, which they called "slint" (i.e., "security lint").
I'd been so busy trying to make fairly accurate analysis practical, that I'd missed the fact that you could still get plenty of value out of a pretty cursory analysis. Slint open my eyes— at the time, it was essentially little more than grepping the output of the "strings" command (at the time, it required the binary to have symbol information), which meant it was going to spam people with false positives. BUT! It would tell someone manually auditing where to start looking.
We hadn't been able to use our own tool on code review engagements, but we sure could use something like this.
So that weekend, I built ITS4, which was the first publicly available static analysis tool for security, and then a couple of my co-workers helped me add to it over the next few days. It tokenized code, and did basic pattern matching on the token stream. I wanted to open source it, but RST wouldn't allow it… they went with a "free for non-commercial use" license, and insisted on calling it "open", which caught them some grief at the time. But the tool took off, and we definitely got a lot of mileage out of it in our own engagements. This was the first publicly available static analysis tool.
In the early days after the tool came out, I heard from plenty of people using the tool to find real security vulnerabilities, which mainly were being pushed out through Bugtraq and eventually the Full Disclosure mailing list. There was a big community already, focused on getting software vendors to fix their security issues, and very early on realized that nobody was going to start fixing bugs until there was a very real threat of those bugs being used against customers, or, perhaps more likely, of being embarrassed due to negative publicity. Before too long, this community definitely eventually spawned plenty of other people doing paid code audits.
Books and a broader community
Not long after, I left RST, and spent most of my waking hours in Dec 2000 / Jan 2001 on writing the book Building Secure Software, which was the first book for developers on security (co-authored w/ Gary). I don't remember why it took so long after the first draft was done to actually hit shelves (6 months, IIRC). But I do remember catching wind that Mike Howard and David Leblanc at Microsoft were working on a book, and agonizing over why it was taking so long for ours to ship :-). In the end, we still won that battle, but only by a couple of months. Both books did well for tech books in those days, but Mike and Dave's book made a huge impact on Bill Gates, who transformed Microsoft's engineering practices as a result, which ended up having a huge impact on the industry in many ways.
Over the next few years, both Gary and I went on to write a few more books (oddly, while the first one sold incredibly well, the OpenSSL book was by far my best seller, because it was also widely used by networking people, not just developers). I even wrote a couple of books with Mike and Dave.
Our first book definitely ended up inspiring a lot of people at the time. One gentleman working at Charles Schwab reached out to me after he read it, indicating he was going to start a non-profit around Application Security, and wanted me to join the initial advisory board. That's how I met Mark Curphey (my now co-founder), who was the original founder of OWASP. That advisory board included Greg Hoglund and Chris Wysopal. That's how we originally met, and now our relationship is old enough for alcohol, even in the US :)
The book led to a swarm of consulting offers… before the book even was published! I ended up starting a company called Secure Software with a few friends in early 2001.
At our crappy startup, the consulting was paying the bills, along with a DARPA grant to go work on static analysis. While working on "good" static analysis again, we produced RATS, a proper open source multi-language security analysis tool a la ITS4, which was widely used for a long time in code audits, more so than commercial tools due to support for more languages, ease of use, and being free. David Wheeler also ended up producing a similar OSS tool called FlawFinder, and wrote his own book on Software Security somewhere in there.
At Secure Software, our commercial product was much more efficient than what we'd done at RST, while being vastly less noisy than anything else out there (including my own stuff). We also licensed a commercial front end, helping make it possible to analyze real software in C/C++ and Java.
Sometime in 2002, while we were working on the commercial product, Ted Schlein, then from the VC firm Kleiner Perkins (one of the top names of that era), reached out, because of the book. He came to our office on the East Coast with Roger Thornton. He said he had been inspired by the book, and strongly believed in static analysis as the right approach for security, so had founded Fortify, along with Roger. They had one developer prototyping then, but wanted to see if we wanted to join up… especially when they found out we were already building a static analysis tool.
We ended up turning them down, because moving to California was an explicit prerequisite, and that wasn't something we were willing to do. Instead, they next went to Cigital, and, I'm told, ended up licensing ITS4 from them. Later on, in 2006 (well after I'd left Secure Software), they ended up buying the company, with hopes of upgrading their analysis engine… because the false positives from ITS4 turned out to be an issue after all :). Though, Secure Software had basically lost, in part because the friction needed to integrate with the build process was too much in the early days for something that was a "nice to have".
Plenty of other people were working on both static and dynamic analysis in this same window. Commercially, Ounce Labs was a late entrant into the space (eventually sold to IBM, when HP bought Fortify). SPI Dynamics led the pack on the dynamic side as the first GREAT tool in the space, and is how I first met Caleb Sima (now CISO at Robin Hood). They were primarily competing against a company called Sanctum on the dynamic side.
Dynamic tools were easier to deploy, and better equipped to handle the explosion of discovery happening in exploitation techniques, as many of those techniques were web exploitation techniques (starting with cross-site-scripting). Those companies may have started showing up a bit later than the static analysis companies, but they sure did take off a lot faster.
Academia was also writing papers on security analysis (particularly static analysis), though the literature was generally behind what had already been done in the existing commercial products, emphasizing the poor feedback loop between academia and industry for large swaths of the security industry (cryptography is the big exception there). Still, one group in academia was doing good work on making techniques practical, and spun out a company called Coverity, which ended up, after a few years, being the best all-around solution in the early days of SAST.
Meanwhile, Slint didn't die, but took a long time to gestate. After Symantec acquired @Stake, which had acquired the l0pht, the technology had made great leaps, and eventually Symantec decided that, instead of trying to make their own business in the AppSec, decided to spin it out into its own company. That became Vericode, which not only was the first commercial binary security analysis product, but also was the first to take a SaaS-based approach to the problem. They rewrote the rules for the SAST space early, and forced everyone to adapt, and it's no surprise in retrospect that they were really the most successful, most long-lived of the early companies in the space.
Other Early Activity
While at Secure Software, Microsoft started heavily pushing their SDL, but I was getting a MASSIVE amount of feedback from people that it was too heavyweight for anyone other than Microsoft. So I built CLASP in response— the basic idea was to document process best practices, including pros/cons, etc. and then let people decide based on their needs. I donated that to OWASP, and my Secure Software co-founder, Pravir Chandra, ended up working with Gary to evolve it by actually measuring what real companies were doing, which ended up becoming BSIMM, which was still going strong the last I looked.
The US government was already interested in outside validation of security, and by 2002, under the Navy-Marine Corp Internet project, they spent a lot of energy not just auditing critical software assets, but also trying to put together an automated assurance pipeline around the burgeoning tool space. Their vision was essentially billed to me as a "Nutrition Fact Label". They were too early on vision, but the government doesn't seem to have ever lost sight of the goal, as I see echos of it in the way the government currently talks about SBOM (Software Bills of Materials).
Also in the early 2000's, a lot of great work in the industry that had been done on mitigations was becoming more mainstream. Particularly, it seemed that Crispin Cowan's work on stack canaries from 1998 (and other related things like AppArmor) had inspired a bunch of work from the OS and hardware vendors, leading to ASLR (first saw it in PaX in 2001), and DEP (2003). Meanwhile, in 2001, the NSA released SELinux, and their push to get it into the kernel resulted in the LSM framework (Linux Security Modules).
Though, OpenBSD deserves the credit for being the first modern operating system to take security seriously, dating back to the mid '90's.
Also in the early '00s, I did the AES-GCM algorithm with David McGrew (from Cisco), which isn't quite software security (if were to expand the tent to Cryptography, this post would instead be a book). Still, it's interesting to me that it's probably had the bigger impact on the industry compared to ANYTHING else in the software security space from the '00's (it's the default TLS cipher suite, and is responsible for 70%+ of all encrypted traffic). Why was it a success? Because it was open, easy to use and effective. Nothing in SWSec from that first decade came close to ticking all three boxes, and it's a lesson the industry hasn't absorbed very well.
At the beginning of 2006, well before the Secure Software exit, I left the company to take an exec role at McAfee, back before it was embarrassing to say I worked at McAfee :). Mark Curphey was there at the time, had suggested me to their CTO, and encouraged me to take the job. It turned out, he did all that so he could offload ownership of Product Security :) I focused a lot on metrics and prioritized code reviews, when everyone else was focused on developer training (I was already convinced that, for 95+% of engineers, training was mostly an expensive waste of time). I also hired some of the best code auditors of the day… people like Mark Dowd, Brandon Edwards (drraid), and Stephen Ridley (sa7ori). I remember being forced to let the NSA audit a big, important product… I had Mark Dowd audit it first, and learned that the NSA was only capable of finding a small fraction of what Mark could :)
As an interesting footnote, I ended up hiring Ryan Permeh to run product security for me. After McAfee, he went on to found Cylance, and is now a partner at Syn Ventures… who've invested in Mark's and my current company (Crash Override).
By mid-2008, I totally walked away from Application Security. I almost completely stopped paying attention to it, and am only now coming back to the space. I was jaded when I left it, because WAY too many people in our industry felt like:
Security was far more important than the rest of the business, and that businesses should incur any cost required to be as secure as possible.
Developers should be able to be trained to the point that they'd be great at security (never mind the fact that is'a a massive, complex subject), and should even be accountable for security issues in their code.
And, at the same time, VERY few developers cared much, they were still fighting tooth and nail NOT to fix things that people in the industry new were exploitable.
In short, many people in AppSec were VASTLY out of touch with the realities of the broader tech community, and pretty much NOBODY wanted to hear me disagreeing with the "secure all the things" mantra.
Thankfully, the industry has gotten a little more pragmatic after a decade and a half, though (though I still hear echos of those old sentiments in a few places). So even though I have totally ignored the field, I'm having a lot of fun wading back in!
My apologies for any of the good work from the industry's early days that I overlooked. I'll invoke my advancing age as an excuse for my forgetfulness.
© 2023 Crash Override Inc.
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PSRA Honors McIntosh/Hand Family
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The Philadelphia Squash Racquets Association honored the McIntosh/Hand family at the 2018 FS Investments U.S. Open with the PSRA Service Award.
The McIntosh/Hand family have been stalwarts at the Gwynedd Racquet Club in North Wales, PA. The club—nicknamed the Church of the Holy Racquet—is celebrating its fiftieth anniversary next year. Housed in a converted Methodist church, the key club has two singles and one doubles court.
Jud Hand managed the club in the 1970s and met his wife Liz Hand there in 1979. Today, Lach McIntosh is the president of the club. "Jud, Liz, Ian and Lach help make Gwynedd one of the most special clubs in the country," said Tim Dearnley, the president of the SRA. "We have twenty-four clubs in the PSRA, and everyone knows that Gwynedd is a real gem." Dearnley speaks from experience: he works part-time at the club giving lessons.
The world's oldest squash organization, the Philadelphia SRA—originally called the Philadelphia Association—was founded in 1903. Previous winners of the PSRA Service Award include Molly Pierce (2013), Ken Jaffe (2014), Frank Reidy (2015), Bill Lane (2016) and Andy Nehrbas (2017).
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What's Causing Superhero Fatigue?
Don't you love superhero stories? I know I do. They've been a part of my life since I was a child and I find the concept of superheroes fascinating.
My favorite heroes are the ones that inspire me to be a better person. They fill my heart with hope and wonder. They're far from perfect; they're flawed, they make mistakes, they have doubts and insecurities. But they still fight for those who can't defend themselves and stand for what is right, even if they're never acknowledged or rewarded for it. They try to be good people in a world where being good is not always easy and the right choice is not always obvious or straightforward.
A real superhero is defined by their choices and values, not their powers. But if you can send a positive message and inspire people while also displaying fantastic abilities in cool-looking fights, then why not? Don't tell me you wouldn't love to have superpowers too!
So only good things can happen when Hollywood decides that superheroes are the best and we should have tons of movies about them, right?
Superhero movies, assemble!
Superhero movies and TV shows are not exactly new, but they have been trending for nearly two decades now. It's hard to know what convinced the movie industry that superheroes were a good deal. People usually point at the original X-Men trilogy (2000 – 2006) and Sam Raimi's Spider-Man trilogy (2002 – 2007), both two-thirds successful with audience and professional critics, but I'd say it goes as far back as Blade (1998).
Nobody could have foreseen the behemoth that Marvel Studios would become without some of its most famous characters, but they changed the game again in the past decade. Now we not only had sequels, we had a shared universe. Superheroes with their own stories and mythos, who would occasionally meet to fight threats they could only defeat together. No doubt it was an ambitious project, but oh boy, was it worthy. The Marvel Cinematic Universe (MCU) became a true cash cow.
Hollywood was in love with superhero movies, and so were we. We just weren't ready for…
The Attack of the Superhero Fatigue
To Warner Bros. and DC's credit, the concept of "superhero fatigue" precedes their shared universe. By the time Man of Steel (2013) opened the DC Extended Universe (DCEU), Marvel already had seven movies under their belt, Fox had a franchise of five X-Men movies, and Sony was exploring their second Peter Parker.
At some point along the way, superheroes were no longer fresh and innovative. In fact, people were growing tired of them, causing the so-called superhero fatigue. The main cause for this feeling seems to be the ever-growing amount of superhero movies. That was four years ago, so how many films are we talking about now?
Our little overachiever Marvel currently has 16 movies in their franchise, with one more to be released this year, three next year, and three more planned for 2019. Marvel's television shows are also part of the MCU (though it's a rather one-sided connection, if you ask me), so if you wanna count them we have three shows on ABC, soon-to-be-six on Netflix, one to come on Hulu, and two to come on Freeform.
The DCEU has four movies and one more to premiere this year, but they're trying to make up for the lost time. There's a bunch of stuff planned or being discussed, including at least Aquaman next year. DC has a solid television universe, but it's not connected to the movies and you can count them as separate entities.
Before joining the MCU side of Force, Sony already had five Spider-Man movies, with only five years between two different incarnations of the hero. Third time's the charm!
Fox already has ten X-Men movies, with three more to come next year. They also created three Fantastic Four films, whose main function was to prevent Marvel from getting their hands in the likes of Galactus or Doctor Doom. For television, you have Legion and the upcoming The Gifted, which are related to the X-Men movie universe, but also work perfectly fine as standalones.
Not all those projects were quality storytelling or well-received, but they gave enough financial return to appease the Gods of Capitalism, so more will follow. Is anyone actually keeping up with all that stuff? Probably. I'm doing pretty well myself, though I boarded the superhero hype train at its first station.
What happens to people who haven't?
The Unstoppable Superhero Hype
There's a lot of potential in a long-running superhero franchise. Superheroes have more than their fair share of weird or forgettable stories, but they also have great arcs that can only be told when the public is already familiar with the characters and their universe.
As an old fan of superhero movies, I love when we pass the origin movie phase and see the shared universe grow. I love how different movies are connected and keep referencing each other, even if only through easter eggs. For a newcomer, though? That must be a nightmare. How do you penetrate a six-and-ten movie universe and its eight, soon-to-be-twelve, related television shows? The more you wait, the larger the universe becomes. It's daunting.
Maybe you don't even want to join the superhero cult, you just want to have fun watching this one movie and not the other five that it will reference to some degree. To be fair, most superhero movies work as standalones, but nowadays none of them are entirely devoid of references to its shared universe. Some of them straight up don't make sense without the predecessors.
Yet no creature is more unfortunate than the person who couldn't care less and would rather avoid superhero movies altogether. Maybe only someone who wants to avoid Game of Thrones? No wonder superhero fatigue is a thing, those movies are everywhere and the marketing for them can be quite aggressive. And how do you geek without getting sucked into this fandom? You can't escape fandom discourse or fanworks about it, some of your friends are probably into it, you'll be missing several pop culture references, etc.
It almost feels like you don't really have the choice of avoiding those movies. In this light, superhero fatigue becomes almost a form of resistance. Stop throwing superheroes at me, Hollywood! Don't you have any '80s classic to desecrate?
But wait, there's more!
Although I understand the reasons why people wouldn't be interested in superhero movies or why they would be tired of them by now, those feelings don't apply to me. Every few months I still gather my friends to watch the latest superhero flick and we still have tons of fun.
Except… I can tell I'm not as excited for upcoming movies as I used to be. I still have a great time when I watch them, but I no longer spend months or even years in anticipation. I'm eager for some of the upcoming projects, but as individual pieces and not as a franchise. I no longer fangirl as enthusiastically as I used to. What happened? Are those early signs of a superhero fatigue?
To be clear, I don't think there's a decrease in quality. In fact, some of my favorite superhero films were created over the past couple of years. Maybe it's just the excess of new stories, and I suppose there's truth in "too much of a good thing", but that explanation was never entirely satisfactory to me.
I stumbled upon a better explanation a few days ago, when the internet exploded with the latest rumors about the DCEU. Some of those rumors could be only described as "frustrating", but they made me realize what could be giving me superhero fatigue.
So here's my better explanation: superhero fatigue is less about quantity and more about the kind of story being told vs. what audiences want to see. The problem is not that we have a handful of new superhero movies every year, but that they feel very similar to each other, and not in a good way.
I know what I'm saying isn't new, yet when discussing superhero fatigue we put a lot of emphasis on the amount of superhero movies, and I don't think it matters that much. In fact, I dare to say that it wouldn't matter at all if we could fix bigger problems. What bigger problems, you ask?
Tone, story, character
If the undeniable success of movies like Wonder Woman tell us anything is that audiences are starving for stories that break the usual pattern of superhero films.
Three patterns in particular that can be causing superhero fatigue:
Here at The Fandomentals, we're not the biggest fans of grimdark. Not that grimdark stories or settings are inherently bad, of course; sometimes you need the bleakness to make your point, as with dystopian novels.
Sometimes, though, people mistake grimdark with maturity. It's shocking, it makes people uncomfortable, it's not suitable for children, so it must be mature, right? Well, not really. It's also not more "realistic", though I suppose that depends on how you approach reality.
It doesn't stop Hollywood from believing that a grimdark and "serious" superhero story will appeal to an audience that usually wouldn't come near this kind of movie. It may have worked for Christopher Nolan's Batman trilogy (2005 – 2012), but less so for DCEU's Man of Steel and its sequel Batman v Superman: Dawn of Justice (2016). Apparently there's such thing as grimdark fatigue as well.
Here's the thing, grimdark for the sake of "edginess" is a privilege. Our own reality has become quite bleak over the years and most of us have to deal with some sort of oppression, hate, or prejudice. Pretending to live in a Crapsack World is no longer that fun or relevant. But stories? Stories are more relevant than ever. They're a powerful tool to keep us going in times like these, to resist and refill our hearts with hope and positivity.
It's no surprise that Wonder Woman (2017) was so successful; it broke DCEU's grimdark-fest to give us a heroine that cared. Seeing that humanity was capable of terrible actions made Diana question her idealism, but never her hope. After Wonder Woman, I left the theater thinking how much I loved superheroes and everything they represented. After Batman v Superman, I wondered if the supermarket was still open because I needed to grab more pasta.
Superhero movies are often repetitive in the basic narrative structure they choose, giving us the feeling that we've seen that story before.
Origin stories are important to establish a hero's mythology, but we have a new one with almost every new character entering a shared universe. The most egregious case was Sony's Spider-Man reboot, which gave us two origin stories only ten years apart. There's only so many angles you can tackle uncle Ben's death, and you don't even necessarily need an entire movie for that. Thankfully, they learned their lesson this time and assumed we'd watched the other two movies.
Superhero fighting superhero is a cool concept on paper, but it doesn't always work. The heroes need a good reason to turn against each other and it must respect each character's motivations and personality. There's nothing worse than having your favorite character acting like a jerk for no reason (looking at you BvS).
Getting the heroes back together also needs to make sense, and the usual shortcut for that is coming up with a bigger threat. The problem is that we've seen New York nearly-destroyed and the world nearly-ending a couple of times by now. We're not that emotionally invested anymore. And you know what they say, when everything is big and impressive, nothing is.
Big, flashy action scenes are cool, but they don't necessarily make us care. The antagonist must have a deeper meaning for the heroes, and preferably require more finesse than just "hit it until it stops moving." A lot of superhero movies fail because their villains are not as interesting as their heroes. With all of Doctor Strange's faults, I love how the movie at least came up with a different solution to defeat its antagonist.
Look, I understand that from an industry point of view, it makes sense to stick to a successful formula. Marvel found a tone and a style that people respond positively to and they keep doing that. It's good to enter a Marvel movie session knowing I'm going to find a fun, entertaining story. It's less good when I think that's all I'm going to find, and the movie I'm about to see won't be bring anything unexpected, won't be provocative, won't make me think. My favorite superhero movies were the ones that surprised me.
This is probably the core of superhero fatigue, since you can't have a great range of stories when they're always about the same people. Different identities bring in different perspectives and different ways to interact with the world.
Marvel has been largely criticized for its lack of diversity, especially on cinema. With Black Panther next year, we'll finally have a movie that isn't led by a white man or an ensemble mostly composed of white men. That will be the movie franchise's 18th installment. Seriously, guys?
People have been demanding a Black Widow movie for almost a decade, but Captain Marvel (2019) will be the first female-led movie of the MCU. It will also be its 21st movie. Women of color? I hope you're counting green as a color, because so far they're barely sidekicks.
It doesn't stop there, nor should it. Where are the openly LGBT+ heroes? Or disabled heroes? Or neurodivergent heroes? Or Jewish heroes? Or Muslim heroes? Or Latinx heroes? Or Asian heroes? The list goes on, but very few people are given the opportunity to be superheroes. It's even worse when you consider that some characters had their original identities erased, like the Maximoff twins (originally Romani and Jewish) or the Ancient One from Doctor Strange (originally an Asian man). Comics have their own problems with diversity, so their adaptations don't need to make it worse.
I was going to say the television shows are doing better, but then I remembered someone actually approved Iron Fist.
How many more white dudes must we endure before we can see ourselves on screen and behind it? Before we can see our friends, our family? Judging by how audiences received Wonder Woman, not only is there room for diversity in superhero movies, but we're almost begging for it.
Why would Warner Bros. and DC answer that with a Batman movie, three different movies with the Joker, and Joss Whedon directing a female-led movie? Instead answer with Gotham City Sirens, and then Batwoman, Birds of Prey, and a Green Lanterns movie with Jessica Cruz and Simon Baz. Answer with more diverse directors, writers, cinematographers, producers, editors. Diversity and representation matter, and they should start behind the scenes.
Don't just give us more of the same when we made it pretty clear we don't want that.
How to fix superhero fatigue
The movie industry created superhero fatigue with its poor choices, but the good news is that the movie industry itself can fix it. I'm not sure it will, but it's the only way I see to save superhero films from becoming repetitive, boring, and uninspired.
How to cure superhero fatigue? Keep giving us superhero movies, Hollywood, but give us better movies.
Give us smarter stories that require the heroes to be resourceful and clever. Give us high stakes and emotional investment. Give us stories that surprise us. Give us deaths that matter. Give us what we haven't seen before, or at least not in the same way.
Give us our damn diverse stories, Hollywood! Give us characters of all backgrounds, of all origins, of all identities. Show that those identities matter, and that anyone can be a superhero. Give an opportunity to showcase new talents and new voices. Worship Diana of Themyscira and let her be your guide, but don't stop there.
Give us our hopeful, positive stories. Give us sweet cinnamon rolls saving and making the world a better place. Give us stories that inspire us to be better versions of ourselves.
Just…remind us why superheroes were worth falling in love with in the first place.
Images courtesy of Marvel Studios, Warner Bros. and 20th Century Fox.
Priscilla is a Brazilian writer, art student, psychologist, feminist and fangirl. Sometimes too passionate about stuff.
In this article:DCEU,Featured,Marvel,Marvel Cinematic Universe,superhero,superhero fatigue,X-Men
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Theatre 101 Series: Your Starter Guide to Building a Character
Life onstage, backstage, and offstage
The Theatre 101 Series is a set of introductory articles meant to explain theatrical concepts and situations to young actors as well as adult theatrical newcomers. View the whole series here.
As you begin your rehearsal process, you'll likely hear a lot about the importance of building a character. What exactly does this mean, and how should you go about it?
As always in theatre, this is a highly personal process, and I won't pretend to have all of the answers. Nonetheless, hopefully this article gives you a solid starting point.
What is "Building a Character"?
It's all there in the name: this is the process of creating a convincing character from the ground up. Think about what you'd want someone playing yourself in a biographical play to know and do on stage: You'd probably want them to understand you very well. You'd want them to be able to replicate the way you move and speak, as well as the way you relate with the people around you. You would expect the actor to present a complete "portrait" of yourself. You should aim for the same with every character you represent on stage!
When you understand your character in this way, you will be able to perform in a believable, compelling way.
The first step to building a character is to do your homework!
But where do you even start? Though not everyone's process would need to look like this, and there's definitely room for personal preference, here's a nice process template to get you started:
Research the author
Analyze the setting
Analyze the script
Reflect on your own experiences
A good starting point when analyzing any piece of writing is to figure out exactly who the author is. You can get some useful information about the story, themes, and characters this way.
For instance, when did the author live? You can make some inferences about the story with this information. Think of the difference between a story about a rebellious, headstrong woman written in Shakespeare's time versus today. Might it make a difference if this story was written by a man versus by a woman? What might the author's culture at the time of writing have said about that character when the story was first published? What might the author have thought about that character? Of course, if the author is still alive, discovering this information might be rather easy: you can probably find all sorts of reviews, analyses, and interviews online.
It also helps to see if the author published any other works. Many authors like to write about the same themes and messages. If an author is known for their stories about feminism, you might be able to infer that theme will come up again in the script in question.
Get an idea, if possible, of what the author stood for or believed in. Think about how a story with a child main character might change if you knew the author had a deep disdain for children in real life.
This is hard work, but you're not done yet. All of this information sets a solid baseline for further analysis!
Before you get into analyzing the script, you should always analyze the story's setting. Where does it take place? When? What is the culture surrounding the characters like?
Remember, every story takes place within the context of a time and place. People thought and behaved very differently in 1900 than they do today, right? Therefore, understanding the culture of a story is necessary for understanding how the characters might think and feel.
You'll want to scour the script for clues, but you also have lots of resources beyond the script to consult. If the story is set during the American civil war, for instance, you can easily find a wealth of information online or in books about that era. Try to find out as much as you can, especially about how the events of the era influenced the way people looked, behaved, thought, or talked.
If the story takes place in a fantasy setting, it may be hard to analyze the setting. You'll have to refer to the script for any hints about the culture of the world in which the show takes place. Your research on the author may also come in handy here: might any of your research about the author reveal clues about the kind of world they would be interested in writing about? Would the culture in which the author lived provide any clues about the culture portrayed in the script?
Analyzing the Script
Once you've done all your background work, it's time to analyze the script! This can be a pretty drawn-out process, and it will probably be the step you spend the most time on.
It helps to read the script at least once or twice (preferably more!) just to get the general gist of the story before buckling down to do your analysis.
Look for anything and everything you can find about your character. Is there a character description, physical or emotional, anywhere in the script? Are any mannerisms or physical traits described in the script? How does your character behave, and what do they say about themselves? What do other characters say about your character? What do the people they love say about them, and what do the people who dislike them say about them? Can you find any stage directions or author's notes that imply anything about the character? Important: How does your character feel about the other characters around them?
Perhaps most importantly, what does your character want? What motivates them? What stands in their way? How does this change from scene to scene? Do they get what they want in the end, or not? How do they feel at the show's end– how do they feel about reaching or not reaching their goal?
Any time you discover something new, make a note of it. It may help to write down everything you find on a sheet of paper so you can quickly look over every "clue" later. You can also organize these notes into seperate categories for easy review: Make seperate pages to keep track of physical traits or mannerisms, personal beliefs or statements, information about relationships with other characters, or more.
You probably won't be able to find exact answers to all of these questions in the script. In that case, you'll have to start turning to other sources of information.
This may seem obvious, but an excellent way to fill in the gaps in the information the script provides is to think about your own personal experiences.
Remember, though: You're not playing yourself on stage. So if your character is bullied in a scene and you're wondering how they would feel about it, remember that you're not asking how you feel, exactly. You're asking, if you were under the same circumstances, in the exact same situation, what you would feel.
Let's think about this further using the example of a scene where your character is bullied. Maybe you've been bullied in real life. It may have made you feel sad and dejected. But let's say the character in the show knows a dangerous secret about their bully, and knows they can get the upper hand by spilling this secret! If you were in the same situation as this character, you might feel empowered rather than upset.
Let's look at a different example. Say a teacher praised your character in a scene. In real life, you might be the kind of person who would be embarrassed by this. However, the script might imply your character believes they are better than others around them, and therefore expects this kind of praise. Given those circumstances, your character probably wouldn't be embarrassed.
One last example: Say your character's loved one passes away in the show. You may understand what this feels like. You would naturally expect the character to be sad. But say the script provides us with the knowledge that this loved one was the only person who accepted your character for who they were, and loved your character like a child. Say that the script told us this character was preparing to adopt your character and whisk them away from a bad home life. This sort of specific information allows you to create a much more specific characterization than simply "sad"! If you were in the same situation with the same circumstances, you might feel heartbroken, hopeless, or even betrayed. The more specific your characterization, the more compelling it will be on stage.
As you can see, there is value in using your own experiences to learn about your character. After all, you probably want your character to act like a human being, and since you are a human being, you have a lot of expertise to draw from! However, you must treat the script as king. Pay attention to what clues it provides about your character, and see if you can shape your experiences to perfectly fit those clues.
This is especially important if there isn't much information about your character in the script. There may be a lot of gaps in your character's biography if you only refer to the script. In these cases, it's time to use your imagination!
You may have to invent reasons why your character feels a certain way about another character, or invent backstories for what they're doing on their way to and from different scenes. Knowing this information, even if it's not in the script, will make your character feel more realistic and "lived-in."
For instance, say your character has been searching for another character, and finds them upon entering a scene. How might what you were doing just before entering make the scene more interesting? How might the scene change if you had been looking everywhere all day for the other character, and thought they were in danger? What if your character's parent had just scolded them for losing track of the lost character? What if your character had just been to the police station asking about them, and had received step-by-step instructions to reach the place the lost character was waiting?
Even if the audience never knew your exact reasoning for entering as you did, these choices would change the scene in small ways. Of course, you still have to follow the script– don't just make up characterizations that don't match the rest of the information you have!
Say you're in a scene as a background character– a character unnamed in the script who appears chatting with friends in a school cafeteria, or a named character who has a one-liner but no other information about them in the script. Your imagination will be doing a lot of work in this situation!
Once you've assembled all your information, put it all side-by-side. Capturing the entirety of a character's existence on paper is difficult, and constructing a comprehensive character from facts on a page is even harder!
After looking over all of your information, make inferences. Say you learned your character is a bold, brave, headstrong person. Even if the script says nothing about how your character looks or moves, you can probably make educated guesses to fill in the blanks.
Try to create a complete "image" of your character from your information, personal experiences, and imagination. While acting out lines and blocking, think about what the information you have tells you about how you should perform. If you ever feel "stuck" on a line, or don't know how to act a certain section, you can review your research and see if that sheds any light on your problem.
Always try to keep your character's personality and goals in mind while on stage. Remember, their goals and behaviors are your goals and behaviors! It's not enough to simply assemble all your information– you must also use it and convey it to your audience while on stage.
However, you shouldn't let your research hold you back, either. You should always try out new ideas and characterizations on stage. It's possible that your research won't necessarily always yield the most interesting or "playable" results. Therefore, never be afraid to step away from all the information you've collected and approach the script with fresh eyes. Otherwise your performance may begin to feel boring or stale to both you and your audience!
Building a character is one of the most fun and most challenging parts of the performing process! Careful analysis of your script and character can help you develop a more complete, interesting, and relatable performance on stage. Do your homework well! Remember, while the script can't answer all of your questions, it will help you a lot, and your imagination is always there to fill in the blanks when you get stuck.
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What Keeps You Alive (2018)
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Pssst, want to check out What Keeps You Alive in our new look?
Colin Minihan
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3.4% (1:29)
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* View IMDb information
Lilu Milcalova
what a bunch of crap, predictible until the end, unlogical, good photography thought 2 years 6 months ago
ikkegoemikke
She fell off a cliff.
911, my wife, she fell off a cliff.
Oh, my God! Please help me.
Some marriages fail because married people come to realize that their interests are different or because there are too many contradictions that lead to endless quarrels. It hurts when you are going through a divorce. And some divorces turn out to be ugly. The only thing you can say is that, under normal circumstances, both individuals pick up their lives and try to find happiness again. Things are completely different for Jules (Brittany Allen) and Jackie (Hannah Emily Anderson). For one of them, divorcing is a hobby. And the divorce happens in a very abrupt and deadly way. The comparison with a black widow is easily made. And the reason is rather lucrative.
"What keeps you alive" is a thriller that differs in many ways from similar films. Firstly, this time there's a female serial killer. You won't find many women in the "Hall of Fame" of serial killers. The only one I can remember is Aileen Wuornos who was excellently portrayed by Charlize Theron in "Monster" in 2003. It's mostly men who fill the list of psychopathic, crazy serial killers. And second, they introduce a lesbian couple. The advantage compared with a standard couple is that there's no question here of the stronger gender dominating the female gender. And before I end up being called a sexist bastard and feminists furiously start to throw with frying pans: I don't have a problem with sexual orientations whatsoever. I thought it was a unique and interesting starting point and I was curious how the display of power would manifest itself.
From the outset, it's clear Jules demands the male role in this lesbian relationship. Not only does she look more masculine than Jackie. She also moves and dresses like the stronger woman. Her girlfriend is an attractive young lady who takes care of dinner and afterward plays the guitar just for the fun of it. Only it's not a cheerful campfire song but a strange kind of mesmerizing song about a demon. The phrase "Better run for your life, boy" sounds rather threatening. And certainly when you see Jackie's frightening look. A bit like how Eddie Vedder sometimes looks at you in the video clip "Jeremy". That could be the harbinger of disaster.
"What keeps you alive" certainly isn't a bad film. However, it's just an average thriller. A film about how some individuals present themselves very differently from who they actually are. So Jules soon comes to the conclusion that there are things she didn't really know about her lovely wife. When she discovers that Jackie used to have a different name in the past and that she already had several girlfriends, Jules starts asking herself questions. And before they realize it, the romantic get-together turns into a true struggle in which one of them tries to survive after being seriously injured. There are no real surprises. And there are also incredibly stupid moments, such as dinner with Jackie's childhood friend and husband. An implausible moment where I started to shake my head energetically. The result is murderous and the actions being taken might fit a horror. Still, I didn't think it was a horror after all.
Well, it's not really original. Every time it's about a cabin in the woods, you can assume that terrible things will happen. Admittedly, the film contains some beautiful images. The immense forest and the vast lake are adequately used as a backdrop. And the acting of both Brittany Allen and Hannah Emily Anderson is far from bad. I found Anderson especially convincing. The way her dark side takes over is wonderful to see. But you can't really call it more than a cat and mouse game. Even though the rowing boat scene can be called nerve-racking. And the final twist is sort of resourceful. However, this doesn't ensure that this Canadian thriller really exceeds the average.
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text:
layout: page
title: Island Liberated Corporation Dinner
date: 2016-05-24
author: Christian Aguilar
tags: weekly links, java
status: published
summary: Ut elementum ipsum at malesuada luctus. Nullam eu est.
banner: images/banner/people.jpg
booking:
  startDate: 05/19/2016
  endDate: 05/21/2016
  ctyhocn: ORFEXHX
  groupCode: ILCD
published: true
---
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* Donec nec quam egestas, porttitor purus a, rutrum nibh
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redpajama_set_name: RedPajamaGithub


text:
import React, { Component } from 'react'
import PropTypes from 'prop-types'
import { Block, Flex } from 'jsxstyle'
import { RED } from '../Theme'
import SmallScreen from './SmallScreen'

const Button = ({ children, ...props }) => (
  <Block
    component="button"
    color="#fff"
    padding="15px 10px"
    background={RED}
    borderRadius={0}
    cursor="pointer"
    border="none"
    textShadow="none"
    minWidth="80px"
    children={children}
    {...props}
  />
)

Button.propTypes = {
  children: PropTypes.node
}

const Input = ({ margin, ...props }) => (
  <Block
    component="input"
    padding="10px 8px"
    border="1px solid #d6d6d6"
    borderRadius="0"
    backgroundColor="white"
    height="42px"
    flex="1"
    props={props}
    margin={margin}
  />
)

Input.propTypes = {
  margin: PropTypes.any
}

export default class NewsletterSignup extends Component {
  static propTypes = {
    tags: PropTypes.string.isRequired,
    id: PropTypes.string.isRequired
  }

  static defaultProps = {
    tags: '125835',
    id: '129214'
  }

  state = {
    submitted: false,
    name: '',
    email: ''
  }

  getReqURI = () => {
   const info = {
      id: this.props.id,
      api_key: '0DZDEQZjU_laOYXzD6cQRA',
      name: this.state.name.trim(),
      email: this.state.email.trim(),
      tags: this.props.tags
    }

    return Object.keys(info).reduce((prev, next, index) => {
      const and = index === 0 ? '' : '&'
      return prev + and + next + '=' + info[next]
    }, '')
  }

  handleSubmit = (e) => {
    e.preventDefault()
    window.location.href='https://reacttraining.com/online/react-router'
    /*if (this.state.email) {
      const request = new XMLHttpRequest()
      request.open('POST', `//api.convertkit.com/v3/forms/129214/subscribe?${this.getReqURI()}`, true)
      request.onload = () => {
        if (request.status >= 200 && request.status < 400) {
          this.setState({
            email: '',
            name: '',
            submitted: true
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      request.send()
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  render () {
    const { submitted } = this.state
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        {(isSmallScreen) => (
          <Block
            background="white"
            maxWidth="700px"
            margin="auto"
            padding={isSmallScreen ? '40px' : '80px'}
          >
            <Block
              margin="auto"
              paddingBottom={isSmallScreen ? '20px' : '40px'}
              textAlign="center"
              fontSize={isSmallScreen ? '100%' : '150%'}
              fontWeight="bold"
            >
      {/*Sign up to receive updates about React Router, our workshops,
              online courses, and more:*/}
              As a companion to the documentation, we'll be launching a free course on React Router v4 within the next few weeks.
            </Block>
            <form onSubmit={this.handleSubmit}>
              {submitted ? (
                <Block color='white' textAlign='center'>
                  Thank you for signing up :)
                </Block>
              ) : (
                <Flex
                  flexDirection={isSmallScreen ? 'column' : 'row'}
                  justifyContent="space-around"
                >
                {/*<Input
                    value={name}
                    onChange={(e) => this.setState({ name: e.target.value })}
                    type="text"
                    name="name"
                    placeholder="FIRST NAME"
                    margin={isSmallScreen ? '5px 0' : '0 5px'}
                  />
                  <Input
                    value={email}
                    onChange={(e) => this.setState({ email: e.target.value })}
                    type="email"
                    name="email"
                    placeholder="EMAIL ADDRESS"
                    margin={isSmallScreen ? '0 0 5px 0' : '0 5px 0 0'}
                  /> */}
                  <Button type="submit">
                    {/*Subscribe*/}
                    More Information
                  </Button>
                </Flex>
              )}
            </form>
          </Block>
        )}
      </SmallScreen>
    )
  }
}


Is a Total acid number inhibitor that has been boosted for high temperature refinery inlet crude applications compared to oilfield production, but can be used for crude oils in production, going on the market or upstream processing units and product streams in the refineries.
In addition it contains an ionic suppressor, which controls the ionization of the Naphthenic acids and acidic gases. It will inhibit some of the reactions leading to the acidity of Naphthenic acids then to the gum forming Naphthenates from Naphthenic acids in crude oil production and minimize soaps of alkali and alkaline earth metals, organic scales in refinery heat exchangers. PC Inhib 90 can aids desalting by controlling naphthenate emulsified soaps and naphthenic acids from forming naphthenates. The stability of the scavenged TAN components depends on the temperature of application and reaction retention times.


Each classroom is set up with various developmentally appropriate learning centers that are intended to be used by the children. These areas are accessible by the children at various times of the day to encourage the development of fine motor skills. The learning centers are created with specific goals for brain development in mind, and are an integral part of maintaining a room that acts as a "third" classroom teacher. Our staff are involved in center play throughout the day by using comments and questions to help children expand spoken language. They will often document what the child says in print as a way to make learning more visible. Some of the centers you will see in the center are art, music & movement, blocks, dramatic play, nature/science/sensory. These centers are set up to promote cultural diversity, while providing a stimulating, fun and educational experience. They are intended to introduce skills in science, technology, math, and writing in preparation for school.
Children's literature is promoted through the use of high quality, developmentally appropriate books in each classroom. Teachers will focus their learning activities and lesson plans on themes, using these books. A variety of books are placed throughout the centers and in the reading areas in each classroom, in order to maintain a language rich environment.
ITERS – Infant/Toddler Environmental Rating Scales is used to measure the quality of an infant/toddler program by using a set of scales to evaluate personal care routines, furnishings, language, fine and gross motor activities, creative activities, social development, and adult needs. ITERS identifies areas where quality is already high as well as identifying where improvement is needed.
ECERS-E complements the ECERS-3 and extends the scales to provide additional insight into literacy, mathematics, science and environment, as well as practices related to diversity. It is a very useful tool for directors and teaching staff, for daily use in maintaining a high quality level of care throughout the center.
Developmentally appropriate practice, often shortened to DAP, is an approach to teaching grounded in the research on how young children develop and learn and in what is known about effective early education. Its framework is designed to promote young children's optimal learning and development. DAP involves teachers meeting young children where they are (by stage of development), both as individuals and as part of a group; and helping each child meet challenging and achievable learning goals.
What we learn about specific children helps us teach and care for each child as an individual. By continually observing children's play and interaction with the physical environment and others, we learn about each child's interests, abilities, and developmental progress.


Wagner, W. L. et al. 1999. Hawaiian vascular plants at risk: 1999 Bishop Mus. Occas. Pap. 60:15.
National Germplasm Resources Laboratory, Beltsville, Maryland. URL: https://npgsweb.ars-grin.gov/gringlobal/taxonomydetail.aspx?id=320394. Accessed 20 April 2019.


text:
Sabri Lamouchi backs Aro Muric to bounce back from blunder in Nottingham Forest defeat to West Brom
'Aro is a young keeper and he has a lot of quality. He will help us a lot this season'
20:54, 3 AUG 2019
Updated 13:19, 4 AUG 2019
Aro Muric will "help" Nottingham Forest a great deal this season, says Sabri Lamouchi.
The Reds boss has told the rookie keeper he must learn a difficult lesson from the 2-1 defeat to West Brom, in a game in which the on-loan Manchester City player will feel he could have done better with both opposition goals.
Muric allowed a shot from Kyle Edwards to slip from his grasp, before he was beaten by a cross from Matt Phillips, as the Baggies fought their way back from behind, following a well-taken goal from Matty Cash.
Reds head coach Lamouchi says the entire team must learn some difficult lessons from the game.
But he backed Muric to bounce back from a difficult Championship debut, saying: "It is just to be clever, smart, ready and focused, during the game.
"You adapt to the opponent and to the position of the ball. You adapt. But do not forget that he is just 20-years-old. He will make mistakes again.
"When the keeper makes mistakes, it can lead to goals. When a striker misses a goal or a midfielder makes a big mistake, it is different.
Forest beaten by West Brom
Reds ratings
Lamouchi's take
Fans react
"Aro has a lot of quality. Sometimes the quality is not enough. He needs to work on that.
"But, believe me, he will help us a lot this season. He responded and made a good save in the second half.
"It is too much to give two goals away in every game. We need to work hard and think about the next game now."
Kyle Edwards scores past Aro Muric in the first half at the City Ground (Image: Adam Fradgley - AMA/WBA FC via Getty Images)
Lamouchi wants his players to focus on the trip to Leeds next weekend, where they will look to bounce back with three points.
"We need to learn from our mistakes. Today we gave them two goals and that is not easy, to come back from that," said Lamouchi.
"Some defeats can bring positive things. We just need to work, but we know that. We need to learn from our mistakes and play with more personality and experience.
"When you start in the right way, as we did today, with the goal from Matty, you cannot allow the opponent to come back into the game in the manner that we did.
Manchester City loan goalkeeper Aro Muric endures 'debut to forget' for Nottingham Forest
"The second goal can happen, many goalkeepers would have conceded that goal. The first one was of the type that can be avoided.
"But Aro is a young keeper and he has a lot of quality. He will help us a lot this season.
"He needs to learn from this. But he knows that. He needs to play with more courage and leadership, in his area; in the box."
Sky Sports pundit talks Nottingham Forest transfer needs, Aro Muric error and display vs West Brom
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Sabri Lamouchi
City Ground


If you have ever entertained the dream of becoming a pilot, Seven Rivers Aviation can make it happen at Georgetown County Airport. Utilizing a Cessna 172 aircraft, Seven Rivers offers an unsurpassed level of professional flight training with two certified on staff flight instructors. Students can proceed at a pace that suits individual levels of commitment and availability.
For a glimpse at the opportunity, schedule a Discovery Flight for insight about what to expect during your future training program.


text:
Time Heals: Swede Savage's Daughter Angela Discusses Her Father's Omega Speedmaster
Today, the heartwarming story of how a daughter keeps connected to her father, the late racing legend Swede Savage.
By Rhonda Riche
In 1973, American race car driver Swede Savage was on the cusp of stardom in the sport when he died at age 26 from complications while recovering from injuries sustained in a crash during that year's Indianapolis 500.
The then 26-year-old driver left behind an 8-year-old daughter, Shelly, and his wife, Sheryl, who was 5-months pregnant with another girl, Angela.
Of course, as a result of this tragedy, Angela never got the chance to meet her father. But her road to making peace with the past has included the support of the racing community. She also found a physical talisman for navigating her family's history (and embracing its future) in the form of her father's Omega Speedmaster.
Lapped Time
David Earl Savage Jr. went by the nickname "Swede" because of his bright, blond hair and athletic build (he was also a star football player in high school). The California native had a keen desire to race, starting with soapbox derby cars, moving on to go-karts, then graduating to motorcycles. He also wanted to know what made a vehicle tick and joined the Holman Moody race shop – then the official racing contractor for Ford – as a mechanic.
Swede lines up a shot on his home pool table while modeling clothes for a local clothing store © Unkown
September 21, 1971: Swede meets President Nixon at a White House reception for race car drivers and other prominent people from the world of motorsports. Race promoter, J.C. Agajanian is pictured in the middle of the photo making the introduction © Richard M. Nixon Presidential Library
By the time he was 21, Swede found himself behind the wheel of a stock car. His bravado caught the attention of the media as well. In 1967, for instance, Competition Press & Autoweek profiled the rising star, writing: "He knew he needed to learn the ropes of the racing world but couldn't conceal his ambition. 'Maybe I'll race in the Indianapolis 500, and I'd like to race Formula Ones, too,' he said."
September, 1971: Swede breathes a sigh or relief after qualifying in 4th position for the 1971 California 500 at Ontario Motor Speedway driving for Dan Gurney's All American Racers team © Unknown
May, 1973: Swede is interviewed by Indianapolis Motor Speedway's public address announcer, Tom Carnegie (right), in the pit lane at Indianapolis Motor Speedway © John Edwards
By 1968, Swede split his time between NASCAR and running both USRRC and Can-Am with Dan Gurney's All-American Racers. By 1973, it seemed like all of his dreams were coming true.
But after competing in a number of Indy car races and a non-championship Formula 1 race, Swede was driving in his second Indy 500 and lost control of his STP-sponsored Eagle-Offenhauser race car on the oily track surface, eventually striking the wall. Swede was engulfed in flames for nearly a minute but was quickly rescued and initially expected to survive, even joking with the medical staff at the hospital. Sadly, Swede Savage died of complications 4 1⁄2 weeks later.
Saturday, May 12, 1973: This is Swede's official qualifying photo for the 1973 Indianapolis 500. Moments before this photo was taken, he had just broken the track record at Indy, qualifying at an average speed of 196.582 mph © Indianapolis Motor Speedway
Tragically, his career was cut short, but due to the enormous potential he showed early in his career, Swede's story became iconic.
Unfortunately, Angela Savage grew up with only the legend, not the father. However, now an adult, she's finally reconciled the desire to connect with her father's legacy. The result is a book called Savage Angel: Death and Rebirth at the Indianapolis 500, co-authored with Ted Woerner.
Born three months after Swede's death, Angela struggled with feelings of loneliness for her whole life. "I was born with a broken heart," Angela told Watchonista. "You feel like the forgotten one."
Angela Savage wearing the Omega Speedmaster of her father, Swede Savage.
In 2014, a racing fan contacted Angela through social media and asked her about the Indianapolis Motor Speedway (IMS). "I was asked: 'Would you ever come back to the 500?' And my first response was no. [That race] sort of ruined my life."
But after giving the question some thought, Angela decided it was time to slay the dragon, telling me: "The president of IMS gave us tickets. The welcome was overwhelming. It was a profound experience."
"When I got back from the track, layers and layers [of family trauma] came away," she added. "I became comfortable being Swede Savage's daughter."
Swede relaxes prior to the Jimmy Bryan 150 at Phoenix International Raceway. He would finish third in the USAC Championship race for Indy cars behind Al Unser and Bobby Unser. © Savage family
The experience led Angela to dive deeper into Swede's legacy. "After my dad died, all of his stuff went into a trunk," she said. But finally feeling up to going through her father's possessions, she came across his late-1960s Omega Speedmaster Chronograph. And fatefully, she decided to take the well-loved watch out of the trunk and onto her wrist.
"I'm a huge Omega fan," stated Angela, and when she spots one on somebody else, she gives them the nod of recognition. Not only is her Speedmaster a treasure from her father, but during our interview, she turned the Speedy over to reveal that it is also a family heirloom. Given to Swede from his dad, David Savage Sr., the caseback is engraved: "SWEDE FROM DAD," and Angela told me, "Knowing that it was the same [timepiece] worn by the astronauts – he knew that it was a special watch."
Engraved caseback of Swede Savage's Omega Speedmaster.
The first Speedmaster model's ties to racing were already well established before Savage's late-1960s pre-Moon model was made. The Speedy was introduced in 1957, and this configuration with its black dial and tachymeter bezel is one of the most classic iterations. In 1962 Omega introduced the straight baton hands, and in 1963, the 42mm asymmetrical case, designed to protect the chronograph pushers and crown. The "Professional" marking (as seen here) first appeared on the dial in 1966 when the Speedy was approved by NASA for official use.
Angela graciously allowed us to examine her pre-Moon Speedmaster. Interestingly, after 1969, the Hippocampus on the caseback was replaced with the phrases: "The first watch worn on the Moon," and "Flight qualified by NASA for all manned space missions." Plus, it is very stirring to see Savage Sr.'s short but sweet note inscribed on the back.
"I wear the watch just about every day," said Angela. "You look at any pictures of him, and he's wearing it. For most of my life, it was too painful. How was he so wonderful but gone before I got here? But now, when I wear the watch next to my skin, it's as close as we can be on other sides of the veil. It makes me feel close. He walks with me."
This intergenerational message is one that Angela hopes to share with the world through her book, Savage Angel. While you can't create a dialogue with someone who's no longer here, no one is more adept at telling her story of loss and reconciliation better than Angela.
"When a woman is very pregnant, the baby can get PTSD too. But the posthumous child wasn't studied until after 9-11. As the subject became better understood, we discovered that knowledge is power," she explained. Getting involved with the racing community and taking stock of Swede's legacy has helped her navigate the world. But it has also inspired her to share her story. "Inspiring others is my biggest goal," Angela added.
Final Thoughts & Pricing
To close, Watchonista would like to thank Angela Savage for sharing her heartbreaking yet inspiring story and legendary Speedy with the watch community.
Available now, you can purchase Savage Angel: Death and Rebirth at the Indianapolis 500 via the Savage 42 website.
Swede Savage's Omega Speedmaster on the wrist of his daughter Angela
(Photography by Kat Shoulders, other sources mentioned)
52 Years Ago, Omega Played A Critical Role In Safely Returning Apollo 13 Astronauts To Earth
By Philip Minden , Community Manager & Commercial
How and why the watchmaker received NASA's prestigious Silver Snoopy Award.
F.P.Journe, Vacheron Constantin, and Cartier Star in the Upcoming Rose Gold-Themed Auction by Ineichen
Moments In Time: Snowboarder Shaun White Talks About The Past, Present, Future, And Omega
By Rhonda Riche , Editor-At-Large
The five-time Olympian and three-time gold medalist Shaun White shares three big moments in his professional career.


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text:
Het Annunciatenklooster van Brussel was een contemplatief huis voor welstellende dames dat bestond van 1616 tot 1784.

Geschiedenis
Aartshertogin Isabella haalde de Annuntiaten naar Brussel in het kader van de Contrareformatie. Haar biechtvader, de minderbroeder Andreas a Soto, nam dit op zich en kreeg steun van voorname patriciërs. De stichting gebeurde vanuit Antwerpen. De provinciaal der Franciscanen duidde hiervoor zeven Annuntiatenzusters aan en gelastte hen Sara de Licht uit hun midden te kiezen tot overste, met Catharina van Dieffelt als assistente. Samen met een postulante, een converse en een buitenzuster namen ze op 1 september 1616 hun intrek in een Brussels huurhuis.

Aan financiële middelen ontbrak het niet. Op 5 november 1617 verhuisden ze naar de voormalige residentie van de graaf van Vertain aan de Leuvensepoort, voor hen aangekocht door de Antwerpse koopman Joris Moeckenborgh en confessor François van den Broecke (Paludanus). Ook verwierven ze zes aanpalende huizen en een koer, met steun van Pieter Peck (Peckius). Deze rekwestmeester bij de Grote Raad van Mechelen had een dochter Joanna onder de zeven stichtende zusters en zou ook zijn twee andere dochters naar de Brusselse Annuntiaten sturen. Vanaf 1622 werd op het terrein een nieuw kloostergebouw opgetrokken. Overste Sara de Licht liet manuscripten kopiëren om de bibliotheek samen te stellen, waaronder Gheestelijcke oeffeningen (Antwerpen, Ruusbroec Genootschap, MS 190) en een collectie preken door Jan van Tienen (Brussel, Koninklijke Bibliotheek van België, MS II 2269).

Aartshertogin Isabella legde in 1620 de eerste steen van de kloosterkerk, ontworpen door haar architecten Wenceslas Cobergher en Jacob Franquart. Ze kwam gereed in 1627 en werd ingewijd door aartsbisschop Jacobus Boonen. Twee jaar voordien was Peckius al begraven in de kerk. Zijn weduwe bestelde bij Rubens een Aanbidding der Wijzen, die boven het hoogaltaar werd geplaatst.

Het geestelijk leven van de Annuntiaten verliep volgens de Regel van Sint-Franciscus. De clausuur werd streng in acht genomen. De confessor, steeds een Franciscaan, verbleef in het gastenhuis. Oversten werden aangesproken als Moeder Ancilla (dienstmaagd). Wekelijks biechtten de zusters haar in een publiek kapittel hun zonden op en werden ze gecorrigeerd. Voor uiterste gevallen beschikte het klooster zelfs over een 'gevangenis'.

Het in de bovenstad gelegen klooster werd niet getroffen door de Franse beschieting van 1695 en verleende gastvrijheid aan enkele dakloze Rijke Klaren en Witte Juffrouwen. Dertien jaar later volgde een kleiner bombardement door Maximiliaan II Emanuel van Beieren, die naar het Franse kamp was overgegaan. De projectielen van 1708 brachten schade toe aan het Annunciatenklooster (dak, brandglasramen en orgel).

In de tweede helft van de 18e eeuw werd het rekruteren in rijke lagen van de bevolking moeilijker. Het contemplatieve klooster raakte in geldnood en besloot zijn werk van Rubens te verkopen. De Franse koning Lodewijk XVI bood hen 14.000 florijnen en een vervangende kopie. De officier-fiscaal van de Raad van Brabant verzette zich tegen de verkoop van het topstuk, maar na aandringen van de Franse ambassadeur liet landvoogd Karel van Lorreinen het schilderij gaan. Zo niet was het wellicht in Wenen terechtgekomen, want de Annuntiaten werden op 25 mei 1784 opgeheven en onteigend door keizer Jozef II. Op 14 augustus werden ze uit hun klooster gezet.

Vanuit de vroegere kloostertuin liet Jean Pierre Blanchard in 1786 de eerste bemande luchtballon opstijgen boven Brussel. In de gebouwen verbleven achtereenvolgens cavaleriesoldaten, krijgsgevangenen en de paarden van de prins van Oranje. Daarna werd het weer een kazerne voor 771 soldaten en 370 paarden. Van het Annunciatenklooster blijft niets over.

Ligging
Gedurende bijna twee eeuwen was het Annuntiatenklooster gelegen aan de Leuvensepoort, net binnen de stadsmuren, overeenkomend met de achterzijde van het tegenwoordige Paleis der Natie.

Oversten
Sara de Licht (1616–), nicht van Abraham Ortelius
Joanna Maria Braeckmans (1708–1724)
Barbara Theresia van den Dijcke (1724–)

Begraven
In de kloosterkerk van de Annuntiaten werden begraven:
 Petrus Peckius de Jonge (1562–1625)
Leo Jan De Paepe (1610–1685)
Gérard François Balthazar de Villegas (1687–1745)

Externe link
 Bruxelles 1616-1784 (L'Annonciade)

Literatuur
Marc Carnier, "Les Couvents des annonciades d'Anvers et de Bruxelles, enfants de la Contre-Réforme", in: Jeanne de France et l'Annonciade, 2004
Marc Carnier, De orde van de Allerheiligste Maagd Maria of (Franse) Annuntiaten. Monasticon (= Bibliografische inleiding tot de Belgische kloostergeschiedenis vóór 1796, nr. 8), 1998
Alphonse Goovaerts en Henri Stein, L'adoration des mages de Rubens, provenant des Annonciades de Bruxelles, in: Rubens-Bulletijn, 1883, III, p. 13-64

Annunciaten
Franciscanenklooster (tertiarissen)
Voormalig klooster in Brussel
Voormalige school in Brussel
Voormalige kazerne in België
Verdwenen klooster

redpajama_set_name: RedPajamaWikipedia


text:
Filed under: Our FIlms — Rajeev @ 8:39 pm
Cast: Irrfan Khan, Tilottama Shome, Tisca Chopra, Rasika Duggal
Director: Anup Singh
Qissa, directed and co-written by Anup Singh, is the haunting tale of a girl who grows up as a boy. The film shows a Partition-displaced Sikh villager Umber Singh (Irrfan Khan), so consumed by his hunger to have a son that he brings up his fourth daughter as a boy. His subjugated wife Mehar (Tisca Chopra) and older daughters live with the theory that Kanwar is male, even as the confused child grows up to be a tortured 'man' (Tilottama Shome).
When Kanwar is found flirting with gypsy girl Neeli (Rasika Duggal), Umber forces them to marry, resulting in more gender confusion and tragic consequences. Your attention flags when Qissa goes down a supernatural path, but Singh leaves us with lingering feelings of sadness for the mixed-up Kanwar, and her even more twisted father.
Shome infuses Kanwar's character with anguish, anger and pain, while there is vulnerability in Khan's portrayal of Umber, which is at odds with his outward ruthlessness. Chopra is quietly emphatic as the torn mother, while Duggal captivates us as the spirited Neeli, who doesn't give in till the end.
Both the cinematography and the background score are nicely moody and leave you with a sense of foreboding. Qissa is in the tradition of a compelling folktale that you can't shake off once you've heard it. I'm going with three out of five. I recommend that you watch the film for its unique voice.


text:
Vilsack: Ag can propel Iowa's future prosperity
Tom Block
Former U.S. Agriculture Secretary Tom Vilsack, right, discusses the future of agriculture on a panel at the Iowa State Fair with Bill Menner, former U.S. Department of Agriculture rural development director for Iowa, left, and Kyle Munson of the Des Moines Register.
Agriculture can lead Iowa to a more prosperous future by working with its urban neighbors to create jobs and opportunities for young people to emerge as leaders, former Iowa governor and U.S. Secretary of Agriculture Tom Vilsack said Aug. 19 at the Iowa State Fair.
"I don't see why we can't have a more bullish future than we have today," said Vilsack, who joined Bill Menner, former U.S. Department of Agriculture (USDA) rural development director for Iowa, to discuss rural economic and social issues during an hour-long panel discussion on the Des Moines Register Political Soapbox at the state fair.
One of the...